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TUFNOL Gears, Brochure, 1960s. Design and print by The Kynoch Press
TUFNOL Gears, Brochure, 1960s. Design and print by The Kynoch Press

 

TUFNOL Gears, Brochure, 1960s. Design and print by The Kynoch Press
TUFNOL Gears, Brochure, 1960s. Design and print by The Kynoch Press
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From the design archive:
From the design archive:
From the design archive:
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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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Giovanni began his work with Olivetti in March 1938, and his work was showcased in various exhibitions and had a clear distinctive style that amplified the Olivetti brand image. His design defined the company’s visual image, and the iconic geometric designs are still as powerful and engaging today as they were in the 1950s.
When Fritz Gottschalk and Stuart Ash joined forces in Montreal, it was a partnership ideally suited to the city's hybrid environment. Gottschalk's training in graphic design in Switzerland, Paris and London was rigid, his background European; Ash, Canadian born and educated, was trained in the North American fashion, though he was influenced by his work with European designers
To Have and To Hold, contains hundreds of bag designs collected during over half a century. The book is a must-buy for anyone interested in ephemera, the history of design or British high street history.