Israel Burston Museum Graphic Jerusalem Centre Director Professors für Buchgraphik t, nclichael Peters Partners have tried to find a way to combat and compete with intruders'. £lo[ co-operation between client and design team was essential for costing and n iition of the market. The combined team felt that any objectives achieved must fee {the point of sale. Winsor Newton therefore decided that through their pack- ,„4ey should be able to suggest the quality of the product. «Michael Peters Partners they commissioned several well-known illustrators Miqainters to experiment with the inks and so obtained a collection of highly inclfdual designs. A ijtle of completely new shape was created as part of the packaging, and at the an time the names of the colours were changed—Green to Apple Green, 7 ellow to raary Yellow, and so on. JThproject has been greeted with great enthusiasm and it is already clear that the iffijjfacturers and the design team are achieving their objectives. ÏF ATA iPhIigrafhis 72Owing to a misunderstanding the double-spread layout shown "as $1 No. 100 on page 5 3 was described in the caption as an advertisement that had apjred in medical journals. In reality the project was not published. The photo- pi on the left-hand page of the layout was not by Theo Welti but by Ryszard iHriwiTZ, to whom we apologize for this erroneous attribution. Gh'his 163: In the article on Painted Walls commencing on page 388, no photo nic credits were given. All the photographs of paintings carried out by artists of,. City Walls group (figs. 3-16 on pages 390-394) were the work of Joel Peter WAin. The photograph of the wall in Carnaby St., London, reproduced on page 393 iwajy Albert Hollenstein, Paris. Ph 3GRAPHIS 72Infolge eines Missverstandnisses wurde die auf Seite 5 3 gezeigte Jlliation Nr. 100 in der Legende als in medizinischen Fachzeitschriften erschie- nep: Inserat beschrieben. Das Projekt war jedoch nie veröffentlicht worden. Die iPhigraphie auf der linken Seite der Anzeige stammt nicht wie angegeben von Tif Welti, sondern von Ryszard Horowitz, den wir hiermit um Entschuldigung An e Verwechslung bitten. -GflHis 163In dem auf Seite 388 beginnenden Artikel Bemalte Wande wurden kerne Thagraphen aufgeführt. Samtliche Aufnahmen der von der City Walls-Gruppe hcilten Wande, Abb. 3-16 auf S. 390-394, stammen von Joel Peter Witkin, iwifend die auf Seite 395 reproduzierte Aufnahme der Fassade an der Carnaby Street, Le on, von Albert Hollenstein, Paris, gemacht wurde. Phiographis 72Par suite d'une méprise, la double page constituant 1 illustration en page 53, a été décrite dans la légende comme une annonce ayant paru dajd'es revues médicales. En réalité, il s'agit d'un projet encore inédit. La photo ghnt sur la page de gauche n'est pas de Theo Welti, mais de Ryszard Horowitz, - quioudra bien nous excuser de cette confusion. Gthis 163: Nous avons omis de mentionner les noms des photographes dans L i'alle Murspeints, p. 388 et ss. Toutes les photos d'oeuvres peintes par les membres duioupe City Walls (fig. 3-16 en pp. 39°"394) sont de Joel Peter Witkin. L'auteur dei photo représentant un mur de Carnaby Street, a Londres (p. 395), est Albert H<|.enstein (Paris). BOOK REVIEW ■N{ Graphic Design in Revolutionary Russia. By Ss>ymon Bojko. Published by Li Humphries, London. Cloth 3.9h PaPer 2-9L - would have been strange in. a if a movement as epoch-making and exciting as the Russian Revolution had nciieen accompanied by some major ferment in the graphic arts. Yet the material waive so far had access to in this field has been limited and in some ways disappoint- inlrhis book by a well-known Polish art critic shows that we have so far only seen r haof the picture, that there was in fact a great deal going on in graphic design in j Revolutionary era, an explosion of theory and the application of a feverish design efc to the huge task of carrying the message of the Revolution into Russia's illimit- Rhinterland. Bojko has had access to the archives in Moscow, and the work repro- dtd in this booksome of it never before seen in the West shows that a good dehas hitherto been passed over in silence by the Russians themselves which would ley have deserved a much wider publicity. The author's survey of the develop- m:s, of the influence of Russian folk art, Futurism, Cubism, Dada, Constructivism anSuprematism on posters, newspapers and advertising, is brief but workmanlike. Mc of the book consists of black-and-white reproductions which speak for them- ,se;s, and there is also a useful section containing biographical notes on the graphic doners of the Revolution. Draved Bookplates: European Ex Libris 19,0-1970By Mark Severin and Anthony A Published by the Private Libraries Association, Pinner 1972)Hard-bound, 6.00. Members' Presentation Volume of the Private Libraries Association, an international sctty of book collectors, Engraved Bookplates presents over 500 bookplates, selected tfrji the work of the finest engravers in Europe. Most of the ex libris in it are repro- did for the first time, for although the artists represented are of high repute in tn own country, their work has seldom been shown abroad. The years 1950-1970 i arlocussed on in order to give the subject a fresher, more 'living' character and also •x form the reader on how to procure the best examples of ex libris available today. T book is complete with a list of Bookplate Societies, specimen exchange letters, irfnational technical symbols, and a comprehensive bibliography. Wanted Job description Coordination of establishment of the Centre Organization of the work of the Centre Distribution and sales Requirements Organizational ability Experience in the production and/or distribution of graphic art Fluent English Connections in the fields of production and distribution are desirable Conditions of employment: To be determined according to the qualifications of the candidate Applications with curriculum vitae and certificates pertaining to pro fessional experience should reach the Administration, Israel Museum, Jerusalem, Israel, before June 10,1973 An der Staatlichen Akademie der bildenden Künste Stuttgart ist ab Wintersemester 1973/74 die Planstelle eines Bes.-Gr. AH 4 als Leiter des Instituts für Buchgestaltung neu zu besetzen. Der künstlerische Lehrbereich umfasst 1 Dozenten für Illustration, 1 Dozenten für Schriftgestaltung. Der Werkstattbereich umfasst Typographie, Buchdruck, Buchbin- derei mit insgesamt 5 technischen Lehrern. Die Bewerber sollten über die künstlerischen Voraussetzungen für diese Stelle verfügen und nicht alter als 50 Jahre sein. Bei Bewer- bern, die bisher nicht in einem Beamten- verhaltnis standen, bleibt vorbehalten, dass sie zunachst in einem aussertariflichen Angestelltenverhaltnis beschaftigt werden. Die Entscheidung über die Besetzung der Professur wird vom Kultusministerium Baden-Württemberg getroffen. Bewerbungs- frist: 31. Mai 1973 an das Rektoramt der Staatlichen Akademie der bildenden Künste, 7 Stuttgart 1, Am Weissenhof 1. 537

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