Jan Bons studied painting and advertising art at the Academie voor Beeldende Kunsten in The Hague from 1936 to 1937, and then continued his studies for a year at the Nieuwe Kunstschool in Amsterdam.
Throughout his profession, Bons stood out as a versatile designer, he illustrated books and designed posters and exhibitions. As well as working on large-scale murals and sculptures. Bons loved the profession and his work, it’s no surprise that his extensive portfolio boasts hundreds of posters and brochures, for many clients, in particular, the cultural sector. Amongst Bons’s long-term clients include theatre groups De Appel in The Hague and Studio in Amsterdam.
Nieuw Ensemble, Nieuw Ensemble 25 Jaar, Brochure, 2005. Designed by Jan Bons
Jan Bons studied painting and advertising art at the Academie voor Beeldende Kunsten in The Hague from 1936 to 1937, and then continued his studies for a year at the Nieuwe Kunstschool in Amsterdam.
Throughout his profession, Bons stood out as a versatile designer, he illustrated books and designed posters and exhibitions. As well as working on large-scale murals and sculptures. Bons loved the profession and his work, it’s no surprise that his extensive portfolio boasts hundreds of posters and brochures, for many clients, in particular, the cultural sector. Amongst Bons’s long-term clients include theatre groups De Appel in The Hague and Studio in Amsterdam.
Before ascending to fame within the contemporary art scene, Warhol enjoyed a thriving career as a commercial artist. His illustration work was commissioned by various magazines, including The New Yorker, Vogue, and Harper's Bazaar.
Franco Grignani (1908-1999) was one of the twentieth century’s most important Italian graphic designers. Scanning the inner pages of Gebrauchsgraphik 04, 1962, I have managed to collate a selection of the advertisements created in the 1950s and early 1960s, showcasing his groundbreaking design work.
The 1960 awards presented 420 poster entries from Swiss designers. Notable winners included Robert Büchler's typographic poster for the Museum of Applied Arts Basel and J. Müller-Brockmann’s Der Film poster for the Museum of Applied Arts and Gerstner + Kutter's asymmetric typographic poster for National-Zeitung SA Basel.
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.
