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Graphic Design History from Design Reviewed

Idea 285, 2001-3

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Information

Special features : North(London): Works 1995-2000; Original art works + layout by North(48 pages), Delaware(Tokyo) “2001: A NEW WAVE” ; riginal art works + layout by Delaware(32 pages), “Nova Helvetia” – a current state of graphic design in Switzerland: featured designers: Ataliar/Benjamin Gudel/ Elektrosmog/Francois chalet/Martin Woodtli/Norm/Sparksplugs; The Designers Republic(sheffield): preview 3D>2D ; Tadanori Yokoo(Tokyo): Over the turn of the century, and more.

Details

  • Format: Magazine
  • Designer/s: Tadanori Yokoo (Cover), North (Content)
  • Year: 2001
  • Client/Publisher: Seibundo Shinkosha Publishing Co

Linked Information

Idea 285, 2001-3. Cover design by Tadanori Yokoo
Idea 285, 2001-3. Cover design by Tadanori Yokoo
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Advertisements for Bol spirits designed by Atelier Engelmann and Klaus Oberer in late 50s : early 60s Cover
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Bols. Advertising Matter from 1958 to 1961 by Engelmann, Mendell and Oberer

In the late 1950s, Hans W. Brose agency, with designers Pierre Mendell, Michael Engelmann, and Klaus Oberer, crafted a compelling, colourless campaign for Bols.

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Industrial design was an American design magazine featuring furniture, ceramics, housewares, appliances, automobiles, buildings, radios, projectors, televisions, and many other objects designed for the postwar middle class. First published in the 1950s by Charles Whitney with Alvin Lustig as art director.

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Max Huber. Swiss Graphic Designer | 1919 – 1992

Max Huber was born in 1919 in Switzerland. He studied at the Kunstgewerbeschule (School of Arts and Crafts) in Zurich where he excelled in graphic design and photography.  Huber worked across advertising, packaging, design and industrial design. He had a distinctive style that skillfully blended bright hues with photomontage.
Hans Adolf Albitz und Ruth Albitz-Geiß, Subway boardings (3,80 × 2,50 m).
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Hans Adolf Albitz and Ruth Albitz-Geiß by Franz Hermann Wills, 1952

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.