Chapter 23

A provocateur who pushed for maximum freedom of expression and thought, Dutch graphic designer and photographer _____________ sought unconventional solutions to visual communications assignments. Many of his works, like the 1979 theater poster for Leonce and Lena, contain jolting ambiguities and erotic overtones. His typographic oeuvre is unrestrained, from handwritten titles jotted onto photographs to eloquent classical typography and sometimes both combined.

Anthon Beeke

The Provo youth movement, which emphasized individual freedom and rejected social conformity, inspired a new expressionism in Dutch graphic design, which increased dramatically during the 1970s and 1980s. Late twentieth-century designers, such as ______________, and groups such as Studio Dumbar, Hard Werken, and Wild Plakken, pushed beyond the traditional values of harmony, unity, and order in their quests for individual meaning and subjective expression.

Anthon Beeke

Clear, straightforward images that viewers can only interpret in one specific, carefully controlled way

Closed texts

As post-WWII Dutch design evolved, two strong currents became evident: a pragmatic constructivism and a vigorous expressionism. This 1979 theater poster for "Leonce and Lena" by designer and photographer Anton Beeke represents pragmatic constructivism whose inspiration was derived from Dutch traditions from the first half of the twentieth century, including de Stijl and Piet Zwart, as well as postwar influences from Switzerland.

False

Historical influences can be seen in many of the graphic design solutions of the late twentieth and early twenty-first centuries. Select the answer that best describes the historical influence on the work shown.

Figurative typography is the influence on this 2003 poster by Parisian Philippe Apeloig for the exhibition "Bateaux sur l'Eau" ("Boats on Water: Rivers and Canals").

A 1960s neo-Dadaist movement that explored conceptual and performance art, happenings, experimental poetry, and language art

Fluxus

More of an informal association than a structured business, _____________ embraced the contemporary art scene and rejected design refinement. The group, which included Henk Elenga, Gerard Hadders, Tom van der Haspel, Helen Howard, and Rick Vermeulen, developed a relaxed, anything-goes attitude and rejected all styles and theories in favor of the subjective interpretation of a problem. They were open to any conceivable typographic or image possibility. They emphasized the message as well as materials and methods used to convey the message to an audience.

Hard Werken

__________ became an important voice in renewing British graphic design after World War II through his writing, teaching, and graphic design practice. 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 twentieth-century designers, he encouraged a worldwide dialogue.

Herbert Spencer

Plane and shape are the nucleus of _____________ s work. His work is influenced by traditional Japanese motifs and incorporates grid structures and vibrant planes of color that explore warm/cool contrast, close-valued color, and analogous color ranges. In the 1974 poster for Senei Ikenobo s flower arrangements, mountains and waves are created by a rhythmic sequence of blue and blue-green bands under a graduated tan sky. His 1981 Nihon Buyo poster for the Asian Performing Arts Institute uses planes of color on a twelve-unit grid to define the abstracted and expressive portrait.

Ikko Tanaka

Greater freedom for imaginative interpretation by introducing surrealist imagery, photomontages using torn and fragmented images, and brightly colored shapes

Open texts

The 1960s saw the beginning of a global dialogue that embraced the fine arts, performing arts, and design. During the 1980s and 1990s, the rapid growth of electronic and computer technology began to change the processes and appearance of design. Overnight express mail, fax machines, 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 created an environment in which a vast global dialogue co-existed with national visions, resulting in an explosive and pluralistic era for graphic design. A design partnership, which formed in London in 1962, made significant contributions to international design. Thorough evaluation of the communications problem and the specific nature of the environmental conditions under which the design was to appear combined with British wit and a willingness to try the unexpected summarize the essence of __________ approach to graphic design.

Pentagram s

Dutch designer ______________ learned all aspects of printing by working at his father s printing company, De Jong & Co., near Amsterdam. He curated small exhibitions intended to introduce advanced art and graphic design to a wider audience. These exhibitions were held in a small gallery at the printing firm. He designed posters for these exhibitions, which were constructed on a grid of fifteen squares. One or more of these modules always appeared as an element in the design, such as the 1960 exhibition poster for De Man Achter due Vormgeving van de PTT (The Man Behind the Design for the Dutch Post Service). He also edited a square-format journal called Kwadraatblad (Quadrate), which was printed at De Jong and showcased the work of leading artists and designers while demonstrating printing capabilities. And he designed posters and publications for the well-known Kröller-Müller Museum in Otterlo.

Pieter Bratting

Historical influences can be seen in many of the graphic design solutions of the late twentieth and early twenty-first centuries. Select the answer that best describes the historical influence referenced in the image.

Plakatstil influence is evident in this 2001 poster by Israeli graphic designer David Tartakover in celebration of the Henri de Toulouse-Lautrec centennial. The beauty of this poster comes from its minimalism: an image of a hat (the style worn by Lautrec) and the French word "chapeau" (hat).

Unexpected violations of spatial logic and universal order characterize the work of Japanese designer _____________. Playfulness, humor, and intentional ambiguity are abundant in his designs. In his poster Victory 1945, which commemorates the thirtieth anniversary of the end of World War II, the folly of war is expressed simply by turning a shell back toward a gun. The optical illusion featured in his 1975 exhibition poster for the Keio Department Store is typical of his work.

Shigeo Fukuda

_____________ s graphic design is consistently characterized by an uncompromising and harsh directness. On a poster for a Lou Reed album, lyrics from one of Reed s songs are handwritten across his face like graffiti. Born in Austria, he received his first diploma in graphic design from the University of Applied Arts in Vienna, and while on a Fulbright scholarship, he earned a master s from Pratt Institute in New York. After first working in New York and later as the creative director for the Hong Kong office of the Leo Burnett advertising agency, he returned to New York in 1993 to found his own studio. He has designed graphics and packaging for the Rolling Stones, David Byrne, Lou Reed, Aerosmith, and Pat Metheny, among other clients.

Stefan Sagmeister

Historical influences can be seen in many of the graphic design solutions of the late twentieth and early twenty-first centuries. Select the answer that best describes the historical influence on the work shown.

Surrealism, and more specifically the Polish poster artist Roman Cieslewicz, were influences on Mexican graphic designer Alejandro Magallanes, as seen in "Las (a)versiones del ojo" [Eyes' (A)versions], a poster designed by Magallanes in 2000.

The work of Japanese designer _____________ demonstrates a fascination with popular art, comic books, and mass media television, movies, radio, and records. His 1968 poster for a printmaking exhibition entitled Sixth International Biennial Exhibition of Prints in Tokyo combines a variety of techniques, including halftone, airbrush, calligraphic writing, and montage.

Tadanori Yokoo

A group known as ______________, which included graphic designer Wim Crouwel, product designer Frisco Kramer, and graphic and architectural designer Benno Wissing, was a comprehensive design firm whose goal was to conceive and implement ideas on design in all fields, in order whenever possible to achieve a unity of thought in these fields. During the 1960s and 1970s, this firm played a dominant role in Dutch design. Projects included visual-identity programs, such as the ones for the PAM petroleum company and Furness Holding, and for museum exhibitions with related graphics, book design, signage, and environments.

Total Design

Substitution

Which semiotic operation is being used in this example?

Its name can be translated as Unauthorized Bill-Posting. The group, believing that designers should match their beliefs to the content of their graphic designs, accepts or rejects commissions based on the client s ideological viewpoint. Its work has addressed such issues as the environment, women s rights, gay rights, and racism, such as the 1984 poster for the anti-apartheid movement of the Netherlands. It does all of its own photography, so its designers can feel free to experiment in the darkroom, cutting, tearing, and combining images without needing to maintain the integrity of an outside photographer s work. __________

Wild Plakken

Dutch designer ______________ s design philosophy was less emphatic about universal form and standardized formats than that of other Dutch designers. 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. He believed the flood of typographic messages in contemporary society demanded clarity and simplicity.

Wim Crouwel

Takanobu Igarashi is a paradigm of the blending of Eastern and Western ideas. After graduating from Tama University in 1968, Igarashi earned a graduate degree from the University of California, Los Angeles. Upon returning to Japan, he found design firms and corporations unreceptive to a designer who had spent time abroad, so he opened his own design office in 1970. Much of his studio s work is in trademarks, corporate identity, and environmental and product design. By 1976, Igarashi s experiments with ____________ drawn on isometric grids were attracting clients and international recognition. In 1983, Igarashi began a ten-year project designing the Igarashi Poster Calendar, starting with five years for the Museum of Modern Art in New York.

alphabets

The traditional Japanese family symbol or crest, called the ___________, was an important inspiration for the Japanese graphic designer. These simplified designs of flowers, birds, animals, plants, and household objects contained in a circle were applied to belongings and clothing and have been in use for thousands of years in Japan.

mon