Form, Internationale Revue 43, September 1968

Information

Content includes:
Theorien, Meinungen
Revolution im Design ?
Ein Gespräch mit Werner Nehls
H. Seeger, Funktionalismus
im Rückspiegel des Design
H. Tochtermann, Das Produkt
ist die Botschaft
Analyse – O. Klose, 13 Montage-Systeme
Produkte
Flexible Beleuchtung aus der Schiene
Aus Schaum und Polyester gebaut
Design auf dem Holzweg
Mit Griff und ohne mobile TV-Geräte
Wettbewerbe – Ohne Nürnberger Ei – Der Kienzle-Uhrenwettbewerb
form-Forum
E. Reichl, Umweltgestaltung
was ist das ?
G. Bonsiepe, Zur Abgrenzung
G. Müller-Krauspe, Versuch
einer Deutung
E. Auer, Beständigkeit = gutes Design?
Markt – Produkte, gesehen und notiert
Berichte, Notizen
Plattform
Rezensionen

Details

Linked Information

Form, Internationale Revue 43, September 1968. Designed by Karl Heinz Krug
Form, Internationale Revue 43, September 1968. Designed by Karl Heinz Krug
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
Emiliano Grignani is the grandson of Franco Grignani, one of the most versatile and influential Italian designers. Well-known for his advertising, painting and the way he could visualise motion in such a unique way. I interviewed Emiliano to find out more about Franco and his influence on graphic design and the great resource, https://www.francogrignani.info.
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.

Members Content

Kazumasa Nagai  (永井 一正) was born in 1929 in Osaka and is one of Japan's most acclaimed graphic designers. He designed iconic corporate logos for major companies such as Mitsubishi UFJ, Japan Railways, Nissin, and TEPCO and designed 100s of posters.
Parallel Public is a new publication by Sara Blaylock, published by MIT Press. The book documents the East German artists pioneering work that made their country’s experimental art scene a form of (counter) public life.