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Selected contents: Allner, Paris; Hellmut Braasch; London Transport; H. F. Neuner; Wasilijef Masjutin
Selected artists: Heinz Allner, Hellmut Braasch, Edi Kallista, Wasilijef Masjutin, H. F. Neuner

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Gebrauchsgraphik, 11, 1936. Cover design by Georg Wurzer
Gebrauchsgraphik, 11, 1936. Cover design by Georg Wurzer
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From the design archive:
From the design archive:
From the design archive:
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This book shows, for the first time, all of Hans Hillmann’s film posters. Unpublished sketches and drafts from his estate along with commentary from conversations and interviews provide an insight into the creative process of the award-winning designer.
I have always loved the design work created for Olivetti. The colourful midcentury designs by Italian designer Giovanni Pintori, the minimal typographic poster by Swiss designer Walter Ballmer and my personal favourite the 1959 poster for Olivetti designed by Herbert Bayer. I recently found out Triest Verlag released a new book, Visual identity and branding at Olivetti which contains further work by Xanti Schawinsky, Renato Zveteremich, Ettore Sottsass, Hans von Klier, Egidio Bonfante and Walter Ballmer.
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.
When Fritz Gottschalk and Stuart Ash joined forces in Montreal, it was a partnership ideally suited to the city's hybrid environment. Gottschalk's training in graphic design in Switzerland, Paris and London was rigid, his background European; Ash, Canadian born and educated, was trained in the North American fashion, though he was influenced by his work with European designers