Join the Mailing List

Membership

Collected Graphic Design History from Design Reviewed

Gebrauchsgraphik, 1, 1961

Information

Content includes:
Eberhard Hölscher – Felix Müller • Advertising and Exhibition Design
Armin Eichholz – European Record-Cases
Hans Kuh – Old New Years’s Greetings from Amsterdam
Alf Kayser – French Elegance in London
Hans Kuh – Herb Lubalin, New York, American Advertising Art
Eberhard Hölscher- Anton Wolff • Posters, Prospectuses, Catalogues
Remigius Netzer – The Pigeons of San Marco
Ludwig Ebenhöh – Bosc Cartoons
«Dominante», a Type of the Typefoundry
Ludwig & Mayer, Frankfurt on Main

Details

  • Format: Magazine
  • Designer/s: Rolf Harder
  • Year: 1961
  • Client/Publisher: Bruckmann Verlag
  • Size: 230mm x 297mm

Linked Information

Gebrauchsgraphik, 1, 1961
Gebrauchsgraphik, 1, 1961
More graphic design artefacts
Typografische Monatsblätter, 12, 1961. Cover design by Emil Ruder
From the design archive:

Typographische Monatsblätter, 12, 1961

  • Format: Magazine
  • Designer/s: Emil Ruder
  • Year: 1961
View Artefact
Hints for Cyclists, Starting and Stopping, The Royal Society for the Prevention of Accidents (RoSPA), c. mid 1970s
From the design archive:

Hints for Cyclists, Starting and Stopping, The Royal Society for the Prevention of Accidents (RoSPA), c. mid 1970s

  • Format: Brochure
  • Year: c. mid 1970s
View Artefact
Octavo Issue 88.5, 1988. Designed and edited by 8VO
From the design archive:

Octavo Issue 88.5, 1988

  • Format: Magazine
  • Designer/s: 8VO
  • Year: 1988
View Artefact
Graphis 21, 1948. Cover design by Jean-Denis Malclés
From the design archive:

Graphis 21, 1948

  • Format: Magazine
  • Designer/s: Jean-Denis Malclés
  • Year: 1948
View Artefact

view more of the graphic design archive

More graphic design history articles

Members Content

Olivetti, advertisement, 1962. Designed by Walter Ballmer. Found on the back of Graphis 115, 1964
  • Design Archive Feature, Design Inspiration, Members Only Content

Walter Ballmer’s Mid-Century Italian Graphic Design

Walter Ballmer was a Swiss graphic designer born in Liestal, Switzerland in 1923. He worked across various design disciplines including advertising design, packaging, typography and exhibition design.
Read Article
Typographical Poster for an Exhibition of Present Day Photography by Walter Dexel
  • Design Archive Feature

New Paths in Poster Work, 1931 by Jan Tschichold

In minor printed matter we constantly meet the new typography, but it is relatively rare to find posters designed on the new lines. And yet poster-designing is a field where new typographical methods might be employed with great effect.
Read Article
EKPlJgZXsAcnxgK-1
  • Designer Interview

Rob Walker (Signs by Umberto)- Precision, Craft and the Love of Letters

I have known Rob for over a decade and I have been a huge admirer of his work. He specialises in reverse gilded glass sign making, typographic murals and traditional sign-writing.
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