Text in English and German. The basic features of Deutsche
Lufthansa's present corporate image emerged almost 45 years ago. It
was created by Otl Aicher, one of the principal figures at the now
legendary Hochschule fur Gestaltung in Ulm. Another work by Aicher
that spoke to the whole of Germany, as it were (and still does, in
rudiments), is the 1972 corporate image for the Zweites Deutsches
Fernsehen. The corporate image he created for the Olympic Games in
Munich, which made an essential contribution to the ambience of the
event, has also remained memorable. Since the ideas developed by
Aicher and his colleagues were implemented in the early sixties,
the airline has been seen world-wide as a perfect example of a
consistently developed corporate image. Aicher based himself on
ideas from the Deutscher Werkbund and took the company's entire
inventory into consideration: "house colours, pictorial and
typographic logos, typeface, graphic and typographic rules and
standards, photographic style, quality of support materials,
packaging, exhibition systems, architectural characteristics, forms
(design) of interior furnishings and equipment, style of work and
service clothes". As well as Otl Aicher, numerous other product and
graphic designers, fashion designers and advertising and marketing
agencies have worked for Lufthansa. They include Otto Firle, whose
ideas led to the crane logo, Hartmut Esslinger and his company frog
design, Priestman & Goode, Muller Romca Industriedesign, Don
Wallance, Wilhelm Wagenfeld, Hans Theo Baumann, Nick Roericht,
Wolfgang Karnagel, Topel & Pauser and the bhar design practice,
fashion designers Uli Richter, Ursula Tautz and Werner Machnick,
Jurgen Weiss, Gabriele Strehle and the Jobis company as well as the
agencies Zintzmeyer & Lux, the Peter Schmidt Group, Ogilvy
& Mather, Young & Rubicam, Spiess/Ermisch/Abel, Springer
& Jacoby, McCann & Erickson and Fanghanel & Lohmann. An
exhibition of the same name at the Museum for Applied Arts in
Frankfurt deals with the same subject as the book.
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