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Joaquin Torres Garcia, Stedelijk Museum, 1961. Designed by Willem Sandberg.
Joaquin Torres Garcia, Stedelijk Museum, 1961. Designed by Willem Sandberg.
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
Last month (March 2022), I spoke to over fifty Graphic Design undergraduates about the archive and my passion for design history, after which the students had full access to items in the collection and participated in discourse amongst their peers and lecturers. As part of their critical studies unit, the students will be producing essays and content related to the impact, history and aesthetics of selected artefacts.

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I have a real passion for collecting Cinderella stamps and other ephemera and love the artistic and historical value of these items. The scarcity of some Cinderella stamps, especially those associated with significant historical events or rare advertising campaigns, makes them highly sought after in the philatelic world.
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.

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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.