Grafische Revue, 20e and 21e Jaargang, 1935 – 1936

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Grafische Revue, monthly magazine for graphic companies

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Grafische Revue, 20e and 21e Jaargang, 1935 - 1936
Grafische Revue, 20e and 21e Jaargang, 1935 – 1936

 

Grafische Revue, 20e Jaargang, April 193f
Grafische Revue, 20e Jaargang, April 193f

 

Grafische Revue, 20e Jaargang, Juli 1935
Grafische Revue, 20e Jaargang, Juli 1935

 

Grafische Revue, 20e Jaargang, Juli 1935
Grafische Revue, 20e Jaargang, Juli 1935

 

Grafische Revue, 20e Jaargang, Augustus 1935
Grafische Revue, 20e Jaargang, Augustus 1935

 

Grafische Revue, 20e Jaargang, September 1935
Grafische Revue, 20e Jaargang, September 1935
Grafische Revue, 20e Jaargang, October 1935
Grafische Revue, 20e Jaargang, October 1935

 

Grafische Revue, 20e Jaargang, November 1935
Grafische Revue, 20e Jaargang, November 1935

 

Grafische Revue, 20e Jaargang, December 1935
Grafische Revue, 20e Jaargang, December 1935

 

Grafische Revue, 21e Jaargang, Januari 1936
Grafische Revue, 21e Jaargang, Januari 1936

 

Grafische Revue, 21e Jaargang, Febr 1936
Grafische Revue, 21e Jaargang, Febr 1936

 

Grafische Revue, 21e Jaargang, Maarti 1936
Grafische Revue, 21e Jaargang, Maarti 1936

 

Grafische Revue, 21e Jaargang, April 1936
Grafische Revue, 21e Jaargang, April 1936

 

Grafische Revue, 21e Jaargang, Mei 1936
Grafische Revue, 21e Jaargang, Mei 1936

 

Grafische Revue, 21e Jaargang, Juni 1936
Grafische Revue, 21e Jaargang, Juni 1936
Grafische Revue, monthly magazine for graphic companies
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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.

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Many influential British designers have made their names in the history books. Abram Games, Alan Fletcher, Tom Eckersley and Derek Birdsall, to name a few. But one designer that has always influenced me, not only as inspiration from their design output, but as an example of the role of a designer and the importance of having strong ethics, is Ken Garland. He is known for his innovative and socially responsible approach to graphic design and his involvement in the design community through his teaching, writing and activism. In the second instalment of this series, I will discuss Ken Garland's magazine work from my collection.

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1930s periodical 'Monografieën over filmkunst' designed by dutch designer Piet Zwart remains a pinnacle of Dutch avant-garde design.
Theo Häussler's commercial art is distinguished by its clear and disciplined form and its distinct advertising message.