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Collected Graphic Design History from Design Reviewed

Projekt 074, 1, 1970

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The Polish Journal of visual art and design

Details

  • Format: Magazine
  • Designer/s: Maria Mänttäri-Linnasalo
  • Year: 1970
  • Size: 235mm x 310mm

Linked Information

Projekt 74, 1, 1970. Cover design by Maria Mänttäri-Linnasalo
Projekt 74, 1, 1970. Cover design by Maria Mänttäri-Linnasalo
Projekt 74, 1, 1970. Cover design by Maria Mänttäri-Linnasalo
Projekt 74, 1, 1970. Cover design by Maria Mänttäri-Linnasalo
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Piet Zwart en het gezicht van Bruynzeel's potloden industrie, Boymans van Beuningen, 1983. Book design by Total Design / Daphne Duyvelshoff
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Piet Zwart en het gezicht van Bruynzeel’s potloden industrie, Boymans van Beuningen, 1983

  • Format: Exhibition Catalogue
  • Designer/s: Piet Zwart, Book design by Total Design / Daphne Duyvelshoff
  • Year: 1983
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Novum Gebrauchsgraphik, 7, 1976. Cover design by Jean Alessandrini
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Novum Gebrauchsgraphik, 7, 1976

  • Format: Magazine
  • Designer/s: Jean Alessandrini
  • Year: 1976
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Idea 65, 1964. Cover design by Georges Lemoine
From the design archive:

Idea 065, 1964

  • Format: Magazine
  • Designer/s: Georges Lemoine
  • Year: 1964
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Montréal 1976 Olympics, Arts and Culture Program Poster designed by Yvon Laroche (Laroche Pelletier Graphistes)
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Montréal 1976 Olympics, Arts and Culture Program Poster

  • Format: Poster
  • Designer/s: Yvon Laroche (Laroche Pelletier Graphistes)
  • Year: 1976
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Theo Crosby and Architectural Design Magazine
  • Design Archive Feature, Members Only Content

Theo Crosby and Architectural Design Magazine

Theo Crosby was born in South Africa in 1925 and moved to Britain in the late 1940s. He was a highly skilled designer, architect and sculptor. He became the technical editor of Architectural Design magazine in 1953 and remained in the post for almost a decade. The large format magazines feature an array of content including information on buildings, materials and architectural plans.
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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).
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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.
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Analysis of Paris Poster Hoardings - Photograph by Maywald, Paris
  • Design Archive Feature, Design Outlook

A 1938 Analysis of Paris Poster Hoardings by Dr. E. G. Paulus

The Paris Poster Hoardings of 1938. Posters gleam forth accentuating the melody of this city as they direct the eye to articles of everyday use and above all to people who are the talk of the hour.
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Radio Free Berlin, Concert poster designed by Hans Förtsch and Sigrid von Baumgarten C
  • Design Archive Feature

The Publicity of Radio Free Berlin, Text by Franz-Hermann Wills, 1966

The transformation of Radio Free Berlin's publicity from dark and provincial to striking and imaginative. Cultural announcements and radio programs designed by Hans Förtsch, Sigrid von Baumgarten, and Reinhart Braun
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