Paul Brühwiler Peter Obermüller [Deutscher Text: Seite 353] [Texte francaispage 355] Paul Brühwiler was born in 1939 in Lucerne, where he also began his professional training. In i960 he went to Paris to continue his studies, working there for Creation Hollenstein and for Editions Condé Nast. From 1965 to 1973 he lived in Los Angeles, where he served as an art director under Saul Bass, Charles and Ray Eames and Car son/Roberts. He founded his own design studio in Los Angeles in 1969 but in 1973 returned to Switzerland, where he has since freelanced from his studio in Küsnacht near Zurich. Editor Paul Brühwiler wurde 1939 in Luzern geboren und erhielt dort seine erste be- rufliche Ausbildung. Zur Weiterbildung ging er i960 nach Paris und arbeitete unter anderem bei Création Hollenstein und Editions Condé Nast. Von 1965 bis 1973 lebte er in Los Angeles, war vier Jahre Art Director bei Saul Bass, Charles und Ray Eames sowie Carson/Roberts. 1969 gründete er sein eigenes Design-Studio in Los Angeles. 1973 kehrte er in die Schweiz zuriick und arbeitet jetzt in seinem Studio in Küsnacht bei Zürich. Redaktion Paul Brühwiler est né en 1939 a Lucerne (Suisse), ou il a re^u sa première forma tion professionnelle. Parti se perfectionner a Paris, en i960, il y travaille entre autres pour Création Hollenstein et les Editions Condé Nast. De 1965 a 1973, on le trouve a Los Angeles, en particulier 4 ans comme directeur artistique chez Saul Bass, Charles et Ray Eames, ainsi que chez Carson/Roberts. II fonde en 1969 son propre studio de design a Los Angeles. Rentré en Suisse en 1973, il installe un studio indépendant a Küsnacht prés de Zurich. La Redaction 1) Black-and-white poster with red lettering for a fashion store in Caracas. 2) Poster using photographic realism for the rock group Wishbone Ash. 3) Poster for the Golden Albums series issued by Capitol Records. 4) Cover for a booklet about the musician Quincy Jones issued by A M Records. 1) Schwarzweisses Plakat mit roter Schrift für ein exklusives Modegeschaft in Caracas. 2) Mit photographischem Realismus gestaltetes Plakat für die Rock-Gruppe Wishbone Ash. 3) Plakat für die von Capitol herausgegebene Serie der Goldenen Alben. Mehrfarbig. 4) Umschlag einer Broschüre der A M Records über den Jazzmusiker Quincy Jones. 1) Affiche noir-blanc, texte rouge, pour un magasin de modes exclusives a Caracas. 2) Affiche au réalisme photographique pour le groupe rock Wishbone Ash. 3) Affiche pour la série des Albums Dorés de Capitol. En polychromie. 4) Couverture d'une brochure de A M Records consacrée au musicien de jazz Quincy Jones. 348 Disciplined advertising influenced by abstraction and 1 Co crete Art once established the reputation of Swiss a oh design. It also involved the idea of the responsible use ot c re tising, which should take the interests of both adverti! y consurner into account. Discussion of its aims and advanta ny now ebbed; the dynamism and the demands of the mark;that made such discussion superfluous. Growing dissatisfaction itl say, the constant use of the Helvetica typeface, and the motEwa from rational form elements and the preferential use of pure cjc it are expressions of a change of heart and indirectly of a ch&e generation in graphic design. Paul Brühwiler has recently begun to attract attentioj su typical representative of a younger generation of Swiss des. Ure He is typical first of all because of his versatility, which mak hi equal to almost any graphic design brief. Apart from gjilJc proper, photography, the cartoon film, audio-visual teachiij pro' grammes, exhibitions and industrial design all fall with h scope. Practical training, adaptability and tenacity helped lb make his way abroad. He was art director of several leading feigi studios and advertising agencies on the American Westjltef and later set up his own studio there. He regards his stay in the States as that of an apprenti Hn< journeyman in the old tradition. He there acquired the finiltha is needed to satisfy the most exacting requirements. H(a sC

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