Icographic 3

A quarterly Review of International Visual Communication Design Issue number 3, 1972 icographic 3 Price per issue 1 US dollar Contents include Designing a periodical for a variety of Designing for Nuffield Foundation textual needs science teaching projects Published in London by the On Typos: new Japanese type face Type designing in the future A new Hebrew sans serif for bilingual International Council of Graphic Designing and producing a Penguin paperbacks printing Design Associations consumers' association magazine Language and readability Demise of the point system in sight Our compliments to the International Council of Graphic Design Associations for arranging the congress in Vienna on the important Learning Industry PHILIPS A quarterly Review of International Introduction by Ernest Hoch icographic Visual Communication Design Executive Editor Patrick Wallis Burke Design for print is one of the princi informed exchange of views and pal domains of the graphic designer's experience of its members, that Guest Editor of issue number 3 Ernest Hoch work although no longer as pre Icograda and icograph ic can contri dominant as it was a mere fifteen bute to our collective advancement. Contributors to issue number 3 Peter Burnhill years ago. Alongside the new electro Ivan and Robin Dodd nic media, for a long time to come, The most revolutionizing influence on Germano Facetti the printed word and image will printing technology came from the Maurice Goldring remain, in the words of F Borden modern data processing industry and Angela Hackelsberger Mace at the VisCom 71 Congress the combined potential of computer Ernest Hoch 'the most readily accessible, easily applications with photographic tech John Miles retrievable, economic and efficient niques. The understanding of thinking Asher Oren means of organising information and and learning processes, too, received Shin-ichi Seki of communicating ideas. It requires great impetus from studies related to Tibor Szanto no support system. It is quite computers; recent trends in psycho Hermann Zapf convenient and controllable to have logy reveal that influence. with you on safari or pi en ic, in a Published quarterly by The International Council of makeshift chair, on a mountain top, Graphic design in technologically less Graphic Design Associations. a sandy beach and maybe best of all advanced countries stands to benefit All correspondence to with you in bed.' Traditionally, the from lively contact with advances in 18 South Row, The Heath, field of visually recording graphics psychology, or information theory, Blackheath, London SE3 for print is well served by a number or ergonomics, or the newest tech of national and internatiortal graphic niques, as much as an understanding Printing of issue number 3 Nexus Graphics Limited, design annuals and other periodicals. of the problems of our members in 5 The Grove, Ealing, small, multilingual countries is likely London W5 In deciding to devote the third issue to assist their colleagues in the most of its new quarterly to print, advanced, computer oriented parts o·f Paper supplied by courtesy of Culter Guard Bridge, lcograda has no intention to compete the world in retaining their view of Salisbury Square House, with these often lavishly and excell these devices as tools, not masters, Salisbury Square, London EC4 ently produced publications; nor and their sense of craftsmanship in Cover printed on would we wish to duplicate their design. Craftsmanship in design Hi-Fidelity Art Board 280g/m work even if our financial resources remains important even though it Text printed on were not as meagre as to rule out any manifests itself. alongside its tradi Hi-Fidelity Art Paper 118g/m such attempt. tional facets, in new forms such as skills in specifying. Acknowledgements to Bertram Waller. The specific contribution and view The School of Graphic Design, point icographic can bring to this Nothing characterizes better the Ravensbourne College subject is that for which the inter change in the nature of design tasks of Art and Design national professional body of graphic referred to above, and the change of designers is uniquely qua I ified. emphasis in the designer's own Design and layout of issue number 3 Patrick Wallis Burke attitudes, than the shift from one-off and students of the The design profession develops against assignments to coordinated design School of Graphic Design, the background of rapid social and programmes. Germano Facetti writes Ravensbourne College technological change. The printing of 'reaching a point of professional of Art and Design industry is no longer the foremost, ism' and of overcoming the arty let alone the only industry engaged crafty search for 'the beautiful single Subscription rates Postal subscription rate for in communicating information. achievement' in design for book four issues, Even the confines of printing in the publishing; but this theme of a 3.50 dollars (USA) narrowest sense, the processes disciplined framework of design with 140p (UK) employed and the means of produc a maximum of flexibility is express 13 OM (FGR) tion serving them have, during the ed also by John Miles writing about last generation, changed almost out of designing a consumers' association Recommended price per issue 1 dollar (USA) all recognition. magazine, and equally applies to the 40p (UK) Dodds' experience as designers for 3.5 OM (FGR) These changes in the complex organ the Nuffield Science Teaching ization of society, in the structure of Projects. Subscriptions must include four industry at large, and within the issues. Unless the publishers are printing industry, bring with them a The trend from single assignment to notified immediately after the change in the nature of the tasks con coordinated programme reinforces appearance of the fourth issue that fronting designers, and they are and sharpens the designer's attention a subscription is to be discontinued, reflected in a change of emphasis in to defining the disciplined frame it will be treated as renewed. the attitudes designers bring to their work of design. Whether he is work. engaged on design programmes affect- The text, or extracts from it, and ing the visual identity of large the illustrations, can only be Due to the by now proverbially fast corporations, on packaging design or reproduced with the Executive rate of technological change, and to any other major design project, the Editor's consent. the uneven development in various chances are that he is devising guide No responsibility for the loss of MSS' countries, our members work within lines not only for his own work but photography or artwork can be widely differing technological settings. to be followed by others in dealing accepted. In some of the less advanced older with situations which may not even countries and in some of the newly yet have arisen. The trend from developing countries, traditional designing the single item to designing printing techniques still predominate. coordinated series of items become! On the other hand, some of the a trend beyond the design of co countries only now undergoing the ordinated series to the design of process of thorough industrialisation design programmes, the design of are setting up new printing and systems and procedures by which co- publishing enterprises on the most ordinated, coherent acts of design advanced technological basis. It is in may be carried out by others. this context, through fostering an The designer, in other words, charged A standard specification Maurice Goldring and Angela Hackelsbergerare in practice as for print production information design consultants (Maurice Goldring Associates, Maurice Goldring and London). Maurice Goldring is Angela Hackelsberger chairman of the SIAD/STD Typo graphers' Computer Working Group with the responsibility of safeguard specification on an analysis of the Standardization is not an impediment requirements of the evolving new ing the general rather than the material to be published. to the development of civilization techniques in printing. sectional or transient, finds himself but, on the contrary, one of its becoming the guardian and increasing The Nuffield Teaching Projects are a immediate prerequisites. A standard The limitations listed above not only ly the responsible originator of good example showing the graphic may be defined as that simplified concern designers, All members of the standards. designer as full member of the practical exemplar of anything in design/production team (author, education team - a far cry from the general use which embodies a fusion editor, designer, publisher, printer) Collectively, too, graphic designers as not too distant days when all educa of the best of its anterior forms. are affected by them as well as the a profession are taking their place in tional decisions were made before a (Walter Gropius: The New manufacturers and suppliers of the determination of standards. designer was even called in. Architecture and the Bauhaus) materials, machinery and equipment. Through two of its commissions, lcograda is recognised by the Inter Graphic designers, whether they are Traditional specification practice Proposal for a standard specification national Standards Organization and involved in the educational field, in system has liaison status with a number of scientific and technical communi Designers, typographers, editors and ISO Technical Committees. Our cation or in road signing programmes, printers in the technologically Let us now consider what a standard International

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