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Content includes:
FRITZ ZÖLKE Reproductions for small offset
F. RöDER Setting up a reproduction department for small offset
KARL BLÄTZINGER Composition for offset and small offset
H. LANTERMANN When should the letterpress printer acquire small offset machines?
I. Requirements and scope
I. Technical equipment for a small offset department
III. Platemaking in small offset
IV. Printing on small offset machines
KURT KITTSTEINER Experience with the Heidelberg Two-Colour-Litho-Letterpress machine D’Crown
KLAUS F. SCHMIdT The Polyfibron blanket for offset
Dr. WERNER P. HEYD Interpunctuation in foreign languages III (English 3)
KURT KALTENTAL Printer’s calendar 1961
ERWIN HORRWARTH Discussions on craft training
Andreas Alberts’ grown crops
Practical hints
Sloping lines
Makeready for embossing – rapid and simple
THE SPECIAL SUPPLEMENTS
Anton Stankowskis’ Graphic Advertising Art

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Der Druckspiegel, 09, September 1961
Der Druckspiegel, 09, September 1961
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles

Members Content

A total of 24 posters were created for the campaign during 1964, using the arrow symbol as a key features, representing power, motion and speed. The handmade lithographs use up to 19 colours, which were individually printed at large scale. The posters also utilise the brand colours red and yellow from Shells corporate identity.

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Gregory Vines' design and process behind the Typographische Monatsblätter 1978 covers. From the initial inspiration drawn from Bellinzona's gate to the process of film montage, resulting in six stunning cover masterpieces.
Every year the 20 best posters are selected in Germany and once more brought to the attention of the public. We do not publish all the twenty posters today; instead we add some which failed to be distinguished and which nevertheless are distinguished.

Members Content

A fantastic example of Swiss design for brand systems is the brand and advertising by Siegfried Odermatt commissioned by Grammo Studio in Zurich.