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Collected Graphic Design History from Design Reviewed

Gebrauchsgraphik, 6, 1964

Information

Content includes:
Kurt Weidemann – The Best Swiss Posters of 1963
Heinz-Jürgen Plathner – Walter Landmann · Publicity for Magazines
Remigius Netzer – Wood Engravings · Works by Andreas Brylka
Raimondo Hrabak – A.G. Fronzoni · Italian Graphic Advertising Art
Eberhard Hölscher – Old Nuremberg Glass-Cuts
J.J. de Lucio-Meyer – Dennis Reader · English Publicity Art
Eberhard Hölscher – Three Art-School in Competition · A Contest Organised by the Westdeutsche Radio
Eberhard Hölscher – Birthday-Greetings to Lucian Bernhard, New York

Details

  • Format: Magazine
  • Designer/s: Walter Landmann
  • Year: 1964
  • Client/Publisher: Bruckmann Verlag
  • Size: 230mm x 297mm

Linked Information

Gebrauchsgraphik, 6, 1964. Cover Design by Walter Landmann
Gebrauchsgraphik, 6, 1964. Cover Design by Walter Landmann
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Gebrauchsgraphik, 5, 1963. Cover design by Walter Tafelmaier
From the design archive:

Gebrauchsgraphik, 5, 1963

  • Format: Magazine
  • Designer/s: Walter Tafelmaier
  • Year: 1963
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Museumjournaal, Serie 14 no4, 1970. Design by Jurriaan Schrofer
From the design archive:

Museumjournaal, Serie 15 no4, 1970

  • Format: Exhibition Catalogue
  • Designer/s: Jurriaan Schrofer
  • Year: 1970
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HQ- High Quality, Heft 32 2/1995. Designed by Büro Rolf Müller
From the design archive:

HQ- High Quality, Heft 32 2/1995

  • Format: Magazine
  • Designer/s: Rolf Müller
  • Year: 1995
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Interiors, January 1969. Cover design by Ellen Keusch
From the design archive:

Interiors, January 1969

  • Format: Magazine
  • Designer/s: Ellen Keusch
  • Year: 1969
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More graphic design history articles
Frank René Testemale’s IBM Advertising in France. Scanned from Gebrauchsgraphik, 4, 1964.
  • Design Archive Feature

Frank René Testemale’s IBM Advertising in France by Alexandre Alexandre, 1964

IBM puts a premium on functional design, forms and colours which make it far easier for the potential customer to gain an insight. In this respect the IBM methods are exemplary. The IBM already opened studios of artistic and graphic design for its German and Italian offices and a few years ago another such studio was established in Paris. Frank René Testemale was entrusted with its organisation and was appointed its business and art director.
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Members Content

Pino Tovaglia’s Advertisements for Finmeccanica, 1950s. Scanned from Gebrauchsgraphik, 10, 1955
  • Design Archive Feature, Members Only Content

Pino Tovaglia’s Advertisements for Finmeccanica

His distinctive style echoes the artistic expressions of fellow Italian designers Giovanni Pintori and Erberto Carboni. Tovaglia's mastery in taking concepts and translating them into visually compelling narratives is evident in this selection of advertisements I have scanned from Gebrauchsgraphik, 10, 1955.
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Members Content

What has been said about the styling of advertisements goes for the field of publicity for chemical and pharmaceutical products as well. Whether it is a soporific, an analgetic or a protein remedy for defects of malnutrition - nearly without a single word, the efficiency of the product in question is symbolically characterized in the composition and the choice of colours equally to the point, on the covers of these prospectuses. Suppositions for such achievements are the highest level and a freedom of artistic means which our businessmen, when employing commercial artists, are only too seldom ready to grant. Designs Matthew Leibowitz
  • Design Archive Feature, Members Only Content

Advertising Pharmaceuticals, A Comparison of German and American Advertising in 1950

As a chemist, I have an obligation to be curious – I grab a stack of our chemical journals and start with the advertising section. I start it, the walk through the sand. I don’t want to deny some oases. But soon I’m bored and tired.
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Members Content

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