Willem Sandberg - Dutch Designer and Illustrator

Koptische weefsels, Stedelijk Museum, 1960

Information

Details

Willem Jacob Henri Berend Sandberg, commonly known as Willem Sandberg, was born in 1897 in Amersfoort, Netherlands. In 1945, Sandberg became the director of the Stedelijk Museum, where he was responsible for artists and art forms, designing many of the museum's catalogues, posters, and exhibitions using his typographic experiments. He designed around 380 posters and over 250 catalogues and also collaborated with other designers, including Otto Treumann and Dick Elffers.

Linked Information

Koptische weefsels, Stedelijk Museum, 1960. Catalogue design by Willem Sandberg
Koptische weefsels, Stedelijk Museum, 1960. Catalogue design by Willem Sandberg
Koptische weefsels exhibition catalogue published by the Stedelijk Museum in 1960. Design by Willem Sandberg and catalogue is published as no. 227.
Willem Jacob Henri Berend Sandberg, commonly known as Willem Sandberg, was born in 1897 in Amersfoort, Netherlands. In 1945, Sandberg became the director of the Stedelijk Museum, where he was responsible for artists and art forms, designing many of the museum's catalogues, posters, and exhibitions using his typographic experiments. He designed around 380 posters and over 250 catalogues and also collaborated with other designers, including Otto Treumann and Dick Elffers.
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles

Members Content

The Bauhaus approach to design emphasised simplicity, functionality, and the integration of modern technologies and materials. A century later, many of the principles taught at the school remain fundamental to contemporary design practices.
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.

Members Content

Kinetic art refers to art the depends on movement for its desired effect and is closely related to op art. Upon scanning a few of the inner inserts from the Kinetics exhibition catalogue from the Hayward Gallery, London, 1970, I came across these five small manifestos on kinetic art.
Helmut Schmid Typography explores the typographer’s oeuvre in its entirety. The book’s generous design allows each image to breathe, and the accompanying texts narrate Schmid’s life and career in an informative and pleasant manner.