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Museumjournaal, Serie 22 no1, 1977. Layout: Frans Evenhuis and Piet van Meiji | Cover: Swip Stolk
Museumjournaal, Serie 22 no1, 1977. Layout: Frans Evenhuis and Piet van Meiji | Cover: Swip Stolk

 

Museumjournaal, Serie 22 no1, 1977. Layout: Frans Evenhuis and Piet van Meiji | Cover: Swip Stolk
Museumjournaal, Serie 22 no1, 1977. Layout: Frans Evenhuis and Piet van Meiji | Cover: Swip Stolk
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
Every year the 20 best posters are selected in Germany and once more brought to the attention of the public. We do not publish all the twenty posters today; instead we add some which failed to be distinguished and which nevertheless are distinguished.

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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.

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I have a real passion for collecting Cinderella stamps and other ephemera and love the artistic and historical value of these items. The scarcity of some Cinderella stamps, especially those associated with significant historical events or rare advertising campaigns, makes them highly sought after in the philatelic world.

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Volkswagen commissioned a fantastic range of graphic designers, including Wolf Zimmermann, Hans Looser and Michael Engelmann. The designers amplified the brand image of Volkswagen with strikingly modern designs.