Graphic Past

[design-is-fine]

Lucian Bernhard, poster for light bulb by Osram, before 1914. Germany.

[graphicpast]

[damngoodposter]

Pickpocket (Second Poster)

[damngoodposter]

Pickpocket (Second Poster)

[jhonnyfuturo]

Ziggy Stardust.

[midcenturymoderndesign]

[robotcosmonaut]

Avoid Rush Hour Travel, 1958

[parcopresis]

Grateful Dead concert poster by Alton Kelley and Stanley Mouse, January 1967.

[marcedith]

… via pilllpat /agence eureka…

[marcedith]

…Sepo, Lebole, 1959…

[marcedith]

…Indian matchbox labels …

[marcedith]

….Fashion Swimwear Lady Jantzen/ Vintage advertising 1920…….

[graphicpast]

(via hn-werkman.jpg (788×503))

 Hendrik Nicolaas Werkman, (usually referenced as H.N. Werkman) a dutch typographer and printer. He was a member of the artists group De Ploeg, printing their posters, invitations and catalogues. From 1923 to 1926 he produced his own avantgarde magazine called The Next Call. Much of the content in these publications mirrored dada works around at the time- but using experimental collage with both type/letterforms alongside stencilling and stamping techniques he created a very unique set of works.

In 1940, as the Germans invaded Holland, he began designing, illustrating and publishing a series of over forty publications based on Hassidic Jewish stories from the legend of the Baal Shem Tov in an underground publishing house called The Blue Barge (De Blauwe Schuit). All works were full of anti-fascist commentary and a call for spiritual resistance to the oppressive Nazi occupation.

He was arrested and shot on the 13th March 1945 only days before Groningen was liberated. The majority of his works were destroyed, hence the lack of presence in even the most comprehensive of global galleries.

Hendrik Werkman 

Page from a 'The Next Call' by HN Werkmann, and an (uncreditted) 'homage'!

[felipedeleonardo]

Penguin (1949)

by Jan Tschichold

[tangencial-do]

Kurt Schwitters wiki

Kurt Schwitters (1887-1948) tuvo dos pasiones: la tipografía y el collage. Aparentemente, ambas pasiones parecen contradictorias: la tipografía le condujo al diseño gráfico, donde el orden y la legibilidad deben ser la norma, mientras que en el collage todo parece surgir de manera espontánea, casual o inesperada, hasta el extremo de que el principal mecanismo perceptivo del collage, del que a veces abusa, es la sorpresa.

Vanguardia y publicidad | Fundación Juan March - Museo de Arte Abstracto Español, Cuenca (del 15 de octubre de 2014 al 15 de febrero de 2015)

via Archivo Lafuente

Más Merz Mail

[graphicpast]

(via 5-line-pica-italian.jpg (1400×516))

[magictransistor]

Herbert Bayer, Olivetti (Typewriter ad-art), Italy, 1953.