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Collected Graphic Design History from Design Reviewed

Oase 92, 2014, Codes and Continuities

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Information

Content includes:
Tom Avermaete, David de Bruijn en Job Floris
Nuño Portas, The search of a language
Hermann Czech, Transformation
Giorgio Grassi, Avant-Garde and Continuity
Vittorio Magnago Lampugnani, Tradition, Subtle Innovation and the Ineluctable Modern
Job Floris, Dronningegården and Kay Fisker’s Continuum
Tom Avermaete, Reconstructing Convention. Fernand Pouillon’s La Tourette Housing in Marseilles, 1946–1953
Reem Almannai, Florian Fischer, The Essence of Things, Josef Wiedemann’s Building for the Alliance Headquarters
Hans van der Heijden, Joost Hovenier, Pragmatic Geometry. The Sant’Angelo Monastery in Milan
Dirk Somers, A Convincing Reception, Visiting Asnago and Vender
Nelson Mota, The Teacup and the Motorcycle
Mikael Bergquist, Josef Frank: Villa Wehtje
Wouter Hilhorst, A Liberal Spirit
Eric Lapierre, Louis Faure-Dujarric, Banal or Ordinary Architecture?
Adam Caruso and Peter St. John, Pasticcio
Christoph Grafe, Other Modernities, Observations about a North-West-European Architecture
Mark Pimlott, Pasticcio, A Medley of Twentieth-Century Belgian Architecture, in Pictures

Details

  • Format: Magazine
  • Designer/s: Karel Martens & Aagje Martens, Werkplaats Typografie
  • Year: 2014
  • Client/Publisher: NAI Publishers
  • Size: 170mm × 240 mm

Linked Information

Oase 92, 2014, Codes and Continuities. Designed by Karel Martens & Aagje Martens, Werkplaats Typografie
Oase 92, 2014, Codes and Continuities. Designed by Karel Martens & Aagje Martens, Werkplaats Typografie
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Members Content

Graphis Magazine - Graphic Design History
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Graphis – An inspiring magazine from cover to cover

Graphis is one of the industries most long-standing magazines. It was first published in 1944 and founded by Walter Herdeg and Walter Amstutz in Zurich, Switzerland. It was released bimonthly and was trilingual, with articles in English, French and German.
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mlfineart-matteolampertico-franco-grignani-dissociazione-al-bordo-n.-145-1967 copy
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My Grandfather Franco Grignani, with Emiliano Grignani

Emiliano Grignani is the grandson of Franco Grignani, one of the most versatile and influential Italian designers. Well-known for his advertising, painting and the way he could visualise motion in such a unique way. I interviewed Emiliano to find out more about Franco and his influence on graphic design and the great resource, https://www.francogrignani.info.
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Members Content

Kast + Ehinger (K+E) Advertisement. Back page of a 1960s issue of Gebrauchsgraphik. Designer Unstated
  • Design Archive Feature, Members Only Content

The 1950s and 1960s Advertisements of Kast + Ehinger (K+E)

As part of their marketing strategy, Kast + Ehinger, commissioned a selection of German designers to produce advertisements aimed at the design industry. I have scanned in quite a lot of their advertising matter, all of which were back-page advertisements from three German design magazines. Der Druckspiegel, Gebrauchsgraphik and Graphik – Werbung + Formgebung.
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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).
  • 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