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Ludwig Ebenhöh: Yoshio Hayakawa, Japan
Eberhard Hölscher: J. R. Geigy A.-G., Basel. Propaganda for pharmaceutical products
Ludwig Ebenhöh: Dr. Hahn, Heidelberg, the designer of trademarks and symbols
Lucienne R. Alexandre: Rosane Brussaux, Paris. Window-dressings for a perfumery
Eberhard Hölscher: Erberto Carboni, Mailand
Werner Suhr: Experimental photography
Anitra Karsten: Publicity in Finland
Eberhard Hölscher: Alfred Albiez, Buchau i. Wttbg.
Anton Sailer: The cheerful note comes to the fore. Drawings by Ludwig Koob, Wuppertal
Eberhard Hölscher: An incomprehensible decision. The result of a poster competition
Max Körner: Help cheerfully. Results of a poster competition of the «Innere Mission» (Home Mission)
«Palatino», a type of the type foundry D. Stempel A.-G., Frankfurt a. Main

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Gebrauchsgraphik, 6, 1953
Gebrauchsgraphik, 6, 1953
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles

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Jazz Journal was first published in 1946 by Sinclair Traill, who also had some of his photographs used on the covers. The magazine is now online but remained in print for several decades, as Britain's longest enduring jazz magazine.

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They were many other designs who played an important role in IBM's graphic identity and implementation. Some of the other designers included Arthur Boden, Clarence Lee, Charles Keddie and Mary Beresford.
“They’ll never stand for that” and “It’s too modern” are, as George Plante aptly puts it, the restraintive thoughts which beset a commercial artist who tries to let himself go.

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Crouwel was the successor to Willem Sandberg who used an avant-garde approach in his work, utilising torn-paper montage, mixing of sans serif and old Egyptian typefaces and often off-center positioning. Crouwel steered away from this artistic approach and implemented a cohesive design system and a strong identity that emulated the corporate identity boom of the 1950s and 60s.