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Contents include:
J. J. de Lucio-Meyer – Alan Cracknell, London. At 37 a Young (Great Old Man) of Illustration
Peggy Linder – F. Jürgen Rogner, München/London. Book Design and Mafazine Illustrations from the Spray-Gun
Alexandre Alexandre – Pierre Cardin, Paris / Karl Korab, Wien. Playing Cards from a Design Studio and from a Painter’s Studio
Liselotte Hansmann – Sickert / Sickert / Noss, München. Film Posters Erecting no Esthetic Barrier between Film and Public
Hans Baumeister – Signets Enhanve Business Stationery
Hans Niedermeier – The Viennese ‘Kunsbillets’

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Novum Gebrauchsgraphik, 4, 1974
Novum Gebrauchsgraphik, 4, 1974
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
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The advertising has a certain contrast of hand-drawn and mechanical. Produced entirely in black, it reminds us that the absence of colour can be highly effective. Hans Michel and Günther Kieser's illustrations bring a sense of both playfulness and a stylistic approach to a corporate client.
I have long been a fan of Counter-Print, as a student, I would order their newsprint publications, peruse their Flickr albums and now, over a decade later I still buy their latest releases and their site provides our staff with great giftse throughout the year. I interviewed one of the founders, Jon Dowling to find out more about setting up Counter-Print, their favourite books and which publishers inspire them.

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Before setting up Ken Garland & Associates in Camden, London, Ken was art editor of Design magazine in 1956. The magazine was published by the Council of Industrial Design, which was set up in 1944 with the prime focus of supporting Britains economic recovery.

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Bäumer gave the company a unique brand image amplifying its graphical image after a time of post-war economic recovery. This style of advertising composition can be seen across many 1960s campaigns, especially from other German designers such as Anton Stankowski.