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Piet Zwart. Duitsche filmkunst. (Serie monografieën over filmkunst; 5). Rotterdam: W. L. en J. Brusse, 1931

“Dutch rational periodical design should be considered in two categories: those that were sparsely typographical and others that were image-based, using typofoto. De Stijl became reductive to the point of transparency. But a short-lived quarterly, Film: Serie Monografieën Over Filmkunst (A Series of Monographs on the Art of Film), edited from 1931 to 1933 by C J Graadt van Roggen with covers designed by Piet Zwart (1885-1977), built on the modernist predilection for machine art, translucency and simultaneity (...) Although his photomontages reveal the influence od Rodchenko and Lissitzky, whose work he definitely knew, they uniquely integrated type and image into an iconic narrative. Each of the ten Film covers printed in blue and red was consistent in overall form yet conceptually defferent, telling distinct stories related to their respective content.”

Steven Heller. Merz to Emifre and beyond: avant-garde magazine design of the twentieth century. London: Phaidon, 2002 (p. 102)

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