Join the Mailing List

Membership

Collected Graphic Design History from Design Reviewed

Handmade, Poster Collection 11, 2005

Information

Edited by Museum für Gestaltung, Zürich
With a contribution by Claude Lichtenstein
Design: Integral Lars Müller
16,5 x 24,0 cm, 6 ½ x 9 ½ in
96 pages, 120 illustrations
paperback
2005, 978-3-03778-053-4, German/English

“Even after the emergence of clean digital design, graphic artists still like to get their hands dirty. Poster Collection 11: Handmade presents both international and Swiss works whose makers have used their own hands for a variety of reasons — autonomy, spontaneity, independence, or delight in experiment. Contemporary, cutting-edge design arbiters like Stefan Sagmeister and Cornel Windlin show you how it’s done.” Lars Müller Publishers

Details

  • Format: Book
  • Year: 2005
  • Client/Publisher: Lars Müller Publishers
  • Size: 165mm x 240mm

Linked Information

Handmade, Poster Collection 11, 2005
Handmade, Poster Collection 11, 2005
More graphic design artefacts
Film – Zeitschrift Für Film, 5, 1963, designed by Hans Hillmann
From the design archive:

Film – Zeitschrift für Film, 5, 1963

  • Format: Magazine
  • Designer/s: Hans Hillmann
  • Year: 1963
View Artefact
Herman Miller, A comprehensive storage system for the home, 1960
From the design archive:

Herman Miller, A comprehensive storage system for the home, 1960

  • Format: Brochure
  • Year: 1960
View Artefact
Novum Gebrauchsgraphik, 9, 1975. Cover design by Paul Davis
From the design archive:

Novum Gebrauchsgraphik, 9, 1975

  • Format: Magazine
  • Designer/s: Paul Davis
  • Year: 1975
View Artefact
CHEW, Wrigley's Chewing Gum, Advertisement, 1957
From the design archive:

CHEW, Wrigley’s Chewing Gum, Advertisement, 1957

  • Format: Printed Advertisement
  • Designer/s: Unstated
  • Year: 1957
View Artefact

view more of the graphic design archive

More graphic design history articles

Members Content

Scan 482 copy
  • Design Archive Feature, Members Only Content

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.
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

Members Content

Shostakovich Piano Concerto No. 1 opus 35 & No. 2 opus 102. Record 2 Rudolph de Harak.
  • Design Archive Feature, Members Only Content, Music Artwork

Rudolph de Harak and Westminster Records

Rudolph de Harak designed over 50 record covers for Westminster Records as well as designing covers for Columbia, Oxford and Circle record labels. His bright, geometric graphics can easily be distinguished and recognised.
Read Article

Members Content

Design, Council of Industrial Design, 91, July 1956. Cover design by Ken Garland
  • Design Archive Feature

Ken Garland and the Industrial Magazine, Design

Before setting up Ken Garland & Associates in Camden, London, Ken was art editor of Design magazine in 1956. The magazine was published by the Council of Industrial Design, which was set up in 1944 with the prime focus of supporting Britains economic recovery.
Read Article