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Graphic Design History from Design Reviewed

Arts et Metiers Graphiques, 53, 1936

Information

Content includes:
P. O. Midi Castles of the Loire Valley
A romantic view of English advertising
One night from Paris . . . The French Riviera
The Printing and Book Group at the 1937 exhibition
The Chinese Print
Deberny et Peignot Photogravure
Chinese print [bowl of eggs and drift wood]
Salvadoran Maya Vase (from the French Encyclopedia)
Sculptures and drawings by cooks and pastry chefs
Gerard de Nerval, publisher and printer
Occidentalism
The League of Nations reconstituted after the Cabrol’s drawings
Antique [typeface]
The Woodcuts of Herbert Lespinasse
The Graphics News
Flier published by Alliance Graphique: “Weekend Tickets”
An Exhibition of the Algeriean Book
Cover for the Galeries Lafayette
Unpublished notice by Gérard de Nerval on his stereograph
Ch. Lorilleux & Co., Printing Inks, Roller Pastes
The Graphic Arts of Sound
Vaugirard Printery Is the Typographic Press of Arts et Métiers Graphiques
Old Papermills of Auvergne

Details

  • Format: Magazine
  • Year: 1936
  • Size: 240mm x 310mm

Linked Information

Arts et Metiers Graphiques, 53, 1936
Arts et Metiers Graphiques, 53, 1936
Arts et Métiers Graphiques, (AMG), was a prominent French graphic arts magazine that published 68 issues from 1927 to 1939.
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Typographica, New Series 13, 1966. Designed by Herbert Spencer
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Typographica, New Series 13, 1966

  • Format: Magazine
  • Designer/s: Herbert Spencer
  • Year: 1966
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Museumjournaal, Serie 14 no5, 1970. Design by Jurriaan Schrofer
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Museumjournaal, Serie 15 no5, 1970

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  • Designer/s: Jurriaan Schrofer
  • Year: 1970
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Typografische Monatsblätter, 05, 1961. Cover design by Emil Ruder
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Typographische Monatsblätter, 05, 1961

  • Format: Magazine
  • Designer/s: Emil Ruder
  • Year: 1961
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Industrial Design, November-December, 1975
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Industrial Design, November-December, 1975

  • Format: Magazine
  • Year: 1975
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National-Zeitung SA Basel designed by Gerstner + Kutter, Basel in 1960
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Swiss Posters from the 1960 Best Poster Award (Die besten Plakate des Jahres 1960)

The 1960 awards presented 420 poster entries from Swiss designers. Notable winners included Robert Büchler's typographic poster for the Museum of Applied Arts Basel and J. Müller-Brockmann’s Der Film poster for the Museum of Applied Arts and Gerstner + Kutter's asymmetric typographic poster for National-Zeitung SA Basel.

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Gebrauchsgraphik, 5, 1961 copy 3
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The selected poster designs for the Swiss Posters of 1960 award

The Best Swiss Posters Award was an annual competition, judged by a Swiss Jury. They selected a range of posters, showcasing a range of poster styles from completely typographic designs such as the work of Robert Büchler, to the illustrated posters of Donald Brun.
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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.