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	<title>Graphic Pioneers</title>
	
	<link>http://graphicspioneers.com</link>
	<description>A blog of Emilio Gil dedicated to the work of the pioneers of Spanish graphic design.</description>
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		<title>(Yo, Gimeno) and the covers of UOMM</title>
		<link>http://graphicspioneers.com/2013/05/yo-gimeno-and-the-covers-of-uomm/</link>
		<comments>http://graphicspioneers.com/2013/05/yo-gimeno-and-the-covers-of-uomm/#comments</comments>
		<pubDate>Thu, 23 May 2013 11:54:12 +0000</pubDate>
		<dc:creator>Ninis</dc:creator>
				<category><![CDATA[60's]]></category>
		<category><![CDATA[José María Gimeno Ávila]]></category>
		<category><![CDATA[Illustration]]></category>
		<category><![CDATA[Magazines]]></category>

		<guid isPermaLink="false">http://graphicspioneers.com/?p=1049</guid>
		<description><![CDATA[José María Gimeno Ávila (Barcelona 1937 &#8211; Madrid 1987) signed his works with the pseudonym Yo, Gimeno (I, Gimeno). His oeuvre spanned every field: comics in the magazine Chicos, advertising, window dressing, animation in the Estudios Moro, murals for Renfe (Spanish Railway) and architects, and the decoration of entrance halls, cafes and restaurants. He also collaborated with TVE (Spanish national television) on the  programmes El planeta imaginario, La cometa Blanca and La mansión de los Plaff and was Artistic Director for the magazine PRAG and its annual. Besides his pictorial endeavours, a large part of his work could be found in the world of publishing: Santillana, Santiago Rodríguez, Anaya… Imbued with North American illustration (a big connoisseur of Push Pin Studios, founded by Milton Glaser with his ensemble of magnificent illustrators) he honed his own seemingly disjointed style, expertly distributing space in each composition to break the Neo-Baroque density he was predisposed to. This was blended with his drawing expertise, be it with the pen or brush, airbrush or scratch technique, or the interchange with Indian ink, watercolour, gouache, acrylic and oil on a wide range of supports – cardboard, wood, cork and metal plates. His finesse, engulfed in vast, [...]]]></description>
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		<title>The Morillas prescriptions</title>
		<link>http://graphicspioneers.com/2013/04/the-morillas-prescriptions/</link>
		<comments>http://graphicspioneers.com/2013/04/the-morillas-prescriptions/#comments</comments>
		<pubDate>Mon, 22 Apr 2013 13:16:34 +0000</pubDate>
		<dc:creator>Ninis</dc:creator>
				<category><![CDATA[50's]]></category>
		<category><![CDATA[60's]]></category>
		<category><![CDATA[70's]]></category>
		<category><![CDATA[Antoni Morillas]]></category>
		<category><![CDATA[Advertisement]]></category>

		<guid isPermaLink="false">http://graphicspioneers.com/?p=1009</guid>
		<description><![CDATA[Anna Calvera explains it very well in the text “From graphic artist to graphic designer” included in the tribute book to Antoni Morillas, admirably prepared by his son Lluis, a thorough documentation of his father’s professional path: “in the case of graphic designers the process followed is clear. When they start out as apprentices, they are draughtsmen and commercial artists who work for printers, where they are considered one of the services that the printers offer their clients (when they deliver the printed elements: cards, corporate stationery, catalogues or calendars, the prize piece of the moment). When setting out on their own they are graphic artists and designers –that is, professionals with know-how to communicate and develop communication material– and they speak directly with the advertisers. They become the printers’ customer.” An important part of this particular path for Antoni Morillas, was the work he did for the pharmaceutical industry and major drug companies of the 60’s in Spain. The “prescription” for Morillas was that “issues such as the identity of the artist did not interest him so much as the graphic and visual experimentation itself, which he developed to enrich the design project”, as the historian Anna Calvera explains [...]]]></description>
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		<title>Kaleidoscope 4 Graphics</title>
		<link>http://graphicspioneers.com/2013/04/kaleidoscope-4-graphics/</link>
		<comments>http://graphicspioneers.com/2013/04/kaleidoscope-4-graphics/#comments</comments>
		<pubDate>Wed, 03 Apr 2013 07:54:52 +0000</pubDate>
		<dc:creator>Ninis</dc:creator>
				<category><![CDATA[60's]]></category>
		<category><![CDATA[Books]]></category>
		<category><![CDATA[Critics / Historians]]></category>

		<guid isPermaLink="false">http://graphicspioneers.com/?p=964</guid>
		<description><![CDATA[In 1965, Blume editions published a unique volume – a catalogue of an exhibition – bringing together the work of four &#8220;outstanding personalities of Spanish advertising graphic-art&#8221; of that time: Gervasio Gallardo, Ricard Giralt Miracle, Joan Pedragosa and Josep Pla-Narbona. With a foreword by Joan Teixidor, cover design and illustration by Pla-Narbona, and printing done by Filograf, the texts by the critic of art Joan Perucho proved that advertising could transmit &#8220;to the average man on the street, not only psychological impacts but also vast cultural resonances.&#8221; Joan Teixidor maintained in the foreward that designers were &#8220;people who applied themselves to ensure that this object of standard and necessary use would not contradict the spirit of its time. They wanted to build a bridge of communication and contribute to the debate between one’s very sincerity and the demands of a public or a client, thus creating a formal unit that was considered necessary from their point of view, which went beyond art, which completely impacted on a moral idea. &#8221; With hindsight, the serie of advertisements that closed the publication and which, certainly at that time, was not considered in the historical sense that we do today, takes on a [...]]]></description>
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		<title>Prag (and #3)</title>
		<link>http://graphicspioneers.com/2013/03/prag-and-3/</link>
		<comments>http://graphicspioneers.com/2013/03/prag-and-3/#comments</comments>
		<pubDate>Wed, 13 Mar 2013 12:36:48 +0000</pubDate>
		<dc:creator>Ninis</dc:creator>
				<category><![CDATA[60's]]></category>
		<category><![CDATA[Magazines]]></category>

		<guid isPermaLink="false">http://graphicspioneers.com/?p=933</guid>
		<description><![CDATA[Issue # 3 of the PRAG magazine, Arte Gráfico Español, appeared as a biannual edition (January-June 1966). The bimonthly cycle was broken. The company, almost chimerical for its time, faded, having completed issue # 4 which never saw the light. The Miguel Ángel Echeverría and José María Gimeno (I am Me, Gimeno) Project was cut short due to lack of funding. With the closure of the publishing house PRAG, Echeverría moved to Publinova and Gimeno partnered together with Augusto Jurado to set up their own studio. In this last issue, the highlight was a lengthy report dedicated to Grupo 13, the article had a permanent theme: the window (a metaphor to see things through new ideas). So, Poza, Laperal, Escobedo, Olmos, Santamaría, Valdés, and Garbayo and Cruz Novillo got together to recover the idea of Grupo 13, which had disappeared after just over three years of intense activity. They were not all there, it was only about picking up from where they had left: the great success as a team that had generated a huge national and international impact. It was a new approach with a new attitude to the task. Commercial art sought broader and more modern horizons. Other [...]]]></description>
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		<title>We all wanted to be Diego Lara</title>
		<link>http://graphicspioneers.com/2013/02/we-all-wanted-to-be-diego-lara/</link>
		<comments>http://graphicspioneers.com/2013/02/we-all-wanted-to-be-diego-lara/#comments</comments>
		<pubDate>Thu, 14 Feb 2013 10:27:34 +0000</pubDate>
		<dc:creator>Ninis</dc:creator>
				<category><![CDATA[70's]]></category>
		<category><![CDATA[Diego Lara]]></category>
		<category><![CDATA[Books]]></category>
		<category><![CDATA[Magazines]]></category>

		<guid isPermaLink="false">http://graphicspioneers.com/?p=896</guid>
		<description><![CDATA[Diego Lara was not strictly a Spanish graphic design pioneer although this definition could be attributed to him for many reasons. He is from a previous generation of designers to those who normally appear in this blog, Lara (Madrid, 1946-1990) employed his short but splendid repertoire of resources and good work in different areas that today continue to amaze: editorial design, various brand identities for cultural projects and an artistic production that materialized in unique collages. If only for the collection of graphic gifts is the first series of the magazine “Poesía”, Diego Lara can be considered among the best that Spanish graphic design provided during the XX century. The magazine “Buades” –with its great recovery of the “Veloz type” by Trochut at its head–, the graphics of the first editions of the “Arco” (Madrid art fair) or the Juan March Foundation are examples of refinement and delicacy when working with cultural references in your work. The time span covered in this blog limits us to publishing on this occasion only a few examples of his editorial covers: “Fundamentos” (1970-1976), “Siglo XXI” (1971 -1974 ), “La Fontana Literaria” (1972-1973) and “Nostromo” (1973-1979), the latter two founded along with fellow designer [...]]]></description>
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		<title>Grupo 13 exhibits in “Control” (I)</title>
		<link>http://graphicspioneers.com/2013/01/863/</link>
		<comments>http://graphicspioneers.com/2013/01/863/#comments</comments>
		<pubDate>Mon, 28 Jan 2013 11:38:59 +0000</pubDate>
		<dc:creator>Ninis</dc:creator>
				<category><![CDATA[60's]]></category>
		<category><![CDATA[Grupo 13]]></category>
		<category><![CDATA[Advertisement]]></category>
		<category><![CDATA[Design Associations]]></category>
		<category><![CDATA[Magazines]]></category>

		<guid isPermaLink="false">http://graphicspioneers.com/?p=863</guid>
		<description><![CDATA[In Spain in 1962 the monthly magazine Control de Publicidad y Ventas (Control of Advertising and Sales) began, a pioneering publication with specialised information on advertising and marketing. In its 20th edition, from May 1964, an exhibition by Grupo 13 featured on the cover, with a 40-page special report inside. It opened with an article by M.A. García Viñolas and concluded with news of the “virtual” display that Control set up, metaphorically “hanging” work from the components of Grupo 13 around that time on the pages of the magazine. As, for instance, in this text: “for many, the first surprise will be knowing that there are nineteen,” the components of a group with “elastic” dimensions. Grupo 13 was formed in Madrid in 1961 and, despite the name chosen by its founders, was initially made up of ten professionals (Calvo, Cruz Novillo, Cuesta, Garbayo, Laperal, Loizaga, Olmos, Juan Poza, Santamaría and Valdés). All of them either took charge of the artistic direction in major advertising agencies or worked as hired creatives for important Spanish companies at the time such as Profidén and Kelvinator. These initial members were also joined, at different stages, by  Bartolomé, Carrasco, Escobedo, Alfredo González, Horna, Loriga, Parra, Rafael [...]]]></description>
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		<title>Artists for Alter</title>
		<link>http://graphicspioneers.com/2013/01/artist-working-for-alter/</link>
		<comments>http://graphicspioneers.com/2013/01/artist-working-for-alter/#comments</comments>
		<pubDate>Tue, 08 Jan 2013 16:14:17 +0000</pubDate>
		<dc:creator>Ninis</dc:creator>
				<category><![CDATA[60's]]></category>
		<category><![CDATA[70's]]></category>
		<category><![CDATA[Advertisement]]></category>

		<guid isPermaLink="false">http://graphicspioneers.com/?p=807</guid>
		<description><![CDATA[During the 1939-1975 period there occurred in Spain a spectacular development of the chemical industry in general and in the pharmaceutical sector in particular. Along with the presence of the large multinational laboratories –Ciba Geigy, Sandoz or Roche– native companies like Uriach, Ibys or Alter were also active. This growth was reflected not only in the variety of products but also in their graphic proposals. It could be said that the Spanish pharmaceutical sector counted from the beginning on the use of the services of the best designers of the time. Remember that the designers Pla-Narbona, Morillas, Huguet or Baqués worked for the laboratories J. Uriach and Co. Such quality design with a high level of graphic experimentation as a means to connect with your target audience composed mostly of doctors who prescribed the drugs they knew through technical publications, brochures and commercial displays. The high level of creativity of the graphic proposals serve to circumvent ailments using metaphors, circumlocutions and evocative images. Connotative images using all too often surrealist resources. Proof of the importance of this theme during this period is to be found in the fixed section of the PRAG magazine (see previous post) devoted to the graphic [...]]]></description>
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		<title>The FAD stars</title>
		<link>http://graphicspioneers.com/2012/12/the-fad-stars/</link>
		<comments>http://graphicspioneers.com/2012/12/the-fad-stars/#comments</comments>
		<pubDate>Mon, 10 Dec 2012 12:15:00 +0000</pubDate>
		<dc:creator>Ninis</dc:creator>
				<category><![CDATA[40's]]></category>
		<category><![CDATA[50's]]></category>
		<category><![CDATA[60's]]></category>
		<category><![CDATA[Tomás Vellvé]]></category>
		<category><![CDATA[Design Associations]]></category>
		<category><![CDATA[Illustration]]></category>
		<category><![CDATA[Printers]]></category>

		<guid isPermaLink="false">http://graphicspioneers.com/?p=768</guid>
		<description><![CDATA[The FAD stars (Foment de les Arts i del Disseny &#8211; Catalan design association) In December 1963 each member of the ADG/FAD (graphic design and communication branch of this design association) designed a star for their Christmas greeting. The card was designed by Tomás Vellvé and printed by Industrias Gráficas Casamajó, it is a piece of great beauty and with a delicate choice of materials on which it was printed. Around 1950, the first professional groups emerge in Spain: Unión de Empresas de Publicidad (Advertising Companies Union) in Madrid in 1946, the Club de la Publicidad del FAD (FAD Advertising Club) in 1947, the Grup R (architects group) in 1951 or the Círculo de Publicidad de Barcelona (Barcelona Advertising Circle) in 1952. Grafistas Agrupación FAD (FAD&#8217;s graphics group), as the ADG/FAD was originally called, claimed to &#8220;began their professional purposes&#8221; on the 6th of December 1961 in Barcelona, with the participation of a small number of &#8220;graphic artists.&#8221; Two years later the group had 24 designers. Pla-Narbona, its first President, stated that the Grafistas Agrupación FAD intended to &#8220;grow and unite professionals who share and use the persuasive language of the image&#8221;. Art critic Joan Perucho from the magazine &#8220;Destino&#8221; (Destination) wrote in the 1963 issue published by members: &#8220;Barcelona [...]]]></description>
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		<title>Amador Garrell: local design</title>
		<link>http://graphicspioneers.com/2012/11/amador-garrell-local-design/</link>
		<comments>http://graphicspioneers.com/2012/11/amador-garrell-local-design/#comments</comments>
		<pubDate>Mon, 19 Nov 2012 09:05:39 +0000</pubDate>
		<dc:creator>Ninis</dc:creator>
				<category><![CDATA[50's]]></category>
		<category><![CDATA[60's]]></category>
		<category><![CDATA[70's]]></category>
		<category><![CDATA[Amador Garrell]]></category>
		<category><![CDATA[Brands]]></category>
		<category><![CDATA[Illustration]]></category>
		<category><![CDATA[Printers]]></category>

		<guid isPermaLink="false">http://graphicspioneers.com/?p=726</guid>
		<description><![CDATA[The graphic designer and printer Amador Garrell came from a long line of graphic arts professionals who were known for their experimental endeavours within the field. He began his career as a signwriter and cartoonist for the Catalan magazine “La Gralla”. In 1954, after completing his first few jobs in Barcelona, he returned to his birthplace Granollers to take charge of the family’s graphic design business and went on to become heavily involved in promoting cultural activities. He wrote numerous articles in the press and also recorded city life in illustration. In the 1950s he opted for a more schematic graphic style that was similar to the concept of design as it is perceived today, without entirely relinquishing his inclination for illustration. Over a forty year period Garrell’s professional life was intimately linked to the business, cultural and civic life of the city he lived in. His work is a magnificent synthesis of local content and universal resources, in-line with the international graphic design trends of the era. As Quim Larrea stated in an article written for the catalogue that accompanied the “Amador Garrell Graphics” exhibition at the “Museu de Granollers” (Granollers Museum), the artist’s work focused on the three [...]]]></description>
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		<title>Juan Toribio’s Trains</title>
		<link>http://graphicspioneers.com/2012/11/juan-toribios-trains/</link>
		<comments>http://graphicspioneers.com/2012/11/juan-toribios-trains/#comments</comments>
		<pubDate>Mon, 05 Nov 2012 13:00:35 +0000</pubDate>
		<dc:creator>Ninis</dc:creator>
				<category><![CDATA[70's]]></category>
		<category><![CDATA[Juan Toribio]]></category>
		<category><![CDATA[Advertisement]]></category>
		<category><![CDATA[Brands]]></category>
		<category><![CDATA[Manuals]]></category>

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		<description><![CDATA[In 1971 Renfe who monopolised rail transport in Spain, launched the foundations for a plan of action to position the train as an essential and unifying element in the country’s transport development. Renfe and its GID (cabinet of information and diffusion) hired the advertising agency Arce &#38; Potti and together they created the appropriate communication strategies and undertook the necessary actions to provide Renfe with a new corporate identity, presenting its services and improving the public opinion of the train and company at the time. Juan Toribio worked as creative art director and designer in Arce &#38; Potti participating in the development of these projects. He designed the Renfe corporate image, created numerous advertising campaigns and many diverse elements during six years. The graphic identity was based on a circle with two intersecting arrows to suggest “a dynamic feeling of movement and multiple directions. The wheel as a basic support and the pathways converted into two parallel and opposing arrows (outbound and return) fused into a single image to convey the strength and dynamism of the functionality of the train” as explained by the designer himself. The chromatic game Toribio established was initially resolved with a combination of blue and yellow, simple, attractive and direct. Also Renfe GID and Arce &#38; Potti developed institutional and product campaigns [...]]]></description>
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