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Content includes:
Redaktionele inleiding
Japan: en grafische studiereis waard
International Comprint 1971
Milieuvervuiling en de bijdrage daarin van de grafische industrie
Vraag en aanbod op de grafische markt
‘Posseegols’, een postzegelprijsvraag
Samen de computer benutten
Kort

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Graficus Revue, 04, November 1971. Designed by Paul Mijksenaar
Graficus Revue, 04, November 1971. Designed by Paul Mijksenaar
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles

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He designed stamps from around 1955 and in the book Karl Oskar Blase, Briefmarken-Design, Verlag für Philatelistische Literatur, 1981, he was described as one of the most influential stamp designers in Germany.

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In my previous article about the design work produced for Insituto di Tella, I touched upon the artists Juan Carlos Distéfano, Ruben Fontana and Juan Andralis. After further research, I found a suite of other designs they had produced, including exhibition posters, concert programmes and record sleeves.
The graphic designer had to create a series of ads whose new publicity effects were to confirm or accentuate the already existing • image • of the paper. In this case, the planning was not based on a would-be psychological analysis of the reading public.

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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.