E. G. Rensch Aa E eberhard G. rensch was bom in 1 ïalle, Saxony, in 1929. After attending an art school, he worked in various German advertising studios. At 22 he be came director of exhibitions to the US Consulate General in Frankfort-on-the-Main. Since 1955 he has been a freelance designer. Apart from advertising art, he also does exhibition work, industrial design and interior architecture. Editor eberhard G. rensch geboren 1929 in Halle/S., nach Besuch einer Werkkunstschule Tatigkeit in ver- schiedenen deutschen Werbestudios. Mit 22 Jahren Ausstellungsleiter beim amerikanischen General- konsulat in Frankfurt a. M. Seit 1955 selbstandiger Graphiker und Gestalter in Frankfurt a.M. Beschaftigt sich neben Werbegraphik mit Ausstellungssystemen, Industriegestaltung und Innenarchitektur. Redaktion eberhard G. rensch est né a Halle. Après avoir suivi l'enseignement d'une école d'art publicitaire, travailla dans plusieurs studios allemands. A 22 ans, directeur des expositions auprès du consulat général des Etats-Unis de Francfort-sur-le-Main. CEuvre a son propre compte depuis 1955. S'occupe, outre d'art graphique, d'expositions, de dessin industriel et de décoration. Redaction Tn a society based on the division of labour the commercial artist has also becora-- -L specialist. The perfection of modern reproduction techniques indirectly promotes! one-sided talent. That is why the younger artists in particular tend to develop a sp-h R manner or to concentrate on definite techniques. Yet manner is not the same thini style. Style comes into being only when an individual designing principle is consistel followed up. Just as commercial art today uses elements from all walks of modern life, it jshcld 3. also have the power to try out its designing principles, though developed in two dinfi-> c sions, on tasks which do not really belong to the commercial artist's domain. The af i-a cability of a special style can only be proved by extending it to such fields as indus ib design and architecture. For here the artist must also play the part of a mediator tween the formal design and the requirements of practice. This task demands more than graphic talent. It demands a measure of feeling j>rh the various crafts and industrial techniques. It calls for an artist who can translate-isi a ideas not only into lines, colours and surfaces, but also into terms of metal, wooclnv plastic. At this point the graphic artist becomes a shaping designer, for whom every Jvave f material has its temptation, for whom every new undertaking is an adventure. The works of Eberhard G. Rensch appear as a happy example of the extensioilf;eo3 what originally were purely graphic concepts to other domains. The few example»! 1 his free graphic art already reveal the economy and clarity that characterise all his wc':. His drawings are purely linear throughout and combine austerity with transparency fi Ivo Frent^el [Deutscher Text: Seite 76] [Texte frangais: page 79] 1) 2) 3) Three pages from an alphabet calendar from the German typefoundry, D. Stempel AG., Frankfort. 4) Cover of a programme of events at America House, Frankfort, Germany. 5) Illustration from a brochure publicising the activities of Divo, an institute of market research, Germany. - 6) 7) 8) Three of a series of cards from a children's game. 1) 2) 3) Drei Sciten aus einem Alphabet-Kalender für die Schrift- giesserei D. Stempel A.G., Frankfurt. 4) Programmumschlag für Veranstaltungen des Amerika-Hauses in Frankfurt. 5) Illustration aus einer Broschüre des Deutschen Marktforschungs-Institutes Divo, Frankfurt a. M. 6) 7) 8) Drei Beispiele aus einem Kartenspiel für Kinder. 1) 2) 3) Trois pages d'un calcndrier basé sur l'alphabet, realise pour la fonderie de caractcres D. Stempel S.A., Francfort. 4) Couverture d'un programme de manifestations organisces par la Maison Améri- caine de Francfort. 5) Illustration d'une brochure de Divo, Institut allemand pour l'Etude du Marché, Francfort. 6) 7) 8) Trois cartes d'un jeu pour la jeunesse. 74

Graphis de | 1959 | | page 76