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Graphic Design History from Design Reviewed

Idea 351, 2012-03

Information

Content includes:
Issay Kitagawa: Communication Design
Design and Printing (p003-064) by Issay Kitagawa and GRAPH Cooperation by Kaoru Yamashita
Essay by Atsuki Kikuchi
Interview with Issay Kitagawa
Bruno Monguzzi: Vibrant Silence
Interview with Bruno Monguzzi
Cloud Studies: Six stations of scientific cloud photography
A project by Helmut Völter
Emil Ruder: Fundamentals wol.1 The Plane
Design by Helmut Schmid
Margins of Design vol.1 Fumikazu Ohara
Interview & Design by Yuma Harada Text by Tomomi Tada Photo by Yoshiro Masuda

Details

  • Format: Magazine
  • Year: 2012
  • Client/Publisher: Seibundo Shinkosha Publishing Co

Linked Information

Idea 351, 2012-03
Idea 351, 2012-03
More graphic design artefacts
ARK No.22, Journal of the Royal College of Art, 1958
From the design archive:

ARK No.22, Journal of the Royal College of Art, 1958

  • Format: Magazine
  • Year: 1958
View Artefact
Gebrauchsgraphik, 03, 1929. Cover design by Werner Beucke
From the design archive:

Gebrauchsgraphik, 03, 1929

  • Format: Magazine
  • Designer/s: Werner Beucke
  • Year: 1929
View Artefact
Perspektiven, Literatur, Kunst, Musik, 1, 1952. Cover design by Alvin Lustig
From the design archive:

Perspektiven, Literatur, Kunst, Musik, 1, 1952

  • Format: Book
  • Designer/s: Alvin Lustig
  • Year: 1952
View Artefact
Graphische Revue, 3. Heft · Mai - Juni 1933 (XXXV. Jahrgang).
From the design archive:

Graphische Revue, 3. Heft, Mai – Juni 1933 (XXXV. Jahrgang)

  • Format: Magazine
  • Year: 1933
View Artefact

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More graphic design history articles

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.

Members Content

Polizeidepartement Basel-Stadt designed by Moritz Zwimpfer, Basel in 1958
  • Design Archive Feature, Members Only Content

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.
Graphic Design History Workshop
  • Workshops and Lectures

Inspiring students from Leeds Beckett University

Last month (March 2022), I spoke to over fifty Graphic Design undergraduates about the archive and my passion for design history, after which the students had full access to items in the collection and participated in discourse amongst their peers and lecturers. As part of their critical studies unit, the students will be producing essays and content related to the impact, history and aesthetics of selected artefacts.
Scan 143 copy 5
  • Design Archive Feature

Geigy Chemical Corporation, USA. An Example of Integrated Advertising by William B. McDonald

An advertising programme is fully integrated only when its effect is powerful enough to play a major part in determining a corporate image. Geigy advertising is an example of this successful integration.