Oase 100, 2018, Karel Martens and The Architecture of the Journal

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Content includes:
Marius Schwarz, ‘Magazine’, 28–99
Bart Decroos, Véronique Patteeuw en Marius Schwarz, Karel Martens and the Architecture of the Journal
Carlo Menon, Veronique Patteeuw, Magazine Architecture
Linda van Deursen Harvest of Oasis: Merits and Dilemmas of the Grid

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Oase 100, 2018, Karel Martens and The Architecture of the Journal.  Designed by Karel Martens, Aagje Martens, Marius Schwarz
Oase 100, 2018, Karel Martens and The Architecture of the Journal. Designed by Karel Martens, Aagje Martens, Marius Schwarz
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From the design archive:
From the design archive:
From the design archive:
From the design archive:
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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.

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In my previous article about the design work produced for Insituto di Tella, I touched upon the artists Juan Carlos Distéfano, Ruben Fontana and Juan Andralis. After further research, I found a suite of other designs they had produced, including exhibition posters, concert programmes and record sleeves.
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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Graphis is one of the industries most long-standing magazines. It was first published in 1944 and founded by Walter Herdeg and Walter Amstutz in Zurich, Switzerland. It was released bimonthly and was trilingual, with articles in English, French and German.