Der Druckspiegel, 03, March 1961

Information

Content includes:
WALTER MEHNERT – Important aspects of apprenticeship
DR. KARL RUF – Production statistics seen by the foreman
DR. WERNER P. HEYD Interpunctuation IX – leaders
DR. OSKAR BUCHMANN – “T don’t really know”
OTTO WACHOVEC Sizes of letterpress machines
GEORG STRÖSSNER Jobbing and bookwork on rotaries almost 85 years old
Surface investigations of offset formes
Matching artist’s designs
to three- and four-colour standard inks
HARALD KÜPPERS Engraved blocks – The old an the new process
DR. R. CONRAD Colour advertisements for gravure periodicals, their problems and solution
HEINZ H. SCHMIEDT International bookbinding code list
Teaching and training:
AUGUST WIESCHENDORF To become a
FRITz GENZMER The right feel good machine compositor
Accidents at work can happen to you
Practical hints
Again: realistic grey effect on the sketch
Sheet separation
THE SPECIAL SUPPLEMENTS
BIERING-NUMBERGER: “Printing for hotels and restaurants” Part II
Reproduction inset 1/1961 – “New possibilities for photogravure”

Details

Linked Information

Der Druckspiegel, 03, March 1961
Der Druckspiegel, 03, March 1961
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles

Members Content

Walter Ballmer was a Swiss graphic designer born in Liestal, Switzerland in 1923. He worked across various design disciplines including advertising design, packaging, typography and exhibition design.

Members Content

Yoshio Hayakawa was born in Osaka, Japan, in 1917 and became a leading designer and artist in postwar Japan. His work was a harmonisation of traditional Japanese art with Western art.

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.
The versatility of the arrow sign knows no bounds – from thin lines exuding delicacy to thick, heavy-set lines conveying stability and weight. Depending on its construction, the arrow sign can speak with individuality, even possessing psychological and emotional expression.