Join the Mailing List

Membership

Graphic Design History from Design Reviewed

Novum Gebrauchsgraphik, 7, 1979

Information

Content includes:
Dieter Urban – novum on novum
Karin Beth – Horst Haitzinger
Alexandre Alexandre – Agencies
John Halas – Animated film series for the Year of the Child
Lanny Sommese – Tyler School of Art
Dieter Urban – VIIIth Mediterranean Games Split 1978
Herb Flemming – Political Posters up to 1945
Armin Eichholz – Records

Details

  • Format: Magazine
  • Designer/s: Werbegruppe Kochlowski
  • Year: 1979
  • Size: 230mm x 295mm

Linked Information

Novum Gebrauchsgraphik, 7, 1979. Cover design by Werbegruppe Kochlowski
Novum Gebrauchsgraphik, 7, 1979. Cover design by Werbegruppe Kochlowski
More graphic design artefacts
Typografia, ročník 76, 08, 1973. Cover design by Vladimír Lutterer
From the design archive:

Typografia, ročník 76, 08, 1973

  • Format: Magazine
  • Designer/s: Vladimír Lutterer
  • Year: 1973
View Artefact
Design Quarterly 110, Ivan Chermayeff: A Design Anatomy, 1979
From the design archive:

Design Quarterly 110, Ivan Chermayeff: A Design Anatomy, 1979

  • Format: Magazine
  • Designer/s: Ivan Chermayeff
  • Year: 1979
View Artefact
Child Welfare, The Child and the Cube, First Day Cover, Netherlands, 1970. Designed by William Pars Graatsma
From the design archive:

Child Welfare, The Child and the Cube, First Day Cover, Netherlands, 1970

  • Format: Stamps and First Day Covers
  • Designer/s: William Pars Graatsma
  • Year: 1970
View Artefact
Idea 198, 1986-9. Cover design by Toshifumi Kawahara, Pierre Lachapelle, Philippe Bergeron, Pierre Robidoux, Daniel Langlois
From the design archive:

Idea 198, 1986-9

  • Format: Magazine
  • Designer/s: Toshifumi Kawahara, Pierre Lachapelle, Philippe Bergeron, Pierre Robidoux, Daniel Langlois
  • Year: 1986
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

Theo Crosby and Architectural Design Magazine
  • Design Archive Feature, Members Only Content

Theo Crosby and Architectural Design Magazine

Theo Crosby was born in South Africa in 1925 and moved to Britain in the late 1940s. He was a highly skilled designer, architect and sculptor. He became the technical editor of Architectural Design magazine in 1953 and remained in the post for almost a decade. The large format magazines feature an array of content including information on buildings, materials and architectural plans.
12-Flexible-Visual-System-Martin-Lorenz
  • Design Books

Flexible Visual Systems By Dr. Martin Lorenz

Flexible Visual Systems is the design manual for contemporary visual identities. It teaches you a variety of approaches on how to design flexible systems, adjustable to any aesthetic or project in need of an identifiable visual language.
Kew Gardens Poster deisgned by George Plante
  • Design Archive Feature

The Aims of Young Designers: George Plante, 1934

“They’ll never stand for that” and “It’s too modern” are, as George Plante aptly puts it, the restraintive thoughts which beset a commercial artist who tries to let himself go.