Swiss graphic design and typography magazine, subtitled “Zeitschrift für Schriftsatz, Gestaltung, Sprache, Druck und Weiterverarbeitung – Revue pour la composition, la conception graphique, la langue, l’impression et l’apprêt”. Herausgegeben von der Gewerkschaft Druck und Papier zur Förderung der Berufsbildung – Editée par le Syndicat du livre et du papier pour l’éducation professionnelle. The Typografische Monatsblätter was one of the most important journals to successfully disseminate the phenomenon of Swiss typography to an international audience, as well as spread the burgeoning ideas of the New Wave style. In existence for almost eighty years, the journal was a vital forum for concepts and discussion. Throughout these years, the Swiss typographic journal witnessed significant moments in the history of typography and graphic design
Weingart, Wolfgang. – Hostettler, Rudolf (ed.):. Typographische Monatsblätter (TM) Schweizer Graphische Mitteilungen no 6 / 7, 1973. St. Gallen: Zollikofer / Schweizerischer Typographenbund Bern 1973. 4to complete in original magazine wraps. (90) pages. Complete and clean and well preserved copy
Rare issue, with one of the classic Weingart experimental covers
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Excellent survey covering all aspects of the influential British Rail design initiated in the 1960s. The author was Director of Industrial Design, British Railways Board, 1966 to 1986
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Magnus & Snorre Stephensen: Brugsting fra Japan (“Traditional Crafts of Japan”). Copenhagen: Arkitektens Forlag, 1969. Publishers fine clothed and decorated hardcover with well preserved dustjacket. Richly illustrated in b/w and color. Text in Danish. Fine copy. First edition.
This publication documents Bill’s initiative in reproductions of the original display panels and layout plans for the venues visited by the exhibition, and places Die gute Form in a theoretical context that considers its reception and impact within the history of design. The international touring exhibition Die gute Form was conceived by Max Bill on behalf of the Swiss Werkbund and was shown for the first time in 1949 at the Basel Mustermesse trade fair. The exhibition consisted of 80 display panels, designed by Bill presenting a selection of consumer goods from all over the world chosen by Bill as examples of good design
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In 1949 Max Bill organized an exhibition of modern design called “die gute form” on behalf of the swiss werkbund (swb). in the years 1952-1968 the label “die gute form” was used by the swiss werkbund to promote “good design”. This is the original exhibition catalogue of a 1954 exhibition in zürich and winterthur
