History of GD

Hypertext

a specification for the "address" of every file on the web, called a URL - a building block of the web

Internet

a vast network of linked computers

Late modernism

alternative term for late 20th century design

Interactive media/hypermedia

combination of audio, visual, and cinematic communications, connected to form a coherent body of information

Rudy Vanderlans

creator of Emigre Magazines

Iconography

the visual images and symbols used int he work of art or the study or interpretation of these - used by Milton Glaser -- schematics drawing style

Wild Plakken

"Wild Pasting" or "Unauthorized Bill Posting" - collaborative group formed by Frank Beckers, Lies Ros and Rob Schroder - had a definite social and political mission - created designs for clients actively working for meaningful and political change - accepted and rejected commissions based on the client's ideological viewpoint - addressed such issues as racism, the environment, abortion, women's rights, and gay right - clients included trade unions, left-wing political parties, women's rights organizations, museums, and performing arts groups - believed the way a design looks should be determined by the nature and content of the subject

Univers by Adrian Frutiger

- 21 san serif font - palette of typographic variation, limited to regular, italic, and bold in traditional typography - numbers replaced conventional nomenclature - created by young swiss designer working in paris - emerged during the international typographic style - different stroke weight of variety of the font allowed them to all by used together

International Typeface Corporation (ITC)

- 34 fully developed type families and about 60 additional display faces were developed and licensed during ITC's first decade - ITC's fonts had a large x-height and short ascenders - pioneered by Aaron Burns, Lubalin, and Rondthaler - goal was to enable designers to be adequately compensated for their work while licensing and producing master fonts available for all manufacturers

Alan Fletcher (b. 1931), Colin Forbes (b. 1928), and Bob Gill (b. 1931)

- a design partnership formed in 1962 became an early focus of British design - launched a studio that carried their names - as additional partners were added, the name changed to Pentagram -- eventually continued to grow, making the name obsolete - combined a sense of contemporary with a strong understanding of history

David Carson

- a former professional surfer and school teacher turned to editorial design - eschewed grid formats, information hierarchy, and consistent layout of typographic patterns - chose to explore the expressive possibilities of each subject and each page or spread rejecting conventional notions of typographic syntax and imagery

Hard Werken Design

- a group of RotterDam designers launched a new monthly magazine titled Hard Werken -- informal association - less of a structured business - initially a collective of autonomous designers who could decide whether others could participate on projects - embraced contemporary art scene and rejected design refinement - rejected boundaries - embraced the cultural agenda

Push Pin Almanack

- a joint publication that solicited freelance assignments from Seymour Chwast Reynolds Ruffin and Edward Sorel - published bimonthly and featured interesting editorial material from old almanacs illustrated by the group

Doyle Dane Bernbach Agency

- a new advertising agency - "took the exclamation mark out of advertising and made it talk intelligently to consumers" - training ground for what was eventually called "the new advertising" - reduced basic elements necessary to convey the message -- large, arresting visual elements necessary to convey the message

Logotype

- a single piece of type that prints a word or a group of separated letter - a single piece of type that prints a logo or emblem - a logo

International Typographic Style

- also called Swiss design - emerged from Switzerland and Germany - objective clarity converted designers all over the world - unity of design achieved by asymmetrical organization of the design elements on a mathematically constructed grid - presented visual and verbal information in a clear and factual manner - san serif typography - flush left and ragged right margin configuration - free from exaggerated claims of propaganda and commercial advertising

Dan Friedman

- an american who studied at the Ulm institute of design and at the Basel school of design - rethought the nature of typographic forms and how they could operate in space - he called his typografish Monotsblatter - magazine cover a visual manifesto for a more inclusive typography - taught courses at Yale - addressed the problem of teaching the basics of new typography through a syntactic and semantic investigations using such ordinary copy as a daily weather report - urged students to make their work functional and aesthetically unconventional

Josef Muller-Brockmann

- an emerging leading theorist and practitioner of the International typographic style movement - sought an absolute and universal form of graphic expression through objective and impersonal presentation communicated to the audience without the interference of the designers subjective feelings - photographic posters treat the image as an objective symbol - often used the golden mean proportions - considered the era's most influential Swiss designer as the national movement he helped create grew beyond the country's borders

Masaru Katzumie - 64 Tokyo Olympiad

- art director and Yusaku Kamekure - graphic designer - were the creative visionaries and team leaders behind the remarkable project of the 1964 Tokyo olympic games - identified that simple pictographs were the most efficient method of communicating to an international audience

Retro design

- based on an uninhibited eclectic interest in modernist European design from the first half of the century - a flagrant disregard for the rules of proper typography and a fascination with eccentric and mannered typefaces designed and widely used during the 1920s and 1930s - suggest "backwards looking" and "contrary to the usual" - considered an aspect of post modernism because of its interest in historical revivals yet paraphrases modern design from its decades between the wars rather than by Greco Roman and Renaissance motifs employed by many architects

Lou Dorfsman

- became art director of CBS Radio in 1946 - he combined conceptual clarity with a straightforward and provocative visual presentation - advertised and promoted CBS Radio Network - designed all aspects of typography in the CBS headquarters

Supergraphics

- became the popular name for bold geometric shapes of bright color - application to graphic design to architecture in large scale environmental graphics extended the form concepts and the international typographic style

Push Pin style

- became widely used to describe the studio's work and influence which spread around the world - less a set of visual conventions, or unity of visual techniques or images

Barbara Stauffacher Solomon

- brought walls and ceilings of this large architectural project to life through application of color and shape - a San Francisco native graphic designer and painter - studied at the Basel School of Design in the late 1950s - used a pure elementary plait of pure hue and elementary shape in compositions that transformed the totality of the space - "bold, fresh exciting design that illustrated the importance of rational vigorous graphics in bringing order to the urban scene

Saul Bass

- carried the sensibilities of the NY school to LA - inspired by Paul Rand's use of shape and asymmetrical balance and complex design - however Bass's designs were often reduced to designs with a single dominant image - had a remarkable ability to express the nucleus of a design with images that become glyphs, or elemental pictorial signs that exert great graphic power - also widely known for the beginning of motion picture credits in the beginning of motion pictures

Desktop publishing

- coined by Paul Brainerd - Aldus company - created Page Maker -- method of the user creating elements on the computer screen and then positioning them on the page in a manner similar to the traditional way elements are prepared and posted into position for offset printing - saved significant amounts of time and money in preparing pages to be printed

Bill Bernbach

- collaborated with Paul Rand - copywriter - together their collaboration became a prototype for the new ubiquitous art copy team - created a synergistic visual verbal integration

Annual report

- comprehensive report on the company's activities throughout preceding years - intended to give share holders and other interested people information about the company's activities and financial performances

Michael Vanderbyl

- created the poster for California Public Radio -- is an important harbinger of the emerging school - paid homage to the exuberant furniture and textile designs of Memphis in a promotional manner for Simpson Paper Company - combines a casual post modern vitality with a typographic clarity echoing his background in the ordered typography of the International typographic style

Push Pin Studio

- design company ran by Seymour Chwast, Milton Glaser, Reymond Ruffin, and Edward Sorel - philosophies and personal visions from artists had global influence - experimental magazine provided a forum for presenting new ideas, imagery, and techniques - freely paraphrased and incorporated a multiplicity of ideas into their work, creating new forms

Neville Brody

- designed graphics and album covers for rock music and art directed english magazines including the Face and arena - influenced by geometric forms of Russian constructivism artists and Dada's experimental attitudes - his typographic configurations project an absolute emblematic authority that evokes heraldry and military emblems

Stefan Sagmeister

- designed graphics and packaging for the Rolling Stones, David Byrne, Lou Reed, Aerosmith, and Pat Metheny - poster for Lou Reed album, lyrics from one of Reed's songs were handwritten across his face like graffiti

Giovanni Pintori

- designer for Olivetti's typewriter corporation - created the poster with the logotype consisting of the name in a lowercase sans serif typeface slightly letter spaced - generated graphic metaphors for technological processes

Sumner Stone

- designer of post script page description language type family called Stone - a type director of Adobe Systems before he opened his own type foundry in 1990 -- has 3 versions - serif -san serif - and informal -- each version has 3 roman and 3 italic fonts -- total of 18 typefaces

Zuzana Licko

- designer with a background in computer programming courses - used a public domain character generation software called Font Editor to create digital typefaces

New-wave typography

- development of the international typographic style turned into a revolt -- practitioners and teachers schooled in the international style sought to reinvent typographic design - began by Wolfgang Weingart - thought that the international type style had become so refined and prevalent throughout the world that it had reached an anemic phase - began to question the typography of absolute order and cleanness

Jacqueline S. Casey

- director of the Design Services Office -- produced publications and posters announcing concerts, speakers, seminars on the university campus (MIT) - which rad established a graphic design program that enabled all members of the university community to benefit from free, professional design assistance on their publications and publicity material

Bradbury Thompson

- emerged as one of the most influential graphic designers in post war america - used large, bold, organic, and geometric shapes to bring graphic and symbolic power to the page - letterforms and patterns were often enlarged and used as design elements or to create visual patterns and movements - four-color process plates were used and often overprinted to create new colors - achieved a rare mastery of complex organization, form, and visual form

Carol Twombly

- emerged as outstanding staff typeface designers at Adobe creating original designs and respected digital adaptation of classical typefaces - typefaces included 3 masterful families inspired by historical lettering - Charlemagne - Lithos - Trajan

Roman Cieslewicz

- exiled Polish poster artist - associated with the Polish avant-garde theatre - took the poster, a public art form, and transformed it into a metaphysical medium to express profound ideas that would be difficult to articulate verbally - enlarged collage, half tone images, and interplay between two levels of information

Postmodernism

- expresses a climate of cultural change - included architects, economists, feminists, and theologians - designated to architects and designers who ere breaking with the international style - often subjective and eccentric - more about placing things in space because they feel right rather than to fill a communicative need

Supermannerism,

- first used by advocates of the purist modern movement to describe work by young architects whose expanded formal range embraced the pop art notions of changing scale and context - zigzag and diagonals were added to the horizontal and vertical structures of modern architecture

Herb Lubalin

- generalist whose achievements include advertising and editorial design, trademark, and typeface design, poster, and packaging - hailed as typographic genius - space and surface became his primary visual concentrations - abandoned traditional typographic rules and practices - looked at alphabet characters as both visual form and message communication

Wim Crouwel - Total Design

- graphic designer part of a group of designers that created total design -- a multi-disciplinary design firm - before Total Design in the Netherlands had no comprehensive design firms capable of large scale projects - offered extensive design programs for business, industry, and government - Crouwel played an important part in establishing TD's philosophy and direction - an important training ground for young designers

William Golden

- graphic designer/art director of the CBS corporation - brought uncompromising visual standards and keen insight into the communications process - gave CBS a corporate identity - designed one of the most successful trademarks of the 20th century for CBS

Lance Wyman - 1967 Mexico Olympiad

- influenced by the work of Masaru Katzumie - designed stuff for the Mexico City Olympics in 1968 - director of graphic design - designed logo and all the necessary signs and traffic controls so that a multilingual audience could understand it - goal was to create a completely unified design system - most successful in the evolution of visual identification

Memphis Style

- innovation occurred in many cities and countries around the globe with important contributions from diverse groups including architects and product designers in Milan, Italy and graphic designer in San Fran - design group Memphis from Italy led by Ettore Sottass reflect the inspiration from contemporary popular culture and the artifacts and ornaments of ancient culture - embraces exaggerated geometric forms in bright bold geometric and organic patterns - exploded into a scene just as prosperous 1980s began that helped set the stage for an extravagant decorative period of design

Wes Wilson

- innovator of the psychedelic poster style and created many of its stronger images - posture exhibiting antiestablishment values - rock music, psychedelic drugs

Rosmarie Tissi

- joined the studio of Siegfried Odermatt - known for her playful work - became an equal partner with Odermatt in the studio Odermatt and Tissi - studio loosened the boundaries of the international typographic style and introduced elements of chance, the development of surprising and inventive forms, and intuitive visual organization into the vocabulary of graphic design - early indications that young generations of graphic designers was starting to enlarge its range of possibilities in the 1960s - used different text halftones and solids were illustrated by elementary symbols

Wolfgang Weingart

- led new wave typography - began in basel Switzerland teaching and researching exuberant mannerism with contributions from the Memphis group in Milan Italy and San Francisco designers - retro, eccentric reinventions of earlier models

Lester Beal

- luminaries - visiting lectures that spoke at the Yale University School of Arts

Cipe Pineles

- mad major contribution to editorial design first as art director of Glamour, Seventeen, Charm, and Mademoiselle - first women admitted into membership in the New York art directors club - breaking the bastion of the male dominated professional design societies

Émigré

- magazine - design/edited by Rudy Vanderlans - originally intended to present their unpublished works alongside the creative works of others - journals name was selected because its founders believed that exposure to various cultures significantly impacted their work - became a lightning tool for experimental design while captivating those who embraced computer technology to reinvigorate/redefine graphic design

Corporate identity

- manner in which a corporation, firm, or business presents themselves to the public such as customers and investors and employees - developed by Lester Beal - development of the "Firm's book" of guidelines and standards for implementing its corporate identity program - specifically prescribed the permissible uses and forbidden abuse of the trademark

Chermayeff, and Geismar

- moved to the forefront of the corporate identity movement - created the visual image program for the Chase Manhattan Bank - produced over a hundred corporate design programs

Hermann Zapf

- native to Nuremberg, Germany - inspired by Edward Johnson and Rudolfkoch - entered the graphic arts as an apprentice photo retoucher - developed an extraordinary sensitivity to letterforms in his activities as a calligrapher, type designer, typographer, and graphic designer - "one of the most visible visual expressions of an age" - designed Palatino, Meltier, and Optima

Louise Fili

- one of a small number of designer that began using retro design - worked with Herb Lubalin - inspired by her travels to Europe each summer - elegant refine work - subtle

Paula Scher

- one of a small number of designers that began using Retro design - inspired by Seymour Chwast and his use of victorian, art nouveau, and art deco form - out spoken designer - incorporated Art deco, Russian constructivism, and out modeled typefaces into her work - reinvented and combined earlier constructs styles - has been at the Vanguard of graphic design for over 40 years - recently her typography has spilled into streets and onto buildings - incorporate large scale typographic treatment throughout the interior - applied giant words to doors, floors, ceilings, and walls

Gunther Rambow

- one of the most innovative image makers in the late 20th century - the medium of photography is manipulated , massaged, montaged, and airbrushed to convert the ordinary into extraordinary - uses collage and montage to create new graphic reality

Reynolds Ruffins

- originally worked at pushpin studios but later left and became a prominent decorative and children's bool illustrator

World Wide Web

- provides a means to easily organize and access the vast and ever increasing content on the internet, including text, images, sound, animation, and video

Vernacular design

- refers to artistic and technical expression - broadly characterizes a locale or historical period - closely relates to retro design - paraphrasing of earlier commonplace graphic forms such as baseball cards, matchbook covers, and unskilled commercial illustration and printing from past decades

Zines

- self published personal magazines using desktop publishing software and cheap printing or copier reproduction that began to appear on magazine racks

April Greiman

- studied under Weingart and Hofmann - studio established in LA - drew from basel design evolved into a new attitude toward space - create a sense of depth in her typographic pages overlapping forms, diagonal lines that imply perspective or reverse perspective - moved graphic design and photographic illustration into a new realm of dynamic space

Grapus

- studio - wanted to turn graphic design toward political, social, and cultural rather than commercial - sought to address real human needs - favored universal symbols - motivated by the goals to achieve social and political change while striving to realize creative artistic impulses

Chermayeff & Geismar

- the NY firm founded by 3 designers -- Robert Brown-john, Ivan Chermayeff, and Thomas H. Geismar (freelance designer) - Ivan Chermayeff: son of distinguished architect/techer -- record album designer - strong aesthetic background - understanding of the major ideas of European art - combined images and symbols with a surreal sense of dislocation to convey the essence of the subject

American Institute of Graphic Arts (AIGA)

- the nations oldest professional graphic design organization - created a master set of 34 passenger/pedestrian oriented symbols for use in transportation facilities - goal was to create a consistent and interrelated group of symbols for world wide transportation facilities to bridge language barriers

Semiotics

- the philosophical theory of sign and symbols in its curriculum at Ulm institute of design - has 3 branches - semantics: the study of the meaning of signs and symbols - syntactics: the study of how signs and symbols are connected and ordered into a structural whole - pragmatics: the study of the relations of signs and symbols to their users

Helvetica

- traditional latin name for Switzerland - produced by the HAAS type foundry - Edouard Hoffman decided that Akzidenz Grotesk should be refined and upgraded - collaborated with Max Miedinger who executed the design - has an x-height larger than universe - well-defined forms, excellent rhythm of positive and negative shapes made it the most specified typeface internationally - various countries developed Helvetica's various weights, italics, and widths -- the family lacked the cohesiveness of universe

Charles S. Anderson

- worked at the Duffy Design group in Minneapolis - designed nostalgic revivals of vernacular and modernistic graphic arts - inspired by humble coarsely painted works - designed the classic jar of spaghetti sauce

Massimo Vignelli - Unimark and the Unigrid

- worked for unimark, an international design firm rejected individualistic design and believed that design could be s system, a basic structure set up - basic tool for effort was the grid - vigorously standardized - unimark's director of design - rational order of the grid systems and emphasis on lucid and objective communication remained constant - the unigrid unified hundreds of informational folders used at 350 national park locations

George Lois

- young art director and copywriters who passed through Doyle Dare Bernbach - became the enfant terrible of American mass communication - created works for esquire magazine - had adopted the philosophy that fully integrated visual and verbal concepts were vital to successful message conveyance - helped turn esquire into a 3 million dolor profit - very bold and persuasive subject matter was placed on the cover

Paul Rand

- American designer - understood that freely invented shaped have a self contained life, both symbolic and expressive as a visual communications tool - his ability to manipulated visual forms and skillful analysis of communications content reducing it to a symbolic essence without making it sterile or dull, allowed him to become widely influential - seized upon collage and montage as means to bring concepts, images, textures, and objects into a cohesive whole

Print magazine

- American graphic design periodical founded in 1940 - instituted a regional design annual to reflect the emerging national scope of the discipline

Robert Massin

- French designer - delighted by experimental typography - designed editions of poetry and plays for the paris publisher editions gallimard - futurist and dadaist typography - intensification of both narrative literary content and visual form into a cohesive unity expressing the authors meaning

Armando Testa

- Italian graphic designer - used metaphysical combinations to convey elemental truths about the subject - his posters and advertisements, the image is the primary means of communication - reduced verbal content to a few words or the product's name - used more subtle contradictions such as images made of artificial materials as a means of injecting unexpected elements into graphic design

Manhattan Design - MTV logo

- a NYC studio noted for its independent risk taking experimentation especially for music industry clients -- MTV music television - round the clock television - developed the concept of a logo with a constantly changing persona - the logo was harbinger of the world of motion graphics that would open up as cable television, video games, and computer graphics - expanded the variety and range of kinetic graphic messages

Peter Max

- NY designer - used some aspects of psychedelic poster movement - soft color - combined fluid organic lines of art nouveau with the bold hard contour lines of comic books and pop art - experimented with various printing techniques

Milton Glaser

- NY graphic artist - studied etching under Giorgio Marandi - later jointed Push Pin Studios with Seymour Chwast Reynolds Ruffins and Edward - reinvented himself as a creative force by exploring new graphic techniques and motifs

Seymour Chwast

- NY graphic artist - worked for a NY advertising and publishing company - freelance assignments were solicited through Push Pin Alamanck - frequently uses technique of line drawing overlaid with adhesive color firms and experiments with a large variety of media and substrata - frontal intense color

The golden mean

3 to 5 ratio/proportion - considered the most beautifully proportioned rectangle by the ancient Greeks