Gebrauchsgraphik, 2 1970

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Content includes:
J.J. de Lucio-Meyer – An Italian department-store advertises, \”The Palma d\’Oro for La Rinascente\”
Kurt Kranz – German Postage Stamps, the graphic problem en miniature
Gustave Barthel – Walter Brudi\’s artistic type-faces
Alexandre Alexandre – Publicity Chourgnoz and Crédit Lyonnais
Armin Eichhoiz – Dracula and No End, drawings by Luis Murschetz
Walter Plata – Industrial Art by Herbert Titz
Hans Niedermeier – Official graphics from Napoleonic Era
Karl Oskar Blase – The New Signet of the \”Preussag\”, results of a contest
Hans Kuh – Tomas Vellvé, Barcelona

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Gebrauchsgraphik, 2 1970
Gebrauchsgraphik, 2 1970
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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.

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Max Huber was born in 1919 in Switzerland. He studied at the Kunstgewerbeschule (School of Arts and Crafts) in Zurich where he excelled in graphic design and photography.  Huber worked across advertising, packaging, design and industrial design. He had a distinctive style that skillfully blended bright hues with photomontage.
In the ambitious new monograph Rational Simplicity: Rudolph de Harak, Graphic Designer, Volume shines a light on the complete arc of the exceptionally rich and varied career of Rudolph de Harak, showcasing his vibrant, graphic, formally brilliant work, which blazed a colourful trail through the middle decades of the twentieth century.
I have been reproached for this, and I will surely be reproached again. I have also been reproached for reading more and more obscure works whose readership must be limited to a handful of specialists and a few hobbyists like myself. It’s a heavy passion or a passion that sucks.