Design Quarterly 118/119, Meanings of Modernism: Form, Function and Metaphor, 1982

Information

Details

Linked Information

Design Quarterly 118/119, Meanings of Modernism: Form, Function and Metaphor, 1982
Design Quarterly 118/119, Meanings of Modernism: Form, Function and Metaphor, 1982
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
When Fritz Gottschalk and Stuart Ash joined forces in Montreal, it was a partnership ideally suited to the city's hybrid environment. Gottschalk's training in graphic design in Switzerland, Paris and London was rigid, his background European; Ash, Canadian born and educated, was trained in the North American fashion, though he was influenced by his work with European designers

Members Content

Advertisements from post-World War II Britain for British Aluminium Company. Designs by Abram Games, Tom Eckersley, FHK Henrion, Pat Keely, and James Hart, who collectively crafted over 100 four-color and 300 black-and-white advertisements.
House style can give identity to the diverse products or activities of a firm. It stimulates loyalty, helps to reduce costs, and has advertising value.

Members Content

Max Huber worked across advertising, packaging, design and industrial design. He had a distinctive style that skillfully blended bright hues with photomontage.