Typografische Monatsblätter, 4-5, 1947

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Typografische Monatsblätter, 4-5, 1947
Typografische Monatsblätter, 4-5, 1947
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In minor printed matter we constantly meet the new typography, but it is relatively rare to find posters designed on the new lines. And yet poster-designing is a field where new typographical methods might be employed with great effect.
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.
I have always loved the design work created for Olivetti. The colourful midcentury designs by Italian designer Giovanni Pintori, the minimal typographic poster by Swiss designer Walter Ballmer and my personal favourite the 1959 poster for Olivetti designed by Herbert Bayer. I recently found out Triest Verlag released a new book, Visual identity and branding at Olivetti which contains further work by Xanti Schawinsky, Renato Zveteremich, Ettore Sottsass, Hans von Klier, Egidio Bonfante and Walter Ballmer.

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Nikon commissioned Yusaku Kamekura to design numerous posters, packaging designs and advertisements for Nikon. He used abstract forms, an impactful use of colours, along with his skilful reduction of messaging.