The cover of Michelle Cotton's new monograph on the work of Design Research Unit, featuring the agency's manifesto

第二次世界大战结束后的几年绝不是休闲时期。以“围裙仪式”而闻名的是，1932年，年轻的米莎·布莱克(Misha Black)加入了巴塞特·格雷斯(Bassett Grays)的行列(就在宴会传统结束几年后)，他们举行了盛大的宴会，菜单、场所设置和服装都很奢华。名单还在继续。这是一个充满巨大责任和机遇的时代。展览会收到1份三个月内有30万游客。所有这一切都对黑人有利，到了20世纪40年代初，德鲁人的种子开始发芽。这个时代的巨大能量和努力令人着迷。有多少现代汽车公司会为这种沉浸在这个时代的先锋艺术中而杀人呢？艺术节之后，德鲁人继续在英国的设计文化中扮演着重要的角色。这是一项巨大的事业，从路标到火柴盒。Dru现在仍然是ScottBrownrigg建筑师的一部分。

Published by Koenig Books, the book looks at three fertile decades of DRU's output from 1942, embracing great swathes of British visual culture

Left: an exhibition of army equipment mounted in the ruins of a bombed John Lewis by the likes of Misha Black, Kenneth Bayes, Frederick Gibberd and Bronek Katz in 1943 attracted over a million viewers Right: DRU in 1944

Design Research Unit leaflets, c.1943

Working with Watneys for over 15 years, the Unit helped shape the modern pub. Pictured is Watneys packaging and signage

Pages from the Watney House Identification Manual, 1966; Watneys typefaces

In the early 1960s, DRU gave the newly nationalised British Railways its classic identity, with typography by Jock Kinneir and Margaret Calvert and the iconic two-way arrow designed by Gerald Barney

DRU consulted on corporate identity schemes for camera manufacturer Ilford. Pictured here are pages from the Ilford Design Standards Manual, 1965, and Ilford packaging, featuring the 'starburst' logo

Corporate identity design for ICI, 1960s

keywords:design, graphic design, design research unit, koenig books

关键词：设计，平面设计，设计研究单位，科尼格书籍