Visible Language, Vol 05, 04, Autumn 1971

Information

Content includes:
Ancient Maya Writing and Calligraphy, Michael D. Coe
Design of a New Japanese Typeface: Typos, Group Typo Letterforms as Medium for Artistic Expression, Hella Basu
Cresci and His Capital Alphabet, Donald M. Anderson
Why Serifs are Important: the Perception of Small Print, D O: Robinson, M. Abbamonte, & S. H. Evans
Graphic Trends in Consumer Magazine Advertising, 1938-1968, Fred Bauries
The Graphics of Prose, J. M. Smith & M., E. McCombs

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Visible Language, Vol 05, 04, Autumn 1971
Visible Language, Vol 05, 04, Autumn 1971
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles

Members Content

The advertising has a certain contrast of hand-drawn and mechanical. Produced entirely in black, it reminds us that the absence of colour can be highly effective. Hans Michel and Günther Kieser's illustrations bring a sense of both playfulness and a stylistic approach to a corporate client.

Members Content

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.

Members Content

A selection of poster designs from Die besten Plakate des Jahres 1958 with a translated foreword by Maria Netter. Featuring the work of Müller-Brockmann, Celestino Piatti, Donald Brun and Armin Hofmann.

Members Content

Omnibus was Published by the journalism working group of the Technical University of Braunschweig. A square publication measuring 290mm. The publication included features on politics, arts and culture. With advertisements carefully selected to be in keeping with the visual aesthetic. Content also included exhibition information and a fine example of concrete poetry, among artists such as Schröder-Sonnenstern and Sine Hansen.