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Graphic Design History from Design Reviewed

Idea 383, 2018-10

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Mapping Graphic Design Project in East Asia
YELLOW PAGES is the name of all the projects linked to the original series featured in IDEA. It introduces the practices and philosophy of seven groups of designers by interviewing them in their own cities throughout Asia. The YELLOW PAGES exhibition held at Kyoto’s ddd Gallery this spring focused on three groups (from Seoul, Beijing and Taiwan) and introduced their work in a project based way: the collaborators behind the scenes were also exhibited. This feature brings the series and exhibition back to the magazine, allowing us to revisit and update the current whereabouts of this East Asian graphic design projects.

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  • Format: Magazine
  • Year: 2018
  • Client/Publisher: Seibundo Shinkosha Publishing Co

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Idea 383, 2018-10
Idea 383, 2018-10
More graphic design artefacts
Idea 215, 1989-7. Cover design by Kaoru Kasai
From the design archive:

Idea 215, 1989-7

  • Format: Magazine
  • Designer/s: Kaoru Kasai
  • Year: 1989
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Typografia, ročník 56, 04, 1953. Cover design by Oldřich Hlavsa
From the design archive:

Typografia, ročník 56, 04, 1953

  • Format: Magazine
  • Designer/s: Oldřich Hlavsa
  • Year: 1953
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De 8 en Opbouw, 6e jaargang No 03, 2 Feb 1935
From the design archive:

De 8 en Opbouw, 6e jaargang No 03, 2 Feb 1935

  • Format: Magazine
  • Designer/s: Paul Schuitema
  • Year: 1935
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Design Quarterly 123, Paul Rand, 1984
From the design archive:

Design Quarterly 123, Paul Rand, 1984

  • Format: Magazine
  • Designer/s: Paul Rand
  • Year: 1984
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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.

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Ads in trade journals for Bayer, Leverkusen designed by Wolfgang Bäumer c. 1962-1964. Scanned from Gebrauchsgraphik, July 1966
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Dynamic Form. The 1960s Advertising Design of Wolfgang Bäumer

Wolfgang Bäumer's advertising design for Bayer, Klöckner Works and the Lottery. His adaptable design aesthetic alongside his skills of convening messaging through visuals are fantastic examples of mid-century German graphic design.

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Juan Carlos Distefano, Exhibition Catalogue
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Juan Carlos Distefano and the Design and Publicity for the Instituto di Tella, Buenos Aires

Jean Carlos Distefano is an Argentinian artist, designer and teacher. He designed a range of posters, programmes brochures and book covers alongside Juan Andralis, Humberto Rivas and Roberto Alvarado for the Instituto di Tella, Buenos Aires.

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Social Welfare Funds, Netherlands Maxi Card (Yellow), 1970. Designed by Ootje Oxenaar
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The Innovative Netherlands Stamps designed by Ootje Oxenaar in 1970

Ootje Oxenaar designed the summer stamps for the Netherlands using an assignment from De Nederlandsche Bank based on banknotes. The assignment resulted in the collaboration of Oxenaar, the printer, the laboratory and the banking specialist, in which they experimented with the design of securities on printed matter.