Information

Contents
Concrete Poetry: A study in Metaphor
THe Renaissance of books
Word Recognition Latencies as a Function of Form Class
Lettering and Society
A Proposition for Education in Letterforms and Handwriting by Wim Crouwel
Research in Brief: Printed Intonation Cues and Reading in Children
Research in Brief: Orientation to the Spatial Characteristics of the open book
Abstract Article in German and French

Details

Linked Information

Visible Language, Vol 08, 03, Summer 1974. Designed by Wolfgang Weingart
Visible Language, Vol 08, 03, Summer 1974. Designed by Wolfgang Weingart
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

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.

Members Content

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.
Why Graphic Culture Matters is a compilation of 46 thought-provoking essays by renowned design critic Rick Poynor, delving into the realms of art, design, and visual communication.

Members Content

Blase’s long-term clients were Staatstheater Kassel (Kassel State Theater) and Atlas Films. Karl Oskar Blase produced countless posters for these two organisations. It’s not surprising considering Blase designed posters for the Staatstheater for twelve years between 1966 and 1978.