Design, Council of Industrial Design, 220, April 1967

Information

Content includes:
The world of classical music is currently going through a period of intensive experimentation – but the design and manufacture of its instruments are still dominated by tradition.
The Ministry of Public Building and Works proves that ‘canteen crockery’ need not mean chipped cups and clumsy plates
Bruce Archer investigates how much is being done to educate managers of the future design-wise
Environmental design, understanding of perception; but imagination and common sense are even more useful in tackling environmental problems
Farm machinery should be designed to suit the needs of the operator
Comment: on the implications of a new engineering design centre that has been set up at one of Britain’s universities
Point of view: on the US market for British carpets / the Concorde mock-up / linking design with school lessons…
Products, interiors, events, ideas

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Linked Information

Design, Council of Industrial Design, 220, April 1967, Cover design by John Sewell
Design, Council of Industrial Design, 220, April 1967, Cover design by John Sewell
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Forward and a selection of poster designs entered to the Die besten Plakate des Jahres 1963. Featuring the work of Hans Hartmann, Jörg Hamburger, Jost Hochuli, and Armin Hofmann.

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A collection of letterpresses German brochures from 1959/1960 designed by Hans Geipel for Süddeutsche Rundfunk (SDR), the South German Radio Network based in Stuttgart.
IBM puts a premium on functional design, forms and colours which make it far easier for the potential customer to gain an insight. In this respect the IBM methods are exemplary. The IBM already opened studios of artistic and graphic design for its German and Italian offices and a few years ago another such studio was established in Paris. Frank René Testemale was entrusted with its organisation and was appointed its business and art director.

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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.