Fodor 37, 1976 – Johannes Koster. Designed by Wim Crouwel and Daphne Duijvelshoff (Total Design)

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Fodor 37, 1976 - Johannes Koster. Designed by Wim Crouwel and Daphne Duijvelshoff (Total Design)
Fodor 37, 1976 – Johannes Koster. Designed by Wim Crouwel and Daphne Duijvelshoff (Total Design)
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As part of their marketing strategy, Kast + Ehinger, commissioned a selection of German designers to produce advertisements aimed at the design industry. I have scanned in quite a lot of their advertising matter, all of which were back-page advertisements from three German design magazines. Der Druckspiegel, Gebrauchsgraphik and Graphik – Werbung + Formgebung.
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.
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.