• An unprecedented catalog of approximately 6,000 modern trademarks from 1940 - 1980
• The distillation of modernism in graphic design, organized into three chapters: Geometric, Effect, and Typographic
• Featuring designer profiles of Paul Rand, Yusaku Kamekura, Anton Stankowski, and case studies on Fiat, The Daiei Inc., and the Mexico Olympic Games of 1968
• An unrivaled resource for graphic designers, advertisers, and branding specialists

Modernist aesthetics in architecture, art, and product design are familiar to many. In soaring glass structures or minimalist canvases, we recognize a time of vast technological advance which affirmed the power of human beings to reshape their environment and to break, radically, from the conventions or constraints of the past. Less well-known, but no less fascinating, is the distillation of modernism in graphic design.

This unprecedented TASCHEN publication, authored by Jens Müller, brings together approximately 6,000 trademarks, focused on the period 1940 - 1980, to examine how modernist attitudes and imperatives gave birth to corporate identity. Ranging from media outfits to retail giants, airlines to art galleries, the sweeping survey is organized into three design-orientated chapters: Geometric, Effect, and Typographic. Each chapter is then sub-divided into form and style led sections such as alphabet, overlay, dots and squares.

Hardcover, 24.6 x 37.2 cm, 3.58 kg, 432 pages. Multilingual edition (English, French, German).

Six thousand trademarks from 1940 - 1980 in one three-and-a-half-kilo volume - the definitive record of how modernism learned to sell. Paul Rand and Yusaku Kamekura sit beside hundreds of anonymous masters. For graphic designers this is scripture; for everyone else, it's quietly hypnotic.