Mon & logo

from the battle field to the trademark

Available both for printed article & lecture

Duration

Short version: 1 h for 60 slides.

Public

Students & graphic designers, researchers & scholars

Mon are traditionnal japanese emblems appeared a thousand years ago in order to identify the Emperor and the nobility, mostly during the battle and the various wars. The emblems took a great place in the japanese culture in order to be applyed on shinto shrines and temples, as well for commerce and industry. Mon share a great interest in the references for logo modernism. 

  • From the colored standard to mon
  • The family mark on the battlefield
  • Divine protection & honnor to the Emperor
  • Identification
  • Religious symbolism
  • Popular & commercial pratices
  • Creation
  • Influence & marriage
  • Japanese logo (Mitsubishi, Kikkoman, Yamaha)
  • Katachi

Square books

The reasons of a modern monster

Duration

1 h for 60 slides.

Public

Students, graphic designers, researchers & scholars.

Previous lecture

Novembre 12th 2019 : Les mardis de Lure, La Générale, Paris.

Abstract

The great evolutions in the history of societies could be summed up in these rare cataclysms redefining interactions between men: articulate language, writing, printing and finally the internet. The book remains the cultural object shared by all civilizations since its appearance more than 4000 years ago. We know it in all sizes, flexible or rigid, handwritten or printed, in codex or leporello, artisanal or industrial. From its protean anatomy, like the 2001 Space Odyssey monolith, a rectangular paving stone remains. Yet of all the quadrilaterals, the square has remarkable geometric peculiarities: it is defined by four equal perpendicular sides and sees its orthogonal diagonals intersect at its center. And if the form is the background which resurfaces, as Victor Hugo declared, then the graphic designer cannot do without a reason justifying the anything but trivial choice of the square in edition.

AG Fronzoni (1923-2001)

Those who refuse design, accept to be designed

Duration

1 h for 100 slides.

Public

Students, graphic designers, researchers & scholars.

Previous lecture

Octobre 20th 2018 : E-Artsup Lyon, France.

Abstract

AG Fronzoni remains a relatively unknown Italian designer and architect out of Italy, yet his influence has been notable on designers such as Rudi Baur or Claudio Silvestrin.

This conference presents the work and philosophy of the maestro decades after decades, focusing as much on the formal aspects of his practice as on the holistic and minimalist thought directing each of his formal choices.

Young students wishing to approach design without disciplinary barriers will probably find a perfect echo of their desires.

Graphic Design history through its magazines issues 1

Graphic design publication were, during a century, the only source of information available for the professionnals. Based on issue 1 of a wide selection of the most important worldwide publication, we can understand how graphic design history was build month after month. Issues 1 of magazines should be concidered as a maniphesto by the editorial team: a magazine out of the publication time.

Various topics can be proposed :

  • Early Modernism publication (1924-1944)
  • Modernism publications (1944-1965)
  • House organs publications
  • Type design publications
  • Japanese graphic design magazines
  • Swiss graphic design magazines
  • Graphic design school publications
  • Wendingen, Netherlands, 1918 (architecture, decoration, graphic design)
  • Gebrauchsgraphik, Germany, 1924 (graphic design, type design, advertising)
  • Arts et métiers graphiques, France, 1927 (graphic design, type design, bibliophily, illustration, bookbinding, photography, etc.)
  • Graphis, Switzerland, 1944 (graphic design, type design, advertising, photography)
  • Open oog, Netherlands, 1946 (fine art)
  • Caractères, France, 1949 (graphic design, type design, advertising)
  • Portfolio, USA, 1950 (graphic design, type design, advertising, photography)
  • Caractères noël, France, 1951 (graphic design, type design, advertising)
  • Idea, Japan, 1953 (graphic design, type design, advertising)
  • Neue Grafik, Switzerland, 1958 (graphic design, type design, advertising, photography)
  • Graphic design, Japan, 1959 (graphic design, type design, advertising, photography, illustration)
  • Pagina, Italy, 1962 (graphic design, type design, advertising, photography)
  • Dot Zero, USA, 1966 (graphic design, semiotic)
  • 2dimensioni, Italy, 1967 (graphic design, advertising, photography)
  • Baseline, UK, 1977 ( type design)
  • Typomondo, France, 1980 (type design, lettering)
  • Octavo 86.1, UK, 1986 (graphic design, type design)
  • Eye, UK, 1990 (graphic design, type design, advertising, photography)
  • Étapes graphiques, France, 1994 (graphic design, type design, advertising, photography)
  • Ink, France, 2006 (graphic design, type design)
  • Back cover, France, 2008 (graphic design, type design, scholar studies)
  • Optical sound, France, 2009 (fine art, music)
  • The Shelf Journal, France, 2012 (edition)
  • Apres/avant, France, 2013 (type design)
  • Pli, France, 2015 (architecture & edition)
  • La Perruque, France, 2016 (type design)
  • Back office, France, 2017 (digital design, scholar studies)

ABC Verlag, Zurich

swiss graphic design books collection

ABC Verlag (1963-1989) was a Zurich based publisher. Its main collection, edited by Konrad Baumann, is composed of 25 books that gathered the most important graphic designers as authors and contributors. During more than 30 years, ABC Verlag give us a good panorama of the evolution of the philosophy & style of swiss graphic design, from a the legacy of avant-garde to the postmodernism of the end of the century.

  • Graphic Art of a Swiss TownArmin Tschanen, 1963
  • Official Graphic Art in Switzerland, Walter Bangerter & Armin Tschanen, 1964
  • Graphic Design in Swiss IndustryHans Neuburg, 1965
  • Publicity and Graphic Design in the Chemical IndustryHans Neuburg, 1967
  • Conceptions of International ExhibitionsHans Neuburg – 1969
  • Color Sells Your PackageJean-Paul Favre, 1969
  • History of the PosterJoseph & Shizuko Müller-Brockmann, 1971
  • Basic Typography: Handbook of Technique and Design, Ruedi Rüegg & Godi Fröhlich, 1972
  • Drawing, A Creative ProcessKurt Wirth, 1974
  • Form + communicationWalter Diethelm, 1974
  • Design Concept RealisationWolfgang Schmittel, 1975
  • Signet Signal SymbolWalter Diethelm, 1976
  • Graphic Design International: Creative Work of Selected Colleges of Design from 12 Countries, Igildo G. Biesele, 1977
  • Process Visual: Development of a Corporate Identity, Wolfgang Schmittel, 1978
  • Color and CommunicationJean-Paul Favre & André November, 1979
  • Type Sign SymbolAdrian Frutiger, 1980
  • Graphic Design EducationIgildo G. Biesele, 1981
  • Visual TransformationWalter Diethelm, 1982
  • Top Graphic DesignF.H.K. Henrion, 1983
  • Swiss Sport PostersKarl Wobmann & Max Triet, 1983
  • Corporate Design International: Definition and Benefit of a Consistent Corporate Appearance, Wolfgang Schmittel – 1984
  • Political and Social Posters of SwitzerlandKarl Wobmann & Willy Rotzler, 1985
  • Experiment Design: More Creativity through Experimental Design Work — Case Studies from Practice and Training, Igildo G. Biesele 1986
  • Art & graphicsWilly Rotzler & Nathan Garamond, 1989
  • Typography: Design with LettersRuedi Rüegg, 1989