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Typografia, ročník 56, 07, 1953. Cover design by Oldřich Hlavsa
Typografia, ročník 56, 07, 1953. Cover design by Oldřich Hlavsa
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
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The versatility of the arrow sign knows no bounds – from thin lines exuding delicacy to thick, heavy-set lines conveying stability and weight. Depending on its construction, the arrow sign can speak with individuality, even possessing psychological and emotional expression.

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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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Rastorfer transformed the advertising of Volkswagen and his work contrasted with that of the previously commissioned designers. It reiterates the importance of finding a designer who can transform your vision and adverting and how the significance of consistent messaging across advertisements, contributes to the creation of a memorable campaign 

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The collection of works I've gathered, designed for Olympia-Werke, showcases the height of mid-century German commercial artistry. The work was collated in a branded folder and contained forty brochures, advertisements and manuals.