La Biennale di Venezia XII, Festival Internazionale Di Musica Contemporanea, 1949

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La Biennale di Venezia XII, Festival Internazionale Di Musica Contemporanea, 1949. Designed by Max Huber
La Biennale di Venezia XII, Festival Internazionale Di Musica Contemporanea, 1949. Designed by Max Huber
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Perusing an issue of Der Druckspiegel from 1962, I found these fantastic examples of Swiss Design, produced for the University Ball at the University in St. Gallen, Switzerland, in 1961. The advertising matter included posters, newspaper advertisements, cinema slides, invitation cards and a booklet. 

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As part of an ongoing series showcasing Swiss poster designs from the 1950s and 1960s, this article features 1961 poster entries of Die besten Plakate des Jahres (The Best Posters of the Year) 1961. Originating in 1941, Die besten Plakate des Jahres initially served as a platform for the evaluation and showcase of Swiss posters.
An advertising programme is fully integrated only when its effect is powerful enough to play a major part in determining a corporate image. Geigy advertising is an example of this successful integration.

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Beyond being mere artefacts of design, these examples encapsulate the dynamic changes Japan was undergoing during this period. The design output of this era not only served commercial purposes but also became a powerful medium for expressing these societal shifts.