The Journal of the Society of Typographic Designers
Design Archive Feature, Illustration, Members Only Content, Regional Histories
A while back, I bought a set of around 14 French travel guides produced by Shell that came in a leather pouch, each bearing the signature ‘D. Hamot.’ Determining the designer's full name proved to be a challenge. Their aesthetic could reflect the shifting design trends of the late 1960s.
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Design Archive Feature, Illustration, Members Only Content, Studios & Collectives
Winter + Bischoff’s work blends fine art and graphic design and is a fine example of commercial design featuring a heavy use of stylistic illustration. In fact a lot of German graphic design in the 1960s has this strong relationship of commercial and professional typographic layout with the roughness and organicness of art.
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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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