Join the Mailing List

Membership

Graphic Design History from Design Reviewed
Jiří Rathouský - Czech Graphic Designer

Typografia, ročník 70, 09, 1967

, ,

Information

Published by the Polygraphic Research Institute, a specialized publishing and publishing center.
Chief editor: Ing. Vladimir Drbohlav.
Editor: Bojka Benešová.
The graphic design of the cover uses materials From the work of Karel Dyrynk designed by Sona Valoušková and Jiří Rathouský.
Graphic editing of the text part (except advertisements) by Soña Valousková.
Prepared for printing by František Fantyš.

Details

  • Format: Magazine
  • Designer/s: Karel Dyrynk, Sona Valoušková, Jiří Rathouský.
  • Year: 1967
  • Size: 235mm x 310mm

Linked Information

Typografia, ročník 70, 09, 1967. The graphic design of the cover uses materials From the work of Karel Dyrynk designed by Sona Valoušková and Jiří Rathouský
Typografia, ročník 70, 09, 1967. The graphic design of the cover uses materials From the work of Karel Dyrynk designed by Sona Valoušková and Jiří Rathouský

 

Typografia, ročník 70, 09, 1967. Back Cover
Typografia, ročník 70, 09, 1967. Back Cover

 

Typografia, ročník 70, 09, 1967. The graphic design of the cover uses materials From the work of Karel Dyrynk designed by Sona Valoušková and Jiří Rathouský
Typografia, ročník 70, 09, 1967. The graphic design of the cover uses materials From the work of Karel Dyrynk designed by Sona Valoušková and Jiří Rathouský
More graphic design artefacts
Typografische Monatsblätter, 10, 1947
From the design archive:

Typografische Monatsblätter, 10, 1947

  • Format: Magazine
  • Year: 1947
View Artefact
Holiday Magazine, April, 1960. Cover designed by George Giusti.
From the design archive:

Holiday Magazine, April, 1960

  • Format: Magazine
  • Designer/s: George Giusti
  • Year: 1960
View Artefact
Atelier 9 Stedelijk Museum, Amsterdam, 1971 designed by Wim Crouwel and Magda Tsfaty (Total Design)
From the design archive:

Atelier 9 Stedelijk Museum, Amsterdam, 1971

  • Format: Exhibition Catalogue
  • Designer/s: Wim Crouwel and Magda Tsfaty (Total Design)
  • Year: 1971
View Artefact
A Pioneering Printer - Lund Humphries of Bradford, Ruth Artmonsky, 2021
From the design archive:

A Pioneering Printer – Lund Humphries of Bradford, Ruth Artmonsky, 2022

  • Format: Book
  • Year: 2022
View Artefact

view more of the graphic design archive

More graphic design history articles

Members Content

Unimark International and the visual identity of South-African manufacturer, DEFY.
  • Design Archive Feature, Members Only Content

Unimark International and the visual identity of South-African manufacturer, DEFY.

The identity manual consisted of 130 pages of information and brand usage with Arie J. Geurts heading up the project as design director, (who later headed up his own design studio in Los Angeles). The identity uses minimal colour and focuses on a consistent brand blue in all communications.

Members Content

National-Zeitung SA Basel designed by Gerstner + Kutter, Basel in 1960
  • Design Archive Feature, Members Only Content

Swiss Posters from the 1960 Best Poster Award (Die besten Plakate des Jahres 1960)

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.

Members Content

Shostakovich Piano Concerto No. 1 opus 35 & No. 2 opus 102. Record 2 Rudolph de Harak.
  • Design Archive Feature, Members Only Content, Music Artwork

Rudolph de Harak and Westminster Records

Rudolph de Harak designed over 50 record covers for Westminster Records as well as designing covers for Columbia, Oxford and Circle record labels. His bright, geometric graphics can easily be distinguished and recognised.
Idea 81, 1967. Cover design by Yusaku Kamekura
  • Design Archive Feature

Elements of Idea “The Arrow” by Shigeo Fukuda, 1973

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.