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Wonderwalls, Pop trifft Street Art: In spektakulären Inszenierungen verschmelzen über 2000 Werke der Fotografie, des Grafikdesign, sowie Graffitis, Skulpturen und Designer Toys zu einem bunten Gesamtkunstwerk der Popkultur.
A wonderful technical advert in the form of a detailed drawing by Karl Schulpig and seen in a 1927 article on German machinery advertising which details that such stark black and white work was seen as being suited to such advertising. This advert was issued in 1922 and is for the Loewe rundschleifmaschinen or cylindrical grinding machines.
Karl Schulpig (1884 - 1948) was an important German artist and designer, known especially for his woodcut work as seen here, as well as for logo and trade mark designs. He created many long-lived brand designs including one that, although modified, survives to this day that of the Allianz, the German insurance giant.
The company of Ludwig Loewe & Co AG, this branch of the company then based in Berlin NW 87, was part of a long lived and famous German engineering and armaments company whose origins go back to the original Ludwig (1837 - 1886). Prior to World War 1 the company's main activities covered electrical equipment, machinery such as these machine tools and armaments - the latter forming part of the holding company under Loewe control the Deutsche Waffen und Munitionsfabriken (DWM). DMW had interests in many European armament makers including the British Vickers Sons & Maxim, on whose board a member of the Loewe family sat. Needless to say after WW1 the combine was split up although by 1929 the machine tools division advertising here became part of GEU, Gesellschaft für Elektrische Unternehmungen, and this merged with the giant AEG in 1942. The late 1930s had seem the company purged of its Jewish family and board members and after the Second World War surviving members were awarded compensation.
In 1946 the remnants of the company again took the title of Ludw. Loewe and was manufacturing basic goods in post-war Germany such as screwdriver, ovens and ploughs. In 1967 they became part of the larger DIAG (Deutsche Industrieanlagen GmbH), today part of MAN Ferrostaal Industrieanlagen GmbH.
Wonderwalls, Pop trifft Street Art: In spektakulären Inszenierungen verschmelzen über
2000 Werke der Fotografie, des Grafikdesign, sowie Graffitis, Skulpturen
und Designer Toys zu einem bunten Gesamtkunstwerk der Popkultur.
Ausstellungseröffnung: Freitag, 22. April 2016, 19 Uhr, ab 22 Uhr Happy After-Show-Party
Der in den USA lebende Superstar des Grafikdesigns Stefan Sagmeister zeigt in The Happy Show die Resultate seiner zehn Jahre andauernden Untersuchung des Glücks. Nach Stationen in Nordamerika, Paris und Wien ist seine Erfolgsshow nun zum ersten und einzigen Mal in Deutschland zu sehen: vom 23. April bis 25. September 2016 im Museum Angewandte Kunst in Frankfurt am Main.
Was macht uns glücklich? Kann man das Glücklichsein trainieren? Stefan Sagmeister, der sein New Yorker Studio alle sieben Jahre für eine Auszeit schließt, hat sich auf eine persönliche Suche nach dem Glück gemacht und sich dabei verschiedenen Selbstversuchen unterworfen, um die effektivste Methode zur Steigerung des individuellen Glücksempfindens herauszufinden: Er hat Meditation, Konzentrations- und Entspannungstechniken ausprobiert, sich einer kognitiven Verhaltenstherapie unterzogen und stimmungsaufhellende Pharmazeutika konsumiert. Die Ergebnisse dieser Experimente ergänzt er um sozialwissenschaftliche Daten der Psychologen Daniel Gilbert, Steven Pinker und Jonathan Haidt, des Anthropologen Donald Symons und bedeutender HistorikerInnen und setzt sie so in einen größeren Kontext.
Sagmeister verarbeitet seine Forschungen rund ums Glück zu hochgradig emotionalen Infografiken, faszinierenden Schlagzeilen, Drucken, amüsant-lehrreichen Videos, Filmen, Installationen sowie Skulpturen und lässt die Besucherinnen und Besucher von The Happy Show so in seine Gedankenwelt eintauchen. Vor plakativem Schwarz-Gelb fluten seine Arbeiten auf über 1.000 Quadratmetern eine ganze Etage des Museum Angewandte Kunst, breiten sich zusätzlich in den Fahrstühlen, Aufgängen und Funktionsräumen des Hauses aus. Quelle: www.museumangewandtekunst.de/de/museum/ausstellungen/vors...
A publicity booklet issued by the Reichsbahndirektion Berlin advertising a new fares structure on the Berlin S-Bahn that included short distance fares of 15 Pf for 3rd Class and 20 Pf for 2nd class travel. The nomenclature S-Bahn dates from 1930 when it came into widespread use to denote the Berlin suburban railway system operated by the then Deutsche Reichsbahn and that effectively complemented the U-bahn rapid transit system of underground and elevated electric 'Metro' services that served Berlin. Indeed the S-bahn name echoes that of the U or Untergrundbahn.
The booklet consists of boldly designed covers with contents that include maps of the system and services, a directory of stations, destinations and fares 'zones' as well as an outline history of the suburban railway network. The layout and typography make much use of bold headings, reversed out of the predominate red/orange colour and the bleeding out of shadow illustrations or vignettes showing trains, stations and the S-bahn 'logo'.
No designer is given for the brochure or booklet as a whole but the cover designs are attributed to "Her". This diagram shows "Zugläufe an den Werktagen", or the train service pattern on working days. Unlike the best of the booklet this map is relatively crudely drawn. This shows the S-Bahn symbol as designed by Fritz Rosen in 1930 and that was later, in 1936, altered to show the S within a circle.
A very '50s style advert for Volkswagen by Donald Brun - Audrey Hepburn style woman at the wheel of her faithful friend with her faithful friend poodle - and the neat touch of the VW symbol on the dog's collar. The poster was featured in a 1959 UK publicity annual.
A fine advert from the inner back cover of the February 1924 edition of the German book, publishing & print industry magazine the "Deutscher Buch - und Steindrucker". This issue is concerned with the "Leipzig und die frühjahrs Bugramesse 1924" - the Leipzig and spring Bugramesse for 1924, the Bugra Messe being the Bugra-Messehaus, the building that held the exhibits relating to book production and graphic design. The issue contains many adverts relating to the printing industry in Leipzig and this is for the Leipziger Chromo- und Kunstdruck-Papierfabrik AG that was "formerly Gustav Najork AG" who manufactured papers for Chromo and Art Paper printing. The designer is shown as "Schumann" and dated 1923. It shows a paper winding reel at the end of the production process.
The advert, like others on the covers, carries the details of the typefaces used and these include 'Breite halbfette Koralle' and Dolmen that were from the locally based typefoundry of J G Schelter & Giesecke of Leipzig.
A wonderful tipped in advertising supplement from the March 1925 edition of the German book, publishing & print industry magazine the "Deutscher Buch - und Steindrucker". It is for the Miprega gas burner and was issued by the Frankfurter Gasgesellschaft, Frankfurt am Main. It takes the form of a four-page leaflet tipped in to the magazine.
The Miprega burner was designed to heat metal in font casting and setting machines and the text goes on to describe its many benefits that included (loosely translated); "Complete gas combustion. Hygienically perfect work rooms. Uniform flame and temperature. Air and gas regulation by a handle. No burning through of the crucible. No repairs. Greatest gas savings."
The Frankfurter Gasgesellschaft had origins going back to 1828 and switched to coal or town gas production in 1865. Until 1930 it was in competition with various other suppliers, but in that year it effectively combined with the others and under municipal control became part of the Main-Gaswerke AG.
The advert is wonderfully bold with titling in a a bold black or vivid green. The designer is shown as "RW".
Copyright - All images are copyright © protected. All Rights Reserved. Copying, altering, displaying or redistribution of any of these images without written permission from the artist is strictly prohibited
The marvellously produced German periodical, the Archiv für Buchgewerbe und Gebrauchsgraphik, that ran for many years detailing elements of printing, typography, book design and production and that often, in specific issues focussed on one specific topic of interest. As well as the text and articles, the adverts can be as fascinating.
Most issues had covers designed by an artist or designer who was also featured in one of the issues articles. In this, Issue 8 of 1926, the cover is by Hans Bohn (1891 - 1980), the noted German type designer who over the decades designed typefaces for Klingspor, Ludwig & Mayer and Stempel. This fine advert was issued by the Schriftgiesserie Ludwig & Mayer of Frankfurt a. Main and is for Erbar-Grotesk typeface, sold as "The Beautiful Grotesque" typeface. This typeface, designed by Jakob Erbar for Ludwig & Mayer, was first issued this year, 1926.
A publicity booklet issued by the Reichsbahndirektion Berlin advertising a new fares structure on the Berlin S-Bahn that included short distance fares of 15 Pf for 3rd Class and 20 Pf for 2nd class travel. The nomenclature S-Bahn dates from 1930 when it came into widespread use to denote the Berlin suburban railway system operated by the then Deutsche Reichsbahn and that effectively complemented the U-bahn rapid transit system of underground and elevated electric 'Metro' services that served Berlin. Indeed the S-bahn name echoes that of the U or Untergrundbahn.
The booklet consists of boldly designed covers with contents that include maps of the system and services, a directory of stations, destinations and fares 'zones' as well as an outline history of the suburban railway network. The layout and typography make much use of bold headings, reversed out of the predominate red/orange colour and the bleeding out of shadow illustrations or vignettes showing trains, stations and the S-bahn 'logo'.
No designer is given for the brochure or booklet as a whole but the cover designs are attributed to "Her". This page shows the main map of the city's suburban railways operated as the S-bahn or "Karte der Stadt-Ring-Vorortbahnen". This shows the S-Bahn symbol as designed by Fritz Rosen in 1930 and that was later, in 1936, altered to show the S within a circle.
Here now excerpts of my examation work:
This is an AWARENESSCAMPAIGN with the name „GLOWWORM (or FIREFLY)“ for DUNKELZIFFER e.V. Hamburg - registered association for sexually abused children
Topic: Child abuse/force against children
DUNKELZIFFER e.V. (in engl. dark number) is an registered association fights since 1993 approximately sexual abuse of children with also Therapy, consultation, prevention and advanced training. With many projects DUNKELZIFFER e.V. supports the victims, their family, other people of confidence and everybody, those have contact with the topic child abuse. The association sits down for a long time for one better victim protection and harder punishments, as well as for removing the taboo from the topic through Medium work and a comprehensive clearing-up the public.
The task for me and my conclusion project was it, to arrange a Awarnesscampaign for DUNKELZIFFER e.V. under the criteria:
_Donate win (Awarenesscampaign with a donation character)
_Connection of Awarness and donation campaign
_the taboo topic child abuse make public
_Communication strategy find
_consciousness for the topic create
_Taboo topic child abuse sensitively transport
_DO NOT HURT Victims of sexual abuse with the campaign
_Means of communication find that the topic clearly represent
_Identification with the campaign
_position the donate-arisen
_Bridge create between victims and surrounding field
_the campaign is to be strengthened with a key Visual and a key Look
_Signs / Consequences of sexual abuse are to be transported
_the campaign is to address itself to the society and appeal at their attention
_exaggerated act situations are to be represented and be hurt the victims thereby in no case
_no author circles are to be simulated, cause
the authors cannot be assigned to a certain group
_the complete campaign is represented with a doll those the role of the child takes
_the doll leaves clearance for interpretation
_the child feels like a toy
_the child is treated like a doll
_situations from to live the victims are shown
_the public is to be sensitized on the topic child abuse
_it situations shown in which one become attentive should
_Identification is to take place
Claim for the campaign is:
OPEN YOUR EYES! DONATE LIGHT!
Wonderwalls, Pop trifft Street Art: In spektakulären Inszenierungen verschmelzen über 2000 Werke der Fotografie, des Grafikdesign, sowie Graffitis, Skulpturen und Designer Toys zu einem bunten Gesamtkunstwerk der Popkultur.
The covers of this series of Prisma dictionaries were designed by C. van Dorland for the publisher Spectrum in 1969.
The Hamburger Hochbahn AG was formed, initially as a consortium of the large electrical concerns of Siemens & Halske and AEG, in 1911. This was on the back of the consortium having gained the franchise for the construction and operation of the city's first U-bahn line in 1906 and the first section of which opened in 1912. HHA also operated the majority of the city's electric tramway system as well as many of the bus routes. In 1966 the company was amongst the founder members of the Hamburger Verkehrsverbund (HVV) that facilitated the coordination of the public transport network across the city and adjacent region.
This plan, dated October 1961, shows the HHA's "Schnellbus-Linien" system - the Express Bus system - that overlapped and parallelled many of the city's bus and tram lines that were depicted on a separate diagram. The plan is diagrammatic in form with only major water features shown and an expanded section of the city centre, along with U-Bahn stations as connecting points.
In a print annual a fine example of the work of the Barmen printing concern of Carl Weddigen issued c.1929. Intended to sell the quality of their work it takes the form of an illustration by German commercial artist Carl Breuer-Courth (1884–1960) that smacks of the debauchery of 1920s Berlin! Interestingly, Breuer-Courth appears to have an illustrator of 'erotic' material. It is printed in four-colour photo-offset lithography.
Kieler Woche
1964
Plakat/Poster
59 x 84 cm
Aus dem Buch/From the book:
A5/01: Hans Hillmann - Das visuelle Werk/The Visual Works
ISBN 978-3-03778-179-1
The Hamburger Hochbahn AG was formed, initially as a consortium of the large electrical concerns of Siemens & Halske and AEG, in 1911. This was on the back of the consortium having gained the franchise for the construction and operation of the city's first U-bahn line in 1906 and the first section of which opened in 1912. HHA also operated the majority of the city's electric tramway system as well as many of the bus routes. In 1966 the company was amongst the founder members of the Hamburger Verkehrsverbund (HVV) that facilitated the coordination of the public transport network across the city and adjacent region.
This plan, dated October 1961, shows the HHA's tramway, bus and U-bahn network as at 29 October 1961. Over the next few years Hamburg, unusually for a major German city, pursued a policy of abandoning the tram system and it finally closed in 1978. Subsequent years have seen extensions to the U-Bahn as well as integration of the S-Bahn as well as changes to the bus network. The plan also shows the Alsterschiffahrt ferry boat servcies. The HHA also issued a parallel plan of the overlapping "Schnellbus-Linien".
The design is very diagramattic with major water features shown in a simple way. It also includes the HHA's logo.
Wonderwalls, Pop trifft Street Art: In spektakulären Inszenierungen verschmelzen über 2000 Werke der Fotografie, des Grafikdesign, sowie Graffitis, Skulpturen und Designer Toys zu einem bunten Gesamtkunstwerk der Popkultur.
Wonderwalls, Pop trifft Street Art: In spektakulären Inszenierungen verschmelzen über 2000 Werke der Fotografie, des Grafikdesign, sowie Graffitis, Skulpturen und Designer Toys zu einem bunten Gesamtkunstwerk der Popkultur.
Wonderwalls, Pop trifft Street Art: In spektakulären Inszenierungen verschmelzen über 2000 Werke der Fotografie, des Grafikdesign, sowie Graffitis, Skulpturen und Designer Toys zu einem bunten Gesamtkunstwerk der Popkultur.
A small booklet issued by Deutsche Bundesbahn, the then state railway of West Germany showing the main inter-city routes as at Summer 1959. There is also a double sided plan showing " Das F-Netz in der Brieftasche" - a diagram showing the main services and times that was designed to fold and fit in your wallet. It is of interest in that the service pattern studiously avoids Berlin and East Germany but includes the relatively recently introduced TEE - Trans-Europ Express - services as well as certain other international services.
The covers are dominated by the bold red locomotive along with vignettes showing major landmarks across the DB network.
Er steht in voller Pracht
wo er gestern noch nicht stand.
- Das ist ja allerhand.
Wann hat er das vollbracht?
Heut Nacht.
Some things are such superb wee items such as this small poster 'stamp' from 1925 and issued for the "2nd Fachmesse der Deutschen bekleidungsindustrie. Berlin Ausstellungshallen, Kaiserdamm" or "2nd trade fair for the German clothing industry. Berlin exhibition halls, Kaiserdamm." It is a reproduction of a poster by "Erik" for the event and such miniature reproductions of posters were very popular at around this time. What this shows is firstly the very fine printing of this at such a small scale and secondly, the exciting nature of contemporary German graphic art and design at this time. Those of us schooled in the wonders of London Transport's design heritage, and other UK organisations, companies and institutions, really shouldn't be amazed at what was being undertaken elsewhere on the Continent in the 1920s and '30s and for many of those years German design was really cutting edge stuff.
I've 'posed' this next to a penny coin to show the scale of the work.
Ausstellungseröffnung: Freitag, 22. April 2016, 19 Uhr, ab 22 Uhr Happy After-Show-Party
Der in den USA lebende Superstar des Grafikdesigns Stefan Sagmeister zeigt in The Happy Show die Resultate seiner zehn Jahre andauernden Untersuchung des Glücks. Nach Stationen in Nordamerika, Paris und Wien ist seine Erfolgsshow nun zum ersten und einzigen Mal in Deutschland zu sehen: vom 23. April bis 25. September 2016 im Museum Angewandte Kunst in Frankfurt am Main.
Was macht uns glücklich? Kann man das Glücklichsein trainieren? Stefan Sagmeister, der sein New Yorker Studio alle sieben Jahre für eine Auszeit schließt, hat sich auf eine persönliche Suche nach dem Glück gemacht und sich dabei verschiedenen Selbstversuchen unterworfen, um die effektivste Methode zur Steigerung des individuellen Glücksempfindens herauszufinden: Er hat Meditation, Konzentrations- und Entspannungstechniken ausprobiert, sich einer kognitiven Verhaltenstherapie unterzogen und stimmungsaufhellende Pharmazeutika konsumiert. Die Ergebnisse dieser Experimente ergänzt er um sozialwissenschaftliche Daten der Psychologen Daniel Gilbert, Steven Pinker und Jonathan Haidt, des Anthropologen Donald Symons und bedeutender HistorikerInnen und setzt sie so in einen größeren Kontext.
Sagmeister verarbeitet seine Forschungen rund ums Glück zu hochgradig emotionalen Infografiken, faszinierenden Schlagzeilen, Drucken, amüsant-lehrreichen Videos, Filmen, Installationen sowie Skulpturen und lässt die Besucherinnen und Besucher von The Happy Show so in seine Gedankenwelt eintauchen. Vor plakativem Schwarz-Gelb fluten seine Arbeiten auf über 1.000 Quadratmetern eine ganze Etage des Museum Angewandte Kunst, breiten sich zusätzlich in den Fahrstühlen, Aufgängen und Funktionsräumen des Hauses aus. Quelle: www.museumangewandtekunst.de/de/museum/ausstellungen/vors...
A wonderful technical advert in the form of a detailed drawing by Karl Schulpig and seen in a 1927 article on German machinery advertising which details that such stark black and white work was seen as being suited to such advertising. This advert was issued in 1922 and is for the Loewe universal-fräscmachine - a milling machine with various components.
Karl Schulpig (1884 - 1948) was an important German artist and designer, known especially for his woodcut work as seen here, as well as for logo and trade mark designs. He created many long-lived brand designs including one that, although modified, survives to this day that of the Allianz, the German insurance giant.
The company of Ludwig Loewe & Co AG, this branch of the company then based in Berlin NW 87, was part of a long lived and famous German engineering and armaments company whose origins go back to the original Ludwig (1837 - 1886). Prior to World War 1 the company's main activities covered electrical equipment, machinery such as these machine tools and armaments - the latter forming part of the holding company under Loewe control the Deutsche Waffen und Munitionsfabriken (DWM). DMW had interests in many European armament makers including the British Vickers Sons & Maxim, on whose board a member of the Loewe family sat. Needless to say after WW1 the combine was split up although by 1929 the machine tools division advertising here became part of GEU, Gesellschaft für Elektrische Unternehmungen, and this merged with the giant AEG in 1942. The late 1930s had seem the company purged of its Jewish family and board members and after the Second World War surviving members were awarded compensation.
In 1946 the remnants of the company again took the title of Ludw. Loewe and was manufacturing basic goods in post-war Germany such as screwdriver, ovens and ploughs. In 1967 they became part of the larger DIAG (Deutsche Industrieanlagen GmbH), today part of MAN Ferrostaal Industrieanlagen GmbH.
View over the river Danube
Blick über die Donau
Ulm is a city in the German state of Baden-Württemberg, situated on the River Danube on the border with Bavaria. The city, whose population is estimated at more than 126,000 (2018), forms an urban district of its own (German: Stadtkreis) and is the administrative seat of the Alb-Donau district.
Founded around 850, Ulm is rich in history and traditions as a former free imperial city (German: freie Reichsstadt). The neighboring town of Neu-Ulm in Bavaria was part of Ulm until 1810.
Today, Ulm is an economic centre due to its varied industries, and it is the seat of the University of Ulm. Internationally, the city is primarily known for having the church with the tallest steeple in the world (161.53 m or 529.95 ft), the Gothic minster (Ulm Minster, German: Ulmer Münster), and as the birthplace of Albert Einstein.
(Wikipedia)
Ulm ist eine an der Donau am südöstlichen Rand der Schwäbischen Alb an der Grenze zu Bayern gelegene Universitätsstadt in Baden-Württemberg. Die Stadt hat über 125.000 Einwohner (Stand Ende 2017), bildet einen eigenen Stadtkreis und ist Sitz des Landratsamts des angrenzenden Alb-Donau-Kreises. Ulm ist nach dem Landesentwicklungsplan Baden-Württemberg eines von insgesamt 14 Oberzentren des Landes und bildet mit Neu-Ulm eines der länderübergreifenden Doppelzentren Deutschlands mit 183.323 Einwohnern. Ulm ist die größte Stadt im Regierungsbezirk Tübingen und in der Region Donau-Iller, zu der auch Gebiete des bayerischen Regierungsbezirks Schwaben gehören.
Die Stadt ist bekannt für ihr gotisches Münster, dessen Kirchturm mit 161,53 Metern der höchste der Welt ist. Weiterhin bemerkenswert ist die lange bürgerliche Tradition Ulms mit der ältesten Verfassung einer deutschen Stadt und einem Stadttheater, dessen Anfänge bis ins Jahr 1641 zurückreichen. In der Vergangenheit war Ulm Ausgangspunkt der Auswanderung der Donauschwaben, die mit sogenannten Ulmer Schachteln in ihre neuen Heimatländer im Südosten Europas fuhren.
Ulm, erstmals urkundlich genannt am 22. Juli 854, war Königspfalz und Freie Reichsstadt, ab 1802 bayerisch, ist seit 1810 württembergisch. Seitdem ist Ulm getrennt von seinem ehemaligen Gebiet rechts der Donau, das bei Bayern blieb und auf dem sich die Stadt Neu-Ulm entwickelte.
Berühmte Persönlichkeiten sind beispielsweise der in Ulm geborene Albert Einstein (1879–1955), die Widerstandskämpfer Hans (1918–1943) und Sophie Scholl (1921–1943), die ab 1932 in Ulm aufwuchsen, sowie die Schauspielerin Hildegard Knef (1925–2002), die in Ulm geboren wurde, und der deutsche Gestalter und Grafikdesigner Otl Aicher (1922–1991), der in Ulm geboren wurde und aufwuchs.
(Wikipedia)
Wonderwalls,
Pop trifft Street Art: In spektakulären Inszenierungen verschmelzen über 2000 Werke der Fotografie, des Grafikdesign, sowie Graffitis, Skulpturen und Designer Toys zu einem bunten Gesamtkunstwerk der Popkultur.
Karl Schulpig (1884 - 1948) was an important German artist and designer, known especially for his woodcut work as seen here, as well as for logo and trade mark designs. He created many long-lived brand designs including one that, although modified, survives to this day that of the Allianz, the German insurance giant. This is a page from an article on his work and shows press advertisements in black and white as well as a series of trade marks designed by him.
The images include a prospectus cover for the Joca wasser-zapfhahn (water taps) manufactured by Deutsche Werke and dating from c1922 and that had the text blocks on a blue field - the lettering is rather fine! Ariola pianos were a brand of Wilm. Steinberg who still exist as piano builders in Germany. Istizin was a Bayer brand of laxative and Schulpig does a decent job of graphically selling the product! Bolle-Extra is, I suspect, a mark for the Meierei Bolle- C. Bolle AG - Bolle Dairy and the 'Bolle milkman' appears on other packaging and advertisig issued by the concern.
Wonderwalls, Pop trifft Street Art: In spektakulären Inszenierungen verschmelzen über
2000 Werke der Fotografie, des Grafikdesign, sowie Graffitis, Skulpturen
und Designer Toys zu einem bunten Gesamtkunstwerk der Popkultur.
.WE ARE FRIENDS presents .inck/parsprototo* @
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