Japaner in Paris, Städtisches Museum Leverkusen, 1955

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Japaner in Paris, Städtisches Museum Leverkusen, 1955 designed by Müller-Blase
Japaner in Paris, Städtisches Museum Leverkusen, 1955 designed by Müller-Blase
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The typographic supplement from Der Druckspiegel, October, 1961 features typographic compositions designed by Herbert Bossin. Bossin has solely used the typeface Folio, to illustrate its flexibility and versatility alongside imagery provided by Lothar Blanvalet Verlag.
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.

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1930s periodical 'Monografieën over filmkunst' designed by dutch designer Piet Zwart remains a pinnacle of Dutch avant-garde design.
I have always loved the design work created for Olivetti. The colourful midcentury designs by Italian designer Giovanni Pintori, the minimal typographic poster by Swiss designer Walter Ballmer and my personal favourite the 1959 poster for Olivetti designed by Herbert Bayer. I recently found out Triest Verlag released a new book, Visual identity and branding at Olivetti which contains further work by Xanti Schawinsky, Renato Zveteremich, Ettore Sottsass, Hans von Klier, Egidio Bonfante and Walter Ballmer.