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Content includes:
Margit Staber, Zürich: Swiss Posters 1966
Pierre Descargues, Paris: Compagnie de l’Esthétique Industrielle (CEI), Raymond Loewy, Paris
Jerome Snyder, New York: The Eighth Annual Exhibition of American Illustration
Jerome Snyder, New York: Etienne Delessert
Dr. Erika Billeter, Zürich: Aghthamar. Christian Images in Armenian Anatolia
Manuel Gasser, Zürich: Letters to Lisa
Jerzy Wasniewsky, Warszawa: Polish Circus Posters
Angéle Baumeister, Zürich: HAP Grieshaber. The Dance of Death at Basle
Jean Duvoisin, Paris: Le Déserteur. A French refugee becomes a Swiss peasant painter
Stanley Mason, Zurich: Scanadart. Scandinavian Advertising and Editorial Art
Dr. Maria Netter, Basle: René Auberjonois

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Graphis 128, 1967. Cover design by Etienne Delessert.
Graphis 128, 1967. Cover design by Etienne Delessert.
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles
Emiliano Grignani is the grandson of Franco Grignani, one of the most versatile and influential Italian designers. Well-known for his advertising, painting and the way he could visualise motion in such a unique way. I interviewed Emiliano to find out more about Franco and his influence on graphic design and the great resource, https://www.francogrignani.info.
House style can give identity to the diverse products or activities of a firm. It stimulates loyalty, helps to reduce costs, and has advertising value.
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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Little is known about the talented designer Günther Glückert. Born during the 1930s, a period that proved less than conducive to nurturing youthful artistic endeavours, did not halt Glückert's path of becoming a talented designer.