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Graphic Design History from Design Reviewed

Paper & Print, Vol 27, No.1, Spring 1954

Information

The Way Ahead for British Printing by James Morsan
Cover Stocks need not be Pressmen’s Problem Children
Part 1: Letterpress by Jack Deller
Part 2: Silk Screen by C. F. Bush
Part 3: Die-Stamping by J. W. McGANLEY
Ink Vehicles by Leslie G. Laker
How to Install a Pre-make-ready department
Thoughts on the future of Photo-Composition by Henry Jacob
Typography for ” Jobbing” by Richard Chaffe
The Dual role of the Managing Director by M. Gilbert Frost
Monophoto Developments —the Monotype’s photo-composing machine
Design Review by A. Wade Bottomley
Some new Type Sheets and Specimen Books
DRUPA—1954
The Klischograph
Paper Mills in Great Britain

Paper & Print was published quarterly (in March, June, September and December)

The cover is printed in five offset litho workings and a black letterpress overprint, by The Chiswick Press at Brunswick Park Road, New Southgate, London. Design by A. Wade Bottomley

Details

  • Format: Magazine
  • Year: 1954
  • Client/Publisher: Stonhill & Gillis Ltd
  • Size: 220mm x 280mm

Linked Information

Paper & Print, Vol 27, No.1, Spring 1954
Paper & Print, Vol 27, No.1, Spring 1954

 

Paper & Print, Vol 27, No.1, Spring 1954
Paper & Print, Vol 27, No.1, Spring 1954
Paper & Print was published quarterly (in March, June, September and December) and was the journal for papermakers, printers and print users.
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Bauen+Wohnen, 5, 1957. Graphic design by Emil Maurer
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Gebrauchsgraphik, 11, 1956. Cover design by Kuscher
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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).
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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.

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Drawings for rhymes by Annie MG Schmidt, Netherlands Stamps, 1967. Designed by Wim Bijmoer
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A Visual History of the Netherlands Children’s Charity Stamps (Kinderpostzegels)

In December 1924, the Netherlands introduced children's stamps (Kinderzegels). Over the years, these stamps have featured designs by some of the most prominent Dutch designers, including Gerard Kiljan, P. Koch, Gerrit Noordzij, Otto Treuman, Robert Deodaat Emile ‘Ootje’ Oxenaar, Dick Bruna, Jan van Toorn, and Karel Martens.
Me (Matt Lamont) in front of a selection go the archive
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Collecting Graphic Design History and Design Reviewed

Graphic design continues to be documented and an increase in individualised documentation and curated social media accounts are furthering our knowledge of design from a worldwide historic standpoint. I would not feel complete without the collected design that spans the shelves of my archive. It’s my identity, my passion and my hobby.
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  • Design Books

Graphic Design Books for Students Part 1

From time to time members of the Graphic Design History group and others have asked for a number of recommendations for books related to design history, theory and specific areas of graphic design. This is the first of a series of articles from educators, designers and archivists featuring book recommendations and resources.