Join the Mailing List

Membership

Graphic Design History from Design Reviewed

OASE 61, 2003, Suburbia and Social Democracy

, ,

Information

Content includes:
Christoph Grafe, Madeleine Maaskant, Editorial
Lotte Marianne Bjerregaard, The Golden Age of Danish Housing
Helen G. Welling, The Collective Aspect in Danish Housing Development
Sjoerd Cusveller, Emmen Revisited
Christoph Grafe, Les Terrasses de Camden, The Hanging Gardens of North London Revisited
Erik Nygaard, Small Steps Towards A Better World, About the Danish Office Vandkunsten
William Mann, The Plotlands Experience, The Self-Build Settlements of Southeast England

Details

  • Format: Magazine
  • Designer/s: Karel Martens, Mikhail Illiatov, Werkplaats Typografie
  • Year: 2003
  • Client/Publisher: SUN Publishers
  • Size: 170mm × 240 mm

Linked Information

OASE 61, 2003. Designed by Karel Martens, Mikhail Illiatov, Werkplaats Typografie
OASE 61, 2003. Designed by Karel Martens, Mikhail Illiatov, Werkplaats Typografie
More graphic design artefacts
FHK Henrion - The Complete Designer, Unit Editions, 2013
From the design archive:

FHK Henrion – The Complete Designer, Unit Editions, 2013

  • Format: Book
  • Year: 2013
View Artefact
Child Welfare. The Child and the Cube. Netherlands, 1970, Sheet of 12. Designed by William Pars Graatsma
From the design archive:

Child Welfare. The Child and the Cube. Netherlands, 1970, Sheet of 12

  • Format: Stamps
  • Designer/s: William Pars Graatsma
  • Year: 1970
View Artefact
Industrial Art News - Vol. 27, No. 2, February 1959. Cover design by Kenji Ito,
From the design archive:

Industrial Art News – Vol. 27, No. 2, February 1959

  • Format: Magazine
  • Designer/s: Kenji Ito
  • Year: 1959
View Artefact
Sandberg, Vormgever Van Het Stedelijk, 010 Uitgeverij, 2003
From the design archive:

Sandberg, Vormgever Van Het Stedelijk, 010 Uitgeverij, 2003

  • Format: Book
  • Designer/s: Willem Sandberg
  • Year: 2003
View Artefact

view more of the graphic design archive

More graphic design history articles
Radici, Graphic Design from Hypertextuality to Hyperknowledge (Radici, La Grafica dall’Ipertestualità all’Iperconoscenza), 2021.
  • Designer Interview

Katia Pecoraro: The dualism between system and freedom, design and life.

"Talking about myself as a designer is something that requires a powerful dialogue with my life experiences. In a radical way, I apply an exercise in which design forms become projections of life, extensions of meaning that constantly involve senses."

Members Content

Idea-014-1955.-Cover-design-by-Yoshio-Hayakawa--768x768
  • Design Archive Feature, Members Only Content

Yoshio Hayakawa. Japanese Graphic Designer | 1917 – 2009

Yoshio Hayakawa is one of Japan’s most influential post-war poster designers. His work represents a fusion of traditional Japanese art and European modernism often using soft, poetic brushstrokes and refined colour palettes and capturing the elegance of Japanese aesthetics while integrating the clean lines and bold visual language of Western design.

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.
Taxilan Adverisment designed by Atelier Theo Häussler
  • Design Archive Feature

Atelier Theo Häussler – Designing for the Pharmaceutical Industry by Carl Heussner, 1963

Theo Häussler's commercial art is distinguished by its clear and disciplined form and its distinct advertising message.