Typographische Mitteilungen, 18 Jahrgang, Heft 5, Mai 1921

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Journal of the Educational Association of German Book Printers

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Typographische Mitteilungen, 18 Jahrgang, Heft 5, Mai 1921
Typographische Mitteilungen, 18 Jahrgang, Heft 5, Mai 1921
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles
Oskar Reiner advertisements for Opel distinguish themselves by clarity and visually appealing conception.

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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.

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In my previous article about the design work produced for Insituto di Tella, I touched upon the artists Juan Carlos Distéfano, Ruben Fontana and Juan Andralis. After further research, I found a suite of other designs they had produced, including exhibition posters, concert programmes and record sleeves.
When Fritz Gottschalk and Stuart Ash joined forces in Montreal, it was a partnership ideally suited to the city's hybrid environment. Gottschalk's training in graphic design in Switzerland, Paris and London was rigid, his background European; Ash, Canadian born and educated, was trained in the North American fashion, though he was influenced by his work with European designers