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: