Chapter 23 Flashcards
global village
a term made popular by author Marshall McLuhan in reference to the shrinking human community that resulted from the rapid development of electronic and computer technology
pluralistic
having multiple aspects or themes existing at the same time
Pentagram
Originally named Crosby, Fletcher, Forbes, this design firm changed its name when additional partners were added. Intelligence and a talent for developing design solutions that suited the needs of the client were the hallmarks of their design. Thorough evaluation of the communications problem and the specific nature of the environment conditions under which the design was to appear combined with British wit and a willingness to try the unexpected summarizes the essence of their approach
Why Not Associates
An experimental and multidisciplinary London-based firm whose work includes postage stamps, corporate identity, environmental design, television titles, and motion graphics
Mon
Traditional family symbols or crests in use for thousands of years in Japan, these simplified designs of flowers, birds, animals, plants, and household objects were contained in a circle and applied to belongings and clothing.
Total Design
formed by graphic designer Wim Crouwel, product designer Frisco Kramer, and architectural designer Benno Wissing. They sought a “total image” for clients through integrated graphics, architecture, and products. New Total Identity, it continues to be a major force in European design, with offices in six cities and over 50 professionals on staff
House style
the visual-identity program for a government agency in the Netherlands
Fluxus
a 1960s neo-dadaist movement that explored conceptual and performance art, happenings, experimental poetry, and language art.
Hard Werken Design
In 1978, a group of Rotterdam designers launched a new monthly magazine titles Hard Werken (Hard Working); 2 years later they formed this design group, which was more an informal association than a structured business. The group included Henk Elenga, Gerard Hadders, Tom van der Haspel, Helen Howard, and Rick Vermeulen. Rejecting all styles and theories, its members sought solutions from their subjective interpretation of the problem. Their openness to any conceivable typographic or image possibility resulted in surprising and original results
Wild Plakken
The collaborative group formed by Frank Beekers, Lies Ros, and Rob Schroder in 1977, it had a definite social and political mission. The name can be translated as “Wild Pasting” or “Unauthorized Bill-Posting.” The group accepts or rejects commissions based on the client’s ideological viewpoint; its members believe a designer should match his or her beliefs to the content of hir or her graphic designs
Staged photography
A technique developed by Gert Dumbar when he was a student at London’s Royal Academy of Art during the 1960s, it consists of still life’s and environments incorporating found material and papier-Mache figures and objects sculpted or assembled for the project
closed text
clear, straightforward images that can only be interpretated in one specific, carefully controlled way
open texts
images that could be interpreted in a variety of ways due ti their surrealistic approach
Experimental Jetset
Dutch design firm founded in 1997 by Marieke Stolk, Erwin Brinkers, and Danny van den Dungen. They consider modernism their “mother tongue” and consistently attempt to blend the Dutch modernist heritage of the 1970s with the international post-punk tendencies of the 1980s
Paprika
Montreal-based design studio by Joanne Lefebvre and Louis Gagnon in 1991
Alva
a multidisciplinary design studioH based in Lisbon, consisting of three principal designers: Picardo Matos, Valdemar Lamego, and Diogo Potes. In addition to a wide range of projects and practice areas, they are involved in the promotion of cultural events and organizations in historic Lisbon
Hangul typography
a Korean alphabet created in the mid 15th century
Herbert Spencer
- 1922-2002
- became an important voice in renewing British graphic design after World War II through his writing, teaching, and graphic design practice. As editor and designer of the journal Typographicaand author of Pioneers of Modem Typography, an influential 1969 book that informed the postwar generation about the accomplishments of earlier twentieth-century designers, Spencer helped encourage the worldwide dialogue.
Alan Fletcher, Colin Forbes, Bob Gill
- 1931-2006, b.1928, b.1931
- the three original partners of Pentagram, which was called Fletcher, Forbes, Gill when it was established in 1962.
Theo Crosby
- 1925-94
- When Bob Gill left Fletcher, Forbes, Gill, architect Theo Crosby joined the firm in 1965 as a partner; the company name changed to Fletcher, Forbes, Crosby, and they added exhibition design, historic conservation, and industrial design to the services they offered.
Vaughan Oliver
- b.1957
- collaborated with Ivo Watts-Russell, founder of the 4AD Records label, creating a remarkable series of record covers and promotional print collateral for well-known musical groups such as the Cocteau Twins, This Mortal Coil, the Pixies, Bush, and Lush. He committed himself to high standards, bold exploration, and the imaginative use of found imagery
Michael Johnson
- b.1964
- got his start at the brand consultancy Wolff Olins in the 1980s. His work is both witty and clever, using wordplay and strong visual puns as a communication strategy
Vince Frost
- b.1964
- solves graphic design problems through a close collaboration with photographers, illustrators, and writers. This association is exemplified in the design and editing of the literary magazine Zembla. Representing a new era in magazine design, Zembla’s fusion of writing, photography, illustration, and expressive typography challenges all previous mores
Siobhan Keaney
- b. 1959
- creates work that is both independent and experimental. She is known for her non-mainstream approach and carefully structured, yet seemingly spontaneous work
Ryuichi Yamashiro
- 1920-97
- The tree-planting poster by this Japanese designer demonstrates just how successfully national traditions can be maintained while incorporating international influences, as Eastern calligraphy and spatial concerns unite with a Western communications concept
Yusaku Kamekura
- 1915-97
- Under his leadership, Japanese graphic designers dispelled the widely held belief that visual communications must be hand-drawn, and the notion of applied arts’ inferiority to fine art faded as Japanese designers established their professional status. He charted the course of this new Japanese movement through the vitality and strength of his creative work, his leadership in founding the Japan Advertising Art Club to bring professionalism and focus to the new discipline, and the establishment, in 1960, of the Japan Design Center. The logo and posters he created for the 1964 Olympics in Tokyo received international acclaim and established Japan as a center of creative design
Tadashi Masuda
- b.1922
- His growing involvement in the use of photographic illustration to solve graphic design problems, combined with his interest in collaborative and team design, culminated in the establishment of the Masuda Tadashi Design Institute in 1958. Through his collaborative team approach, unexpected solutions and new ways of seeing things emerged
Kazumasa Nagai
- b.1929
- a sculpture major at the Tokyo University of Fine Arts and Music, who turned to graphic design after graduating in 1951. His oeuvre might be considered ongoing research into linear form and the properties of line as a graphic medium for spatial modulation. His poster for “Tradition et Nouvelles Techniques”(Traditional and New Techniques) creates a universe of geometric forms evoking planets and energy forces moving in space
Ikko Tanaka
- 1930-2002
- used plane and shape as the nucleus for his work. During the 1950s, he assimilated many of the Bauhaus design traditions, and then opened Tanaka Design Studio in 1963. Two underlying visual concepts in much of his work are grid structure and vibrant planes of color that explore warm/cool contrast, close-valued color, and analogous color ranges. Traditional Japanese motifs, including landscape, Kanze Noh theater, calligraphy, masks, and woodblock prints, are reinvented in a modernist design idiom
Takenobu Igarashi
- b.1944
- After graduating from Tama University in 1968, he earned a graduate degree from the University of California, Los Angeles. Upon returning to Japan, he opened his own design office in 1970. Much of his studio’s work is in trademark, corporate identity, environmental, and product design. By 1976, his experiments with alphabets drawn on isometric grids were attracting clients and international recognition. He calls his three-dimensional alphabetic sculptures architectural alphabets
Tadanori Yokoo
- b.1936
- His work replaces the order and logic of constructivism with the restless vitality of Dada and a fascination with mass media, popular art, and comic books. His “Sixth International Biennial Exhibition of Prints in Tokyo” poster combines a variety of techniques showing the range of his uninhibited design vocabulary
Shigeo Fukuda
- b.1932
- His designs are disarmingly simple—as readable and immediate as a one-panel cartoon—yet they engage the viewer with their unexpected violations of spatial logic and universal order. His irresistible directness is seen in “Victory 1945,” awarded first prize in an international competition for a poster commemorating the thirtieth anniversary of the end of World War II. Playfulness and humor abound in his work
Koichi Sato
- b.1944
- His painting of a white tray—which he tilted so the blue-colored water filling it graduated toward one end—became an important inspiration for his evolution. Sato’s design balances opposites: traditional/futuristic, organic/mechanical, East/West, light/dark. He also writes haiku poetry; His graphic designs share the multiple levels of meaning and expression of deep emotion found in this traditional form. Auras and glowing luminosity are found in his work, bringing a metaphysical poetry to the printed page
Wim Crouwel, Frisco Kramer, Benno Wissing
- b.1928, b.1922, 1923-2008
- In 1963, graphic designer Wim Crouwel, product designer Frisco Kramer, and architectural designer Benno Wissing formed Total Design (TD), a large multidisciplinary design firm in Amsterdam.
Pieter Brattinga
- 1931-2004
- worked at his father’s printing firm, De Jong & Co., near Amsterdam, where he learned all aspects of printing. He established a small gallery at De Jong & Co. and presented exhibitions of advanced art and graphic design. He designed the posters for these exhibitions based on a grid of fifteen squares. The poster he designed for the 1960 exhibition De man achter de vormgeving van de PTT (The Man Behind the Design for the Dutch Post Service) uses translucency to communicate the concept of behind. Brattinga edited a journal, Kwadraatblad (Quadrate), which was published by De Jong & Co. and provided designers with a forum to experiment with the print medium. He also designed posters and publications for the Kröller-Müller Museum in Otterlo
Jean Francois van Royen
- 1878-1942
- became general secretary of the Netherlands Postage and Telecommunications Service (PTT) board in 1919 and emphasized aesthetic excellence in all areas, from telephone booths and buildings to postage stamps. He died in a concentration camp in 1942.
D.E. Oxenaar
- b.1929
- In 1965, Oxenaar was selected to design Dutch paper currency and in 1976, he was appointed the aesthetic advisor to the Netherlands Postage and Telecommunications Service (PTT). Under his leadership, PTT achieved visual innovation
Anthon Beeke
- b.1940
- participated in Fluxus, which helped him seek unconventional solutions to visual communications assignments; he emerged as a provocateur pushing for maximum freedom of expression and thought. His posters often use photographic depictions of the human figure that are embellished with objects, fragmented, distorted, or altered to create jolting ambiguities, unexpected perceptual experiences, and shocking messages
