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Collected Graphic Design History from Design Reviewed

Idea 002, 1953

Information

Content includes:
American Outdoor Poster Selected Works / Seiichiro Arai, Shun Miyayama, Noboru Sakamoto
Japanese commercial artists and their works
Change Tomura (Henry Tomura), Kinkichi Takahashi, Yusaku Kamekura, Hiroshi Hara, Ado Futado, Tadashi Omi, Hiroshi Ochi, Yunosuke Mitsui, Tsurunosuke Fujiyoshi, Fujio Hatano, Hiroshi Konno, Hideo Okuno, Kenichi Ueda, Ichiro Ishii, Morihiko Iwamoto, Kosaku Ito, Yasuhiro Kojima, Yoshio Itabashi, Shigemi Hijikata, Joji Matsukawa
Poster provided by a Japanese company Matsuzakaya ; Morinaga Milk Industry
World Poster Exhibition: Museum of Modern Art / Fumio Yamana
Kitadori Tada Posthumous Exhibition
Special Feature on French Commercial Art: Courtesy of Public Mondéal
eyes and windows of the world
Scientific Advertising Claude Hopkins
Mutant Trademark
Active P.O.P. Printers, Inc. Survey
The story of increasing sales through a sales survey / Kaname Tanaka
Should Ads Be Humorous / Nathan Kern
An Unforgettable Sales Experience / Matthew Rudder
Newspaper Ads and the Road I Walked / W. Watchtel
Drafting Problems / Nicholas Urstagg

Details

  • Format: Magazine
  • Designer/s: Hiroshi Ohchi
  • Year: 1953
  • Client/Publisher: Seibundo Shinkosha Publishing Co
  • Size: 225mm x 297mm

Linked Information

Idea 002, 1953. Cover design by Hiroshi Ohchi
Idea 002, 1953. Cover design by Hiroshi Ohchi
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Polizeidepartement Basel-Stadt designed by Moritz Zwimpfer, Basel in 1958
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Swiss Posters from the 1958 Best Poster Award (Die besten Plakate des Jahres 1958)

A selection of poster designs from Die besten Plakate des Jahres 1958 with a translated foreword by Maria Netter. Featuring the work of Müller-Brockmann, Celestino Piatti, Donald Brun and Armin Hofmann.
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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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Full-page ads for the newspaper «Stuttgarter Nachrichten» designed by Herbert W. Kapitzki
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Abstract Publicity – Self-Advertisements of the Stuttgarter Nachrichten by Fritz Seitz, 1963

The graphic designer had to create a series of ads whose new publicity effects were to confirm or accentuate the already existing • image • of the paper. In this case, the planning was not based on a would-be psychological analysis of the reading public.
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Graphis 124, 1966. Cover design by Toshihiro Katayama.
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The Structured Forms of Toshihiro Katayama

Katayama worked in several art and design disciplines from graphic design and sculpture to environmental works and sculpture. His design work features rhythms and patterns and has a resemblance to modern jazz and the studies of Josef Albers.
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