Graphis 105, 1963

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Content includes:
Ivo Frenzel. München: Identity Value in Paperbacks
Yusaku Kamekura, Tokyo: Ikko Tanaka – Kohei Sugiura – Kiyoshi Awazu
Claude Roy, Paris: Robert Delpire
Carlos C. Dranke, Zürich: Edward Sorel
Manuel Gasser, Zürich: Recent Polish Posters
Franz Hermann Wills, Berlin: Heinz Edelmann
Bohumil Zahradnik, Praha: Josef Flejsar
Pierre Descargues, Paris: Groupe de Recherche d’Art Visuel, Paris

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Graphis 105, 1963. Cover design by Robert Delpire.
Graphis 105, 1963. Cover design by Robert Delpire.
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From the design archive:
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The typographic supplement from Der Druckspiegel, October, 1961 features typographic compositions designed by Herbert Bossin. Bossin has solely used the typeface Folio, to illustrate its flexibility and versatility alongside imagery provided by Lothar Blanvalet Verlag.
The versatility of the arrow sign knows no bounds – from thin lines exuding delicacy to thick, heavy-set lines conveying stability and weight. Depending on its construction, the arrow sign can speak with individuality, even possessing psychological and emotional expression.
Simon Dixon is the co-founder of DixonBaxi and has been at the forefront of exceptional design from the start of his carreer. This year, DixonBaxi, celebrated twenty years in business, and their team of forty work with clients such as WWE, MAX, Premier League, Channel 4 and Netflix.

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Bäumer gave the company a unique brand image amplifying its graphical image after a time of post-war economic recovery. This style of advertising composition can be seen across many 1960s campaigns, especially from other German designers such as Anton Stankowski.