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Category: Typography & Type Design

Articles on typography and type design history, type specimens, typographic movements, and the designers who shaped how we read the twentieth century.

Typography is the foundation of graphic design and the Design Reviewed archive holds a collection of type specimens and typographically-driven printed matter online and physically. These articles explore the history of typography and type design through the artefacts in the collection.

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Examples of Czech Typography from 1910, Typografia
  • Design Archive Feature, Members Only Content, Regional Histories, Typography & Type Design

60 Examples of Czech Typography from 1910, Typografia

60 examples of Czech typography from Typografia Vol. 21 (1910). Czech commercial printing and book design as Secession ornament progressed to early modernist typography, with work by Alois Rieger, Methoděj Kaláb, Alois Chvála and many more.

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Concert Poster for the Smetana Choral Society, Plzeň 1911
  • Design Archive Feature, Members Only Content, Regional Histories, Typography & Type Design

60 Examples of Czech Typography from 1912, Typografia

60 examples of Czech typography from Typografia Vol. 23 (1912). Czech commercial printing and book design as Secession ornament progressed to early modernist typography, with work by Jindra Dvořáček, Methoděj Kaláb, Alois Chvála and many more.

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Typographic School Exhibition Poster
  • Design Archive Feature, Members Only Content, Regional Histories, Typography & Type Design

60 Examples of Czech Typography from 1911, Typografia

60 examples of Czech typography from Typografia Vol. 22 (1911). Czech commercial printing at the crossroads of Art Nouveau and early modernism, with work by Methoděj Kaláb, Alois Chvála, V. H. Brunner and many more.
Examples of Czech Typography from 1909, Typografia
  • Design Archive Feature, Members Only Content, Regional Histories, Typography & Type Design

60 Examples of Czech Typography from 1909, Typografia

60 examples of Czech typography from Typografia Vol. 20 (1909). Czech commercial printing at the crossroads of Art Nouveau and early modernism, with work by Methoděj Kaláb, Otokar Císař, Karel Dyrink and many more.

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Advertising Design for Pražská Lidová Revue Magazine
  • Design Archive Feature, Members Only Content, Regional Histories, Typography & Type Design

40 Examples of Czech Typography from 1907, Typografia

40 examples of Czech typography from Typografia Vol. 18 (1907). Czech commercial printing at the crossroads of Art Nouveau and early modernism, with work by Otokar Císař, Method Kaláb, and Mořic Novotný.

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Catalogue cover design for a pipe and cement goods factory. Designed by Otokar Císař
  • Design Archive Feature, Members Only Content, Regional Histories, Typography & Type Design

50 Examples of Czech Typography from 1908, Typografia

50 examples of Czech typography from Typografia Vol. XIX (1908). Czech commercial printing at the crossroads of Art Nouveau and early modernism, with work by Otokar Císař, Method Kaláb, and Mořic Novotný.

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Poster designed by Michael Hollerer, State School of Applied Arts, Munich 
  • Design Archive Feature, Members Only Content, Typography & Type Design

Carnival Printed Matter, by Otto Scheiner, 1936

A 1928 article on typographic carnival posters, originally in German, published in Typographische Mitteilungen, Vol 25, No 02, February 1928

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Typographische Jahrbucher, 40 Jahrg., Heft 4, 1919 Inner Content
  • Design Archive Feature, Members Only Content, Movements, Typography & Type Design

Art Nouveau to Modernism – Graphic Design History

From Jugend and Ver Sacrum to Penrose Annual, an essay on design movements, shaping modernism, and early graphic design.

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The Typographic Work of Noel Martin
  • Design Archive Feature, Designer Profiles, Members Only Content, Regional Histories, Typography & Type Design

The Typographic Work of Noel Martin

A chance eBay find led me to a rare and extensive collection of work by midcentury American designer Noel Martin, including posters, museum ephemera, and print for major institutions like the Cincinnati Art Museum and Champion Papers.

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Westvaco Inspiration for Printers 192, West Virginia Pulp and Paper Company, 1953
  • Design Archive Feature, Members Only Content, Regional Histories, Typography & Type Design

43 American Typographic Designers from the 1950s

While gathering all my type catalogues, brochures, and instructions on print processes, I found a little book titled 43 American Typographic Designers. I have included biographical notes from the designers featured in the exhibition accompanied by artefacts I have collected that they designed.

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Typography work from students studying Typography at Pratt Institute, New York Cover image
  • Design Archive Feature, Design Education, Members Only Content, Regional Histories, Typography & Type Design

Student work from the 1964 Class of Typography, at Pratt Institute, New York

The August 1964 issue highlights the Typography class at the Pratt Institute in New York, a relatively new course at the time. Pratt, one of the most renowned art schools in the United States, had departments for graphic design, painting, art education, industrial design, and applied graphics in the 1960s. The typography course combined theoretical lectures with practical workshops, aimed at students beginning their journey into the discipline.

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Gregory Vines, Typographische Monatsblätter, issues 1-6, 1978 - Process
  • Design Archive Feature, Magazines & Publishing, Members Only Content, Typography & Type Design

Gregory Vines – Design and Process of the Typographische Monatsblätter 1978 Covers

Gregory Vines' design and process behind the Typographische Monatsblätter 1978 covers. From the initial inspiration drawn from Bellinzona's gate to the process of film montage, resulting in six stunning cover masterpieces.

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Record sleeve design by the typography class headed by Albrecht Ade, 1961
  • Design Archive Feature, Design Education, Members Only Content, Typography & Type Design

Work of the Werkkunstschule Wuppertal typography class 1960-1961, headed by Albrecht Ade

Albrecht Ade's students produced some great typographic compositions and print work in his typography class, here's a selection of the work and information about Albrecht Ade.

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Banco do Estado de São Paulo Logo designed by Aloísio Magalhães, 1969
  • Corporate Identity & Branding, Design Archive Feature, Members Only Content, Typography & Type Design

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.

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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).
  • Corporate Identity & Branding, Design Archive Feature, Members Only Content, Typography & Type Design

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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Herbert Bossin - Typographic Compositions with Folio
  • Design Archive Feature, Members Only Content, Typography & Type Design

Herbert Bossin and his Typographic Compositions with Folio

The typographic supplement from Der Druckspiegel, October, 1961 features typographic compositions designed by Herbert Bossin. Bossin has solely used the typeface Folio, to illustrate its flexibility and versatility alongside imagery provided by Lothar Blanvalet Verlag.
The Student Work of The Polytechnic School of Printing, London, 1910
  • Design Archive Feature, Design Education, Ephemera, Regional Histories, Typography & Type Design

Student Work (1907 – 1910) from The Polytechnic School of Printing, London

I came across two sample books containing printed examples of the work executed by the students in the Composing and Machine Departments of the Polytechnic School of Printing, between 1907 and 1910. I couldn't resist adding these to the archive.
Typographical Poster for an Exhibition of Present Day Photography by Walter Dexel
  • Design Archive Feature, Movements, Poster Design, Typography & Type Design

New Paths in Poster Work, 1931 by Jan Tschichold

In minor printed matter we constantly meet the new typography, but it is relatively rare to find posters designed on the new lines. And yet poster-designing is a field where new typographical methods might be employed with great effect.
Advertising the German Store by Jan Tschichold illustrated with design by Brann, 1931
  • Advertising Design, Artefact Spotlight, Design Archive Feature, Typography & Type Design

Advertising the German Store by Jan Tschichold illustrated with design by Brann, 1931

An article by Jan Tschichold illustrated with examples of publicity produced by Brann of Zürich.

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Art Direction, Magazine of Visual Communication, 353, July 1978. Cover design by April Greiman and Raul Vega
  • Designer Profiles, Members Only Content, Movements

April Greiman and her Hybrid Imagery

April Greiman is known for her experimental approach to graphic design,  her role in the development of Californian New Wave and being one of the first designers to fully embrace the computer in her work.

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54th Rural Medical Care Promotion Lottery, Child Eating Corn, Japanese Lottery Ticket, 1978
  • Ephemera, Illustration, Members Only Content, Regional Histories

84 Tickets from the Rural Medical Care Promotion Lottery, Japan, 1974–82

A collected visual record of the first eight years of Japan’s Rural Medical Care Promotion Lottery.

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Mayersäge, Carpenter at Work Advertisement, Ludwig Hohlwein
  • Design Archive Feature, Designer Profiles, Members Only Content

Ludwig Hohlwein by Ernst Gundermann. Translated from Graphische Nachrichten, Vol 13, 11, November 1934

A 1936 article on Ludwig Hohlwein, originally in German, published in Graphische Nachrichten, Vol 13, 11, November 1934