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Content includes:
Anton Schob (Zurich): Max Hunziker. Direct Relief Etchings
John Halas (London): Graphic Design in Television
Manuel Gasser (Zurich): Graphic Irony
Henri Lhote (Paris): The Tassili Frescoes
P.K. Thomajan (New York): Eric Carle
B. von Grunigen (Basel): Walter Grieder
Heiri Steiner (Zurich): Helmuth Kurtz
Truman Capote (New York): Richard Avedon – Portraits
Yvon Taillandier (Paris): Galerie Berggruen, Paris. Artistic Gallery Catalogues

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Graphis 86, 1959. Cover design by Max Hunziker.
Graphis 86, 1959. Cover design by Max Hunziker.
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From the design archive:
From the design archive:
From the design archive:
From the design archive:
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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.

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Olle Eksell is well known for his advertising illustration, book jackets and playful packaging design. He first studied engineering and later decided to become a graphic artist. He began his career as a window decorator in 1935, and studied under Hugo Steiner between 1939 and 1941.
The background of Kamekura's mark designs is his boldness in eliminating all the waste, combining simplification derived from Japanese traditional family crests and Western intellectual mechanics of formation with a sharp modern sense of composition.
Among the young graphic artists of Berlin, who set to work after the war, Hans Adolf Albitz and Ruth Albitz-Geiß can claim special attention. In a short time, at a period when economic conditions were pretty unfavourable, they worked themselves so to the fore that their names came to mean something in Berlin publicity, and in western Germany their posters are known and appreciated, too.