Unit 5 (chapter 23) History of Graphic Design
Studio Dumbar
Anthon Beeke participated in Fluxus: 1960s neo-Dada movement exploring conceptual and performance art, happenings, experimental poetry, and language art. 1) This exposure helped him seek unconventional solutions to visual communications assignments; he emerged as a provocateur pushing for maximum freedom of expression and thought. 2) His posters (23-41) often use photographic depictions of the human figure. A) These are frequently embellished with objects, fragmented, distorted, or altered to create jolting ambiguities, unexpected perceptual experiences, and shocking messages. 3) Many of his works have erotic overtones. 4) His typographic oeuvre is unrestrained. The visual style of tabloid journalism, handwritten titles jotted onto photographs, or even eloquent classical typography might be used and, on occasion, combined. 5) Him, and those inspired by his example, define design not as a quest for ideal form or beauty but as a search for underlying truth. This search is undertaken from a philosophical vantage point acknowledging dark undercurrents running beneath the surface and in the belief that design should not avoid the true nature of the human condition by glossing over reality (23-42 to 23-43). Like early 20th-century designer H. N. Werkman, Ghislain (Gielijn) Daphnis Escher cannot be placed in any category. 1) Through their simplicity and flat surfaces of color, Escher's posters stand out from the urban surroundings where they hang, and through their quiet dignity they attract attention on crowded streets. 2) His posters are uncompromising aesthetic statements, far removed from the mainstream of modern graphic design. With their anecdotal appeal they subtly reach the essence of the subject at hand (23-44 through 23-46). Gert Dumbar 1) founded _______ _______ in 1977. A) this studio has a comprehensive range, designing everything from experimental graphics for cultural clients to corporate identity programs (Fig. 23-38) and literature. 1) rejects what he calls "dehumanized forms" and advocates graphic design with "stylistic durability to survive beyond its time." 2) student at London's Royal College of Art, he developed a technique he called staged photography, consisting of still life arrangements and environments incorporating found material and papier-mâché figures and objects sculpted or assembled for the project (23-47). i) These were photographed, often by Lex van Pieterson, in front of collage backgrounds that became part of the overall composition. 3) Illustration, photography, typography, and sculpture were integrated into a lively visual syntax. i) Fragmented, sometimes complex to the edge of chaos, and layered with complex typography, many Dumbar projects caused consternation among advocates of a more ordered aesthetic. ii) late 1980s many European designers were mimicking Studio Dumbar's approach, causing Gert Dumbar To place a moratorium on these techniques within his firm. Dumbar values the role of humor and impulse in design and believes an element of fun and play should permeate visual communications whenever appropriate. 1) Studio Dumbar Makes a conscious effort to produce innovative and provocative graphics; the goal is to achieve the level of freedom and diverse techniques usually associated with fine arts while successfully meeting client objectives. 2) Dumbar says, "We follow our fingertips," meaning the intuitive sense of the designer should lead the project. Teamwork and dialogue are important in the studio's process. 1) Dumbar is generous in recognizing the accomplishments of his staff and encourages individual approaches, as in the work of Bob van Dijk (23-48 and 23-49) and Dennis Koot (23-50). 2) The structure of the studio is unique: there is almost no overhead or bureaucracy; designers are free to express themselves in their work. i) The rectangle printing format is often challenged by producing posters in die-cut shapes whose configuration is determined by the imagery. ii) The role of enlightened clients is acknowledged by Dunbar, who says he hopes there is never a monument to Dutch designers but one to Dutch clients!
Stefan Sagmeister
(Austrian) _______ ____________ 1) received his 1st diploma in graphic design from the University of Applied Arts in Vienna, and a master's degree from Pratt Institute in New York. 1) After first working in New York and later as creative director for the Hong Kong office of the Leo Burnett advertising agency, he returned to New York in 1993 to found Sagmeister, Inc. 2) designed graphics and packaging for the Rolling Stones, David Byrne, Lou Reed, Aerosmith, and Pat Metheny, among other clients. 3) Sagmeister's graphic design is consistently characterized by an uncompromising and harsh directness. i) On a poster for a Lou Reed album, lyrics from one of Reed's songs are handwritten across his face like graffiti (23-68). Werner Jeker 1) works as a graphic designer in Chatillens and Lausanne, Switzerland, mainly for cultural institutions. 2) In his poster "Saison," a single image is endowed with a double meaning through a simple modification, change in color (Fig. 23-69). Jean-Benoît Lévy 1) studied at the Basel School of Design. 2) one of the few poster designers from the Basel School of Design who remained in Basel. 3) Combining figurative elements, frequently a face, with typography and natural or geometrical forms, his posters invite reflection and contemplation. His Designs witness the rigor of his Swiss training blended with a conceptual vision (Fig. 23-70). Before moving to France during the 1960s, Rudi Meyer (Basel) 1) studied with Armin Hofmann and Emil Ruder at the Basel School of Design. 2) has taught at École Nationale Supérieure des Arts Décoratifs and as a graphic designer produces visual identity programs, posters, logos, exhibitions, products, and cartography. 3) As a teacher, he has inspired a generation of graphic designers by stressing the importance of basic design principles, typographic research, and the rich tradition of French poster design. Whether typographical or image-based, Meyer's work consistently displays a graceful elegance (23-71). Niklaus Troxler 1) was introduced to graphic design while working as a typographic apprentice. 2) went on to receive formal training at the Art School of Lucerne from 1967 until 1971. 3) worked as an art director for Hollenstein Création in Paris before starting his own graphic design studio in Willisau, Switzerland 4) An avid jazz fan, he has created many posters for jazz concerts and festivals. Equally at home with typographic and illustrative interpretations, Troxler is one of the leading forces in poster design today (23-72 and 23-73). Karl Dominic Geissbuhler 1) Beginning his graphic design training with Ernst Keller and Johannes Itten at the Kunstgewerbeschule (School of Arts and Crafts) in Zurich, completed his graphic art studies at the Kunsthochule (School of Art) in Berlin. 2) After working as an art director for a German Advertising agency, he became a freelance graphic designer. 3) has designed over two hundred posters for such clients as British Airways and the Zurich Opera House, where he has also created notable stage designs for seasonal festivals of music and theater. 4) As demonstrated by his poster for Donizetti's Maria Stuarda, Geissbuhler Is a master of the understatement (23-74).
Chaz Maviyane Davies
A voice from Africa _______ ________ ______, called "the guerilla of graphic design," creates posters with richly metaphoric and hopeful messages. 1) The risks he has taken in his personal life and in his work result in cross cultural images that communicate with incisive effectiveness. 2) Born and raised in Rhodesia (now Zimbabwe) he eventually went to London, where he studied graphic design. 3) He has worked in Japan, where he studied 3-D design, and in Malaysia for the International Organization of Consumers Unions and the JUST World Trust. 4) His professional experience in London has included time with Fulcrum Design Consultants; Newell and Sorrel Design, Ltd. and the graphic design department of the BBC. 5) 1983- January 2001, he had his own design studio in Harare, Zimbabwe, creating a human rights poster series for which he has gained worldwide renown (23-148). 6) He Believes that design is a powerful tool for social change. 7) His last 14 years in Zimbabwe saw a consistent loss of freedom and none of the economic improvement promised by the government of President Robert Mugabe. 8) He has incorporated his political convictions into many of his own projects (23-149). i) He originally produced the human rights series at his own expense, but it was eventually adopted by the United Nations. ii) By the time he left Zimbabwe for Boston in 2001, he was Africa's best-known graphic designer. The next and final chapter will address how, beginning in the 1980s, access to high-end computer systems and early generations of desktop microprocessors enabled designers to explore the digital realm. a) Phenomenal developments in digital technology continue to revolutionize the visual communications industry today. b) As the field of graphic design thus continues to expand and evolve, a process of revitalizing the very nature of visual communications is in progress. c) Graphic Designers are now extending their profession into self-initiated and fine-arts experimentation, including a reinvestigation of past crafts such as letterpress printing. d) A dynamic transformation, with rapidly expanding technical capabilities, will continue to offer limitless creative possibilities.
Manuel Estrada
Design in Spain, Portugal, and Latin America Graphic design from Spain and Portugal not 1 and the same, but both share analogous and at times parallel heritages, which have only recently been critically examined within the context of design. 1) From 1930s-70s, both countries were, to a large extent, cut off from the rest of Europe by repressive governments, political turmoil, and financial misfortune. 2) For this reason, European modernism and Russian constructivism had little influence during this era. However, this seclusion also helped engender a unique approach to graphic design. Graphic design from Spain and Portugal share similar aesthetic qualities and often reflects a tranquil view of life: charming, warm, colorful and, at times, imbued with the sensual, the surreal, and the witty. 1) suggests the Iberian Visual culture, including opulently textured architecture, local arts and crafts, and modernist art by Gaudí, Picasso,Miró, Dali, José de Almada Negreiros, and Amadeo de Souza Cardoso. Emilio Gil 1) Design in Spain, Portugal, and Latin America While one cannot define graphic design from Spain and Portugal as one and the same, these countries share analogous and at times parallel heritages, which have only recently been critically examined within the context of design. From The 1930s through the 1970s, both countries were, to a large extent, cut off from the rest of Europe by repressive governments, political turmoil, and financial misfortune. For this reason, European modernism and Russian constructivism had little influence during this era. However, this seclusion also helped engender a unique approach to graphic design. Graphic design from Spain and Portugal share similar aesthetic qualities and often reflects a tranquil view of life: charming, warm, colorful and, at times, imbued with the sensual, the surreal, and the witty. It suggests the Iberian Visual culture, including opulently textured architecture, local arts and crafts, and modernist art by Gaudí, Picasso,Miró, Dali, José de Almada Negreiros, and Amadeo de Souza Cardoso. Emilio Gil 1) former student of Glaser and Ed Benguiat at School of Visual Arts in New York 2)has been creative director of Tau Design in Madrid since its founding in 1980. Tau Design: one of the pioneering graphic design studios in Spain, specializing in visual communication and corporate identity programs. 1) Gil is also creative director of Digital Tau, a company specializing in Web design. i) Clients: Madrid City Council, the Ministry of Education and Culture, the International Monetary Fund, and the World Bank Group. 2) He has developed corporate identity programs for Natwest Bank, Centennial Carlos V and Felipe II, and Goya 96, among others. 3) wrote and designed the book Pioneers of Spanish Graphic Design (2007), the leading publication on this subject (23-87 and 23-88). 4) teaches at the University of Salamanca, the Carlos III University, and the European University of Madrid, and he is adviser to the Board Of Directors of the Spanish Association of Design Professionals (AEPD) for the Spanish Design Museum Project. Pablo Martín 1) studied graphic design at Eina Design School in Barcelona, where he has been teaching typography since 1995. 2) Before establishing his own studio, he worked for Eskenazi & Asociados and Vignelli Associates. 3) 1993, founded Grafica, working mainly in the areas of editorial design and corporate identity for both national and international clients (23-89). _______ ________ (Initially studied architecture) and 5 colleagues founded the Sidecar graphics group in the early 80s. 1) worked in advertising design, then opened his own graphic design studio in 1989. 2) During 90s the studio expanded to a team of 10 people involved with corporate design, book design and editorial projects, visual identities for museums, event graphics, signage, and architectural graphics. i) Strived for a balance between reflection, feeling, and intuition, he works initially with words and drawings, developing and refining ideas before taking them to the computer (23-90 to 23-94). 1) he has directed a master's degree program in editorial design at the Istituto Europeo di Design Madrid, and for 9 years has conducted a summer design workshop at the Universidad Internacional Menéndez Pelayo Santander. 2) currently chair of the Madrid Designers' Association, which manages the Central de Diseño de Matadero in Madrid. 3) member of the Higher Council Of Artistic Teaching and is executive chairman of the Advisory Council of the Ibero American Design Biennial (23-95 to 23-97). Isidro Ferrer 1) first studying drama in Paris, began his work as a graphic designer in Barcelona and formed his own studio in Huesca 1996. 2) His wide-ranging work includes editorial design, illustration, animation, exhibition design, and television graphics. i) sculptural book covers often combine found objects with simple graphic elements resulting in whimsical, humorous, and diverse solutions (23-98). Pep Carrio 1) heads his own studio in Madrid called Pep Carrio Diseño y Comunicación, where he creates designs for various cultural clients, including the Gran Teatre del Liceu, an opera house in Barcelona (Fig. 23-99). 2) A graphic designer, illustrator, and visual artist, he specializes in design applied to brand images, corporate communications, exhibitions, and cultural activities.
Shigeo Fukuda
Designs by Shigeo Fukuda (b. 1932) are disarmingly simple, as readable and immediate as a one-panel cartoon, yet they engage the viewer with their unexpected violations of spatial logic and universal order. His disarming directness is seen in "Victory 1945," awarded first prize in an international competition for a poster commemorating the thirtieth anniversary of the end of World War II (Fig. 23-28). In other works, he expresses a nonverbal concept or presents an inexplicable visual phenomenon (Fig. 23-29). His images are a construct of memory and association rather than a direct impression of the senses. Shigeo Fukuda Sculpture
a
Pieter Brattinga 1) learned all aspects of printing by working at his father's printing firm, De Jong & Co., Hilversum, near Amsterdam. 2) 1950s, he Functioned as a mediator between designers and printers. 3) From 1954-73, he curated exhibitions held in a small gallery at the printing firm, which introduced advanced art and graphic design to a wider audience. A) His posters for these exhibitions (23-37) were designed on a grid of 15 squared modules, with one or more always appearing as an element in the design. 4) Brattinga edited a square-format journal, Kwadraatblad (Quadrate), published by De Jong & Co. to demonstrate its printing capabilities while providing leading artists and designers an opportunity to explore the limits of the print medium. A) Often controversial, these publications showed clients and designers an extended range of possibilities. 5) also designed posters and publications for the Kröller-Müller Museum in Otterlo. In addition to major corporations, Dutch cultural institutions and government agencies are major patrons of graphic design. 1) Each government agency has a visual-identity program, called a house style in the Netherlands, and consciously tries to communicate effectively with citizens. 2) Cities have commissioned visual-identity programs; postage stamps and currency have achieved distinction in design. 3) The Dutch PTT (Post, Telephone, and Telegraph) emphasized the importance of design as early as 1919, when Jean François van Royen became general secretary of the PTT board. Jean François van Royen 1) believed his government agency shouldered responsibility for aesthetic excellence in all areas, from telephone booths and buildings to postage stamps. 2) continually struggled to overcome obstacles to good design. 3) In 1942, Van Royen died in a concentration camp. After WWII ended, PTT established its Aesthetic Design Department, headed by an aesthetic adviser whose office commissioned all designs produced by PTT. 1) department functioned as an intermediary between PTT, the public, and artists and designers who received commissions. 2) For 2 decades after the war decorative and pictorial approaches prevailed, but from around 1966 the Aesthetic Design Department moved in more contemporary and adventurous directions. In 1976 R. D. E. Oxenaar was appointed aesthetic adviser; under his leadership, PTT design moved onto an extraordinary plane. 1) embraced a philosophy of autonomous expression coupled with utilitarian needs. This enabled PTT to achieve visual innovation while meeting the requirements of the agency and its audiences. Netherlands postage stamps have been unusually adventurous in their design, with a wide range of approaches from classical modernism to expressionism (Figs. 23-33, 23-52, and 23-55). Young designers have received stamp design commissions early in their careers. PTT implemented its first comprehensive visual identity system in 1981. 1) 2 design firms, Total Design and Studio Dumbar, were commissioned to collaborate on this extensive and far-reaching project. 2) Rigorous graphic standards were established, but certain items-including postage stamps created by diverse artists, unique publications including annual reports, and interiors of post offices in historical buildings are exempt from the design system. On 1 January, 1989, PTT was privatized and thus faced new competition in many of its services. 1) Aesthetic Design Department renamed the Corporate Policy Unit for Art and Design, and today it continues to procure art for PTT facilities and commission product and graphic designs. 2) PTT believed the existing identity system was effective but that changes were necessary to communicate the shift from government agency to private corporation. i) Studio Dumbar received the commission to revise the identity system (23-38). ii) use of PTT's sans-serif initials continued, with more vibrant colors and geometric elements (squares, dots, and lines) used to intensify and energize PTT graphics, products, and environments. iii) Bright hues become identifiers, with red used for the postal service and intense green for the telephone service.
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Recent British graphic design London is often characterized as transitory and enigmatic. 1) its constantly changing consumer market and ever-expanding multicultural population 2) Herein lies a visual culture embracing new media and the development of computer technology through a multitude of emerging design studios offering different approaches to visual problem solving. 3) London graphic design studios embrace contemporary fine art that is eclectic and connected to ephemeral pop culture. i) Many draw inspiration from traditional graphic design. Young designer with a passion for independent rock music, Vaughan Oliver collaborated with Ivo Watts-Russell, the founder of the 4AD Records label. 1) Employed by Watts-Russell's South London company, he Created a remarkable series of record covers and promotional print collateral for well-known musical groups such as the Cocteau Twins, This Mortal Coil, the Pixies, Bush, and Lush. 2) Motivated by his bond with music, he committed himself to high standards, bold exploration, and the imaginative use of found imagery. 3) has often worked with the photographer Nigel Grierson in a partnership called 23 Envelope, and he more recently collaborated with Chris Bigg, producing graphic design for such clients as Microsoft, Sony, the BBC, JP Morgan Private Bank, the Victoria and Albert Museum, Harrods, Virgin, Warner Bros., and Raygun Publishing. Rrecent British designer Michael Johnson 1) got his start at Wolf Olins in the 1980s. 2) After a short time working in Australia and Japan as an art director, he returned to London and set up his own graphic design studio. 3) His work is witty and clever, using wordplay and strong visual puns as a communication strategy. Why Not Associates was established by Andrew Altmann, David Ellis, and Howard Greenhalgh in 1987. 1) multidisciplinary, experimental London-based design company has worked on diverse projects, including postage stamps, corporate identity, exhibition design, environmental design, television titles, and motion graphics. 2) Clients Include the typography magazine Uçlc, the Royal College of Art, the Kobe Fashion Museum in Japan, Armani, Nike, Saab, and First Direct (23-7).
Reza Abedini
The Middle East The Israeli graphic designer David Tartakover 1) studied at the Bezalel Academy of Art and Design in Jerusalem before graduating from the London College of Printing 2) Since 1976 he has served as a senior lecturer in the visual communication department at the Bezalel Academy of Art And Design and has been a frequent speaker at professional seminars and art colleges in Israel and elsewhere. 3) Since 1975, he has operated his own studio in Tel Aviv, specializing in visual communications on cultural themes (23-140). Graphic design in Iran has developed an increasingly idiosyncratic flavor. In late 1960s Morteza Momayez left Tehran to study at the Paris Decorative Arts School. 1) While there, he was exposed to the work of his European contemporaries and was deeply influenced by the Swiss school of international typography and Polish poster movement. 2) who is universally considered the father of Iranian graphic design, 3) did not seek to copy their work. Rather, he developed his own style, drawing from Iran's distinctive visual culture. A) combining Iran's centuries-old traditions in illustration and calligraphy with new approaches to working with typography and image, he created something new and uniquely Iranian (23-141). 4) also did much to foster the practice of graphic design and design education in Iran. A) He established Iranian Graphic Designers Society (IGDS), brought together the country's most talented designers, involved them in education, and inspired and engaged new generations of artists. Today, the IGDS is one of the most vibrant, dynamic, and robust design associations in the world. Majid Abbasi 1) student of Momayez 2) earned a degree in visual communications from the Faculty of Fine Arts, University of Tehran. He is part of a generation of designers who emerged after the Iran Iraq War 3) 1989 he opened his own studio, Did Graphics. A) Under his direction, Did Graphics became one of the most prestigious studio in Iran. B) Like Momayez, Abbasi has stylistically broken away from-but not abandoned-traditional approaches to Persian Illustration and calligraphy. 4) He embraces these traditions and recombines them in unique ways, often inspired by the Swiss and Polish poster schools and work from Germany and France. A) In his poster for Boof-e Kour (The Blind Owl) (Fig.23-142), designed for the 1st Iranian Typography Exhibition, he arranges traditional Persian calligraphy with great restraint and a minimalist, almost Swiss, approach. B) The poster is also a visual pun, with blurred text creating the eyes, and crisp text the nose, of the "blind owl. C) Other works, like his poster for an exhibition of the photographs of Sadeg Hedayat (23-143), suggest the surrealist influence of the Polish Poster movement. i) Here he seamlessly combines iconic Persian imagery with Western-style photography, The resulting image is an arresting display of traditional Persian motifs melding into the form of a figure. The expressive typographic posters of the Iranian graphic designer _____ ________ reflect both his training in graphic design and his later education as a painter. 1) Often Combining Farsi with English or French, his posters radiate a graceful elegance. 2) As with his prize-winning poster for the film Réves de sable, his type and image frequently become one and the same (23-144 to 23-145). The book covers of Saed Meshki are ethereal and speak of a separate world. i) They transport the viewer to a spirited place and time indicative of the poetry and stories contained within. 1) His work is painterly, yet every composition is made of individually scanned and digitally manipulated elements. 2) Nevertheless, the work is organic and tactile and the sense of human touch is readily apparent. 3) The incorporation of calligraphy produces an aesthetic strikingly different than that of Western design traditions (23-146 to 23-147.)
Chip Kidd
The conceptual book cover The designs of Charles I. (_____) _____ for Alfred A. Knopf have helped foment a revolution in book jacket design. 1) In recent monograph on his work, Veronique Vienne focuses on the essence of his appeal: "By distancing the title from the image on the cover, Kidd puts a very specific kind of pressure on readers: he asks them to bridge the gap between what they read and what they see. 2) In the process he empowers them by demanding they take control of the communication." A) Like Gitte Kath, Kidd frequently uses vintage images such as old prints and family albums found in flea markets and junk shops. His visual cues are elusive and require the viewer to excavate the message. B) said, "I never really know if the readers get the subtle visual puns of my jackets, but I can't let that inform my design to the point where I will compromise" (23-83 and 23-84). late 1980s Katsumi Asaba 1) founded Katsumi Asaba Design Office 2) transformed a surviving pictographic script, Dongba (Tompa), used by the Naxi tribe in China, into a personal design language titled "Katsumi Asaba's Tompa Character Exhibition: The Last Living Pictographic Script on Earth." i) demonstrated by the jacket for the book Spy Sorge, 1 of his goals has been to forge a connection between contemporary graphic design and ancient writing systems (23-85). Founded by Joanne Lefebvre and Louis Gagnon in Montréal, the Paprika studio maintains an ability to imbue all of its designs with a lasting elegance. 1) firm specializes in graphic design and strategic communications for business: encompasses book design, identity programs, branding, annual reports, brochures, catalogues, billboards, packaging, exhibit design, signage, and Web sites. 2008 Paprika was asked to create a new image for a Les Allusifs book series. 1) Les Allusifs: a Montréal-based publisher that distributes international fiction and nonfiction books in French-speaking countries. 2) Paprika's covers, illustrated by Alain Pilon, achieve a sense of unity in the jacket designs; they are intellectually challenging and stand apart from those of larger and more commercially aggressive concerns (23-86).
Shigeo Fukuda
_______ _______ 1) Designs are disarmingly simple, as readable and immediate as a one-panel cartoon, yet they engage the viewer with their unexpected violations of spatial logic and universal order. 2) achieved early renown for his unconventional views of the world; these form the core of his work. i) His disarming directness is seen in "Victory 1945, "awarded 1st prize in an international competition for a poster commemorating the 30th anniversary of the end of World War II (Fig. 23-28). ii) In other works, he expresses a nonverbal concept or presents an inexplicable visual phenomenon (23-29). 3) His images are a construct of memory and association rather than a direct impression of the senses. Playfulness and humor are abundant in Fukuda's work. 1) The enigma and contradictions of Dada and surrealism air reinvented not with high-minded seriousness but with a joyful affection for everyday life (23-30). 2) Given his humor and simplified drawing, one might ask what separates Fukuda's Work from ordinary comics. Intentional ambiguity and purposefulness pervade his work, giving it a life beyond the ephemeral or disposable. 3) with the simplest of means, a complex idea is projected with disarming clarity and unexpected imagery. Part of the Japanese understanding of nonverbal communication comes from Zen Buddhism, which teaches the use of all five senses in receiving communication, and even states, "silence is communication." In this tradition, Koichi Sato brings delicate color motifs and metaphysical forms to his quietly poetic designs. 1) graduated from Tokyo University Of Art and Music and opened his own studio. 2) His painting of a white tray-which he tilted so the blue-colored water filling it graduated toward 1 end-became an important inspiration for his evolution. 3) His 1st use of gradation in graphic design is in a 1974 concert poster (23-31). Sato thinks in opposites: traditional/futuristic; organic/mechanical; East/West; light/dark. 4) writes haiku, and his graphic designs share the multiple levels of meaning and expression of deep emotion found in this traditional form. 5) Auras and glowing luminosity are found in his work, bringing a metaphysical poetics to the printed page (23-32). The postwar miracle of Japan, which rose from the ashes of defeat to become a leader in technology and manufacturing, is paralleled by its emergence as a major center for graphics creativity. 1) The finest contemporary Japanese graphic design has a strong emphasis on the aesthetic dimension, not at the expense of communicating the client's message but as a means of reinforcing and extending it.
Pentagram's
__________ philosophy continues to be based on the concept of a mutual interdisciplinary design practice and an intuitive exchange among partners. 1) The London office hosts public events such as lectures and exhibitions in its Notting Hill gallery. 2) Pentagram has diversified with the addition of architect Lorenzo Apicella, book designer Angus Hyland (23-8), and Colors magazine creative director Fernando Gutiérrez. 3) Other members of the London office: David Hillman (23-9), who was previously commissioned to design the French Daily newspaper Le Matin de Paris B) John McConnel, whose previous clients include the leading 1960s boutique Biba; the distinguished product C) package designer John Rushworth; and the industrial and vehicle designer Daniel Weil (b. 1953), whose work can be found in the collections of the Victoria and Albert Museum and the Museum of Modern Art in New York. Vince Frost solves graphic design problems through his close collaboration with photographers, illustrators, and writers. A) This association is exemplified in the design and editing of the literary magazine Zembla. Representing a new era in magazine design, B) Zembla fuses writing, photography, illustration, and expressive typography in a manner that challenges all previous mores (23-10). Siobhan Keaney creates work that is both independent and experimental. 1) Her self-described "maverick" stance and"non-mainstream" approach is evident in her work for many important commercial and cultural clients, including the Royal Mail, London (23-11). 2) Her carefully structured yet seemingly spontaneous designs are recognized worldwide; she has exhibited and lectured widely throughout North America, Europe, the Near East, and Asia. Her designs are part of the permanent collection of the 20th Century Gallery at the Victoria and Albert Museum, and she is one of 40 European Designers and architects to have work featured at the Design Centre in Osaka, Japan. 3)held academic appointments at some of the United Kingdom's leading design programs, including the University of Brighton and the Royal College of Art, London.
Bob Grill
left Fletcher Forbes Gill (pentagram) Design partnership formed in 1962 became an early locus of British design
Chaz Maviyane-Davies
Chaz Maviyane-Davies (b. 1952), called "the guerilla of graphic design," creates posters with richly metaphoric and hopeful messages. The risks he has taken in his personal life and in his work result in cross-cultural images that communicate with incisive effectiveness. Born and raised in Rhodesia,known as Zimbabwe since it became independent in 1980, Maviyane-Davies eventually went to London, where he studied graphic design. From 1983 until January 2001, he had his own design studio in Harare, Zimbabwe, creating a human rights poster series for which he has gained worldwide renown (Fig. 23-148). Maviyane-Davies believes that design is a powerful tool for social change. His last fourteen years in Zimbabwe saw a consistent loss of freedom and none of the economic improvement promised by the government of President Robert Mugabe. Maviyane-Davies has incorporated his political convictions into many of his own projects (Fig. 23-149). He originally produced the human rights series at his own expense, but it was eventually adopted by the United Nations. By the time he left Zimbabwe for Boston in 2001, he was Africa's best-known graphic designer.
Studio Dumbar
Dutch cultural institutions and government agencies are major patrons of graphic design. Each government agency has a visual-identity program, called a house style in the Netherlands, and consciously tries to communicate effectively with citizens. Cities have commissioned visual-identity programs; postage stamps and currency have achieved distinction in design. The Dutch PTT (Post, Telephone, and Telegraph) PTT implemented its first comprehensive visual-identity system in 1981. Two design firms, Total Design and Studio Dumbar, were commissioned to collaborate on this extensive and far-reaching project. Studio Dumbar received the commission to revise the identity system (Fig. 23-38). Prominent use of PTT's sans-serif initials continued, with more vibrant colors and geometric elements (squares, dots, and lines) used to intensify and energize PTT graphics, products, and environments. Bright hues become identifiers, with red used for the postal service and intense green for the telephone service. Telephone booths, which need to be located quickly in emergencies, form bright green oases in urban environments, highly visible regardless of season or time of day. First located in The Hague and then in Rotterdam, this studio has a comprehensive range, designing everything from experimental graphics for cultural clients to corporate identity programs (see Fig. 23-38) and literature. Studio Dumbar makes a conscious effort to produce innovative and provocative graphics; the goal is to achieve the level of freedom and diverse techniques usually associated with fine arts while successfully meeting client objectives. rejected humor in design, believing that the elements of fun and play have no place in visual communication.
Hard Werken Design
In 1978 a group of Rotterdam designers launched a new monthly magazine (Fig. 23-51) titled Hard Werken (Hard Working) ; two years later they formed Hard Werken Design , which was more an informal association than a structured business. Hard Werken developed a relaxed, anything-goes attitude. Rejecting all styles and theories, its members sought solutions from their subjective interpretation of the problem. Hard Werken embraced the contemporary art scene and rejected design refinement; its work could be raw and offensive. It adhered to no fixed political or aesthetic position but embraced creative anarchy. monthly magazine later became studio 23.51 multiple artist with different views embraced fine art and creative anarchy
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Postwar graphic design in the United Kingdom The historical influence of the United Kingdom, a constitutional democracy uniting England, Northern Ireland, Scotland, and Wales, has transcended its size. 1) Under Queen Elizabeth I, England became a major naval power and started its vast colonial empire, spreading English social customs and language around the globe. This international influence continues today. In post-WWII England, graphic design was characterized by an international culture that embraced the fine and performing arts. 1) Purist modernism of Switzerland And the graphic expressionism of New York were assimilated, but outstanding English designers succeeded in making significant contributions to international dialogue while avoiding becoming tied to those movements that influenced them. After the war Herbert Spencer became an important voice in renewing British graphic design through his writing, teaching, and graphic design practice. 1) His understanding of modern art and design was translated into a rare typographic sensitivity and structural vitality, As editor and designer of the journal Typographica and author of Pioneers of Modern Typography, an influential 1969 book that informed the postwar generation about the accomplishments of earlier 20th-century designers, Spencer helped stimulate the worldwide dialogue.
Wild Plakken
The collaborative group Wild Plakken, formed by Frank Beekers (b. 1952), Lies Ros (b. 1952), and Rob Schröder (b. 1950) in 1977, had a definite social and political mission: it created designs for clients actively working for meaningful social or political change. The designers closely collaborated on each project. The name Wild Plakken can be translated as "Wild Pasting" or "Unauthorized Bill-Posting." The name was thrust upon the studio in the early 1980s because it illegally pasted posters in the center of Amsterdam; Schröder was jailed several times for illegal posting. Wild Plakken accepted or rejected commissions based on the client's ideological view- point; 23.53: antiapartheid poster social and political (change) name means wild pasting
Chip Kidd
The designs of Chip Kidd (b. 1964) for Alfred A. Knopf have helped foment a revolution in book jacket design. In a recent monograph on his work, Veronique Vienne focuses on the essence of his appeal: "By distancing the title from the image on the cover, Kidd puts a very specific kind of pressure on readers: he asks them to bridge the gap between what they read and what they see. In the process he empowers them by demanding they take control of the communication." Like Gitte Kath, Kidd frequently uses vintage images such as old prints and family albums found in flea markets and junk shops. His visual cues are elusive and require the viewer to excavate the message. He has said, "I never really know if the readers get the subtle visual puns of my jackets, but I can't let that inform my design to the point where I will compromise" (Figs. 23-83 and 23-84).
Alan Fletcher
partnership with Colin Forbes and Bob Grill to start Fletcher Forbes Gill and Theo Crosbey later joined England and Gill was replaced by Mervyn Kuriansky Kenneth Grange hoind and the called their company Pentagram (now world wide)
Wild Plakken
Hard Werken embraced a cultural agenda; by contrast, the collaborative group _____ _____, had a definite social and political mission: it created designs for clients actively working for meaningful social or political change. 1) formed by Frank Beekers, Lies Ros, and Rob Schröder 2) designers closely collaborated on each project. 3) name Wild Plakken can be translated as "Wild Pasting" or "Unauthorized Bill-Posting." i) The name was thrust upon the studio in the early 1980s because it illegally pasted posters in the center of Amsterdam; Schröder was jailed several times for illegal posting. 4) Wild Plakken accepted or rejected commissions based on the client's ideological viewpoint; the group believed a designer should match his or her beliefs to the content of his or her graphic designs. 5) Their work addresses such issues as racism (23-53), the environment, abortion, women's rights, and gay rights. Clients included trade unions, left-wing political parties, women's rights organizations, museums, and performing-arts groups. In its formative years Wild Plakken used clear, straightforward images that might be called closed texts because viewers could only interpret them in one specific, carefully controlled way. 1) As its work evolved, it offered viewers what might be called open texts, giving viewers greater freedom for imaginative interpretation (23-54 and 23-55) by introducing surrealist imagery, photomontages using tor and fragmented images, and brightly colored shapes. 2) Its work projects a raw power when juxtaposed against the refined photography of conventional print advertising. Wild Plakken did virtually all of its own photography because the designers then felt free to experiment in the darkroom or cut, tear, and combine the images unencumbered by the need to maintain the integrity of another photographer's work. Wild Plakken designers believed the way a design books should be determined by the nature and content of the subject. They thought designers risk becoming superficial or mere reflectors of fashionable trends if they are not deeply committed to the design process, clients, and content. After Eleven years of close collaboration, Beekers left Wild Plakken To launch his own studio. Irma Boom 1) specializes in making books, founded the Irma Boom design office in Amsterdam 2) she sees books as sculptural objects that can provide an additional aspect to a text. 3) Published in English and Chinese, one of her most important works includes the SHV Think Book 1996-1896, which chronicles a century of the SHV (the largest Dutch trading company) (23-56). 4) Committed to design education, teaches at Yale University and the Van Eyck Academy in Maastricht. 5) Working with national and international clients in the cultural and commercial sectors, she believes effective work is achieved through a close collaboration between designer and client. Experimental Jetset is an Amsterdam-based graphic design studio founded in 1997 by Marieke Stolk, Erwin Brinkers, and Danny van den Dungen. 1) They recall being initially inspired by designers such as Wim Crouwel and Benno Wissing and consider modernism their mother tongue." 2) In their work, they consistently attempt to blend the Dutch Modernist heritage of the 1970s with the international post-punk tendencies of the 80s (23-57 and 23-58). The creativity and vitality of Dutch graphic design continues to inspire graphic designers throughout the world to push the limits of the printed page. Reinforced by a unique artistic tradition, it is the consequence of many exceptional talents as well as a highly open-minded clientele and society.
Min Wang
A new aesthetic of modern Chinese graphic design A new aesthetic of graphic design arose in the confluence of intellectual, economic, social, and political forces that modernized greater China. 1) Since 1980, as China has embraced international commerce, a dramatic change has occurred in design education programs, which have begun to emphasize modern Western design movements over 5,000 year-old Chinese Artistic and calligraphic traditions. 2) Design education and practice in China has become an extraordinarily rich field, with a unique visual language for the rapidly growing environment of cross-cultural dialogue and collaboration that advances China's Objective of becoming a leader in the design industry. 2 pioneers of contemporary Chinese graphic design who embrace modern design, Henry Steiner, and Bingnan Yu, continue to inspire a younger generation of graphic designers. Steiner 1) among the earliest Western-trained modern designers to be practicing in Hong Kong, and his work has had a significant influence on graphic design in the Pacific Rim. 2) Steiner's family escaped Nazi-controlled Vienna in 1939 and moved to New York City. 3) educated at Hunter College and later at the Yale University School of Art, studying under Paul Rand, and he received a Fulbright scholarship to the Sorbonne. 4) 1961 he arrived in Hong Kong on a 9-month assignment as the Asia Magazine's first design director 5) 1964 he founded the design firm Graphic Communications Ltd. in Hong Kong. 6) designed a long-lasting series of banknotes for Standard Chartered Bank, developed in 1978 and modified in 1993 to include Hong Kong's official flower as a distinctive icon. i) Each banknote is based on mythical Chinese animals, giving the denominations an orderly arrangement and straightforward hierarchy (23-120). 1995, Steiner and Ken Haas wrote Cross-Cultural Design: Communicating in the Global Marketplace, the 1st anthology to examine and document the accomplishments of leading graphic designers practicing for clients outside their own countries. influential leader in Chinese graphic design Bingnan Yu 1) first studied art at the LuXun Academy of Fine Arts in China and continued his education at the Hochschule für Grafik und Buchkunst 2) In addition to being 1 of the earliest practitioners of modern graphic design in China, Yu is a former professor at the Academy of Arts and Design at Tsinghua University. 3) As a teacher, he has inspired a generation of Chinese graphic designers by emphasizing the significance of traditional Chinese arts, painting, and calligraphy as well as the principles of both his Eastern and Western Design education. 4) 1992 he became the 1st ethnic Chinese Person admitted to the Alliance Graphique Internationale (AGI). 5) 1998, Yu received the Gutenberg Prize from the city of Leipzig for "rendering outstanding, exemplary services to the advancement of the book arts" (23-121). leader in both education and practice, in the Chinese Embrace of Western design movements is _____ ______ 1) dean of the School of Design at the Central Academy of Fine Arts (CAFA) in Beijing. 2) Educated at Zhejiang Academy of Fine Arts, he later studied with Alvin Eisenman and Paul Rand at Yale University's School of Art and joined Adobe Systems' Creative Services Department. 3) With Sumner Stone, he was a key member of the design team that developed Adobe's First font catalogue (23-122). 4) developed a strong cross-cultural perspective that would prove a prescient design strategy on his return to China. i) ability to fuse East and West is clearly evident in his font designs for Adobe (23-123), in the typography workshop he taught at Yale for 10 years, and in the work in his design partnership, Square Two Design (23-124). Wang served as design director for the 2008 Beijing Olympic Games graphics program. 1) His Skill in fusing modern Western design, traditional Chinese Aesthetic and cultural influences, and Olympic Game design traditions enabled the development of an extraordinary cross-cultural design program.
Wim Crouwel - Total Design
A strong impetus toward functional design in the Netherlands began in 1963. A group including graphic designer Wim Crouwel (b. 1928), product designer Frisco Kramer (b. 1922), and graphic and architectural designer Benno Wissing (1923-2008) joined forces in Amsterdam to form a large, multidisciplinary design firm, Total Design (TD). TD sought a "total image" for clients through integrated graphics, architecture, and products. During the 1960s and 1970s the firm played a dominant role in Dutch design, initiating a purifying process through programs with limited typeface choices, standardized formats for paper and typography, and consistent schema for layouts. Projects included visual-identity programs (Fig. 23-34), museum exhibitions with related graphics (Figs. 23-35 and 23-36), book design, signage, and environments. TD used a team approach, with each team headed by a senior designer who established its direction. Two design firms, Total Design and Studio Dumbar, were commissioned to collaborate on this extensive and far-reaching project. Studio Dumbar received the commission to revise the identity system (Fig. 23-38). Prominent use of PTT's sans-serif initials continued, with more vibrant colors and geometric elements (squares, dots, and lines) used to intensify and energize PTT graphics, products, and environments. Bright hues become identifiers, with red used for the postal service and intense green for the telephone service. Telephone booths, which need to be located quickly in emergencies, form bright green oases in urban environments, highly visible regardless of season or time of day. First located in The Hague and then in Rotterdam, this studio has a comprehensive range, designing everything from experimental graphics for cultural clients to corporate identity programs (see Fig. 23-38) and literature. Studio Dumbar makes a conscious effort to produce innovative and provocative graphics; the goal is to achieve the level of freedom and diverse techniques usually associated with fine arts while successfully meeting client objectives. Netherlands 1963 design firm Total design by Wim Crouwel 23.34 before Total Design the Netherlands had no comprehensive firm capable of doing multi discipline projects Its intention was to conceive and implement "ideas on design in all fields, in order whenever possible to achieve a unity of thought, or total design' in these fields." "total image" for clients 22.33 postage stamps used grids in layouts 23.25 visible grid, looks like bitmap but is ink on paper
Wim Crouwel, Total Design
1963 A strong impetus toward functional design in the Netherlands A group including graphic designer ______ _____, product designer Frisco Kramer, and graphic and architectural designer Benno Wissing joined forces in Amsterdam to form a large, multidisciplinary design firm, ________ _______ (TD). Before TD, Netherlands had no comprehensive firms capable of large-scale projects. 1) TD offered extensive design programs for business, industry, and government. 2) Its intention was to conceive and implement "ideas on design in all fields, in order whenever possible to achieve a unity of thought, or total design' in these fields." Crouwel 1) played an important role in establishing TD's philosophy and direction. 2) During early 1950s he had been in direct contact with Swiss designers forging the International Typographic Style, but his design philosophy was less emphatic about universal form and standardized formats: A) he emphasized the designer as an objective problem solver who finds solutions through research and analysis, simplifying the message and the means for conveying it to an audience. 3) believed the flood of Typographic messages in contemporary society demanded clarity and simplicity. Crouwel achieved a remarkable minimalism imbued with an aesthetic spirit (23-33). TD sought a "total image" for clients through integrated graphics, architecture, and products. 1) During 1960s-70s, firm played a dominant role in Dutch design, initiating a purifying process through programs with limited typeface choices, standardized formats for paper and typography, and consistent schema for layouts. 2) Projects included visual-identity programs (23-34), museum exhibitions with related graphics (23-35 and 23-36), book design, signage, and environments. 3) TD used a team approach: each team headed by a senior designer who established its direction. Kramer left TD in 1967 and Wissing departed in 1972. Crouwel remained as a guiding force until 1981, when he became a full-time professor, although he continued as an adviser to TD. 1) firm became important training ground for young designers, who gained experience there and then left to launch new firms. 2) TD, now Total Identity, continues as a major force in European design, with offices in 6 cities and over 50 professionals on staff.
Hard Werken, Wild Plakken
1965, Nederlandsche Bank selected R. D. E. Oxenaar to design Dutch paper currency. 1) was disappointed with his 1st design, a green 5-guilder note, and agreed to design additional currency only if he could be involved in every step from the beginning to final production. i) His design process addressed production requirements, safeguards against counterfeiting, and ease of use. A major advance occurred in 1978, when a new hundred-guilder note was needed and he was given the freedom to select the subject. A) rejected traditional symbols of authority such as engraved portraits of venerated figures and national emblems. B) His new design featured a snipe, a long-billed brown bird found in marshy areas. i) The public responded positively to this bank note, so Nederlandse Bank Permitted Oxenaar to select additional currency subjects (23-39), including a sunflower and a lighthouse. B) Each note had a dominant color and large sans-serif numbers for the denomination. i) Composition and color were used to achieve an energy and expressiveness unprecedented in currency design. His work confirms a critical realization: the personal and subjective interests of the artist can be brought to fruition while fulfilling the needs of public communication. While 1960s saw a strong impetus toward functional corporate design in the Netherlands, evinced by the founding of Total Design, it also saw the emergence of the Provo Youth movement, which emphasized individual freedom and rejected social conformity. 1) The prevailing climate provides fertile ground for a new expressionism in graphic design; this tendency in Dutch design increased dramatically during the1970s and 1980s. 2) Dutch art and design has a long tradition of emphasizing the traditional values of harmony, unity, and order. Late twentieth-century designers, including Anthon Beeke and the groups Studio Dumbar, _______ _____, and ________ ________, pushed beyond these traditional values in their quest for individual meaning and subjective expression. Jan van Toorn 1) a graphic designer since 1957 and has taught in the Netherlands and the United States. 2) 1991-98 he was the director of Jan van Eyck Academy in Maastricht, where he developed programs in fine arts, graphic design, and design theory. 3) Since 1989, he has been a visiting professor at the Rhode Island School of Design in Providence, Rhode Island. 4) His work has inspired many expressionist designers, and he has explored means of organizing information to influence the viewer and to transmit social values. A) designs of calendars, museum catalogues, and posters are often assembled of intentionally provocative images and idiosyncratic font choices in unfinished montages rather than seamless compositions. B) His philosophy of "dialogic design"presents a critical challenge to the viewer to participate in the perception process and examine the meaning and motives of visual messages (Fig. 23-40).
Colin Forbes
1965, after Gill left the partnership and architect Theo Crosby joined the firm, the name was changed to Crosby, Fletcher, Forbes. Design partnership formed in 1962 became an early locus of British design
a
1966, German graphic designer Olaf Leu wrote that German design no longer had any national attributes. 1) observed that while some might favor this development, many others regretted it. At the time of Leu's writing, the purist geometry of the International Typographic Style and the unbridled freedom of American design were harmoniously co-existing as important influences on both German design and design activity around the globe. Period of international dialogue was beginning. In the same way that events in China and the Middle East may directly affect Europe, the Americas, and Japan, conceptual innovation and visual invention in 1 part of the world may spread rapidly to another. 1) 1 government's foreign policy can have both local and global consequences, conceptual innovation and visual invention beginning locally may have a global reach that is rapid, powerful, and direct. Today, international culture embracing fine arts, performing arts, and design spans national boundaries, extending from rich design metropolises to every corner of the globe. A) growth has been spurred by a compounding of factors like: 1) graphic arts technology, which makes professional typography and printing possible in small cities and developing countries 2) the exponential growth of graphic design education. During 1980s-90s, the rapid development of electronic and computer technology began to change the processes and appearance of design. 1) Overnight express mail, fax machines, the Internet, electronic mail, global televisual communications such as the continuous Cable News Network (CNN), and direct-dial international long-distance telephone service all served to further shrink the human community into Marshall McLuhan's "global village." The advanced technology of the late 20th and early 21st centuries created a cultural milieu of simultaneity-ancient and modern cultures, Eastern and Western thought, handicraft and industrial production-until past, present, and future blurred into a continuum of information and visual form. 1) This complex world of cultural and visual diversity has created an environment in which a global dialogue coexists with national visions, resulting in an explosive and pluralistic era for graphic design. 2) The many countries and regions where designers have developed a unique national posture for design include the United Kingdom, Asia, the Netherlands, the Iberian Peninsula, the Americas, and the Middle East.
Hard Werken Design
1978 a group of Rotterdam designers launched a new monthly magazine (23-51) titled Hard Werken (Hard Working); 2 years later they formed ______ _______ _____: was more an informal association than a structured business. 1) The group included Henk Elenga, who later opened Hard Werken L.A. Desk in Los Angeles, Gerard Hadders, Tom van der Haspel, Helen Howard, and Rick Vermeulen. 2) Joining in a reaction to formalism and modernism, Hard Werken developed a relaxed, anything goes attitude. i) Rejecting all styles and theories, its members sought solutions from their subjective interpretation of the problem (Fig. 23-52). 3) Their openness to any conceivable typographic or image possibility resulted in surprising and original results. 4) Hard Werken emphasized not just the message content but also the methods and materials used to convey it to an audience. 5) Formal precepts governing design were suspended. Unlike the collaborative atmosphere at Studio Dumbar, Hard Werken was initially a collective of autonomous designers who could decide whether others could participate on projects. Hard Werken embraced the contemporary art scene and rejected design refinement; its work could be raw and offensive. 1) adhered to no fixed political or aesthetic position but embraced creative anarchy. 2) Rejecting boundaries, it designed audiovisual presentations, exhibitions, furniture, interior designs, lamps, and theater sets. 3) 1990, the group had evolved into a more structured company and in 1994, it merged with the Ten Cate Bergmans design office to form a large communications firm named Inizio.
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Design in the Netherlands WWII and German occupation completely disrupted Dutch society; with severe shortage of raw materials transportation and communications came to a virtual halt. Postwar years were a time for rebuilding the economy and working to restore prewar cultural and social life. As Dutch design evolved, two strong currents became evident: A) a pragmatic constructivism inspired by Dutch traditions from the 1st half of the century, including the De Stijl Movement, Piet Zwart, and Paul Schuitema B) post-war influences from Switzerland; and a vigorous expressionism, with jolting images and spontaneous spatial syntax. 1) Dutch have a reputation as a thrifty people who favor order and structure; they are also considered broad-minded and tolerant of diverse political, religious, and artistic ideas. Perhaps the former stems from the cooperative spirit of a densely populated small country, much of which lies below sea level and must be protected by dikes, while the latter stems in part from Holland's traditional role as a seafaring nation, with international influences flowing through its ports. Exposure to diverse ideas and cultures spurred an attitude of tolerance. From the 1500s, Dutch printers were free to print material banned in other countries, while scientists and philosophers whose radical theories made life comfortable for them elsewhere sought refuge in Holland. 1) Dutch citizens prize their individuality and free expression and extend this freedom to others, creating a social climate that encourages innovation.
Alan Fletcher, Colin Forbes, Bob Gill, Pentagram
Design partnership formed in 1962 became an early locus of British design. ______ ______, ______ _______, and _______ ______ launched a studio that carried their names. 1) 1965, after Gill left the partnership and architect Theo Crosby joined the firm, the name was changed to Crosby, Fletcher, Forbes. 2) Exhibition design, historic conservation, and industrial design were added to the firm's activities. 3) As additional partners were added, the name of the studio was changed to ________. i) Continued growth would make this 5-pronged name obsolete, for by 1996 Pentagram had 17 partners and 148 employees in its offices in London, Hong Kong, New York, San Francisco, and Austin, Texas. Intelligence and a talent for developing design solutions suited to the needs of the problem were the hallmarks of Pentagram design during its formative years in London. 1) Asked to design a cover for a magazine containing an article about their work, the designers mailed a parcel from London to Zurich With a request for its return unopened. i) color photographs documenting its journey through the postal system became the cover design (Fig. 23-1). ii) Thorough evaluation of the communications problem and the specific nature of the environmental conditions under which the design was to appear was combined with British wit and a willingness to try the unexpected. iii) summarizes the essence of the Pentagram Approach to graphic design. In the best English tradition, Pentagram's partners combined a sense of the contemporary (23-2 and 23-3) with strong understanding of history (23-4). 1) firm's earlier design solutions range from clean geometric forms in corporate identity systems to a warm historicism in packaging design and graphics for smaller clients. 2) Conceptual, visual, and often imbued with expressive humor, Pentagram's graphic design work enabled Britain to establish an international presence in the field just as it had at the turn of the 20th century and in the years after WWI. i) Pentagram's expansion into other countries and continents is a testament to the organizational skills and creativity of the original partners.
Manuel Estrada
Graphic design from Spain and Portugal share similar aesthetic qualities and often reflects a tranquil view of life: charming, warm, colorful and, at times, imbued with the sensual, the surreal, and the witty. It suggests the Iberian visual culture, including opulently textured architecture, local arts and crafts, and modernist art by Gaudí, Picasso, Miró, Dalí. Initially studying architecture, Manuel Estrada (b. 1953) and five colleagues founded the Sidecar graphics group in the early 1980s. After working for several years in advertising design, Estrada opened his own graphic design studio in 1989. During the 1990s the studio expanded to a team of ten people involved with corporate design, book design and editorial projects, visual identities for museums, event graphics, signage, and architectural graphics. Striving for a balance between reflection, feeling, and intuition, Estrada works initially with words and drawings, developing and refining ideas before taking them to the computer (Figs. 23-90 through 23-94).
Min Wang
Min Wang - Art Director A leader in both education and practice, in the Chinese embrace of Western design movements is Min Wang, the dean of the School of Design at the Central Academy of Fine Arts (CAFA) in Beijing. Wang served as design director for the 2008 Beijing Olympic Games graphics program. His skill in fusing modern Western design, traditional Chinese asthetic and cultural influences, and Olympic Game design traditions enabled the development of an extraordinary cross- cultural design program.Educated at Zhejiang Academy of Fine Arts, he later studied with Alvin Eisenman and Paul Rand at Yale University's School of Art and joined Adobe Systems' Creative Services Department in 1990. With Sumner Stone, he was a key member of the design team that developed Adobe's first font catalogue (Fig. 23-122). Wang developed a strong cross-cultural perspective that would prove a prescient design strategy on his return to China. His ability to fuse East and West is clearly evident in his font designs for Adobe (Fig. 23-123), in the typography workshop he taught at Yale for ten years, and in the work in his design partnership, Square Two Design (Fig. 23-124).
Pentagram
Pentagram is the world's largest independent design consultancy. The firm is owned and run by 21 partners, a group of friends who are all leaders in their individual fields. We design architecture and interiors, books, branding and identities, digital installations, exhibitions, films, products, posters, and websites from offices in London, New York, San Francisco, Berlin and Austin. Known for concepts 23.1 package 23.2 die casting typeface 23.3 bodoni typeface David Hillman 23.9
Abedini
The expressive typographic posters of the Iranian graphic designer Reza Abedini (b. 1967) reflect both his training in graphic design and his later education as a painter. Often combining Farsi with English or French, his posters radiate a graceful elegance. As with his prize-winning poster for the film Rêves de sable, his type and image frequently become one and the same (Figs. 23-144 and 23-145).
Tadanori Yokoo
The work of Tadanori Yokoo (b. 1936) replaces the order and logic of constructivism with the restless vitality of Dada and a fascination with mass media, popular art, and comic books. During the mid-1960s Yokoo used the comic-book technique of black line drawing as a vessel to contain flat areas of photomechanical color. He often collaged photographic elements into the designs, and he translated traditional Japanese images into the pop art idiom (Fig. 23-25). During the late 1960s and into the 1970s Yokoo's design vocabulary and range of art and printing techniques became increasingly uninhibited. The "Sixth International Biennial Exhibition of Prints in Tokyo" poster (Fig. 23-26) combines a variety of techniques: a halftone group portrait in pink; a sky with an airbrushed brown band across the top and a red one at the horizon; calligraphic writing on vertical bands, as found in earlier Asian art; and a monumental montage figure towering over a lighthouse on a bank across water.
Tadanori Yokoo
The work of ______ _______ replaces the order and logic of constructivism with the restless vitality of Dada And a fascination with mass media, popular art, and comic books. 1) During mid-1960s, used the comic-book technique of black line drawing as a vessel to contain fat areas of photomechanical color. 2) He often collaged photographic elements into the designs, and he translated traditional Japanese Images into the pop art idiom (Fig. 23-25). 3) During late 1960s- 1970s Yokoo's design vocabulary and range of art and printing techniques became increasingly uninhibited. 4) The "Sixth International Biennial Exhibition of Prints in Tokyo" poster (Fig. 23-26) combines a variety of techniques: A) a halftone group portrait in pink B) a sky with an airbrushed brown band across the top and a red one at the horizon C) calligraphic writing on vertical bands, as found in earlier Asian art; D) a monumental montage figure towering over a lighthouse on a bank across water. During 1970s-80s, his work often moved toward unexpected and even mystical images (Fig. 23-27). 1) expresses the passions and curiosity of a Japanese generation that grew up with American Popular culture and electronic media-television, movies, radio, and records. 2) Accordingly, shifting values and a rejection of tradition find symbolic expression in Yokoo's uninhibited graphics, gaining him a cult reputation.
a
Today, an international culture embracing fine arts, performing arts, and design spans national boundaries, extending from rich design metropolises to every corner of the globe. This growth has been spurred by a compounding of factors, including graphic arts technology, which makes professional typography and printing possible in small cities and developing countries, and the exponential growth of graphic design education. During the 1980s and 1990s, the rapid development of electronic and computer technology began to change the processes and appearance of design. Overnight express mail, fax machines, the Internet, electronic mail, global televisual communications such as the continuous Cable News Network (CNN), and direct-dial international long-distance telephone service all served to further shrink the human community into Marshall McLuhan's "global village." This complex world of cultural and visual diversity has created an environment in which a global dialogue coexists with national visions, resulting in an explosive and pluralistic era for graphic design. The many countries and regions where designers have developed a unique national posture for design include the United Kingdom, Asia, the Netherlands, the Iberian Peninsula, the Americas, and the Middle East.
