Typographische Mitteilungen, 16 Jahrgang, Heft 9, September 1920

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Journal of the Educational Association of German Book Printers

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Typographische Mitteilungen, 16 Jahrgang, Heft 9, September 1920
Typographische Mitteilungen, 16 Jahrgang, Heft 9, September 1920
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Among the young graphic artists of Berlin, who set to work after the war, Hans Adolf Albitz and Ruth Albitz-Geiß can claim special attention. In a short time, at a period when economic conditions were pretty unfavourable, they worked themselves so to the fore that their names came to mean something in Berlin publicity, and in western Germany their posters are known and appreciated, too.

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Before setting up Ken Garland & Associates in Camden, London, Ken was art editor of Design magazine in 1956. The magazine was published by the Council of Industrial Design, which was set up in 1944 with the prime focus of supporting Britains economic recovery.

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These one-colour forms have a playful but structured aesthetic through their geometric forms, they remind me of the abstract line drawings of Picasso blended with Jan Tschichold and the New Typography.

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Giovanni began his work with Olivetti in March 1938, and his work was showcased in various exhibitions and had a clear distinctive style that amplified the Olivetti brand image. His design defined the company’s visual image, and the iconic geometric designs are still as powerful and engaging today as they were in the 1950s.