Exhibitions – Poster Girls, London Transport Museum

The London transport museum are currently showing an exhibition of posters that have been displayed on the London underground since 1906 to the present day. What is particularly interesting about this exhibition is that all the posters on display were designed by women.

In the early 20th century, poster design started to be considered as a new form of art with designers, illustrators and painters all being commissioned by printers, railway companies, theatres, public bodies etc. to create posters.

This new medium was used extensively by the London Underground’s Traffic & Publicity Manager, Francis Pick who saw the potential in using posters to advertise the new underground network to the public in 1906. Rather than sticking with a single ‘house style’, Pick deliberately commissioned work from a wide spectrum of artistic styles so that the variety in style would continuously attract the viewer’s attention and in so doing brought many modernerist art styles to the attention of the general public.

Prior to 1906, poster design had typically been a very male dominated field but Pick commissioned artists based on talent not gender and as a result, many of the posters were designed by women. Many of the posters designed by women show modern, independent women and encouraged female emancipation.

This large exhibition shows an extensive array of posters designed by women, giving these often unsung artists of the 20th century the credit they deserve.

The posters in this exhibition are displayed chronologically and I found it particularly interesting to be able to track how artistic styles changed through the century.

The posters are bright, colourful, entertaining, witty and a joy to look at. I really enjoyed the entire exhibition. It is fascinating to see how wonderful and clever designs are typically created with very limited colour palettes.

I like the exhibition so much that I bought the book, and there were so many posters that I really liked that it is difficult to pick out some hightlights, but a few things that did stand out for me were:

Pair Posters

Effectively, two posters that would be displayed side-by-side or near to each other, such as on either side of a wall mounted tube map. The aim was to give the artist plenty of creative freedom with the poster design and the copy writer plenty of space for the text. Having wrestled with trying to fit text and images around each other when designing posters, I can certainly see the benefits of this style!

Insight into the Design Process

Jennie Tuffs, ‘Marigolds Grow Wild on the Platforms’ book jacket design 1995.

It was fascinating to see the development stages of the design work for this book on railway poems.


Visit to the Van Gogh Museum, Amsterdam – May 2018

I am currently holidaying in Amsterdam and today’s activity was a trip to the Van Gogh museum. As you would expect it was quite breath-taking to see all those famous artworks up close. However, there was an exhibition running while we were there, called ‘Van Gogh and Japan’ which celebrated Van Gogh’s love of Japanese art, showcased his extensive collection of Japansese prints and demonstrated just how much Van Gogh’s work was influenced by this form of Japanese art. This was a real bonus for me because I really like Japanese prints and had no idea that Van Gogh’s work was so influenced by them.

The exhibition highlighted the key features of Japanese prints as being:

– Large areas of flat, bright colour

– Bold contour lines,

– Prominent diagonals,

– Subjects cut off the edges of the picture

– Emphasis between the foreground and background

– A high or absent horizon

– Zooming in on details in nature

– Paintings that stood out as being influenced by the Japanese style include:

Small Pear Tree in Blossom – 1888

Almond Blossom 1890

Irises, 1890

Other points of interest from the exhibition were:

Kono Bairei’s album of ‘Drawings of a Hundred Birds’ – a book of printed images of Japanese birds, as well as prints by Utagawa Hiroshige and Hokusai. Interestingly, there was a print of Hokusai’s great wave included in the exhibition. How funny it was that I was able to stand next to it, on my own without a crowd of people jostling me – unlike when I went to see the Hokusai exhibition in London!

There is further information about the exhibition on the Van Gogh Museum’s website, here:



A Visit to the Stedelijk Design Museum Amsterdam – May 2018

On holiday for a few days in Amsterdam, I paid a visit to the Stedelijk Museum. It’s not my first visit here and I always love it. This time was no different and I spent the entire afternoon poring over the exhibits.

A massive highlight for me this year was a new permenant installation at the museum – ‘The Collection Stedelijk Base’. This was a chronological history of art and design from 1880 to the present day.


The exhibition mixes iconic artworks from various art movements with elements of furniture, jewellery etc., showing, not only how styles of art evolved and were influenced by changing politics and culture, but also how art influenced design.

This exhibition resonated so much with me because of all the reading I had been doing around this subject in Part 4 of this course here:


..and in particular my reading of the book ‘Graphic Design A History’ by Stephen J. Eskilson.

Here was an exhibition with approximately 700 pieces of art of design, bringing to life everything I had been reading about. I was also impressed that the museum seemed to have made a real effort to include plenty of works by female artists and designers. It does irk me that iconic artworks from the past only ever seem to have created by men so well done to the Stedelijk for reminding us that women made art too – even in the 1900s!

Had my husband allowed it, I would have gone back to the museum for another day and done it all again. He likes art but not quite that much!

Highlights for me where:

Anna Boch

When I first saw this, I thought it was a Monet. I was very pleasantly surprised when I read the caption to see that it was a woman who had painted it, albeit one I had never heard of!

Jan Toorop – Delft Salad Oil Poster 1894

A beautiful example of the art nouveau style being used in an advertising poster.

Piet Zwart

Examples of how new ideas in design were being employed in typography in the 1920s and 1930s. These works were described as illustrating ‘a dynamic negotiation of geometric forms and starkly angled typography coupled with an unprecedented degree of white space’.

The Cobra Art Movement

Not mentioned in ‘Graphic Design A History’ by Stephen J. Eskilson, the Cobra movement of around 1949 was a style of art ‘rooted in antagonism towards intellectualism and the established order of process-orientated modern life’. The works are described as ‘reclaiming a childlike, expressive and essentially emotional gaze towards reality’ and ‘paintings full of bright colours, naïve figures and abstracted compositions, puncturing the purity of painting with fierce and passionate expression’.

The cobra artists initially were not very popular but went on to revolutionize Dutch modern art.

Willem Sandberg’s posters.

New Objective Portraits


Around 1923, between the two world wars, the ‘New Objectivity’ style was developed in Germany. Often featuring portraits, it was described as ‘an unsentimental, somewhat detached depiction of reality, characterized in painting stark graphic lines, an exacting near-mechanical technique and vivid colours.

In the Netherlands, artists of this style included Charley Troop, John Fernhout and Eva Besnyo.

I really, really like the somewhat illustrative style of these images!

A Whole Wall of Malevich Paintings!


Martha Rosler – Bowl of Fruit 1966 – 1972, Print 2010.

Another artist that I have learnt about through this course and consequently was very excited to see some of her original artwork.

The museum caption here states ‘Martha Rosler combines images of immaculate American homes with photographs of the Vietnam War to devastating, and polically critical effect in her photomontage series’ House Beautiful: Bring the War Home.’ Roseler also addresses power relationships between men and women by ‘splicing together pictures of naked women from Playboy magazine with photographs of ideal domesticity.

Grayson Perry – Gulf War Dinner Service 1991

I am a big fan of Greyson Perry, so was very happy to find some of his work in the museum.

Brilliant exhibition!

Research Point – Posters

Posters have a long and rich history documenting everything from boxing matches to
Bollywood films, the Soviet Revolution to punk, encouraging young men to join the army to persuading women to buy bras. There are many collections in books in museums and galleries and on the internet. Find out more about your own particular areas of interest.

My mother was from Luzern in Switzerland and I was delighted to discover recently that Luzern has a bit of a name for itself as a ‘Poster Town’, renowned for the quality and style of its posters!


As a family we would always visit Luzern, late in the summer around the time when the Luzern music festival was on and the town would be covered in stylish posters and shop window displays promoting the festival.

The Design Museum in Zurich has an extensive display of Swiss posters and has an online archive here. A trip to this museum is definitely on my bucket list.

I particularly like the old posters promoting Switzerland as a tourist destination, some of which are here:

For me, these graphics really evoke my memories of Switzerland and make me feel quite nostalgic, especially because I can also recognize some of the places depicted in the posters.

Similarly, I recently went to see the ‘Poster Girls’ exhibition in the London Transport Museum. Details about the exhibition are here. Again, I really enjoyed the ‘retro’ style of a lot of these posters.


Artists – Emily Jane Bruce

A trip to the New Ashgate Gallery in Farnham always leaves me feeling inspired and in awe of the beautiful, thought-provoking works that my fellow humans beings can create.

Today we saw the ‘Rising Stars 2018’ exhibition, an exhibition of  emerging makers from crafts and applied arts programmes across the UK.

One artist that stood out for me was Emily Jane Bruce and her captivating ceramic creatures. These strange little characters were both innocent and endearing to look at but also rather dark and disturbing. There was a sense of the Gothic fairy tale about them. I was fascinated and intrigued by them and felt a strange conflict of mild disgust but also pity for these strange, innocent creatures.

They certainly left an impression!

Part 5 – Research Point: Publishing House Design Styles

It took me a little while to understand what an ‘imprint’ is.. Wikipedia defines it as follows:

“An imprint of a publisher is a trade name under which it publishes a work. A single publishing company may have multiple imprints, often using the different names as brands to market works to various demographic consumer segments.”

For example, the publishing house PanMacmillan encompasses the following imprints:

Imprints, particularly those that are smaller and more niche, typically have a particular style of book and cover design.

I collated a selection of book covers for various imprints on Pinterest:

For example Tor publishes science fiction and the book covers all have a very identifiable style, which to me looks a little old fashioned and  ‘cheesy’… you can almost hear how the opening sentence of a book like this reads.. “Z’lot sighed as he stood watching the double setting Zaloovian suns from his 358th floor skypartment..” or something like that. Interestingly, as I was researching these book covers I noticed in the news that a science fiction author whose book was published by Tor, had got into a spat with the Illustrator of his latest book after announcing on Social Media that he thought the cover of his book was ‘Laughably Bad’:


Two Hoots publish children’s books with quirky, modern children’s illustrations with a slightly rebellious feel – I love these! Compare these covers to Virago children’s books whose covers are quite traditional, romantic, innocent, more old-fashioned-looking and to me, rather twee. As a child I don’t think I would have been drawn to the covers of any of these books.

Bello publish young adult fiction and their covers are quite modern, striking simple and graphic.

I can’t quite put my finger on ‘Hodder’s’ cover style, except to say that it looks like what you might find in an airport. Easy holiday reading not requiring too much brain power.

Farenheit Press print crime novels and their covers are dark, broody, quite masculine, with images that are often quite indistinct, hinting at a scene or clue.

Part 4 – Research Point: Legibility

Collect as many newspapers, newsletters, magazines and brochures as you can. Start by going through them and dividing them into the ones that immediately look easy to read and those that don’t. Is this due to the typefaces used, the way the type is laid out – the number of words per line and the column width, or its alignment?

Work out from your examples what the designers have done to make things more legible and readable.

Examples of Printed Material Which is Difficult to Read

Craft & Design Fair Flier

There isn’t much text on this flier but I find the whole page quite difficult to make sense of.  I find the mix of colours quite jarring. The image styles are also incongruous, mixing an illustration with two photographs – these two styles do not work together and for one image I can’t tell what it is (a table top?).

The mix of colours of the fonts also doesn’t work for me. I am also questioning why just the words ‘Christmas Contemporary’ are in a serif font. The text on this flier is printed small and is cramped into the bottom of the page, with all points running one after the next. For me, the design of this flier is so chaotic and jumbled that I don’t have the energy to read the text.

Restaurant Menu

The front cover of this restaurant takeaway menu is too busy with too much information crammed onto it. There is some consistency with most of the text being in different weights of the same font but the different colours, font weights and sizes, images and decorative backgrounds all make the page look too busy. Information is broken up over a series of centre justified lines but I think  the lines of text are too close to each other. I find that my eyes wander over this page without actually taking anything in.

Veterinary Financial Information Page

This document provides a lot of quite technical information. Text is broken up with bold headings and bullet points, and the most important information is in red which makes it stand out. My main difficulty with this document is that the text is too small. This combined with the fact that the paragraphs are quite long just make this document feel like a chore to read. It doesn’t help that I know that financial information is already going to be a dry read.

Fortnum and Mason Christmas Flier

The main message on this flier is illegible!It is printed in reflective gold foil and the very cursive typeface used is printed directly over a really busy background illustration. Its a beautiful document but it would have been better without the ‘Together we’re merrier’ (or is that ‘terrier’?) printed on it.

Examples of Printed Material That is Easy to Read

Financial Marketing Brochure

There is a lot of text on this page, the subject matter is quite dry and the body text font size is very small but, despite that,  I do find this document quite legible. Even though there is a lot of text, it is broken up into short paragraphs with a generous line break between them. The information is broken up into sections with bold headings and the text is further broken up into three columns, so the lines of text are quite short. This all makes the text much less daunting to read. Only two typefaces are used and the colours on the page are a harmonious dark and light blue and shades of grey so that the graphics don’t distract.

Craft Fair Flier

The key informaton on this flier is printed in large font sizes and is centre justified. There are only two images on this page which are quite large but they are positioned symetrically which makes the design feel balanced. There are quite a few colours being used but they work well together and more importantly, there is a logic to their use. The two events on this flier are being differentiated by the use of colour with one in gold and one in purple. Because the colours are harmonious and the layout balanced, I am much more inclined to read the text.. I didn’t even notice the single use of the serif font at the top of the page!

Waitrose Magazine Article

Interestingly, I find it is the image here which is really contributing to the legibility of this article! I like the illustration and am intrigued by it which is making me want to invest the effort into reading the article.

There is quite a lot of small sized text on this page but text only fills the bottom third of the page. The text is split into short paragraphs, there is no line break between them but the first line of each paragraph is indented. The text is further split over two columns making it more manageable. Key pieces of information in the text are in bold.

The title of the article is printed in a large font and is easier to read, and serves as a good introduction to the text. The line drawing, white space and tiny hints of colour give this page a calm and balanced feel.


Based on my analysis of various documents, text on a page is more likely to be legible if:

Text does not require effort to read. It is not an issue if the text size is small  but breaking the text up into short paragraphs which are easily discernible and splitting larger blocks of body text across columns, so that the length of the line that the eye needs to scan is shorter, all help .

Images add to rather than distract from the text. I am more likely to invest the effort into reading text if I am not being distracted by confusing images with jarring colours. It also helps if the image placement on the page is balanced.

White space is used to allow text to ‘breathe’. Rather than cram text onto a page, text is more readable if it is broken up and de-cluttered with white space.

There is a logic or harmony to the use of typefaces and fonts. I was more comfortable reading documents where the use of fonts had a clear purpose, such as a sans serif font for headings and a serif font for body text. More chaotic or unstructured use of type was confusing and more challenging to read.

Text is not overlaid on a busy background. Text on plain backgrounds (with good contrast between the background and the text colours) was easier to read.