Content includes:
Josef von Westphalen: Aller Anfang ist .. . weiß
Peter von Kornatzki: Antonio Calderara
Henner Prefi: Das Geheimnis der Geige
Franz Werner: Studentenarbeiten aus Neuseeland
Dietrich Leube: Unter weißer Flagge
Thomas Schmid auf Spurensuche in Indien
Tina Hager: Point Barrow, Alaska
Michail Epstein: Die Birke und der Bär
30 Plakate
Masato Tsukamoto
Seymour Chwast
From the graphic design archive:
From the graphic design archive:
From the graphic design archive:
From the graphic design archive:
Design Archive Feature, Designer Profiles, Members Only Content, Poster Design
Scanned posters by the great Michele Spera. Many use a strong use of geometric form, often paired with sans-serif typefaces like Helvetica. Their simplification of form and use of colour create timeliness, recognisable posters that would have stood out alongside the posters of the 1970s which tended to have a heavy use of photography.
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Design Archive Feature, Members Only Content, Poster Design, Regional Histories, Studios & Collectives
A total of 24 posters were created for the campaign during 1964, using the arrow symbol as a key features, representing power, motion and speed. The handmade lithographs use up to 19 colours, which were individually printed at large scale. The posters also utilise the brand colours red and yellow from Shells corporate identity.
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Design Archive Feature, Designer Profiles, Members Only Content, Movements, Regional Histories
Wolfgang Weingart's artistic design delved into the intricacies of Swiss typography, skillfully dissecting its elements while venturing into texture and type experimentation. His layered montages radiated dynamic kinetic energy, standing in stark contrast to the minimalist approach of his instructors, embracing a more maximalist aesthetic.
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