Join the Mailing List

Membership

Collected Graphic Design History from Design Reviewed

Experimenta Typographica 5, 1982

Information

Details

  • Format: Book
  • Designer/s: Willem Sandberg
  • Year: 1982
  • Client/Publisher: Reflex, Utrecht

Linked Information

Experimenta Typographica 5, 1982. Designed by Willem Sandberg
Experimenta Typographica 5, 1982. Designed by Willem Sandberg
More graphic design artefacts
Idea 73, 1965-11. Cover design by Aubrey Beardsley
From the design archive:

Idea 073, 1965-11

  • Format: Magazine
  • Designer/s: Aubrey Beardsley
  • Year: 1965
View Artefact
Typografische Monatsblätter, 1, 1943
From the design archive:

Typografische Monatsblätter, 1, 1943

  • Format: Magazine
  • Designer/s: Richard Paul Lohse
  • Year: 1943
View Artefact
Idea 303, 2004-3. Cover illustration by Eduardo Muñoz Bachs
From the design archive:

Idea 303, 2004-3

  • Format: Magazine
  • Designer/s: Eduardo Muñoz Bachs
  • Year: 2004
View Artefact
Max Bill - No Beginning, No End Cover
From the design archive:

Max Bill: No Beginning, No End, 2018

  • Format: Book
  • Designer/s: Max Bill
  • Year: 2018
View Artefact

view more of the graphic design archive

More graphic design history articles

Members Content

karl-oskar-blase-design-graphic
  • Designer Profile, Members Only Content

Karl Oskar Blase

Karl Oskar Blase was born in 1925 in Cologne, Germany. He was a prolific painter, designer, sculptor and exhibition curator. His work included magazine covers, for publications such as Form and Gebrauchsgraphik, stamp designs for the German Postal Service and film posters for companies such as Atlas Films.
Read Article
Yusaku Kamekura Poster Exhibition
  • Designer Interview

Publishers and Books Series – Counter-Print

I have long been a fan of Counter-Print, as a student, I would order their newsprint publications, peruse their Flickr albums and now, over a decade later I still buy their latest releases and their site provides our staff with great giftse throughout the year. I interviewed one of the founders, Jon Dowling to find out more about setting up Counter-Print, their favourite books and which publishers inspire them.
Read Article

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
Glorious Devon, S.P.B. Mais, Great Western Railway Company, 1934. Cover design by Edward McKnight Kauffer
  • Design Archive Feature

The E. McKnight Kauffer 1955 Exhibition at the Victoria and Albert Museum by F.H.K Henrion

A review of the memorial exhibition of Edward McKnight Kauffer at the Victoria and Albert Museum in 1955 by F.H.K. Hernion
Read Article