BRINGING TO US THE SIZZLE OF LINE, COLOR AND TEXTURE—GEBRAUCHSGRAPHIK

The still life on this cover is a tipoff that the editors want us to consider here the reverb elicited by, first and foremost, awe-inspiring color lithography.

Bernhard Cursive for Bauer Type Foundry  (1927)Lucian Bernhard;11 ½”x 8  1/2″;  full page litho

This little wake-up call, by the magisterial Lucian Bernhard, comes to us in the course of promoting the Bauer Type Foundry, on 43rd Street in New York. Included is a little copper engraving to allow us to assimilate the mechanical infrastructure of such transcendent communication.

                         Becera Orange (1927)Anonymous;12” x 9 ½”;full page litho

The full-page art deco lithograph on deluxe paper, shown above, for the packaging of an orange-flavored confection, provides a foretaste of the pleasures to be found in the product. It’s a treat coming to us by way of the lithographer, a topspin in the workings of that technology.

               Stollwerck   Rheinkrone (1927)Anonymous;6 ¾” x 9 ¾”; litho tip-in

It is far more than a coincidence that a major study of deco master, A.M. Cassandre, is to be discovered in the midst of the visual gems pictured.
This gift wrapping particularly ushers us into progressions based upon line, volume, color and composition.

                                  Sarotti (1927) Julius Gipkens;6 ½” x 8 ¾”; litho tip-in

Another article deals with American printer, William Edwin Rudge, stressing the often overlooked powers of carefully produced papers. Juxtaposed with such austere matters are glorious labels on perfect stock. To add to the stimulating contrast this blue-chip publication—both demanding and generous—provides, we have this truly delicious, full-page wine label by the major German designer, Julius Gipkens.

                              Viorosa-Seife  ( 1927) Enders; 8” x 9 ½”; litho tip-in

Here is packaging for a soap container, stressing in its text the “purity” of the product. That keyword is taken up by the design—its floral motifs embraced by a color strategy anticipating a zest that is far from sterile.

                     Berger & Wirth  (1927)Anonymous;11 ½” x 8 ½”; full page litho

Near the end of this publication, we are treated to a promotion both dazzling in its physical presence and whimsical in its concept and execution. The nocturnal background presents an industrial harbor where a tin of the client’s printers’ inks has been lost. But it is not lost upon a couple of gulls who have painted themselves in princely raiment!
It is a measure of the fervent commitment of everyone involved in the output of this periodical that such a technically, materially fastidious production can send us into reveries usually reserved for poetry and “fine art.”

 

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This entry was posted in Art Deco Posters&Graphics, Illustration Art, Illustrators, Poster&Graphic Artists and tagged , , , , . Bookmark the permalink.

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