Professional Documents
Culture Documents
1890s: Technology
Advances in printing technology in both Europe and American
In France, color lithography significantly advanced by Jules Cheret, allowed for great color and nuance in poster reproduction. Advances in lithography helped give rise to the poster as a visual communications vehicle.
Kandinsky is credited with the first nonobjective painting and was a great influence on modern art. In France, major artists Henri Matisse and Pablo Picasso (b. Spain) create rippling, everlasting effects in all the visual arts.
Dadaists used type and image as expressive visual elements. Artists such as Kurt Schwitters in his Merz magazine, used the idea of randomness as a guiding principle.
1900s: Design (1 of 2)
Milestones in graphic design history occurred. Principles of grid composition were taught in Germany.
Birth of pictorial modernism
The work of architect/designer Peter Behrens is watershed, exemplifying the relationship between design and industry.
He sought a modern visual language to express the age of mass production. In 1907, Peter Behrens designed what might be thought of as the first corporate identity for AEG, a German electrical manufacturing corporation.
1900s: Design (2 of 2)
In 1919, Gropius founded the Weimar Bauhaus in Germany.
The Weimar Bauhaus very influential design school laid the foundation for much of modern thinking about architecture and design.
Picassos work continued to have a powerful effect on the visual arts. The popular geometric style of the 1920s was Art Deco.
Significantly manifested in all the visual arts
1920s: Design (1 of 2)
Many graphic designers absorbed artistic movements creating a popular visual aesthetic.
A.M. Cassandre, who was a renowned poster designer, created a visual language clearly influenced by Cubism, and brought it to the greater public via poster design.
Cassandres success in both typeface design and poster design, established him as a purveyor of style.
1920s: Design (2 of 2)
Also greatly influenced by Cubism, Futurism and Art Deco movements, American graphic designer E. McKnight Kauffer created a body of work that, included 141 posters for the London Underground, as well as others for major corporations. American advertising reflected designers great interest in Modernism and European art ideas as well. Charles Coiner for the N. W. Ayer agency reflected an avant-garde influence. In an attempt to visually express their dynamic modern age, both artists and designers are highly concerned with the relationship between form and function.
1930s: Design (1 of 3)
At the end of the 1920s, the modern movement hit America. Pioneering visual ideas in the United States were American-born designers such as:
Lester Beall William Goldin Alvin Lustig Paul Rand BradburyThompson
1930s: Design (2 of 3)
Pioneering visual ideas in the United States were migrs such as:
Mehemed Fehmy Agha (Russian-born, emigrated in 1928) Alexey Brodovitch (Russian-born, emigrated in 1930) Will Burtin (German-born, emigrated in 1938) Leo Lionni (Dutch-born, emigrated in 1939) Herbert Matter (Swiss-born, moved to New York in 1936) Sutnar Ladislav (Czech-born, traveled to U.S. in 1939 and stayed)
1930s: Design (3 of 3)
Many fled the Nazis and immigrated to America, including esteemed Bauhaus members:
Mies van der Rohe Josef Albers Laszlo Moholy-Nagy Walter Gropius.
In the U.S., during 1940s and 1950s, Abstract Expressionism is the primary artistic movement (overshadowing any representational artists), with leading artists such as:
Jackson Pollack Willem de Kooning Franz Kline Mark Rothko
In the post World War II years, New York City became the art capital of the world. In Italy, Olivetti corporation hired Giovanni Pintori, who contributed enormously to Italian design.
Pintoris vision, drawing on Futurist visual forms, manifested itself in corporate identity design and advertising.
In England, The British Ministry of Information recruited available pre-eminent designers to this cause.
1950s (1 of 4)
The International Typographic Style, or Swiss design, plays a pivotal role in design with an emphasis on clear communication and grid construction, with Max Bill and Ernst Keller as major proponents. In 1959, the movement became a unified international one disseminating ideas in a journal, New Graphic Design.
The editors included Josef MullerBrockmann, Richard P. Lohse, Carlo L. Vivarelli and Hans Neuburg.
1950s (2 of 4)
Important work created in America by seminal designers such as:
Paul Rand William Goldin Lou Dorfsman Saul Bass Bradbury Thompson George Tscherny Ivan Chermayeff Tom Geismar Cipe Pineless Otto Storch Henry Wolf
1950s (3 of 4)
Saul Bass movie titles and film promotions set new standards for motion graphics and promotional design.
1950s (4 of 4)
1950s: Advertising
Doyle Dane Bernbach (DDB) rocked the advertising world. DDBs Volkswagen campaign began the creative revolution in advertising. DDB teamed art directors and copywriters to generate creative ideas to drive their advertising. DDB didnt use a hard sell it set a new standard that winked at the consumer with greater respect.
Push Pin in New York and Haight Ashbury/San Francisco music scene designers rocked Modernisms structural boat.
Wolfgang Weingart was at the forefront of those slowly challenging Modernisms core. American graphic designers, including the Push Pin Studios, Saul Bass, and Herb Lubalin redefined American graphic design.
1960s: Advertising
Doyle Dane Bernbach (DDB) continued to be the force behind creative advertising. Employed at DDB were some of the most brilliantly creative art directors and writers of the twentieth century.
Bob Gage Helmut Krone George Lois Mary Wells Lawrence Phyllis K. Robinson Julian Koenig
Some of these creatives left DDB to open their own creative agencies, such as:
George Lois & Julian Koenig (together) Mary Wells Lawrence
A growing response to the perceived objectivity of Modernism with highly individual, personal aesthetics grew around the world.
1980s: Technology (1 of 2)
In 1984, Apple computers introduced the Macintosh computer, which provided graphic designers with the most significant tool since the pencil. The digital revolution enabled designers to have more creative control.
Design/layout their own type Become their own compositors Easily manipulate imagery (as opposed to using handcrafted photomontage) Imitate visual effects such as airbrushing
1980s: Technology (2 of 2)
Easily make changes to layout and color Generate type without a typesetter Substitute handlettered comps with digitally produced finished-looking comps
Poster Designer: April Greiman
1980s: Design (1 of 3)
Termed the Postmodern (or Late Modernist) period, the 1980s and 1990s were an eclectic and diverse time. Designers experimented with new technology. The political and social climate provided a fertile environment for provocatively creative designers and thinkers, such as Tibor Kalman, founder of M&Co.
1980s: Design (2 of 3)
In California, Rudy VanderLans (trained in the Netherlands) and Zuzana Licko (b. Czechoslovakia) collaborated to create experimental typography in migr.
1980s: Design (3 of 3)
David Carson designed Beach Culture magazine and his typographic methodology will eventually divide designers into camp divisions about typographic design philosophy.
In England, Neville Brody, art director of The Face magazine, challenged both editorial design and typographic design conventions.
1980s: Advertising (1 of 3)
In England, advertising agency Bartle Bogle Hegarty (BBH) created sexy campaigns for Levis and Haagen-Dazs. In New York, George Lois ad campaign concept I want my MTV transforms entertainment. Chiat/Day created one of the great moments in TV advertising with its 1984 spot for Apple Macinstosh.
1980s: Advertising (2 of 3)
Advertising agencies outside of the usual ad hubs, made indelible marks, making cities such as Minneapolis and Dallas the homes of creative advertising.
1980s: Advertising (3 of 3)
1990s: Technology (1 of 2)
As the century came to a close, the technological boom continued to deeply affect all the visual arts. In 1990, Adobe released Photoshop, imaging software, providing a tool that enabled individual designers to manipulate imagery effectively, inexpensively, and rapidly. The web would become the home to every brand worldwide as well as set new design challenges.
1990s: Technology (2 of 2)
Designers would be forced to work closely with IT professionals to launch their visual designs. Design and technology are at aesthetic crossroads that are reconciled in various ways with interesting effects on popular visual culture.
2000: Advertising
Unconventional advertising formats and solutions are redefining advertising, with agencies leading the way.
Crispin Porter + Bogusky / Miami Diabolical Liberties / London KesselsKramer / Amsterdam Strawberryfrog / Amsterdam
2000: Post-9/11 (1 of 2)
The convergence of technology in the visual arts has helped redefine what graphic design is, but not what it is not. Visual communications is an ever-evolving discipline that can solve innumerable communications problems.
2000: Post-9/11 (2 of 2)
Post 9/11, visual communicators are finding more and more that, as Paula Scher said, design matters. Whether it is to:
Disseminate information to the public Enhance understanding of editorial content Design better election ballots Design posters to get out the vote Communicate across cultures Create public service campaigns to raise awareness
There are creative professionals who are constantly challenging us to think and reevaluate.