Abstract

Graphic Design is a relatively recent professional discipline, yet although the separation between design and production gradually took appear around the second half of the 19th century, the productions and media of this practice have an earlier history. Among the stories in the book, poster, typography, it is worth noting the lack of a history of logos.

Initially focused on a historical research of the Logo as we know it, from personnal emblems and trade marks, we propose in a second time to highlight the constituents common to this genealogy: territoriality, narration & filiation, etc.

Finally, in a third step we try to answer the question: “Is a Logo used to stand out?”. Identity marks, like commercial, have been constructed according to a graphical syntax allowing both recognition and inclusion in a whole. In the same sense that language aims at expression and not at singularity via the construction of a language, the brand of identity, then commercial, is anchored in this logic. By becoming a Logo, the brand loses its generative syntax to become a graphic style system, each economic and cultural sector typing its brand according to stylistic standards with shared informal denotations.

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

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.

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.

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• Official Graphic Art in Switzerland, Walter Bangerter & Armin Tschanen, 1964
• Graphic Design in Swiss Industry, Hans Neuburg, 1965
• Publicity and Graphic Design in the Chemical Industry, Hans Neuburg, 1967
• Conceptions of International Exhibitions, Hans Neuburg – 1969
• Color Sells Your Package, Jean-Paul Favre, 1969
• History of the Poster, Joseph & Shizuko Müller-Brockmann, 1971
• Basic Typography: Handbook of Technique and Design, Ruedi Rüegg & Godi Fröhlich, 1972
• Drawing, A Creative Process, Kurt Wirth, 1974
• Form + communication, Walter Diethelm, 1974
• Design Concept Realisation, Wolfgang Schmittel, 1975
• Signet Signal Symbol, Walter 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 Communication, Jean-Paul Favre & André November, 1979
• Type Sign Symbol, Adrian Frutiger, 1980
• Graphic Design Education, Igildo G. Biesele, 1981
• Visual Transformation, Walter Diethelm, 1982
• Top Graphic Design, F.H.K. Henrion, 1983
• Swiss Sport Posters, Karl Wobmann & Max Triet, 1983
• Corporate Design International: Definition and Benefit of a Consistent Corporate Appearance, Wolfgang Schmittel – 1984
• Political and Social Posters of Switzerland, Karl Wobmann & Willy Rotzler, 1985
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• Art & graphics, Willy Rotzler & Nathan Garamond, 1989
• Typography: Design with Letters, Ruedi Rüegg, 1989