Chapter 18 Intl. Typographic Style

Transcription

1 Chapter 18 and 19

2 Chapter 18 Intl. Typographic Style

3 Visual Characteristics Visual Unity achieved through asymmetrical organization Objective photography San-serif typography, ragged-right justification

4 Social Characteristics Design is useful and an important activity Personal expression was not as important as message Achieving clarity and organization is the ideal

5 Max Bill It is possible to develop art largely on the basis of mathematical thinking. Max Bill, 1949

6 Semiotics The general philosophical theory of signs and symbols. Three branches of semiotics: 1. Semantics, 2. Syntactics, 3. Pragmatics

7 Semantics - Semiotics The study of the meaning of signs and symbols.

8 Syntactics - Semiotics The study of HOW signs and symbols are connected and ordered into a structured whole.

9 Pragmatic - Semiotics The study of the relationship between the signs and symbols and the viewer.

10 Important Typefaces Adrian Frutiger Univers Helvetica Herman Zaph Palatino, Melior, Optima

11 Intl. Typographic Style in America 1960s and 1970s Rudolph DeHarak: continuing quest for communicative clarity and visual order. DeHarak designed book covers for McGraw Hill Pub., Album covers for Westminster Records

12 Rudolph DeHarak

13 Chapter 19

14 The New York School Many Immigrants contributed to the 2nd half of 20th century design in America. American Design was less formal than the structured design of Europe. American was more flexible in the approach to organization of space.

15 New York School Pioneers Paul Rand Paul Rand of the Weintraub advertising agency. Stafford, Goodman & Theise Ad One in a series of ads for Stafford, Goodman & Theise, Inc.

16 Other New York School Pioneers Bradbury Thompson Saul Bass Ivan Chermayeff Thomas Geismar

17 Bradbury Thompson Emerged as one of the most influential graphic designers of postwar America. Worked for printing forms in Kansas before moving to New York. Very adventurist spririt that he infused into his designs.

18 Saul Bass Saul Bass Movie Poster Brought NY School to Los Angeles and the movie industry

19 Brownjohn, Chermayeff & Geismar Called their firm a Design Office not a studio. Their work characterized by communicative immediacy, strong sense of form and a vitality that was refreshing.

20 Thomas Geismar Thomas H. Geismar, cover for Common Sense and Nuclear Warfare, 1958 In the cover for Common Sense and Nuclear Warfare, the atomic blast becomes a visual metaphor for the human brain, graphically echoing the title.

21 Cipe Pineles Art director and designer Made major contributions to editorial design during the 1940s and 1950s. Best known for cover designs for Seventeen, Glamour, Harper s Bazaar, Charm, and Vogue.

22 Cipe Pineles Art director and designer Made major contributions to editorial design during the 1940s and 1950s. Best known for cover designs for Seventeen, Glamour, Harper s Bazaar, Charm, and Vogue.

23 Henry Wolf Simple images convey a visual idea such as covers for Esquire, Harper s Bazaar. Achieved a high aesthetic level of layout and photography.

24 Typography Design Herb Lubalin ( ) was hailed as the typographic genius of his time. He practiced design not as an art form but as a means of giving visual form to a concept or a message. In his most innovative work, concept and visual forms are put into a oneness called typogram, meaning a brief, visual typographic poem.

25 Avant - Garde Avant - Garde magazine was born amidst the social upheavals of civil rights, women s liberation, the sexual revolution and antiwar protests. Art with tightly integrated ligatures within the type faces. One of Lubalin s most crowning achievements. Layouts have a strong underlying geometric structure.

26 George Lois Worked for Doyle Dane Bernbach, an advertising agency that opened in NYC in 1949 and that set a new standard of design excellence and energy into an otherwise lackluster period of time, Designs are deceptively simple and single mindedly direct. Backgrounds are usually stripped away to enable the content bearing verbal and pictorial images to interact unhampered, a technique he learned at Bernbach

27 George Lois Lean Cuisine is one of the most recognizable brand today. Mickey Mantle, Wilt Chamberlain, Don Meredith (pictured), Johnny Unitas and many other "grown men" were shown crying out "I Want My Maypo" in the famous campaign changing the mindset of the famous cereal in the 1960's.(photo courtesy of Sellebrity-Lois 2003)

28 Conclusion The New York School was born from an excitement about European modernism and fueled by economic technological expansion. It became the dominant force in graphic design from Many of the original designers designed well into the 1990s.