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Content includes:
Alvin Lusting, Georg Olden, Ladislav Sutnar, Will Burtin, Bill Sokol, Edward Carini, Paul Rand, A. F. Arnold, Gene Federico, John Milligan, Lester Beall,
Works of Alvin Lustig, Lester Beall, Paul Rand, Bill Sokol, A. F. Arnold, Will Burtin, Gene Federico and John Milligan
Segawa Works, Ltd.
Fuji Electrical Manufacturing Co., Ltd.
Contemporary American Advertising Art by S. Ogawa
Letters from H. Ohchi and Y. Kamekura
How to Make the Mark by S. Imatake
A Chapter on Platonic Design by K. Ito
From Old Materials by H. Nagata
Women’s Face by Y. Hayakawa
About the Trade Mark by Y. Kojima
My Own Ad Cuts by H. Hamada
It’s Not Easy to Write Sideways by F. Okabe
Copy Writer May Borrow Idea from Others by S. Kurosuda
An Observation Car Named Advertising Vol. 1 by K. Endo, T. Miyayama

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Idea 009, 1954. Cover design by Paul Rand
Idea 009, 1954. Cover design by Paul Rand
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
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The 1960 awards presented 420 poster entries from Swiss designers. Notable winners included Robert Büchler's typographic poster for the Museum of Applied Arts Basel and J. Müller-Brockmann’s Der Film poster for the Museum of Applied Arts and Gerstner + Kutter's asymmetric typographic poster for National-Zeitung SA Basel.
Every year the 20 best posters are selected in Germany and once more brought to the attention of the public. We do not publish all the twenty posters today; instead we add some which failed to be distinguished and which nevertheless are distinguished.
An advertising programme is fully integrated only when its effect is powerful enough to play a major part in determining a corporate image. Geigy advertising is an example of this successful integration.
In Rau's case, the combination of graphic design and photo produces a particularly positive result, since he uses the photo not so much as an object of representation but rather as a suggestive means of expression.