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Zonnehof Amersfoort posters

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From the same source as the Crouwel posters of yesterdays blog comes this series of posters for the ZONNEHOF AMERSFOORT museum. Later this would become the Armando museum, but in the Sixties and Seventies they had their own small program of exhibitions. Well worth visiting and it is interesting to see that also a smaller dutch museum thought it important that design and typography of their publications was important. The main part of these series was designed by van den Brink. All are now available at www.ftn-books.com

 

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Delft Chair Collection ….STOELEN

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Containing over 300 chairs collected for teaching purposes since 1957, the collection is currently under the supervision of the Chair History of Architecture and Urban Planning (Van Wijk). It is acknowledged as one of the most important furniture collections in the Netherlands and is a source of knowledge about materials, construction and typologies for students and designers alike. In the past, the chairs were used as examples during lectures and as models during drawing lesson, but we now also use them as point of departure for research and design courses. Preliminary evaluations show that the close engagement with these unique objects improves students’ design processes and products.

 

Therre is an excellent article on thsi important collection to be found here:

JoDH_artikel_def.pdf (stoelencollectiedelft.nl)

and of course www.ftn-books.com has the first impostant publication from 1980 on this collection available.

stoelen delft b

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Jurriaan Schrofer ( continued )

 

Last month…. on the bookmarket…. i found a series of beautiful and typical late Sixties designs by Jurriaan Schrofer. Schrofer is together with Wim Crouwel the other favorit dutch designer from the Sixtie.

A Pop Art like style he developed over the decade and used this for his projects and the series he made for Museum Journaal is one of the most impressing from that decade. The series is now for sale in separate volumes at http://www.ftn-books.com, nbut for the collector that desires them all please contact me at wilfriedvandenelshout@gmail. com for a special offer of all volumes available.

schrofer MJ b

 

 

 

 

Excellent piece on Schrofer written in French at this site:

Jurriaan Schrofer

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Jan Meijer / Jurriaan Schrofer/ Ed van der Elsken

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Another artist i had no memory of. I had heard the name before, but coould not place his works in any context. I must have seen his work at some time, but no recollection at all.

So why this blog on Jan Meijer. The artist is perhaps the least interesting in this blog. Still Meijer’s lyrical abstract works are well worth looking at and deserve much more recognition.

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But…..the true reason i write this blog is the Jan Meijer catalogue which was published in 1957 for the Galerie Dina Vierny exhibition. A typical 50’s publication with a colored cover, BUT, what makes it stand out ……..it is designed by Jurriaan Schrofer and photographs by Ed van der Elsken. It is one of those rare occasions that these great Fifties artists come together. Perhaps they needed to make some money, perhaps they were friends and have known each other from their Paris time. I do not know, but ik know that this is an extremely scarce publication, well worth collecting and to dream away and try imagining how life must have been in Paris in the mid Fifties.

the catalogue is available at http://www.ftn-books.com

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Henk de Vries (1931-1986)

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The french would call it a “petit maitre” a small master and for me this is true. de Vries was never known that much among art lovers, but now that the Fifties and Sixties become “en vogue” he is discovered . His paintings lean towards cubism , but have those typical Fifties colors in them. I first took notice of his paintings when i bought the 1966 Museum van Looy catalogue on de Vries ( now available at ww.ftn-books.com), but the most impressive elements were the typical Sixties invitations that i found within the publication. Great design and highly collectable invitations that are typical for these years.

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Jean Widmer (1929)

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Yesterdays blog and the acquisition of some former Ben Bos library books on grapphic design inspired me to find some more information on Jean Widmer.

Jean Widmer is an acclaimed Swiss graphic designer too based in France.

From 1946 to 1950 he studied at the Kunstgewerbeschule (School of Arts and Crafts) of Zurich, then directed by the former Bauhaus master Johannes Itten (1888-1967). In 1953 he moved to Paris, where attended lithography courses at the École des Beaux-Arts (School of Fine Arts).

After one-year internship at the Atelier Tolmer, located on the Île Saint-Louis, he was appointed Art Director of SNIP—Société Nouvelle d’Information et de Publicité (New Society of Information and Advertising), holding this charge from 1956 to 1959. He later moved to Galeries Lafayettes, a major department store, substituting Peter Knapp as its Art Director, from 1959 to 1961. At the same time he also worked at Jardin des Modes magazine as art director and photographer, holding the position until 1969. During the 1960s he also travelled in Japan to study ‘shodo,’ Japanese calligraphy, and ‘mon,’ Japanese traditional crests.

In 1969 he opened Visuel Design, focusing on coordinated graphic communication for cultural and public institutions. The same year he was the first designer to develop a corporate identity system for a French cultural institution, developing the graphic communication of the CCI—Centre de Création Industrielle (Center of Industrial Creation).

It was during this period that Widmer developed his own original graphic language, based on synthesis, rigorous geometry, and schematic typography that to this day represents the first and one of the few examples of Modern graphic design in France.

In 1972 he took charge of the first design for the French Highways signage, drawing a beautiful and effective pictogram system. From 1974 to 1977, and again in 1985, he designed the coordinated identity for the Centre Georges Pompidou, formed from the merging of the CCI with other cultural institutions, for which he designed a beautiful and iconic mark that portrays the famous façade of the building.

In 1979 he designed an acclaimed poster for Kieler Woche, the major sailing event in the world that is famous in the world of graphic design for its striking communication. From 1983 to 1987 he worked on the corporate identity design for the prestigious Musée d’Orsay, in collaboration with the prominent graphic designer Bruno Monguzzi.

He continued to focus on corporate graphics for cultural institutions, developing the identity for the Théâtre National de la Colline, and the IMA—Institut du Monde Arab, both in 1987, and the Bibliothèque Nationale de France in 1994. In 1989 he also designed a typefaces, Bi-89, on the occasion of the French Revolution’s bicentennial.

In 1960 he joined the faculty of the ENSAD—École Nationale Supérieure des Arts Décoratifs (School of Decorative Arts), Paris, where he taught until 2000 remodeling the graphic design curriculum, stressing mastery of typography and color as fundamental skills. Since the early 1990s, he also taught at the Atelier National de Recherché Typographique (National Bureau for Typographic Research).

During his career he received important recognitions, including the Toulouse-Lautrec Prize in 1980, the Grand Prix National des Arts Graphiques from the French Ministry of Culture in 1994, and the Distinctive Merit Award from the ADC (Art Directors Club), New York. He was appointed Chevalier of the Ordre des Arts et des Lettres in 1983, Officer of the same order in 1991, and Commandeur in 2001.

The important Centre Georges Pompidou publication is now available at www.ftn-books.com

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Posters by Willem Sandberg and Wim Crouwel…part 12

Another great set andn this time both poster and catalogue look almost identical (1970). Both are great simplistic in their designs , but strong in their appearance and they immediately draw your attention.

The Concrete poetry is one of my personal favorit publications and i like the poster as well. Both are availabel at www.ftn-books.com

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Gerard Unger (1942-2018)

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Longtime overdue…this short piece on Gerard Unger does not do justice to the importance of Unger for dutch graphic design.

Unger was a Dutch graphic and type designer. He studied at the Gerrit Rietveld Academie in Amsterdam from 1963–67. A pioneer of digital type and an eyewitness to the important technological shifts of the past five decades, prolific writer and researcher. Unger has taught at the Gerrit Rietveld Academie for over 30 years, and since 1994, he is a visiting professor at the University of Reading at the Department of Typography and Graphic Communication. From 2006 to 2012, he has been lecturer in typography at the Department of Fine Arts of the University of Leiden.

 

The following text comes from EYEmagazine

Gerard Unger was a quietly ambitious typeface designer whose fonts have achieved a popularity and ubiquity that few superstar designers can equal. Born in The Netherlands in 1942, he has been involved in digital type design since 1974: for print (Dr-Ing Rudolf Hell GmbH, now Linotype Library); for office use (OcZ Nederland, Venlo); and for the screen (Philips Data Systems). Unger studied at the Gerrit Rietveld Academy in Amsterdam from 1963-67 and he has taught there for more than 30 years. Since 1994 he has been a visiting professor of typography and graphic communication at the University of Reading in the UK.

The many typefaces he has designed include Hollander (1983), Flora (1984), Swift (1984-86), Swift 2.0 (1996), Amerigo (1986), Oranda (1986), Argo (1991), Gulliver (1993), Paradox (1998), Coranto (1999) and Vesta (2001), a new sans serif. Many of these are used internationally in newspapers and magazines: for example Coranto for The Scotsman and the Brazilian newspaper Valor, launched in 2000; Gulliver for USA Today and Stuttgarter Zeitung. Swift (see Eye no. 3 vol. 1) has acquired the status of a late twentieth-century classic.

He has also designed several typefaces for signage, including the one used for the Amsterdam Underground and in 1996, in conjunction with the Leiden-based company n|p|k industrial design, a new face for Dutch road signs, commissioned by the Dutch tourist organisation ANWB. He made a personal contribution to the tradition of public lettering in Rome when he was commissioned to developing an orientation and information system for the City of Rome’s Jubilee year 2000. He headed a team of six designers, working again in conjunction with n|p|k. Part of this project was a new type family, Capitolium (1998), to be used in seven languages and in different technologies, including public touch screens.

Unger also designs corporate identities, magazines, newspapers and books, writes regularly about graphic design and typography and lectures abroad. He claims he is proud to remain an ‘old-fashioned designer, satisfying clients, solving problems,’ continuing a Dutch tradition of text face design for reading. ‘Over the past decade,’ he says, ‘while many designers were producing post-structuralist, post-industrial, Deconstructivist designs and … more interested in how things look than in what they have to say, I remained interested in content first.’

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Wim Crouwel designed series for Museum Fodor

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Around 1972 , Wim Crouwel started to use a computer design inspired layout for the Museum Fodor publications.  A bright orange/red color with in the background a pattern of fine white dot. Just below the middle a tin white line. Fodor in Pink. On the left half the exhibition in info and in Most cases above the white line the artist name. Over 40 publications have appreared within these series and nearly all belong to the very best of Crouwel designs from the Seventies. http://www.ftn-books.com has many of these publications available. This is a typical connoiseurs choice, not expensive and with all the qualities of a Seventies Crouwel designed publication.

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Toon Michiels (1950-2015)

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Among the many many titles on art and design that i now have for sale. Quite a number is designed by Toon MIchiels, who was the ‘House” designer of the Avenue magazine. Beside his designs he was also known for his documentary photography, often combining both disciplines into a very personal publication His publication on a farmer couple in Brabant, ” ZELDZAME MENSEN”, was such a publ;ication . The publications got critical praise and the photographs reminded people of the farmer scenes they knew from the van Gogh paintings.

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The reason of this blog is the find of a very nice publication i found at the local bookmarket . It is the book published together weith the Toon Michiels exhibition at the  DE BEYERD museum in 1991, which is now for sale at http://www.ftn-books.com.

toon michiels