This, the newest title in the highly acclaimed Design Series focuses on the work of John Piper (1903 — 1992). Piper remains something of an enigma: an antiquarian who was among the pioneers of non-representational art in Britain; an abstract painter who drew his inspiration from the paintings of Turner and mediaeval stained glass; and a romantic with a penchant for geometric design. Despite, in formal terms, coming to art late, Piper became one of the most diverse designers of his generation. Up until the 1951 Festival of Britain, his work had been almost entirely graphic. Indeed much of his design — particularly for the theatre, murals, mosaics, textiles and tapestries — was to remain graphics based. However, Piper was also to enter into rewarding partnerships with Patrick Reyntiens, David Wasley and Joseph Nuttgens designing stained glass; with Geoffrey Eastop in ceramics; and, most explosively of all, with Ron Lancaster and John Deeker, for some of the greatest pyrotechnic displays that Britain has witnessed since the 18th century. Commissioned by the War Artists Advisory Committee in 1940, Piper's two paintings of the ruins of Coventry's St Michael's Cathedral, along with his St Mary-le-Port, Bristol are among the most iconic images of World War II. However, mediaeval stained glass was perhaps Piper's most enduring passion; the slabs of glass, the leading and the richness of colour of these windows, were to provide a fundamental source of inspiration not only for his paintings and designs for stained glass, both figurative and abstract, but also for work in other media.

This is an intriguing introduction to the graphic work of Abram Games. With images drawn from his personal archive, many less well known, it is possible to follow the social history of 20th Century Britain. For more than six decades Abram worked entirely on his own, always adhering to his personal maxim of maximum meaning, minimum means. From the start, Abram Games was determined to become one of Britain's great poster designers and would often say, I have a small talent which I polish like a diamond. A first generation Londoner, and an autodidact, he maintained that the three qualities a designer needs are curiosity, concentration and courage. These he had in abundance. Just three months before his own death in November 1996, Abram's friend, the great American designer, Paul Rand, wrote in an obituary, Stubborn, unique, a man of integrity, honour and talent, he meant what he said and said what he meant... Abe's work is well known; it is not my purpose to itemise his achievements, his posters for the army during WW2, his posters for Guinness, for the underground, many distinguished for their humour, their inventiveness and enthusiasm... Only Paul got away with calling him Abe!