Visible Language, Vol 06, 02, Spring 1972

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Content includes:
Typography and the Visual Concrete Poem, Mary Ellen Solt
Proposal for a Diagrammatic Language for Design, Robert E. David
Orthographic Practices of Elias Molee, Henry R. Stern
Grapheme-Phoneme Correspondence in Beginning Reading of Disadvantaged Five-Year-Olds, Myrtle Scott
On Effects of Indentation and Underlining in Reference Work, Dirk Wendt & Hans Weckerle

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Visible Language, Vol 06, 02, Spring 1972
Visible Language, Vol 06, 02, Spring 1972
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles

Members Content

Tadashi Ohashi was at the forefront of Japan's postwar design movement, with his illustrations widely celebrated. In 1952, he became the chief designer for Meiji Seika Confectionery, producing some of his most renowned work.

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Crouwel was the successor to Willem Sandberg who used an avant-garde approach in his work, utilising torn-paper montage, mixing of sans serif and old Egyptian typefaces and often off-center positioning. Crouwel steered away from this artistic approach and implemented a cohesive design system and a strong identity that emulated the corporate identity boom of the 1950s and 60s.

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As part of an ongoing series showcasing Swiss poster designs from the 1950s and 1960s, this article features 1961 poster entries of Die besten Plakate des Jahres (The Best Posters of the Year) 1961. Originating in 1941, Die besten Plakate des Jahres initially served as a platform for the evaluation and showcase of Swiss posters.

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The typographic designs produced for the National Theatre by Ken Briggs are not only iconic and depict the Swiss typographic style of the time, but remain a key example of the creation of a cohesive brand style.