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Giovanni Giudici, Milano:AGI, Fourth Exhibition, Milan
Joseph Pichard, Paris: Nider Stained Glass in France
A.W.M. Johnston, London: Pirelli, The Graphic Face of an Industrial Enterprise
Leonardo Sinisgalli, Roma: Pino Tovaglia
Graham Hughes, London: Modern Trends in Jewellery Design
William B. McDonald, London: Titeflex. A New Corporate Image Programme
Ken Baynes, Zürich: Robert Osborn: The Vulgarians
André Parrot, Paris: Sumerian Art
Paul Standard, New York: Walter Käch, The Calligrapher

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Graphis 96, 1961. Cover design by Willy Eidenbenz.
Graphis 96, 1961. Cover design by Willy Eidenbenz.
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
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The 1960s was an era characterised by political, social, and cultural shifts. The counterculture movement emerged as a response to the perceived failures of the mainstream establishment, sparking a wave of activism and alternative ideologies. And with these an array of printed matter. Counterculture publications, often referred to as the "underground press," became powerful platforms for dissent, expression, and the exploration of new ideas.
The UK’s first vintage poster market is to launch as a 3-day pop-up at the Copeland Gallery in Peckham 14-16 May. Entry is free.

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Blase’s long-term clients were Staatstheater Kassel (Kassel State Theater) and Atlas Films. Karl Oskar Blase produced countless posters for these two organisations. It’s not surprising considering Blase designed posters for the Staatstheater for twelve years between 1966 and 1978. 
"Rudy is one of the unsung pioneers of American mid-century modernist graphic design. He had a unique and definitive point of view that was really never celebrated. This may have been attributed to his strict adherence to the formal principles of modernism and the International Typographic Style."