Lamy 是怎样炼成的 ：）
这是一篇关于Lamy家族的文章，你绝对在官网找不到的文章。其中对这个品牌的如何创建的，以及受欢迎的型号进行了说明。
对很多喜欢Lamy文具的人来应该读一读。
会英语的这次可以先品为快，有时间的人可以翻译出来给不会英语的人看看。
----------------------------------------------------------华丽的分割线-------------------------------------------------------------------
Lamy 家族时间轴~
[ 本帖最后由 Edinburgh 于 2009-11-23 11:37 编辑 ] Orthos时代：
Orthos, Artus, the Beginnings of a Real Good Thing: 1930 through 1952.
In the mid to late 1920's, the United States-based Parker Pen Company was seriously looking into viable ways to expand it's production, distribution and sales numbers, especially in Europe. On a cold and blustery day in January of 1928, Kenneth Parker, B.M. Palmer and Parker Pen Company's local export and branch manager, Carl Josef Lamy travelled out to the Osmia Fountain Pen Company's factory in the small village of Dossenheim, just outside of Heidelberg, Germany where Parker's branch office was. The Parker Pen Company had become extremely interested in buying out Osmia, since Kenneth Parker had heard through a "paid" consultant that Osmia was really under-valued and also the number 2 fountain pen maker in all of Germany at that time. Osmia was also appealing because they often produced a Parker "look-a-like" fountain pen that directly competed against Parker's own Duofold.
All three men laughed and made jokes once they arrived at Osmia's factory and discovered that it consisted of pitiful, run-down sheds and a barn, with rough looking farmers/workers creating writing instruments with near stone-age, dilapidated, and antiquated machinery. Despite their humorous discovery, Parker went through with the purchase and was soon injecting huge sums of capital and modern equipment into the fledgling company in order to swiftly bring their new acquisition up-to-date and producing Parker-Osmia products. More than one-half million 1928 dollars was spent on advertising and promotional stuff alone, attempting to improve Osmia's overall condition.
Even with the huge influx of cash and modern technologies, Parker still struggled unsuccessfully for two years to make their arrangement with Osmia work out before finally calling it quits in 1930. To avoid further losses, Parker disolved all agreements, and sold-off all of its interests in Osmia due to unfullfilled expectations, poor sales figures, increasing costs, and possibly even their customers, less-than-satisfactory response to a newly redesigned, rigid nib they including in some of the European-made products.
There were a lot of really high-hopes riding on the success of this partnership. For Parker, it meant higher sales numbers and lower production costs along with a real piece of the German and even European markets. For Osmia, it was the continued financial support and of course, wider distribution of their product. Unfortunately, nearly all of those involved in this endeavor, including a lot of customers, were terribly disappointed that it didn't work out. A huge investment in time, resources, and especially money were irreparably lost. A discouraged and disheartened Parker, in order to stop throwing good money after bad, chose to remove itself completely from nearly all agreements and the partnership completely by just pulling-out and selling-off it's interests at one of the first opportunities that came along.
In all the shuffle caused by the so-called “pull-out,” Parker's local export and branch manager in Heidelberg, Germany, C. Josef Lamy, quickly found himself no longer needed and promptly released to pursue other gainful endeavors elsewhere. C. Josef was not forced into leaving Parker but the selling of Parker's interest in Osmia meant that he would have to relocate elsewhere in order to remain a Parker employee, a company that Mr. Lamy had grown quite fond of and loyal to... Another issue at the time that made this decision more difficult was the extremely slow economy and the fact that there were practically zero opportunities for a 31 year old middle manager with writing instrument experience. Most of the pen manufacturers in and around the Heidelberg area were all feeling the pinch of the badly performing economy and were looking at letting people go, not hiring more.
After weighing his options and the pro & cons of relocating his family, Mr. Lamy decided that he would have to create his own opportunities for himself. Using his knowledge of fine writing instruments, he figured was his best chance for supporting his family and truly making a name for himself. No longer would someone else be responsible for his destiny, he would make it himself, by creating and running his own writing instrument firm. He would work hard to build good, solid, dependable writing instruments for middle-aged men out there that were successful, image conscious but leaned towards understatement... somewhat like himself. It would turn out to be a real target audience, if there ever was one.
Even though some close to him disagreed with his decision, despite the then poorly performing economy, regardless that few were buying higher-end pens... C. Josef Lamy immediately set about creating his own line of durable, high-quality, reasonably-priced writing instruments and the Orthos Fullhalter-Fabrik Company was born. Just a few months later, C. Josef presented his first patent, a pen and pencil combination.
Beginning with a flat-top Parker Duofold look-alike, button-filing fountain pen, Orthos began right away making exceptional writing instruments. One of their immediate constraints was that they generally could only distribute them in and around Heidelberg and surrounding communities. These were superb writers, that practically sold themselves at times once potential customers either were able to try one out or heard about the extraordinary pen being made locally, from someone that already had one.
One of the issues that plagued Orthos during those early years was one of just getting the word out about the new company and it's exceptional products and really convincing distributors, vendors, and retailers outside of the Heidelberg area to purchase and really peddle the Orthos products to their customers. It was in that light that Josef worked hard to re-establish old ties, distribution lines and working relationships (from his time at Parker) but this time for his own fledgling writing instrument company. Many distributors and retailers were more than a little nervous about once again doing business with Mr. Lamy due to their continuing relationships with the ever popular and much bigger Parker Pen Company. The last thing they wanted to do was to have Parker be upset with them.
Orthos sales gradually grew as did Orthos, the company, all the while establishing its own sale and distribution channels, agreements and business arrangements. Josef continually worked hard building up the business, though he was still limited to local areas around Germany and other European countries nearby, where the products could be literally be distributed and even delivered by Orthos itself.
Leading up to the start of World War II, the still young, Heidelberg-based writing instrument maker began doing armaments work when their country called them to, and they continued in that role through-out the war years. Not long after the war ended in Europe, with the fall of Berlin, C. Josef Lamy and Orthos acquired the already established pen maker Artus-Fullhaltergesellschaft Kaufmann and Company, also located in Heidelberg, Germany.
C. Josef efforts quickly turned towards integrating the two companies by cutting back on redundancies, consolidating and expanding overall distribution of Company products, etc. With the inclusion of the Artus product lines, Orthos continued for a while to produce both companies products, adopting a numerical system to name and keep track of their many models and different product lines. It wasn't long before sales increased to the point that Orthos was producing in excess of 200,000 fountain pens per year and finally dropped making writing instruments under the Orthos brand and adding more newly engineered models to the Artus one.
In those years immediately following the World War, Mr. Lamy's company produced some of the very first molded synthetic plastic resin based pens under the Artus brand. C. Josef Lamy is still considered today, as a true pioneer in the use of molded synthetic (resins) materials in manufacturing processes.
A couple of years later, in 1948, Mr. Lamy switched his company's name from the Orthos version of nearly 20 years, to the C. Josef Lamy GmbH, the company's name that we know and love today. He did so in order to mark the start of a new era for the company and for a World that was still reeling and recovering from a devastating and catastrophic war. It was around this same time that various simplistic forms of advertising began in publications like newspapers and the like. This advertising was initially started as a means of promoting the company image and getting the word out about the Company's new products. Advertising usually consisted of commercial newspaper print... a style that did not change for many, many years and usually included written articles in their original size and almost always included a handwritten sentence of sorts.
Later, in 1952, just four years after the announcement of a new era in writing instruments, Lamy releases an innovative, streamlined, Osmium-tipped, high-grade, and absolutely incredible fountain pen, called the Lamy 27. The 27 was Lamy's first product to be released under the newly established Lamy brand. This model had a new revolutionary and patented system of inlaid micro-segments around the feed of the pen. This virtually made the ink flow insensitive to both air pressure and/or temperature changes. The “Tintomatik” system, the design of which is still being used today, more than 57 odd years later, was a monumental success since this allowed people to travel with their pens with little worry about them leaking ink all over.
The Lamy Model 27, with it's new, remarkable feed system, quickly became an extraordinary best-seller. It eventually would be produced in twelve different varieties from a fully plastic model (27e) to luxury versions (27n) adorned with gold-plated metal caps, etc... There were intermediate varieties, between the two mentioned above also. At the time of the Model 27's release, C. Josef Lamy was not well known around the world like Montblanc or Pelikan was, though the pricing was similar to Montblanc's and Pelikan's own models, not a cheap pen, especially for anunknown company at the time. (那时候，Lamy的产品价格和龙也是不相上下的哦。;P ) This all swiftly started to change and the 27 was the vehicle of that change. They were greatly in demand until the 1966 (more on that a little later).
[ 本帖最后由 Edinburgh 于 2009-11-23 11:41 编辑 ] 定义Lamy
Defining Lamy, the Early Years: 1952 through 1966.
As we've learned from previous page(s), in 1952 the Lamy Model 27, with it's new, remarkable feed system, quickly became an extraordinary best-seller. A few years later, something else occured that would eventually change the direction of the firm for good... C. Josef Lamy's son, Manfred first appears around the halls of C. Josef Lamy GmbH... while finishing his doctorate in Economics at college. Later in 1962, Dr. Manfred Lamy began as the Company's Advertising/Marketing Manager. He was responsible for bringing a whole new set of ideas, skill sets, designs and ways of doing business to Lamy. It wasn't long before the younger Lamy was influencing practically every aspect of his father's business, and doing quite well at it.
In 1964, C. Josef Lamy GmbH begins production and releases another risky but incredible product... the Lamy Exact, Germany's very first ball-point pen, made by Germans. （德国的第一支原子笔是由Lamy公司于1964年制作的，叫做Lamy exact!)
With it's large ink capacity and a tip made of high-grade stainless steel, the Lamy Exact was an immediate hit - sales and production numbers quickly proved it. By this time, the Lamy 27 had been around for more than 12 years and still very successful. It was also around that same time when people began to look at Lamy as one of the best German, or possibly one of Europe's “elite” or “premier” writing instrument makers around.
There is just so much that can be said about the next period in Lamy history, the mid-1960's era. The winds-of-change were blowing through-out the family-owned and operated enterprise in Heidelberg and affected the implementation of virtually every new product from then on into the future. These changes were born from a successful collaboration (partnership) between Dr. Manfred Lamy and bauhaus style-focused designer, Gerd A. Müller (known for his moderistic designs of Braun electric shavers). Together, they fundamentally changed the whole process of establishing and designing new products utilizing bauhaus principles developed prior to World War II at the Bauhaus School (1919-1933) at a few different locations in Germany.
Bauhaus, is the modernistic design method that includes the tenets: &ldquot;form follows function&rdquot; and &ldquot;ornamentation is a crime.&rdquot; Generally speaking, if an object has to perform a certain function, it's design must wholly support that function to the fullest extent possible. The Bauhaus or International Style of Design is marked by the absence of ornamentation and by the harmony between the function of an object and it's design. Lamy's designs quickly became modern, functional, honest and distinctive. This new direction was tested and determined while developing Lamy's newest product, to ensure it's effectiveness. It was the beginning of a new era for C. Josef Lamy GmbH.
Gerd A. Müller also helped develop and streamline many of the processes and procedures including a focus on high-design around the company in the following years with Dr. Lamy's approval, sponsorship and participation (partnership). Their marks on the company will still be seen and felt until the company and its products no longer exist. If is thanks to their focus and passion for high-quality, technology and style, Lamy writing instruments became highly desireable design objects. Lamy design has become an integral part of the Company's philosophy which comes to life in every design,product, document, brochure and packaging that leaves their building each and everyday.
The basic values for Lamy Design were determined with/through the creation of a new, distinctive, modern-looking product (briefly mentioned earlier), the Model 2000 or Lamy 2000, which was released in 1966. The award-winning 2000 was an absolutely ground-breaking design innovation - the combination of matte-cut stainless steel and a fiberglass reinforced makrolon (a special plastic) didn't exist until then. The 2000 was technically speaking, unknown territory. Never before had a clip been made from a billet of solid stainless steel. There just wasn't a precedent for this procedure, which created an even surface of both materials. In this way, Lamy created the 2000, whose almost unique character was due to the very high degree of manual craftsmanship that was needed to build each and every one of them.
As stated in the Company's literature, most modern works of art are swimming around in museums. This one still works for a living. Not only was the new shape of the 2000 beautiful, and its distinctive surface feel convincing, each and every detail provides it's user an innovative and fully-functional benefit. With the 2000, Lamy provided the first truly modern designed writing instrument, which continues to advance itself as a real classic design, even today. As for demographics, Lamy aimed their 2000 at successful, middle-aged men, who were image conscious, but tended towards understatement... a formula that served them so incredibly well for decades.
In spite of intensive preparations by Lamy sales personnel, representatives and other employees, despite positive survey results, no one really expected that the Lamy 2000 would quickly make such a huge impression on/in the market when it was first released. Its permanent market penetration improved further still, due to the example, excitement and word-of-mouth advertising of the initial users. The Lamy 2000 fountain pen, was soon followed by a ball-point pen, a mechanical pencil, a four-color ball-point version and several true special editions.
A deffinate sign of the 2000's continued commercial success and the absolute timelessness of its bauhaus-inspired design is that they are still being produced and sold today, more than 43 years (at the time of this writing) later. As a result of this longevity, the Lamy 2000 continues to be included and considered in nearly every selection of German and European Distinguished Designs, obtaining the prestigious Busse Long Life Design Prize in 1984.
[ 本帖最后由 Edinburgh 于 2009-11-23 11:56 编辑 ] 创新
Design, Innovation Comes Of Age: 1966 through Present Day
Lamy had an incredible product in it's 1966 released Lamy 2000. The Lamy 2000 was a huge opportunity for a small family run company to find its individuality and its unique product profile and to make its appearance on the World stage amongst the other fine writing instrument makers. At the time, they simply had no idea how well it would sell and considered even the initial production run as a big gamble. Once it was out there, they had a hard time keeping them in stores since they really didn't have a clue how well it would do and they had a hard time even believing their market research figures. It became a very big success in nearly every way, but it didn't always look like it was going to turn out that way. Even the Makrolon material it is made from, had issues at first. Dr. Lamy sometimes relates a story about how the first Lamy 2000 pens made from a brushed resin material turned white after long storage, and for the longest time no one had a clue of how to correct the problem. Later on, an employee of the resin supplier finally found a viable solution that was acceptable.
Two years after the initial release of the Lamy 2000, changes regarding all of the lessons learned and the establishment of various focus groups are still taking place at Lamy. Their marketing and new product development areas are adjusted to include the feedback from “target groups” and their input related to their various different functional writing requirements. Though there was perhaps some scepticism at first, this is seen as a signiuficant step moving the company forward toward continued new product designs and development.
In 1973, forty years after his father initially founded the company, Dr. Manfred Lamy officially takes the reins from his father as the sole Managing Director of C. Josef Lamy GmbH. He initially began working at the company originally in 1957, and became full-time in 1962 when he assumed the role as the company's “Advertising Manager for the Promotion of Political Economics in Marketing,” a position in which he created the corner-stone, distinctive Lamy design focus and philosophy that's is a part of what Lamy is, even today.
1974 was a momentus year for both the country (Germany won that year's WorldCup Championship), and a tremendously successful one for Lamy (they released the highly praised and very popular cp1, designed by the bauhaus-inspired & highly-acclaimed German industrial designer of the Lamy 2000, Gerd A. Müller. Developed according to the specifications in the recently formulated “Lamy Design” Requirements/Rules, at the time, the cp1 is seen more and more frequently in the hands of not just their usual targeted customer base, mentioned earlier, but also design-conscious women. These design-conscious women quickly and significantly became a bigger share of the market for Lamy than the numbers showed in the past. In fact, they often make design adjustments/allowances specifically for this market segment, beginning with the cp1. One of the main reasons for this is that the Lamy cp1 ball-point quickly became Germany's best selling pen in it's class, at that time. The slim, cylindrical, all-metal writing instrument began to make more and more National and International design award commitees aware of Lamy and Lamy's designs and products. Later the same year, designer Gerd Müller launches a new program for writing instruments which interpreted the theme of “functional design” in such a new, refreshing way that it becomes very attractive to the new target groups.
Beginning in 1976, with C. JosefLamy's increasing success, the advertising and marketing of the Lamy Brand needed sprucing up, updating and revising. Recreated by Leonhardt & Kern (a Stuttgard-based advertising agency), the initial appearance of Lamy's new advertising campaign appeared for the first time in Spiegel Magazine. Their campaign continued to continually develop through-out the remainder of the 1970's, 1980's, and on into the 1990's as one of the longest and most award-winning German advertising efforts, ever. Lamy Design continued to evolve also with the creation of new product and the innovative ways Lamy does business.
After extensive research into young-person psychology, input fromvarious target groups, and a close collaboration with Wolgang Fabian and the Mannheim Developement Group (under the direction of Professor Bernt Spiegel), in 1980 C. J. Lamy GmbH launches an incredible and robust fountain pen for school children, ages 10 to 15 years old at the Frankfort Exhibition Complex. It was instantly well received. The very first Safari's were made of Olive Green ABS (Acrylonitrile-Butadiene-Styrene) plastic and its avant-garde style brings a breath of freedom and adventure to the use of fountain pens by young people. Lamys Safari with its unusual, casual, and industrial look soon finds itselfat the front of the class. These modern-looking writing instruments not only become extraordinarily popular with the kids but also for all ages in America and other locations/demographics around the world as well. Being made of ABS, literally makes the Safari indestructible and highly durable, perfect for those just beginning to use fountain pens.
Lamy's high-technology standards can easily be seen in 1981, reflected in the business itself. A newly built central warehouse that year, with its advanced set-up, high-bay racking, and completely equiped with ultra-modern and highly-sophisticated control systems.
1982 brought with it the “White is Nice” slogan, along with it came the Lamy White Pen which quickly became the world's first and most copied writing instrument - in white. A mere one year later, Wolfgang Fabian exceeds all expectations, by adding the designs of the Lamy Spirit with his introduction of the Lamy Logo. With its innovative clip “Push Button” unit it became a deffinative and long-lasting cornerstone of the companys product lines.
The designer that partnered with Dr. Lamy to develop the Lamy 2000, Gerd A. Müller was at his height of productivity and creativity in 1984 when he was responsible for not one product going to market, but two - and at the very same time, The Lamy Unic was born along with its cousin the Lamy Twin Pen.
The Lamy unic with its round, cylindrical body, its cool, technical modernistic beauty clearly distinguishes itself from the wave of nostalgia for writing instruments that was widespread at the time. It quickly becomes the preferred writing tool of people who are not afraid of modern technology, design and who are impressed by innovative product details such as the extendable, telescopic tip.
This was accompanied by the Lamy Twin pen, released at around the same time, it has a slim metal body containing terrific and very useful surprise when needed, this ingenious ballpen converts with a twist into a propelling pencil! It truly was the first modern writing instrument for taking notes AND making sketches and only needing one instrument to do it all. The Lamy Twin Pen opens up the door for a whole series/line of multi-system writing instruments, a specialty which Lamy is well-know for even today.
In 1985, C. J. Lamy GmbH celebrated the start-up of its brand new injection molding hall, surprising even the industry insiders present (at the opening) with its unusual versatility and unique depth of production, toolmaking and injection molding as well as the manufacture of pocket clips, nibs, refills and even ink cartridges - all of these operations are now performed in-house, thanks to this new building addition.
After an incredible “water-shed” year, producing more writing instruments, experiencing greater sales, enjoying the biggest revenue increase ever, and biggest market share so far, C.Josef Lamy celebrates these milestones and the 20th anniversary of what made all of the above possible, the implementation twenty-years before of Lamy Design.
Sadly, with nearly 57 years of success with his namesake company: Lamy, about 69 years in the writing instrument industry and at the age of almost 88 years old, Carl Josef Lamy dies in July of 1986. Even with all of the tremendous successthe company enjoyed up to this point, it was a very sad and contemplative time around the halls of C. Josef Lamy, GmbH in Heidelberg.
Children starting school in 1987, had a special reason to look forward to their first day in the classroom. Called the Lamy ABC, a beginners fountain pen, like which has never existed before. The ABC is made of wood and the toy-red plastic and represents the start of a complete system for learning to write. A collaboration between teaching experts, the designers of the Mannheim Development Group (under the tutelage of Professor Bernt Spiegel), Lamy developed the first writing instrument especially designed to meet the needs of children who are learning to write for the first time. This effort created a new niche in the market, that Lamy is the leader of from the very beginning.
In 1988, as a result of steadily increasing inquiries from foreign trade partners, Lamy responds with a new distribution concept. Markets are no longer served indirectly through “freelance” style agents but directly from Heidelberg by Lamy's own salaried staff. Also that same year, for its tremendous commitment to design - from product, packaging and advertising through to the company architecture and design management, Lamy is awarded the newly created “European Design Prize 1988,” presented by the Commission of European Communities. This award also marks Lamy's on-going increase in International recognition.
The very next year, Lamy begins production of its own branded fountain pen ink. Once again C. Josef Lamy GmbH exhibits its incredible depth of production and product independence that sets it apart from nearly all of its competitors.
On Grenzhöferweg in Heidelberg-Wieblingen in 1990, everyone celebrated the fall of that ugly wall, the reunification of Germany, and Lamy's 60th anniversary. Invited guests to the celebration are able to admire the planted roof garden on the Lamy Production Halls for the very first time since it was created.
[ 本帖最后由 Edinburgh 于 2009-11-23 11:35 编辑 ] 这么大篇的英文，我真是没有耐心看下去。。。 原帖由 暖色 于 23/11/2009 11:41 发表 http://penbbs.com/images/common/back.gif
这么大篇的英文，我真是没有耐心看下去。。。
没办法，要想学知识，就硬着头皮读下去吧。
天下没有免费的午餐。 这几天看着鸡肠子就瞌睡，
我这段时间每天都要扣几百字，要死了。。。。。
看不了，留点精神看CASE 等我有兴趣了，我全文翻译一下。 我一直都想知道那个当年那派克德国的销售经理Lamy先生是怎么起家的，后来看这些文字才知道，看来Lamy这人当年也吃了不少苦， Lamy的成功，跟他儿子有很大关系。 看的我昏昏欲睡。 原帖由 elevensh 于 23/11/2009 11:47 发表 http://penbbs.com/images/common/back.gif
看的我昏昏欲睡。
还有一部分没打上来，是关于Lamy 墨水的研制的，Lamy墨水都是德国制造的，不是中国鸵鸟 ;P请别误会。
全部加在一起，如果打印出来大概是A4纸11页。 各位打印出来就当作一篇Paper研读吧。:D thanks for sharing! 楼主啊，你这麽一加亮加大越发看着累诶 感谢google翻译
=============================================================
Orthos时代：
Orthos，阿特斯，一个真正的好事物的开端：1930年通过1952年。
在1920年后期的，美国的派克笔公司是认真研究可行的方法，以扩大它的生产，分配和销售数字，特别是在欧洲，寻找中。一名在1928年1月的寒冷和大风天，肯尼思帕克，骨髓帕尔默和派克笔公司本地出口和分公司经理，卡尔约瑟夫拉米前往出来的壁蜂钢笔公司的工厂在Dossenheim小村庄，这里就是海德堡，德国，在帕克的分支办事处。在派克笔公司已成为极感兴趣，买下壁蜂，因为肯尼思帕克已经历了“支付”顾问的壁蜂真的被低估，也是数字2喷泉在德国所有笔制造商，当时听到的。壁蜂也有吸引力，因为他们往往产生了帕克“像我”钢笔直接对帕克自己Duofold看比赛。
这三人笑了，开玩笑，一旦在壁蜂的工厂来，发现它由可怜的，破旧的大棚和一个谷仓，粗看与农民/工人创造书写工具接近石器时代的，破旧不堪，和过时的机器。尽管他们的幽默发现，帕克曾经历购买，很快就注入了新兴公司的资金和现代设备，大量资金为了迅速把新购置了最新和生产派克唇产品。超过1 150万美元，是1928年用于广告和宣传材料单，试图改善壁蜂的整体状况。
即使现金和现代技术的大量涌入，帕克仍然奋斗了两年的失败，使工作与壁蜂，最后称它在1930年退出了他们的安排。为了避免进一步的损失，帕克解散的所有协议，并抛售的壁蜂的利益都因unfullfilled预期，数字滞销，增加成本，甚至可能是他们的客户，低于令人满意的回应全新设计的，僵化笔尖，他们在欧洲制造的一些产品，包括。
有一种真正的高很多，希望骑摩托车在这一伙伴关系的成功。对于帕克来说，这意味着与一个真正的一块较高的销售数量，降低生产成本，甚至在德国和欧洲市场。对于壁蜂，这是继续提供财政支持，当然，他们的产品更广泛地分布。不幸的是，几乎所有从事这项工作的人士，包括很多的客户，都非常失望，它不工作了。阿在时间，资源庞大的投资，尤其是货币的不可弥补的损失。阿气馁和沮丧帕克，以阻止在浪费时间和金钱，选择删除几乎所有协定和伙伴关系干脆退出输出和销售完全自己完全过它在该来的第一次机会之一沿利益。
在所有由所谓的“拉出来，”帕克的本地出口和分支在德国海德堡经理，长约瑟夫拉米，很快发现自己不再需要的，并迅速释放到努力寻求其他有报酬的其他地方造成的洗牌。长约瑟夫不是被迫离开帕克但帕克在壁蜂的利益销售，意味着他将不得不搬迁到其他地方，以保持一帕克雇员，拉米先生，这种情形很喜欢和忠于公司...另一位当时曾作出这个决定更困难的问题是极其缓慢的经济和事实有几乎零一31岁的中层经理机遇与书写工具的经验。在海德堡和周围地区的钢笔制造商大多都感受到了经济严重表演捏并让人们去，不雇用更多的期待。
经过权衡各种选择和亲和他的家庭搬迁的利弊，拉米决定，他必须为自己创造自己的机会。用他的罚款书写工具的知识，他以为那是他最好的支持他的家人，真正作出自己名字的机会。不再想别人为自己的命运负责，他将使自己，通过创建和经营自己的书写工具公司。他将努力建立良好，稳固的，可靠的书写工具中的中年男子在那里获得成功，形象意识，但对保守的倾斜...有点像自己。它将变成一个真正的目标受众，如果曾经有这样的。
尽管一些接近他不同意他的决定，尽管当时的业绩不佳的经济体系，不论是很少有人购买更高端的笔...长约瑟夫拉米立即着手创建自己的路线持久，高质量，价格合理的书写工具和Orthos Fullhalter - Fabrik公司的公司诞生了。短短几个月后，长约瑟夫提出了他的第一项专利，一支钢笔和铅笔组合。
年初，为平顶帕克Duofold相像，按钮提交钢笔，Orthos开始马上作出非同寻常的书写工具。其直接的制约因素之一是，它们通常只能分配和周围海德堡和周围的社区。这些都是出色的作家，出售，几乎一次，有时自己的潜在客户也能够尝试一种或者即将听到的非凡笔正在当地的人已经有一个。
的问题之一，在早年的困扰Orthos是一个刚刚起步的新公司对这个词了，可特殊的产品，真正有说服力的分销商，供应商和零售商海德堡以外的地区购买和真正兜售Orthos产品他们的客户。正是在这种光线，约瑟夫努力重新建立老关系，配电线路和工作关系（从他在帕克的时间），但这个时候为自己的羽翼未丰的书写工具的公司。许多分销商和零售商，较有点担心再次做拉米先生由于其持续不断的普及和更大的派克笔公司的业务关系紧张。他们最想做的事是让帕克与他们难过。
Orthos销售渐渐一样Orthos，该公司所有，同时建立自己的销售和分销渠道，协议和商业安排。约瑟夫不断增长的业务工作，努力建设，但他仍然限制在德国和其他欧洲国家附近地区，当地的产品可以从字面上分配，甚至通过Orthos本身交付。
领导到第二次世界大战，仍然年轻，海德堡开始的书写工具制造商开始从事装备工作时，他们的国家叫他们，他们继续在这一作用，通过了战争年代。不久之后，欧洲战争结束，在柏林的秋天，长约瑟夫拉米和Orthos收购已经建立的钢笔制造商阿图斯- Fullhaltergesellschaft考夫曼和公司也设在德国海德堡。
长约瑟夫努力，迅速实现整合通过减少裁员，巩固和扩大公司产品的整体销售，随着产品线的阿图斯等列入关闭的两家公司，Orthos持续一段时间两家公司生产的产品，采用数控系统的名称和保存他们的许多模式和不同的产品线追踪。但没过多久，销售额增加到指出，Orthos是生产20万钢笔过剩和最终放弃作出书面Orthos品牌下增加更多的手段和新的设计模型，阿特斯之一。
在那些年之后的世界战争，拉米先生的公司生产出了第一注塑一些合成的塑料树脂根据阿图斯知名品牌的笔。长约瑟夫拉米今天仍然被认为，作为一个综合的模（树脂使用真正的先锋）在生产过程中的材料。
两三年后在1948年，拉米已经从近20年来Orthos版本他的公司的名义，向长约瑟夫拉米有限公司，该公司的名字，我们今天的认识和喜爱。他这样做是为了纪念公司的一个新时代的开始和世界的挣扎，还是从破坏性和灾难性的战争中恢复。这是解决此同时，各种简单的广告形式，比如报纸和刊物等开始。这最初的广告开始作为促进企业形象和获取有关公司新产品了这个词的手段。广告通常包括商业报纸印刷...风格并没有改变很多，很多年，而且通常包括文字在其原始大小的文章，而且几乎总是包括各种各样的手写判决。
后来，在1952年，仅仅4年之后，在新时代的书写工具宣布，拉米释放创新，精简，锇，倾斜，高档，绝对令人难以置信的自来水笔，称为拉米27。拉米是在27日的首个产品被新成立拉米品牌释放。这种模式有一个新的革命和镶嵌微围绕笔饲料领域的专利制度。这实际上使墨流不敏感和空气压力和/或温度变化。在“Tintomatik”系统，设计的是一直沿用至今，已有超过57多年以后，这是一个巨大的成功，因为这使得人们很少旅行泄露关于他们担心各地油墨的笔。
拉米27日的模型，与它的新的，出色的进料系统，迅速成为非常畅销。它最终将生产12种不同的品种，从一个完全塑料模型（27E款），豪华版（27n）饰以镀金金属盖等..中间有两个品种，上面也提到。在示范27的时间释放，长约瑟夫拉米没有很好就这样万宝龙或伯利坎闻名于世的，虽然价格类似万宝龙的和伯利坎自己的模式，而不是廉价的笔，尤其是anunknown公司，当时。 （那时候，拉米的产品价格和龙也是不相上下的哦。）这一切都迅速开始发生变化，27个是这种变化的工具。他们受到很大，直至1966年（更多的是稍晚）的需求。 定义拉米
拉米定义的：1952年早期到1966年。
正如我们所吸取前一页（S）和1952年拉米模型27个，它是新的，出色的进料系统，迅速成为非常畅销。几年后，发生了别的东西最终将改变方向，良好的企业...长约瑟夫拉米的儿子曼弗雷德首次出现的周围长约瑟夫拉米有限公司大厅...而在大学完成他的经济学博士学位。后来在1962年，拉米开始曼弗雷德博士作为公司的广告/营销经理。他负责整个带来一系列新的思想，技能，设计和经商拉米方式。这不是就在小拉米长期影响几乎是每一个继承父亲的事业方面，做的是不错。
1964年，长约瑟夫拉米有限公司开始生产，并释放另一个风险，但令人难以置信的产品...拉米精确的，德国的第一圆珠笔，德国人的。 （德国的第一支原子笔是由拉米公司于1964年制作的，叫做拉米准确！）
有了它的大容量墨水和高发了小费级不锈钢，拉米精确一炮 - 销售和生产的数字很快证明了这一点。到这个时候，拉米27日左右已超过12年，仍然非常成功。与会者还围绕同一时候，当人们开始在拉米看作是最好的德国，或者可能是欧洲的“精英”或“行政院长”书写工具制造商之一左右。
也只有这么多，可以在拉米对今后一个时期的历史，20世纪60年代的时代说。在的风变化是通过吹出家庭拥有和经营的企业，在海德堡，影响未来的几乎所有的新产品，然后执行情况。这些变化从一个出生的成功合作（伙伴）之间的曼弗雷德博士拉米和包豪斯风格为重点的设计师，格尔德缪勒（对Braun电动剃须刀他moderistic设计已知）。他们一起从根本上改变了建立和利用包豪斯的设计原则，新产品开发的全过程在包豪斯学校（1919年至1933年）之前，二战时在德国几个不同的位置。
包豪斯，是现代主义的设计方法，其中包括原则：&ldquot;形式服从功能&rdquot;和&ldquot;装饰是一种犯罪行为。&rdquot;一般来说，如果一个对象也必须发挥一定的作用，它的设计必须完全支持的函数尽可能充分。或国际的包豪斯设计风格的特点是没有的装饰和之间的一个对象的功能，它的设计和谐。拉米的设计迅速成为现代化的，功能性，诚实和与众不同。这个新的方向进行了测试，确定在发展拉米的最新产品，以确保它的有效性。那是一个长约瑟夫拉米有限公司新时代的开始。
格尔德缪勒也有助于发展和简化程序，包括对高周围博士拉米的批准，赞助和参与（合作）在随后几年公司设计的焦点，很多手续。对公司标志仍会看到和感受到，直到该公司及其产品不再存在。如果是他们的重点和高品质，技术和风格，书写工具的热情拉米感谢成为非常理想的设计对象。拉米设计已成为公司的理念的组成部分，涉及到生活的每一个设计，产品，文档，手册和包装，每个叶片的建设和日常。
拉米设计的基本值的确定/通过建立一个新的，独特的，现代的前瞻性产品（简称上面提到的），示范2000或拉米2000年，于1966年获释。获奖的00年是一个绝对突破性的设计创新 - 结合的雾切割不锈钢与玻璃纤维增强模克隆（一种特殊塑料）不存在一天。 2000年在技术上来说，未知的领域。从来没有被从固体不锈钢坯发了剪辑。只是没有为这个程序，这造成了这两种材料表面甚至先例。这样，拉米在2000年，他几乎是独一无二的性质是由于手工工艺程度非常高，需要建立每其中之一。
诚如本公司的文学，艺术最现代的作品均是游动的博物馆。这一个仍然有效为生。不仅是2000年美丽的形状，其独特的表面感觉有说服力的，每一个细节提供了它的用户创新和全功能的好处。随着2000年，拉米提供了第一个真正现代的设计的书写工具，它继续以推进真正的经典设计本身，即使到了今天。至于人口统计，拉米其目的是成功的2000年，中年男人，谁的形象意识，但对保守的倾向...一个公式，为他们服务，使几十年出乎意料的好。
拉米在由销售人员，代表和其他员工紧张的准备工作虽然如此，尽管调查结果显示，没有人真的拉米预计2000年将很快作出如此巨大的印象，在市场/时，它第一次发布。它的常设市场渗透率进一步改进的是，由于例子，兴奋和的口碑最初用户的广告。拉米2000年的钢笔，很快就被随后圆珠笔，自动铅笔，一台四色圆珠笔版本和几个真正的特刊。
阿2000年的持续商业成功deffinate迹象，其绝对永恒包豪斯设计灵感的是，他们仍在生产和销售在今天比43年（在撰写本文时，）后来的。由于这种长寿的结果，拉米2000年继续被列入和几乎所有的选择德国和欧洲的杰出设计考虑，在1984年获得著名的布塞长寿命设计奖。 创新
设计，创新来：1966年年龄通过当代的
拉米在它有一个令人难以置信的产品1966年拉米2000。拉米提出的2000年是一个家庭经营的小公司巨大的机会找到自己的个性和独特的产品形象和使其对其他之一书写工具制造商罚款出现在世界舞台。当时，他们根本不知道如何将出售，并认为即使初始生产是一个大的赌博运行。一旦它在那里，他们很难保持他们在商店里，因为他们实在没有一个线索，将如何做，他们甚至很难相信他们的市场研究数据。它成为几乎每一个很大的成功方式，但它并不总是看起来是会变成这样。即使是模克隆材料制成的，起初的问题。有时与拉米博士对如何拉米2000年第一个刷树脂材料制的笔，变成了白色经过长时间存储，故事时间最长，没有人对如何解决此问题的线索。后来，一个树脂供应商的员工终于找到一个可行的方案是可以接受的。
两年学习后拉米2000年的变化，同时所有的教训初始版本和各种专题小组的建立是在拉米仍在进行。他们的营销和新产品开发方面进行了调整，包括从“目标群体”的反馈和他们的投入与他们的各种不同功能的书面要求。虽然也许初时有怀疑，这被看作是signiuficant走向持续的新产品设计和开发的公司前进的一步。
1973年，他的父亲后，该公司最初成立，曼弗雷德博士拉米正式考虑他作为唯一的董事C的父亲约瑟夫拉米有限公司执掌四十年。他最初开始在公司工作最初于1957年，成为全在1962年时他担任该公司的“广告经理的政治经济学方面的作用，在市场营销，”一个位置，他创造了角落石，拉米独特设计的重点和哲学的是什么拉米，即使在今天的一部分。
是的Momentus 1974年一年为国家（德国赢得了当年的世界杯冠军），以及一个非常成功的一拉米（他们发布了高度赞扬，非常受欢迎cp1，包豪斯的设计灵感和高度赞誉的德国工业设计师拉米提出的2000年，格尔德缪勒。根据发达国家在最近制定了“拉米设计”要求的规格/规则在当时，该CP1的看到的不仅是他们的一贯目标客户群的手越来越频繁，前面提到的，而且也有设计意识的妇女。这些设计意识的妇女快速且明显成为了市场更大的份额拉米比数字显示，在过去的。事实上，他们往往为这个市场专门设计的调整/津贴部分，首先是cp1。造成这种情况的主要原因之一是，拉米cp1圆珠笔迅速成为德国的最好在它的同类产品中笔当时，。超薄，圆柱形，全金属书写工具开始挣更多钱，更多的国家和国际设计奖commitees知道拉米和拉米的设计和产品。同年晚些时候，设计师盖德穆勒发射的书面文书，在这样的解释令人耳目一新的方式，它成为“功能设计的主题是”一个新的程序非常有吸引力的新的目标群体。
在1976年开始与C JosefLamy氏日益成功，广告及拉米品牌营销，需要打理一下，更新和修订。由莱昂哈特和克恩再现（1斯图加特的广告公司），在拉米的新的广告活动首次出庭出席在明镜周刊第一次。他们的活动继续通过不断地发展出了剩余的70年代，80年代，在进入90年代之一的最长和最获奖的德国广告的努力，永远。拉米设计继续发展与新产品和创造拉米还开展业务创新的方法。
年轻的后进入人的心理，输入fromvarious目标群体广泛的研究，并与Wolgang费边和曼海姆的研究与开发集团密切合作（下教授波尔尼明镜方向），于1980年弯曲菌拉米公司推出令人难以置信的是学校和强大的钢笔儿童，年龄10至15岁在法兰克福展览大楼。这是空的好评。在第一Safari的都是橄榄绿惠益分享言（丙烯腈，丁二烯，苯乙烯）塑料，其前卫的风格带来了自由和冒险的钢笔青少年使用呼吸。栉其不寻常的，休闲和工业研究Safari浏览器很快就发现itselfat类的前面。这些现代的前瞻性书写工具不仅成为非常受欢迎的孩子，而且对美国和其他地方不同年龄/全世界的人口也。 ABS的有关的工作，从字面上使Safari浏览器坚不可摧和高度耐用，刚开始使用钢笔的完美。
拉米的高技术标准可以很容易地看到1981年，在企业本身反映出来。新修建的中央仓库，一年中，其先进的设置，高湾货架，全面配备了超现代和高度精密的控制系统。
1982年带来了“白色是尼斯”的口号，随之而来拉米白笔，很快成为全球第一个也是最复制白色书写工具 - 。短短的一年后，沃尔夫冈法比超过期望，加入了与他对拉米介绍拉米精神标志的设计。凭借其创新的剪辑“按钮”单位却成为deffinative和长期在此公司的产品线持久的基石。
博士认为，拉米合作开发设计的拉米2000年，格尔德缪勒是在1984年，他负责将不是一个产品推向市场，在他的生产力和创造力的高度，但2 - 并在同一时间，拉米乌尼奇的诞生以及它的堂兄拉米双笔。
凭借其圆形，圆柱形体拉米新闻中心，其冷却，技术现代派美容明确区分从怀旧的书写工具是当时普遍波本身。它迅速成为人们谁不害怕现代技术，设计和谁是创新的产品留下深刻印象的细节，如延期，伸缩一角的首选书写工具。
这是伴随着拉米双笔，公布大约在同一时间，它具有超薄金属机身含有了不起，非常有用的惊喜在需要时，这个巧妙圆珠笔的扭曲转化为推动铅笔！这确实是第一个作笔记，使草图，只有一台仪器需要做所有的现代书写工具。在拉米双笔开辟了一整个系列的门/线多系统书写工具，一个特色，拉米是好的即使今天知道。
1985年，弯曲菌拉米有限公司庆祝启动其全新的注塑大厅，难怪连业内人士出席（开幕）及其不寻常的多功能性和生产，模具制造和注塑成型的独特的深度，以及制造口袋夹，笔尖，笔芯，甚至墨盒 - 所有这些行动，现在各部门内部，这种新的建筑物感谢。
经过令人难以置信的“分水岭”年，生产更多的书写工具，遇到更大的销售，享受最大的收入增长，与以往最大的市场份额，到目前为止，长约瑟夫拉米庆祝这些指标，以及是什么让全20周年上述可能的，执行21拉米设计前几年。
可悲的是，近57年的成功与他的名字命名的公司：拉米，约69年的书写工具行业在近88岁，年龄卡尔约瑟夫拉米死于1986年7月。即使该公司的所有巨大successthe享有了这一点，这是一个围绕着长约瑟夫拉米，在海德堡公司的大厅十分悲痛和沉思的时间。
1987年开始在孩子上学，有一个特殊的理由期待着在课堂上的第一天。拉米呼吁美国广播公司的一个初学者钢笔，像从未存在过。在美国广播公司是由木头和玩具，红色塑料，代表了一个完整的系统学习书写开始。教学专家之间的协作，在曼海姆发展集团的设计师（下教授波尔尼明镜监护），拉米开发了第一个书写工具特别设计，以满足儿童的学习谁写第一次的需要。这一努力创造了新的市场定位，这是拉米的领导人从一开始。
1988年，由于不断增加的结果外国贸易伙伴的调查，拉米响应一个新分配的观念。市场不再担任间接地通过“自由”风格的代理人，而是来自海德堡直接拉米自己的受薪雇员。还是在这一年，其巨大的承诺，从产品设计，包装和广告 - 通过该公司的架构和设计管理，拉米是获得新创建的“欧洲设计奖1988”，提出了欧洲共同体委员会。这个奖项也标志着拉米的持续增长，在国际承认。
翌年，拉米开始了自己的品牌钢笔墨水的生产。再次长约瑟夫拉米有限公司展品的生产和产品，设置独立的几乎所有竞争对手中脱颖而出难以置信的深度。
论海德堡Grenzhöferweg在1990 Wieblingen，每个人都庆祝了这一丑恶的墙倒塌，德国统一，拉米的60周年。特邀嘉宾为庆祝能够欣赏的拉米生产大楼的第一次屋顶花园的种植，因为它已建立。 哈哈哈哈，翻译得真好玩。;P google翻译是个好东西啊 太有才了 lamy-拉米，这个翻译够准确。哈哈
页:
[1]
2
