Hans Hillmann Hans Kuh Those who know the work of the German designer Hans Hillmann will probably think first of all of his posters. His scope is actually much wider. In Graphis 175 we presented his picture stories. In this survey of his work up to date we include his magazine and book illustrations as well as his posters. Editor W er den Namen Hans Hillmann hört, denkt sofort an seine berühmten Filmplakate. Und doch ist sein Lebenswerk wesentlich breiter gefachert. In Graphis 175 berichteten wir von seinen skur- rilen Bildergeschichten, und heute mochten wir in einem Rückblick, neben seinen Plakaten, auch auf seine Zeitschriften- und Buchillustrationen aufmerksam machen. Redaktion En entendant parler de Hans Hillmann, on songe immédiatement a ses célèbres affiches de cinéma. Pourtant, son ceuvre est bien plus varié. Dans Graphis 175, nous avons présenté ses étran- ges histoires dessinées; aujourd'hui, nous aimerions passer en revue non seulement ses affiches, mais aussi les illustrations qu'il a réalisées pour des livres et magazines. La Rédaction [Deutscher Text: Seite 367] [Texte frangais: page 371] Hans Hillmann is one of the most exceptional graphic designers of our time, yet it is not an easy task to summarize his achievement up to date. It would be a mistake to try to force him into the simple pattern ot a contemporary or narrowly personal style. His graphic and artistic interpretations are guided far too much by his intellect to permit such casting, even though his witty ideas always serve the ends of an optimal artistic effect. His work is the more difficult to pin down because he makes use of many different techniquespencil and pen drawing, paint ing, linocuts, collage, photography. Every method is acceptable that expresses his message best. The truth no doubt lies, as so often, somewhere in the middle, in the happy blending of the idea and its visual expression. The result is always so convincing in Hillmann's case that the person vanishes behind the work. The conceptual approach to advertising is taken for granted to day, and very often quite a number of creative minds are called upon to contribute to the finished job. When the poster or advertisement finally appears, the gag, the slogan, the photograph or the graphics may pre dominate, depending on which of them carries most conviction. Hans Hillmann combines several of these contributors in his own person, and that is perhaps the secret of his workthe various components do not compete with each other. His later work benefited from his meeting with Werner Schwier, who was then art director of the film distributing agency Neue Film kunst Walter Kirchner. In an interview he gave the editors of the Polish design magazine Projekt in 1974, Hillmann answered a question about the genesis of his posters as follows'Their conception is based on atti tudes shared by the distributors and myself. We reject the misleading exaggerations that are particularly rife in the film branch and set out to replace them by more sober and accurate information; for instance, instead of putting the name of a star first we give more weight to the director of the film. Since we are dealing with the film as art, it is ob vious that we should avoid banality and apply corresponding standards in our graphics and posters.' And in another context he says: 'After the poster medium had taught me to regard picture and text as complementary elements, so that I started to give the picture a strong 'poster' impact, I began to seek a new and corresponding approach to illustration.' With his fertile imagination and creative intelligence, Hillmann will no doubt continue to surprise us with work that it is not easy to assign to any pigeon-hole in the changing design patterns of our day. 362 1) Black-and-white poster for a German film (1961). 2) Poster for Buster Keaton's film The General (1962). 3) Poster for a French film (1962). Black and white. 4) Poster for a Japanese film (1962). Figures in colour. 5) Poster for a Cocteau film (The Terrible Parents, 1965). 6) Poster for a Fellini film (i960). Black and white. 7) Poster for the film The Robber Symphony (1964). Red title. 1) Filmplakat. Schwarzweiss (1961). 2) Filmplakat zu Der General. Blau, Violett, Rot (1962). 3) Schwarzweisses Plakat für einen französischen Film (1962). 4) Plakat für einen japanischen Abenteuerfilm. Mehrfarbig (1962). 5) Schwarzweiss-Plakat für die deutsche Version des französischen Films Les parents terribles (1965). 6) Schwarzweisses Plakat für die deutsche Aufführung des italieni- schen Films Die Miissigganger (i960). 7) Filmplakat (1964). Roter Titel. 1) Affiche de cinéma noir-blanc. 2) Affiche de cinéma: Le Général. Bleu, violet, rouge (1962). 3) Affiche pour un film francais (1962). Noir-blanc. 4) Affiche pour un film d'aventures japonais. En polychromie (1962). 5) Affiche noir-blanc pour la version allemande des Parents terribles (film frangais) (1965). 6) Affiche noir-blanc pour la pro jection en Allemagne du film italien I Vitelloni (i960). 7) Affiche de cinéma (1964). Noir- blanc, titre rouge. Publishers Herausgeber Editeurs: 1) 3) 5)~7)» NEUE filmkunst WALTER KIRCHNER, GÖTTINGEN 2) 4) ATLAS-FILM, DÜSSELDORF

Graphis de | 1976 | | page 56