Join the Mailing List

Membership

Graphic Design History from Design Reviewed

Design, Council of Industrial Design, 204, December 1965

Information

Content includes:
Technology and the American dilemma
Survey, Accent on rugs by Clive Hall
Overseas, Design and the community by John E. Blake
Development, A lathe for world markets by Richard Carr, Fred Ashford and Ron Easterby
Design management, Planning the programme by Michael Farr
New products
Ergonomics, Product evaluation by N. S. Kirk and J. S. Ward

Details

  • Format: Magazine
  • Year: 1965
  • Client/Publisher: Council of Industrial Design
  • Size: 210mm x 300mm

Linked Information

Design, Council of Industrial Design, 204, December 1965
Design, Council of Industrial Design, 204, December 1965
More graphic design artefacts
1957-gebrauchsgraphik 4
From the design archive:

Gebrauchsgraphik, 04, 1957

  • Format: Magazine
  • Year: 1957
View Artefact
The Complete Commercial Artist (現代商業美術全集), Ars, No. 06, 1930
From the design archive:

The Complete Commercial Artist (現代商業美術全集), Ars, No. 06, 1930

  • Format: Magazine
  • Year: 1930
View Artefact
Underground, Issue 04, 1987. Designed by Rod Clark
From the design archive:

Underground, Issue 04, 1987

  • Format: Magazine
  • Designer/s: Rod Clark
  • Year: 1988
View Artefact
Idea 247, 1996-7. Cover design by Charles S. Anderson Design Co.
From the design archive:

Idea 257, 1996-7

  • Format: Magazine
  • Designer/s: Charles S. Anderson Design Co.
  • Year: 1996
View Artefact

view more of the graphic design archive

More graphic design history articles
Logo Rewind_Cover
  • Design Books

New book to focus on Norwich’s medieval logos

The stories of Norwich’s medieval merchants’ marks is being told in a new book and exhibition.

Members Content

Showcard for Harris Co., Ltd. Designed by Hiroshi Ohchi Scanned from Idea 11, 1955
  • Design Archive Feature, Members Only Content

Advertising that Sticks. Examples of 1950s Chewing Gum Advertising

Advances in production and 1950s chewing gum marketing. From Wrigley's iconic "Spearman" ads to Hiroshi Ohchi's designs for Harris Chewing Gum.

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.

Members Content

Process Drawing for Design, December 1964 by Kōhei Sugiura
  • Design Archive Feature, Members Only Content

Kōhei Sugiura’s Design Systems for the 1964 issues of Design

In 1964, Sugiura was commissioned by the magazine Design to design each of their twelve monthly cover designs. Creating a series of systems which set the foundations for the design.