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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Giovanni began his work with Olivetti in March 1938, and his work was showcased in various exhibitions and had a clear distinctive style that amplified the Olivetti brand image. His design defined the company’s visual image, and the iconic geometric designs are still as powerful and engaging today as they were in the 1950s.
As part of their marketing strategy, Kast + Ehinger, commissioned a selection of German designers to produce advertisements aimed at the design industry. I have scanned in quite a lot of their advertising matter, all of which were back-page advertisements from three German design magazines. Der Druckspiegel, Gebrauchsgraphik and Graphik – Werbung + Formgebung.
"Heart: Anatomy, Function, and Diseases" (Dell, 1962), by Rudolf Hoffmann and illustrated by George Giusti, demonstrates how illustrations effectively convey complex and emotional topics whilst providing valuable information.
The Best Swiss Posters Award was an annual competition, judged by a Swiss Jury. They selected a range of posters, showcasing a range of poster styles from completely typographic designs such as the work of Robert Büchler, to the illustrated posters of Donald Brun.
