1960 issue 3
The cover designer is unidentified. The type faces used are
Akzindenz Grotesk and Monotype Grotesque. The layout of this poster is what
attracted me to it the most. I love the contrast of the horizontal versus
vertical stress. I have also always been attracted to black and read together.
I just really appreciate the use of space and how the photograph and content
are treated.
1963 issue 10
I actually found all of 1963 to be quite amusing and
inspiring. I found them all to be a very unique approach. This one, however, I
found to be the most unique. It was designed by Felix Berman using the Universe type face. Berman is a Swiss
typographer and graphic designer who studied at the Schule fur Gestaltung
Basel. I was drawn to this design in particular because of the unique way the
text was treated. With both columns aligned against each other creating a
centered alignment look with the horizontal pull of the rules. I found it very
interesting and inspiring to study.
1970 issue 12
The cover design is by Jan
Tschichold. Tschichold was a highly rewarded german typographer who studied
in Leipzig. He was a design historian as well as critic for contemporary
typography. The strong simple geometrics of this poster is what attracted me to
it most. I love the contrast in shapes and balance of space in this
composition. Its fun for me to look at something like this and imagine what my
own geometric design of shapes would be in my own composition of choice. A
poster like this inspires me in the way that it gets me thinking in a more
abstract and unique way of approaching visual problems
1978 Issue 2
These issues were designed by Gregory Vines with the type face Akzidenz Grotesk. Vines is an
American designer who first studied at the Massachusettes College of Art under
Muriel Cooper. I have great interest and appreciation for all of these issues
for 1978. I find the similarities in composition and contrast in contents to be
very mesmorizing and inspiring. I am drawn to this concentration overall.
1980 issue 6
The designer of this cover is Dora Wespi who is a Swiss graphic designer who studied at the
Schule fur Gestaltung Luzern and later free-lanced. She used Gill Sans and
Times new Roman for her typefaces. I was just really attracted to the layout of
this piece. I really like how the title breaks up the body of text. Its unique
and something I don’t think I would have attempted without seeing it done
before.
1982 issue 3
This issue was designed by Hans Rudolf Bosshard. He was a Swiss Graphic designer and artist involved
in the concrete movement who studied at the Schule fur Gestaltung Zurich. He used Syntax for his typeface of
choice. I was really drawn to this cover for multiple reasons. I love the
simplistic use of the photograph and how the darker value of the figure was
used as an alignment tool for the vertical text. Its very beautiful and
effective.
1985 issue 5
The cover designer for this issue is Jost Hochuli. He was a Swiss designer who studied in St. Gallen,
Zurich, and Paris before making a reputation. He used lettering and Universe
for his typefaces. I was really attracted to this design not only for the
vibrant color but for the simplicity and consistency of the design. I love the
visual connection between the shape and text. The eye mainly views the black as
a vertical style which is why the black text is remained untouched and left
traditional. However, the white text is tilted slightly to match the angle of
white the M makes in the design above. I find the visual connection amusing.
1989 issue 5
The designer of this cover is Max Caflisch. He was a swiss type designer and teacher who was head
of the graphics department at the Schule fur Gestaltung Zurich. He used the Charter typeface for this
poster. I was drawn to this poster by its color and by its strong display of
hierarchy and repetition. I was attracted to the use of negative space and
organization of information.
