Typos 1, An International Journal of Typography, 1980

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Content includes:
About Typos – Fred Lambert
Total Design of Amsterdam – Huib van Krimpen
Typography and Symbolism – Clive Ashwin
Matrix Making and Type Design 1900-13 – John Dreyfus
The use of Photographic Images – Armin Hofmann
A Deck of Cards
The Designer’s Grid – Allen Hurlbert
From Craft to System – Alan Bartram
Edward Johnston – Barney Somers
New Johnston – Colin Banks
Lou Dorfsman – Allen Hurlbert
Oliver Simon: An English Typographer – Basil Harley
Bi-lingual Typography – Maldwyn Williams

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Typos 1, An International Journal of Typography, 1980. Fred Lambert and Usha Agarwal
Typos 1, An International Journal of Typography, 1980. Fred Lambert and Usha Agarwal

 

Typos 1, An International Journal of Typography, 1980. Fred Lambert and Usha Agarwal
Typos 1, An International Journal of Typography, 1980. Fred Lambert and Usha Agarwal
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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.
IBM puts a premium on functional design, forms and colours which make it far easier for the potential customer to gain an insight. In this respect the IBM methods are exemplary. The IBM already opened studios of artistic and graphic design for its German and Italian offices and a few years ago another such studio was established in Paris. Frank René Testemale was entrusted with its organisation and was appointed its business and art director.
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.
"Talking about myself as a designer is something that requires a powerful dialogue with my life experiences. In a radical way, I apply an exercise in which design forms become projections of life, extensions of meaning that constantly involve senses."