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Graphic Design History from Design Reviewed

Idea 138, 1976-9

Information

Editor in chief: Yoshihisa Ishihara
Assistant Editor: Tadashi Hamada
Editorial Cooperation: Midori Imatake
Editorial Cooperation: Ohchi Design Office
Cover Design: Michael O’neill

Content incudes:
Michael O’neill Layout: Shigeo Fukuda, Interviewer: Yoshiko Yahashi
Hard [sic.] Lubalin and U&lc. Interviewer: Yoshiko Yahashi
Avenue Magazine of Netherlands by Shigeru Watano
Rick Horton
Robert Reitzfeld
18th Annual National Exhibition by Shin’ichiro Tora
Allan Beaver Interviewer: Yoshiko Yahashi
’76 JPDA Exhibition Iwataro Koike, Takashi Kanome
Roland Aeschlimann by Shigeru Watano
Graphic Design in Kyushu by Yoshio Hayakawa
Compositions by the Two by Shin’ichi Segi
Ikkaisai Yoshitoshi, Ukiyoe Artist of Great Super-temporal Originality by Shin’ichi Segi, Yoshio Hayakawa
“Graphic 20” in Kyoto
Photographic Anthology of Tadanori Yokoo and his friends and India by Kishin Shinoyama
Ms. RitaSue Siegel disclosed opinions

Details

  • Format: Magazine
  • Designer/s: Michael O’neill
  • Year: 1976
  • Client/Publisher: Seibundo Shinkosha Publishing Co
  • Size: 226mm x 297mm

Linked Information

Idea 138, 1976-9. Cover deisgn by Michael O’neill
Idea 138, 1976-9. Cover deisgn by Michael O’neill
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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.
Typographical Poster for an Exhibition of Present Day Photography by Walter Dexel
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New Paths in Poster Work, 1931 by Jan Tschichold

In minor printed matter we constantly meet the new typography, but it is relatively rare to find posters designed on the new lines. And yet poster-designing is a field where new typographical methods might be employed with great effect.

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Artefacts designed by Ken Garland
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Ken Garland and Galt Toys

I first came across Kens work in the Unit Edition’s superb monograph, Structure and Substance, published in 2012. Although I had owned a few of the British industrial design magazines, Design, for a few years before, in which Ken had designed numerous covers for.

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Heart Anatomy, Function And Diseases, Dell, 1962. Illustrated by George Giusti
  • Design Archive Feature, Members Only Content

George Giusti – Illustrating the Hearts Anatomy, Function, and Diseases

"Heart: Anatomy, Function, and Diseases" (Dell, 1962), by Rudolf Hoffmann and illustrated by George Giusti, demonstrates how illustrations effectively convey complex and emotional topics whilst providing valuable information.