Join the Mailing List

Membership

Graphic Design History from Design Reviewed

OZ Magazine, No 29, July 1970

Information

Oz was an independent magazine and a key publication from the counterculture of the 1960s.

Details

  • Format: Magazine
  • Year: 1970
  • Client/Publisher: Oz Publications Ink Limited
  • Size: 220mm x 295mm

Linked Information

OZ Magazine, No 29, July 1970
OZ Magazine, No 29, July 1970

 

OZ Magazine, No 29, July 1970
OZ Magazine, No 29, July 1970

 

OZ Magazine, No 29, July 1970
OZ Magazine, No 29, July 1970
More graphic design artefacts
tiende speelseizoen, Brochure, The Studio, 1964 Designed by Jan Bons
From the design archive:

tiende speelseizoen, Brochure, The Studio, 1964

  • Format: Brochure
  • Designer/s: Jan Bons
  • Year: 1964
View Artefact
Glas aus Vier Jahrtausenden, Kunstgewerbemuseum Zürich, 1956. Design by Carl B. Graf
From the design archive:

Glas aus Vier Jahrtausenden, Kunstgewerbemuseum Zürich, 1956. Design by Carl B. Graf

  • Format: Exhibition Catalogue
  • Designer/s: Carl B. Graf
  • Year: 1956
View Artefact
Bauen+Wohnen, 4, 1957. Graphic design by Emil Maurer
From the design archive:

Bauen+Wohnen, 4, 1957

  • Format: Magazine
  • Designer/s: Emil Maurer
  • Year: 1957
View Artefact
Idea 92, 1969-1. Cover design by Tadanori Yokoo
From the design archive:

Idea 092, 1969-1

  • Format: Magazine
  • Designer/s: Tadanori Yokoo
  • Year: 1969
View Artefact

view more of the graphic design archive

More graphic design history articles

Members Content

50 years Bauhaus, German exhibition, Royal Academy of Arts, London, 1968
  • Design Archive Feature, Members Only Content

Bauhaus Principles Today

The Bauhaus approach to design emphasised simplicity, functionality, and the integration of modern technologies and materials. A century later, many of the principles taught at the school remain fundamental to contemporary design practices.

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

Banco do Estado de São Paulo Logo designed by Aloísio Magalhães, 1969
  • Design Archive Feature, Members Only Content

The Logos and Symbols of Brazilian Designer, Aloísio Magalhães

Magalhães developed over 180 brands and in addition to developing visual identities, he also developed designs for Brazilian notes and coins.
Mark_Bloom_landscape copy
  • Designer Interview

Designers and Books Series – Mark Bloom

Mark Bloom has designs for globally recognised brands, produces some of the finest, most accessible modern typefaces and heads up Mash Creative and CoType Foundry. His type foundry has always been a port of call for our studio's brand projects and he continues to develop these, each with a fantastic print specimen.