El Lissitzky's famous "Beat the Whites with the Red Wedge".
This quintessential piece of Graphic Design should be a staple for all designers, in terms of composition and layout, it's still sited and manipulated today, and will go on to be for years to come. Also, on a personal level, I love the colour scheme; when creating a piece of work in greyscale the first colour I will experiment with is red. I suppose I see at as a mid-point between black and white.
Just about all of David Carson's work...
With Carson's impact throughout the 80's and 90's on the Graphic Design scene it's hard to ignore him, but I'll be honest. I'm not a fan of his work. For me everything just seems too random, and I don't particularly like the 'grunge Typography' style. I'm the kind of person who likes 90 degree baselines, equal margins in grid systems, clean cut swiss style Typography, and his work just doesn't fit.
The unused Ford logo by Paul Rand.
It's no doubt the late logo designer was one of the most talented artists of all time, what with his contributions to numerous corporate logo's including next, IBM, abc, ups and so on. But I actually really like the logo he designed for Ford that was never used, it's a real shame. When I think about it now, it makes me realise how Rand was so ahead of his time, and it pains me to know that right now in corporate branding design that this kind of flat 2D simplistic logo is what a lot of big time firms are going for.
Akzidenz Grotesk by Günter Gerhard Lange for the Berthold Type Foundry in 1896.
It's difficult for me to pick a favourite Typeface, but I wanted to include one with this post. I often go through phases of favouring a particular one, but they generally all follow a similar theme. A go to one for myself is Akzidenz Grotesk, believed to be one of the main inspirations for Helvetica. For me this Typeface defines what classic Swiss-style Graphic Design is all about. I mean, how could you not like it?
The V&A logo by Alan Fletcher
It's absolute genius. The way the arm of the '&' forms the crossbar of the A is brilliant. I always wonder if this idea was in there from the start, or if it came to Fletcher through meticulous idea's generation processes, if that's the case I can't imagine what that moment must have been like. It's got class, sophistication. It's minimal, adaptable, stylish. One of the best logos out there in my view.
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