Graphic Design 2.2: Design Futures, Project 1 ‘Back to the Future’ Research points
Reading Task 1: Industrial Revolutions
The following articles explore definitions, interpretations, opinions and predictions relating to the term ‘Industrial Revolution’.
What is the Fourth Industrial Revolution | World Economic Forum
Industrial Revolution Definition: History, Pros and Cons | Investopedia
What are Industry 4.0, the Fourth Industrial Revolution, and 4IR | Mckinsey & Company
These articles provide a backdrop and context to the emerging creative approaches and design practices that we will be exploring over the first two projects in this unit.
As you progress through the unit, you will gain an understanding of the broader social, cultural, technological, political and/or economic contexts that have - and will continue to - impact on the design industries and your own emerging professional practice. This will play an important role in how you choose to focus your ongoing research into the function and context of your design work.
Once you have read the articles, write a short (250 word) summary of the key points raised by the articles. Consider how these will influence your own design practice. Post your response to your learning log.
I began this task by reading through each article (Figures 1-5) and made notes (shown below) on relevant and interesting information. I then summarised my notes, considering the influence of each Industrial Revolution on society/design and the impacts of ‘The 4th Industrial Revolution’ currently and in the future.
The articles explore how industrial revolutions have transformed society, labor, and technology. The First and Second Industrial Revolutions mechanised labor and introduced mass production with the help of engines powered by steam or coal and machinery powered by oil and electricity. This shifted societies from small ‘home workshops’ to factories in urbanised areas. This redefined how goods, were made, who they were made by and the workers’ quality of life. Relating to design, this would’ve scaled the need for advertising, moving from ‘word of mouth’ mentioning a local business to somebody to advertisements in the form of posters, flyers and newspaper adverts promoting products produced by factories or at a larger scale.
The third industrial revolution began in the mid-late 20th century and is characterised by the adoption of digital technologies such as computers, microchips and robots. This again caused huge irreversible changes to society, altering the way jobs were carried out, leaving many jobs obsolete. Similarly ‘the fourth industrial revolution’ (coined by Klaus Schwab, founder of the world economic forum) adopts even more advanced technologies such as Artificial Intelligence, Nanotechnology, 3D printing and Quantum computing. This is a change we as a society are going through, adopting and integrating technologies into our everyday lives that will irreversibly change them. Unlike past revolutions, this blurs the boundaries between the physical, digital, and biological using technology that is seemingly improving exponentially.
For graphic designers, this ‘fourth industrial revolution’ has several implications. AI is the greatest change in design history and must be utilised by designers if they wish to ‘compete’ currently and in the near future. Tools powered by AI and automation can streamline workflows, help with idea generation and accelerate the more simple or monotonous aspects of graphic design. There are new interactive technologies such as VR, AR which will only grow and act as a new space to design within. It is becoming even more important that designers understand the ‘why’ behind what they do, beyond just analytics and either focusing in on a very specific niche of design or by presenting something specific only to them as a ‘personal brand’ with a human touch. Much like people had to adapt from a small home based workplace to large corporate run factories throughout previous industrial revolutions, designers today must also adapt. A multi-disciplined designer who fully utilises AI technologies seems to be the only viable way to move forwards in a world which will be covered with poorly utilised and mindless works by AI.
Resources:
Figure 1: Industrialization, labor and life (no date) Nationalgeographic.org. Available at: https://education.nationalgeographic.org/resource/industrialization-labor-and-life/ (Accessed: June 29, 2025).
Figure 2: Davis, N. (2016) What is the fourth industrial revolution?, World Economic Forum. Available at: https://www.weforum.org/stories/2016/01/what-is-the-fourth-industrial-revolution/ (Accessed: June 29, 2025).
Figure 3: Chen, J. (2008) Industrial Revolution: Definition, history, pros, and cons, Investopedia. Available at: https://www.investopedia.com/terms/i/industrial-revolution.asp (Accessed: June 29, 2025).
Figure 4: What are Industry 4.0, the Fourth Industrial Revolution, and 4IR? (2022) Mckinsey.com. McKinsey & Company. Available at: https://www.mckinsey.com/featured-insights/mckinsey-explainers/what-are-industry-4-0-the-fourth-industrial-revolution-and-4ir (Accessed: June 29, 2025).
Figure 5: What are Industry 4.0, the Fourth Industrial Revolution, and 4IR? (2022) Mckinsey.com. McKinsey & Company. Available at: https://www.mckinsey.com/featured-insights/mckinsey-explainers/what-are-industry-4-0-the-fourth-industrial-revolution-and-4ir (Accessed: June 29, 2025).
Research Task 1: What Change Looks Like
Design responds to the needs, expectations, fashions and trends of society. As a result, graphic design is synonymous with change. The capabilities of technology continue to redefine what is possible with regards to design, production, manufacture and distribution, but individual, social, cultural and political influences generally shape the aesthetic and functional qualities of design.
Read the article A Brief History of the 4 Industrial Revolutions that Shaped the World | Institute of Entrepreneurship Development.
The article outlines a number of characteristics and suggested dates for the four industrial revolutions. Using these dates as a guide, research the time periods and identify an example of each of the following for the four time periods:
Architecture
Product Design
Furniture Design
Packaging Design
Type Design
Layout Design
Organise your examples by time period and by category and post them to your learning log.
Comment on how your chosen examples reflect the changing social, cultural, technological, political and/or economic contexts discussed in the article. Consider and reflect on whether there are any common themes, approaches or aesthetic qualities in the examples that you have chosen.
The First Industrial Revolution
Architecture: The Iron Bridge 1779
The Iron Bridge built in 1779, reflects the changes of the First Industrial Revolution. It was the first large bridge made of cast iron, presenting new technology/engineering that was made possible. Previously wood and stone were used, with cast iron being used for smaller projects. It helped connect Broseley and Madeley in Shropshire, 2 industrial towns, helping with trade and connecting people socially. Relating to graphic design, the bridge’s shape/structure is functional and aesthetically pleasing, there was clearly depth of thought when designing the appearance of the bridge, something that I feel is often lost within architecture today.
Product Design: Wedgwood Ceramics 1759
Figure 4:
Figure 4 shows a variety of 17-1800s Wedgwood ceramics, including an image of his experimental glazes/clays in various colours.
Figure 5 is a video (from c.1950) looking into the craftsmanship that went into creating the ceramics. Despite this video being 150 or so years later, I felt it was relevant and interesting to include.
Wedgwood ceramics was representative of a change in technology during the First Industrial Revolution, particularly when ceramics began to be ‘mass produced’ within factories. Josiah Wedgwood founded the company and expanded into factories, he used new methods like steam power, precise kilns, and transfer printing to make pottery faster and more consistent. This helped lower the cost of items, making them more affordable and used by many, as opposed to just the wealthy. He marketed some of the creamware as ‘Queen’s Ware’ after being used by Royals/being approved by them, helping grow the brand and keep Wedgwood perceived as a ‘premium’ and quality product. This is an early example of branding, with many of the designs being repeated and now ‘mass produced’ it was obvious if you owned a Wedgwood ceramic. Similarly to the Iron Bridge, aesthetics were at the forefront with Wedgwood, using curves and floral like designs, just like the Iron bridge does with it’s railings and beams. Despite being completely different functionally, they reflect the era aesthetically and have a design-centred ethos feel to them.
Furniture Design: Thomas Chippendale, Chairs c.1765
Figure 6:
Figure 6 shows a famous chair style by Chippendale from c.1765. Figure 8 shows some really interesting drawings of the chairs, showing the intricate designs.
Thomas Chippendale’s chairs from 18th- early 19th century show how design changed during the early Industrial Revolution. He published a furniture catalogue in 1754, which let people choose from printed designs which is an early example of mass marketing/branding. This made furniture available to more people, not just the rich. His designs mixed styles like Rococo, Gothic and Chinese, showing how styles from around the world were becoming appreciated and having influenced design in England. Chippendale’s use of detailed engravings, layout, and branding in the catalogue was an early form of branding and brand identity. Again similarly to the Iron Bridge and Wedgwood ceramics, it is clear that aesthetics were of the utmost importance to Chippendale, with the designs again referencing floral designs, with curves and details solely there for aesthetic puropses.
Packaging Design: Wine Bottles
Figure 9:
Figure 9 shows some excerpts from a really interesting article discussing the evolution of packaging design. This had some really great information on the timeline of packaging, even looking into types of printing/labelling used such as Lithographic printing (1796) and chromolithography (1837).
Figure 10 is an example of a wine bottle packaging from the late 1700s branded ‘Lenox Madeira’ which was a Madeira wine imported/bottled by Robert Lenox.
Figure 11 is an example from nearer the second industrial revolution c.1860. Branded ‘Tarquinio Torquato da Camara Lomelino Madeira’.
Figure 12
The Lenox Madeira wine bottle from the late 1700s shows how the First Industrial Revolution changed trade, production and design. It was made using early glassmaking techniques like mold-blowing and coal furnaces, which helped the bottles be more uniform in design/’mass’ produced. This helped the ‘Lenox’ brand be more reliable, opening them up to global trade, with the glass blown seal acting as branding, with a premium feel to it. The bottle design was simple and functional with less added design elements than the Chippendale chairs for example, but the bottle shape and early glass blown logo still represent a time where function/appearance/branding were celebrated.
Type Design: Caslon, Baskerville, Bodoni & Didot, Grotesque
Figure 13:
Figure 16 is part of an article discussing how typography became bolder, more attention-grabbing in the Industrial Revolution to function within newspapers, posters, adverts etc.
I came across various interesting articles discussing typography during the industrial revolution, the history of typography and the typefaces Caslon, Baskerville, Bodoni & Didot and Grotesque.
Layout Design: Trade Cards and Newspapers
Figure 17:
Figure 19:
Type and layout design during the First Industrial Revolution were again functional and aesthetically pleasing. Caslon’s serif fonts were used in books and for more formal writing as they were easily legible. Baskerville improved printing using different paper and clearer letters, showing advances in printing and a change in aesthetics from a more gothic style. Bodoni and Didot created sharper typefaces that again represented the change of style at the time. Bold Grotesque and slab-serif fonts were made for posters and newspapers, helping them grab attention from passers by. This again ties into the beginnings of focusing on branding. These type styles paired with simple layout designs helped businesses advertise and market themselves.
The style of typography used reflected the architecture of The Iron Bridge, designs by Wedgwood ceramics, Chippendale chairs and the broader aesthetics of the time. Different serifs, descenders and weights of typography were used, in a fun, artful and functional way, all with a similar feeling to them as opposed to a more modern simpler typeface.
The Second Industrial Revolution
Architecture: The Eiffel Tower 1887-1889
Figure 20:
The Eiffel Tower was built during the Second Industrial Revolution and reflects a change in technology and engineering. The tower was made from iron and assembled using modern techniques. Culturally it represents a shift in architecture and design, being more modern, using a lot of ‘simple’ lines to create an interesting structure not seen before. The Eiffel tower was reflected through graphic design with a more geometric style and through typography that used more simple line-work with less extended serifs and a slightly more modernised/bold aesthetic.
Figure 20 discusses the design and production of The Eiffel Tower, it includes some interesting drawings of the tower.
Product Design: The Telephone
In 1876, the telephone was invented and is reflective of the changes during the time. Previously people communicated solely in person, or via letters. This meant that communication took longer and ideas were halted, or left to ruminate for longer. I can imagine the invention of the telephone was the beginning of a more modern and ‘corporate-like’ design process, with constant checks/updates being able to be made during a project. This would’ve changed family life, businesses and advertising by speeding up communication and therefore almost all processes that required communication. I can imagine this also forced design of all forms to happen quicker, resulting in a simpler, or less aesthetically forward style of design.
Furniture Design: Waring and Gillow
Waring and Gillow’s furniture design combined traditional craftsmanship with a more modernised industrial production process which enabled for creating high quality furniture at a larger scale and for the furniture to be more accessible to more people. Their designs followed the change in peoples aesthetic taste/style to a simpler (compared to earlier designs such as the Chippendale chairs) style. Similarly to The Eiffel Tower, the line-work begins to become more simple, yet still aesthetically pleasing, with smaller, yet impactful areas of detail.
Figure 27:
Packaging Design: Heinz
Figure 28:
Figure 29 is an example of Heinz bottles and branding through time. A very interesting and obvious change of style, including bottle shapes.
Heinz packaging design adopted a transparent glass design in response to concerns regarding food safety, this allowed the product to be seen by the consumer. This literal change to be more transparent here is the beginnings of companies having to be more transparent with information and advertising today, as consumers are more informed and able to do their own research with having access to the internet etc. Technological advances made it easier to create and distribute Heinz products, helping it establish it’s national brand. The labels used were more simple, yet aesthetically pleasing, again similar to the architecture of The Eiffel Tower and Waring and Gillow furniture design.
Type Design: Grotesk
Figure 33:
Layout Design: Coca Cola c.1900-1915
Figure 34:
Type and layout design during the Second Industrial Revolution followed the same trend as other aspects of society with becoming more modern and functional. Bold and heavier typefaces (figure 33) were used to grab the attention of the viewer, whether they were poster-style adverts as shown in figure 34, or within magazines/newspapers such as in figures 35/36. The layouts became more modern, adopting colour and stylised designs, made easier and cheaper to create through mechanised printing processes.
The Third Industrial Revolution
Architecture: Guggenheim Bilbao 1993-1997
Figure 37:
Figure 38:
The Guggenheim Museum Bilbao used new-age computer design tools to create its abstract shapes which were made from titanium. This technology showed how digital methods were starting to change and be adopted by art, design, and construction. The museum also changed Bilbao itself, turning a less popular city into somewhere culturally interesting and therefore an economic success, this is known as the “Bilbao effect.” The Guggenheim Bilbao became the cities main attraction and almost it’s branding/logo, it’s an example of how modern architecture can change somewhere not just aesthetically but culturally and economically.
Product Design: Apple
Figure 40:
Apples first computers were the ‘Guggenheim Bilbao’ of technology. They used new microchips, making the computers smaller, faster and easier to use, this allowed people to have computers at home. This not only changes where people can use a computer but how and what they use it for. This helped spark creativity and allowed individuals to explore things in ways they couldn’t before. The aesthetically minimal designs made Apple stand out amongst the rest, again with their first iPhone. Their operating systems and clean design are enjoyed by so many today for good reason. It’s quality product thats functional and inspiring. Apples whole branding since their companies inception has been minimal, simple and accessible. Despite the Bilbao Guggenheim building being far from simple, both Apple and the architecture come from the same place- creativity which went on to inspire cultural change.
Furniture Design: Michel Ducaroy
Figure 42:
Figure 46
Michel Ducaroy’s Togo sofas and chairs again represent the same creativity as the previous categories mentioned. The designs were created earlier than the Apple computer or the Bilbao building but used new materials such as foam and polyester instead of heavy wooden frames. The sofas represented a cultural in the 70’s change towards a more relaxed lifestyle and were also representative of a more experimental approach, using more abstract shapes but still remaining minimal.
Packaging Design: Capri Sun 1969
Figure 48:
Capri Sun, again represents changes in technology and culturally through its new type of packaging. Instead of using glass bottles or cans, it used a lightweight foil pouch which was cheap to produce, long lasting and portable. This showed how new materials and technology were changing everyday products to fit peoples needs. Capri Sun represented a change toward a more independent lifestyle. The design itself was colourful and memorable, with a very modern feel to it with the orange and blue colours being against the silver colour background of the packaging. Similarly to the abstract shape of the Bilbao Guggenheim or the style of Ducaroy Sofas, Capri Sun looks different, fresh and inspiring.
Type Design: Helvetica Neue 1983
Figure 50:
Figure 52:
Helvetica Neue combined clean, modern design with new technology. The updated Helvetica design improved readability and the consistency of the shapes within the letters, making it ideal for computers, printing, and communication. The typeface became a globally used and ‘neutral’ style that was basically synonymously agreed upon as being a ‘standard’ for design, legibility, use-cases etc. The typeface was also economically practical, being cost-effective for mass printing. This is representative of the third industrial revolutions push for profits ‘over anything’.
Layout Design: Ray Gun
Figure 53:
Figure 54:
Ray Gun magazine, led by art director David Carson and later worked on by Chris Ashworth is the best example of how design can influence culture and vice versa. Using experimental layouts instead of traditional grid styles, it gain similarly to the previous categories listed reflected a society embracing individuality, creativity, and new technology. The gritty designs broke the ‘rules’ of graphic design, particularly with abstract layouts and near illegible use of typography. The designs feel rebellious and are representative of a more aware and engaged society, not just politically but socially, becoming more accepting and interested in elements of the world that were different or stood out from the norm. Ray Gun represented the spirit of the Ducaroy Togo sofa of the 70’s in the 90’s.
Industry 4.0
Architecture: Woven City, Toyota
Figure 56:
Toyota’s proposal for ‘Woven City’ shows the advancements in technology from machines/simple robotics to self driving cars, robots, smart homes and clean energy. This is a whole ‘smart city’ which is interconnected and almost ‘living’ itself. This shows how culture may change and the direction the economy is going towards- being data/automation driven.
Product Design: 3D Printed Shoe, Adidas
Figure 59:
3D printing is improving constantly and Adidas’ 3D printed shoe was an example of the ‘next step’ and an example of what is to come. The design is light, strong and faster to produce- this ties into the general trend of automation and a trend culturally to constantly value more minimal and faster thing/commodities/experiences. The design itself to me reflects similar styles of design like the architecture proposed in Toyota’s ‘Woven City’. The mesh flowing lines have a futuristic feel to them, similar to the architecture proposed for ‘Woven City’.
Furniture Design: Joris Laarman
Joris Laarman uses 3D printing, robotics and computer software to create and design his furniture. His designs are inspired by organic shapes, which is itself a visual metaphor for the merging of humans with technology. The designs again feel futuristic and have the same interested line works and ‘fluid’ motion to them that the Adidas 3D printed shoes and the ‘Woven City’ architecture have.
Packaging Design: Smart Packaging Initiative, Amazon
Amazon’s smart Packaging is another example of Industry 4.0. Amazon uses AI, machines and sensors to gauge which packaging is best for each product, reducing the overuse of packaging whilst allowing the item to be protected in transit. The designs of the boxes are extremely minimal, including Amazon’s logo and any relevant safety information only. This again follows the culturally minimalist trend, while appearing to be ‘greener’ and merging the use of AI into normal business practices.
Type Design: AI Collaborative Type Design
Figure 69:
AI tools can be used to adapt and generate typefaces, making ‘the perfect’ font for whatever context it needs to be in. This almost completely removes the designer from the design process, cutting costs and time spent drastically. This follows the general Industry 4.0 trend of humans using and merging with robotics and AI. This relates to Amazon’s ‘Smart packaging initiative’ as it again lessens the need for more workers, human thinking and care for design.
Layout Design: Place App, IKEA
Looking at ‘Layout Design’ slightly differently as a concept, I considered IKEA’s ‘Place’ App. The app allows users to see through augmented reality how furniture and other items would look in their home in real time/size appropriate. This use of AI/AR is a look into a future where technology and humans will merge closer, this technology can only get smaller, wearable and better. I can imagine this technology being used by people in Toyota’s ‘Woven City’ integrating their Laarman chair into their apartment, wearing their Adidas 3D printed shoes with Amazon ‘smart packaging’ boxes piled in the corner ready for recycling.
Resources:
Figure 1: History of Iron Bridge (no date) English Heritage. Available at: https://www.english-heritage.org.uk/visit/places/iron-bridge/history/ (Accessed: July 9, 2025).
Figure 2: History of Iron Bridge (no date) English Heritage. Available at: https://www.english-heritage.org.uk/visit/places/iron-bridge/history/ (Accessed: July 9, 2025).
Figure 3: Wedgwood founds a ceramics firm (no date) EBSCO Information Services, Inc. | www.ebsco.com. Available at: https://www.ebsco.com/research-starters/history/wedgwood-founds-ceramics-firm (Accessed: July 9, 2025).
Figure 4: Wedgwood: An introduction (no date) Victoria and Albert Museum. Available at: https://www.vam.ac.uk/articles/wedgwood-an-introduction?srsltid=AfmBOopAUTbPgtnSSsyDms2OUU5jAz6W9tbSt-m9p1HkF0SUHGY_1PyY (Accessed: July 9, 2025).
Figure 5: British Pathé (no date) The making of Wedgwood reel 1 (1958). Youtube. Available at: https://www.youtube.com/watch?app=desktop&v=DDDBQh8YpfA (Accessed: July 9, 2025).
Figure 6: Georgian Chippendale carved mahogany armchair (no date) Reindeer Antiques. Available at: https://reindeerantiques.co.uk/collections/chippendale-furniture/products/ba830-georgian-chippendale-carved-mahogany-armchair (Accessed: July 9, 2025).
Figure 7: The Editors of Encyclopedia Britannica (2011) “Chippendale,” Encyclopedia Britannica. (Accessed: July 9, 2025).
Figure 8: The Chippendale society (2015) Thechippendalesociety.co.uk. The Chippendale Society. Available at: https://thechippendalesociety.co.uk/society-collection/ (Accessed: July 9, 2025).
Figure 9: The evolution of packaging design: A historical overview (2025) Noramble. #creator. Available at: https://noramble.co.uk/blog/the-evolution-of-packaging-design-a-historical-overview (Accessed: July 9, 2025).
Figure 10: Lenox MadeiraImported by the late Robert Lenox Esq. via Philadelphia in 1796Bottled in the Summer of 1798 Re-bottled in June 1888 (no date) Christies.com. Available at: https://www.christies.com/lot/lenox-madeiraimported-by-the-late-robert-lenox-6174213/?intObjectID=6174213&lid=1 (Accessed: July 9, 2025).
Figure 11: Christies (no date) Lomelino, Malmsey Solera Madeira 1862, Christies.com. Available at: https://onlineonly.christies.com/s/benjamin-ichinose-collection-fine-rare-wines-online/lomelino-malmsey-solera-madeira-1862-592/90077 (Accessed: July 9, 2025).
Figure 12: Madeira wine (no date) Madeirawine.ch. Available at: https://www.madeirawine.ch/post/21-10-most-iconic-madeira-wine-bottles (Accessed: July 9, 2025).
Figure 13: Ampersand Book Studio (2023) Revolution and typography in the 18th century, Ampersand Book Studio. Available at: https://ampersandbookstudio.substack.com/p/revolution-and-typography-in-the (Accessed: July 11, 2025).
Figure 14: Ampersand Book Studio (2023) Revolution and typography in the 18th century, Ampersand Book Studio. Available at: https://ampersandbookstudio.substack.com/p/revolution-and-typography-in-the (Accessed: July 11, 2025).
Figure 15: History and evolution of typography (2019) FontfabricTM. Fontfabric. Available at: https://www.fontfabric.com/blog/history-and-evolution-of-typography-fonts-timeline/?srsltid=AfmBOorEw66ZFVnAQI_gZ6uSqXIP8XxrkY0Wj5jGrOS3SmCzOux2K61g (Accessed: July 11, 2025).
Figure 16: Sarr, I. (no date) The evolution of typography in graphic design: From print to digital, Advisegraphics.com. Available at: https://www.advisegraphics.com/evolution-of-typography-in-graphic-design?utm_source=chatgpt.com (Accessed: July 11, 2025).
Figure 17: Bonaccorsi, A. (no date) A brief history of print newspapers, The Pixartprinting blog. Available at: https://www.pixartprinting.co.uk/blog/newspaper-history-print/?srsltid=AfmBOopApQCeGfaEK_dT73NAAVTYQ2aq1o5NdMz9iJURTrFTXNwhQtl3 (Accessed: July 11, 2025).
Figure 18: History the times (2021) News UK. Available at: https://www.news.co.uk/our-history/history-the-times/ (Accessed: July 11, 2025).
Figure 19: Sarahmurden (2015) 18th century trade cards, All Things Georgian. Available at: https://georgianera.wordpress.com/2015/01/29/18th-century-trade-cards/ (Accessed: July 11, 2025).
Figure 20: The birth of the Eiffel Tower - Official Eiffel Tower Website (2017) La Tour Eiffel. Available at: https://www.toureiffel.paris/en/the-monument/history (Accessed: July 12, 2025).
Figure 21: The Editors of Encyclopedia Britannica (2025) “Eiffel Tower,” Encyclopedia Britannica. (Accessed July 12, 2025).
Figure 22: Invention of the telephone (no date) HISTORY CRUNCH - History Articles, Biographies, Infographics, Resources and More. Available at: https://www.historycrunch.com/invention-of-the-telephone.html#/ (Accessed: July 12, 2025).
Figure 23: Invention of the telephone (no date) HISTORY CRUNCH - History Articles, Biographies, Infographics, Resources and More. Available at: https://www.historycrunch.com/invention-of-the-telephone.html#/ (Accessed: July 12, 2025).
Figure 24: Bell, A.G. (no date) Early telephone by Alexander Graham Bell, 1877, Org.uk. Available at: https://collection.sciencemuseumgroup.org.uk/objects/co32960/early-telephone-by-alexander-graham-bell-1877 (Accessed: July 12, 2025).
Figure 25: Bell, A.G. (no date) Early telephone by Alexander Graham Bell, 1877, Org.uk. Available at: https://collection.sciencemuseumgroup.org.uk/objects/co32960/early-telephone-by-alexander-graham-bell-1877 (Accessed: July 12, 2025).
Figure 26: Waring, S. j., Waring & gillow (1850-1953) (no date) Furniturehistorysociety.org. Available at: https://bifmo.furniturehistorysociety.org/entry/waring-s-j-waring-gillow-1850-1953 (Accessed: July 12, 2025).
Figure 27: Waring & Gillow furniture (no date) 1stdibs.com. Available at: https://www.1stdibs.com/creators/waring-and-gillow/furniture/ (Accessed: July 12, 2025).
Figure 28: (No date) Heinzhistorycenter.org. Available at: https://www.heinzhistorycenter.org/blog/collection-spotlight-heinz-bottles-product-labels-advertising-cards/ (Accessed: July 12, 2025).
Figure 29: Authentic 19th Century American Tomato Ketchup recipe (Catchup) - (no date) Blogspot.com. Available at: https://recipevintage.blogspot.com/2012/07/authentic-19th-century-american-tomato.html (Accessed: July 12, 2025).
Figure 30: Vintage Heinz baked beans packaging (no date) Pinterest. Available at: https://uk.pinterest.com/pin/vintage-heinz-baked-beans-packaging--81416705743216400/ (Accessed: July 12, 2025).
Figure 31: Unit 14 – condiment -Heinz (2019) Brandon’s Blog. Available at: https://brandonatkinsongraphics.wordpress.com/2019/10/26/unit-14-heinz-brief-breakdown/ (Accessed: July 12, 2025).
Figure 32: McEwan, F. (2021) The Heinz ketchup bottle – driving innovation since 1869, McEwan Design. Available at: https://mcewandotdesign.wordpress.com/2021/01/15/193/ (Accessed: July 12, 2025).
Figure 33: New details about the origins of Akzidenz-Grotesk (2019) Klim.co.nz. Available at: https://klim.co.nz/blog/new-details-about-origins-akzidenz-grotesk/?srsltid=AfmBOoqNhOXA8kCnJW9pjHWObY3vlhNChmqhHE3O-lD_-Wg-4MpEPvUQ (Accessed: July 12, 2025).
Figure 34: Bigano, R. (2024) Ikonographia. Available at: https://www.ikonographia.com/the-coca-cola-history-through-ads-1-1886-1919/ (Accessed: July 12, 2025).
Figure 35: Bigano, R. (2024) Ikonographia. Available at: https://www.ikonographia.com/the-coca-cola-history-through-ads-1-1886-1919/ (Accessed: July 12, 2025).
Figure 36: Bigano, R. (2024) Ikonographia. Available at: https://www.ikonographia.com/the-coca-cola-history-through-ads-1-1886-1919/ (Accessed: July 12, 2025).
Figure 37: Outside the Museum (no date) Guggenheim-bilbao.eus. Available at: https://www.guggenheim-bilbao.eus/en/the-building/outside-the-museum (Accessed: July 13, 2025).
Figure 38: Environmental sustainability (no date) Guggenheim-bilbao.eus. Available at: https://www.guggenheim-bilbao.eus/en/about-the-museum/sustainability (Accessed: July 13, 2025).
Figure 39: Bellis, M. (2006) A Brief History of Apple Computers, ThoughtCo. Available at: https://www.thoughtco.com/the-history-of-apple-computers-1991454 (Accessed: July 13, 2025).
Figure 40: Bellis, M. (2006) A Brief History of Apple Computers, ThoughtCo. Available at: https://www.thoughtco.com/the-history-of-apple-computers-1991454 (Accessed: July 13, 2025).
Figure 41: Bellis, M. (2006) A Brief History of Apple Computers, ThoughtCo. Available at: https://www.thoughtco.com/the-history-of-apple-computers-1991454 (Accessed: July 13, 2025).
Figure 42: Carter, N. (2022) The History of Michel ducaroy’s “Togo” —, THE MILLIE VINTAGE. Available at: https://www.themillievintage.com/design-living/the-history-of-michel-ducaroys-togo (Accessed: July 13, 2025).
Figure 43: Carter, N. (2022) The History of Michel ducaroy’s “Togo” —, THE MILLIE VINTAGE. Available at: https://www.themillievintage.com/design-living/the-history-of-michel-ducaroys-togo (Accessed: July 13, 2025).
Figure 44: (No date) Vntg.com. Available at: https://www.vntg.com/232862/gilda-sofa-by-michel-ducaroy-for-ligne-roset-1970s/ (Accessed: July 13, 2025).
Figure 45: (No date) Vntg.com. Available at: https://www.vntg.com/327632/original-camel-leather-togo-sofa-by-michel-ducaroy-for-ligne-roset-circa-1975/ (Accessed: July 13, 2025).
Figure 46: Selency (no date) Kashima 2-seater, by Michel Ducaroy for Ligne Roset, 1980s, Selency. Available at: https://www.selency.co.uk/p/SQRWW38Z/kashima-2-seater-by-michel-ducaroy-for-ligne-roset-1980s (Accessed: July 13, 2025).
Figure 47: Our story (no date) Capri-Sun. Available at: https://www.capri-sun.com/en-gb/our-story/ (Accessed: July 13, 2025).
Figure 48: York, B. (2022) Capri Sun (history, FAQ & commercials), Snack History. Snack And Candy History. Available at: https://www.snackhistory.com/capri-sun/ (Accessed: July 13, 2025).
Figure 49: York, B. (2022) Capri Sun (history, FAQ & commercials), Snack History. Snack And Candy History. Available at: https://www.snackhistory.com/capri-sun/ (Accessed: July 13, 2025).
Figure 50: Cantavalle, S. (no date) The history and evolution of the font Helvetica, The Pixartprinting blog. Available at: https://www.pixartprinting.co.uk/blog/history-font-helvetica/?srsltid=AfmBOor7zeNY6fR5zzawg2lankrDvbHhfsS3A_h_QH769DW-zj5GkRB7 (Accessed: July 13, 2025).
Figure 51: (No date) Creativepro.com. Available at: https://creativepro.com/helvetica-vs-neue-helvetica-same-but-different/ (Accessed: July 13, 2025).
Figure 52: (No date) Creativepro.com. Available at: https://creativepro.com/helvetica-vs-neue-helvetica-same-but-different/ (Accessed: July 13, 2025).
Figure 53: Chris Ashworth & Ray Gun magazine (no date) Mr-cup.com. Available at: https://www.mr-cup.com/item/chris-ashworth-ray-gun-magazine.html (Accessed: July 13, 2025).
Figure 54: Breeding, G. (2021) Embracing chaos in design, Journey Group. Available at: https://medium.com/journey-group/embracing-chaos-in-design-2deb6f2a3daf (Accessed: July 13, 2025).
Figure 55: Breeding, G. (2021) Embracing chaos in design, Journey Group. Available at: https://medium.com/journey-group/embracing-chaos-in-design-2deb6f2a3daf (Accessed: July 13, 2025).
Figure 56: Woven city living laboratory (2024) Toyota GB. Toyota United Kingdom. Available at: https://www.toyota.co.uk/discover-toyota/lets-go-beyond/woven-city-living-laboratory?srsltid=AfmBOoqq33vcpcRBhfy88XUcUYI95Gm2Cm9mCgGyRs-ZIvkuI6WyThsb (Accessed: July 13, 2025).
Figure 57: Woven city living laboratory (2024) Toyota GB. Toyota United Kingdom. Available at: https://www.toyota.co.uk/discover-toyota/lets-go-beyond/woven-city-living-laboratory?srsltid=AfmBOoqq33vcpcRBhfy88XUcUYI95Gm2Cm9mCgGyRs-ZIvkuI6WyThsb (Accessed: July 13, 2025).
Figure 58: Woven city living laboratory (2024) Toyota GB. Toyota United Kingdom. Available at: https://www.toyota.co.uk/discover-toyota/lets-go-beyond/woven-city-living-laboratory?srsltid=AfmBOoqq33vcpcRBhfy88XUcUYI95Gm2Cm9mCgGyRs-ZIvkuI6WyThsb (Accessed: July 13, 2025).
Figure 59: 3D PRINTED CLIMACOOL: A shoe that pushes boundaries of design innovation (2024) adidas. Available at: https://news.adidas.com/innovations/3d-printed-climacool--a-shoe-that-pushes-boundaries-of-design-innovation/s/10c1b774-a96e-4050-bff6-339ec3ef04b1 (Accessed: July 13, 2025).
Figure 60: 3D PRINTED CLIMACOOL: A shoe that pushes boundaries of design innovation (2024) adidas. Available at: https://news.adidas.com/innovations/3d-printed-climacool--a-shoe-that-pushes-boundaries-of-design-innovation/s/10c1b774-a96e-4050-bff6-339ec3ef04b1 (Accessed: July 13, 2025).
Figure 61: The 3D-printed Adidas Climacool24 restocks July 20 (no date) House of Heat°. Available at: https://houseofheat.co/adidas/3d-printed-adidas-climacool24-off-white-jq8739 (Accessed: July 13, 2025).
Figure 62: The 3D-printed Adidas Climacool24 restocks July 20 (no date) House of Heat°. Available at: https://houseofheat.co/adidas/3d-printed-adidas-climacool24-off-white-jq8739 (Accessed: July 13, 2025).
Figure 63: (No date) High.org. Available at: https://high.org/exhibition/joris-laarman-lab-design-in-the-digital-age/ (Accessed: July 13, 2025).
Figure 64: (No date) High.org. Available at: https://high.org/exhibition/joris-laarman-lab-design-in-the-digital-age/ (Accessed: July 13, 2025).
Figure 65: (No date) High.org. Available at: https://high.org/exhibition/joris-laarman-lab-design-in-the-digital-age/ (Accessed: July 13, 2025).
Figure 66: (No date) Aboutamazon.com. Available at: https://sustainability.aboutamazon.com/waste/packaging (Accessed: July 13, 2025).
Figure 67: (No date) Aboutamazon.com. Available at: https://sustainability.aboutamazon.com/waste/packaging (Accessed: July 13, 2025).
Figure 68: Amazon, I. (no date) Packaging innovation at Amazon: Sustainability meets technology. Youtube. Available at: https://www.youtube.com/watch?v=O2yZAYTo0a4 (Accessed: July 13, 2025).
Figure 69: The AI dilemma in graphic design: Steering towards excellence in typography and beyond (2024) Smashing Magazine. Available at: https://www.smashingmagazine.com/2024/01/ai-dilemma-graphic-design-typography/ (Accessed: July 13, 2025).
Figure 70: The AI dilemma in graphic design: Steering towards excellence in typography and beyond (2024) Smashing Magazine. Available at: https://www.smashingmagazine.com/2024/01/ai-dilemma-graphic-design-typography/ (Accessed: July 13, 2025).
Figure 71: Amama, M. (2024) “Making typography decisions with AI as an assistant,” thoughtbot, 16 December. Available at: https://thoughtbot.com/blog/making-typography-decisions-with-ai-as-an-assistant (Accessed: July 13, 2025).
Figure 72: Launch of new IKEA Place app – IKEA Global (no date) IKEA. Available at: https://www.ikea.com/global/en/newsroom/innovation/ikea-launches-ikea-place-a-new-app-that-allows-people-to-virtually-place-furniture-in-their-home-170912/ (Accessed: July 13, 2025).
Figure 73: Launch of new IKEA Place app – IKEA Global (no date) IKEA. Available at: https://www.ikea.com/global/en/newsroom/innovation/ikea-launches-ikea-place-a-new-app-that-allows-people-to-virtually-place-furniture-in-their-home-170912/ (Accessed: July 13, 2025).
Figure 74: IKEA place: Bridging the imagination gap with AR (no date) Space10.com. Available at: https://space10.com/projects/ikea-place (Accessed: July 13, 2025).
Figure 75: Vogue Living (no date) Ikea’s new augmented reality app will change the way you decorate. Youtube. Available at: https://www.youtube.com/watch?v=cdv0b0nBqPk (Accessed: July 13, 2025).
