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.



   Ultimately the only person who could employ Krone became Krone and he performed the last parts of a wonderful Kronian inversion... The iconoclastic art director, who thought deeper and liberated the page from Art and Design in order to welcome in and invite participation from the reader, became a graphic designer (and brought Art and Design back to the ad page); then to fashion art director; then to grand artist with a show; then to a shed in the country, exploring and refining his craft skills.


..Krone's brand... Krone's design gambits... Julian Koenig, Dave Reider's copy, 'near Mies', Steve Heller's 'Paul Rand', Helen Federico, Philip Johnson... Ed Smith... 'Main Tom'... Jack Dillon's 'The Advertising Man', Krone as 'Brooke Parker'... 'Main Tom's' affectations as observed by Irene Krone, Gene Case (Saint Helmut), Ed Smith... Art & Design, art direction, graphic design...

All chapter 1 spreads