Graphis 205, 1979/80

Information

Content includes:
Andre Francois, by Gilles de Bure, Paris
400 Design for Identity, by Stanley Mason, Zurich
400 The Red Carpet Club (United Airlines)
Clarks (Somerset)
elf (ERAP)
Takenobu Igarashi, by John Follis, Los Angeles
Albrecht Ade: Photographic Metamorphoses, by Prof. Albrecht Ade, Stuttgart
Ecole Superieure d’Arts Graphiques (ESAG), Paris, by Jean Didier Wolfromm, Paris
Francois Robert. A Young Swiss Designer and Photographer in the USA, by Bill Bonnell, New York
Niklas Deak – The scope of photographic expression, by Niklas Deak, New York
Koichi Sato, by Naoko Nakayama, Vienna
Tomi Ungerer: Babylon, by Friedrich Durrenmatt, Neuchatel

Details

Linked Information

Graphis 205, 1979/80. Cover design by André François
Graphis 205, 1979/80. Cover design by André François
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles

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.

Members Content

Rastorfer transformed the advertising of Volkswagen and his work contrasted with that of the previously commissioned designers. It reiterates the importance of finding a designer who can transform your vision and adverting and how the significance of consistent messaging across advertisements, contributes to the creation of a memorable campaign 

Members Content

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.
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.