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Foto-Impressionen von der Exkursion am 10. November 2011.
Fotos: Michael Wassenberg, Typografie-Dozent.
Foto-Impressionen von der Exkursion am 10. November 2011.
Fotos: Michael Wassenberg, Typografie-Dozent.
Konzeption und Gestaltung eines Veranstaltungsplakates
im DIN A-1-Hochformat mit – möglichst ausschließlich –
typografischen Mitteln.
Max Jalost, 3. Semester
Sommersemester 2013
Fach: Typografie
Dozent: Michael Wassenberg
Der Typografie-Kurs der Kunstschule Wandsbek besuchte Print 64, eine Offset- und Siebdruckerei in Norderstedt. (Foto: Michael Wassenberg)
Foto-Impressionen von der Exkursion am 10. November 2011.
Fotos: Michael Wassenberg, Typografie-Dozent.
Exhibition-Design: Flyer for ›2Plus‹ Photography-XPo. Size: 210 x 148 mm. StyleWork by »Mero«.
Photo and Graphic-Design by »Jupiter«. – Early May 2012.
Every now and then a particular acquisition to my collection stands out and this Supplement to the run of the Verein der Plakatfruende's magazines for 1912 is one of those. It contains examples of "Gasthaus Graphik"; items relating to inns, taverns, restaurants and dining establishments and it consists of a number of tipped in original examples that cover a wide range of designs and style. The cover to the Supplement is designed by Martin Jacoby-Boy; the previous month's issue of Verein der Plkatfreunde Berlin, for July 1912, has a major article on his work and includes another cover. Jacoby-Boy (1883 - 1971) was a German designer and artist who had to flee Germany in 1933 and emigrated to Argentina.
One of the most stylish designs, remarkably contemporary in style, is a menu card/Speisekarte for Die Bierritze at Jäger Strasse 13, in Berlin designed by Paul Leni. Leni (1885 - 1929) was famous for his film works and was a key player in the German Expressionist movement in the years before his death in 1929. He had initially been an artist and set designer, and this appears to have been one of his works. Die Bierritze appears in a few pre-WW1 postcards.
The card was printed by Ernst Marx, Berlin W.8.
Konzeption und Gestaltung eines Kalenderblatts im DIN-A-3-Hochformat mit – möglichst ausschließlich – typografischen Mitteln.
Anna Bruck, 2. Semester
Wintersemester 2010/2011
Fach: Typografie
Dozent: Michael Wassenberg
The March 1937 issue of Gebrauchsgraphik, the influential German monthly magazine of advertising art, was a special issue focussing on advertising and publicity trends in London. At the time British graphic design and especially "commercial art" was in a period of some critical acclaim. As the magazine's articles and illustrations show this was, in some ways, down to the work and patronage of several individuals and companies such as London Transport, who particularly in the post-WW1 years, had helped raise the standards of such art, design and publicity.
This is evident from the magazine's editorial; the name Christian Barman, who had joined the new London Passenger Transport Board (successors to the Underground Group) a year after its formation in 1933, is in evidence and the eminence grise of London's transport, Frank Pick, who was also influential across other authorities such as the Empire Marketing Board, the Design & Industries Association to name but two, contributed an article.
There are many examples of LT's long commissioning of posters, press adverts and publicity reproduced in the issue including works by artists and designers who had no place in the Germany of 1937. Like all other German publications Gebrauchsgraphik had by this date been eviscerated by the censorship, and worse, of the National Socialist dictatorship.
This double page shows a variety of the "car cards" or "window bills" many of which were truly ephemeral being for weekend or single day events and that were pasted up, removed or covered up. They are often the un-sung heroes of LT's publicity. This can also be said for press advertising, examples here including those commissioned to sell LT's own Commercial Advertising that sold space to advertisers on the Board's vehicles, stations and other structures.
There are works here by Betty Swanwick, Oscar Lancaster, Clifford and Rosemary Ellis (here as C & RE) Walter Spradbury, and Eckersley-Lombers. Two artists here had effectively, like so many others, abandoned Germany or had been forced out because of their Jewish heritage; Walter Goetz (1911 - 1995) and Zéró, aka Hans Schleger both had long and illustrious careers in the UK. Goetz famously had been drafted in at short notice to broadcast the German version of Chamberlain's BBC broadcast on 27 September 1938 and about which there was some furore.
Foto-Impressionen von der Exkursion am 10. November 2011.
Fotos: Michael Wassenberg, Typografie-Dozent.
Konzeption und Gestaltung eines Veranstaltungsplakates
im DIN A-1-Hochformat mit – möglichst ausschließlich –
typografischen Mitteln.
Simone Holzapfel, 3. Semester
Sommersemester 2013
Fach: Typografie
Dozent: Michael Wassenberg
Konzeption und Gestaltung eines Kalenderblatts im DIN-A-3-Hochformat mit – möglichst ausschließlich – typografischen Mitteln.
Nina Kuphal, 2. Semester
Wintersemester 2010/2011
Fach: Typografie
Dozent: Michael Wassenberg
Mit einigen Studenten meines Typografie-Seminars im 2. Semester der Kunstschule Wandsbek besuchte ich am 12. August 2013 den Spiegel-Verlag.
Foto: Michael Wassenberg, Typografie-Dozent
Mit einigen Studenten meines Typografie-Seminars im 2. Semester der Kunstschule Wandsbek besuchte ich am 12. August 2013 den Spiegel-Verlag.
Foto: Michael Wassenberg, Typografie-Dozent
Foto-Impressionen von der Exkursion am 10. November 2011.
Fotos: Michael Wassenberg, Typografie-Dozent.
In the Hannover special issue of "Das Plakat" this marvellous design for packaging for the Bahlsen biscuit company appears. It was designed by Änne Koken (1885 - 1919), a German artist and designer who died the year before this appeared in the magazine of pneumonia after childbirth.
Koken did many designs for Bahlsen and this is beautifully printed in metallic inks by the Hannover printers Ernst Boldt.
Konzeption und Gestaltung eines Kalenderblatts im DIN-A-3-Hochformat mit – möglichst ausschließlich – typografischen Mitteln.
Stephanie Frantzius, 2. Semester
Wintersemester 2010/2011
Fach: Typografie
Dozent: Michael Wassenberg
Mit einigen Studenten meines Typografie-Seminars im 2. Semester der Kunstschule Wandsbek besuchte ich am 12. August 2013 den Spiegel-Verlag.
Foto: Michael Wassenberg, Typografie-Dozent
Konzeption und Gestaltung eines Kalenderblatts im DIN-A-3-Hochformat mit – möglichst ausschließlich – typografischen Mitteln.
Iris Krüger, 2. Semester
Wintersemester 2010/2011
Fach: Typografie
Dozent: Michael Wassenberg
Konzeption und Gestaltung eines Kalenderblatts im DIN-A-3-Hochformat mit – möglichst ausschließlich – typografischen Mitteln.
Verena Laumer, 2. Semester
Wintersemester 2010/2011
Fach: Typografie
Dozent: Michael Wassenberg
A fine catalogue showing a wide range of a printer's standard range of vignettes and ornaments and issued by the Leipzig based typefoundry of J.G. Schelter & Giesecke. Undated it includes specimen adverts dated to 1898 and it is mentioned in various German printing periodicals as being available in the latter half of 1899.
Many of the items are wonderfully 'arts and crafts' in style, along with examples of late Nineteeth-Century German romanticism that have a strong feel of what was to become known as Jugendstil. The company were both a typefoundry and a manufacture of printng presses that dated back to 1819. Based in the important printing city of Leipzig the company was nationalised by the new East German state in 1946.
I have scanned a selection of pages from this lovely catalogue; two pages are missing but, given its age and its use, that is neither unusual nor unexpected. The plates usually show a selection of the vignettes and ornaments along with their catalogue number and set in fictitious 'adverts' and settings simply to show how they may be used. As noted above they are so much of their time; strongly romantic in style and often displaying Jugendstil motifs that in a few years would be considered alongside the Arts & Crafts and Art Nouveau movements. They are also likely set in various of the company's typefaces.
Foto-Impressionen von der Exkursion am 10. November 2011.
Fotos: Michael Wassenberg, Typografie-Dozent.
Foto-Impressionen von der Exkursion am 10. November 2011.
Fotos: Michael Wassenberg, Typografie-Dozent.
A fine catalogue showing a wide range of a printer's standard range of vignettes and ornaments and issued by the Leipzig based typefoundry of J.G. Schelter & Giesecke. Undated it includes specimen adverts dated to 1898 and it is mentioned in various German printing periodicals as being available in the latter half of 1899.
Many of the items are wonderfully 'arts and crafts' in style, along with examples of late Nineteeth-Century German romanticism that have a strong feel of what was to become known as Jugendstil. The company were both a typefoundry and a manufacture of printng presses that dated back to 1819. Based in the important printing city of Leipzig the company was nationalised by the new East German state in 1946.
I have scanned a selection of pages from this lovely catalogue; two pages are missing but, given its age and its use, that is neither unusual nor unexpected. The plates usually show a selection of the vignettes and ornaments along with their catalogue number and set in fictitious 'adverts' and settings simply to show how they may be used. As noted above they are so much of their time; strongly romantic in style and often displaying Jugendstil motifs that in a few years would be considered alongside the Arts & Crafts and Art Nouveau movements. They are also likely set in various of the company's typefaces.
A fine catalogue showing a wide range of a printer's standard range of vignettes and ornaments and issued by the Leipzig based typefoundry of J.G. Schelter & Giesecke. Undated it includes specimen adverts dated to 1898 and it is mentioned in various German printing periodicals as being available in the latter half of 1899.
Many of the items are wonderfully 'arts and crafts' in style, along with examples of late Nineteeth-Century German romanticism that have a strong feel of what was to become known as Jugendstil. The company were both a typefoundry and a manufacture of printng presses that dated back to 1819. Based in the important printing city of Leipzig the company was nationalised by the new East German state in 1946.
I have scanned a selection of pages from this lovely catalogue; two pages are missing but, given its age and its use, that is neither unusual nor unexpected. The plates usually show a selection of the vignettes and ornaments along with their catalogue number and set in fictitious 'adverts' and settings simply to show how they may be used. As noted above they are so much of their time; strongly romantic in style and often displaying Jugendstil motifs that in a few years would be considered alongside the Arts & Crafts and Art Nouveau movements. They are also likely set in various of the company's typefaces.
The title page notes that the company are "Kunstanstalt für druck ausstattung " - roughly translated as a 'concern for printers equipment'.
Konzeption und Gestaltung
eines Veranstaltungsplakates
im DIN-A-1-Hochformat.
Karolin Berndt, 3. Semester
Sommersemester 2010
Fach: Typografie
Dozent: Michael Wassenberg
A fine catalogue showing a wide range of a printer's standard range of vignettes and ornaments and issued by the Leipzig based typefoundry of J.G. Schelter & Giesecke. Undated it includes specimen adverts dated to 1898 and it is mentioned in various German printing periodicals as being available in the latter half of 1899.
Many of the items are wonderfully 'arts and crafts' in style, along with examples of late Nineteeth-Century German romanticism that have a strong feel of what was to become known as Jugendstil. The company were both a typefoundry and a manufacture of printng presses that dated back to 1819. Based in the important printing city of Leipzig the company was nationalised by the new East German state in 1946.
I have scanned a selection of pages from this lovely catalogue; two pages are missing but, given its age and its use, that is neither unusual nor unexpected. The plates usually show a selection of the vignettes and ornaments along with their catalogue number and set in fictitious 'adverts' and settings simply to show how they may be used. As noted above they are so much of their time; strongly romantic in style and often displaying Jugendstil motifs that in a few years would be considered alongside the Arts & Crafts and Art Nouveau movements. They are also likely set in various of the company's typefaces.
Konzeption und Gestaltung
eines Veranstaltungsplakates
im DIN-A-1-Hochformat.
Ronja Jensen, 3. Semester
Sommersemester 2010
Fach: Typografie
Dozent: Michael Wassenberg
Foto-Impressionen von der Exkursion am 10. November 2011.
Fotos: Michael Wassenberg, Typografie-Dozent.