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Graphic Design History from Design Reviewed
Max Bill

Max Bill, die grafischen Reihen, 1995

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  • Format: Book
  • Designer/s: Max Bill
  • Year: 1995
  • Client/Publisher: Hatje Cantz Verlag
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.

Linked Information

Max Bill, die grafischen Reihen, 1995
Max Bill, die grafischen Reihen, 1995
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.
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Jef Diederen, Stedelijk Museum, Amsterdam, 1977 designed by Wim Crouwel and Daphne Duijvelschoff (Total Design)
From the design archive:

Jef Diederen, Stedelijk Museum, Amsterdam, 1977

  • Format: Exhibition Catalogue
  • Designer/s: Wim Crouwel and Daphne Duijvelschoff (Total Design)
  • Year: 1977
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Eros, Summer 1962, Volume One, Number Two. Designed by Herb Lubalin
From the design archive:

Eros, Summer 1962, Volume One, Number Two

  • Format: Magazine/Book
  • Designer/s: Herb Lubalin
  • Year: 1962
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Typografia, ročník 68, 08, 1965. Cover design by Vladislav Najbrt
From the design archive:

Typografia, ročník 68, 08, 1965

  • Format: Magazine
  • Designer/s: Vladislav Najbrt
  • Year: 1965
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Gebrauchsgraphik, 04, 1950
From the design archive:

Gebrauchsgraphik, 04, 1950

  • Format: Magazine
  • Year: 1950
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Members Content

Advertisements for Radio Italiano designed by Erberto Carboni Scanned from Publimondial 29, 1950
  • Design Archive Feature, Members Only Content

Erberto Carboni and his work for Radio Italiana, 1940s and 1950s

These one-colour forms have a playful but structured aesthetic through their geometric forms, they remind me of the abstract line drawings of Picasso blended with Jan Tschichold and the New Typography.
  • Designer Interview

My Grandfather Franco Grignani, with Emiliano Grignani

Emiliano Grignani is the grandson of Franco Grignani, one of the most versatile and influential Italian designers. Well-known for his advertising, painting and the way he could visualise motion in such a unique way. I interviewed Emiliano to find out more about Franco and his influence on graphic design and the great resource, https://www.francogrignani.info.

Members Content

25 years of Swiss poster art, 1941 to 1965
  • Design Archive Feature, Members Only Content

25 years of Swiss poster art, 1941 to 1965

“Der Druckspiegel” typographic supplement May 5, 1967, was focused on a selection of the winning entries from Die besten Plakate des Jahres featuring over fifty winning entries.
  • Designer Profile

Ken Garland

Ken was born in 1929, in Southampton and grew up in a small market town in North Devon. He was a principled man, with strong values and views against the hyper-consumerism we live with today. Ken studied at the London Central School of Arts and Crafts in the 1950s and was taught by Herbert Spencer, Anthony Froshaug and Jesse Collins. Whilst at the School he studied alongside designers Ken Briggs, Alan Fletcher and Colin Forbes.