Commercial Art Vol 2, No 1, May 1924

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Content includes:
COMMERCIAL ART AND THE B.E.E.
H. M. BATEMAN
A COPYRIGHT ACTION
THE NEW ROYAL ARMS
THE TECHNIQUE OF LAY-OUT
COMMERCIAL ART IN PRACTICE
OFFICES: PLEASANT AND UNPLEASANT
SOME PRINCIPLES OF LETTERING
PHOTO-ENGRAVING
SPEED OF PRODUCTION IN OFF-SET PRINTING
VISITING CARDS (PART I)

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Commercial Art Vol 2, No 1, May 1924. Cover illustration by Alfred John Nunney
Commercial Art Vol 2, No 1, May 1924. Cover illustration by Alfred John Nunney
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
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To Have and To Hold, contains hundreds of bag designs collected during over half a century. The book is a must-buy for anyone interested in ephemera, the history of design or British high street history.

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Giovanni began his work with Olivetti in March 1938, and his work was showcased in various exhibitions and had a clear distinctive style that amplified the Olivetti brand image. His design defined the company’s visual image, and the iconic geometric designs are still as powerful and engaging today as they were in the 1950s.

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Blase’s long-term clients were Staatstheater Kassel (Kassel State Theater) and Atlas Films. Karl Oskar Blase produced countless posters for these two organisations. It’s not surprising considering Blase designed posters for the Staatstheater for twelve years between 1966 and 1978. 

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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.