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Graphic Design History from Design Reviewed

Graphische Nachrichten, Vol 15, October 1936

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  • Format: Magazine
  • Year: 1936
  • Size: 230mm x 320mm

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Graphische Nachrichten, Vol 15, October 1936
Graphische Nachrichten, Vol 15, October 1936
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De Tampon, March 1925, School voor de Grafische Vakken, Utrecht
From the design archive:

De Tampon, March 1925, School voor de Grafische Vakken, Utrecht

  • Format: Magazine
  • Year: 1925
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Idea 042, 1960. Cover design by Fischer-Nosbisch
From the design archive:

Idea 042, 1960

  • Format: Magazine
  • Designer/s: Fischer-Nosbisch
  • Year: 1960
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vintage fruit labels
From the design archive:

34 Drink Labels, c. 1940s – 1970s

  • Format: Labels
  • Year: c. 1940s - 1970s
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the seven stages of a letter, GPO, 1966 designed by Negus & Sharland
From the design archive:

the seven stages of a letter, GPO, 1966

  • Format: Folded Brochure
  • Designer/s: Negus/Sharland, Richard Negus, Philip Sharland
  • Year: 1966
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"Kissho, Shofuku, Hanjo" Tadanori Yokoo's Silkscreen Poster Exhibition in 1997
  • Design Archive Feature, Members Only Content

“Kissho, Shofuku, Hanjo” Tadanori Yokoo’s Silkscreen Poster Exhibition in 1997

In 1997 Tadanori Yokoo showcased 31 new silkscreens at the Ginza Graphic Gallery in Tokyo. Many of these works were previously unseen, and I was fortunate enough to discover a feature in a back issue of Idea magazine that showcased the full collection of silkscreen posters. 

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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.
12-Flexible-Visual-System-Martin-Lorenz
  • Design Books

Flexible Visual Systems By Dr. Martin Lorenz

Flexible Visual Systems is the design manual for contemporary visual identities. It teaches you a variety of approaches on how to design flexible systems, adjustable to any aesthetic or project in need of an identifiable visual language.

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Ballet 71, Staatsheater Kassel, 1971. Designed by Karl Oskar Blase
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The Poster Designs of Karl Oskar Blase

Blase’s long-term clients were Staatstheater Kassel (Kassel State Theater) and Atlas Films. Karl Oskar Blase produced countless posters for these two organisations. It’s not surprising considering Blase designed posters for the Staatstheater for twelve years between 1966 and 1978.