Visual, 01, April 1977

Information

Content includes:
Lexicology of art – Ugo Castagnotto
False Monk by Luca Alinari – Edoardo Sanguineti
Presence of Natives – Piero Pacini
Artist’s studio: Ricardo Guarneri – Carlo Cantini
On New Painting – Ermanno Migliorini
Advertising propaganda art – Lamberto Pignotti
Semiotics of visual communications with an aesthetic function: visual poetry – Eugenio Miccini
Visual codes and double articulation – Michele Balice
Public market art – Achille Bonito Oliva
Futurism in Naples – Luciano Caruso
Between verbal and visual in Tristram Shandy – Loretta Innocenti
Art and theater – Lea Vergine
Casanova or the artificial total – Raffaele Monti
Six questions to Gaslini – Daniele Lombardi
Theory of an ideo-musical writing
graphics – Daniele Lombardi
Aleksandr Rodchenko – Luciano Ricci
A speech at the AART Assembly – Lelio Lagorio
Good morning sadness – Alessandro Vezzosi

Details

Linked Information

Visual, 01, April 1977
Visual, 01, April 1977
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

The collection of works I've gathered, designed for Olympia-Werke, showcases the height of mid-century German commercial artistry. The work was collated in a branded folder and contained forty brochures, advertisements and manuals.

Members Content

A 1,500 essay on the transformative era of graphic design from the 1970s to the 1990s. Moving beyond the constraints of modernism, designers like Wolfgang Weingart and April Greiman redefined visual communication through bold experimentation with type, colour, and early computer graphics. This essay highlights how postmodernism and New Wave design introduced complexity, individuality, and digital innovation in to graphic design.
In the ambitious new monograph Rational Simplicity: Rudolph de Harak, Graphic Designer, Volume shines a light on the complete arc of the exceptionally rich and varied career of Rudolph de Harak, showcasing his vibrant, graphic, formally brilliant work, which blazed a colourful trail through the middle decades of the twentieth century.
The background of Kamekura's mark designs is his boldness in eliminating all the waste, combining simplification derived from Japanese traditional family crests and Western intellectual mechanics of formation with a sharp modern sense of composition.