COP2 - Essay Final

Anarchy can be known as one of two ways, one being the suggestion of total chaos or as a brand for anti-establishment movements and styles or the other being the political ideas, anarchy, comes from the greek word ‘Anarkhos’, meaning without rulers, it is an ideal for absolute freedom of the individual. As a political ideal it covers and comments on a lot of key social issues, with heavy scrutiny on the 'established order' and the structures of the social heir-achy. Today it is widely known as an anti-social movement and inspires images of violence and chaos, this is through the adoption of anarchist logos and symbols in styles born from anarchism ideals such as punk in the late 1970's and early 80's. The styles punk designers such as Jamie Reid used for his work for the Sex Pistols in 1977, where he defaced images of the Queen and British flag for posters, this visual art share ideals of anti-establishment that anarchy portrayed through action and protest, both of which were, at the time, heavily scrutinised by the national media and demonised by the press. In the case of anarchy as a political ideal, it is the belief of social historian Raphael Samuels that the attacks on far-left or 'loony leftism' and for example the 'phenomenon' that was Thatcherism is a 'Retrospective of accounts' meaning that right wing politics is told better than it was and left wing politics made out to be ridiculous. 

Though thinking of punk styles when thinking of graphic design and anarchy there was a period of time where anarchy was widely presented in society through journals and weekly or monthly publications, even as early as 1886 when Peter Kropotkin, Russian activist and philosopher, and Charlotte Wilson anarchist and editor started Freedom Newspaper which used bold hand-set wood type posters which were used to broadcast anarchist ideas as well as promoting the monthly publication. Today Freedom has been reduced to an online publication following its print closure in 2014, it is clear to see there has been a decline in anarchy popularity or need throughout Freedoms 128 year history. The most notable period of 'popularity' for anarchy came throughout the 1960's, one reason for this could be seen as the social upheavals that were occurring in post war Britain, something that left wing publications commented on, non more so and clearer than Colin Wards monthly publication 'Anarchy', though not only did it comment on politics and society, its unique covers created an image for anarchy that it never had before and one that only helped its popularity and public voice more. Looking at the design behind Colin Ward's 'Anarchy' and essays, books interviews from Rick Poynor, Raphael Samuels, Rufus Segar, Richard Hollis and Steven Heller to see how design shaped the image of anarchy.

Colin Ward was a British anarchist writer born in 1924 and is regarded as a 'pioneering social historian'. In 1947, after leaving the army and working in a few different jobs, Ward moved to London and started working at Freedom Press, where he spent ten years as a writer and editor of the Freedom News Paper. It was towards the end of the 50's and start of the 60's that Ward sensed a social change and a need and potential audience for anarchist politics and messages. Ward would often write about a concept for a smaller monthly publication on anarchist ides within his articles for weekly publication the Freedom Newspaper. Ward would compile essays and contributions of singular topics and release them as one publication rather than sending out multiple messages at once, he wanted to send out clear stands and opinions on topics which is why the journal was monthly and not weekly like its former parent publication 'Freedom'. Ward proposed to name the new publication 'Autonomy' taken from the German anarchist journal 'Die Autonomie', though it was changed to 'Anarchy' which was seen as a more direct title. 'Anarchy' 1 was released in March 1961 and featured a cover by Michael Foreman a friend of Wards (this is the only issue Foreman produced the cover artwork for). 

Each cover was artistically unique and represented the theme of the content which the editor Colin Ward would control. Issues such as; planning, prison reform, nuclear disarmament, education, housing and homelessness, the policing of protests, crime, sexual politics, the law, trades' unions, Foreign policy, transport policy, popular arts, racism, drugs, technology, the theatre, workers control, poverty, students were all touched upon by the publication. Ward employed a number of designers, illustrators and artists to design the covers of the monthly publications. Creatives such as; Martin Leman, John Riley, Ivor Claydon, Phillip Sansom, Colin Munro, Rufus Segar. Rufus Segar is the standout name in this list as he is the designer who contributed the majority of the 'artwork' for Colin Ward's Anarchy. His styles have become synonymous within political art and political design history. 

Though 'Anarchy' covers tried not to conform to singular styles, modernist design can be seen in use on a number of covers of 'Anarchy' for example 'Anarchy 51' (Segar, Rufus, May 1965) employs techniques already used by modernist designers- bold, solely typographic covers using san serif typefaces, over laid to create bold and clear designs which share similar affinities with design by Max Huber and Armin Hofmann, pieces such as Hofmann's 'Gisselle' posters and Huber's 'Sci' (ski) Magazine covers between 1961-63. Other, clearer examples of modernist style bleeding into the cover design of 'Anarchy' can be seen through issue 66 (Segar, Rufus, August 1966. Photography - Ed van Der Elksen and Koen Wessing) which looks at the Dutch Provo movement. A counter-culture movement which occurred in the mid-1960's, its aim was to provoke violence from authorities through non-violent baiting, it was founded by activist Robert Jasper Gootveld, known for his anti-smoking campaigns and protests, and anarchists Roel Van Dujin and Rob Stolk.

The Design industry was changing rapidly through the decade of Colin Ward's 'Anarchy', the use of full-colour products and images were being used and printed after many years of black and white print. A key turning point in design was the launch of 'The Sunday Times magazine' in 1962 which had Lord Snowden as the design adviser, this is referred to as 'a new era' according to British graphic designer Richard Hollis as he wrote in his essay 'Anarchy and the 1960's' Hollis also writes 'The years 1960-3 were also when graphic design began, at least in England' stating that 'The Sunday times magazine' and the start of the annual designers convention began between these years.  

It can be seen clearly, through the evolution of Anarchy's covers, that the 60's saw a revolution of print, with letterpress slowly giving way to offset lithography, photo-setting replacing metal composition and a division of labour. It was not until the mid-1980's that designers would have been able to generate all of the elements of design and assemble it together digitally for the print. 'Anarchy' was produced through  division of labour which was seen in the design industry in the 60's. Designers giving instructions and specifications to the print trade specialists - typesetters, photo-engraves and the printer themselves. Early issues of 'Anarchy' clearly shows this division of labour. Headings and text which featured on the covers would be printed direct from the printers typesetting. This was then combined with one or more photo-engraved blocks, made from what 'artwork' the artists would provide. The tight production budget which was used meant that savings had to be made, this would mean that savings were made by re-using the typesetting or blocks of art. For example on a number of occasion the typeset line 'a journal of anarchist ideas' is used in different locations from issue to issue, this was not uncommon for small publications. The designer of the cover would be expected to provide specifications for the set type, choices such as the typeface, the size, and the spacing, kerning between the letters and words. The rectangularity of letterpress printing was disguised by a loose more free arrangement of imagery with type. Large headings and subheadings could be achieved through Letraset or transfer lettering.

The 1960's also saw a decline of illustration and its replacement with photography, most notably within advertisement. From this influx in use of photography, mediums such as collage and image distortion techniques easily made photography more expressive (Examples 'Anarchy 80' Segar, Rufus October 1967, 'Anarchy 91' Segar, Rufus, September 1968 and 'Anarchy 34' Leman, Martin, December 1963) A common technique which also came out of the 60's and one used on 'Anarchy' cover designs was 'Posterization' a method where grey half-tones were removed from photographs to create purely black and white imagery. Design studios began to use visualizers or Lucigraphs as a means of enlarging or shrinking down imagery and ready typeset proofs for preparing final sizes ready for print. It was also used to produce lined or half-toned imagery (A technique used in a number of 'Anarchy' covers, notable covers showing this technique are 'Anarchy 89', 'Anarchy 48' and 'Anarchy102'). Enlarging half-tone screens of photographs was a technique used by less frequent or small publications and journals in an attempt to mimic and imitate the look of the newspaper press, this was to try and get an essence of topicality which was around at the time, the designers of 'Anarchy' covers are known to use such techniques but only as a satire or for social commentary.

As well a noticable revolution happened constantly with 'Anarchy' covers throughout the 60's too, the changing styles main designer Rufus Segar, who used every design method to produce the covers for Wards publication, a notable technique was illustration, Segar's rough brash drawings combined with red bold type 

Richard Hollis talks about how print methods can share connotations with movements and make design into mannerisms, saying “red, black, stars and black lines which all signalled anti-establishment messages”(Poyner, 2012 pp.288) a clear example of this in use is Ken Garlands Aldermaston work promoting a CND protest, this carried strong bold visual lines (through the CND symbol) and modernist style layouts. Regularly the nature and style of the cover designs change from issue to issue but the best example of design contrasts is seen in the extremely different techniques seen used on issues 19 and 20. Issue 19 has a freedom to it usually seen in offset printing almost no typeset lettering (only the line 'a journal of anarchist ideas' and the price and issue number). Issue 20 employs a straight forward, clean cut typical letterpress style design printed from the printers typeset.These different styles showed the diverse nature of the covers of 'Anarchy' and also the movement and ideas that the publication stood for, it did not conform to singular styles and trends and did not need a set look or brand to be known. The covers were produced like this partly because of Colin Ward's choice to employ a number of different creatives to design them and partly because he gave them complete control of its design, giving them the topic of the journal they would be producing work for and letting them do the rest. Ward would rarely edit or change the cover or content of the publications, on occasion he would not see the cover art at all and it would be sent straight to print by the designer. 

Richard Hollis observes the covers of 'Anarchy' with 'designery unease', "it is hard to discern only consistent patterns in the deployment of drawings or photographs" (Poyner, 2012 pp.289)Hollis spoke of the covers, though this inconsistency  is something that lead designer, Rufus Segar aimed to achieve, saying that he wanted "Not to repeat the previous one. Each different. I saw no reason why they should be the same" this mindset and the graphic system is in-keeping with anarchy's ideals and messages. 

Poynor believes Segar was 'not a great innovator in graphic design, though he 'makes no claim to be'. Poynor believes that the monthly publications now 'serve as nuance' to our understanding of graphic design in the 1960's and little more. This is contrary to the beliefs of social and marxist historian Raphael Samuels, who believes 'Anarchy'  'represented better than any any other publication, the cultural revolution of the 60's and it did so far earlier than anyone else and ... more thoughtfully' (Poyner, D. 2012 pp257).These two opinions on 'Anarchy' contrast, one side being from a contemporary designer (Poynor) and the other from a social historian (Samuels), with Poynor looking at the inconsistencies and un-literal covers as bad design styles. Samuels discusses the individuality and strong messages that were put across in each cover, looking at the combination of radicalism and spontaneity that made 'Anarchy'.  

Samuels believes that Ward and Segar's combined work on 'Anarchy' as a key figure in the changes which occurred through the sixties, not just the politics and culture which was discussed in each issue of 'anarchy' but also huge changes to graphic design. Throughout the sixties, was a revolution of print, this can be clearly seen within design of the 60’s and heavily influenced changes to how Segar produced his covers and the design of anarchy ideals. Letterpress slowly gave way to offset lithography, photo-setting replacing metal composition and the introduction of letterset made designing easier. It was not until the mid-eighties that designers would have been able to generate all of the elements of design and assemble it together digitally for the print but these new advancements meant the process could be done in ways at the designers desk. Though the production method of 'Anarchy' which was a division of labour which was seen in the design industry in the 60's. Designers giving instructions and specifications to the print trade specialists - typesetters, photo-engraves and the printer themselves. Poynor is critical of some of Segar's work for 'Anarchy' particularly the later issues, calling out Segar for 'losing enthusiasm and his touch' Poynor says his work must be interpreted giving the example of Anarchy 113 from 1970 where Segar uses collaged photography of nude women behind bars, Poynor critiques the cover claiming the women are 'Apparently loving it' and going on to try interpret the cover as "an early feminist image - women locked into the sexual identity that society foists on them" then concludes his critique by questioning "but without a cover line who can tell?" (Poynor, R.,2017)

There are no clear consistent patterns regarding the styles of 'Anarchy' cover, the means were eclectic and un-conformative in appearance and in production. Though a clear development and evolution can be seen throughout the nine years of the publication under Ward, the differences between the early issues and the later ones, this change can be seen as changes and advancements in design and technology as well as the attitudes and social topics which Ward based the issues on. The approach, in the later issues, became a more visual representation of what we know now as graphic design, modern cultural styles were employed sometimes unknowingly, the covers themselves are seen to be more impactful than the essays and writings which made the content of ‘Anarchy’.

Poynor's questioning of the meaning behind the meaning of a cover of anarchy may shed light on why anarchy has decreased in popularity following the 60’s, the messages of anarchy became to lost in the growing social styles which came following the 1960s such as punk which took on anarchist ideals within its design, this anti-establishment style was born from the messages which were being put across, it can also be seen that it was crushed down by far right authorities which were about through the seventies and eighties, the demonisation of anarchist and far left values. Though on the point of Rufus Segar’s work on ‘Anarchy’ it had such a huge impact not only on the visual image of anarchism but also of design, his bold mixture of illustration, photography not only explored the ideals and social topics which anarchy touched upon but explored the ever changing design culture in Britain during the 1960’s, though even today its design still holds a relevance, even now topics of education, housing and foreign policy are still heavy social matters which are not being addressed by the powers that be, Anarchy’ voiced these opinions both through Segars visuals and the contributors essays. Anarchy now can be seen as chaotic and unstable, but it is in anarchy’s uncaring nature to not be hindered by demonisations, it has wanted to get its messages out bold and clear for over a century and has done so despite the set backs of social ignorance and misunderstanding of anarchists true ideals of absolute freedom.

SB2 Development work - Practical

Development Two - Following on from the hand drawn development ideas, looking at how the ideas would work on a digital platform, keeping to simple design which was bold through typography. Taking on modernist layout techniques to produce informative posters. The bold large letters spell out the word 'Anarchy' the title and main topic of the project, the set can work together to produce poster sets, online propaganda (informing people of anarchy ideals through posters), digital gifs and animations. The purpose of just using typography is to eliminate preconceptions, the risk of choosing an image or symbol which could alienate an audience. In this concept the use of type as a 

semi-decorative tool to work both as bold strong visuals and also work as type when in the set. The bold forms of Helvetica produce interesting shapes when playing with angles and positioning. 

Playing about with different ways to put across the letters and the letter meaning. Considering research such as Michael Engelmann and how information can be put across simply yet interestingly. The main visual type, of each letter of anarchy, is set to the highest point size available on indesign, though if converted to images the size can be as large as can bit on an A3 format, more experimentation is needed with the size and orientation, looking at how the letters can be the main focus of the campaign visually.

SB2 RESEARCH - Michael Engelmann

POSTER DESIGN RESEARCH -

Michael Engelmann - American graphic designer of Czech-german origins. Working for brands such as Volkswagen and Roth handle on poster ad campaigns which are said to be ' aesthetic reorientation of functionalism and pop'. His work is influenced by modernism and Bauhaus design.

His work is for the Philadelphia Inquirer is a simple modernist idea which combines simple clear type with bold imagery, these black and white posters are bold eye catching yet incredibly simple, the type used is so simple that it does not use the products name, letting the clear imagery of the paper do the talking. The photography used depicts simple morning symbols (paper waiting on the doormat) and basic every morning routine objects (egg and egg cup, cup of coffee, fruit) and also combining the imagery to form new interesting ideas, with the egg in the cup wearing Inquirer in the shape of a military hat, playing on the idea of boiled eggs and soldiers (bread). Using popular culture to make honest posters. The use of the black ground and letting the type and imagery be white also adds depth and boldness, it is clear, clean and legible, this technique would be an interesting technique to use and would also relate to Rufus Segars 'Anarchy' covers which were regularly two colour and off white/yellow stock.

Volkswagen - Using different techniques in his poster campaign for Volkswagen, Engelmann uses sophisticated illustration, and printing techniques to show movement on the 2D poster, instead of using large bold clear images, he uses bold colour to attract attention and makes clear use of the car companies logo. The poster can work anywhere in the world with the only type on it being the company name and two exclamation marks which are universally understood for alert or attention, clever use of these symbols grab attention and make the audience interested.

Sohnlein is a German wine brand, Engelmann's work for this shares similarity with his other works, such as the Roth Handle campaign, for example, this Din style typeface which is used is recognisable on Engelmann's work, as well as the all black backgrounds which are used in a number of campaigns which he has designed. The visuals used in this are simple yet playful, using a small colour palette, Engelmann manages to create strong visuals of wine glasses to catch the eye and be representative of the brand. The sleek style which was in use throughout the sixties can be seen in Anarchy covers, these styles will influence the product which will be produced through SB2..

Another different style and technique from Engelmann, using silhouette shapes and imagery to produce strong visuals on poster advertisements. This poster for a german soft drink is bold clear and unique, showing visuals of a gun for a drink ad campaign (unknown context) makes for impactful pieces. The stock is a very off white almost yellow stock, this gives off a style choice and a unique look for the poster, it has an air of vintage, classic design and can resonate with people as good design. Again using Helvetica bold within the silhouette of the gun making it clear and bold and keeping the colour palette to a minimum.

Engelmann's most influential work for German cigarette brand Roth-Handle is an incredibly unique and interesting take on advertising especially at the time, using bold simple type and very powerful images, this campaign is the best example of Engelmann's colour palette style, using just two colours and utilising the stock to create a third colour which is already on the paper. The bold use of the Roth-Handle red through the imagery makes the brand more recognisable and makes people think of the cigarette brand when they see that colour, Engelmann did a full series for Roth-Handle which share similar qualities with the contextual research undertaken for context of practice 2, qualities from Engelmann's work will influence the design choices made for SB2.

SB2 - Print Poster Developments

Print poster developments

Further experimentation saw the print evolve so that it would better suit digital formats as well as physical visuals, with the prints being A3, for there to be type it would have to be laid onto the black background of the print, or another technique would be to extend the page size, this is what has been attempted here using the original A3 format but adding 100mm onto the length of the paper, this way type could be placed below or above the visuals, this would make the visual more clear and unique and the information as a header or footnote to it. 

Through experimentation and peer assessment the more positive responses were to the posters being laid out with the type underneath the visuals, this way the posters can work in row as a set and work as gifs and have a continues style working as one though this style can be changed and experimented with to see if the other prints can be incorporated some how. The type underneath needs to be worked on to look a bit more in keeping with the visual aesthetic of the image, one technique which can be done is changing the typography so that it is using the paint style back ground of the visual, this can be done through clipping masks. 

The first letter of the word will be red so that the concept is clearer, the red working with the black to resonate anti-establishment ideas. The extended element of the poster which holds the type will also be the colour of the yellow stock used to print, this is to continue the visual aesthetic that is required with this sort of design.

COP2 - Research - Rick Poyner - An applied anarchism

An applied anarchism - Rick Poynor - 01/01/2013

- Anarchy had deeply negative connotations since the 19th century, suggesting hollow eyed bomb throwers pledged to violent disorder.

- Anarchisms rejection of controlling authorities, its commitment to self-determination and faith in peoples ability to help themselves and organise fair, open networks and structures, are peaceful and natural. - unrealistic to cynical minds

- Colin Ward's 'Anarchy' had a goal of 'applied anarchism' - this was printed onto the cover of early issues.

- Raphael Samuel - "Philosophically minded, practical people" were behind 'Anarchy's' group of writers.

- 'Anarchy practised what is espoused' - (It believed what it was saying, Ward and Segar fully believed and supported what they were trying to put across, they were taking action in a number of ways - Segar remained an Anarchist throughout his life)

- 'Seen from a design purists points of view 'Anarchy's' covers were all over the place' (the pages inside were book-like with occasional illustrations)

- 'Anarchy's' early covers inevitably look most dated now.

PERSONAL RESPONSE -

- Poynor believes that Richard Hollis observes the covers of 'Anarchy' with 'designery unease', "it is hard to discern only consistent patterns in the deployment of drawings or photographs" Hollis spoke of the covers, though this inconsistency  is something that lead designer, Rufus Segar aimed to achieve, saying that he wanted "Not to reapeat the previous one. Each different. I saw no reason why they should be the same" this mind-set and graphic system is in-keeping with anarchy's ideals and messages. 

- Segars illustrated wraparound covers for 'Anarchy' feature his 'sketchy hatched' style, within these he looked at all manor of things including cultural, social references, using imagery from popular tv and advertising, but only for parody and effect, not for style or identity purposes.

- Poynor - "Less taken by Segars simpler drawings, which can look a bit cheerfully cartoonish, but the jumble of hand-drawn, rose-tinted spectacles for the 'How Realistic is anarchism' issue in 1967 is another perfectly illustrated idea.'

- Poynor is critical of some of Segars work for 'Anarchy' particularly the later issues, calling out Segar for 'losing enthusiasm and his touch' Poynor says his work must be interpreted giving the example of Anarchy 113 from 1970 where Segar uses collaged photography of nude women behind bars, Poynor critices the cover claiming the women are 'Apparently loving it' and going on to try interperet the cover as "an early feminist image - women locked into the sexual identity that society foists on them" then concludes his critique by questioning "but without a cover line who can tell?" (Poynor, R. (2017). An applied anarchism. Autonomy: The Cover Designs of Anarchy - Creative Review. [online] Creative Review. Available at: https://www.creativereview.co.uk/an-applied-anarchism/ [Accessed 13 Feb. 2017].

- Poynor believes Segar was 'not a great innovator in graphic design, though he 'makes no claim to be'. Poynor believes that the monthly publications now 'serve as nuance' to our understanding of graphic design in the 1960's and little more. This is contrary to the beliefs of social and marxist historian Raphael Samuels, who believes 'Anarchy'  'represented better than any any other publication, the cultural revolution of the 60's and it did so far earlier than anyone else and ... more thoughtfully' (Poyner, D. (2012). Autonomy. 1st ed. London: Hyphen Press, p.257.) These two opinions on 'Anarchy' contrast, one side being from a contemporary designer (Poynor) and the other from a social historian (Samuels), with Poynor looking at the inconsistencies and un-literal covers as bad design styles. Samuels discusses the individuality and strong messages that were put across in each cover, looking at the combination of radicalism and spontaneity that made 'Anarchy'  

Samuels believes that Ward and Segar's combined work on 'Anarchy' as a key figure in the changes which occurred through the sixties, not just the politics and culture which was discussed in each issue of 'anarchy' but also huge changes to graphic design. 

Context of Practice - Anarchy Covers Research - Essay writing

ANARCHY - THE COVERS 

Throughout Daniel Poyner's book 'Autonomy' are the covers of 'Anarchy magazine'. Each cover was artistically unique and represented the theme of the content which the Editor Colin Ward would control. Issues such as;

- Planning

- Prison Reform

- Nuclear disarmament

- Education

- Housing and homelessness

- The policing of protests

- Crime

- Sexual Politics

- The law

- Trades' unions

- Foreign policy

- transport policy

- popular arts

- racism

- drugs

-technology

- the theatre

- Workers Control

- Poverty

- Students

Ward would compile essays and contributions of singular topics and release them as one publication rather than sending out multiple messages at once, he wanted to send out clear stands and opinions on topics which are why the journal was monthly and not weekly like its predecessor 'Freedom'. Ward employed a number of designers, illustrators and artists to design the covers of the monthly publications. Creatives such as;

• Martin Leman
• John Riley
• Ivor Claydon
• Phillip Sansom
• Colin Munro
• Rufus Segar

Rufus Segar is the standout name in this list as he is the designer who contributed the majority of the 'artwork' for Colin Ward's Anarchy. His styles have become synonymous with political art and will be of great influence towards the outcome for the project. Ward allowed the artists contributing to having complete free reign with the covers, this gave the unique and stand out the feel of each edition. Certain styles remained throughout the covers which were partially due to printing, the covers use just two colours and off-white yellow stock, usually using just black or red ink but blue and green have both been used on occasion. 

Throughout the sixties, clearly seen through the evolution of Anarchy's covers, was a revolution of print, with letterpress slowly giving way to offset lithography, photo-setting replacing metal composition and a division of labour. It was not until the mid-1980's that designers would have been able to generate all of the elements of design and assemble it together digitally for the print. This differed from the production method of Anarchy which was a division of labour which was seen in the design industry in the 60's. Designers giving instructions and specifications to the print trade specialists - typesetters, photo-engraves and the printer themselves.

Early issues of 'Anarchy' clearly shows this division of labour. Headings and text which featured on the covers would be printed direct from the printers typesetting. This was then combined with one or more photo-engraved blocks, made from what 'artwork' the artists would provide. The tight production budget which was used meant that savings had to be made, this would mean that savings were made by re-using the typesetting or blocks of art. For example on a number of occasion the typeset line 'a journal of anarchist ideas' is used in different locations from issue to issue, this was not uncommon as it had been used by Freedom Press before on early publications where they would repeat their 'FP' rectangular logo.

The designer of the cover would be expected to provide specifications for the set type, choices such as the typeface, the size, and the spacing, kerning between the letters and words. The rectangularity of letterpress printing was disguised by a loose more free arrangement of imagery with type. Large headings and subheadings could be achieved through Letraset or transfer lettering.

The nature and style of the cover designs change from cover to cover but the best example of design contrasts is seen in the extremely different techniques seen used on issues 19 and 20.

Issue 19 has a freedom to it usually seen in offset printing almost no typeset lettering (only the line 'a journal of anarchist ideas' and the price and issue number). Issue 20 employs a straight forward, clean cut typical letterpress style design printed from the printers typeset.

These different styles showed the diverse nature of the covers of 'Anarchy' and also the movement and ideas that the publication stood for, it did not conform to singular styles and trends and did not need a set look or brand to be known. The covers were produced like this partly because of Colin Ward's choice to employ a number of different creatives to design them and partly because he gave them complete control of its design, giving them the topic of the journal they would be producing work for and letting them do the rest. Ward would rarely edit or change the cover or content of the publications, on occasion he would not see the the cover art at all and it would be sent straight to print by the designer.

The 1960's saw a move from letterpress to offset typography, this meant that though designers would still work at drawing boards producing elements such as layout, it saw designers have more control over the production side of the design. The change saw parts of the old production process become redundant with no need for process-engravers, instead designers could form 'camera-ready-copy' which would be photographed to make lithoplates.

Design studios began to use visualisers or lucigraphs as a means of enlaging or shrinking down imagery and ready typeset proofs for preparing final sizes ready for print. It was also used to produce lined or half toned imagery (A technique used in a number of 'Anarchy' covers, notable covers showing this technique are 'Anarchy 89', 'Anarchy 48' and 'Anarchy102')

The 1960's saw a decline of illustration and its replacement with photography, most notably within advertisment. From this influx in use of photography, mediums such as collage and image distortion techniques easily made photography more expressive (Examples 'Anarchy 80' Segar, Rufus October 1967, 'Anarchy 91' Segar, Rufus, September 1968 and 'Anarchy 34' Leman, Martin, December 1963) A common techique which also came out of the 60's and one used on 'Anarchy' cover designs was 'Posterization' a method where grey half-tones were removed from photographs to create purely black and white imagery.

Enlarging half tone screens of photographs was a technique used by less frequent or small publications and journals in an attempt to mimic and imitate the look of the newspaper press, this was to try and get an essence of topicality which was around at the time, the designers of 'Anarchy' covers are known to use such techniques but often to as a satire or for social commentary.

Though it was known for and limited its two colour covers, design was changing rapidly through the decade of Colin Ward's 'Anarchy', the use of full colour products and images were being used and printed after many years of black and white print. A key turning point in design was the launch of 'The Sunday Times magazine' in 1962 which had Lord Snowden as the design adviser, this is reffered to as 'a new era' according to British graphic designer Richard Hollis as he wrote in his essay 'Anarchy and the 1960's' Hollis also writes 'The years 1960-3 were also when graphic design began, atleast in England' stating that 'The sunday times magazine' and the start of the annual designers convention began between these years. 

Hollis also talks about how print methods can share connotations with movements and make design into mannerisms, an example of this would be heavy black lines, red and black colour combinations all symbolised anti-establishment messages, a clear example of this in use is Ken Garlands Aldermaston work promoting a CND protest, this carried strong bold visual lines (through the CND symbol) and modernist style layouts. Modernist style and ideas can be seen in use on a number of covers of 'Anarchy' for example 'Anarchy 51' (Segar, Rufus, May 1965) employs techniques already used by modernist designers- bold, solely typographic covers using san serif typefaces, over-layed to create bold and clear designs which share similar affinities with design by Max Huber and Armin Hofmann, pieces such as Hofmann's 'Gisselle' posters and Huber's 'Sci' (ski) Magazine covers between 1961-63. Other, clearer examples of modernist style bleeding into the cover design of 'Anarchy' can be seen through issue 66 (Segar, Rufus, August 1966. Photography - Ed van Der Elksen and Koen Wessing) which looks at the Dutch Provo movement. A counter-culture movement which occured in the mid 1960's, its aim was to provoke violence from authorities through non-violent baiting, it was founded by activist Robert Jasper Gootveld, known for his anti-smoking campaigns and protests, and anarchists Roel Van Dujin and Rob Stolk.

The first half of Colin Ward's 'Anarchy' was printed on to a yellow stock, and employing various playful imagery as visuals. The choice of stock for the cover became a recognizable feature of the publication it became synonymous to it. The yellow stock usually just acted as a background to the graphic imagery and typography though it is, on occasion, used as an element of the design, for example on 'Anarchy' 17 (Segar, Rufus, July 1962) uses a red overlay on the front cover and has the title as a positive revealing the yellow hue, as well this cover employs black illustrations to accompany the type and red colour, this gives the effect of depth and the illusion of more colours than there are. 

There are no clear consistent patterns regarding the styles of 'Anarchy' cover, the means were eclectic and un-conformative in appearance and in production. Though a clear development and evolution can be seen throughout the nine years of the publication under Ward, the differences between the early issues and the later ones, this change can be seen as changes and advancements in design and technology as well as the attitudes and social topics which Ward based the issues on. The approach, in the later issues, became a more visual representation of what we know now as graphic design, modern cultural styles were employed. Another notable evolution with the monthly publication was the changing styles and freedom of the main designer Rufus Segar, where in the very early issues he used small illustrations and then stopped until issue 41 (1964) where he began to frequently used his own drawings from then on, he plays with the technologies at his disposal and tries a lot of different mediums to produce the covers.

Following 'Anarchy 59' the production changed and the yellow paper was dropped for the cover stock and a new cleaner white stock was chosen, this saw an aesthetic change that the publication had not gone through before, and a clear sense of 'design' is seen clearly for the remainder of the publications.

The typography used in 'Anarchy' was regularly printed through letterpress - though at the time only small type could be printed, for the larger cover and header type other methods were employed, methods such as - drawn, photo-print or Letraset. The cover designers employed san - serif type throughout the covers though on rare occasion used serif fonts for the cover. Typefaces such as;

- Grotesque No.9 (Headline Bold)

- Condensed grotesque No.33

- Futura Bold (Direct action - No.13)

- Futura Display (Bold, condensed, type which was used occasionally)

Compacta would give a strong graphic presence on the cover, standing out on the yellow stock of the early issues, whilst also remaining compact, taking up little space on the 'artwork'. 

Following 1965 covers changed from anarchic to more tasteful visual design, this is seen through the shrinking of type on the covers which occured between issues 58 (1966) to issue 88 (1967) the change can also be seen through typography used, it became more diverse and Segar in particular experimented more with the type, using types such as;

-Franklin Gothic Condensed (Anarchy 64) 

-Caslon (Covers 114,115 ad 118 all Rufus Segar)

This varied mix of styles really shows the eclectic nature of the publication itself and the designers that produced the cover 'artwork'.

QUOTES ABOUT THE COVERS

" Anarchy's covers stand out as significant record of the early years of graphic design in Britain"

-Richard Hollis

"I didn't meet Colin (Ward) often, just one or two times about the covers. He'd write me a postcard once a month and send it" - Rufus Segar (R. Segar - 'Autonomy' - D. Poyner - Hyphen press, London 2012)

"I would just think about it for a week and then say: 'well i've put it in the work diary. I've got to send the artwork off to the block maker, Gee & Watson. I'd put in there 'Gee & Watson, call them at two o'clock on tuesday. Delivery wednesday, that 24 hour was devoted to 'Anarchy'. Things would be shelved until it was done."  (R. Segar - 'Autonomy' - D. Poyner - Hyphen press, London 2012)

- "Colin (Ward) wouldn't see it (cover art). I'd do the artwork, two days later Gee & Watson would send me a proof and Colin would get a proof. And at no time did Colin ever say 'I don't like this, do that'."

REFERENCES 

Poyner, Daniel. Autonomy. 1st ed. London: Hyphen Press, 2012. Print.

COP2 - Research - Graphic Design+Anarchy

Designing Anarchy? - Steven Heller - April 26th 2012

- Anarchia - 'absence of a leader" is the root of anarchy's meaning.

- total chaos or a brand for resistance movements.

- One great example of what the anarchy ideals and credo is, appeared in an issue of 'Resistance: An anarchist monthly' published in 1947 - 

We offer no blueprints of a future society, no handed-down program, no ready-made philosophy. We do not ask you to follow us. We ask you to stop depending on others for leadership, and to think and act for yourselves.

Organized mass murder, called “war” — conquest and plundering of nations, called “liberation” — regimentation of human beings, called “patriotism” — economic exploitation and poverty, called “the American system” — repression of healthy sexuality, creativity and living called “morality” and “Christianity” — these are the warp and woof of present-day society.

These things exist because a small group of politicians, militarists and bankers, controlling the wealth of the nation, is able to starve people into submission, to buy their minds and bodies, and hire them to kill and imprison each other. These things exist because people are trained in the home, in the school and on the job to obedience and submission to authority, and are beaten into indifference by the dog-eat-dog struggle for existence; because people cling to ancient myths of religion, patriotism, race and authority, and let hirelings of the ruling group do their thinking for them.

We believe this system can be ended by refusing to be pawns of the ruling group, by our learning to think and act for ourselves, by our finding ways of living and working together in peaceful, free cooperation.

- Rather than rant-driven and design-less, these magazines and publications ('Anarchy', 'Freedom' other anarchist publications) serves as the glue, and strictly designed in a regimented fashion.

Picturing Anarchy : The Graphic Design of Rufus Segar

1960's - young people / students looking to the libertarian left to make sense of vast social upheavals in post war London and other large urban communities across the UK.

- Anti-authoritarian principles and clearly articulated positions of on topics such as social justice, affordable housing, education and an ideal for direct action, had a strong resonance on the young people of the uk at the time. 

- Politically engaged anarchy was no longer the metier of old Kropotkin-esque scholars, a new young new audience became the focus and the main action takers in far left politics. 

- The Freedom Newspaper - 1886 - published by Kropotkin - was stodgy in format despite its radical message

- Ward and Segar 'the two cemented a working relationship that established a new voice and graphic identity for the UK anarchist movement'.

Further Research - 

'Freedom: a journal of anarchist communism' - anarchist publication first published in 1886 by a group of anarchist/communist philosophers, journalists and writers, most notably Kropotkin and Charlotte Wilson, they had the intention of producing a 'non-sectarian anarchist monthly news paper'.

- Freedom was continuous from its conception in 1886 until 1927.

- Freedoms use of broadsides to advertise their publication through loud news print style visuals - these were displayed through hanging them on newstands amongst other broadsides and also placing them in Freedom Press Bookstore window.

- Broadsides would be printed with hand-set wood type

- Overviews of the thoughts and ideas of one wind of the UK anarchist movement for the decade of 1908 through 1997.

- Clear that anarchists then were masters of the same hyperbole, grandstanding and over statement that is so common in todays movement = the words "Blood thirst" and "tyranny" pop off the page. Seeing "Our vanishing liberties" and "The peril of Militarism" on these posters is bittersweet. It is shocking to see that our larger social situation has not changed hardly at all over a century but also heartening to know that anarchists were on the front line of social struggles then as now.