Museumjournaal, Serie 13 no3, 1968

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Cover featuring artwork by C. Visser

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Museumjournaal, Serie 13 no3, 1968. Designed by Jurriaan Schrofer.
Museumjournaal, Serie 13 no3, 1968. Designed by Jurriaan Schrofer.
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
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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.
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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Kazumasa Nagai  (永井 一正) was born in 1929 in Osaka and is one of Japan's most acclaimed graphic designers. He designed iconic corporate logos for major companies such as Mitsubishi UFJ, Japan Railways, Nissin, and TEPCO and designed 100s of posters.
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.