Join the Mailing List

Membership

Graphic Design History from Design Reviewed

Jean Tinguely Gimpel & Hanover Galerie, Gimpel & Hanover Galerie, 1966

Information

Details

  • Format: Exhibition Catalogue
  • Designer/s: Fridolin Müller
  • Year: 1966
  • Client/Publisher: Gimpel & Hanover Galerie
  • Size: 160mm x 240mm

Linked Information

Jean Tinguely Gimpel & Hanover Galerie, Gimpel & Hanover Galerie, 1966. Designed by Fridolin Müller
Jean Tinguely Gimpel & Hanover Galerie, Gimpel & Hanover Galerie, 1966. Designed by Fridolin Müller

 

Jean Tinguely Gimpel & Hanover Galerie, Gimpel & Hanover Galerie, 1966. Designed by Fridolin Müller
Jean Tinguely Gimpel & Hanover Galerie, Gimpel & Hanover Galerie, 1966. Designed by Fridolin Müller

 

Jean Tinguely Gimpel & Hanover Galerie, Gimpel & Hanover Galerie, 1966. Designed by Fridolin Müller
Jean Tinguely Gimpel & Hanover Galerie, Gimpel & Hanover Galerie, 1966. Designed by Fridolin Müller
More graphic design artefacts
Typografische Monatsblätter, 1, 1979. Cover design by Odermatt & Tissi
From the design archive:

Typografische Monatsblätter, 1, 1979

  • Format: Magazine
  • Designer/s: Odermatt & Tissi
  • Year: 1979
View Artefact
Design, Council of Industrial Design, 150, June 1961. Cover design by Main
From the design archive:

Design, Council of Industrial Design, 150, June 1961

  • Format: Magazine
  • Designer/s: Main
  • Year: 1961
View Artefact
Design as Art, Bruno Munari, 1971
From the design archive:

Design as Art, Bruno Munari, 1971

  • Format: Book
  • Designer/s: Bruno Munari
  • Year: 1971
View Artefact
A5/08: Best German Posters – A History of German Poster Competitions, 2016
From the design archive:

A5/08: Best German Posters – A History of German Poster Competitions, 2016

  • Format: Book
  • Designer/s: Jens Müller
  • Year: 2016
View Artefact

view more of the graphic design archive

More graphic design history articles

Members Content

Process Drawing for Design, December 1964 by Kōhei Sugiura
  • Design Archive Feature, Members Only Content

Kōhei Sugiura’s Design Systems for the 1964 issues of Design

In 1964, Sugiura was commissioned by the magazine Design to design each of their twelve monthly cover designs. Creating a series of systems which set the foundations for the design.

Members Content

Siegfried Odermatt advertisment designs for Grammo Studio
  • Design Archive Feature, Members Only Content

Siegfried Odermatt and the Swiss Design for Grammo Studio

A fantastic example of Swiss design for brand systems is the brand and advertising by Siegfried Odermatt commissioned by Grammo Studio in Zurich.

Members Content

Schweiz. Konferenz für Sicherheit im Strassenverkehr Bern. designed by Hans Hartmann, Bern in 1963
  • Design Archive Feature, Members Only Content

Swiss Posters from the 1963 Best Poster Award (Die besten Plakate des Jahres 1963)

Forward and a selection of poster designs entered to the Die besten Plakate des Jahres 1963. Featuring the work of Hans Hartmann, Jörg Hamburger, Jost Hochuli, and Armin Hofmann.

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.