Hans Schleger

Art & Industry 288, June 1950

Information

Content includes:
Only the Best is Good Enough Editorial
The Revival of Direct Mail by Charles E. Mansell
To Hood or Not to Hood: Fountain Pen Design
On Design and Advertising: Three Books
The Face of Time by R. W. Symonds
New Designs from the Factories
Notes and News

Details

Hans Schleger signed his work as Zéró. He studied in Berlin and for five years worked as freelance designer the United States. He later set up his own studio in London. He was commissioned by The Council of Industrial Design to design the symbol for their Design Centre in the Haymarket, London. As well as a desiner, he was a visiting lecturer to the Chelsea Polytechnic, the Central School of Arts and Crafts, the Royal College of Art, all in London, and the Regional College of Art, Manchester.

Linked Information

Art & Industry 288, June 1950. Cover design by Hans Schleger /Zero
Art & Industry 288, June 1950. Cover design by Hans Schleger /Zero
Hans Schleger signed his work as Zéró. He studied in Berlin and for five years worked as freelance designer the United States. He later set up his own studio in London. He was commissioned by The Council of Industrial Design to design the symbol for their Design Centre in the Haymarket, London. As well as a desiner, he was a visiting lecturer to the Chelsea Polytechnic, the Central School of Arts and Crafts, the Royal College of Art, all in London, and the Regional College of Art, Manchester.
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

Beyond being mere artefacts of design, these examples encapsulate the dynamic changes Japan was undergoing during this period. The design output of this era not only served commercial purposes but also became a powerful medium for expressing these societal shifts.

Members Content

Stephan Kantscheff (Stephan Kanschev) was a Bulgarian artist born in Kaefer, Todental. His colourful palette and joyous, folk-esque illustrations won him many commissions and his work was celebrated for both its quality and social significance.

Members Content

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.
House style can give identity to the diverse products or activities of a firm. It stimulates loyalty, helps to reduce costs, and has advertising value.