Marcus Kraft is a graphic designer based in zurich, switzerland. his work includes a range of projects such as art direction and design as well as photography for art and cultural institutions and other clients. he was awarded several prizes and his work has been frequently exhibited and published (e.g. art directors club, red dot, design network switzerland). currently employed at raffinerie, he also works as co-art director for kinki magazine.
Helvetica Forever is a project of the University of Applied Sciences Düsseldorf.
Curated by Lars Müller, Victor Malsy and Philipp Teufel.
Osaka and Tokyo in Japan were the first venues of the exhibition tour in cooperation with DNP.
The next stations will be Sofia (Bulgaria) and Düsseldorf (Germany).
From the early days in 1957 until now ‘Helvetica forever’ presents a wide range of works which prove the intrinsic qualities of Helvetica.
The exhibition comprises about 100 items like advertisments and posters but also includes promotional leaflets from the very beginning as well as documents highlightening Helvetica’s history of origin.
(via FormFiftyfive)
A film by Erich Schmid
The film about Max Bill (1908-1994) moves between the dynamic fields of art, aesthetics and politics. Max bill was probably the most important swiss artist of the 20th century and the most famous student to come out of the legendary bauhaus in dessau. He was an ardent anti-fascist and all his avant-garde work as an artist, sculptor, architect and typographer showed a social responsibility and environmental awareness right through his life. His views have become incredibly topical.
(via swissmiss)
Edited by the Museum für Gestaltung Zürich, Andres Janser, Barbara Junod and published by Lars Müller.
The design studio of J. R. Geigy AG was the launching pad for one of the great periods of Swiss graphic design, in the 1950s and 1960s. The open-minded corporate culture of the chemical company in Basel combined product and company advertising in an exemplary way. The resulting works reveal a modernist formal idiom without being indebted to a specific, formulaic look. There was room in it for visual symbolism as well as the acquisition of nonrepresentational art, with which some of the graphic designers involved were connected. Under the leadership of Max Schmid for many years, the studio employed Roland Aeschlimann, Karl Gerstner, Jörg Hamburger, Steff Geissbuhler, Andreas His, Toshihiro Katayama, and Nelly Rudin, among others. Freelance designers such as Michael Engelmann, Gottfried Honegger, Armin Hofmann, Herbert Leupin, Warja Lavater, Numa Rick, and Niklaus Stoecklin were also used. In the 1960s, the Basel office, most especially George Giusti and Fred Troller, was involved in developing the studios of the subsidiaries in the United States and the United Kingdom, placing more emphasis on advertising. This is the first comprehensive presentation of Geigy design, an important Swiss contribution to the international history of design, in all its determination and independence.
19.8 x 26.4 cm, 208 pages, 385 illustrations, hardcover
Euro 39.90
(via Aisleone)
Limitied Edition of the “A Tribute to typography – Helvetica, past, present and future of the typography” exhibition 192 pages / 9x14cm / acid-free paper. Special Edition with Moleskine Hard Red Ruled Notebook. Design by GROOVISIONS, with logos debossed on both covers, customised banderole and history of Helvetica printed on the backend page.
