Since the 1970s Wolfgang Weingart has exerted a decisive influence on the international development of typography. In the late 1960s he instilled creativity and a desire for experimentation into the ossified Swiss typographical industry and reflected this renewal in his own work. Countless designers have been inspired by his teaching at the Basle School of Design and by his lectures. In Typography Weingart gives an unusual and frank narrative of his early life and development as a designer. For the first time he gives a comprehensive survey of his works over the past forty years, most of which are unknown.
This book is the first comprehensive study of corporate identity design manuals, and features 20 examples from the 1960s to early 1980s – the golden era of identity design. The book includes manuals created for institutions and corporations such as NASA, Lufthansa and British Steel.
All of the manuals have been lovingly photographed, and presented in a spacious and functional layout, allowing the observer to fully appreciate these wonderful examples of information design at its best. Manuals 1 is printed in Italy, conforming to the highest production standards.
Foreword by Massimo Vignelli and texts from Adrian Shaughnessy, NASA designer Richard Danne, Greg D’Onofrio and Patricia Belen (Display), Armin Vit (Under Consideration), Sean Perkins (North) and John Lloyd.
The Ulm School of Design (HfG Ulm) ranks among the world’s most important institutions of the 20th century in modernist design. Its founders Inge Aicher-Scholl, Otl Aicher and Max Bill wanted to contribute to the shaping of a new and better world after the terrible experiences of the Nazi regime and the Second World War. The meaning of design today cannot be understood without considering the developments at HfG. That applies not only to the design of appliances and communications, but also to the profession of designer, design education, methodology and design theory—ranging from the relationship between design and science up to the question of what relationship design should adopt with art and crafts, or business and society. This massive impact of the HfG is all the more astounding, considering that it existed for only 15 years, from 1953 to 1968. This book provides a contextual and broadly illustrated history of the HfG Ulm.
The D&AD awards panel judges over 20,000 works from design studios, advertising agencies, branding consultancies, film production and photographic agencies, digital media pioneers, and other creative firms from all over the globe. Winners receive the legendary D&AD Yellow Pencil Award—or, in the case of exceptional and outstanding work, the rare Black Pencil Award. This review of the winners serves as a one-stop shop for everything that’s hot in the field. Anyone interested in creativity, communication, design, or advertising cannot possibly be without the D&AD Annual!
At last Neue Grafik has been reproduced by Lars Müller Publishers, it’s going to be stunning.
Neue Grafik, the “International Review of graphic design and related subjects,” was initiated by designer Josef Müller-Brockmann and published in eighteen issues between 1958 and 1965 by an editorial collective consisting of him, Richard Paul Lohse, Hans Neuburg und Carlo Vivarelli ( LMNV ). The complete volumes are now available in an excellent facsimile reprint from Lars Müller Publishers.
From a historical point of view, Neue Grafik can be seen as a programmatic platform and effective publishing organ of Swiss graphic design, an international authority in its field at the time. Protagonists of the Swiss school and its rigorous Zurich faction lead an essential discourse on the foundations of current communication and constructive design. The influence of this movement cannot be overstated. The Swiss school, also called “International Style,” became exemplary for the conceptual approach to corporate design of increasingly globally operating corporations and an influential precursor in the design of individual projects, such as posters, exhibitions, and publications.
Neue Grafik is an important point of reference in the recent history of graphic design. After the heights of the digital revolution now follows a renewed concern for matter-of-fact concepts and clear form languages. This explains the interest in the almost fundamentalist stance of the four Zurich-based designers, who were responsible for the content of the magazine.
Design: Integral Lars Müller
1184 pages (reprints), 64 pages (commentary), 18 paperback volumes in a slipcase (2014)
EUR 200.00 / USD 300.00 / GBP 175.00
Leterme Dowling launched their latest book, ‘Animal Logo: Trademarks and Symbols’.
The book is a collection of categorised animal logos and symbols from around the world and contains 266 logos from some of the world’s greatest design companies such as; Total Identity, Lance Wyman, Build, Stockholm Design Lab, Minale Tattersfield, Stefan Kanchev, Kari Piippo Oy and many more.
The designer FHK Henrion has no equal in British graphic design history. No UK designer – then or now – can match his sheer depth of accomplishments and range of abilities.
Born in Germany, he trained as a textile designer before becoming a skilled and celebrated poster artist. As a British citizen after WWII, he designed publications, exhibitions, household products, interiors and jewellery, and in the 1960s he became the founding father of modern corporate identity in Europe. He had an exceptional talent for rational and systematic graphic design at a time when design was still a cottage industry. Almost single-handedly he created the model of the modern professional graphic designer.
Henrion was also a notable design educator, and an energetic spokesman for his profession. He published books, wrote articles, lectured extensively and was the force behind numerous design organizations. He was admired and liked by his employees, pupils and associates, and especially by his clients. But he was also a designer with a social conscience, and a designer who rebelled against the over-commercialisation of the design profession in the 1980s. This book is the first comprehensive monograph of the work of FHK Henrion. Lavishly illustrated and designed with precision and flair, it charts his early experiments as a pre-war poster artist and culminates in his work as the creator of some of the most celebrated – and enduring – logos and identities of the 20th century, including Tate+Lyle, KLM, Blue Circle Cement and LEB
Alexandre Wollner was born in São Paulo in 1928, he was one of the world’s most important graphic designers of the second half of the 20th century. He played a prominent role in the artistic, cultural and economic establishment of modern Brazilian design. Whereas Wollner enjoys great popularity in South America, in Germany his oeuvre has yet to be discovered in all its breadth. The exhibition will be the first major show to devote itself to that oeuvre in Europe. Some 120 works by the designer will provide an overview, and special attention will be directed towards the strong influence of the Hochschule für Gestaltung in Ulm, where Wollner spent the years from 1953 to 1958, as well as towards the Brazilian Wollner’s relationship with European culture.
The retrospective will be in Frankfurt from 21 September 2013 – 2 February 2014, a preview of the book can be viewed here