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Content includes:
Alexandre Alexandre: Antoni Clavé.
Illustrations for «Gargantua»
Hölscher: In the deep cellar of the Baden- -Wurttemberg National Exhibition
Carl Heußner: Advertisements from trade journals
Robert L. Leslie: The New York Time’s promotional success story
Eberhard Hölscher: Alte Geigenzettel • Old violin label
Eberhard Hölscher: Manuale Typographicum
Ludwig Ebenhöh: Italian advertisements

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Gebrauchsgraphik, 10, 1955. Cover design by Hiroshi Ohchi
Gebrauchsgraphik, 10, 1955. Cover design by Hiroshi Ohchi

 

Gebrauchsgraphik, 10, 1955 - Pino Tovaglia Feature
Gebrauchsgraphik, 10, 1955 – Pino Tovaglia Feature

 

Gebrauchsgraphik, 10, 1955 - Pino Tovaglia Feature
Gebrauchsgraphik, 10, 1955 – Pino Tovaglia Feature
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

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Albrecht Ade's students produced some great typographic compositions and print work in his typography class, here's a selection of the work and information about Albrecht Ade.

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Before ascending to fame within the contemporary art scene, Warhol enjoyed a thriving career as a commercial artist. His illustration work was commissioned by various magazines, including The New Yorker, Vogue, and Harper's Bazaar.

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Crouwel was the successor to Willem Sandberg who used an avant-garde approach in his work, utilising torn-paper montage, mixing of sans serif and old Egyptian typefaces and often off-center positioning. Crouwel steered away from this artistic approach and implemented a cohesive design system and a strong identity that emulated the corporate identity boom of the 1950s and 60s.

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The designer is unstated on these postcards, which were designed during the mid to late 1970s, but these playful illustrations alongside what looks to be Frankfurter Bold definitely fit the criteria of friendliness and efficiency