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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Status

Oh. I’ve won the wonderful Karbid Book. I guess I’ll have to buy the equally wonderful Karbid font now.

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More Brush Script Type

Here’s some more properly hand-drawn brush type. These are a few film titles I came across while surfing YouTube. Reporter, eat this!

1 2 3 4 5 6

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Office Supplies.

A catalogue from the 1930s, over at Agence Eureka.

From the Agence Eureka weblog.

From the Agence Eureka weblog.

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When we were still surrealists.

The drawings of Frank Nikol. Hat tip and many thanks to Uwe Meilchen for this gem.

English version
German Version

© Frank Nikol; drawing from When We Were Still Surrealists.

© Frank Nikol; drawing from When We Were Still Surrealists.

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Die Form.

Zeitschrift für gestaltende Arbeit, 1922-1935, Universität Heidelberg. Via Monoskop Log.

Die in den Jahren 1925-1934 erscheinende Zeitschrift „Die Form“ wurde von Walter Curt Behrendt für den Deutschen Werkbund herausgeben. Sie erschien im Berliner Verlag Hermann Reckendorf; ihre Auflage überschritt nie die Marke von 5.000 Exemplaren. Der Untertitel lautete von 1929 bis 1934 „Zeitschrift für gestaltende Arbeit“.

Bereits im Jahr 1922 hatte es einen ersten Versuch gegeben die Werkbund-Zeitschrift zu etablieren. So heißt es im Geleitwort des ersten Bandes (1925) von Walter Curt Behrendt „Mit dieser Zeitschrift setzt der Deutsche Werkbund ein Unternehmen fort, das bereits vor längerer Zeit begonnen, unter dem Druck der wirtschaftlichen Verhältnisse zunächst wieder aufgegeben werden mußte. Die Zeitschrift wird die Aufgaben der Formgestaltung für alle Gebiete des gewerblichen und künstlerischen Schaffens behandeln.“

Behrendt blieb bis Ende 1926 Herausgeber und wurde dann durch Walter Riezler abgelöst. Die Gestaltung der typographischen Umschläge lag in den Händen von Joost Schmidt. Er war seit 1919 am Bauhaus und leitete seit 1925 die Plastische Werkstatt. 1934/35 wurde die Zeitschrift von den Nationalsozialisten übernommen und dann eingestellt.

Form

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