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).