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Special issue on Poster Design
Featuring the work of Fritz Ahlers, Ahrlé, Otto Arpke, Lucian Bernhard, Wilhelm Deffke, Arno Drescher, Julius U. Engelhard, Hans Rudi Erdt, Josef Fenneker, Julius Gipkens, Olaf Gulbransson, O. W. H. Hadank, Thomas Th. Heine, Ludwig Hohlwein, Hans Ibe, Ludwig Kainer, Julius Klinger, Max Körner, Busso Malchow, Theo Matejko, Dora Mönkemeyer-Corty, Rolf Niczky, Louis Oppenheim, Tommi Parzinger, Franz Peffer, Emil Pree- torius, Karl Rabus, Paul Simmel, Paul Scheurich, Walter Schnackenberg, Jupp Wiertz, Lucian Zabel, Valentin Zietara, Heinrich Zille

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Gebrauchsgraphik, 04, 1925. Cover design by Tommi Parzinger
Gebrauchsgraphik, 04, 1925. Cover design by Tommi Parzinger

 

Gebrauchsgraphik, 04, 1925. Cover design by Tommi Parzinger
Gebrauchsgraphik, 04, 1925. Cover design by Tommi Parzinger
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

The best poster designs from Die besten Plakate des Jahres 1957 with a translated foreword by Walter Kern. Featuring the work of J. Müller-Brockmann, Gottlieb Soland, Mary Vieira and Celestino Piatti.

Members Content

Albrecht Ade's students produced some great typographic compositions and print work in his typography class, here's a selection of the work and information about Albrecht Ade.
The most comprehensive account of ghost signs ever published, focusing on London’s hand-painted relics of advertising past
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.