Linea grafica, 03, May/June, 1970

Information

Contents includes:
Luisa Jamoretti: Publishing and graphic arts in the panorama of the Fair
Franco Solmi: The Esso Style
Salvatore Maugeri: Italian graphics from ’45 to today: from neo-expressionism to no figuration
Grignani/Mataloni: Advertising space as a physiognomic quantity
F. S.: Sign and symbol in the coordinated image
Georges Martina: The Belle Epoque of color lithography
G.M.: The boy and the imagination
G.: Jan Rajlich, painter, engraver and advertiser
Gillo Dorfles: Personal exhibition of Fausto Cappellato
Minotaur: «Exploration of comics: supermanism and the will to power
Macrophotographs of S. & F. Cappellato
Lara Vinca Masini: Lucio Fontana exhibition in Turin and Beppe Bongi retrospective in Florence
Marco Beltramo Ceppi: Compasso d’oro 1970
Fabio Mataloni: Eurodomus 3
G.M.: The Arts in Paris
Georges Martina: At the Museum of Decorative Arts in Paris, the American Push Pin Style
Umberto Fenocchio: The Values ​​of Divisionism Rediscovered in the Exhibition at the Permanente
Werner Grogg: The Importance of Professional Training in the Graphic Arts
Gottfried Dryssen: Printing of Newspapers and Magazines with Rotary Machines
N.O.: The Future of Coated Paper

Details

Linked Information

Linea grafica, 03, May-June, 1970
Linea grafica, 03, May-June, 1970
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
Unit Editions launches Fred Troller Design on Volume – the first comprehensive survey of the work of a pioneering designer who brought Swiss modernism to America in the 1960s, via influential projects for clients including IBM, American Airlines and Geigy.
In the late 1960s, IBM was one of the world’s pre-eminent corporations, employing over 250,000 people in 100 countries. While Paul Rand’s creative genius has been well documented, the work of the IBM staff designers who executed his intent outlined in the IBM Design Guide has often gone unnoticed.
Flexible Visual Systems is the design manual for contemporary visual identities. It teaches you a variety of approaches on how to design flexible systems, adjustable to any aesthetic or project in need of an identifiable visual language.
Last month (March 2022), I spoke to over fifty Graphic Design undergraduates about the archive and my passion for design history, after which the students had full access to items in the collection and participated in discourse amongst their peers and lecturers. As part of their critical studies unit, the students will be producing essays and content related to the impact, history and aesthetics of selected artefacts.