History of Graphic Design Chapters 19-21 Test Review

How would you typify the New York school design approach? Describe it.

A common theme of these designers is a commitment to the Modernist ideas of: •"less is more," •functionalism, •and the use of images and geometric forms to convey a message. The American iteration of this placed importance on the work being egalitarian, open and direct.These designers took advantage of common cultural symbols. They combined them with verbiage to tell a new story, creating a symbiotic relationship between word and image. contemporary idea of what advertising is

what was the push pin almanack

Bi-monthly magazine begun in the 1950s by Seymour Chwast, Milton Glaser, Reynolds Ruffins, and Edward Sorel, a group of young New York graphic artists who used the joint publication to solicit freelance work. Originally, the publication featured editorial material from old almanacs, which the group illustrated.

who was William Golden? What was his reputation? What did the work look like?

CBS art director for almost two decades. He brought uncompromising visual standards and a keen insight to the communications process. The quality and intelligence of each successive design solution enabled CBS to establish an ongoing and successful corporate identity•Golden gained a reputation of excellence by always striving for a perfect, simple solution to the problem at hand, producing an original and distinguished design to convey the message simplified solution, ideas tested time

how did magazines change in the 1960s? Name some new magazines begun in the 60s

Fact Avant Garde Eros

what work made George Lois famous? describe his design approach

He adopted the Bernbach philosophy that fully integrated visual/verbal concepts were vital to successful message conveyance. •His designs are deceptively simple and direct. His cover designs for Esquire challenged, shocked, and often provoked their audience. would argue with clients because he felt his ideas were that good

who is Massimo Vignelli? What two companies did he create? what was he known for? know his work

He was an Italian designer who worked in a number of areas ranging from package design, houseware and furniture design to public signage and showroom design. •Began as a partner at Unimark, and when the New York office closed, founded Vignelli Associates with Lella Vignelli in 1971•His ethos was, "If you can design one thing, you can design everything," and this was reflected in the broad range of his work Bloomingdales bags, NYC subway map

Who spearheaded figurative typography

Herb Lubalin

what is a propriety mark

In medieval times, these marks were required by law and enabled the guilds to control trade.

who was Bill Bernbach? What did he change?

June 1, 1949, Bill Bernbach, along with Ned Doyle and Maxwell Dane, opened the doors of Doyle Dane Bernbach aka DDB •Was grounded in the belief that advertising is fundamentally persuasion and persuasion was not a science, but an art• Believed that people working in the communications industries were the "shapes of society" and had an obligation try to make things better in the world•Created the art and copy team assigned art directors and copywriter to work together trying to get people interested in brands they wouldn't be

Who were "New York School" designers?

Paul Rand Bill Bernbach/William Bernbach Saul Bass Herb Lubalin George Lois

who was Paul Rand? what did his work look like?

SEE POWERPOINT 19 transformed advertising, pushed concepting introduced the idea of form- advertisements stood out utilized symbolism to create the idea- visual pin

What designer is famous for movie titles?

Saul Bass

explain "good design is good business"

The Visual Identification marks developed during the 1950's were multi-layered communications systems reflecting the prosperity of the times, technological advantages and multi-national scope of many businesses.The international evolution of the design approaches first established at the Bauhaus, conceptual inventiveness explored at the New York School, rationalism, heavy use of the grid and rise of broadcast television were major influences.

explain the significance and influence of the polish poster. why did poster design become so prominent in Poland?

The conceptual image dealt with the design of the entire space, including integration of word and image, and conveyed not merely narrative information but ideas and concepts.GRAPHIC ARTISTS had: •the entire history of visual arts from which to draw inspiration•Graphic illustration became more expressive and symbolic•Created more personal images, and pioneered individual styles and techniques•Blurred the boundaries between fine arts and public visual communication. posters for cultural events in Poland became the main source of communication

what is a corporate identity manual

This guide serves as a standards manual for the integrated corporate design program. It is used to ensure correct application of the corporate identity following its implementation.

what was the Unimark design approach

Unimark was an international design firm that grew to 402 employees in 48 offices around the world. Unimark rejected individualistic design and believed that design could be a system so that others could implement it effectively. The basic tool was the grid. The preferred typeface was Helvetica. Objectivity is the goal. a system, rejected individualistic design, grid system

what is a corporate identity

a system of visual elements used in a comprehensive program to project a consistent image of a company.

what is a logotype

a company brand mark consisting of only letterforms.

be able to identity Milton Glaser's most famous work (bob Dylan poster, I heart NY logo)

bob dylan I heart ny

who was Lou Dorfsman? What was his design philosophy? What did his work look like?

did everything within CBS so everything had a specific simplistic look and feel Became art director for CBS Radio in 1946.•He combined conceptual clarity with a straightforward and provocative visual presentation•Typography and image were arranged in well-ordered relationships that used white space as a design element•The high quality of his solutions to communications problems during his four decades with CBS enabled him to project an exemplary image for the corporation•He was named director of design for the entire CBS Corporation in 1964 and vice president in 1968, in keeping with the previous CBS president, Frank Stanton's,philosophy that design is a vital area that should be managed by professionals

what is Alexei Brodovitch's influence on magazine design

integrated image and text

who is Herb Lubalin? Take note of the variety of his accomplishments. What were they?

introducing expressive typography into print advertising. •Was passionate by the impact a typeface can have if traded with another and how typography affects the whole text's interpretation. •Found work with the Sudler & Hennesseyagency for 20 years. •Designed projects including poster designs, magazine designs and package and identity solutions. •Lubalin's talent was best manifested when he designed Ralph Ginzburg's succession of magazines; Eros, Fact and Avant Garde.•U&LC devoted his typographic experimentation. •Was a founding partner of ITC or International Typeface Corporation. powerful communication in consumers lives adjectives associated to typography so it is appropriate

who was Raymond Loewy? What did his work link like? what was he known for?

re-developed the brand for Air Force 1 He has been responsible for a range of items from cars, ships, planes, buildings and appliances to products such as toothbrushes and pens•He proved that the success of a product is as dependent on aesthetics as function.•Known for his streamlined and modern aesthetic as applied across a range of industrial products, packaging, architecture, interiors, and corporate identities•Developed the Shell logo and Exxon logo •Worked with coca cola, united airlines, shell, EXXON, IBM, BMW, GM and NASA

what was the conceptual revolution? what started it?

the new advertising it was around 1960 that the big change took place. What was it? CONCEPTUAL revolution. Until then, visual and word were created in isolation. One would create and pass it on.Now art directors and copywriters become a team and generate ideas together. Art directors also earned the responsibility of creating ideas and not just the art. Who was credited in doing this? bringing more thinking in the design Bill Bernbach VW lemon poster

Who was Saul Bass

was a graphic designer and filmmaker, perhaps best known for his design of film posters and title sequences specific style, torn paper used it to push the story along, transformed credits figurative typography typography unified with photography in editorial design brought people into the actual design

What were influences on the American 60s psych poster? Why did they look the way they did?

•In the United States during the 1960s•Was a grassroots affair fostered by the social upheavals of the decade, including the civil rights movement, public protest against the Vietnam War, the beginnings of the women's liberation movement, and a search for alternative lifestyles. •Were referred to as psychedelic posters because they were related to anti-establishment values, rock music, and psychedelic drugs.•Design influences included: •the flowing, sinuous curves of art nouveau, •letterforms of Alfred Roller•intense optical color vibration •recycling of images from popular culture or manipulation of images, such as reducing continuous-tone images to high-contrast black and white, which was prevalent in pop art. •The primary clients of artists in this movement were promoters of rock-and-roll concerts and dances.

what was the push pin style? who are the most famous practitioners

•Seymour Chwast•Milton Glaser•Reynolds Ruffins•Edward Sorel. more conceptual approach to illustration offered an alternative to the International Typographic Style and the New Advertising of the 1950s and 1960s.

who was Wes Wilson

•The father of the 1960s rock concert poster•Inspired by the Art Nouveau masters•He took what was understood about promotional art and turned it inside-out using nearly cryptic letters filling every available space, lines melted into lines, and clashed colors