The designer is unstated on these postcards, which were designed during the mid to late 1970s, but these playful illustrations alongside what looks to be Frankfurter Bold definitely fit the criteria of friendliness and efficiency
“Der Druckspiegel” typographic supplement May 5, 1967, was focused on a selection of the winning entries from Die besten Plakate des Jahres featuring over fifty winning entries.
The background of Kamekura's mark designs is his boldness in eliminating all the waste, combining simplification derived from Japanese traditional family crests and Western intellectual mechanics of formation with a sharp modern sense of composition.
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.
