Chapters 17 - 18 Flashcards
Adrian Frutiger
Text Book: In 1954 a young Swiss designer working in Paris, Adrian Frutiger (b. 1928), completed a visually programmed family of twenty-one sans-serif fonts named Univers (Fig. 18-14).
Notes:
Google/Wiki: is a typeface designer who influenced the direction of digital typography in the second half of the 20th century and into the 21st. He is best known for creating the Univers and Frutiger typefaces.
Alexey Brodovitch
Text Book: Carmel Snow (1887–1961) invited Alexey Brodovitch (1898–1971) to become art director of Harper’s Bazaar, where he remained from 1934 until 1958. In addition, Brodovitch taught designers how to use photography (Fig. 17-17). His cropping, enlargement, and juxtaposition of images and his exquisite selection from contact sheets were all accomplished with extraordinary intuitive judgment (Figs. 17-18 and 17-19). He saw contrast as a dominant tool in editorial design and paid close attention to the graphic movement through the editorial pages of each issue.
Notes: Art director for Harper’s. Did layout design. Sought for forward thinking photographers (like Man Ray) to work with. Wanted to energized layouts and play with negative space. Bold with bleeding, cropping, and sizing. Also did several magazine covers (himself and commissioned work).
Google/Wiki: a Russian-born photographer, designer and instructor who is most famous for his art direction of fashion magazine Harper’s Bazaar from 1938 to 1958.
Armin Hofmann
Text Book: In 1947 Armin Hofmann (b. 1920) began teaching graphic design at the Basel School of Design, after completing his education in Zurich and working as a staff designer for several studios. Hofmann works in diverse areas, designing posters, advertisements, and logos, as well as other materials (Figs. 18-22, 18-23, 18-24, 18-25, 18-26). In 1965 Hofmann published Graphic Design Manual, a book that presents his application of elemental design principles to graphic design.
Notes:
Google/Wiki: was instrumental in developing the graphic design style known as the Swiss Style. He is well known for his posters, which emphasized economical use of colour and fonts, in reaction to what Hofmann regarded as the “trivialization of colour.”[3] His posters have been widely exhibited as works of art in major galleries, such as the New York Museum of Modern Art.
Movement: International Typographic Style
Emil Ruder
Text Book: Ruder advocated systematic overall design and the use of a grid structure to bring all elements—typography, photography, illustration, diagrams, and charts—into harmony with each other while allowing for design variety. More than any other designer, Ruder realized the implications of Univers and the creative potential unleashed by the unity of proportion, because the consistent baseline and x-height allowed the mixing of all twenty-one typefaces.
Notes:
Google/Wiki: a Swiss typographer and graphic designer, who with Armin Hofmann joined the faculty of the Basel School of Design. He was one of the major contributors to Swiss Style design. He taught that typography’s purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces.
Movement: International Typographic Style
Ernst Keller
Text Book: More than any other individual, the quality and discipline found in the Swiss design movement can be traced to Ernst Keller (1891–1968). Rather than espousing a specific style, Keller argued that the solution to a design problem should emerge from its content.
Notes:
Google/Wiki: seen as the father of the Swiss Style. He was a graphic designer, lettering artist and teacher. From 1918 he taught at the Zurich Kunstgewerbeschule (School of Applied Art), where he developed a professional course in design and typography. As a teacher he was the most important single influence on the development of the Swiss style.
Erté (Romain de Tirtoff)
Text Book: After becoming a prominent Paris illustrator and set designer working in the art deco manner, he was signed to an exclusive contract from 1924 until 1937 to design covers and fashion illustrations for Harper’s Bazaar magazine (Fig. 17-12). Renowned for his fashion designs, set designs, illustrations, and graphics, Erté became a major proponent of the art deco sensibility.
Notes:
Google/Wiki: He was a diversely talented 20th-century artist and designer who flourished in an array of fields, including fashion, jewellery, graphic arts, costume and set design for film, theatre, and opera, and interior decor. He worked for Paul Poiret from 1913-1914. In 1915, he secured his first substantial contract with Harper’s Bazaar magazine, and thus launched an illustrious career that included designing costumes and stage sets. Between 1915–1937, Erte designed over 200 covers for Harper’s Bazaar, and his illustrations would also appear in such publications as Illustrated London News, Cosmopolitan, Ladies’ Home Journal, and Vogue.[1]
Movement: Art Deco
Herbert Bayer
Text Book: The posters Bayer produced during and after the war were surprisingly illustrative compared to his constructivist approach during the Dessau Bauhaus period. His 1939/40 cover for PM was one of the last designs he made before this change in his design approach became evident (Fig. 17-35). The photography and typography of Bayer’s Bauhaus period yielded to hand-painted illustration and hand-lettering, but the commitment to functional communication, the integration of letterforms and imagery, and the asymmetrical balance remained constant.
Notes:
Google/Wiki: an Austrian and American graphic designer, painter, photographer, sculptor, art director, environmental and interior designer, and architect, who was widely recognized as the last living member of the Bauhaus and was instrumental in the development of the Atlantic Richfield Company’s corporate art collection until his death in 1985. After Bayer had studied for four years at the Bauhaus[1] under such teachers as Wassily Kandinsky, Paul Klee[2] and László Moholy-Nagy, Gropius appointed Bayer director of printing and advertising.
Herbert Matter
Text Book: Matter’s editorial design solutions deftly exploited photography, as shown in his cover for the October issue of Fortune (Fig. 17-46). In 1946, he began a twenty-year period as graphic-design and photography consultant to the Knoll Associates furniture design and manufacturing firm, for whom he produced some of his finest work. Matter’s advertisements for molded-plastic chairs by Eero Saarinen are remarkable in their dynamic composition (Fig. 17-47). During the 1950s Matter turned toward more purely photographic solutions.
Notes:
Google/Wiki: a Swiss-born American photographer and graphic designer known for his pioneering use of photomontage in commercial art. The designer’s innovative and experimental work helped shape the vocabulary of 20th-century graphic design.
Herrmann Zapf
Text Book: at age twenty-two the first of his more than fifty typefaces was designed and cut for the Stempel foundry. Zapf developed an extraordinary sensitivity to letterforms in his activities as a calligrapher, typeface designer, typographer, and graphic designer.
Notes:
Google/Wiki: a German typeface designer who lives in Darmstadt, Germany. He is married to calligrapher and typeface designer Gudrun Zapf von Hesse. Zapf’s work includes Palatino and Optima.
International Typographic Style
Text Book: During the 1950s a design movement emerged from Switzerland and Germany that has been called Swiss design or, more appropriately, the International Typographic Style. The objective clarity of this design movement won converts throughout the world. It remained a major force for over two decades, and its influence continues today. The roots of the International Typographic Style are to a large extent found in the curriculum advanced at the School of Design in Basel. The International Typographic Style was rapidly embraced in corporate and institutional graphics during the 1960s and remained a prominent aspect of American design for more than two decades.
Notes:
Google/Wiki: also known as the Swiss Style, is a graphic design style developed in Switzerland in the 1950s that emphasizes cleanliness, readability and objectivity.[1] Hallmarks of the style are asymmetric layouts, use of a grid, sans-serif typefaces like Akzidenz Grotesk, and flush left, ragged right text. The style is also associated with a preference for photography in place of illustrations or drawings. Many of the early International Typographic Style works featured typography as a primary design element in addition to its use in text, and it is for this that the style is named.
Josef Müller-Brockmann
Text Book: Emerging as a leading theorist and practitioner of the [International Typographic Style] movement, Müller-Brockmann sought an absolute and universal form of graphic expression through objective and impersonal presentation, communicating to the audience without the interference of the designer’s subjective feelings or propagandistic techniques of persuasion. Through his designs, writing, and teaching, Müller-Brockmann became the era’s most influential Swiss designer as the national movement he helped create grew beyond the country’s borders.
Notes:
Google/Wiki: n 1958 he became a founding editor of New Graphic Design along with R.P. Lohse, C. Vivarelli, and H. Neuburg. In 1966 he was appointed European design consultant to IBM. Müller-Brockman was author of the 1961 publications The Graphic Artist and his Design Problems, Grid Systems in Graphic Design where he advocates use of the grid for page structure, and the 1971 publications History of the Poster and A History of Visual Communication. He is recognised for his simple designs and his clean use of typography, notably Akzidenz-Grotesk, shapes and colours which inspires many graphic designers in the 21st century.
Joseph Binder
Text Book: With his powerful shapes and well-defined subjects, Joseph Binder remained a force on the American design scene until the 1960s. His ubiquitous military recruiting posters (Fig. 17-51) were among the last manifestations of pictorial modernism and became ingrained in the American consciousness during the 1950s. The geometric and symbolic shapes of pictorial modernism were converted into monolithic masses symbolizing military might and the technological accomplishments of a new era of sophisticated weaponry.
Notes: Believed design should support message. Used an airbrush for a tool.
Google/Wiki: Joseph Binder was an Austrian-born designer whose influence permeated Europe and the United States. He applied reductive compositional principles derived from Cubism and De Stijl to his posters, including the one he designed for the New York World’s Fair in 1939. He emigrated to the United States. in 1934 and won many poster competitions, organized by the Museum of Modern Art, for such agencies as the National Defense, the United Nations, and the American Red Cross. He also designed covers for Fortune and Graphis magazine. In 1948 Binder became art director for the U.S. Navy Department, and in the 1960’s he returned to his primary passion of painting.
Ladislav Sutnar
Text Book:
Notes:
Google/Wiki: a pioneer of information design and information architecture. Although he is uncredited, his contributions to business organization benefited society, which included creating a user-friendly telephone directory by implementing parenthetical area codes.[1] He received design commissions from a variety of employers, including McGraw-Hill, IBM, and the United Nations. He also worked as art director for Sweet’s Catalog Service for almost twenty years.
Lester Beall
Text Book: Kansas City native. Earned art history degree, but was primarily self taught. Moved his studio to New York. Enjoyed wood type and flat planes of color. Beall sought visual contrast and a high level of informational content. Created famous posters for the Rural Electrification Administration. Posters were heavily simplified and iconic. He became increasingly involved in the emerging corporate design movement of the 50s and 60s.
Notes:
Google/Wiki: an American graphic designer notable as a leading proponent of modernist graphic design in the United States. His clear and concise use of typography was highly praised both in the United States and abroad. Throughout his career he used bold primary colors and illustrative arrows and lines in a graphic style that became easily recognizable as his own.
William A. Dwiggins
Text Book: Transitional designer–work ranged from classical tradition to the New Typography. He was very aware of the psychological impact of graphic design on advertising.
Notes: book designer. Claim to fame: came up with the term “graphic design” (although term did not immediately catch on). Also designed several typefaces, Metro and Electra.
Google/Wiki: an American type designer, calligrapher, and book designer. He attained prominence as an illustrator and commercial artist, and he brought to the designing of type and books some of the boldness that he displayed in his advertising work.
