Jazz 1965, Record Catalogue, 1965

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Jazz 1965, Record Catalogue, 1965. Designed by michel + kieser and Holger Matthies
Jazz 1965, Record Catalogue, 1965. Designed by michel + kieser and Holger Matthies

 

Jazz 1965, Record Catalogue, 1965. Designed by michel + kieser and Holger Matthies
Jazz 1965, Record Catalogue, 1965. Designed by michel + kieser and Holger Matthies

 

Jazz 1965, Record Catalogue, 1965. Designed by michel + kieser and Holger Matthies
Jazz 1965, Record Catalogue, 1965. Designed by michel + kieser and Holger Matthies

 

Jazz 1965, Record Catalogue, 1965. Designed by michel + kieser and Holger Matthies
Jazz 1965, Record Catalogue, 1965. Designed by michel + kieser and Holger Matthies
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The 1960s was an era characterised by political, social, and cultural shifts. The counterculture movement emerged as a response to the perceived failures of the mainstream establishment, sparking a wave of activism and alternative ideologies. And with these an array of printed matter. Counterculture publications, often referred to as the "underground press," became powerful platforms for dissent, expression, and the exploration of new ideas.
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.

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Omnibus was Published by the journalism working group of the Technical University of Braunschweig. A square publication measuring 290mm. The publication included features on politics, arts and culture. With advertisements carefully selected to be in keeping with the visual aesthetic. Content also included exhibition information and a fine example of concrete poetry, among artists such as Schröder-Sonnenstern and Sine Hansen.

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The collection of works I've gathered, designed for Olympia-Werke, showcases the height of mid-century German commercial artistry. The work was collated in a branded folder and contained forty brochures, advertisements and manuals.