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Graphic Design History from Design Reviewed
Helmut Schmid

International Typography Almanac 1991, Robundo, 1991

Details

  • Format Book
  • Designer/s Helmut Schmid
  • Year 1991
  • Client/Publisher Robundo
  • Size 218mm x 306mm
Helmut Schmid
Helmut Schmid is an internationally renowned typographer, born in Austria and trained at AGS Basel under Emil Ruder. After working across Europe and Canada, he settled in Osaka in 1977, founding his own studio in 1981 and creating the enduring packaging identity for Otsuka Pharmaceutical. Explore related designers including Emil Ruder and Armin Hofmann. See also Swiss International Style, Japanese graphic design history, 1970s graphic design history.

Linked Information

International Typography Almanac 1991, Robundo, 1991
International Typography Almanac 1991, Robundo, 1991
More graphic design artefacts
Typography Today, New Edition, 2003

From the graphic design archive:

Typography Today, New Edition, 2003

  • Format: Book
  • Designer/s: Helmut Schmid
  • Year: 2003
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Helmut Schmid – Gestaltung ist Haltung / Design Is Attitude, Birkhauser Verlag AG, 2006

From the graphic design archive:

Helmut Schmid – Gestaltung ist Haltung / Design Is Attitude, Birkhauser Verlag AG, 2006

  • Format: Book
  • Designer/s: Helmut Schmid
  • Year: 2006
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Idea 322, 2007-5

From the graphic design archive:

Idea 322, 2007-5

  • Format: Magazine
  • Designer/s: Helmut Schmid
  • Year: 2007
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Idea 333, 2009-3

From the graphic design archive:

Idea 333, 2009-3

  • Format: Magazine
  • Designer/s: Helmut Schmid
  • Year: 2009
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Ludwig Hohlwein by Ernst Gundermann. Translated from Graphische Nachrichten, Vol 13, 11, November 1934

Design Archive Feature, Designer Profiles, Members Only Content

Ludwig Hohlwein by Ernst Gundermann. Translated from Graphische Nachrichten, Vol 13, 11, November 1934

A 1936 article on Ludwig Hohlwein, originally in German, published in Graphische Nachrichten, Vol 13, 11, November 1934

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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.

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Further examples of the collaboration of Juan Carlos Distéfano, Ruben Fontana and Carlos Soler

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