Join the Mailing List

Membership

Graphic Design History from Design Reviewed

Masters of Polish Poster Art, BUFFI, 1995

Information

Written by Krzysztof Dydo
A book introducing Polish posters. Posters produced mainly from 1980 to 1995. Posters of 21 artists such as Roman Sieslevic, Jan Mlodzeniec, Viktor Sadowski, Tomaszewski,H and others are included. Foreword by Steven Heller.

Details

  • Format: Book
  • Year: 1995
  • Client/Publisher: BUFFI
  • Size: 240mm x 300mm

Linked Information

Masters of Polish Poster Art, BUFFI, 1995
Masters of Polish Poster Art, BUFFI, 1995
A book introducing Polish posters. Posters produced mainly from 1980 to 1995. Posters of 21 artists such as Roman Sieslevic, Jan Mlodzeniec, Viktor Sadowski, Tomaszewski,H and others.
More graphic design artefacts
Typography 3, Shenval Press, Summer 1937
From the design archive:

Typography 3, Shenval Press, Summer 1937

  • Format: Magazine
  • Year: 1937
View Artefact
Piet Zwart - Typotekt, Stedelijk Museum Amsterdam, 1961
From the design archive:

Piet Zwart – Typotekt, Stedelijk Museum Amsterdam, 1961

  • Format: Exhibition Catalogue
  • Designer/s: Wim Crouwel and Otto Treumann
  • Year: 1961
View Artefact
Graphis 234, 1984. Cover design by Ute Osterwalder
From the design archive:

Graphis 234, 1984

  • Format: Magazine
  • Designer/s: Ute Osterwalder
  • Year: 1984
View Artefact
Ginza Graphic Gallery 04, Yoshio Hayakawa
From the design archive:

Yoshio Hayakawa (World Graphic Design 4), 1993

  • Format: Book
  • Designer/s: Yoshio Hayakawa
  • Year: 1993
View Artefact

view more of the graphic design archive

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

National-Zeitung SA Basel designed by Gerstner + Kutter, Basel in 1960
  • Design Archive Feature, Members Only Content

Swiss Posters from the 1960 Best Poster Award (Die besten Plakate des Jahres 1960)

The 1960 awards presented 420 poster entries from Swiss designers. Notable winners included Robert Büchler's typographic poster for the Museum of Applied Arts Basel and J. Müller-Brockmann’s Der Film poster for the Museum of Applied Arts and Gerstner + Kutter's asymmetric typographic poster for National-Zeitung SA Basel.

Members Content

25 years of Swiss poster art, 1941 to 1965
  • Design Archive Feature, Members Only Content

25 years of Swiss poster art, 1941 to 1965

“Der Druckspiegel” typographic supplement May 5, 1967, was focused on a selection of the winning entries from Die besten Plakate des Jahres featuring over fifty winning entries.
Systematic Surface Design
  • Design Archive Feature

Systematic Surface Design by Tobias Christoph, 1980

Systematic Surface Design eliminating the hindrance of searching for strategies and starting points, allowing designers to quickly find optimal solutions.