i svv óCV<hM Art Directors] Directeurs artistiques: D {lSr(C« 9) 12) CARMELO CREMONESI l Of 10) 11) JOHANNES FLINK Designers Gest alter Maquettistes (0 9) 12) CARMELO CREMONESI H 10) 11) JOHANNES FLINK ;ivv \S Photographers]Photographen] Pbotographes: fl 9) 12) LUCIANO DINELLI V' (V 10) 11) FRITZ BRILL Agency Agentur Agence - S tudio 2 (2f (e! 9) 12) stile d'arcy, milano 9) 12) Illustration and complete sheet from the calendar of an Italian textile group. Human eyes 23£d.bnM and cats' eyes appear in each composition. ■WSS 10) 11) Sheets from a calendar for a German chemical company. The colour pictures show a ra}fin<icH foam-textile laminate and an adhesive on silicone paper. G 9) 12) Illustration und Blatt aus dem Kalender eincr italienischen Textilfirma. In jeder Komposi- i i nofl tion kommen Menschen- und Katzenaugen vor. t 10) 11) Blatter aus einem Kalender der BASF mit mehrfarbigen Abbildungen von Schaumstoff/ jTi Textil-Laminaten und einem Klebstoff auf Silikon-Papier. (6 9) 12) Illustration et feuille tirées du calendrier du groupe textile Rhodiatoce S.p.a., Milan. On svuomsi retrouve des yeux humains et des yeux de chat dans chaque composition. ImMbB 10) 11) Feuilles du calendrier d'une entreprise chimique allemande, avec illustrations d'un laminage \xzu< 1 mousse/textile et d'un adhésif sur papier silicone. [Continued from page S32] du choix. A few individual designs usually stand head and shoulders above all the others. The rest is banality; it means very little to anybody and does nothing at all to support the claim of the sender to taste or imagination. The advertising value of such mediocrity, which courtesy may even force us to acknowledge with words of false gratitude, need hardly be lingered over here. Yet the production of all this waste year after year costs the business world large sums of money which could very well be put to better use. What a wide scope there is in reality for the good calendar appears from the selection reproduced here. While it lays no claim to complete ness, it at least suggests a few criteria by which the quality of a calendar can be judged and defined. A good calendar in fact fulfils a number of requirements - it is in some way unique, and recommends itself by its originality; - whatever expressive media are used in its conception, it still serves its purpose as a calendar; - it reminds us of the company concerned, or of its products, in a fresh and arresting way; - its designers have clearly looked around for a new idea and have put thought and skill into its practical application; - it sets out to appeal to a clearly defined circle of recipients, or at least to avoid anything out of tune with their mentality; - it presupposes the readiness of the client, in meeting these various requirements, to go to considerable expense rather than to accept cheap compromises and thus jeopardize the success of the whole undertaking. Are there then no borderline cases, somewhere between the tailored job and the reach-me-down? Might not a calendar consisting of attrac tive landscapes be easy to assemble without sacrificing a certain level of qualitv? Those who have tried to assemble such a calendar and to keep 12345 12 it satisfying and original will know just how much searching is needed 6789 10 11 12 3456789 to secure acceptable results. As soon as the pictures diverge from a 22 2! 24 25 26 w is 19 20 21 22 23 central theme, as soon as the link with the identity of the despatching 27 2e 29 30 31 24 25 26 27 28 29 30 company is lost, the impact very quickly ceases to [Continuedonpage 575] SOCIETA RHODIATOCE Dt-MMGVS DLMMGVS APRILE 1966 MARZO 1966 537

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