Peter Behrens. Covers for Mitteilungen Der Berliner Elektricitaets-werke (Berlin Electric Works Magazine). 1908. Each issue used a different geometric pattern on the front cover, and the graphic theme was echoed by the back cover calendar design.

Peter Behrens. Covers for Mitteilungen Der Berliner Elektricitaets-werke (Berlin Electric Works Magazine). 1908. Each issue used a different geometric pattern on the front cover, and the graphic theme was echoed by the back cover calendar design.

Peter Behrens, title and dedication pages for Celebration of Life and Art, 1900. A sharp angularity characterizes the title page (left), framed by caryatids. On the right, a dedication to the Darmstadt artists’ colony is ornamented with controlled curvilinear rhythms.

Peter Behrens, title and dedication pages for Celebration of Life and Art, 1900. A sharp angularity characterizes the title page (left), framed by caryatids. On the right, a dedication to the Darmstadt artists’ colony is ornamented with controlled curvilinear rhythms.

Peter Behrens, guidebook covers for the AEG pavilion at the German Shipbuilding Exhibition, 1908. A translation drawing reduces the architectural structure to flat planes. The lettering used here became a basis for the AEG visual identification system.

Peter Behrens, guidebook covers for the AEG pavilion at the German Shipbuilding Exhibition, 1908. A translation drawing reduces the architectural structure to flat planes. The lettering used here became a basis for the AEG visual identification system.

GERMANY: Peter Behrens, covers for Mitteilungen der Berliner Elektricitaetswerke (Berlin Electric Works Magazine), 1908.

GERMANY: Peter Behrens, covers for Mitteilungen der Berliner Elektricitaetswerke (Berlin Electric Works Magazine), 1908.

Peter Behrens. Behrens Kursiv und Schmuck (Italics and Ornaments), Kingspor Type Foundry. 1907. An attempt to innovate typographic forms for the new era, Behrens Kursiv was an italic version of Behren's first typeface, Behrennsschrift, from 1901. Image Source: Megg's History of Graphic Design (6th edition)

Peter Behrens. Behrens Kursiv und Schmuck (Italics and Ornaments), Kingspor Type Foundry. 1907. An attempt to innovate typographic forms for the new era, Behrens Kursiv was an italic version of Behren's first typeface, Behrennsschrift, from 1901. Image Source: Megg's History of Graphic Design (6th edition)

Talwin Morris, page ornaments from the Red Letter Shakespeare series, c. 1908. The name for this small, modestly priced set derives from its two-color printing with character names in red. Between the introduction and the play, each volume had a graceful black ornament with a red oval.

Talwin Morris, page ornaments from the Red Letter Shakespeare series, c. 1908. The name for this small, modestly priced set derives from its two-color printing with character names in red. Between the introduction and the play, each volume had a graceful black ornament with a red oval.

Alfred Roller (designer and illustrator), Ver Sacrum calendar for November 1903. An exuberant border brackets a seasonal illustration, “Letzte Blätter” (Last Leaves), and hand-lettered, rectangular numbers and letters.

Alfred Roller (designer and illustrator), Ver Sacrum calendar for November 1903. An exuberant border brackets a seasonal illustration, “Letzte Blätter” (Last Leaves), and hand-lettered, rectangular numbers and letters.

Talwin Morris, pages from the Red Letter Shakespeare series, c. 1908. The standard format used rigorous linear structures and graceful ornamented capitals.

Talwin Morris, pages from the Red Letter Shakespeare series, c. 1908. The standard format used rigorous linear structures and graceful ornamented capitals.

Pinterest
Search