Visible Language, Vol 06, 04, Autumn 1972

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Content includes:
One Second of Reading, Philip B. Gough
The Typographic Element in Cubism, 1911-1915, Susan Marcus
Changing Responsibilities of the Typographic Designer, G. W. Ovink
Program for Developing Visual Symbols Ed Bedno
Words about Ed Ruscha, David Bourdon

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Visible Language, Vol 06, 04, Autumn 1972
Visible Language, Vol 06, 04, Autumn 1972
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From the design archive:
From the design archive:
From the design archive:
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More graphic design history articles
Marin Lorenz has had an amazing career, designing for clients such as ESPN and Nike, teaching at some of Europe's leading design schools and publishing books, such as Flexible Visual Sytems, documenting his research and approach to design practice.
“They’ll never stand for that” and “It’s too modern” are, as George Plante aptly puts it, the restraintive thoughts which beset a commercial artist who tries to let himself go.

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After researching further into the work designed by their practice, I found ten programmes designed between 1958 and 1960. These programmes were designed for a variety of live jazz events in Germany and all followed the same format.
How design can transcend the logics, structures, and subjectivities of capitalism: a framework, theoretical grounding, and practical principles. A new book published by MIT Press written by Matthew Wizinsky.