Max Bill studied at the Kunstgewerbeschule in Zurich from 1924 until 1927. He visited Paris in 1925 and was inspired by the work of Le Corbusier, Josef Hoffmann and Friedrich Kiesler. After attending a lecture by Le Corbusier in Zurich he decided to study architecture. He studied at the Bauhaus in Dessau, from 1927 until 1929. Then moved to Zurich and worked in typography, graphic design, painting, sculpture and architecture. He was also a teacher at Kunstgewerbeschule in Zurich, a guest lecturer at the Technische Hochschule in Darmstadt and worked at Hochschule für Gestaltung, Ulm.
Max Bill studied at the Kunstgewerbeschule in Zurich from 1924 until 1927. He visited Paris in 1925 and was inspired by the work of Le Corbusier, Josef Hoffmann and Friedrich Kiesler. After attending a lecture by Le Corbusier in Zurich he decided to study architecture. He studied at the Bauhaus in Dessau, from 1927 until 1929. Then moved to Zurich and worked in typography, graphic design, painting, sculpture and architecture. He was also a teacher at Kunstgewerbeschule in Zurich, a guest lecturer at the Technische Hochschule in Darmstadt and worked at Hochschule für Gestaltung, Ulm.
Little is known about the talented designer Günther Glückert. Born during the 1930s, a period that proved less than conducive to nurturing youthful artistic endeavours, did not halt Glückert's path of becoming a talented designer.
This 1,500 word essay is about the life and work of Willem Sandberg and is illustrated with part of my collection of over 100 pieces of Sandberg’s work, including books, Stedelijk Museum catalogues, and various individual printed items.
This 1,500 word essay focused on the work of Jan Bons. One of the most prominent figures in Dutch design history. For over three-quarters of a century, he crafted a mass of work with many long-time collaborators.
The advertising has a certain contrast of hand-drawn and mechanical. Produced entirely in black, it reminds us that the absence of colour can be highly effective. Hans Michel and Günther Kieser's illustrations bring a sense of both playfulness and a stylistic approach to a corporate client.
![Setagaya Shinkin Bank – PAOS Design, [The World of Corporate Beauty], CI Design, (23 Book Set), 1989](https://designreviewed.com/wp-content/uploads/elementor/thumbs/Setagaya-Shinkin-Bank-–-PAOS-Design-The-World-of-Corporate-Beauty-CI-Design-23-Book-Set-1989-jpg-qmz1cnxkpp3peunolkrd8cqcnwx9ccmlfxx2zuyedc.webp "Setagaya Shinkin Bank – PAOS Design, [The World of Corporate Beauty], CI Design, (23 Book Set), 1989")
