Typografia, ročník 75, 11-12, 1972

Information

Published by the General Management of Printing Industry, Prague, in SNTL
Publishers of Technical Literature
Editor-in-chief Ing. Vladimír Drbohlav.
Assistant editors Helena Mendlová, Bohuslav Holy.
Cover by Jan Urbánek
Design of František Fantyš.
Published monthly in cooperation with General Management of Slovak Printing Industry (Slovenská polygrafia), Bratislava; Czechoslovak Printing Society (CSVTS)

Details

Linked Information

Typografia, ročník 75, 11-12, 1972. Cover design by Jan Urbánek
Typografia, ročník 75, 11-12, 1972. Cover design by Jan Urbánek

 

Typografia, ročník 75, 11-12, 1972. Back Cover design by Jan Urbánek
Typografia, ročník 75, 11-12, 1972. Back Cover design by Jan Urbánek

 

Typografia, ročník 75, 11-12, 1972. Cover design by Jan Urbánek
Typografia, ročník 75, 11-12, 1972. Cover design by Jan Urbánek
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles

Members Content

As part of an ongoing series showcasing Swiss poster designs from the 1950s and 1960s, this article features 1961 poster entries of Die besten Plakate des Jahres (The Best Posters of the Year) 1961. Originating in 1941, Die besten Plakate des Jahres initially served as a platform for the evaluation and showcase of Swiss posters.

Members Content

The Best Swiss Posters Award was an annual competition, judged by a Swiss Jury. They selected a range of posters, showcasing a range of poster styles from completely typographic designs such as the work of Robert Büchler, to the illustrated posters of Donald Brun.

Members Content

Japanese modern design was heavily influenced by European art movements, particularly modernism and the Bauhaus school. As Japan's advertising industry expanded, it increasingly drew from Western culture, especially television and film, resulting in designs that were eclectic, vibrant, and infused with modernist energy.
The first American university to accept graphic designers as members of the faculty was the Massachusetts Institute of Technology, called M. I. T, for short. The work created by the design group reflects the high level of instruction, the realistic setting of the training and the progressive philosophy of this institute.