Illuminated advertising

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The glowing EURO symbol in front of the European Central Bank in Frankfurt / Main
The articles illuminated advertising and illuminated advertising overlap thematically. Help me to better differentiate or merge the articles (→  instructions ) . To do this, take part in the relevant redundancy discussion . Please remove this module only after the redundancy has been completely processed and do not forget to include the relevant entry on the redundancy discussion page{{ Done | 1 = ~~~~}}to mark. Kai Kemmann 16:30, 12 Sep. 2018 (CEST)
The Bayer Cross in Leverkusen, with a diameter of 51 meters, one of the largest illuminated advertising systems in the world
Allianz Arena Munich

The luminous advertising is a form of outdoor advertising in which white and colored electric light is used. Most of the time, it is the textual or visual representation of names, logos or slogans of companies .

History of illuminated advertising in Germany

This article or paragraph presents the situation in Germany . Help us to describe the situation in other countries.

Illuminated advertising , also known as neon advertising , has existed in Germany since 1896.

The German Imperium

Berlin, Potsdamer Platz, 1907

When electricity began its rise in the 1890s, the potential of electric light as an advertising medium was quickly recognized and used by companies. The first illuminated advertising system for the branded product Malton wine was built in 1896 on Berlin's Spittelmarkt . In the Leipziger Strasse in Berlin in 1897, a signage system was installed, which shone in the colors red and white.

The illuminated advertising system, also built in Berlin in 1898, for the Manoli cigarette brand - the so-called Manolirad - achieved a certain fame at the time. The illuminated brand name was surrounded by a circle of incandescent lamps , one lamp at a time of which was briefly switched off, giving the impression of a rotating wheel. The successful effect of this new type of advertising also prompted the Bahlsen company to set up similar illuminated advertising systems for their Leibniz-Cakes product in Berlin and other major German cities.

In 1902 the largest system in the German Reich up to that point was built on the roof of a Berlin office building owned by the Rudolph Hertzog company with letter profiles made of sheet metal on which light bulbs were installed so that the company name was visible from afar at night. The reactions of contemporaries to illuminated advertising were mixed. Rejecting protests were directed on the one hand against the "infernal light attacks", which are allegedly responsible for "nerve stress" and "stabbed like a stab in the eyes". On the other hand, the thesis was put forward that modern illuminated advertising is “the most prominent feature of modern culture”.

The authorities were initially restrictive towards this new form of advertising, which massively changed the appearance of large cities in the evenings and at night. Around 1900 police bans on illuminated advertising were issued on the grounds that the unfamiliar light would make the horses shy. Cities like Munich and Dresden, which were committed to preserving their traditional art and culture, for a long time banned illuminated advertising as a matter of principle. The official restrictions temporarily hampered the technical development of illuminated advertising.

It was not until 1907 that a strong further development of the design possibilities of illuminated advertising systems began through electrograph systems with changing advertising messages and through the construction of large illuminated advertising systems with pictorial and scenic representations. A well-known example of large animated illuminated advertising systems of this time is the system for the champagne brand Kupferberg Gold on Berlin's Friedrichstrasse from 1912. The Kupferberg system was 60 m² in size and was equipped with 1,600 light bulbs. It consisted of the two-line lettering Kupferberg Gold and showed how a champagne glass was slowly filled from a champagne bottle. With such large-scale systems, the first climax of illuminated advertising was reached between 1909 and 1914, which greatly changed the night-time urban atmosphere. During the First World War , the use of illuminated advertising fell sharply; in 1916, the year of the war, illuminated advertising was banned for reasons of energy policy.

Weimar Republic

Stresemannstrasse in Berlin at night, 1932
The house Scharlachberg , ca. 1935

The Reich-wide ban on illuminated advertising from 1916 remained in force for more than five years and was not lifted again until 1922. However, the tax on illuminants was increased significantly, so that many entrepreneurs initially did not force the use of illuminated advertising for cost reasons.

The economically desolate situation and inflation until 1923 initially hampered an upswing in the illuminated advertising industry. The gradual economic recovery of the Weimar Republic in the so-called Golden Twenties then led to a rapid upswing in the illuminated advertising industry. Ticker systems and the technically advanced colored neon lights created completely new possibilities for illuminated advertising. In Berlin in particular, illuminated signs turned night into day.

In the period between 1925 and 1929, the economic situation was assessed so favorably by manufacturers of branded goods that they increasingly had new installations of large systems carried out. In 1926, an illuminated advertising system from the Odol company on Potsdamer Platz in Berlin caused a stir , showing how the mouthwash from the well-known Odol bottle dripped into a glass. The largest illuminated advertising system in Europe at that time was built in 1929 at Haus Scharlachberg ( Kurfürstendamm 211) for the alcoholic drink Scharlachberg Meisterbrand . A total of 6,000 light bulbs and 70 km of connecting cables were installed on this system over an area of ​​360 m², the weight of the support structure was 10,000 kg.

In the 1920s, the new building of the avant-garde architects from the Bauhaus environment began its triumphant advance. The modern architects did not find the illuminated advertising systems installed up to then aesthetic, at least during the day, and saw the systems as foreign bodies on the facades or on the roofs of the buildings. By working with illuminated advertising, the architects discovered completely new design possibilities and turned the nocturnal image of building facades and streets into an artistic light architecture. The trade journal Bauwelt wrote that hardly any new building material offers as many possibilities as light.

Nazi era

Berlin Alexanderplatz, 1936

Immediately after the seizure of power , the entire advertising industry was directed by the National Socialists . The basis was the "Law on Commercial Advertising", which stipulated that the "entire public and private advertising, advertising, exhibition, trade fair and advertising system is subject to the supervision of the Reich" and that the entire commercial advertising should be supervised by the advertising council. The aim of the National Socialists was to be able to do propaganda in their own cause by controlling the entire advertising industry and to influence the consumer behavior of the people in the National Socialist sense.

Until the outbreak of the Second World War , illuminated advertising was of great importance to the public, because it was considered a sign of economic upswing after the global economic crisis . In 1933/34 the National Socialist authorities asked the shopkeepers and advertisers to install more illuminated advertising systems in order to contribute to the revitalization of the nocturnal inner cities.

After 1933, many smaller illuminated signs were installed at retail stores, while the installation of large systems declined significantly. The strengthened homeland security movement demanded strict restrictions on light and outdoor advertising, which were then expressed in the announcement of the advertising council of the German economy: "Illuminated display must not have a disfiguring effect during the day."

With the start of the war in September 1939, the blackout of the Reich territory was ordered on the basis of the Air Protection Act. The legal obligation to darken the operation of conventional illuminated advertising systems therefore made it a criminal offense. In order to meet the blackout requirement, luminous colors were used for nighttime advertising - a real "blackout advertising industry" emerged.

In the further course of the war, in addition to the obligation to darken, illuminated advertising was further restricted by measures to save energy and raw materials, and finally the manufacture of illuminated advertising systems was banned from March 15, 1942. From this point on, illuminated advertising in German cities disappeared until after the Second World War.

German Democratic Republic

East Berlin Alexanderplatz, 1964
Neon system in Leipzig, built in 1974/75

Shortly after the end of the war, by order of the Soviet occupying power, a considerable number of fluorescent tubes were produced - but not for advertising purposes. The main purpose of the production and installation of light tubes was to mark the command posts of the military authorities in the form of Soviet stars. In the early years of the GDR, it was not desirable to equip the cities with illuminated advertising systems . The illuminated advertising in the western metropolises was described by the political functionaries of the GDR as the “product of capitalism”. After the uprising of June 17, 1953, a rethink began: the rulers in the GDR saw themselves increasingly exposed to the competition of the systems and wanted to put their economic efforts in the most favorable light possible. In addition to a gradual improvement in the supply situation, one of the planned projects was to illuminate the cities. First of all, the prestigious new buildings on Stalinallee in East Berlin were equipped with elaborate street lighting and illuminated advertising.

In the other large cities of the GDR, this development lagged behind. During a tour of the trade fair, the then Chairman of the State Council, Walter Ulbricht , found that it was dark everywhere in the center of Leipzig in the evening and demanded that the trade fair city of Leipzig should also shine in the light at the next spring trade fair. The then SED district organ Leipziger Volkszeitung demanded in May 1955: “As a trading metropolis of international renown, our city must of course have a modern face, even at night. The reader should only take a nightly stroll through the center. An almost deep darkness will surround him […] with exceptions, of course. ”To remedy this situation, the city administration called for an ideas competition endowed with 1000 marks. As a result, numerous illuminated advertising systems were installed in Leipzig, so that the specialist publication 'Neue Werbung' reported the implementation of the required measures in December 1957 under the heading “Leipzig is bright”. In the 1960s, illuminated advertising concepts were created for industrial locations such as Schwedt or Eisenhüttenstadt and entire streets were designed with illuminated advertising. Illuminated advertising systems and neon lettering continued to be used for political agitation, so in 1968 a system with the lettering Socialism wins! installed on a skyscraper in Dresden.

Until the 1970s, large-scale systems were planned and built on the roofs of the new buildings, which led through the city centers like light axes. In these large-scale systems, colored alternating light was often used in order to develop the most dynamic effect possible. The so-called spoon family advertised canned fruit and vegetables from a VEB from Leipzig and tirelessly emptied their plates with jerky arm movements. With the greeting, freely quoted after Goethe , Mein Leipzig, I praise myself ... the trade fair city welcomed its visitors across from the main station with an illuminated advertising system. For this large system, four kilometers of fluorescent tubes were required, which were meticulously switched to achieve the desired dynamic effects. In 2007 this roof system was dismantled.

Federal Republic of Germany

Neon profile and illuminated transparencies
Lübeck, 1960s
Hohe Strasse in Cologne, 1968
Wittenbergplatz in West Berlin, 1975

With the onset of the economic miracle of the 1950s, the illuminated advertising industry also recovered quickly. Illuminated advertising, formed from dynamically curved neon contours with brilliantly shining colors, became a synonym for new beginnings and prosperity in the young Federal Republic. Illuminated advertising attracted people to cinemas, restaurants and shops after the hard war and post-war period. The neon lettering shaped the nightly appearance of German cities in the 1950s.

The individually manufactured neon systems were increasingly replaced by backlit acrylic glass boxes with foil lettering in the 1960s and 1970s. The standardized light boxes were easier to produce, but the design options for these illuminated transparencies were greatly reduced compared to the filigree systems made of shaped fluorescent tubes.

From the 1960s onwards, more and more large illuminated advertising systems were installed on arterial roads and in city centers. One of the largest free-standing advertising systems in Germany was built on behalf of the Agfa company . The 111 m² Agfa system on the Autobahn near Neuwied was equipped with 700 fluorescent tubes. The automobile manufacturer Mercedes-Benz had a 20 m high advertising system installed at Berlin-Tegel Airport and a 10 m high Mercedes star rotating on a high-rise roof near the Kaiser Wilhelm Memorial Church in West Berlin .

Technical and design basics of illuminated advertising systems

The effectiveness of an illuminated advertising system depends on the type and size of the font and the scope of the text. The choice of colors and materials for an illuminated advertising system also influence the advertising effect. An oversized or inappropriately colored system may attract attention, but not necessarily in the desired sense. When planning and designing illuminated advertising systems, the structural environment is an important factor. The design and installation of illuminated advertising in historic city centers is usually restricted and regulated by official requirements.

When designing illuminated advertising systems, care should be taken to ensure that the texts and logos are easy to read and recognize, both when they are illuminated and when they are not. Good legibility requires a strong contrast between the text and the background. The texts of illuminated advertising systems should be limited to the essentials. Capital letters in straight, bold and sans serif block letters can be captured the fastest and are easy to read from a great distance. For small-scale advertising systems, the display of light text on a dark background is suitable because the light text appears optically enlarged due to the effect of irradiation .

A vertical arrangement of the letters has a rather unfavorable effect on the legibility of lettering. If the letters are of different widths, which is the rule with Latin characters, texts arranged vertically often cause an inharmonious impression.

Materials

Surface-treated metal sheets and profiles and various plastic semi-finished products are mostly used to manufacture the opaque components of illuminated advertising systems. The translucent parts are mainly made of acrylic glass .

Illumination

There are mainly three types of light sources used in illuminated advertising: fluorescent tubes , fluorescent lamps and light-emitting diodes (LEDs). All of these lamps require special ballasts or power supplies .

Designs for illuminated advertising systems - relief bodies

The illuminated advertising system at the Bosch parking garage on the A8 motorway near Stuttgart

A relief body is a three-dimensional, mostly illuminated element in the form of a letter, sign or logo. Several of these elements together form an illuminated advertising system. They are attached to a building either individually or together on a load-bearing structure. When building relief bodies, different materials are processed in different designs. So-called profile indicators have been agreed to clearly describe the various types of construction. Fluorescent tubes and light-emitting diodes are used as light sources for the relief bodies.

Profile 01

Profile 01 is used to denote non-illuminated or externally illuminated half-relief letters. A flat letter body including a frame, usually made of aluminum, copper, brass or stainless steel sheets, is attached to a plastic lower part cut out in the shape of a letter and screwed to the side.

Profile 1

The relief body of profile 1 consists of a relatively deep lower part and a flatter upper part. Both parts are made from aluminum, copper, brass or stainless steel sheets and painted, sanded or refined in another way. The overall depth of the profile 1 is about 10 to 12 cm. Fluorescent tubes with tube holders are mounted at a distance on the metal fronts. The electrodes of the fluorescent tubes, the cables and often the ballasts are protected inside the relief body. The exposed fluorescent tubes create a brilliant lighting effect.

Profile 2

Profile 2 differs from profile 1 in that it has a bezel edge surrounding the letters. The blind edge provides protection for the fluorescent tubes placed on it and improves the legibility of the letters at night by reducing the effects of radiation.

Profile 3

Relief bodies in profile 3 are also referred to as "shadow writing". The relief bodies of this type are mounted at a distance of 30 to 70 mm in front of a light and, if possible, matt building facade and thus illuminate the background area at the edge of the relief body. The upper parts of the relief bodies are usually made of metal and placed on white or clear lower parts made of acrylic glass. The illuminants are installed in profile 3 within the relief body. This type of construction is recommended or even prescribed for listed buildings.

Profile 4

Relief bodies in profile 4 are constructed in three parts. The lower parts and the holding frame are made of metal, the front sides made of acrylic glass are held by the frames screwed to the frames. The light sources are attached to the lower part of the relief body. The design of Profile 4 is particularly suitable for larger relief bodies from 70 cm in height.

Profile 5

In contrast to profile 4, relief bodies in profile 5 have a so-called edge band made of PVC instead of the metal frame, which is glued to the front made of acrylic glass and attached to the metal frame. This design is suitable for relief bodies up to 70 cm in width or height.

Profile 6

In contrast to profile 5, relief bodies in profile 6 have a translucent strip that provides a three-dimensional nighttime effect instead of the PC edge band used there.

Profile 7

In the case of the relief bodies in profile 7, the frames are also made of colored, translucent acrylic glass. The 3 to 4 mm deep frame edge protruding to the front creates a special spatial impression.

Profile 8

Relief bodies in profile 8 are constructed similarly to those of profile 7, but the front sides made of acrylic glass are glued flush to the acrylic glass frames; in contrast to profile 7, there is no overhang. Better readability from different perspectives is achieved by different colors of the frames and fronts.

Profile 9A and 9B

Relief bodies in profile 9A have two-part frames made of metal and translucent acrylic glass. The upper parts made of acrylic glass are glued to the narrow acrylic glass frames and inserted into the metal lower parts and attached. This design creates a particularly three-dimensional effect.

Profile 10

In the case of relief bodies in profile 10, the front made of acrylic glass is glued to a profiled frame made of aluminum to form an upper part. This upper part is slipped over the lower part and fastened there. The lower parts consist of white, 10-15 mm thick, opaque plastic on which the light sources are attached. Because of the different coefficients of thermal expansion of acrylic glass and aluminum, relief bodies of this type should not exceed 70 cm in height or width.

Profile 11 LED

Relief bodies in profile 11 are milled or lasered from 15 to 30 mm thick, colorless or satined acrylic glass. Corresponding grooves are milled on the back of these relief bodies and LED chains are cast there so that they shine towards the front. Fronts and frames are primed light-tight with white paint and painted in color. Due to the white primer, the light is reflected backwards through the transparent potting compound of the LED to the brightest possible wall or panel. Relief bodies of the 11 LED profile are mounted at a distance of 20 to 50 mm, depending on the overall height, so that "shadow writing" is created at night. This profile is particularly suitable for filigree letters or logos.

Profile 12 LED

The relief bodies in profile 12 LED have a similar structure to those of profile 11 LED. The difference lies in the transparent front sides used in the 12 LED profile and the light-tight lacquered rear sides so that the relief bodies shine towards the front.

Special profiles

A wide variety of special profiles can be derived from the designs and profiles described above, which can give the illuminated advertising systems an individual appearance.

Other designs for illuminated advertising systems

Illuminated transparency, supermarket in Flensburg
Different forms of illuminated advertising, Recklinghausen
Façade tape and pin
Illuminated transparency / disconnector
Guitar with neon outlines
Rockclub Große Freiheit 36, Hamburg
Pharmacy logo with neon outline

Signs

The simplest design of illuminated advertising systems are signs or facade surfaces illuminated from the outside .

Light boxes

Light boxes are usually rectangular and relatively flat. Inside a light box there are fluorescent lamps that are evenly spaced and illuminate the box on one or two sides. The luminous visible surfaces are made of translucent material and are labeled or designed in color on the surface.

Facade tapes

Light boxes can be combined to form long facade strips. Due to the size of the systems, the different thermal expansion of components made of metal and plastic must be taken into account during construction.

boom

Brackets are light boxes or illuminated signs attached perpendicular to the facade, which can also contribute to the lighting of the pavement as a side effect.

Cuboid / cube

A special design of light boxes are free-standing cubes that can shine and advertise in four directions. Rotatable cuboids are sometimes installed to increase the effectiveness of the advertising.

CityLight poster

Preferably as relatively flat and luminous wall elements at public transport stops, but also free-standing or attached to facades, the approximately 2 m² illuminated Citylight posters can be found behind transparent safety glazing. Also so-called poster changers, which enable a time-controlled, automatic scrolling of a series of posters and advertising messages. Significantly larger city light posters are also increasingly being used in large cities.

Advertising pillars

The modern advertising pillars still have their original shape, but today's advertising media are mostly posters that are illuminated from the inside. Slowly rotating advertising pillars are also being used more and more frequently so that several advertising messages can be recognized from a fixed location.

Pylons

Pylons of various shapes are often installed at driveways and entrances across the direction of travel of the adjacent street in order to provide information to motorists.

Roof systems / mast systems

Illuminated advertising systems mounted on roofs or masts achieve a large reach of the advertising message. Rotatable roof systems advertise in all directions. In the case of mast systems, an attempt is made to make the advertising visible from different directions by repeating the advertising message on the sides of an equilateral triangle.

Video screens

LEDs are also often used in video screens that are supposed to advertise with moving images in busy places. The images are created by many grid points. Each grid point consists of one red, one green and one blue LED. All mixed colors can be created through the additive color mixing of these three colors. The high luminosity of the light-emitting diodes gives video screens sufficient visibility even in daylight.

Tickers

Programmable text that changes or scrolls in the direction of writing draws attention to special information or advertising messages. The tickers now mostly consist of a grid of LEDs, while light bulbs were also used in the past. A special approval procedure from the competent authority is usually required to install such a system.

Tensioning systems

Very large illuminated advertising systems are often made with the so-called tension cloth, consisting of a white translucent, very tear-resistant fabric. The surface of this stretch fabric can be printed or glued with lettering or logos. Tensioned cloth systems can either be illuminated from the outside or illuminated from the inside.

Large area advertising

Oversized advertising posters or advertising spaces with indirect lighting from fluorescent lamps or spotlights are becoming more and more common in city centers.

Neon fonts / neon signs

Light tubes with a diameter of 6 to 22 mm can be bent into almost any shape by the glass blower. Continuous lettering in script or decorative font or filigree logos can also be produced. For safety reasons, the electrode areas of the fluorescent tubes must be protected from external influences and contact.

Gas stations

The emphasis on the roof edges of petrol stations with light contours made of neon tubes or LEDs ensures a high recognition value, even from a long distance. In addition, there are the illuminated brand logos and the changing price displays.

Culture and illuminated advertising

Many historical illuminated advertising systems have almost become a landmark for a company or a product, and some systems are even listed as historical monuments. The technical possibilities of illuminated advertising are also used in a variety of ways in the field of light art and light architecture .

criticism

See light pollution and advertising reviews .

literature

  • Susanne Bäumler (Ed.): The art of advertising. The century of advertising , Cologne 1996.
  • Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbook Illuminated Advertising, Part 1, Notes on the Design of Illuminated Advertising Systems , Cologne 2007, ISBN 978-3-00-021829-3 .
  • Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbook Illuminated Advertising, Part 2, Planning, Manufacturing, Installation, Maintenance , Cologne 2007, ISBN 978-3-00-032257-0 .
  • Dirk Reinhardt: From advertising to marketing. History of commercial advertising in Germany , Berlin 1993.
  • Fabian Wurm (ed.): Signatures of the night. The world of illuminated advertising , Ludwigsburg 2009, ISBN 978-3-89986-120-4 .
  • Das Neue Berlin (Hrsg.): Plaste und Elaste - neon advertising in the GDR , Berlin 2010.
  • Günther Luxbacher: The commercial light. Illuminated advertising between the electrical industry and consumer society before the Second World War . In: Technikgeschichte, Vol. 66 (1999), H. 1, pp. 33-59.

Web links

Commons : Neon Signs  - collection of images, videos and audio files

Individual evidence

  1. ↑ Dirk Reinhardt: From advertising to marketing. History of commercial advertising in Germany . Berlin 1993, p. 312.
  2. ↑ Dirk Reinhardt: From advertising to marketing. History of commercial advertising in Germany . Berlin 1993, p. 313.
  3. ↑ Dirk Reinhardt: From advertising to marketing. History of commercial advertising in Germany . Berlin 1993, p. 314.
  4. ↑ a b Dirk Reinhardt: From advertising to marketing. History of commercial advertising in Germany . Berlin 1993, p. 315.
  5. ↑ Dirk Reinhardt: From advertising to marketing. History of commercial advertising in Germany . Berlin 1993, p. 317.
  6. ↑ Dirk Reinhardt: From advertising to marketing. History of commercial advertising in Germany . Berlin 1993, p. 318 f.
  7. ↑ Dirk Reinhardt: From advertising to marketing. History of commercial advertising in Germany . Berlin 1993, p. 319
  8. ↑ Carola Jüllig: “Where no lights are on at night, there is a dark province”. New advertising in Berlin . In: Susanne Bäumler (ed.): The art of advertising. The century of advertising . Cologne 1996, p. 71.
  9. ↑ Dirk Reinhardt: From advertising to marketing. History of commercial advertising in Germany . Berlin 1993, p. 312.
  10. ↑ Carola Jüllig: “Where no lights are on at night, there is a dark province”. New advertising in Berlin . In: Susanne Bäumler (ed.): The art of advertising. The century of advertising . Cologne 1996, p. 72.
  11. ↑ Fabian Wurm (Ed.): Signatures of the night. The world of illuminated advertising , Ludwigsburg 2009, p. 60.
  12. ↑ Antonia Linzbach: Transparent signs, fluorescent parrots - commercial illuminated advertising in the years 1933 to 1945 . In: Fabian Wurm (Ed.): Signatures of the night. The world of illuminated advertising . Ludwigsburg 2009, p. 68.
  13. ^ Antonia Linzbach: Transparent signs, fluorescent parrots - commercial illuminated advertising in the years 1933 to 1945 , in: Fabian Wurm (Ed.): Signatures der Nacht. The world of illuminated advertising, Ludwigsburg 2009, p. 68.
  14. ^ Antonia Linzbach: Transparent signs, fluorescent parrots - commercial illuminated advertising in the years 1933 to 1945 , in: Fabian Wurm (Ed.): Signatures der Nacht. The world of illuminated advertising, Ludwigsburg 2009, p. 69.
  15. ^ Antonia Linzbach: Transparent signs, fluorescent parrots - commercial illuminated advertising in the years 1933 to 1945 , in: Fabian Wurm (Ed.): Signatures der Nacht. The world of illuminated advertising, Ludwigsburg 2009, p. 70f.
  16. ^ Antonia Linzbach: Transparent signs, fluorescent parrots - commercial illuminated advertising in the years 1933 to 1945 , in: Fabian Wurm (Ed.): Signatures der Nacht. The world of illuminated advertising, Ludwigsburg 2009, p. 71f.
  17. ↑ Das Neue Berlin (Ed.): Plaste und Elaste - Neon advertising in the GDR , Berlin 2010, p. 7.
  18. ↑ Plaste und Elaste - neon advertising in the GDR . Das Neue Berlin (Ed.), Berlin 2010, p. 7 ff.
  19. ↑ Plaste und Elaste - neon advertising in the GDR . Das Neue Berlin (Ed.), Berlin 2010, p. 10 ff.
  20. ↑ Fabian Wurm (Ed.): Signatures of the night. The world of illuminated advertising , Ludwigsburg 2009, p. 75f.
  21. ↑ Fabian Wurm (Ed.): Signatures of the night. The world of illuminated advertising , Ludwigsburg 2009, p. 83.
  22. ↑ Fabian Wurm (Ed.): Signatures of the night. The world of illuminated advertising , Ludwigsburg 2009, p. 86.
  23. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Notes on the design of illuminated advertising systems , Cologne 2007, p. 8f.
  24. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, part 1, information on the design of illuminated advertising systems , Cologne 2007, pp. 10-17.
  25. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, pp. 18f.
  26. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 24.
  27. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, part 1, information on the design of illuminated advertising systems , Cologne 2007, p. 25f.
  28. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 28.
  29. ↑ Profile 01
  30. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 29.
  31. ↑ Profile 1
  32. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 30.
  33. ↑ Profile 2
  34. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 32.
  35. ↑ Profile 3
  36. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 34.
  37. ↑ Profile 4
  38. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 36.
  39. ↑ Profile 5
  40. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 38.
  41. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 40.
  42. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Notes on the design of illuminated advertising systems , Cologne 2007, p. 42.
  43. ↑ Profile 8
  44. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 44.
  45. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, part 1, information on the design of illuminated advertising systems , Cologne 2007, p. 46ff.
  46. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 50.
  47. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Notes on the design of illuminated advertising systems , Cologne 2007, p. 52.
  48. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 54.
  49. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 57.
  50. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 59.
  51. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 62.
  52. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, part 1, information on the design of illuminated advertising systems , Cologne 2007, p. 64.
  53. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, part 1, information on the design of illuminated advertising systems , Cologne 2007, p. 64.
  54. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 65.
  55. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 67.
  56. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 68.
  57. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 69.
  58. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 70.
  59. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 71.
  60. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 75.
  61. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 76.
  62. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Notes on the design of illuminated advertising systems , Cologne 2007, p. 77.
  63. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 78.
  64. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, Part 1, Instructions for the design of illuminated advertising systems , Cologne 2007, p. 81.
  65. ↑ Udo Fischer, Veit Franke, Hans-Thomas Hansen, Viktor Keppler, Karl Kurz: Handbuch Lichtwerbung, part 1, information on the design of illuminated advertising systems , Cologne 2007, p. 84ff.