Join the Mailing List

Membership

Collected Graphic Design History from Design Reviewed

Gebrauchsgraphik, 02, 1957

Information

Details

  • Format: Magazine
  • Designer/s: Waldemar Świerzy
  • Year: 1957
  • Client/Publisher: Bruckmann Verlag
  • Size: 210mm x 295mm

Linked Information

Gebrauchsgraphik, 2, 1957. Cover designed by Waldemar Świerzy
Gebrauchsgraphik, 2, 1957. Cover designed by Waldemar Świerzy
More graphic design artefacts
Cement en Beton, 7, 1943. Design by Paul Schuitema.
From the design archive:

Cement en Beton, 7, 1943

  • Format: Magazine
  • Designer/s: Paul Schuitema
  • Year: 1943
View Artefact
Gebrauchsgraphik, 3, 1965. Cover design by Klaus Warwas
From the design archive:

Gebrauchsgraphik, 3, 1965

  • Format: Magazine
  • Designer/s: Klaus Warwas
  • Year: 1965
View Artefact
Arts et Metiers Graphiques, 67, 1939
From the design archive:

Arts et Metiers Graphiques, 67, 1939

  • Format: Magazine
  • Year: 1939
View Artefact
Interiors, March 1969. Cover design by Ellen Keusch
From the design archive:

Interiors, March 1969

  • Format: Magazine
  • Designer/s: Ellen Keusch
  • Year: 1969
View Artefact

view more of the graphic design archive

More graphic design history articles

Members Content

The design work of Olle Eksell
  • Designer Profile, Members Only Content

Olle Eksell

Olle Eksell is well known for his advertising illustration, book jackets and playful packaging design. He first studied engineering and later decided to become a graphic artist. He began his career as a window decorator in 1935, and studied under Hugo Steiner between 1939 and 1941.
Read Article

Members Content

The Swiss designer Adrian Frutiger (1928–2015) created some fantastic typefaces such as Univers, Avenir, and Frutiger, alongside posters, catalogue designs and architectural lettering. He began his career at Deberny & Peignot in Paris as a type designer and set up his own studio in 1960 in Paris focusing on typography and advertising design. Working alongside André Gürtler and Bruno Pfäffli, Frutiger designed many logo designs. Here is a selection of the designs which were featured in Der Druckspiegel, December 1961. I have also translated and rewritten the descriptions to provide more depth. When describing the work of Adrian Frutiger, Kurt Weidemann states, “We live in a time of increasing abstraction,” says Frutiger, in a time of visual, intellectual symbols. If a miller wants a company logo, then a windmill or watermill does not provide a sufficient symbol of his profession. Rather, its job is to crush grains between two masses. Finding a pictorial metaphor for this process might be more difficult, but also more expressive, more apt and timeless. Memorable shapes are simple. A mark that can be immediately drawn in the sand by a child is good. The accompanying typography must not compete with the brand; it must be brought into harmony with it, supporting its expressiveness.) - Der Druckspiegel, October, 1961 (Translated from German) Logo for the advertising agency Arma Publicité. The symbol is based on the letters A R and M. The logo has an emphasised flatness that corresponds to the essence of advertising thanks to its black and white contrast. The triangle shape is a symbol of advancement and dynamism. The embossed form is used in cases requiring discretion. Lettering for the title of a scientific journal. The letterforms are made of straight lines and circles in the spirit of the exact measurements and structures in science. Small and capital letters are mixed together as a deliberate move away from tradition. Business brand for the Brancher Frères paint factory. On the one hand, it is based on the letters B and F, and on the other hand, the silhouettes of the paint can, seen from the side and from above (square and circle). The logo is designed more to the colour than to the formal expression. Original colours: grey, green and blue. Lettering for a printing company. The close sequence of circular elements makes one think of printing cylinders and ink rollers. Logo for the Scripta pantograph milling machine. The arrangement of the arms and joints of the machine have resulted in this S-shape. Right angles were avoided to evoke mobility. The contrast of the strong arms to the fine white space indicates the solidity of a precision device. Company lettering and signs for the Hermann scientific bookstore. The basic element that provided the impetus was the construction plan for the new business facility. Monogram for Jacqueline Iribe, designer of modern decorative fabrics. Irish favourite motifs are rectangles and triangles; the symbol attempts to symbolize this style in the letterform. Original colours: cobalt blue for j, broken cobalt blue for i. Two designs for a sign for the Prache bookbindery. The speciality of this house is spiral and ring binding. The first draft is a name made up of wire, interlocking letters in a circle shape. The second draft follows the same principle but is only based on the P. The rectangle (book, sheet of paper) was included. Monogram for the French architect Georges Johannet. Its architecture is strictly based on geometric elements, in very finely coordinated spatial proportions. Ipreig is the official abbreviation for the Institut professionel de recherches et d'études des industries graphiques. With a view to serving professional progress, it seems justified to give the symbol of this institute the character of an experiment that could be renewed from time to time. (Design not executed).
  • Design Archive Feature, Members Only Content

Logos and Lettering by Adrian Frutiger, André Gürtler and Bruno Pfäffli

Working alongside André Gürtler and Bruno Pfäffli, Adrian Frutiger designed many logo designs. Here is a selection of the designs which were featured in Der Druckspiegel, December 1961. I have also translated and rewritten the descriptions to provide more depth.
Read Article
Rudolph de Harak - Rational-Simplicity
  • Design Books

Rational Simplicity, the first major monograph of Rudolph de Harak by Richard Poulin

"Rudy is one of the unsung pioneers of American mid-century modernist graphic design. He had a unique and definitive point of view that was really never celebrated. This may have been attributed to his strict adherence to the formal principles of modernism and the International Typographic Style."
Read Article

Members Content

IBM, Federal Systems Division Brochure designed by Arthur Boden
  • Design Archive Feature, Members Only Content

The Mid Century Graphic Design of IBM

They were many other designs who played an important role in IBM's graphic identity and implementation. Some of the other designers included Arthur Boden, Clarence Lee, Charles Keddie and Mary Beresford.
Read Article