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Content includes:
Hans Kuh – A Selection of the Best German Posters 1964/65
Jorg Lampe – Sabine Tschierschky. Illustrations and Posters
Eberhard Hölscher – Belgian Commercial Art
Eberhard Hölscher – How to Sleep Ingeniously. A Series of Chemical-Pharmaceutical Patents
J. J. de Lucio-Meyer – Main Wolff & Partners. An English Studio for Design
Ludwig Ebenhöh – The Bill-Poster

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Gebrauchsgraphik, 8, 1965. Cover design by Tomás Vellvé
Gebrauchsgraphik, 8, 1965. Cover design by Tomás Vellvé

Gebrauchsgraphik, 8, 1965. Inner pages
Gebrauchsgraphik, 8, 1965. Inner pages
Gebrauchsgraphik, 8, 1965. Inner pages
Gebrauchsgraphik, 8, 1965. Inner pages
Gebrauchsgraphik, 8, 1965. Inner pages
Gebrauchsgraphik, 8, 1965. Inner pages
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
"Rudy is one of the unsung pioneers of American mid-century modernist graphic design. He had a unique and definitive point of view that was really never celebrated. This may have been attributed to his strict adherence to the formal principles of modernism and the International Typographic Style."

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Before setting up Ken Garland & Associates in Camden, London, Ken was art editor of Design magazine in 1956. The magazine was published by the Council of Industrial Design, which was set up in 1944 with the prime focus of supporting Britains economic recovery.

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Volkswagen commissioned a fantastic range of graphic designers, including Wolf Zimmermann, Hans Looser and Michael Engelmann. The designers amplified the brand image of Volkswagen with strikingly modern designs.
The versatility of the arrow sign knows no bounds – from thin lines exuding delicacy to thick, heavy-set lines conveying stability and weight. Depending on its construction, the arrow sign can speak with individuality, even possessing psychological and emotional expression.