Wednesday, November 30, 2011
Gig Posters
Post Modern
Psychedelic Art
International Style
Erick Nitsche- Solar Dynamics-1955
Richard Hollis-Swiss Graphic Design Cover-1965
Josef Muller-Brockmann-Franzosische Musik-1960
Bauhaus
Constructivism
de stijl
Oskar Schlemmer- Man in Mask-1922
Kasimir Malevich- Suprematist Painting-1910
ART DECO
Sachplakat
Cigarettes Engelhards - Erdt Hans Rudi - 1915
Art Nouveau
Artist: Alphonse Mucha, Title: Les Saisons, Date:1860Artist: Munich, Title: Die Jugend, Date: 1896
Artist: Gustav Klimt, Title: Adele Bloch-Bauer Date: 1862ARTS & CRAFTS
Artist: John Henry, Title: Artichoke Wallpaper,1897 
Artist Edward Burne-Jones, Title: The Sleeping Princess, Date:1886INTERNATIONAL STYLE (Reading part 2)
JAN TSCHICHOLD
Tschichold is the best known publicist and practitioner of the 'new typography' that developed in Europe between the wars. Born in Leipzig to a sign-writer father, his first interest was in antiquarian lettering. In 1923, after his first exposure to the Bauhaus, Tschichold changed his style completely. At the Bauhaus, classical form was to be abandoned and the structure and function of everything was to be rethought. Tschichold was hooked. For a while, he even Russianised his name to Ivan to identify himself more closely with the Left. He began to promote aggressively the new typography in printing trade journals and a series of practical manuals. His typography was made up of asymmetry and bold sans serif typefaces. He was condemned by the Nazis for creating un-German typography and accused of 'Kulturbolschevismus', and was arrested and interned for a while (talk about taking a risk!). He took refuge in Switzerland in 1935. While in Switzerland he published 'Asymmetric Typography' where he uncompromisingly advocated the new typography. True to character, he performed a volte face in the 1940s and came to the conclusion that the 'new typography' was inherently Fascist. His later typefaces were in a new classical style. He designed only one widely used typeface Sabon. In England, he is best known for his redesign of Penguin books in 1946.
ARMIN HOFMANN
By the age of 27 Armin Hofmann had already completed an apprenticeship in lithography and had begun teaching typography at the Basel School of Design. His colleagues and students were integral in adding to work and theories that surrounded the Swiss International Style, which stressed a belief in an absolute and universal style of graphic design. The style of design they created had a goal of communication above all else, practiced new techniques of photo-typesetting, photo-montage and experimental composition and heavily favored sans-serif typography.He taught for several years at the Basel School of Design and he was not there long before he replaced Emil Ruder as the head of the school. The Swiss International Style, and Hofmann, thought that one of the most efficient forms of communications was the poster and Hofmann spent much of his career designing posters, in particularly for the Basel Stadt Theater. Just as Emil Ruder and Joseph Müller-Brockmann did, Hofmann wrote a book outlining his philosophies and practices. HisGraphic Design Manual was, and still is, a reference book for all graphic designers.
SAUL BASS
Saul Bass was born in New York City in 1920. He is known as one of the best ever graphic designers for film. As he has created the credits and title sequences of over 60 films he has often worked with directors Martin Scorsese, and especially Alfred Hitchcock on his very famous film Psycho, of which he designed the titles! His design skills have intrigued audience and through the work of design placement, movement, and tone this allows the audience to step into the film itself. All over as film critics have been known to say that “you could tell what was going to happen in a film for which Saul designed the titles.” He has had a long lasting and successful career, helping out with visual concepts, storyboards but most importantly the titles for the bigger cinematic hits of the 20th century. Saul died in 1996.
Tschichold is the best known publicist and practitioner of the 'new typography' that developed in Europe between the wars. Born in Leipzig to a sign-writer father, his first interest was in antiquarian lettering. In 1923, after his first exposure to the Bauhaus, Tschichold changed his style completely. At the Bauhaus, classical form was to be abandoned and the structure and function of everything was to be rethought. Tschichold was hooked. For a while, he even Russianised his name to Ivan to identify himself more closely with the Left. He began to promote aggressively the new typography in printing trade journals and a series of practical manuals.ARMIN HOFMANN
By the age of 27 Armin Hofmann had already completed an apprenticeship in lithography and had begun teaching typography at the Basel School of Design. His colleagues and students were integral in adding to work and theories that surrounded the Swiss International Style, which stressed a belief in an absolute and universal style of graphic design. The style of design they created had a goal of communication above all else, practiced new techniques of photo-typesetting, photo-montage and experimental composition and heavily favored sans-serif typography.He taught for several years at the Basel School of Design and he was not there long before he replaced Emil Ruder as the head of the school. The Swiss International Style, and Hofmann, thought that one of the most efficient forms of communications was the poster and Hofmann spent much of his career designing posters, in particularly for the Basel Stadt Theater. Just as Emil Ruder and Joseph Müller-Brockmann did, Hofmann wrote a book outlining his philosophies and practices. HisGraphic Design Manual was, and still is, a reference book for all graphic designers.
Saul Bass was born in New York City in 1920. He is known as one of the best ever graphic designers for film. As he has created the credits and title sequences of over 60 films he has often worked with directors Martin Scorsese, and especially Alfred Hitchcock on his very famous film Psycho, of which he designed the titles! His design skills have intrigued audience and through the work of design placement, movement, and tone this allows the audience to step into the film itself. All over as film critics have been known to say that “you could tell what was going to happen in a film for which Saul designed the titles.” He has had a long lasting and successful career, helping out with visual concepts, storyboards but most importantly the titles for the bigger cinematic hits of the 20th century. Saul died in 1996. ART DECO (reading part1)
As a young woman she worked under Dr. Agha at Vogue but later became "The first autonomous woman art director of a mass-market American publication Seventeen. This magazine was Important because she brought fine art and modern art to the attention of the young mainstream public, it also allowed fine artists access to the commercial world. Some young artists "discovered" by the magazine became well known: Richard Anuskiewicz and Seymour Chwast. Being an artist and illustrator herself, Pineles was the perfect art director. An example of Pinles’s work was her cover for Vogue. Here she dramatically cropped the photo making it off center to the right and tilted it clockwise about 20 degrees so that the upper left corner points to the title Vogue. She used just the right amount of graphics making her fit perfectly in the Art Deco movement. This was so impressive and edgy, I absolutely adore it. She is my idol. But she takes it one step by artistically writing Vogue in free hand script . 
In 1929 Condé Nast brought Mehemed Agha, who had been working for the German edition of Vanity Fair magazine (another one of my favorite). This man was another genius because he introduced sans-serif typefaces, the practice of bleeding photos off the page, and the use of black-and-white photography which was a big deal in 1932. But more importantly he was the first advertising mind to view publications and that was a series of spreads, or in today’s advertising world we call it a double page spreads. Agha would often plan out the design of editorial content before any photographs were taken. He was an avid photographer and usually brought his own images for his publications. But what I admire about him is how he brought a multitude of dimensions to his art. Another factor I really enjoy about his work is his typography layout. By using black and white fonts he made his letters pop causing a dramatic effect to the page. This created an incredible and much higher level of sophistication that Vanity Fair always stands by. He was very avant-garde.ALEXEY BRODOVITCH
Alexey Brodovitch was a European immigrant who made blazed a hot trail of what art direction should look like. He is well known for his works for the infamous magazine Harper’s BAAZAR (eeeek! That’s sooo cool) in the 1930’s. I adore his layouts and what they actually do to the spread. Brodovitch had a gift for taking an image and build an entire spread around the shot. For example in his March 15, 1938 spread he repeats the stylish curve of the model’s left hip. He applies the same technique to the text and that’s what makes him a genius! He also decided to use bold lettering at the beginning of each line to show emphasis. By choosing the typeface Bodoni (a font that is used a lot for Harper’s BAAZAR) he was trying to harness its boldness and destroying the harmonious balance that’s most layouts always have. Overall it’s so beautiful and sexy! But he pushed the envelope even further by blending his photo across the gutter. In the 1930’s this caused such a sensation that the fashion magazine industry had to pick up their dropped jaws. By using his bold, groundbreaking techniques it’s no wonder why Alexey and The Art Deco Style go hand in hand.
Subscribe to:
Posts (Atom)