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Collected Graphic Design History from Design Reviewed

The Studio, Programme 1967-68

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  • Format: Brochure
  • Designer/s: Jan Bons
  • Year: 1967
  • Client/Publisher: The Studio, Amsterdam

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The Studio, Programme 1967-68. Designed by Jan Bons
The Studio, Programme 1967-68. Designed by Jan Bons

 

The Studio, Programme 1967-68. Designed by Jan Bons
The Studio, Programme 1967-68. Designed by Jan Bons
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Graphische Nachrichten, Vol 18, February 1939
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Graphische Nachrichten, Vol 18, February 1939

  • Format: Magazine
  • Year: 1939
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Graphis 144, 1969. Cover design by Josse Goffin
From the design archive:

Graphis 144, 1969

  • Format: Magazine
  • Designer/s: Josse Goffin
  • Year: 1969
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Design Drawing One, John Rolfe, 1975
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Design Drawing One, John Rolfe, 1975

  • Format: Book
  • Year: 1975
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Museumjournaal, Serie 18 no4, 1973. Frank Steenhagen (cover), Jurriaan Schrofer (layout)
From the design archive:

Museumjournaal, Serie 18 no4, 1973

  • Format: Exhibition Catalogue
  • Designer/s: Frank Steenhagen (cover), Jurriaan Schrofer (layout)
  • Year: 1973
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Parallel Public Experimental Art in Late East Germany By Sara Blaylock
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Parallel Public – Experimental Art in Late East Germany By Sara Blaylock

Parallel Public is a new publication by Sara Blaylock, published by MIT Press. The book documents the East German artists pioneering work that made their country’s experimental art scene a form of (counter) public life.
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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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DSC_0677
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Ken Briggs and his iconic designs for the National Theatre

The typographic designs produced for the National Theatre by Ken Briggs are not only iconic and depict the Swiss typographic style of the time, but remain a key example of the creation of a cohesive brand style.
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Olivetti (Suisse) SA Zürich designed by Ernst Hiestand, Zürich in 1961
  • Design Archive Feature, Members Only Content

Swiss Posters from the 1961 Best Poster Award (Die besten Plakate des Jahres 1961)

As part of an ongoing series showcasing Swiss poster designs from the 1950s and 1960s, this article features 1961 poster entries of Die besten Plakate des Jahres (The Best Posters of the Year) 1961. Originating in 1941, Die besten Plakate des Jahres initially served as a platform for the evaluation and showcase of Swiss posters.
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