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Collected Graphic Design History from Design Reviewed

Form, Internationale Revue 03, 1958

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Details

  • Format: Magazine
  • Designer/s: Cover: Le Corbusier, Inners: Müller-Blase
  • Year: 1958
  • Size: 230mm x 290mm

Linked Information

Form, Internationale Revue 3, 1958 , Cover: Le Corbusier, Inners: Müller-Blase
Form, Internationale Revue 3, 1958 , Cover: Le Corbusier, Inners: Müller-Blase
More graphic design artefacts
Willi Baumeister, Stedelijk Museum, Amsterdam, 1958. Designed by Willem Sandberg
From the design archive:

Willi Baumeister, Stedelijk Museum, Amsterdam, 1958

  • Format: Exhibition Catalogue
  • Designer/s: Willem Sandberg
  • Year: 1958
View Artefact
Alexander Calder, Stedelijk Museum, Amsterdam, 1959. Designed by Willem Sandberg.
From the design archive:

Alexander Calder, Stedelijk Museum, Amsterdam, 1959

  • Format: Exhibition Catalogue
  • Designer/s: Willem Sandberg
  • Year: 1958
View Artefact
Herman Miller, A comprehensive storage system for the home, 1960
From the design archive:

Herman Miller, A comprehensive storage system for the home, 1960

  • Format: Brochure
  • Year: 1960
View Artefact
Design, Council of Industrial Design, 211, July 1966. Cover design by George Daulby
From the design archive:

Design, Council of Industrial Design, 211, July 1966

  • Format: Magazine
  • Designer/s: George Daulby
  • Year: 1966
View Artefact

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  • Design Archive Feature, Members Only Content

A Collection of Japanese Ephemera from the 1930s and 1940s

Beyond being mere artefacts of design, these examples encapsulate the dynamic changes Japan was undergoing during this period. The design output of this era not only served commercial purposes but also became a powerful medium for expressing these societal shifts.
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Members Content

Genossenschaft USOGAS Zürich designed by Donald Brun, Basel, 1956
  • Design Archive Feature, Members Only Content

Swiss Posters from the 1956 Best Poster Award (Die besten Plakate des Jahres 1956)

The best poster designs from Die besten Plakate des Jahres 1956 with a translated foreword by Jakob Rudolf Welti. Featuring the work of Herbert Leupin, Carl B. Graf, Carlo Vivarelli and Emil Ruder.
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Idea 81, 1967. Cover design by Yusaku Kamekura
  • Design Archive Feature

Elements of Idea “The Arrow” by Shigeo Fukuda, 1973

The versatility of the arrow sign knows no bounds – from thin lines exuding delicacy to thick, heavy-set lines conveying stability and weight. Depending on its construction, the arrow sign can speak with individuality, even possessing psychological and emotional expression.
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Oskar Reiner, Automotive Publicity Cover
  • Design Archive Feature

Oskar Reiner’s, Automotive Publicity by Carl Heussner, 1962

Oskar Reiner advertisements for Opel distinguish themselves by clarity and visually appealing conception.
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