Visible Language, Vol 09, 01, Winter 1975

Information

Content includes:
The Curious Role of Letter Names in Reading Instruction by Richard L. Venezky
Excerpt: Simplifying the ABC’s by Jay Doblin
The Photographic Restoration of Letterforms by Robert A. Hauser
Radial Design in Wallace Stevens by Terrance J. King
Comment: The Designer and Language by Alexander Nesbitt
Research in Brief: Shapes as Cues to Word Recognition by Patrick Groff
The Collages of William Dole

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Visible Language, Vol 09, 01, Winter 1975
Visible Language, Vol 09, 01, Winter 1975
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

Members Content

Bäumer gave the company a unique brand image amplifying its graphical image after a time of post-war economic recovery. This style of advertising composition can be seen across many 1960s campaigns, especially from other German designers such as Anton Stankowski.
Among the young graphic artists of Berlin, who set to work after the war, Hans Adolf Albitz and Ruth Albitz-Geiß can claim special attention. In a short time, at a period when economic conditions were pretty unfavourable, they worked themselves so to the fore that their names came to mean something in Berlin publicity, and in western Germany their posters are known and appreciated, too.

Members Content

Both the And So To Embroider & And So to Sew bulletins were published by the Needlework Development Scheme. Established in 1934 and operating until 1961, the scheme was a partnership between educational establishments (Scottish art schools, Aberdeen, Dundee, Edinburgh and Glasgow) and industry.
The Paris Poster Hoardings of 1938. Posters gleam forth accentuating the melody of this city as they direct the eye to articles of everyday use and above all to people who are the talk of the hour.