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Graphic Design History from Design Reviewed

Fodor 34, 1976 – Ria Rettich

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  • Format: Exhibition Catalogue
  • Designer/s: Wim Crouwel and Daphne Duijvelshoff (Total Design)
  • Year: 1976
  • Size: 200mm x 250mm

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Fodor 34, 1976 - Ria Rettich. Designed by Wim Crouwel and Daphne Duijvelshoff (Total Design)
Fodor 34, 1976 – Ria Rettich. Designed by Wim Crouwel and Daphne Duijvelshoff (Total Design)
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Projekt 116, 1, 1977. Cover design by Wojciech Freudenreich
From the design archive:

Projekt 116, 1, 1977

  • Format: Magazine
  • Designer/s: Wojciech Freudenreich
  • Year: 1977
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Ty i Ja, 133, 1971 - 5. Cover design by Waldemar Świerzy
From the design archive:

Ty i Ja, 133, 1971 – 5

  • Format: Magazine
  • Designer/s: Waldemar Świerzy
  • Year: 1971
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Furnishings, The Magazine For the Furnsihing Trade, Vol 75, No 3, September 1957
From the design archive:

Furnishings, The Magazine For the Furnsihing Trade, Vol 75, No 3, September 1957

  • Format: Magazine
  • Designer/s: Unstated
  • Year: 1957
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Museumjournaal, Serie 24 no6, 1979. Cover design by Jan van Toorn.
From the design archive:

Museumjournaal, Serie 24 no6, 1979

  • Format: Exhibition Catalogue
  • Designer/s: Jan van Toorn
  • Year: 1979
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Poster for the University Ball, University in St. Gallen, Switzerland, 1961. Scanned from Der Druckspiegel 08, 1962.
  • Design Archive Feature, Members Only Content

Advertising a University Ball at St. Gallen, Switzerland, 1961

Perusing an issue of Der Druckspiegel from 1962, I found these fantastic examples of Swiss Design, produced for the University Ball at the University in St. Gallen, Switzerland, in 1961. The advertising matter included posters, newspaper advertisements, cinema slides, invitation cards and a booklet. 

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Kupka, Stedelijk Museum, Amsterdam, 1968 designed by Wim Crouwel (Total Design)
  • Design Archive Feature, Members Only Content

Wim Crouwel and the Stedelijk Museum

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.
The Birth of a Style. The Influence of the Basel Educational Model on Swiss Graphic Design, Triest Verlag, 2024 
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The Birth of a Style The Influence of the Basel Educational Model on Swiss Graphic Design

Founded in 2015, Triest Verlag für Architektur, Design und Typografie have published notable works on graphic design history, including biographies of Othmar Motter, studies on Eugen Gomringer’s typography and poetry, Ernst Keller’s teachings. Thier latest book The Birth of a Style, focuses on the influence of the Basel Educational Model on the evolution of Swiss graphic design into the renowned international style.
Graphis 148, 1970 deisgned by Gottschalk + Ash
  • Design Archive Feature

Gottschalk + Ash by Bill Bantey, 1970

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