预订 Neue Grafik: New Graphic Design: Graphisme Actuel: 1958-1965
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作者Lars Muller
出版社Lars Muller Publishers
ISBN9783037784112
出版时间2015-02
装帧平装
上书时间2020-11-23
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Neue Grafik: New Graphic Design: Graphisme Actuel: 1958-1965
中文书名： 新平面设计：1958-1965
作者： Lars Muller
ISBN13： 9783037784112
类型： 简装(简装书)
语种： 英语（English）
出版日期： 2015-02-18
出版社： Lars Muller Publishers
页数： 1232
重量（克）： 6531
尺寸： 38.1 x 29.718 x 11.43 cm
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Neue Grafik, the -International Review of graphic design and related subjects, - was initiated by designer Josef Muller-Brockmann and published in eighteen issues between 1958 and 1965 by an editorial collective consisting of him, Richard Paul Lohse, Hans Neuburg und Carlo Vivarelli ( LMNV ). The complete volumes are now available in an excellent facsimile reprint from Lars Muller Publishers.
Neue Grafik, the "International Review of graphic design and related subjects," was initiated by designer Josef M ller-Brockmann and published in eighteen issues between 1958 and 1965 by an editorial collective consisting of him, Richard Paul Lohse, Hans Neuburg und Carlo Vivarelli ( LMNV ). The complete volumes are now available in an excellent facsimile reprint from Lars M ller Publishers. From a historical point of view, Neue Grafik can be seen as a programmatic platform and effective publishing organ of Swiss graphic design, an international authority in its field at the time. Protagonists of the Swiss school and its rigorous Zurich faction lead an essential discourse on the foundations of current communication and constructive design. The influence of this movement cannot be over-stated. The Swiss school, also called "Inter-national Style," became exemplary for the conceptual approach to corporate design of increasingly globally operating corporations and an influential precursor in the design of individual projects, such as posters, exhibitions, and publications. Neue Grafik is an important point of reference in the recent history of graphic design. After the heights of the digital revolution now follows a renewed concern for matter-of-fact concepts and clear form languages. This explains the interest in the almost fundamentalist stance of the four Zurich-based designers, who were responsible for the content of the magazine.
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