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Content includes:
Alexandre Alexandre – Antoni Clavé – Stage-settings and Gebrauchsgraphik Graphic Advertising Art
Eberhard Hölscher – German Posters 1959/60
Remigius Netzer – Wilhelm Neufeld- Illustrations for Goethe’s «Faust-
J. J. Meyer – Leaders for English Tele-Broadcasts
Carl Heussner – New Departure in Automobile Advertising
Eberhard Hölscher – Old Polish Wood-Cuts
Ludwig Ebenhöh – Barbara and Hannes Geissler – Graphic Advertising Art
Hans Kuh – New Devotional Pictures from America
Alexandre Alexandre – Wine labels by French Painters
«Neue Haas-Grotesk» – a type of the Haas’sche Gießerei, Münchenstein Switzerland

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Gebrauchsgraphik, 8, 1960
Gebrauchsgraphik, 8, 1960
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles
The first American university to accept graphic designers as members of the faculty was the Massachusetts Institute of Technology, called M. I. T, for short. The work created by the design group reflects the high level of instruction, the realistic setting of the training and the progressive philosophy of this institute.
“They’ll never stand for that” and “It’s too modern” are, as George Plante aptly puts it, the restraintive thoughts which beset a commercial artist who tries to let himself go.

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A total of 24 posters were created for the campaign during 1964, using the arrow symbol as a key features, representing power, motion and speed. The handmade lithographs use up to 19 colours, which were individually printed at large scale. The posters also utilise the brand colours red and yellow from Shells corporate identity.
The most comprehensive account of ghost signs ever published, focusing on London’s hand-painted relics of advertising past