Typographic, 38-39, Spring/Summer 1990

Information

Content includes:

Museums and exhibitions
Bridget Wilkins – British Design: New Traditions
Frederique Huygen – British Design: Image & Identity
Bridget Wilkins – 8vo and the Museum Boymans-van Beuningen, Rotterdam
Flo Bayley – The Design Museum, London
Mark Suggitt – Headline or footnote? The typography of museum exhibitions
Bridget Wilkins – The Netherlands museums, Three approaches to exhibition design

Telephone directories
Colin Banks – The new British telephone directory
Jolijn van der Wouw 0 One hundred years of the Dutch telephone directory
Mathew Carter – Bell Centennial
Professor Ian McLaren- Videotex – the French Electronic telephone directory

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Linked Information

Typographic, 38-39, Spring/Summer 1990
Typographic, 38-39, Spring/Summer 1990
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

Yūsaku Kamekura had a long list of clients and as well as cover designs, he worked across logo and brand design, packaging, book design, and other printed matter, but he is particularly known for his poster design. His clients included Nikon, Tokyo 1964 Olympics, Meiji and TDK.

Members Content

Volkswagen commissioned a fantastic range of graphic designers, including Wolf Zimmermann, Hans Looser and Michael Engelmann. The designers amplified the brand image of Volkswagen with strikingly modern designs.

Members Content

Beyond being mere artefacts of design, these examples encapsulate the dynamic changes Japan was undergoing during this period. The design output of this era not only served commercial purposes but also became a powerful medium for expressing these societal shifts.
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.