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Graphic Design History from Design Reviewed

Gard Sivik 19 July – August 1960

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Gard Sivik was a Flemish and Dutch avant-garde magazine that was founded in 1955 on the initiative of the Flemish poets Gust Gils and Paul Snoek. The experimental magazine was named after the eponymous jazz café on the Stadswaag in Antwerp, and aimed to provide a forum for young poets ‘to promote avant-garde art

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  • Format: Magazine
  • Year: 1960
  • Size: 165mm x 210mm

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Gard Sivik 19 July – August 1960
Gard Sivik 19 July – August 1960

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Architectural Design, June 1966. Cover design by James Mellor
From the design archive:

Architectural Design, June 1966

  • Format: Magazine
  • Designer/s: James Mellor
  • Year: 1966
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Novum Gebrauchsgraphik, 1, 1977. Cover design by Wilfried Busch
From the design archive:

Novum Gebrauchsgraphik, 1, 1977

  • Format: Magazine
  • Designer/s: Wilfried Busch
  • Year: 1977
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Sadler's Wells Opera Magazine, Vol 2 no. 1, Spring 1969
From the design archive:

Sadler’s Wells Opera Magazine, Vol 2 no. 1, Spring 1969

  • Format: Magazine
  • Designer/s: Pearce/Nielsen
  • Year: 1969
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De 8 en Opbouw, 8e jaargang No 13, 3 Juli 1937
From the design archive:

De 8 en Opbouw, 8e jaargang No 13, 3 Juli 1937

  • Format: Magazine
  • Designer/s: Paul Schuitema
  • Year: 1937
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Posters and Publicity by Ken Briggs and Ian McLaren

Ian McLaren and Ken Briggs produced exceptional work for a range of clients in the arts and culture sector. Their client included CND (Campaign for Nuclear Disarmament), The National Theatre and the Arts Council.

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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).
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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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Kupka, Stedelijk Museum, Amsterdam, 1968 designed by Wim Crouwel (Total Design)
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Wim Crouwel and the Stedelijk Museum

Crouwel was the successor to Willem Sandberg who used an avant-garde approach in his work, utilising torn-paper montage, mixing of sans serif and old Egyptian typefaces and often off-center positioning. Crouwel steered away from this artistic approach and implemented a cohesive design system and a strong identity that emulated the corporate identity boom of the 1950s and 60s.

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Siegfried Odermatt advertisment designs for Grammo Studio
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Siegfried Odermatt and the Swiss Design for Grammo Studio

A fantastic example of Swiss design for brand systems is the brand and advertising by Siegfried Odermatt commissioned by Grammo Studio in Zurich.