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Content includes:
Adolf Wirz, Zürich: Art Directors Club of New York. 43rd Annual Exhibition of Advertising and Editorial Art 1964
Michel Ragon, Paris: Recent Examples of the Integration of the Arts
Elaine L. Johnson, New York: The Museum of Modern Art, New York. Contemporary Painters and Sculptors as Printmakers
Carlos Nieto, Madrid: Fernando Olmos
Juan Perucho, Barcelona: José Pla-Narbona
Stanley Mason, Zürich: English Merchants’ and Tradesman’s Marks
Nanine Bilski, New York: Norman Lalibarté. Banners
Eduard Prüssem, Köln: Donkey Post
Stanley Mason, Zürich: Towards an International Symbology
Margit Staber, Zürich: Icograda. First Congress, Zurich, 1964

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Graphis 116, 1964. Cover design by Eduard Prüssen.
Graphis 116, 1964. Cover design by Eduard Prüssen.
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
“They’ll never stand for that” and “It’s too modern” are, as George Plante aptly puts it, the restraintive thoughts which beset a commercial artist who tries to let himself go.

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They were many other designs who played an important role in IBM's graphic identity and implementation. Some of the other designers included Arthur Boden, Clarence Lee, Charles Keddie and Mary Beresford.

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Victorian Graphic Design left a mark on both British and American design history. In Britain, the ornate embellishments served as a symbol of prosperity and cultural values. Meanwhile, America embraced the combination of various design elements to navigate the complexities of a rapidly changing society driven by industrialisation and consumerism.
The stories of Norwich’s medieval merchants’ marks is being told in a new book and exhibition.