Alan Fletcher Logo Designer

You might not know his name, but chances are you’ve seen his work. Alan Fletcher was one of the most celebrated and prolific British designers of the Twentieth Century.

Fletcher has designed brand identities for many famous and iconic businesses such as Pirelli, Cunard, Penguin Books, BP, Olivetti and V&A.

Below is one of Alan Fletcher’s most famous pieces of design to advertise Pirelli slippers. This poster got put on London buses in the early 60′s. I think the idea is clever and quirky, which makes you smile. The red bus contrasts with the white and blue poster making it eye-catching. It’s a memorable poster, if you saw it you would stay in your mind because it’s different to other posters that were out around that time. Pirelli wants you to look at the poster and to remember the business so you’ll buy their products, and Alan Fletcher has successfully achieved that.

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Anteaters to Zebras (below) is a creative, playful, and witty introduction to the alphabet, created by Alan Fletcher, one of the most influential and respected figures in graphic design and a co-founder of the famous design firm Pentagram. Created with Fletcher’s grandson in mind, this colourful book expresses the pleasure Fletcher took in turning work and play into the same activity. Children and adults alike will delight in Fletcher’s series of brightly coloured animals illustrating the letters of the alphabet, and in his infectious sense of fun.

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The logo design for the company REUTERS, which is made up out of 84 dots was designed by Fletcher in 1965, Fletcher’s idea is based on teleprinter tape. Reuters used his design up until 1992.

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Much of Fletcher’s work is still in use, his 1989 “V&A” logo for Victoria and Albert Museum, and his “IoD” logo for the Institute of Directors remain in use. Both designs haven’t been changed in over twenty years.

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“Design is not a thing you do. It’s a way of life.”

What is the most treasured and well-used piece of equipment in your studio?

“My head.

– Alan Fletcher

http://www.phaidon.com/agenda/design/picture-galleries/2010/march/24/wit-ideas-and-ambiguity-the-world-of-alan-fletcher/?idx=23

http://shop.tate.org.uk/childrens-books/anteaters-to-zebras/invt/11671/

http://www.phaidon.com/agenda/design/picture-galleries/2010/march/24/wit-ideas-and-ambiguity-the-world-of-alan-fletcher/?idx=11

http://www.vam.ac.uk/

http://www.architettura.uniss.it/

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Patrick – 20th century graphic designers – Alan Fletcher

“Thinking is drawing in your head.  Alan Fletcher

Alan Gerald Fletcher (27 September 1931 – 21 September 2006) was a British graphic designer

Synthesizing the graphic traditions of Europe and North America to develop a spirited, witty and very personal visual style, ALAN FLETCHER is among the most influential figures in British graphic design as a founder of Fletcher/Forbes/Gill in the 1960s and Pentagram in the 1970s.

Designed to be opened at random, The Art of Looking Sideways, Alan Fletcher’s 2001 book, is an unfailing source of wit, elegance and inspiration. At over a thousand pages, it is a spectacular treatise on visual thinking, one that illustrates the designer’s sense of play and his broad frame of reference

Alan Fletcher’s international design reputation was reflected by his commissions from major corporations and cultural institutions around the world. He was described in his obituary in The Guardian as ‘the quintessential illustrator and graphic designer, a man uniquely responsible for defining British graphic design with his witty and highly individual approach from the late 1950s onwards’.

Born in Kenya, but brought up in England from an early age, Alan Fletcher studied at the Hammersmith School of Art from 1949, and then at the Central School of Art, where he met and befriended Colin Forbes, Theo Crosby, Derek Birdsall and Ken Garland. After a year in Barcelona, he returned to London to study at the Royal College of Art from 1953 to 1956, where he met Peter Blake, Joe Tilson, Len Deighton, Denis Bailey, David Gentleman and Dick Smith.

In 1956, Fletcher took up a scholarship to study at the School of Architecture and Design at Yale University. He began his career in New York where he worked for the Container Corporation, Fortune magazine and IBM. He returned to London in 1959, having worked briefly for Saul Bass in Los Angeles and Pirelli in Milan. Back in London, he co–founded Fletcher/Forbes/Gill in 1962, with clients including Pirelli, Cunard, Penguin Books, BP and Olivetti.

http://www.ft.com/cms/s/0/b83e0d98-11b2-11df-bceb-00144feab49a.html#axzz2PSGhycBI

http://wiki.answers.com/Q/When_was_Alan_Fletcher_graphic_designer_born

http://www.logosdesigners.com/

http://www.englandgallery.com/artist_bio.php?mainId=183

http://designmuseum.org/design/alan-fletcher

fletcher_napoli.jpg.scaled1000 tumblr_kx6l5mbrnl1qakc59o1_500 fletcher_animals.jpg.scaled500 Cocktail_party 51F3D4HQKXL__SL500_AA240_

Patrick – 20th century graphic designers – Frederick Goudy.

“Anyone that would letterspace blackletter would steal sheep.”

Frederic W. Goudy (born March 8, 1865, Bloomington, Illinois, U.S.—died May 11, 1947, Marlboro, New York), American printer and typographer who designed more than 100 typefaces outstanding for their strength and beauty.

Goudy taught himself printing and typography while working as a bookkeeper. In 1895, in partnership with a teacher of English, C. Lauren Hooper, he set up the Camelot Press in Chicago, which printed the Chap-book, widely praised for its fine design, for Stone & Kimball publishers. He sold the first typeface he designed, called Camelot, to a Boston printer for $10. In 1903, in association with his wife, Bertha, and with Will Ransom, he started the Village Press in Park Ridge, Illinois. Goudy moved the Village Press to Massachusetts in 1904 and to New York City in 1906. After several more moves, Goudy and the Village Press came to rest in 1923 in Marlboro, New York. The workshop and associated type foundry burned in 1939.

Goudy’s career as a printer and designer began to grow with the fortunes of the press. In 1908, he created his first significant typeface for the Lanston Monotype Machine Company: E-38, sometimes known as Goudy Light. However, in that same year the Village Press burned to the ground, destroying all of his equipment and designs. In 1911, Goudy produced his first “hit”, Kennerly Old Style, for an H.G. Wells anthology published by Mitchell Kennerly. His most widely used type, Goudy Oldstyle, was released by the American Type Founders Company in 1915, becoming an instant classic. Its graceful letterforms made it visually appealing, while its shortened descenders allowed printers to squeeze more type on a page.

Goudy taught at the Art Students League (1916–24) and New York University (1927–29).. He produced such faces as Goudy Old Style, Kennerley, Garamond, and Forum for the American Type Founders and Lanston companies. He was the author of The Alphabet (1918), Elements of Lettering (1922), Typologia (1940), and the autobiographical A Half-Century of Type Design and Typography, 1895–1945 (1946).

http://www.britannica.com/EBchecked/topic/239950/Frederic-W-Goudy

http://www.typographia.org/1999/graphion/goudy.html

http://www.linotype.com/396/fredericwgoudy.html

http://luc.devroye.org/fonts-61704.html

http://www.ascenderfonts.com/font/monotype-goudy-old-style-regular.aspx

goudyitalianoldstyle 167349797-s 167349801-s FredericGoudy-Bertham-1936

Erik Speikermann and Josef Albers

Erik Speikermann and Josef Albers are relevant graphic designers who’s works have been influential in the field of graphic design and were prominent figures in the development of certain aspects and forms of design.  Both explored design in the form of graphical images in typography and were, in this way, able to explore various qualities and attributes with which they were able to develop unique and yet significant styles. Spiekermann is responsible for the design of several commercial typefaces such as ITC Officiana Sans and Serif (1990), Berliner Grotesk (Digitisation from 1979), FF Govan (2001) and many more. Albers however, moves away from the type side of design and heads more in the direction of graphical design in the form of shapes and colours. His work in this field has led to form the basis of some of the most far-reaching and influential artistic education programs of the 20th century. He had a particular interest in the square and its’ simplistic form and this would pave the way for more advanced explorations into shapes for others in the decades to come. Spiekermann has won several awards while Albers donated many of his works to museums and foundations. In each of their own influences and aspects they were able to achieve much and were influential and relevant in the development of design throughout the 20th century.

All relevant images are in the links.

http://www.edenspiekermann.com/people/erik-spiekermann

http://www.edenspiekermann.com/

http://www.moma.org/collection/artist.php?artist_id=97

http://www.albersfoundation.org/

http://www.artnet.com/artists/josef-albers/

Coffee Made Me Do It

Coffee Made Me Do It/Simon Alander

Simon Alander, sometimes under the popular alias ‘Coffee Made Me Do It’, is a prominent Swedish designer and typographer. His work during the twentieth century is highly influential. His use of swirling curvature while retaining a sharp and constant contrast is both a startling and evocative use of the literary form. It is reminiscent of the European script of old but as if it had somehow met and fused itself with the more modern fonts and typefaces of the modern world of typography and design. It is this historical and cultural comparison in his work that has made him an eminent figure in the evolution of typography, specifically in the twentieth century. His work often takes a reference or influence from the modern worlds ‘graffiti’ script that is often seen scrawled upon backstreet alley walls, gritty subway walls and dirty dumpsters. In this aspect, Alander is able to reach out to a younger and more prominent audience yet while keeping the curling tails and structured spines of the 18th century he is able to reach out to an older clientele as well. The rounded and ‘friendly type’ of the 50’s also seeps it’s way into his work and so too does the simple design of Helvetica. His use of language and the generally colloquial form also reflects his choice in design and it is this aspect, his ability to reach different people in different ways, that he has become one of the most relevant and prominent graphic designers of our time.

http://coffeemademedoit.tumblr.com/

http://www.coffeemademedoit.com/

http://wordsbrand.com/t-shirts/coffee-made-me-do-it-type-t-shirt/

http://www.flickr.com/photos/coffeemademedoit

http://dribbble.com/coffeemademedoit/tags/coffee_made_me_do_it

All images are in links.