Graphis 190, 1977/78

Information

Content includes:
Recent Advertising and Editorial Art in Australia, by Lyndon Whaite, Clarendon, South Australia
Photographis ’77: The dream and ideal of mass media photography, by Gene Thornton, New York
Willy Fleckhaus. Book covers for a sophisticated readership, by Stanley Mason, Zurich
Cuban Posters, by Anton Meier, Geneva
Dan Reisinger, by Itzhak Gaon, Jerusalem
Geigy Design USA, by John deCesare, New York
Geoffrey Moss: Captionsless symbolic illustration, by Dan Rather, Washington

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Linked Information

Graphis 190, 1977/78. Cover design by Barrie Tucker
Graphis 190, 1977/78. Cover design by Barrie Tucker
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

Members Content

The identity manual consisted of 130 pages of information and brand usage with Arie J. Geurts heading up the project as design director, (who later headed up his own design studio in Los Angeles). The identity uses minimal colour and focuses on a consistent brand blue in all communications.
“They’ll never stand for that” and “It’s too modern” are, as George Plante aptly puts it, the restraintive thoughts which beset a commercial artist who tries to let himself go.

Members Content

The Best Swiss Posters Award was an annual competition, judged by a Swiss Jury. They selected a range of posters, showcasing a range of poster styles from completely typographic designs such as the work of Robert Büchler, to the illustrated posters of Donald Brun.

Members Content

Beyond being mere artefacts of design, these examples encapsulate the dynamic changes Japan was undergoing during this period. The design output of this era not only served commercial purposes but also became a powerful medium for expressing these societal shifts.