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Graphic Design History from Design Reviewed

Fodor 20, 1974 – Georg Ruyter

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  • Format: Exhibition Catalogue
  • Designer/s: Wim Crouwel and Daphne Duijvelshoff (Total Design)
  • Year: 1974
  • Size: 200mm x 250mm

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Fodor 20, 1974 - Georg Ruyter. Designed by Wim Crouwel and Daphne Duijvelshoff (Total Design)
Fodor 20, 1974 – Georg Ruyter. Designed by Wim Crouwel and Daphne Duijvelshoff (Total Design)
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Der Druckspiegel, 10, October 1962
From the design archive:

Der Druckspiegel, 10, October 1962

  • Format: Magazine
  • Designer/s: Kurt Weidemann
  • Year: 1962
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Hippie Modernism - The Struggle for Utopia, Walker Art Center, 2016
From the design archive:

Hippie Modernism: The Struggle for Utopia, Walker Art Center, 2016

  • Format: Book
  • Year: 2016
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Graphic Design 5, 1961. Cover design by Yusaku Kamekura
From the design archive:

Graphic Design 05, 1961

  • Format: Magazine
  • Designer/s: Yusaku Kamekura
  • Year: 1961
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Bulletin 1, 11th Olympic Congress, International Cooperation in Sport, 1981. Designed by Büro Rolf Müller
From the design archive:

Bulletin 1, 11th Olympic Congress, International Cooperation in Sport, 1981

  • Format: Book
  • Designer/s: Büro Rolf Müller
  • Year: 1981
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Pino Tovaglia’s Advertisements for Finmeccanica, 1950s. Scanned from Gebrauchsgraphik, 10, 1955
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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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Trademarks of the World, Yusaku Kamekura, 1958
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Paul Rand on Japanese Trademark Design

Paul Rand, one of the most acclaimed American designers is known for his iconic corporate identities, playful illustration and commercial art. Paul wrote the preface for Yusaku Kamakura's book, Trademarks of the World, 1958. He states his influence of Japanese art and design, trademarks as a universal language and his struggles with English grammar.

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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.

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Bruno Schmidt Advertisement, 1962. Designed by Günter Heil. Scanned from Gebrauchsgraphik, 5, 1965
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Advertising 16mm Film. The work of Günter Heil

Little is known about the designer Günther Heil. he established his graphic studio in Berlin and designed many advertisements for 8mm and 16mm film distributor Bruno Schmidt in the 1960s. These were created in the same era as the film distributor Atlas Films was sending films to art-house theatres and were hiring designers Hans Hillmann, Hans Michel, Günther Kieser, Wolfgang Schmidt and Karl Oskar Blase.