Helmut Krone. The book.
  Graphic Design and Art
  Direction (concept, form
  and meaning) after
  advertising's Creative
  Revolution. Clive Challis
  The Cambridge Enchorial
  Press Ltd.
  ISBN 0954893107

ISBN 0-9548931-0-7 Erik Kessels is surprised by his honesty. Bob Levenson learnt the new way to write copy from him. George Lois called him a 'fucking kraut'. The creative Director of Chiat Day LA used to be his assistant. David Abbott wrote a book about his most famous campaign, for the VW Beetle. Yet Helmut Krone never became the Creative Director of William (Bill) Bernbach's DDB. Instead he remains 'the greatest art director' honored by Advertising Age and Adweek.



    “[George] Lois had an immaculate pedigree: High School of Music and Art, higher-browed than Indust-rial Art; vocational rather than trade. And he'd moved well through the new graphic design ateliers of the ‘50s: Reba Sochis' studio; William Golden' s CBS; Herb Lubalin's Suddler & Hennessey.
    Lois was quintessential New York: locker-room wit and chutzpah, but expressed through cool design.
    When Krone said ‘Graphics' he'd either spotted, or was looking directly at, Lois. It was Lois who best combined the conceptual with the graphic.


Jerry Gentile on the Krone/George Lois relationship... the effect of the new TV commercials on press advertising... 'Esquire covers'... on media... Harold Hayes... Papert Koenig Lois (PKL), Lois Holland Calloway (LHC)... DDB... Seagram Building... Kerids... 'House of Glass' ... High School of Music & Art vs, High School for Industrial Art... 'Graphics'... Krone's work for 'Esquire'... Mike Chappell... Carl Fischer on Lois/Krone relationship... Lois's advice to Case and Krone... 'Sports Illustrated' comments on Sonny Liston as Santa... LeRoi Jones...

All chapter 1 spreads