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Content includes:
Erwin Bechtold: Giralt Miracle, Barcelona
Eberhard Hölscher: Teo Otto, the stage-setter
Hans Eberhard Friedrich: Josef Hegenbarth
Eberhard Hölscher: Publicity of banking houses
Ludwig Ebenhöh: Decorative fashioning of walls
Edmund Bickel: Signs and symbols of fire insurances
Ludwig Ebenhöh: Publicity for pharmaceutical products
Eberhard Hölscher: A British campaign for classified advertisements
Sigwart Blum: Argentine calendar sheets
«De Roos Semibold», a type of the «Lettergieterij Amsterdam>

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Gebrauchsgraphik, 7, 1954. Cover design by Ben Shan
Gebrauchsgraphik, 7, 1954. Cover design by Ben Shan
Gebrauchsgraphik, 7, 1954
Gebrauchsgraphik, 7, 1954
Gebrauchsgraphik, 7, 1954
Gebrauchsgraphik, 7, 1954
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From the design archive:
From the design archive:
From the design archive:
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Unit Editions launches Fred Troller Design on Volume – the first comprehensive survey of the work of a pioneering designer who brought Swiss modernism to America in the 1960s, via influential projects for clients including IBM, American Airlines and Geigy.
Why Graphic Culture Matters is a compilation of 46 thought-provoking essays by renowned design critic Rick Poynor, delving into the realms of art, design, and visual communication.

Members Content

Many influential British designers have made their names in the history books. Abram Games, Alan Fletcher, Tom Eckersley and Derek Birdsall, to name a few. But one designer that has always influenced me, not only as inspiration from their design output, but as an example of the role of a designer and the importance of having strong ethics, is Ken Garland. He is known for his innovative and socially responsible approach to graphic design and his involvement in the design community through his teaching, writing and activism. In the second instalment of this series, I will discuss Ken Garland's magazine work from my collection.

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Wolfgang Weingart's artistic design delved into the intricacies of Swiss typography, skillfully dissecting its elements while venturing into texture and type experimentation. His layered montages radiated dynamic kinetic energy, standing in stark contrast to the minimalist approach of his instructors, embracing a more maximalist aesthetic.