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Graphic Design History from Design Reviewed
Waldemar Świerzy - Graphic Designer - Poland

Idea 232, 1992

Information

Content includes:
The World Masters: 14 Waldemar Swierzy
Art Deco Posters by Five Masters from Exhibition: Modern Art in Paris -1910s to 1930s A New Age of Visual Media Tomoko Ohyagi
Onofrio Paccione, transforming into an artist Shinichiro Tora
Art of Michael Parkes
Pentagram in the 90th: The Next Generation Paula Scher with Sarah Haun
VI Plan in Nature, The Albertvill Winter Olumpic Games Christophe Peres
Franco Balan, Graphic Designer in Italy U. G. Sato
Latvian Artist, Juris Dimiters
From The Exhibition “Graphic Age”; Cultural Posters by 13 Designers from the Central Part of Japan Shigeo Okamoto
Ohchi Design Office, Packaging Design
Suntory Granville Collection: 3 1925-1940, Establishment of Modern Poster Art Makoto Nakamura
Tokyo Illustrators Society: The 3rd Exhibition Nisuke Shimotani, Construction: Ryuji Fujieda
Mark Seliger, Editorial Photographer
125 Artists and their Baseball Cards Shinichiro Tora
Biman Mullich; “Cleanair” Posters Paul Peter Piech
Peterson & Blyth Associates Inc.
Series 30: Art in New York Today, Carrie McGee: Washing off the Scale of Culture, Two Sides of Susan Silas’s Imagination Shoichiro Higuchi

Details

  • Format: Magazine
  • Designer/s: Waldemar Swierzy
  • Year: 1992
  • Client/Publisher: Seibundo Shinkosha Publishing Co
Waldemar Świerzy, born in 1931 in Katowice, graduated from the Cracow Academy of Fine Arts (Graphic Arts Department) in Katowice in 1952. He worked as a freelance graphic artist and poster designer, creating over a thousand posters.

Linked Information

Idea 232, 1992
Idea 232, 1992. Cover design by Waldemar Swierzy
Waldemar Świerzy, born in 1931 in Katowice, graduated from the Cracow Academy of Fine Arts (Graphic Arts Department) in Katowice in 1952. He worked as a freelance graphic artist and poster designer, creating over a thousand posters.
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Dubonnet, Press Advertisement, 1956. Design by Salvi
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Dubonnet, Press Advertisement, 1956

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  • Designer/s: Salvi
  • Year: 1956
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The Complete Commercial Artist (現代商業美術全集), Ars, No. 06, 1930
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The Complete Commercial Artist (現代商業美術全集), Ars, No. 06, 1930

  • Format: Magazine
  • Year: 1930
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Alphabet and Image 2, Shenval Press, 1946
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Alphabet and Image 2, Shenval Press, 1946

  • Format: Magazine
  • Year: 1946
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Typografia, ročník 70, 12, 1967. Cover design by Stanislav Maršo.
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Typografia, ročník 70, 12, 1967

  • Format: Magazine
  • Designer/s: Stanislav Maršo
  • Year: 1967
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THE IBM POSTER PROGRAM VISUAL MEMORANDA Robert Finkel and Shea Tillman
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The IBM Poster Program: Visual Memoranda

In the late 1960s, IBM was one of the world’s pre-eminent corporations, employing over 250,000 people in 100 countries. While Paul Rand’s creative genius has been well documented, the work of the IBM staff designers who executed his intent outlined in the IBM Design Guide has often gone unnoticed.

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Omnibus 9, University of Braunschweig, 1964. Designed by Udo Zisowsky in collaboration with Peter Riefenstahl, Manfred Bremeler, Ralf Dierig
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The Advertising and Design of Omnibus – The University of Braunschweig’s 1960s Publication

Omnibus was Published by the journalism working group of the Technical University of Braunschweig. A square publication measuring 290mm. The publication included features on politics, arts and culture. With advertisements carefully selected to be in keeping with the visual aesthetic. Content also included exhibition information and a fine example of concrete poetry, among artists such as Schröder-Sonnenstern and Sine Hansen.

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Drukkersweekblad en Autolijn Kerstnummer 1952, 1952 Jan Bons
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Drukkersweekblad en Autolijn: Compiling Dutch Design History

Each year, leading Dutch artists were commissioned to design the covers and inner pages of Drukkersweekblad en Autolijn. Including designers included Dick Elffers, Willem Sandberg, Jan van Toorn, Wim Crouwel, and Jurriaan Schrofer. The journal documented important design trends and developments in The Netherlands.

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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.