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Graphic Design History from Design Reviewed

Visible Language, Vol 10, 02, Spring 1976

Information

Content includes:
Palindromes, Poems and Geometric Form by Jerrald Ranta
Judgment of Meaningfulness of Chinese Characters by English-Speaking Observers by T.M. Nelson, C.J. Ladan
A Course in Poetry and Printing by Aaron Marcus, Joe Rothrock
Legibility of Numerals Displayed in a 4 x 7 Dot Matrix and Seven-Segment Digits by Dirk Wendt, Hans Weckerle, Bernard Orth
Reading Readiness by Stanley F. Wanat

Details

  • Format: Magazine
  • Year: 1976
  • Size: 154mm x 233mm

Linked Information

Visible Language, Vol 10, 02, Spring 1976
Visible Language, Vol 10, 02, Spring 1976
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  • Year: 1967
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Drukkersweekblad en Autolijn Kerstnummer 1956, No 52 , 1956. Cover design by Jan Bons
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Drukkersweekblad en Autolijn Kerstnummer 1956, No 52, 1956

  • Format: Book
  • Designer/s: Jan Bons
  • Year: 1956
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Geigy Chemical Corporation, USA. An Example of Integrated Advertising by William B. McDonald

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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BKG Basler Konsum-Gesellschaft Basel designed by Celestino Piatti, Riehen in 1957
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Swiss Posters from the 1957 Best Poster Award (Die besten Plakate des Jahres 1957)

The best poster designs from Die besten Plakate des Jahres 1957 with a translated foreword by Walter Kern. Featuring the work of J. Müller-Brockmann, Gottlieb Soland, Mary Vieira and Celestino Piatti.
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Documenting a Century of Design Inspiration – a History of Arab Graphic Design

Both educators have a keen interest in multiscriptual design, Arabic type design, and graphic design and recently released A History of Arab Graphic Design. I contacted Bahia and Haythem to find out more.
Hans Adolf Albitz und Ruth Albitz-Geiß, Subway boardings (3,80 × 2,50 m).
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Hans Adolf Albitz and Ruth Albitz-Geiß by Franz Hermann Wills, 1952

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.