Chapter 21 Flashcards
To not fail this quiz.
Barry Zaid
Notes: Pushpin Artist. Revival of Art Nouveau, Art Deco.
Text Book: Barry Zaid (b. 1939), an influential young graphic designer in the late 1960s and early 1970s, joined Push Pin for a few years during this period. A Canadian who majored first in architecture and then in English during college before becoming a self-taught graphic designer and illustrator, Zaid worked in Toronto and then London prior to joining Push Pin Studio. As a graphic archaeologist basing his work on a thorough study of the graphic vernacular of bygone eras, Zaid became an important force in the revivalism and historicism that were prevalent in graphic design during this period. He was particularly prominent in the revival of 1920s art deco decorative geometric forms (Figs. 21-28 and 21-29), including the cover of the 1970 book Art Deco by English art historian Bevis Hillier. Zaid’s historicism did not merely mimic nostalgic forms, for his spatial organization, scale, and color was of his own time.
David Lance Goines
Notes: Bought a print shop. Designed and reproduced himself. Designs served as communication, but they were hand lettered and seen as art as well. Representative of traditional styles.
Text Book: David Lance Goines (b. 1945) proves that even in the late twentieth-century era of overspecialization, it is possible for individual artists and craftsmen to define a personal direction and operate as independent creative forces with total control over their work. A native of Oregon, Goines had an early interest in calligraphy that blossomed into serious study at the University of California at Berkeley. He was expelled from the university at age nineteen for his participation in the free-speech movement and learned graphic arts as an apprentice pressman at the radical Berkeley Free Press, where he wrote, printed, and bound a book on calligraphy. When the Berkeley Free Press failed in 1971, Goines acquired it, renamed it the Saint Hieronymous Press, and continued to print and publish books while developing his poster style. Offset lithography and graphic design are unified in Goines’s work, becoming a medium for personal expression and public communications. He designs, illustrates, and hand-letters posters, makes the negatives and plates, and then operates the press to print the edition. This thoughtful and scholarly designer has evolved a highly personal style that integrates diverse sources of inspiration. Symmetrical composition, simplified line drawing, quiet planes of flat color, and subtle stripes rimming the contours of his forms are characteristics of his poster designs (Fig. 21-48).
European Visual Poets
Notes: used airbrush and double exposure and photo manipulation
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Gunter Rambow
Notes:
Text Book: One of the most innovative image makers in late twentieth-century design is Gunter Rambow (b. 1938) of Frankfurt, Germany, who often collaborated with Gerhard Lienemeyer (b. 1936) and Michael van de Sand (b. 1945). In Rambow’s designs, the medium of photography is manipulated, massaged, montaged, and airbrushed to convert the ordinary into the extraordinary.
Henryk Tomaszewski
Notes: Important member of Polish graphic design.
Text Book: Henryk Tomaszewski (1914–2005) emerged as the spiritual head of Polish graphic design after Trepkowski’s early death and became an important impetus for the movement from his position as professor at the Warsaw Academy of Fine Arts.
James McMullan
Notes: Pushpin artist. Watercolor Poster.
Text Book: Among the illustrators and designers who passed through Push Pin Studio was James McMullan (b. 1934), who revived watercolor, a medium that had declined from a position second only to oil paint for fine art and illustration, and restored it as a means of graphic expression. McMullan achieved prominence during the 1960s with energetic ink-line and watercolor illustrations that often combined multiple images with significant changes in spatial depth and image size and scale.
John Berg
Notes: designed album covers like for the band Chicago.
Text Book: The design staff of CBS Records operated at the forefront of the graphic interpretation of music. Conceptual image making emerged as a significant direction in album design during the early 1960s, after Bob Cato (1923–1999) became head of the creative services department and hired John Berg (b. 1932), who served as art director at CBS’s Columbia Records until 1984. Photographs of musicians performing and portraits of composers yielded to more symbolic and conceptual images, as in Berg’s cover for the New York Philharmonic’s William Tell Overture album (Fig. 21-39). For two decades Berg and his staff wrested the maximum potential from the large 961-square-centimeter (150-square-inch) format of vinyl long-play records that preceded compact-disc technology.
Milton Glaser
Notes: Opened PushPin studio with Seymour Chawst. Still alive @ 85 and still practicing design. Pushpin worked together for 20+ years and embraced many different styles. Went against Swiss style.
He designed the very popular Bob Dylan poster. Also designed the Beethoven Sneezes poster. Designed the typeface “BabyTeeth” (based on typeface on sign in Mexico). Also designed NeoFutura. Also designed the I <3 NY logo, very recognizable and reused.
Text Book: Art students Seymour Chwast (b. 1931), Milton Glaser (b. 1929), Reynolds Ruffins (b. 1930), and Edward Sorel (b. 1929) banded together and shared a loft studio. On graduation from Cooper Union in 1951, Glaser received a Fulbright scholarship to study etching under Giorgio Morandi in Italy, and the other three friends found employment in New York advertising and publishing.
When Glaser returned from Europe in August 1954, the Push Pin Studio was formed.
Glaser and Chwast continued their partnership for two decades. Glaser eventually left to pursue a wide range of interests, including magazine, corporate, and environmental design.
Glaser’s singular genius is hard to categorize, for over the course of several decades he reinvented himself as a creative force by exploring new graphic techniques and motifs. During the 1960s he created images using flat shapes formed by thin, black-ink contour lines, adding color by applying adhesive color films (Fig. 21-18).
Paul Davis
Notes:
Text Book: First appeared in Push Pin graphic. Moved toward a painting style of minute detail that drew inspiration from primitive colonial American Art. Master of meticulous naturalism.
Psychedelic Posters
Notes: Drugs and Hippies. Illustrators largely self-taught. Often rockstar clients. Often used as room decor and promotional material. Wanted to depart heavily from Swiss design. Looked at Art Nouveau style.
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Push Pin Studio
Notes: Milton Glaser opened PushPin studio with Seymour Chawst and Reynolds Ruffins. Pushpin worked together for 20+ years and embraced many different styles. Went against Swiss style. They didn’t take themselves too seriously. They also sent out the “PushPin Graphic,” a publication they came up with, content and all. However, content was mostly sill/rubbish–mostly an outlet for illustrators. Company did a few anti-war posters as well.
PushPin designed packaging for Christmas tins they gave to clients for Christmas. Eventually Glaser and Chwast split, and Chwast runs it now.
Many artists emerged from pushpin (Ruffins, Zaid, McMullan, Davis, Hess).
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Seymour Chwast
Notes: Formed the PushPin studio with Milton Glaser. They eventually split (after 20 years) and he runs PushPin today.
Text Book: Chwast remains as director of the renamed Pushpin Group.
Chwast’s vision is very personal, yet communicates on a universal level. He frequently uses the technique of line drawings overlaid with adhesive color films and experiments with a large variety of media and substrata. Echoes of children’s art, primitive art, folk art, expressionist woodcuts, and comic books appear in his imaginative reinventions of the world. Chwast’s color is frontal and intense (Fig. 21-23). In contrast to Glaser’s spatial depth, Chwast usually maintains an absolute flatness in his work.
The Conceptual Image
Notes: As photography stole illustration’s traditional function, a new approach to illustration emerged. More conceptual approach to design started with a group of young NY graphic designers. Milton Glaser, Seymour Chwast, Reynolds Ruffins, and Edward Sorel.
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The Polish Poster
Notes: No single style of poster art in Poland, but it was seen as a very valid and important means of communication. There was even a museum created for posters–Muzeum Plakatu.
Text Book: Polish school emerged from Post-war Poland, ever an example of the resilience of humanity. Polish posters gained international attention around the 50s. Tomaszewski was an important member of this “movement.”
The Third World Poster
Notes: exporter of propaganda materials.
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