Unit 4 (chapter 17) History of Graphic Design

Armory Show

1913 - The first art show in the U.S., organized by the Ashcan School. Was most Americans first exposure to European Impressionist and Post-Impressionist art, and caused a modernist revolution in American art.

Federal Art Project

1935-43 over 200,000 works murals, paintings, etc division of the Works Progress Administration that hired unemployed artists to create artworks for public buildings and sponsored art-education programs and exhibitions

Erté, Alexey Brodovitch

4 individuals who brought European modernism to American graphic design- _____ (born Romain de Tirtoff), Dr. Mehemed Fehmy Agha, _______ _______, and Alexander Liberman—were Russian-born, French-educated immigrants who worked in editorial design for fashion magazines. Erté 1) Russian admiral's son, born in St. Petersburg. 2) became prominent Paris illustrator and set designer working in the art deco manner, he was signed to an exclusive contract from 1924-37 to design covers and fashion illustrations for Harper's Bazaar magazine (17-12). 3) Renowned fashion designs, set designs, illustrations, and graphics: he became major proponent of the art deco sensibility. 4) His work combined the stylized drawing of synthetic cubism, an exotic decorativeness, and the elegance of high fashion. Dr.Agha: 1st art director trained in modern design to guide the graphic destiny of a major American periodical. 1) Born In Ukraine, a part of the Russian Empire at the time, to Turkish Parents 2) Agha studied art in Kiev and received advanced degrees in languages in Paris. 3) worked in Paris as a graphic artist, moved to Berlin and was there in 1928 when he met Condé Nast, who had come to close down the unprofitable Berlin edition of Vogue magazine and was seeking a art director for the American Vogue. 4) Nast persuaded him to come to New York as Vogue's art director. Energetic and uncompromising, Agha soon took over design responsibilities for Vanity Fair and House & Garden as well. He overhauled Condé Nast's stuffy, dated approach editorial design by introducing bleed photography, machine-set san-serif type, white space, and asymmetrical layouts.

Walter P. Paepcke, Container Corporation of America

A patron of design A major figure in the development of American modern design beginning in the 1930s was a Chicago industrialist, _______ __________, who founded the _________ _________ ___ _________ (CCA) in 1926. 1) pioneered the manufacture of paperboard and corrugated-fiber containers. A) Acquisitions and expansion enabled CCA to become a national company and the nation's largest producer of packaging materials. 2) was unique among the large industrial his generation, for he recognized that design could both a pragmatic business purpose and become a major cultural thrust on the part of the corporation. 3) His interest was inspired by his wife, artist Elizabeth Nitze Paepcke, who prompted her husband to hire perhaps the 1st corporate design director in America. A) 1936 Egbert Jacobson was selected as the first director of CCA's new department of design. b) as with Behrens's design program for AEG, CCA's new visual signature (and its implementation was based on 2 ingredients: the vision of the designer and supportive client. Jacobson had an extensive background as a color expert, and this knowledge was put to use as mill and factory interiors were transformed from drab industrial grays and browns to bright colors. 1) A new trademark was applied to stationery, checks (17-28), invoices, vehicles, and signage. 2) consistent format used sans-serif type and a standard color combination of black and shipping-carton tan. Paepcke was an advocate and patron of design. 1) He had maintained a interest in the Bauhaus, perhaps as a response to the school's experiments with paper materials and structures. 2) Moved by Moholy-Nagy's commitment and determination, Paepcke provided much-needed moral and financial support to the Institute of Design. (When Moholy-Nagy's died on 24 November 1946, the institute was on a firm educational and organizational footing.) CCA's advertising agency was N. W. Ayer, where art director Charles Coiner made a major contribution. 1) Coiner had designed the well-known National Recovery Act logo, which appeared across the country in support of federally funded programs to combat the Depression. 2) May 1937, Cassandre was commissioned to design a series of CCA advertisements that defied American advertising conventions. The traditional headline and body copy were replaced by a dominant visual that extended a simple statement about CCA (17-29). Unlike the long-winded copywriting of most 1930s advertising, many CCA advertisements only had a dozen words. When Cassandre returned to Paris the CCA continued his basic approach by commissioning advertisements from other artists and designers of international stature, including Bayer (who was retained as a consulting designer by Jacobson And then served as chairman of CCA's department of design from 1956 to 1965), Léger, Man Ray, Matter, and Carlu.

a

After the war The United States demobilized millions of troops and converted industry from wartime needs to consumer markets after World War II. 1) Seeking another institutional advertising campaign using fine art, CCA decided to commission paintings by artists from each of the then 48 states (17-40). A simple copy line appeared under each full-color painting, followed by the CCA logotype. 2) The series served to advance a Bauhaus ideal: the union of art with life. Once selected, artists were allowed the freedom of their artistic convictions. A major corporate art collection, now housed in the Smithsonian Institution, was assembled. After the state series was completed, CCA developed one of the most brilliant institutional campaigns in the history of advertising. 1) Elizabeth and Walter Paepcke were attending the Great Books discussion group conducted by Robert M. Hutchins and Mortimer Adler. 2) These 2 scholars were also editing the Great Books of the Western World series, which included two volumes discussing the ideas contained in the series. 3) Walter Paepcke approached Adler with the possibility of an institutional ad campaign presenting the great ideas of Western culture. a) each would present an artist's interpretation of a great idea selected by Adler and his colleagues. b) Paepckes joined Bayer and Jacobson to form a jury to select the visual artists who would be asked to bring graphic actualization to these abstract concepts. 4) Beginning in February 1950, this institutional campaign transcends the bounds of advertising, as ideas about liberty, justice, and human rights were conveyed to an audience of business leaders, investors, prospective employees, and molders of public opinion. 5) campaign ran over 3 decades, with 157 visual artists creating artwork for almost 200 "Great Ideas" advertisements. a) Art ranged: painted and sculptural portraits to geometric abstraction, symbolic interpretations (17-41), and collage (17-42).

a

Alexander Liberman 1) Born in Kiev, Russia 2) spent his early years in Paris and studied at the Ecole des Beaux-Arts. 3)worked for Cassandre, was hired as a layout designer by the French weekly magazine Vu and in 1933 was appointed its director (17-20). In 1940 he emigrated to the United States, where he joined the design section at Condé Nast. 4) was a layout designer for Vogue, he succeeded Agha as the magazine's art director in 1943. a) Using photographers such as Irving Penn, Cecil Beaton, and Lee Miller, he enlivened Vogue with current images. 5) He was appointed editorial director of all Condé Nast publications in 1961 and remained until his retirement thirty years later (17-21).

Bayer

An important milestone in the visual presentation of data was the publication of the World Geo-Graphic Atlas by CCA in 1953. 1) in introduction, Paepcke spoke of a need for a better understanding of other peoples and nations." 2) The designer and editor, _______, labored for 5 years on the project. 3) Paepcke behaved unlike the conventional businessman, for CCA published a 368-page atlas filled with 120 full-page maps of the world supported by 1,200 diagrams, graphs, charts, symbols, and other graphic communications about the planet. 4) atlas was distributed to clients, suppliers, libraries, and museums. 5) Bayer assembled information from multiple scientific disciplines, including geography, astronomy (17-57), climatology, economics, and sociology, and presented it through symbols, charts, and diagrams. 6) Detailed information about states and countries was presented (Fig. 17-58). Bayer and his assistants delivered each page to the printer as a single gouache painting with Futura type pasted onto acetate overlay. Bayer was ahead of his time in his effort to inventory earth resources and study the planet as a series of interlocking geophysical and life systems. 1) Prophetically, the final section of the World Geo-Graphic Atlas discusses the conservation of resources, addressing population growth and resource depletion. 2) Bayer used R. Buckminster Fuller's Dymaxion Projection, a map that shows the globe in 2 dimensions without distortion, as a base for pictographs representing population and rectangles of black dots symbolizing energy consumption (17-59). 3) It demonstrated that North America had only 8% of the world's population but consumed 73% of its energy. Many of the immigrants who brought European design concepts to the United States arrived virtually penniless and with minimal possessions, but they were armed with talent, ideas, and a strong belief in design as a valuable human activity that could contribute to the improvement of human communication and the human condition. The American experience was greatly enriched by their presence.

a

Burtin, one of Germany's outstanding designers, fled Germany in 1938 after refusing to work for the Nazi regime. 1) His work combined a graphic clarity and directness with a lucid presentation of the subject matter. 2) The "Design Decade" Architectural Forum cover (17-26) demonstrates his ability to bring together structural form and symbolic information in a cohesive whole. a) The dates, printed on acetate, combine with the architect's tools to signify design during the preceding decade; shadows become integral forms in the design. 3) Burtin's keen understanding of science is reflected in designs for the Upjohn pharmaceutical company interpreting such complex subjects as bacteriology (17-27). 4) In 1943 Bertin left Upjohn to work on government training manuals, followed by three years as art director of Fortune magazine. 5) 1948 he became a design consultant for Upjohn and other companies, making a major contribution to the visual interpretation of graphic information.

Jean Carlu

CCA commissioned designs from leading Modernists, including Herbert Matter, Herbert Bayer, and Jean Carlu, for the company's advertising campaigns focusing on its war efforts and product. graphic designers who came to America and made significant contributions to design Charles Coiner became its art consultant as America's colossal defense buildup began. a) He commissioned Carlu to create one of the finest designs of his career, the famous "America's answer! Production"poster ( 17-30). b) Over 100,000 copies were distributed throughout the country, and the New York Art Directors Club Exhibition recognized Carlu with a top award. During World War II, CCA innovative uses for paperboard packaging, which freed metals and other strategic materials for the war effort. 1) A "Paperboard Goes to War" advertising Campaign (Figs. 17-38 and 17-39) continued the design experimentation of the earlier institutional ads. 2) Before the war, there was still a degree of public concern about the strength of paperboard; this campaign prepared the way for its extensive use after the war. 3) Each advertisement showed a specific use of a CCA product in the war effort. 4) Bayer, Carlu, and Matter joined Jacobson in creating powerful economical statements directly striking the essence of the communications problem. Strong visuals were used with 2 or 3 lines of typography, often placed diagonally in counterpoint to compositional lines from the illustration or montage.

Alexey Brodovitche

Carmel Snow invited _______ ________ to become art director of Harper's Bazaar, he remained from 1934 until 1958. 1) Russian, fought in the czar's cavalry during World War I, immigrated to Paris and established himself as a leading contemporary designer there before heading to the United States in 1930. 2) affinity for white space and sharp type on clear, open pages, rethought the approach to editor design (17-13). 3) sought "a musical feeling" in the flow of text and pictures. 4) rhythmic environment of open space balancing of text was energized by the art and photography he commissioned from major European artists, including Henri Cartier-Bresson, A. M. Cassandre (17-14), Salvador Dalí (17-15), Man Ray, and Martin Munkacsi. 4) Munkacsi's new compositions slapped long-held conventions of editorial photography in the face (17-16). a) Munkacsi was 1 of a new breed of editorial and advertising photographers who combined the visual dynamic learned from Laszlo Moholy-Nagy and Man Ray with the fresh approach to photography made possible by the new 35mm Leica "miniature" camera (Invented by an employee of the Leitz Company of Germany in 1913, this small portable camera was introduced much later, because its production was delayed by World War I) b) With the addition of faster, higher-resolution films, photography became an extension of the photographer's vision. Brodovitch taught designers how to use photography (Fig. 17-17). a) His cropping, enlargement, and juxtaposition of images and his exquisite selection from contact sheets were all accomplished with extraordinary intuitive judgment (Figs. 17-18 and 17-19). b) saw contrast as a dominant tool in editorial design and paid close attention to the graphic movement through the editorial pages of each issue.

Herbert Bayer

Commissioned by the Chicago-based Container Corporation of America in the late 1940s, and designed and edited by Bauhaus artist and graphic designer Herbert Bayer, this book was published in 1953 to wide critical acclaim. It continues to blow readers away today as it did in the 1950s. The atlas begins by putting the earth in the context of the solar system, with detailed graphics. Then, each U.S. state, and all countries and continents are covered in great detail. Topics like geology, forestry, agriculture, and oceanography are covered extensively as well. later work: illustration 17.37: social realism, some Bauhaus style World Geo-graphic atlas: record of a time and a culture, inventory of world's resources and population growth During the Dessau period the Bauhaus's typography workshop, taught by __________ , solicited printing orders from local businesses and made typographic design innovations. This professor designed a universal type that reduced the alphabet to clear, simple, and rationally constructed forms.

Herbert Matter

Herbert Matter, meanwhile, received freelance design commissions from CCA and design and photographic assignments from other clients, including Vogue, Fortune, and Harper's Bazaar. Matter's editorial design solutions deftly exploited photography, as shown in his cover for the October issue of Fortune (Fig. 17-46). In 1946, Matter began a twenty-year period as graphic-design and photography consultant to the Knoll Associates furniture design and manufacturing firm, for whom he produced some of his finest work. Matter's advertisements for molded-plastic chairs by Eero Saarinen are remarkable in their dynamic composition (Fig. 17-47). Biomorphic shapes, while quite fashionable during the late 1940s and early 1950s in painting, furniture, and other design forms, became trapped in this time frame and are now associated with the sensibilities of the period. 17-38 and 39: paper board goes to war crop figures 17-47: 1946 worked for Knoll Associates (furniture) pictural abstract shapes instead of headline as focal point Who designed the New York, New Haven, and Hartford Railroad trademark in 1954? The design included a geometric slab-serif capital N above an H, and a red, black, and white color scheme.

a

Immigrants to America A migration began slowly and reached a peak in the late 1930s, as cultural leaders from Europe, including many graphic designers, came to America. The design language they brought with them, and the changes imposed on their work by their American experience, forms an important phase of the development of American graphic design. 1 of most prominent émigré book designers was George Salter. 1) was barred from freelance employment in Germany because of his Jewish lineage. Immigrated to New York in 1934. 2) 1922-1934: produced more than 350 book designs for 33 different German publishers. 3) 2/3 of his Commissions were book jackets, which became his trademark. a) his sensitivity to literary expression made him the ideal artist to capture a book's contents on its cover. His designs were signature pieces for some of the important literary works of the 20th century. b) His design for Alfred Döblin's novel Berlin Alexanderplatz (1929) is a triumph from this period (17-9). 5) quintessential hybrid modernist whose versatility drew on calligraphy, photomontage, airbrush scenes, panoramic watercolors, and pen-and-ink drawings. Salter Knew that a cover design must entice a potential reader to buy, and to this end his covers from the 1920s and early 1930s awaken visionary images of the works that are typically more suggestive than concrete. Simon and Schuster gave Salter his 1st commissions. 1) One of the most striking is the poster-style cover for Frank Buck's Fang and Claw (Fig. 17-10). 2) one of finest color work from the 1930s: the cover for William Faulkner's novel Absalom, Absalom (Random House, 1936) (17-11) which achieves an eerie effect through the airbrush and dynamic lettering to convey a psychological state. Such characteristic lettering ex-pressed uncertainty, fear, and states of emotional disturbance.

a

Joseph Binder came to the United States in 1934 for a series of lectures and workshops and soon received wide acclaim. 1) settled in New York the following year. 2) his technique became more refined, partly because he had begun to use the airbrush to achieve highly finished forms. His strong cubist beginnings eventually yielded to a stylized realism. 3) His 1939 New York World's Fair poster (17-22), the trylon and perisphere, emblems of the fair, combine with spotlights, a skyline, and modern transportation images to symbolize America's coming of age on the eve of WWII. World events would soon force the United States to cast aside its neutrality, traditionalism, and provincialism; the new embrace of modernist design was part of this process. Traces of cubism remained in Binder's work, as can be seen in his 1939 poster for iced coffee (17-23), where two-dimensional planes support the illustrative content. During his Vienna Period (14-65). Binder had constructed images from planes; now the subject matter became dominant, and design qualities were subordinated to pictorial imagery.

Lester Beall

In the challenging social and economic environment of the Depression era, he attempted to develop strong, direct, and exciting visual forms. Beall understood Tschichold's new typography and the Dada movement's random organization, intuitive placement of elements, and use of chance in the creative process Beall designed three series of posters for the REA. Despite the overt political and nationalistic message, what truly stands out is Beall's modernist design, which far outweighs the propagandist implications. These designs were so well received that in 1939, Beall's posters were among the first to be displayed at the Museum of Modern Art. self taught designer 17.7 abstract for illiterate audience -surrealist influence -minimal use of type The work of __________ broke with traditional advertising layout. He understood Jan TSCHICHOLD'S new typography and the Dada movement's random organization, the intuitive placement of elements and role of chance in the creative process. He often combined flat planes of color and elementary signs, such as arrows with photography. He admired the strong character and form of nineteenth-century American wood types and incorporated them into his work. He sought visual contrast and a rich level of information content. In his posters for the Rural Electrification Administration, a Federal agency charged with bringing electricity to less densely populated areas of the United States, the benefits of electricity are presented through signs understandable to illiterate and semiliterate audiences.

Ladislav Sutnar

Informational and scientific graphics __________ _______ came to New York as design director of the Czechoslovakian Pavilion at the New York World's Fair in 1939, the year Hitler seized his country. 1)remained in New York and became a vital force in the evolution of modern design in the United States. 2) close association with Sweet's Catalog Service enabled Sutnar to place an indelible mark on the design of industrial product information. A new trade-mark (Fig. 17-53) established the typographic character of Sweet's printed matter. Sweet's had provided a compendium of architectural and industrial product information. 1) Working with Sweet's research director, Knut Lönberg-Holm, he Developed a system for structuring information in a logical and consistent manner. 2) In 2 landmark books, Catalog Design and Catalog Design Progress (17-54), they documented and explained their approach to a generation of designers, writers, and clients. 3) Informational design was defined as a synthesis of function, flow, and form. A) Function is utilitarian need with a definite purpose: to make information easy to find, read, comprehend, and recall. b) Flow means the logical sequence of information. Sutnar felt the basic unit was not the page but the "visual unit," that is, the double-page spread. i) He rejected traditional margins and used bleeds extensively. ii) He used shape, line, and color as functional elements to direct the eye as it moved through the design seeking information. c) The format of Catalog Design Progress itself has a coding system (17-55) of signs, numbers, and words, with a triangle at the bottom of title pages pointing the reader forward. As Sutnar approached problems of form, static and uniform arrangements of catalogue information gave way to dynamics information patterns and clear, rational organization. 1) Each Catalogue has a unifying graphic theme, and visual articulation of type-underlining, size and weight contrasts, spacing color, and reversing-aided searching, scanning, and reading. 2) simple visualization language with emphasis on graphic charts, diagrams, and pictures clarified complex information and saved reading time. 3) upper-right corner is each visual unit's point of entrance and contains the identifying title (Fig. 17-56). 4) Optical unity resulted from a systematic use of line, shape, color, and type. These elements were combined into visual traffic signs" to assist the user in the search for information.

a

Joseph Binder remained a force on the American design scene until the 1960s. 1) powerful shapes and well-defined subjects 2) His ubiquitous military recruiting posters (17-51) were among the last manifestations of pictorial modernism and became ingrained in the American consciousness during the 1950s. The geometric and symbolic shapes of pictorial modernism were converted into monolithic mass symbolizing military might and the technological accomplishments of a new era of sophisticated weaponry. George Giusti worked in both Italy and Switzerland before coming to New York City In 1938 and opening a design office. 1) possessed a unique ability to reduce forms and images to a simplified, minimal essence. 2) his images become iconographic and symbolic. 3) his Freely drawn images included evidence of process in his work; an image painted in transparent dyes has areas of flooded and blotted color, and his three-dimensional illustrations often include the bolts or other fasteners used to assemble the elements. 4) Beginning in 1940s and into the 1960s, Giusti received frequent commissions for his bold, iconographic images for advertising campaigns and for cover designs of Holiday (17-52) and Fortune magazines.

Brodovitch

Just as CCA set the standard of excellence for institutional advertising in the postwar era, Brodovitch remained the preeminent designer for magazines. 1) editorial designer and developed an exceptional gift for identifying and assisting new talent. Photographers Richard Avedon and Irving Penn both received early commissions and advice from Brodovitch. Art Kane was Brodovitch protégé. Kane 1) worked as a photo retoucher and art director of 17 magazine before turning to photography. 2) a master of symbolism, multiple exposure, and the reduction of photography to essential images needed to convey the essence of content with compelling conviction. Early 1950s _______ designed the short-lived visual arts magazine Portfolio (17-43). Brodovitch gave this publication a seldom-matched elegance and visual flow through pacing, the cropping of images, and use of color and texture. 1) Large images, dynamic space, and inserts on colored and rough-textured papers (17-44) contrast with smooth, coated white paper. 2) 138-centimeter (4-foot) foldout photographic essay (17-45) on the Mummer's Parade, punctuated with vertical columns of filmstrips, is sequential and kinetic.

Ben Shahn

Office of War Info hired artist to booster the war effort The social realist _______ _______, whose paintings addressed political and economic injustice during the Depression, reached a larger audience in posters conveying Nazi brutality (17-34). A) achieved communicative power with intense graphic forms; the implication of a prison by closing the space with a wall: the hood masking the victim's identity: the simple, straightforward headline; and the factual urgency of telegram. social realism political views the shape of content

Ladislav Sutnar

Sutnar, a Czech designer born in 1897, was one of the first designers to actively practice the field of information design . His work was rooted in rationality and the process of displaying massive amounts of information in a clear and organized manner for easy consumption by the general viewer. For nearly 20 years he served as the art director for Sweet's catalog services where he created information graphics and catalog layouts for a wide range of manufactured items. Since 1906 Sweet's had provided a compendium of architectural and industrial product information. Sutnar developed a system for structuring information in a logical and consistent manner. In two landmark books, Catalog Design and Catalog Design Progress (Fig. 17-54), they documented and explained their approach to a generation of designers, writers, and clients. Informational design was defined as a synthesis of function, flow, and form. Function is utilitarian need with a definite purpose: to make information easy to find, read, comprehend, and recall. Flow means the logical sequence of information. Sutnar felt the basic unit was not the page but the "visual unit," that is, the double-page spread. He rejected traditional margins and used bleeds extensively. He used shape, line, and color as functional elements to direct the eye as it moved through the design seeking information. info design director for Sweets catalog: first designers to activity practice in information design work based clarity, rationality, and process that involved displaying mass amount of information in an concise and organized way de stijl, constructionist, etc used punctuation marks as design motif ________ worked in close association with Sweet's Catalog Service and defined informational design as a synthesis of function, flow, and form. He and Sweet's research director Knut Lönberg-Holm explained their approach in two books on catalog design.

Rural Electrification Administration

The Rural Electrification Administration was an agency created in 1935 under President Roosevelt's New Deal program to do exactly what it sounds like—get electricity to rural areas. provided rural farms with in expansive electrical lighting and power and telephone service Provided affordable electricity for isolated rural areas. An agency established in 1935 to promote nonprofit farm cooperatives that offered loans to farmers to install power lines.

Works Progress Administration (WPA)

The Works Progress Administration (renamed in 1939 as the Work Projects Administration; WPA) was the largest and most ambitious American New Deal agency, employing millions of people (mostly unskilled men) to carry out public works projects, including the construction of public buildings and roads during the great depression. In a much smaller but more famous project, Federal Project Number One, the WPA employed musicians, artists, writers, actors and directors in large arts, drama, media, and literacy projects. The largest and most ambitious of the new deal agencies and employed millions of unemployed people who were mostly unskilled men to carry out public works projects employed artist, designers, writers, actors, etc Put people in jobs 18 million found founds with theWPA New Deal agency that helped create jobs for those that needed them. It created around 9 million jobs working on bridges, roads, and buildings.

Works Progress Administration, Federal Art Project

The Works Progress Administration Poster Project President Franklin Delano Roosevelt's New Deal: federal government created the ______ ______ ______(WPA) in 1935. a) Direct relief for the unemployed was replaced by work opportunities, and billions of dollars were inserted into the economy as an average of more than two million workers were paid from 15 to 90 dollars per month from 1935 until 1941. b) Launched in the fall of 1935, the WPA ______ ______ _____ enabled actors, musicians, visual artists, and writers to continue their professional careers. c) A poster project was included among the various cultural programs. Sculptors and painters joined unemployed illustrators and graphic designers in the studios. d) Many poster designs were by artists, and the project took a strong aesthetic approach to typography, used as both compositional element and message communicator. (17-24 and 17-25). e) 1935-1939, when the Federal Art Project was abolished, over 2 million copies of approximately 35,000 poster designs were produced. Most of the designs were silk-screened. a) Silk-screen printing's characteristic flat color combined with influences from the Bauhaus, pictorial modernism, and constructivism to produce a modernist result that contrasted with the traditional illustration dominating much of American mass-media graphics of the era. Government-sponsored cultural events, including theatrical performances and art exhibitions, were frequent subjects for the poster project, as were public-service communications about health. crime prevention, housing, and education.

Herbert Bayer, Jean Carlu, Herbert Matter, Ladislav Sutnar

The flight from fascism The rise of fascism in Europe created 1 of the greatest transnational migrations of intellectual and creative talent in history. 1) Scientists, authors, architects, artists, and designers left Europe for North America during the late 1930s. 2) Among them: artists Ernst, Duchamp, and Mondrian. When the Nazis closed the Bauhaus in 1933, faculty, students, and alumni dispersed throughout the world and made modern design a truly international movement. 3) Walter Gropius, Miesvan der Rohe, and Marcel Breuer transplanted the functionalist architectural movement to the United States, and _______ _____ and Moholy-Nagy brought their innovative approaches to graphic design. 4) Other European graphic designers who came to America and made significant contributions to design include Will Burtin, _______ _____, George Giusti, ________ ______, and ________ _______. Sponsored by the Association of Arts and Industries, Moholy-Nagy arrived in Chicago in 1937 and established the New Bauhaus. 1) closed after 1 year due to inadequate financial support 2) he open the School of Design in 1939. The primary source of financial support came from Moholy-Nagy himself and other faculty members, many of whom agreed to teach without pay if necessary. 3 Both Carlu and Bayer also found it difficult to find clients who comprehended their work during their first months in America.

armory Show, William Addison Dwiggins

The modern movement in america modern movement did not gain an early foothold in the United States. When 1913 _______ ________ introduced modernism to America, it generated protest and provoked public rejection of modern art and design. 1) Modernist European design did not become a significant influence in America until 1930s. 2) As the billboards in a Walker Evans photograph demonstrate (17-1), American graphic design during the 1920s and 1930s was dominated by traditional illustration. 3) But the modern approach slowly gained ground on several fronts: book design, editorial design for fashion and business magazines catering to affluent audiences, and promotional and corporate graphics. When Tschichold's "Elementare Typographie" insert was publicized in America, it caused considerable excitement and turmoil. 1) Editors and writers attacked it as "typo-graphic fireworks" and a "typographic revolution" of "insane jugglings of type by a band of crazy, foreign type anarchists." 2) small number of American typographers and designers recognized the vitality and functionalism of the new ideas. 3) 1928-29 new typeface designs: Futura and Kabel, became available in America, spurring the modern movement forward. 4) A number of book designers, including _______ ______ ______, were transitional designers whose work ranged from the classical tradition of Goudy and Rogers to the new typography of Tschichold. Dwiggins began designing books for Alfred A. Knopf in 1926. 1) had worked for 2 decades in advertising design 2) established Knopf's reputation for excellence in book design, experimenting with uncommon title-page arrangements and 2-column book formats. a) His stenciled ornaments (17-2) combined the sensibility of the cubist collage with the grace of traditional ornament. 3) 18 typeface designs for Mergenthaler Linotype include: a) Caledonia (1938), a graceful text face b) Electra (1935), a modern design with reduced thick-and-thin contrast c) Metro (1929), Linotype's geometric sans serif designed to compete with Futura and Kabel. 4) was also a significant critic of the developing profession of which he was a part, and he was very aware of the psychological impact of graphic design on advertising. Other important book designers of the period include S. A.Jacobs (17-3) and Merle Armitage, whose typo-graphic expressions ranged from Renaissance-inspired designs to books for avant-garde music and dance that helped define the modernist design aesthetic in America (17-4).

Bayer

The posters _____ produced during and after the war were illustrative compared to his constructivist approach during the Dessau Bauhaus period. 1) 1939/40 cover for "PM" was one of the last designs he made before this change in his design approach became evident (17-35). 2) Sensitive to his new audience and oriented toward communication problem solving, Bayer painted illustrations with a simplified realism, then combined these with the hierarchy of information and strong underlying composition he pioneered at Dessau. 3) poster promoting egg production, the large white egg centered against the black sky becomes a strong focal point (17-36). The headline to the left balances the flaming town to the right, and the diagonal subheading echoes the shadow cast by the egg. 4) compare Bayer's 1949 poster for polio research (17-37) with his 1926 poster for the Kandinsky Jubilee Exhibition (16-21), the two designs are clearly worlds apart. a) Kandinsky poster was designed by a 26year-old typography teacher at a young school optimistically hoping to build a new social order by design; the polio research poster is the work of a 48year-old designer living in a foreign land, after a European war in which 27 million people were killed. b) The photography and typography of Bayer's Bauhaus period yielded to hand-painted illustration and hand-lettering, but the commitment to functional communication, the integration of letter forms and imagery, and the asymmetrical balance remained constant. During World War II, CCA innovative uses for paperboard packaging, which freed metals and other strategic materials for the war effort. 1) A "Paperboard Goes to War" advertising Campaign (Figs. 17-38 and 17-39) continued the design experimentation of the earlier institutional ads. 2) Before the war, there was still a degree of public concern about the strength of paperboard; this campaign prepared the way for its extensive use after the war. 3) Each advertisement showed a specific use of a CCA product in the war effort. 4) Bayer, Carlu, and Matter joined Jacobson in creating powerful economical statements directly striking the essence of the communications problem. Strong visuals were used with 2 or 3 lines of typography, often placed diagonally in counterpoint to compositional lines from the illustration or montage.

Ben Shahn

The war years While the trauma of war disrupted the ability of many governments to produce graphic propaganda, a diverse group of painters, illustrators, and designers received commission from the U.S. Office of War Information. 1)America's wartime graphics ranged from brilliantly conceived posters to informational training materials and amateurish cartoons. In 1941, as America's entry into the global conflict seemed inevitable, the federal government began to develop propaganda posters to promote production. 1) Charles Coiner became its art consultant as America's colossal defense buildup began. a) He commissioned Carlu to create one of the finest designs of his career, the famous "America's answer! Production"poster ( 17-30). b) Over 100,000 copies were distributed throughout the country, and the New York Art Directors Club Exhibition recognized Carlu with a top award. 2) Intense feelings about Hitler, Pearl Harbor, and the war to pull powerful communications from the graphic designers, illustrators, and fine artists commissioned to create posters for the Office of War Information. 3) Illustrator John Atherton, creator of numerous Saturday Evening Post covers, penetrated to the heart of the problem of careless talk, gossip, and discussion of troop movements as a source of enemy information (17-31). 3) Binder's poster proposal for the U.S. Army Air Corps (17-32) is potent in its simplicity, signifying the essence of the air corps through minimal means. Impact is achieved by dramatic contrasts of color and scale. 4) Kauffer was commissioned to design posters to boost the morale Allied nations (17-33); an image of Hermes, the classical Greek messenger of the Gods, combines with an American flag to make a powerful graphic symbol. 5) The social realist _______ _______, whose paintings addressed political and economic injustice during the Depression, reached a larger audience in posters conveying Nazi brutality (17-34). A) achieved communicative power with intense graphic forms; the implication of a prison by closing the space with a wall: the hood masking the victim's identity: the simple, straightforward headline; and the factual urgency of telegram.

Lester Beall, Rural Electrification Administration

_________ ________: 1) earned an art history degree in 1926. 2) was primarily self-taught; his extensive reading and curious intellect formed the basis for his professional development. 3) After gaining experience in the late 1920s and early 1930s as a graphic designer whose work broke with traditional American advertising layout, He moved his studio to New York in 1935. 4) During Depression era, he attempted to develop strong, direct, and exciting visual forms. Beall understood Tschichold's new typography and the Dada movement's random organization, intuitive placement of elements, and use of chance in the creative process (17-5). 5) Admired the strong character and form of 19th-century American wood types, he delighted in incorporating them into his work during this period. a) Often, flat planes of color and elementary signs such as arrows were combined with photography, as Beall sought visual contrast and a high level of informational content. b) The design of 17-6 has strong horizontal movements contrasting with a rhythm of verticals. Images are layered in space; here a transparent illustration of a pioneer overprints two photographs. 7) Beall's posters for the _____ ________ _______, a federal agency charged with bringing electricity to the less populated areas of America, reduced pro-electrification messages to elemental signs (Fig. 17-7). One poster series combined photomontage with the red and white stripes of the American flag (Fig. 17-8). These designs so well received that in 1939, Beall's posters were among the first to be displayed at the Museum of Modern Art. 8) 1951 moved his studio from New York City to his country home at Dumbarton Farms in Connecticut. In this new environment, and in response to client and social changes, Beall became increasingly involved in the emerging corporate design movement of the 1950s and 1960s.

Herbert Matter

__________ ________: 1) received freelance design commissions from CCA and design and photographic assignments from other clients, like Vogue, Fortune, and Harper's Bazaar. 2) his editorial design solutions deftly exploited photography, as shown in his cover for the October issue of Fortune (17-46). 3) 1946, he began a 26 year period as graphic design and photography consultant to the Knoll Associates furniture design and manufacturing firm, for whom he produced some of his finest work. Matter's advertisements for molded-plastic chairs by Eero Saarinen are remarkable in their dynamic composition (Fig. 17-47). 1) Biomorphic shapes, while quite fashionable during the late 1940s and early 1950s in painting, furniture, and other design forms, became trapped in this time frame and are now associated with the sensibilities of the period. A) a tribute to Matter's strong grasp of design fundamentals that the advertising series he created for Saarinen furniture has maintained its vitality long after the forms of the era have become dated. 4) During 1950s, he turned toward more purely photographic solutions. a) His ability to convey concepts with images is shown in the folder (also used as advertisements on 2 consecutive right-hand magazine pages) unveiling a new line of molded-plastic pedestal furniture (17-48). 5) Matter's "Chimney Sweeper" proved to be the most enduring advertisement in the history of the company (17-49). 6) other times he developed almost purely typographic designs. a) catalogue cover for an Alexander Calder exhibition at the Guggenheim Museum in New York, the suspended letters of Calder's name are used to imply the artist's mobile sculptures (17-50).

Erté (Romain de Tirtoff)

art deco: Erté was a Russian admiral's son, born in St. Petersburg. After becoming a prominent Paris illustrator and set designer working in the art deco manner, he was signed to an exclusive contract from 1924 until 1937 to design covers and fashion illustrations for Harper's Bazaar magazine (Fig. 17-12). Renowned for his fashion designs, set designs, illustrations, and graphics, Erté became a major proponent of the art deco sensibility. His work combined the stylized drawing of synthetic cubism, an exotic decorativeness, and the elegance of high fashion. name was taken from French pronunciation of his initials (R T) designed over 200 covers for Harper's bazar fashion magazine Brought modernism to American graphic design... became a major component of the art deco sensibility... his work combined the stylized drawing of synthetic cubism, an exotic decorativeness, and the elegance of high fashion

William Addison Dwiggins

coined term graphic design in 1922 In the 1920s, ____________ was the first to use the term "graphic designer" to describe his professional activities. He was a book designer who established a house style for the Alfred A. Knopf publishing company, where he designed hundreds of books. He also designed Caledonia, one of the most widely used book faces. Transitional designers whose work ranged from old to new... excellence in book design with uncommon title page arrangements and two column book formats... developing critic on the use of graphic design in advertising... created Metro, Electra, and Caledonia

Container Corporation of America (CCA)

founded 1926, manufactured corrugated boxes Great Ideas: artist or designer interpret great ideas of western culture liberty, justice, human rights A major figure in the development of modern design beginning in the 1930s was a Chicago industrialist named Walter P. Paepcke, who founded __________ in 1926. Paepcke was unique among the captains of industry of his generation, for he recognized that design could serve both a pragmatic business function and become a major cultural thrust by the corporation.

Alexey Brodovitch

was the art director of Harper's Bazaar for nearly a quarter of a century. He played a crucial role in introducing into the United States a radically simplified, "modern" graphic design style forged in Europe in the 1920s from an amalgam of vanguard movements in art and design. Through Brodovitch's teaching, he created a generation of designers sympathetic to his belief in the primacy of visual freshness and immediacy. Fascinated with photography, he made it the backbone of modern magazine design, and he fostered the development of an expressionistic, almost primal style of picture-taking that became the dominant style of photographic practice in the 1950s. Brodovitch remained the preeminent designer for magazines. In addition to his skills as an editorial designer, Brodovitch developed an exceptional gift for identifying and assisting new talent. During the early 1950s Brodovitch designed the short-lived visual arts magazine Portfolio (Fig. 17-43). Harper's Bazaar: culture for it own sake very different style in format Portfolio: graphic design magazine, focused on art and design, ________ , the art director at Harper's Bazaar from 1934 to 1958, used white space as a design element and sought "a musical feeling" in the flow of texts and visuals. layouts: designed as illustration by hand, pick most visually interesting, print in different sizes and see what looks good together 17-18 17-19: crops image hired AM Cassandre to do covers for Harper's

Walter P. Paepcke

—the president and founder of Container Corporation of America, was an early patron of Modernist design. He was close friends with Moholy-Nagy and financially supported the Bauhaus. CCA commissioned designs from leading Modernists, including Herbert Matter, Herbert Bayer, and Jean Carlu, for the company's advertising campaigns focusing on its war efforts and product. saw that design can service pragmatic business purposes and cultural identity for the corporation hired designers: CM Cassandre