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Graphic Design History from Design Reviewed
Jan Mlodozeniec - Graphic Designer - Poland

Projekt 110, 1, 1976

Information

The Polish Journal of visual art and design

Details

  • Format: Magazine
  • Designer/s: Jan Młodożeniec
  • Year: 1976
  • Size: 235mm x 310mm
Jan Młodożeniec, born in 1929 in Warsaw, studied at the Warsaw Academy of Fine Arts from 1948 to 1953, graduating in 1955. He began designing posters and illustrating books in 1952 and has been participating in international poster biennials since 1962. Among his notable achievements are a gold medal at the 8th Warsaw Poster Biennial in 1980 and first prize at the 5th Lahti Poster Biennial.

Linked Information

Projekt 110, 1, 1976. Cover design by Jan Młodożeniec
Projekt 110, 1, 1976. Cover design by Jan Młodożeniec
Jan Młodożeniec, born in 1929 in Warsaw, studied at the Warsaw Academy of Fine Arts from 1948 to 1953, graduating in 1955. He began designing posters and illustrating books in 1952 and has been participating in international poster biennials since 1962. Among his notable achievements are a gold medal at the 8th Warsaw Poster Biennial in 1980 and first prize at the 5th Lahti Poster Biennial.
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Novum Gebrauchsgraphik, 2, 1978. Cover Design by Young Su Lee
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Novum Gebrauchsgraphik, 2, 1978

  • Format: Magazine
  • Designer/s: Young Su Lee
  • Year: 1978
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Fritz Harnest, Stedelijk Museum, Amsterdam, 1960
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Fritz Harnest, Stedelijk Museum, Amsterdam, 1960

  • Format: EXHibition Catalogue
  • Year: 1960
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Andy Warhol, Pop Art Giant, Parco Picture Bucks, 1991
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Andy Warhol, Pop Art Giant, Parco Picture Bucks, 1991

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  • Designer/s: Andy Warhol
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Form und Technik, 11, 1967
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Form und Technik, 11, 1967

  • Format: Magazine
  • Year: 1967
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More graphic design history articles
The Student Work of The Polytechnic School of Printing, London, 1910
  • Design Archive Feature

Student Work (1907 – 1910) from The Polytechnic School of Printing, London

I came across two sample books containing printed examples of the work executed by the students in the Composing and Machine Departments of the Polytechnic School of Printing, between 1907 and 1910. I couldn't resist adding these to the archive.

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Pino Tovaglia’s Advertisements for Finmeccanica, 1950s. Scanned from Gebrauchsgraphik, 10, 1955
  • Design Archive Feature, Members Only Content

Pino Tovaglia’s Advertisements for Finmeccanica

His distinctive style echoes the artistic expressions of fellow Italian designers Giovanni Pintori and Erberto Carboni. Tovaglia's mastery in taking concepts and translating them into visually compelling narratives is evident in this selection of advertisements I have scanned from Gebrauchsgraphik, 10, 1955.

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A Collection of Japanese Ephemera from the 1930s and 1940s
  • Design Archive Feature, Members Only Content

A Collection of Japanese Ephemera from the 1930s and 1940s

Beyond being mere artefacts of design, these examples encapsulate the dynamic changes Japan was undergoing during this period. The design output of this era not only served commercial purposes but also became a powerful medium for expressing these societal shifts.

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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.