Willem Jacob Henri Berend Sandberg, commonly known as Willem Sandberg, was born in 1897 in Amersfoort, Netherlands. In 1945, Sandberg became the director of the Stedelijk Museum, where he was responsible for artists and art forms, designing many of the museum's catalogues, posters, and exhibitions using his typographic experiments. He designed around 380 posters and over 250 catalogues and also collaborated with other designers, including Otto Treumann and Dick Elffers.
Bart van der Leck, Stedelijk Museum Amsterdam, 1959 designed by Willem SandbergBart van der Leck, Stedelijk Museum Amsterdam, 1959 designed by Willem Sandberg
Willem Jacob Henri Berend Sandberg, commonly known as Willem Sandberg, was born in 1897 in Amersfoort, Netherlands. In 1945, Sandberg became the director of the Stedelijk Museum, where he was responsible for artists and art forms, designing many of the museum's catalogues, posters, and exhibitions using his typographic experiments. He designed around 380 posters and over 250 catalogues and also collaborated with other designers, including Otto Treumann and Dick Elffers.
An advertising programme is fully integrated only when its effect is powerful enough to play a major part in determining a corporate image. Geigy advertising is an example of this successful integration.
In Rau's case, the combination of graphic design and photo produces a particularly positive result, since he uses the photo not so much as an object of representation but rather as a suggestive means of expression.
The Paris Poster Hoardings of 1938. Posters gleam forth accentuating the melody of this city as they direct the eye to articles of everyday use and above all to people who are the talk of the hour.
Volkswagen commissioned a fantastic range of graphic designers, including Wolf Zimmermann, Hans Looser and Michael Engelmann. The designers amplified the brand image of Volkswagen with strikingly modern designs.
