History 2013: Semester 1 Summaries : Chapters 23 and 24.

Chapter 23: Postmodern Design:

Intro:

·         1970’s: many believed modern era was drawing to a close, in art, design, politics + literature.

·         Cultural norms of Western society were scrutinized + authority of traditional institutions were questioned.

·         Pluralism emerged. People began to dispute underlying tenets, modernism.

·         Continuing quest, equality by women + minorities contributed to growing climate of cultural diversity, immigration, international travel + global communications.

·         Accepted viewpoints challenged by those who sought remedy bias
+ distortion in historical record.

·         Social, economic + environmental awareness or period caused many to believe modern aesthetic was no longer relevant in emerging post industrial society.

·         People in many fields embraced term POSTMODERNISM to express: A CLIMATE OF CULTURAL CHANGE.

·         Included: architects, economists, feminists, theologians.

·         Maddeningly vague + overused, postmodernism became byword, last quarter of 20^th century.

·         In design- postmodernism designated work of architects + designers, broke with international style so prevalent, since Bauhaus.

·         Postmodernism sent shock waves through design establishment. Challenged ORDER + CLARITY of modern design, particularly CORPORATE DESIGN.

·         Some observers reject term “postmodern” arguing = merely continuation off modern movement.

·         Late modernism + mannerism= alternate terms, late 20^th century design.

·         Design forms + terminology have political + social meaning, expressing attitudes + values of their time.

·         Postmodernism gained strong foothold among generation of designers.1970’s.

·         International style = so thoroughly refined, explored + accepted that backlash was inevitable.

·         Historical references: Decoration + vernacular were disdained by modernists. Postmodern designers drew upon these resources, expand range, design possibilities.

·         Late 1960’s: social activism, gave way, more self-absorbed, personal involvement: 1970’s.

·         Media pundits, “ME GENERTAION”. =Spirit of decade.

·         Intuitive +playful aspects, postmodern design reflect personal involvement.

·         Postmodern designers place form in space because “it feels right rather than to fulfill rational communicative need”.

·         Radically different as psychedelic poster + visual identity manually might be, both = COPORATE DESIGN, for/relating to unified body people with common values.

·         POSTMODERNIST DESIGN:

Often subjective

Even eccentric

Designer becomes artist performing before audience with bravura of street musician + audience either responds / passes on.

·         Postmodernism = UMBRELLA TERM= doesn’t tell whole story because while architecture may fit neatly into historical categories. VICTORIAN, ART NOUVEAU, MODERN + POSTMODERN. Graphic design = far too pluralistic + diverse to fit such simplistic system.

·         3 examples of graphic design expressions having  no parallel in Architecture:

WW1 posters

Work of Push pin group +

Psychedelic poster.

·         Graphic design rapidly changing + ephemeral. was never dominated by International Style, the way Architecture was.

 

 

Precursors to Postmodern Design:

·         1960’s supermannerism + supergraphics -

Early Swiss Postmodern Design:

New-Wave Typography:

The Memphis and San Francisco Schools:

Retro and Vernacular Design:

Chapter 24: The Digital Revolution And Beyond:

Intro:

·         Last quarter, 20^th century- electronic + computer technology advanced at extraordinary pace, transforming many areas of human activity.

·         Digital computer hardware + software + explosive growth of internet. Graphic design was changed irrevocably by this.

·          Industrial Revolution fragmented process of creating + printing graphic communications into series of specialized steps.

·         Phototype became prevalent - 1960’s.

·         Skilled specialists: Graphic designers= created page layouts.

Typesetters= operated text + display typesetting equipment.

Production artists= pasted all elements into position on boards.

Camera operators= made photographic negatives of paste-ups, art + photographs.

Strippers= assembled negatives together.

Platemakers= prepared printing plates

Press operators= ran printing presses.

·         1990’s – digital technology enabled 1 person operating desktop computer to control most / even all functions.

·         New photo optical printing machines used controlled lasers to photosensitize printing drums, making short-run + even individualized full-color press sheets possible.

·         Computer users were empowered, greater control over design + production process.

·         Digital technology + advanced software expanded creative potential of graphic design, possible an unprecedented manipulation of color, form, space and imagery.

·         Growth of cable + satellite expanded broadcast channels, inspired creative + technical advances in broadcast + motion graphics + paved way for consumers to embrace power + flexibility of Internet + World Wide Web. = 1990’s.

·         This transformed way people communicate + access info.

·         Generated revolution surpassing even Gutenberg.

·         Early 21^st century : people were dependent on internet for access to info + entertainment. Affected all aspects of society + culture.

·         Computer graphics experimentation churned through modern and post-modern design ideas, retro revivals, eccentric work + explored electronic techniques to create pluralism + diversity in design.

Other important apsects:

The Origins of Computer-Aided Graphic Design.

Pioneers of Digital Graphic Design.

Revitalizing Magazine Design.

The Digital Type Foundry.

Digital Imaging.

Interactive Media, The Internet and The World Wide Web.

The Conceptual Poster.

The Conceptual Book Cover.

A Voice from Africa.

A New Generation of Film Titles.

The Digital Vanguard.

Recent British Graphic Design.

New Typographic Expression.

A Mexican Vanguard.

 

 

History 2013: Summaries Semester 1: Chapter 21

Chapter 21: The Conceptual Image:

Intro:

·         Sensing that traditional narrative illustrations didn’t address needs of times, post WW1 graphic designers reinvented communicative image to express age of machine + advanced visual ideas.

·         Similar quest for new imagery, decades after WW2, = development of conceptual image in GD.

·         Images conveyed not merely narrative information but ideas and concepts.

·         Mental content joined perceived content = motif.

·         Illustrator interpreting writer’s text yielded to graphic imagist making statement.

·         New breeds of image-maker: concerned with total design of space + integration of word + image.

·         In exploding info culture, 2^nd half of 20^th century, entire history of visual arts was available to graphic artists as library of potential forms + images. 

·         Inspiration was gained from advances of 20^th century Art Movements:

·         Spatial configurations =CUBISM.

·         Juxtapositions.

·         Dislocations.

·         Scale changes of SURREALISM.

·         Pure color loosened from natural reference by EXPRESSIONSIM.

·         FAUVISM.

·         Recycling of mass media images by POP ART.

·         Graphic artists had greater opportunity for self-expression. They created more personal images. Pioneered individual styles and techniques.

·         Traditional boundaries between fine arts + public visual communications became blurred.

·         Creation of conceptual images became significant design approach in Poland, US, Germany, + Cuba.

·         It cropped up around world in work of individuals whose research for relevant + effective images in post-WW2 era led them toward conceptual image.

·         Italian graphic designer – ARMANDO TESTA (1917-92)

Metaphysical combinations used to convey elemental truths about subject. Was an abstract painter until; after War. He established graphic design studio in Turin, his native. 1950’s: publicity campaigns for Pirelli tires had international impact on graphic design thinking. He borrowed vocab of Surrealism by combing image of tire with immediately recognizable symbols. His posters + advertisements: image = primary means of communication. He reduces verbal content to few words / just product name. He effectively used more subtle contradictions: images made of artificial materials= means of injecting unexpected elements into graphic design.

The Polish Poster:

·         Violence of WW2, Europe- 1 September 1939.

·         Hitler’s lightening invasion of Poland.

·         Poland emerged from war – population losses, industry devastated + agriculture in ruins.

·         Printing + graphic design ceased to exist.

·         Monumental tribute to resilience of human spirit that internationally renowned Polish School of poster art grew from the devastation.

·         1^st Polish poster artist = TADEUSZ TREPKOWSKI (1914-56). Expressed tragic memories + aspirations for future, deeply fixed in national psyche. Reduced imagery +words until content distilled into simplest statement.

·         HENRYK TOMASZEWSKI (1914-2005). Spiritual head of Polish Graphic design. Important impetus.

·         Poster was source of great national pride , Poland.

American Conceptual Images:

The Poster Mania:

European Visual Poets:

The 3^rd World Poster:

History 2013: Summaries Semester 1:Chapters 19 and 20.

Chapter 19: The New York School:

Intro:

·         1^ST wave of modern design, America-imported by talented European immigrants seeking to escape political climate of totalitarianism. = Marinetti, modern master.

·         Individuals brought Americans 1^st hand intro to European Avant-garde.

·         1940’s: step toward original American approach to modernist design.

·         Borrowed freely from European work/designers.

·         Americans added new forms and concepts.

·         European design= often theoretical and highly structured.

·         American Design= pragmatic, intuitive and less formal in approach to organizing space.

Paris: receptive to new ideas and images: late 19^th + early 20^th century, New York City assumed role of middle of 20th century.

·         Cultural incubators nurtured creativity.

·         Prevailing climate attracted individuals of great talent + enabled them to realize potential.

·         Despite European underpinnings: unique aspects of American Culture and society engendered original approach to modern design.

·         United States= Egalitarian society with capitalistic values, limited artistic traditions before WW2 + diverse ethnic heritage.

·         Emphasis placed on expression of ideas and open, direct presentation of info.

·         In highly competitive society, novelty of technique + originality of concept much prized.

·         Designers sought simultaneously to solve communication probs + satisfy need for personal expression.

·         Phase of American GD began with strong European roots: 1940’s – Gained International prominence.

·         1950’s + continued into 21^st century.

Pioneers of the New York School:

Graphic Design Education at the Yale University School of Art:

An Editorial Design Revolution:

Editorial Design After the Decline:

The New Advertising:

American Typographic Expressionism:

 

Chapter 20: Corporate Identity and Visual Systems:

Intro:

·         Birth of corporate identity.

·         Technological advances made during WW2 = immense.

·         After war, productive capacity turned toward consumer goods, many believed outlook for capitalist economic structure could be unending economic expansion + prosperity.

·         Bright view of future in mind =”Good design = good business”. = Rallying cry in graphic design community.  =1950’s.

·         Prosperity and technological development appeared closely related to era’s increasingly important corporations + more perceptive corporate leaders comprehended need to develop corporate image + identity for diverse audiences.

·         Design= major way to shape reputation for quality + reliability.

·         Visual marks used for identification, for centuries.

·         Medieval times, proprietary marks = compulsory + enabled guilds to control trade.

·         1700’s: virtually every trader + dealer had trademark/stamp.

·         Industrial revolution: mass manufacturing + marketing increased value
+ importance of trademarks for visual identification.

·         1950’s: Visual identification systems began and went far beyond trademarks /symbols.

·         National + Multinational scope of many corporations made difficult to maintain cohesive image, by unifying all communications from given organization into consistent design system: image could be projected + design system enlisted to accomplish specific corporate goals.

Pintori at Olivetti:

·         1^st phase, development of postwar visual identification, strong individual designer put personal imprint on client’s designated image.

·         Behrens AEG

·         Olivetti Corporation, Italian typewriter + business machine company -1908.

·         Founder = CAMILLO OLIVETTI.

·         ADRIANO OLIVETTI (1901-70) =son of founder. Keen sense of contribution graphic, product = architectural design could make to an org.

·         GIOVANNI PINTORI (1912-1998) – put personal stamp on Olivetti’s graphic images. Ability to generate graphic metaphors for technological processes. = Olivetti Elettrosuma, 1956 poster. Simplified graphic shapes, abstract configurations suggest function/ purpose of product being advertised.

Design at CBS:

·         Columbia Broadcasting System. New York City.

·         Moved to forefront of corporate identity design.

·         CBS President FRANK STANTON (b.1908).

·         WILLIAM GOLDEN (1911-59), CBS art director. CBS Television trademark, 1951.

·         FELIKS TOPOLSKI

·         RENE BOUCHE

·         BEN SHAHN

·         GEORG OLDEN (1920-75).

·         REYNOLD RUFFINS (b. 1930) – founding partner, Push Pin Studios.

·         LOU DORFSMAN (b. 1918). Combined conceptual clarity with straightforward + provocative visual presentation.

·         EERO SAARINEN (1910-61). Architect. Designed new CBS headquarters building 1966.

·         CBS approach to corporate image =design wasn’t dependent on system/style but rather on management policy toward design + creative abilities of design personnel.

The New Haven Railroad Design Program:

·         1954, PATRICK McGINNIS, President of New York, New Haven + Hartford Railroad launched corporate design program.

·         HERBERT MATTER =designed new trademark. Geometric capital N above H. Red, black and white color scheme. Traditional industrial feeling, slab-serif type, long associated with railroad industry updated for more modern look based on mathematical harmony of parts.

·         MARCEL BREUER – designed interiors and exteriors of new trains.

·         NORMAN IVES – a master of corporate image design.

·         JOSEF ALBERS was his mentor.

Corporate Identification comes of Age:

·         RAND – IBM-International Business Machines logo, package designs, posters, Westinghouse trademark, ABC (American Broadcasting Company) trademark + NEXT trademark.

·         BEALL – International Paper Company trademark.

·         BASS- Minolta trademark, AT&T Computer graphics.

·         Firms: Lippincott & Margules + Chermayeff & Geismar- Mobil Oil trademark . All embraced corporate visual identification as major design activity.

·         GEORGE TRUMP – designer typeface, City Medium. 1930.

·         ELIOT NOYES (1910-77). –IBM’s consulting design director.

·         MURIEL COOPER(1925-94) – Print designer for MIT publications and books.

 

Programmed Visual Identification Systems:

·         OTL ACHER

·         THOMAS GONDA (1926-88)

·         FRITZ QUERENGASSER

·         NICK ROERICHT

·         RALPH ECKERSTROM (c. 1920-96).

·         Unimark founded by: RALPH ECKERSTROM, JAMES K FOGLEMAN + MASSIMO VIGNELLI. Rejected individualistic design. Grid =basic tool + standardizing all graphic communications.

·         Unimark clients: ALCOA, FORD MOTOR COMPANY, JCPENNEY, MEMOREX, PANASONIC, STEELCASE + XEROX.

·         Unimark’s goal = OBJECTIVITY.

 

The Federal Design Improvement Program:

·         JEROME PERLMUTTER

·         JOHN MASSEY- Department of Labor.

Transportation Signage Symbols:

·        Major international events, large airports + other transportation facilities handling international travelers, pictographic signage to communicate important information +directions quickly + simply.

·        THOMAS. H. GEISMAR

·        ROGER COOK (b. 1930).

·        DON SHANOSKY (b. 1937).

Design Systems for the Olympic Games:

·         Late 1960’s – concept of comprehensive design systems became reality.

·         International events, world’s fairs + Olympic Games.

·         1968 Mexico City Nineteenth Olympiad

·         1972 Munich Twentieth Olympiad

·         1984 Los Angeles Twenty-Third Olympiad = EVOLUTIONS OF GRAPHIC SYSTEMS.

·         PEDRO RAMIREZ VAZQUEZ, Mexican Architect.

·         American, LANCE WYMAN (b. 1937).

·         British Industrial Designer, PETER MURDOCH. (b. 1940).

·         OTL AICHER.

·         JON JERDE (b. 1940).

·         DAVID MECKEL

·         DEBORAH SUSSMAN (b. 1931).

·         PAUL PREJZA

 

The Music Television Logo:

·         Music Television = MTV

·         Went on air = 1981.

·         BOB PITTMAN, round-the-clock music television station.

·         PAT GORMAN (b. 1947).

·         FRANK OLINSKY (b. 1950).

·         PATTI ROGOFF (b, 1945).