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Content includes:
P. O. Midi Castles of the Loire Valley
A romantic view of English advertising
One night from Paris . . . The French Riviera
The Printing and Book Group at the 1937 exhibition
The Chinese Print
Deberny et Peignot Photogravure
Chinese print [bowl of eggs and drift wood]
Salvadoran Maya Vase (from the French Encyclopedia)
Sculptures and drawings by cooks and pastry chefs
Gerard de Nerval, publisher and printer
Occidentalism
The League of Nations reconstituted after the Cabrol’s drawings
Antique [typeface]
The Woodcuts of Herbert Lespinasse
The Graphics News
Flier published by Alliance Graphique: “Weekend Tickets”
An Exhibition of the Algeriean Book
Cover for the Galeries Lafayette
Unpublished notice by Gérard de Nerval on his stereograph
Ch. Lorilleux & Co., Printing Inks, Roller Pastes
The Graphic Arts of Sound
Vaugirard Printery Is the Typographic Press of Arts et Métiers Graphiques
Old Papermills of Auvergne

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Arts et Metiers Graphiques, 53, 1936
Arts et Metiers Graphiques, 53, 1936
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From the design archive:
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More graphic design history articles
IBM puts a premium on functional design, forms and colours which make it far easier for the potential customer to gain an insight. In this respect the IBM methods are exemplary. The IBM already opened studios of artistic and graphic design for its German and Italian offices and a few years ago another such studio was established in Paris. Frank René Testemale was entrusted with its organisation and was appointed its business and art director.

Members Content

As part of an ongoing series showcasing Swiss poster designs from the 1950s and 1960s, this article features 1961 poster entries of Die besten Plakate des Jahres (The Best Posters of the Year) 1961. Originating in 1941, Die besten Plakate des Jahres initially served as a platform for the evaluation and showcase of Swiss posters.
An advertising programme is fully integrated only when its effect is powerful enough to play a major part in determining a corporate image. Geigy advertising is an example of this successful integration.
Among the young graphic artists of Berlin, who set to work after the war, Hans Adolf Albitz and Ruth Albitz-Geiß can claim special attention. In a short time, at a period when economic conditions were pretty unfavourable, they worked themselves so to the fore that their names came to mean something in Berlin publicity, and in western Germany their posters are known and appreciated, too.