#studio boggeri

[spinedamaged]

grafica italiana dal 1945 al 1993

ig: tantifox

[garadinervi]

Lo Studio Boggeri 1933-1981, Edited by Carlo Pirovano, Curated by Bruno Monguzzi, Electa, Milano, 1981. Design: Bruno Monguzzi

[missouritucky]

Enzo Mari, packaging design for Lanificio Somma, 1962

source: www.archivograficaitaliana.com

[haute-design-artisan]

Aldo Calabresi, Studio Boggeri for  Afolin, 1960

[garadinervi]

Lo Studio Boggeri 1933-1981, Edited by Carlo Pirovano, Curated by Bruno Monguzzi, Electa, Milano, 1981. Design: bruno Monguzzi

(via Display)

[tatsumi-taeron-logo-collection]

Studio Boggeri (Bruno Monguzzi) — Gamma Film (1969)

[thisisdisplay]

Swiss-born Aldo Calabresi (1930-2004) is rarely acknowledged in contemporary graphic design histories, yet he was a master at combining both Swiss (logical) and Italian (playful) sensibilities to his designs. Calabresi moved to Milan around 1954 and joined the legendary Studio Boggeri, before co-founding his CBC agency (Aldo Calabresi, Ezio Bonini and Umberto Capelli). This 1958 brochure for “Piú Veloci Della Strada” (More Speed on the Road) demonstrates his quest for an organized and poetic design.

Bruno Monguzzi recounts the conversation he had with Antonio Boggeri when he first arrived in Milan in 1961: “… Swiss graphic design was often as perfect as any spider’s web. But often of a useless perfection. The web, he [Boggeri] stated, was useful only when broken by the entangled fly. It is so that, upon Boggeri’s instigation, began for me, the slow, long, difficult hunt, in the sterilized universe of a Swiss education, for an improbable fly.  In front of me, behind very thick glasses and in the midst of a permanent buzzing, sat Aldo Calabresi who, myopic as he was—to my great admiration and envy—was a master at catching flies.” (Monguzzi, Cinquant’anni di carta 1961–2011, pp. 3-4.)

Pirelli Publicity: Style and Aesthetics 1955–1967 in Codex Issue #2

[thisisdisplay]

This little-known cover design for the Italian magazine La Pubblicità (L'Ufficio Moderno, Rivista Mensile, Ottobre 1935-XIII) is one of Schawinsky's most remarkable, not only for its design qualities but for its ability to reinforce his important role in disseminating modernist ideas throughout Europe and beyond. 

The son of a Polish-Jew, Xanti Schawinsky (Born Switzerland, 1904–1979) enrolled as an early student of the Bauhaus in 1924, before moving to Milan, Italy in 1933 where he collaborated with Antonio Boggeri's newly opened Studio Boggeri, arguably the most important design studio in pre/post war Italy. Three years later, Schawinsky left for the United States where he teamed up with Josef Albers to teach at Black Mountain College.

Theatrical and expressive, this cover design explodes off the page with its exaggerated scale, experimental halftone printing, abstract shape, layering and unique color combination. The black angular, sans-serif text perfectly placed over the smiling face vibrates the page, creating both depth and motion to the design. Schawinsky pays homage to his Bauhaus roots with a photo of two youthful and energetic Bauhaus students taken by his friend and Bauhaus jazz band member T. Lux Feininger. Full of joy, this lively design is as optimistic and spontaneous as Schawinsky himself, maybe how he felt when he arrived in Italy or perhaps the idea that youth will transform modern society. This issue includes a feature article written by Schawinsky aptly titled Pubblicità funzionale.

*Bottom photo by T. Lux Feininger (1910–2011), Untitled (with Georg Hartmann and Miriam Manuckiam), 1928. (Source: Baisers Volés)