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Graphic Design History from Design Reviewed

Grafische Revue, 18e Jaargang, Maart 1934

Information

Monthly magazine for graphic companies
Publication of the association of typographical study societies

Details

  • Format: Magazine
  • Year: 1934
  • Client/Publisher: typografische studiegezelschappen
  • Size: 194mm x 273mm

Linked Information

Graphische Revue, 18 Jaargang, Maart 1934
Graphische Revue, 18e Jaargang, Maart 1934
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Publimondial N° 27. 1950, cover Design by Bernard Baudouin
From the design archive:

Publimondial 27. 1950

  • Format: Magazine
  • Designer/s: Bernard Baudouin
  • Year: 1950
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Typography 5, Shenval Press, Spring 1938
From the design archive:

Typography 5, Shenval Press, Spring 1938

  • Format: Magazine
  • Year: 1938
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Idea 216, 1989-9. Cover design by The Duffy Design Group
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Idea 216, 1989-9

  • Format: Magazine
  • Designer/s: The Duffy Design Group
  • Year: 1989
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Graphis 177, 1975. Cover design by Etienne Delessert.
From the design archive:

Graphis 177, 1975

  • Format: Magazine
  • Designer/s: Etienne Delessert
  • Year: 1975
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Rudolph de Harak - Rational-Simplicity
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Rational Simplicity, the first major monograph of Rudolph de Harak by Richard Poulin

"Rudy is one of the unsung pioneers of American mid-century modernist graphic design. He had a unique and definitive point of view that was really never celebrated. This may have been attributed to his strict adherence to the formal principles of modernism and the International Typographic Style."

Members Content

Kupka, Stedelijk Museum, Amsterdam, 1968 designed by Wim Crouwel (Total Design)
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Crouwel was the successor to Willem Sandberg who used an avant-garde approach in his work, utilising torn-paper montage, mixing of sans serif and old Egyptian typefaces and often off-center positioning. Crouwel steered away from this artistic approach and implemented a cohesive design system and a strong identity that emulated the corporate identity boom of the 1950s and 60s.
Idea 81, 1967. Cover design by Yusaku Kamekura
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Elements of Idea “The Arrow” by Shigeo Fukuda, 1973

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.
Graphic Design History Workshop
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Inspiring students from Leeds Beckett University

Last month (March 2022), I spoke to over fifty Graphic Design undergraduates about the archive and my passion for design history, after which the students had full access to items in the collection and participated in discourse amongst their peers and lecturers. As part of their critical studies unit, the students will be producing essays and content related to the impact, history and aesthetics of selected artefacts.