More Self Promotion.

© Ralf Zeigermann (after Steve Ditko)

© Ralf Zeigermann (after Steve Ditko)

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Lighten Up.

Cartoonist Ronald Wimberly on colour.

© Ronald Wimberly / The Nib.

© Ronald Wimberly / The Nib.

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Die achte Reise zur Blechluft.

Gestern flatterte mir das schmale, aber doch recht dicke Bändchen Blechluft #8 ins Haus. Blechluft wird von Günter Sahler herausgegeben, ist eine “Buchreihe zu Musikkontexten und Kulturaspekten” und gar wunderschön gemacht.

Die hübsche, schmale Blechluft.

Die hübsche, schmale Blechluft.

Da sind die handgedruckten Frontispize, die von Hand eingeklebte Illustration und überhaupt kommt das Büchlein schön illustriert und handgemacht daher.

Der Schwerpunkt dieser Ausgabe liegt, etwas grob dahingesagt, bei frühem Punk Rock in Deutschland, Comics und illustrierten Büchern und Grafik.

Teil des Inhaltes von Blechluft #8

Teil des Inhaltes von Blechluft #8

Da trifft es sich natürlich gut, daß ein Interview mit Sabine Schwabroh enthalten ist, jener Fotografin, die 1978 mich und viele andere einmal im Ratinger Hof für einen Artikel von Alfred Hilsberg in der Sounds ablichtete.

Ich selber habe einen kurzen Text über die Anfänge des Punk Rock in Dortmund und Düsseldorf beigesteuert und lasse mich in einem Interview über meinen Comic “Rattinger Hoff” sowie über Computer im Allgemeinen aus. In einer nachfolgenden, von Günter Sahler erzählten Geschichte, geht es dann herrlich durcheinander zu – Franz Bielratt findet sich im “Home of the Rats” wieder und George im Rattinger Hoff. Was wiederum mit Verena Braun und ihrem Comic “Adamstown” zu tun hat, aber es würde jetzt zu weit führen, das zu erklären.

Zeigermann hinten auf'm Mofa vom Bielmeier drauf. Eine wahre Geschichte. Illustration © Günter Sahler.

Zeigermann hinten auf’m Mofa vom Bielmeier drauf. Eine wahre Geschichte. Illustration © Günter Sahler.

Mit Punk und Comics geht es munter weiter – ein Interview mit dem Zeichner Lee Thacker, gefolgt von Harald Gantzberg, der von seiner Zeit als Punk und seiner Arbeit für Spider-Man berichtet, dann wieder Geschichten, Geschichten, Geschichten und ein Interview mit dem ehemaligen Fanzine- und Kassettenmacher und heutigem Blogger Marcus Kluge.

Rundum zu empfehlen, es macht einen Heidenspaß. Wie auch der Rest der Reihe, also die komplette Blechluft Edition, zu empfehlen ist.

“Fast unsichtbar arbeitet der Geist in den Maschinen der Geistlosen, während Chronist und Alchemist Sahler unbeirrbar Staub zu Gold siebt. Zukünftige Bücher zum Thema werden ihn zitieren oder schlecht (geträumt) sein.”
– Franz Bielmeier

Alles Handarbeit. © Günter Sahler

Alles Handarbeit. © Günter Sahler

Günther Sahler (Herausgeber)
“Achte Reise zur Blechluft” – Edition Blechluft 8
Format 10,5 x 18,5 cm
246 Seiten mit zahlreichen Abbildungen
Preis 12,80 Euro
zzgl. Porto/Verpackung

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Fun with Pantone.

Nick Smith creates mosaics made from Pantone colour chips.

© Nick Smith

© Nick Smith

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The Ad-Man’s Desk Book

A few pages from this extraordinary book.

Facts, Figures, Data, Tables, Dimensions, Costs, etc. that are Constantly Needed by all Practical Advertising Men.

One of the interior spreads.

One of the interior spreads.

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Gerstner, Edelmann + Fleckhaus.

With many thanks to Ulrich Roddewig, who pointed me towards the series of albums published in the 1960s by the German magazine Twen. The covers were designed by renowned designers like Karl Gerstner, Heinz Edelmann, Max Bill and others; art direction was by Willy Fleckhaus.

Here’s the book about the records, published by Lars Müller:

Philips-Twen, © Lars Müller Publishers

Philips-Twen, © Lars Müller Publishers

The A5 series is intended as a growing archive on graphic design. Each volume introduces outstanding personalities and important themes from the history of international graphic design, with numerous illustrations, essays and interviews. A5 is a cooperation between the labor visuell in the desgin department at the Fachhochschule Düsseldorf and Lars Müller Publishers. Between 1961 and 1968, the magazine Twen produced a series of LP recordings in collaboration with the Philips record label. During this period, all editions of Twen were accompanied by LPs drawn from the realms of jazz, classical music, radio plays, world music, or pop. For the designs of his record covers, art director Willy Fleckhaus used Concrete Art by Karl Gerstner, Max Bill, and other dedicated graphic designers such as Heinz Edelmann and Günther Kieser. This now forgotten series, comprising around 70 disks, is a masterful instance of the conjunction of music and graphic design. In collaboration with music archives and private collections, this rare series is reunited in its entirety and documented in this publication.

And here is a gallery over at the Jazzrealities blog.

Twen 4 Bernstein Twen 27 Twen 61 Doldinger

And another list at rate your music. Fabulous.

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The Advertisement

Anzeigenkampagne der Firma Edison Giocattoli, erschienen 1968 in Fix & Foxi.

Edison1Edison2Edison3Edison4Edison5Edison6

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Art and Literature.

A collection of avant-garde and modernist magazines at Monoskop.

Die Form, May 1929/Monoskop

Die Form, May 1929/Monoskop

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The Sigmund Freud Typeface.

Typographer Harald Geisler walks us through the process of designing a proper handwritten font. Over at Smashing Magazine.

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A job bag/job number system with Evernote

Life as a graphic designer was always rather easy for me: I received a job from a client, finished it, sent the invoice and sooner or later another job would appear. As of lately though, I got lots of different jobs from one client, all from various department and various product managers and began slowly losing the plot. Have I invoiced this job? Has this job been approved? What’s with the job that started 3 weeks ago? Searching through long
e-mail threads with attached Word, PDF and PPT documents isn’t that much fun either. Clearly a job number system was needed.

There are, of course, dedicated database systems for ad agencies and graphic design studios available. However, they don’t come cheap and why buy yet some more software when I’ve got Evernote?

With a lot of trial and error I came up with a system that works perfectly well for my purposes. I’m sharing it here because it may as well suit your work flow; a basic knowledge of Evernote is required though – download the manual here.

I created two note templates in Evernote. The first one serves as a job bag.

The note template for the "Job Bag".

The note template for the “Job Bag”.

The note title consists of the job number and description of the job, followed by date, name of product manager, and, just for the sake of it, the job number again.

“Art:” shows, once the job is finished, the attachments – a low resolution PDF and the InDesign document. The space underneath is used for briefs from the client, e-mails and everything else that belongs to this particular job. This way I’ve got all the communication with the client within one easy searchable note and don’t have to browse through gazillions of e-mails.

This is what a “Job Bag” note looks like once a job is finished:

"Job Bag" linked to documents and filled with e-mails and further information etc.

“Job Bag” linked to documents and filled with e-mails and further information etc.

The second note template is used for the creation of a jobs list:

Note template for the creation of a list of jobs for a quick overview.

Note template for the creation of a list of jobs for a quick overview.

This gets copied and pasted into one note every time a new job is created. It’s for a list view of all ongoing jobs. Checkmarks show the status of each job and, most important of all, whether it’s been invoiced and paid. “Links:” points towards the job bag and possible additional documents, like branding guidelines. Depending on the number of jobs per month, I can create a new list either every month or every 3 months or could even keep a list on a yearly basis.

Here’s the list view:

The list gives a quick overview of the status of each job.

The list gives a quick overview of the status of each job.

At present this system works just perfect for my purposes. It can probably be extended or perhaps even simplified, but right now I don’t see any reason for this.

And now back to work.

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