16/07/09 – Selections from Design and paper number 19: shape, line and colour by Ladislav Sutnar, Marquardt and Co., New York (1945).
Design and paper was a series of softcover booklets produced by New York paper wholesaler Marquardt and Co. between 1937 and 1952(?). Its production ran quarterly for 39 issues and was printed at a very high standard. The series showcased the finest papers for printers, art directors and others in the printing trade. After number 7, issues were primarily devoted to individual artists and designers. Ladislav Sutnar featured in numbers 13 and 19.
In issue 19, Sutnar gives a brief and illustrative lesson in the use of shape, line and colour for organizing and presenting information. Sutnar’s characteristic style is evident in the bold use of colour, dynamic spreads and organizational signposts.
Issue 19 colophon:
Cover: Crysteel Bristol – High Plate – 22.5 x 28.5 – 200M
Text: Dullbrite White – Substance 25 × 38–70
Plates by Royal-Jones Photo Engraving Corp.
Numbers 13 and 19 were accurately reproduced in 2003 from the collections of the Museum of Decorative Arts in Prague// by Fraktály Publishers. (more…)
13/07/09 – Tapio Wirkkala Ultima Thule glassware for Iittala, Finland (1968). Set of six juice/whisky sour glasses (18 cl.). (more…)
28/06/09 – Monograph for Czech artist and designer, Karel Teige (1900-1951): Karel Teige a typografie: Asymetricka harmonie (2009) by Karel Srp, Polana Bregantova and Lenka Bydzovska. Text in Czech. (more…)
18/05/09 – Excerpts from Jost Hochuli’s Detail in Typography: Letters, letterspacing, words, wordspacing, lines, linespacing, columns (2008): (more…)
02/05/09 – Lambretta LD 150 scooter built by Innocenti in Milan circa 1954-56. (more…)
26/04/09 – Excerpts from Tenugui, Pie Books (2007), Japan. Tenugui are traditional Japanese cotton hand-towels featuring a wide range of designs and motifs. (more…)
14/04/09 – Formal typographic study of the square with 3×3 grid and variations in ratio/proportion and orientation. (more…)
11/04/09 – “The luxurious Boeing 747 is the world’s largest commercial passenger aircraft. Wing span, 195.7 ft. (59.6 meters). Length 231.3 ft. (70.5 meters). Fuel capacity 42.481 imp. gals (192,500 ltrs). Max. take-off weight, 775, 000 lbs. (351.540 kgms.) Cruising speed, 560 mph (900 kmh). The 747s are part of CP Air’s modern fleet of orange jets serving five continents.” (more…)
08/04/09 – Place d’Accueil – this is the main entrance to the Exhibition and the terminus of the mass transit. Buildings on the extensive deck are restaurants, boutiques and reception rooms.
All postcards marked: Official post card / Les Messageries de Press Benjamin Ltee / Benjamin News Co., Ltd., Montreal 3, Canada / Plastichrome of Canada / ©1963 [?] (more…)
01/04/09 – Excerpts from Bruno Munari’s Design as art first published in 1966. Images on flickr//
Preface to the English Edition
They [artists] have realized that at the present time subjective values are losing their importance in favour of objective values that can be understood by a great number of people.And if the aim is to mass-produce objects for sale to a wide public at low price, then it becomes a problem of method and design. The artist has to regain the modesty he had when art was just a trade, and instead of despising the very public he is trying to interest he must discover its needs and make contact with it again. This is the reason why the traditional artist is being transformed into the designer, and as I myself have undergone this transformation in the course of my working career I can say that this book of mine is also a kind of diary in which I try to see the why and wherefore of this metamorphosis. (13)
(more…)
24/03/09 – Excerpts from Massimo Vignelli’s The Vignelli Canon (2008):
This little book reveals our guidelines – those set by ourselves for ourselves. (6)
Creativity needs the support of knowledge to be able to perform at its best. (ibid.)
It is not the formula that prevents good design from happening but lack of knowledge of the complexity of the Design profession. (ibid.) (more…)
24/02/09 – Industrial British Columbia 1946: Canada’s magnificent new industrial empire, geared to efficient high quality production, backed by an adequate pool of skilled labor promotional catalogue. Designed and lithographed by The Sun Publishing Company Limited, Vancouver, B. C. Copyright May 15, 1947. Spiral bound 14″ x 10″ with 46 pages. (more…)
18/02/09 – Excerpts from Armin Hofmann’s Graphic Design Manual: Principles and Practice published in 1965.
Introduction
“What is lacking is a creative focus which would be the source of every new insight into the nature of art and would foster every kind of talent.” (37)
“It is only in in drawing, which occupies an isolated and underprivileged position in the curriculum, that thinking, inventing, representing, transposing and abstracting can be correlated.” (ibid.)
“It is a fairly general assumption that art training is autonomous and subject only to its own laws. It is precisely this error which has induced me to preface my consideration of the problems of art education with some thoughts on education in general with a view to showing the close interdependence of the various aims of education.” (ibid.) (more…)
29/01/09 – PIE books, Japan: Cesky Filumenisticky Design (2005) and Japanese Matchbox Label Collection 1920s-40s (2004). Text in Japanese. Maraid’s matchbox labels on flickr//
22/12/08 – Ubu’s Almanac: Alfred Jarry and the Graphic Arts exhibition catalog and essays from the Spencer Museum of Art, University of Kansas. Select bibliography of works in English//
18/12/08 – Kobenstyle pot designed by Jens Quistgaard for Dansk International Designs, France (1954). Red enamel on steel. Opening diameter: 8.5″
09/12/08 – Henning Koppel teak salad bowl for Scanform, Denmark (c. 1960/70). Opening diameter: 11.5″. (more…)
29/11/08 – The Solair chair for IPL. Design by Fabiano & Panzini. Patent design d-44237. Item: no. 60323. Made in Canada (1972). (more…)
13/10/08 – Pot with teak handle from Henning Koppel’s Form 24 (aka. Koppel White) service (1962) for Bing & Grondahl. More images//
24/06/08 – Select excerpts and notes from Laurent Pflughaupt’s Letter by Letter:
Introduction
“Tracing back through the history of these abstract signs, which we manipulate and decipher unconsciously on a daily basis, is often like discovering their hidden or forgotten meanings. We find that today we still use capital letters whose structures are identical to the engraved capitals that date from the beginning of this era. We also discover that the design of our printed letters is based on Carolingian lowercase letters, which were rehabilitated and perfected seven centuries later by Florentine humanists.” (9) (more…)