Helvetica, D. Stempel AG, Frankfurt am Main, 1960s, Type Specimen with samples

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Complete with various samples showing Helvetica in use

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Helvetica, D. Stempel AG, Frankfurt am Main, 1960s
Helvetica, D. Stempel AG, Frankfurt am Main, 1960s

 

Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample
Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample

 

Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample
Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample

 

Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample
Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample

 

Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample
Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample

 

Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample
Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample

 

Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample
Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample

 

Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample
Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample

 

Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample
Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample

 

Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample
Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample

 

Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample
Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample

 

Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample
Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample

 

Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample
Helvetica, D. Stempel AG, Frankfurt am Main, 1960s Sample
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More graphic design history articles
In minor printed matter we constantly meet the new typography, but it is relatively rare to find posters designed on the new lines. And yet poster-designing is a field where new typographical methods might be employed with great effect.

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1930s periodical 'Monografieën over filmkunst' designed by dutch designer Piet Zwart remains a pinnacle of Dutch avant-garde design.

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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. 

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A total of 24 posters were created for the campaign during 1964, using the arrow symbol as a key features, representing power, motion and speed. The handmade lithographs use up to 19 colours, which were individually printed at large scale. The posters also utilise the brand colours red and yellow from Shells corporate identity.