Righting a Wrong: Why We've Reprinted Modernist Graphic Design in Britain 1945–1980 in Paperback

Some books deserve to reach more people. When we first published Modernist Graphic Design in Britain 1945–1980 by Ian McLaren and Tony Pritchard, we knew we had something special on our hands. What we didn't anticipate was quite how much the design community would agree. The original hardback edition — strictly limited to 500 copies — found its audience quickly, and the conversation it sparked has only grown louder since. So this May, we're making it available in paperback, because great design history needs to be appreciated more widely.

The book sets out to right a historic wrong. Britain's post-war designers helped reshape society during a period of profound national transformation, yet many of their names have quietly slipped from view. Designers like Robin Fior, Richard Hollis, and David King too often slip from our collective consciousness, even as their innovative styles and flair remain deeply influential. McLaren and Pritchard are determined to change that — and this book makes a compelling, beautifully assembled case. Creative BoomWallpaper*

The story begins in the rubble and optimism of 1945. Those involved had either served in the war or been affected directly by it. The immediate post-war period was exemplified by a desire to build something better than what had preceded it. Graphic designers were part of that rebuilding. Many challenged developments such as nuclear weapons, apartheid, and the promotion of trivial products. These weren't just image-makers — they were people with a point of view. Creative Boom

What emerged was a distinctly British visual language. Against the backdrop of enormous social change, modernist graphic designers developed a style characterised by simple sans-serif typography, dynamic spacing and grid systems, and cropped photography — served up with a healthy dose of wit. That wit is something McLaren and Pritchard are particularly keen to reclaim. They describe the sensibility as "mischievously witty", animated by a tension between the strictness of high modernist design and a love for paradox, visual humour and surrealism. It's a combination that feels, in retrospect, very British indeed. Design WeekNew Left Review

This is the first book to provide a representative collection of the designers who made a significant and enduring contribution to British visual culture. It covers influential schools and colleges, profiles key figures, traces the evolution of group practice, and asks — honestly and carefully — what the legacy of all this actually is. The book itself deploys the crisp sans-serif typography, grids and photographic simplicity of the era, providing a comprehensive overview of this still-influential period. Form and content, as it should be, are one. the modernistWallpaper*

The authors bring formidable credentials to the project. Ian McLaren is best known for his work on the Munich Olympics and the Lyon Métro, while Tony Pritchard is the former editor of Typographic magazine and a longtime course leader at the London College of Communication. Between them, they don't just write about this tradition — they lived it. Design Week

"An important publication on modernism during that particular period. Very impressive." — Margaret Calvert, OBE

Margaret Calvert — the designer behind Britain's road signage system — doesn't offer praise lightly. Her endorsement speaks to what McLaren and Pritchard have achieved: a book that people who were there recognise as true, and that everyone else will find revelatory.

We're reprinting this in paperback because we believe design history belongs to everyone, not just those who were lucky enough to secure one of the original 500. A wider audience means more designers, students, and curious minds discovering the roots of British visual culture — and perhaps finding their own work reflected in it.

Modernist Graphic Design in Britain 1945–1980 is available now in paperback. Order your copy at the-modernist.org.