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Vintage Audi Poster

audi_hofmann.jpg Today I received an email with the following image attached from an AisleOne reader named Rob, who's a designer and instructor. According to Rob, the image of the poster was found by one of his students who was doing research for a report. No info can be found about it, other than it being created by the great Armin Hofmann. I did a little research myself and couldn't find any info about this poster, but I did find info on the model shown. It's an Audi 60 which was produced from 1968 to 1972, giving us a slight idea as to when the poster was created. What strikes me the most about this poster is the simplicity, elegance and beauty of the visual. The white background, large type and straight-on angle of the car create a stunning image. Rob explained it well in the email:
I love the way the AUDI logo is reflected in the roof of the car and visible through the back window, which would have been a lot more difficult to achieve in the pre-Photoshop era.
I agree. As for the typeface used, it's hard to tell but it seems like it could be either Akzidenz Grotesk or Univers. Anyone? I wish there was more info on this poster and I wonder if there was a series of them done by Hofmann. If anyone has any info, please email me. In the meantime, we can all admire its beauty.        

26 Comments on "Vintage Audi Poster"

  • This is a great find. The logo reflected in the roof is a great detail. I tried to find a series of posters for AUDI by Hof­mann and all I could find was this one. It would be great to know if there are more.

  • This made my day, incred­i­ble. Just intro­duced my stu­dents to Armin Hofmann’s work.

  • Josh says

    The best Mod­ernism is time­less. This poster could be from 1940 or 2040 — it looks amaz­ing for any time period. It’s inter­est­ing to com­pare it to other car ads from the late-60s era, most of which were so visu­ally full of back­ground image, peo­ple, head­lines, body copy, logos, etc.
    a cheesy exam­ple: http://​www​.adclas​six​.com/​a​d​s​/​6​7​d​o​d​g​e​c​o​r​o​n​e​t​4​4​0​.​htm

  • >a lot more dif­fi­cult to achieve in the pre-Photoshop era

    It’s eas­ier to achieve the qual­lity of this reflec­tion when doing it in the stu­dio, but it’s def­i­nitely harder con­vinc­ing your boss.

    It’s a mat­ter of how time is spent, prepar­ing or fixing.

  • That has to be some heav­ier Univers. The A is pretty char­ac­ter­is­tic. This maybe?

  • Ymm lovely poster.

    By the apex of the A, it looks to be Univers to me.

  • Yiho says

    100% its univers. look at the vari­a­tion of the width of the stroke. akzi­denz is much more machined

  • HerroHeo says

    seems like he is the founder of the ‘reflec­tion’ look that everyone-and-their-mom is using now. I love this poster.

  • James says

    Yeah that’s def­i­nitely univers alright, lovely poster, great find.
    nice car too

  • Noah says

    This is great! My new iPhone wallpaper.

  • RobertHenry says

    well havent you just high­lighted the prob­lem of the “pho­to­shop era”? every­one assumes that this would have to be done with tech­niques sim­i­lar to pho­to­shop. most likely it was pro­duced in a stu­dio with the type printed on a white back­drop. or is that too obvious?

  • actu­ally Robert:
    I was won­der­ing the very same thing… I’m think­ing that was most likely the case.

    The mag­ni­fi­ca­tion from the car win­dow prob­a­bly would have been a lit­tle more exag­ger­ated if it were done arti­fi­cially by some­one… or not at all.

  • I love work that came out of a time era were design­ers thought a piece all the way through before even begin­ning the exe­cu­tion — A rar­ity these days, unfortunately.

  • Rob says

    Nice, real nice.

    I’ve got a few vin­tage Audi and VW posters on a CD which were ‘acquired’ when a deal­er­ship asked us to run out some prints. My flat hall­way has got 6 of the VW posters hung in frames. They are bet­ter than art!

  • RobertHenry, I would bet good money on it being cre­ated that way. It’s sim­ple and that’s how they we’re able to get the nice reflec­tion and the type show­ing through the glass.

  • Roman says

    Since the Audi cor­po­rate font “Audi Sans”, intro­duced in 1997 by Meta Design, was a mod­i­fied Univers Extended, the font used pre-1997 likely was the orig­i­nal Univers Extended, I think.

    (“Audi Sans” was replaced by “Audi­Type” in 2009, again made by Meta Design.)

  • Matt says

    Looks to me like Univers Black.

  • bubba says

    i agree it is Univers Black.

  • ya yeter artik ne yazacagimi sasirdim sizin yuzunuzden?

  • Ryan says

    Does any­one know where you can obtain a copy of this print?

  • The easy way would have been to paint the type on an infin­ity back­ground, and of course, air­brush retouch­ing was often used dur­ing that time to clean up most images. Pho­to­shop imi­tates art.

  • This poster is amaz­ing but it is not by Armin Hof­mann. My pro­fes­sor knows Armin per­son­ally and said that this poster was not cre­ated by him but has been float­ing around and some­one tagged his name on it a long the way. Fun fact about Armin also, he had to go to auc­tions to buy his own posters back because he had given them all away.

  • Rob says

    Any­body inter­ested in auto­mo­bile logos & ads should check out the site Car Type (www​.car​type​.com). This site is an amaz­ing resource & fea­tures a com­pre­hen­sive col­lec­tion of emblems, car com­pany his­to­ries, logos, reviews of typo­graph­i­cal & graph­i­cal appli­ca­tions, design fea­tures and just about any­thing that is car related.
    You can link directly to the Audi page… http://​www​.car​type​.com/​p​a​g​e​s​/​1​8​9​/​a​udi, and although this par­tic­u­lar ad / poster isn’t listed, they do fea­ture a whole bunch of vin­tage Audi advertising.

  • karin says

    where can I bye this poster?

  • Miguel Amaral says

    Accord­ing to the online col­lec­tion of the Zurich Design Museum, this was actu­ally designed by Ger­st­ner in 1965. It’s part of a cam­paign he (GGK) worked on for Audi.

    It may have not been Hof­mann after all, but it’s just as cool.


  • Lzli says

    a delight­ful exam­ple of the blurry line that sep­a­rates graphic design and advertising