sepoctpreview1989

C 0 M M U N I C A T I 0 N A R T S

57

DRENTTEL DoYLE PARTNERS

Poster for Formica Corporation .

Stephen Doyle, art director; Rosemarie Turk, designer; Design Communications International/Mary Beth Shaw, writers; George Hein, photographer. "3,600 phone calls to Formica headquarters for samples of 2000x proved that this poster was just irritating enough to force architects and designers to decipher the type:¡

truffles. No one, anywhere, has tasted their

natural ingredients, Varda chocolates have all

This page: Packaging and brochure for Varda Chocolatier. Tom Kluepfel, art director; Katy Delehanty/Debbie Morris-Adams, designers; Sam Swope, writer ; George Hein, photographer. "Varda Shamban wanted a package design for the launch of a new line of gourmet chocolate truffles that would avoid the pitfalls of 'soslick-it's-tacky: The solution : banish Louis Vuitton. Stylizing her signature 'V' with patterns from nature (i.e. sand, clouds and bamboo) personalized her crafted goodies and addressed the all natural ingredients. The brochure tells of Ouetzacoatl , the Aztec god, who gave chocolate to the world as a consolation to mankind for suffering on Earth. We 'll buy that:• Pant and shirt labels for Liz Claiborne/ Wear. Stephen Doyle, art director; Rosemarie Turk/Greg Hom, designers.

deaux, and all the elegance of haute couture.

C 0 M M U N I C A T I 0 N

A R T S

67

C 0 M M U N I C A T I 0 N

A R T S

75

McKINNEY & SILVER

Historically NCL was considered the class act of the Caribbean. Heavy price discounting during the early '80s changed that perception. This was one in a series of pieces to begin turning that perception around, even as the fleet and service were being improved once again . The intention of the poster was to recall the great days of the transatlantic fleets for that very reason.

Larry Bennett/Russlyn Mills, art directors; Dennis Ziemienski, illustrator.

Right page : NCL not only promotes its cruises as a great escape from the world of 9 to 5, but also as an escape from the many hassles that can accompany a land-based vacation. This points out that while you enjoy new vistas and adventures each day, you have the comfort of knowing that your hotel travels along with you. Larry Bennett, art director; Steve Bassett, writer; Randy Miller, photographer.

Fifteen years ago, when McKinney & Silver began working on the account, NCNB wasn't even the biggest bank in North Carolina. Today they rank tenth¡among all banks in the country in terms of assets under management. These two posters not only dramatize end uses but do it in a way that says something bright about the bank.

Steve Davis, art director; Jan Karon , writer; Jim Erickson, photographer.

88

S E P T E M B E R I 0 C T 0 B E R 19 8 9

MICHAEL CRONAN

II

100

S E P T E M B E R I 0 C T 0 B E R I 9 8 9

HANS

Rum

ERDT

greater creative potential and larger accounts that persuaded the young designer to move to Berlin. Within a year of this move, Erdt was brought into the most influential circle of poster artists Germany had ever known.

Ernst Growald, of the Hollerbaum and Schmidt Printing Co., recognized that an important new style was developing and quickly hired the best designers of the time. Under this arrangement, all clients wishing to commission one of the poster artists would also have the work printed by Hollerbaum and Schmidt. This initial group of designers included Edmund Edel, Lucien Bernhard, Julius Klinger, Paul Scheurich, Julius Gipkins, Ernst Deutsch and Hans Rudi Erdt. The dynamic character of these times might best be understood by the fact that five of the seven designers were only twenty-five years old.

For the artists, this arrangement proved to be mutually beneficial. Erdt's new clients included major national newspapers, cigarette companies and Opel Motorcar. He also designed posters for international art, travel and trade exhibitions. These clients gave Erdt immediate and continuous national exposure.

By today's standards, the stylistic differences between these designers were finite. However, at that time their individual styles were considered distinguishable from each other. Hollerbaum and Schmidt felt each designer's work offered clients a unique and personal style which was in demand.

Erdt, Edel and Deutsch became known as masters of the human form, with Erdt creating the most serious and aristocratic characters. These poster artists were aware of American designers Bradley, Penfield and Gould, who had created successful, affluent characters for posters and publications such as Harpers and Colliers Weekly. These figures were adapted by the Germans who eliminated the nouveau backgrounds and expanded the role of typography in their designs.

Between 1908 and 1914, Erdt's work was shown in a variety of applied arts and poster exhibitions. Many of these shows were organized and circulated throughout Germany by the "Werkbund~' a society dedicated to promoting the applied arts and establishing solid working relationships between German designers and businessmen.

Another society which was instrumental in fostering Erdt's popularity was the "Verein des Plakatfreundes" (Society for the Friends of the Poster). This organization supported poster artists and collectors, held exhibitions and produced a regular publication. "Das Plakat" (The Poster) provided commentary and critique on the state of 106

S E P T E M B E R I 0 C T 0 B E R I 9 8 9

German Ship Building Expo, 1908.

Mazeppa Engelhardt Cigarettes, 1912.

Opel Automobiles, 1911.

EXHIBIT

DISSATISFIED WITH THE RESULTS of a portfolio shoot last year, San Francisco photographer Sean Sullivan began experimenting with film to intensify the color saturation of his transparencies.

"I wanted it to look more real with exaggerated, almost ultraviolet colors~' His experimentation concentrated on a series of over-exposed transparencies that are stacked in register and then exposed onto a copy transparency. "I was able to get exactly what I wanted. The film came back with super saturated colors that seemed to glow with a much more three-dimensional effece' The series shown here was commissioned, but not used, for a San Francisco magazine article on hats.

Sullivan plans to try exposing colored gels as part of the process as well as-cutting out certain parts of the stacked transparencies to leave specific objects with less saturation and greater clarity.

Tom Morgan, art director; Kirsten Harwood, stylist; David Wilson, assistant.

114

S E P T E M B E R I 0 C T 0 B E R

I 9 8 9