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Pictorial Modernism PICTORIAL MONDERNISM
ANM102 | HISTORY OF GRAPHIC AND WEB DESIGN CHAPTER 14 Pictorial Modernism PICTORIAL MONDERNISM The Beggarstaffs • Brothers-on-law, James Pryde and William Nicholson opened an advertising design studio in 1894 and to protect their reputations as fine artists, they named it The Beggarstaff Brothers. They developed a new technique that was later called collage. By cutting pieces of paper, moving them around and pasting in position on a board, they created flat plans of color where the edges of the shapes were “drawn” with scissors. • Unlike Art Nouveau, the Beggarstaffs forged a new beginning of design focused on powerful colored shapes and silhouettes rather than organic and decorative form. PICTORIAL MODERNISM 2 PICTORIAL MONDERNISM Poster Design in Europe • The European poster in the first half of the 20th century was greatly influenced by the modern-art movements surrealism, cubism, and dadaism. Designers were aware of the need to use pictorial references in their posters as a way to visually enhance and ultimately communicate more persuasively their views. Influenced mostly by cubism and constructivism, poster artists combined expressive and symbolic images as well as total visual organization on the picture plane. William Pickering, title page for the Book of Common Prayer, 1844. PICTORIAL MODERNISM 3 POSTER DESIGN The Beggarstaffs • poster for Harper’s Magazine, 1895 PICTORIAL MODERNISM 4 POSTER DESIGN The Beggarstaffs • poster for Don Quixote, 1896 • never printed because the director/producer of the play felt the image was a bad likeness of Quixote. PICTORIAL MODERNISM 5 POSTER DESIGN Dudley Hardy • British painter who joined The Beggarstaffs in creating posters and advertising design • Theatrical poster for The Gaiety Girl, 1898 • Developed a formula for theatre poster design where letters and images appeared on a flat plane of color PICTORIAL MODERNISM 6 PICTORIAL MONDERNISM Plakastijl • A design school originating in Germany— the name means “poster style.” • The traits of Plakastijl are usually bold, straight lettering with a very simple design. -
Versidad Autónoma Metropolitana, Unidad Azcapotzalco
Este material tiene fines pedagógicos y su función es servir como apoyo en las prácticas educativas que se llevan a cabo en las licenciaturas que se imparten en la División de Ciencias y Artes para el Diseño de la Universidad Autónoma Metropolitana, unidad Azcapotzalco. En este sentido, el único fin de esta obra es generar y compartir material de apoyo para el proceso de enseñanza-aprendizaje en el campo del diseño. Asimismo, el autor de esta presentación es responsable de todo su contenido y la obra se encuentra protegida bajo una licencia de Creative Commons 4.0. Para más información se puede consultar el sitio https://creativecommons.org/. Escuela tipográfica alemana del estilo gótico hasta nuestros días Apoyo A lA UEA Clave UEA: 1424013 Nombre UEA: Temas Selectos de Tipografía Clave UEA 1423014 Nombre UEA: Teoría y metodología Aplicada I (Apoyo a Diseño de Mensajes Gráficos) Guión argumental Revisar los tipógrafos e impresores clave de la escuela alemana del estilo gótico hasta nuestros días y su influencia en desarrollo de la forma tipográfica en el pasado a la actualidad. Escuela tipográfica alemana del estilo gótico hasta nuestros días Alfonso García Reyes 1 Escuela tipográfica alemana del estilo gótico hasta nuestros días Objetivo Conocer las generalidades y los momentos clave de la historia de la tipográfica alemana desde el estilo gótico hasta la fecha, desarrollando criterios propios para asociar forma y producción al contexto histórico y su aplicación. Desarrollar una apreciación de los diversos estilos históricos alemanes desde el estilo gótico a la fecha, y como estos sirvieron de base para formar criterios, encontrar el estilos tipográficos apropiados para proyectos de diseño e interpretar un nuevo estilo tipográfico con las herramientas digitales. -
Hajo Christoph Papers MG
A Guide to the Hajo Christoph Papers Collection Summary Collection Title: Hajo Christoph Papers Call Number: MG-195 Creator: Hajo Christoph Inclusive Dates: June 28,1926 - May 27, 1977 Bulk Dates: Abstract: Materials relating to the activities of Hajo Christoph, specifically his time working for the Fort Orange Paper Company designing graphic designs, and time spent as a member of the Albany Artists Group. Quantity: 2 linear feet Administrative Information Custodial History: Donated as a gift by Peter and Flo Christoph Preferred Citation: Hajo Christoph Papers. Albany Institute of History & Art Library, New York. Acquisition Information: Accession #: Accession Date: Processing Information: Processed by Brendan Peabody; completed on March 2, 2010. Restrictions Restrictions on Access: None Restrictions on Use: Permission to publish material must be obtained in writing prior to publication from the Chief Librarian & Archivist, Albany Institute of History & Art, 125 Washington Avenue, Albany, NY 12210. Index Term Persons Bernhard, Lucian (04/15/1883-05/29/1972) Brashear, Peter C. (1868-1943) Corning, Erastus 2nd (1909-1983) Justus, Donald C. (Mayor of Castleton on Hudson in 1970’s) Latham, William G. (1896 -1953) Organizations Fort Orange Paper Company- Castleton on the Hudson (N.Y.) Embossing Company of Albany Albany Artists Group Subjects Commerce-Advertising Fine Arts-Commercial Art Fine Arts- Advertising Art Fine Arts-Visual Arts-Exhibitions Immigration Industry-Manufacturing Industries Places Berlin (Germany) Castleton on Hudson (N.Y.) New York (N.Y.) Document Types Awards Photographs Correspondences License Memoir Newspaper Articles Magazine Articles Catalogs Certificates Programs Titles Biography of Hajo Christoph Hajo is not his actual birth name, but rather it is used as a trademark for his graphic designs. -
The Art of Reading: American Publishing Posters of the 1890S
6. Artist unknown 15. Joseph J. Gould Jr. 19. Joseph Christian Leyendecker 35. Edward Penfield 39. Edward Penfield CHECKLIST The Delineator October, 1897 (American, ca. 1876–after 1932) (American, 1875–1951) (American, 1866–1925) (American, 1866–1925) All dimensions listed are for the sheet size; Color lithograph Lippincott’s November, 1896 Inland Printer January, 1897 Harper’s July, 1897 Harper’s March, 1899 9 9 height precedes width. Titles reflect the text 11 /16 × 16 /16 inches Color lithograph Color lithograph Color lithograph Color lithograph 9 1 1 1 3 3 as it appears on each poster. The majority Promised Gift of Daniel Bergsvik and 16 /16 × 13 /8 inches 22 /4 × 16 /4 inches 14 × 19 inches 15 /8 × 10 /4 inches of posters were printed using lithography, Donald Hastler Promised Gift of Daniel Bergsvik and Promised Gift of Daniel Bergsvik and Museum Purchase: Funds Provided by Promised Gift of Daniel Bergsvik and but many new printing processes debuted Donald Hastler Donald Hastler the Graphic Arts Council Donald Hastler 7. William H. Bradley during this decade. Because it is difficult or 2019.48.2 (American, 1868–1962) 16. Walter Conant Greenough 20. A. W. B. Lincoln 40. Edward Henry Potthast THE ART OF READING impossible to determine the precise method Harper’s Bazar Thanksgiving Number (American, active 1890s) (American, active 1890s) 36. Edward Penfield (American, 1857–1927) of production in the absence of contemporary 1895, 1895 A Knight of the Nets, 1896 Dead Man’s Court, 1895 (American, 1866–1925) The Century, July, 1896 documentation, -
Australian & International Posters
Australian & International Posters Collectors’ List No. 200, 2020 e-catalogue Josef Lebovic Gallery 103a Anzac Parade (cnr Duke St) Kensington (Sydney) NSW p: (02) 9663 4848 e: [email protected] w: joseflebovicgallery.com CL200-1| |Paris 1867 [Inter JOSEF LEBOVIC GALLERY national Expo si tion],| 1867.| Celebrating 43 Years • Established 1977 Wood engra v ing, artist’s name Member: AA&ADA • A&NZAAB • IVPDA (USA) • AIPAD (USA) • IFPDA (USA) “Ch. Fich ot” and engra ver “M. Jackson” in image low er Address: 103a Anzac Parade, Kensington (Sydney), NSW portion, 42.5 x 120cm. Re- Postal: PO Box 93, Kensington NSW 2033, Australia paired miss ing por tions, tears Phone: +61 2 9663 4848 • Mobile: 0411 755 887 • ABN 15 800 737 094 and creases. Linen-backed.| Email: [email protected] • Website: joseflebovicgallery.com $1350| Text continues “Supplement to the |Illustrated London News,| July 6, 1867.” The International Exposition Hours: by appointment or by chance Wednesday to Saturday, 1 to 5pm. of 1867 was held in Paris from 1 April to 3 November; it was the second world’s fair, with the first being the Great Exhibition of 1851 in London. Forty-two (42) countries and 52,200 businesses were represented at the fair, which covered 68.7 hectares, and had 15,000,000 visitors. Ref: Wiki. COLLECTORS’ LIST No. 200, 2020 CL200-2| Alfred Choubrac (French, 1853–1902).| Jane Nancy,| c1890s.| Colour lithograph, signed in image centre Australian & International Posters right, 80.1 x 62.2cm. Repaired missing portions, tears and creases. Linen-backed.| $1650| Text continues “(Ateliers Choubrac. -
Whether Contemplating a Dabble in the World of Art Investment Or A
CommercialWhether contemplating a dabble in the world of art investment or a stultifying blank wall, gems from the golden age of Art Deco menswear advertising offer a perfect solution. gainsby christian chensvold here comes a point in the life of any instinctively elegant get from lithography is pure, solid colour,” says poster dealer man where he must face the question of how to appoint his Jim Lapides of the International Poster Gallery in Boston, living quarters. And, those for whom sartorial obsession Massachusetts. “It’s not dots like in the offset printing used for Tis all-consuming will likely find inner tranquillity in covering newspapers. Lithography provides a richness of texture, even the walls of their home — their haven from the vulgar world that the texture of the stone, and depth of colour — there aren’t lies beyond — with depictions of masculine panache. many artisans around today who can do it.” If that sounds like you, look no further than these European The most famous maker of menswear posters was the posters from a golden age when stylish advertising images Swiss clothing firm of PKZ, which stood for Paul Kehl, Zurich. greeted the boulevardier as he strolled, boutonniere abloom Dazzling in their variety and creativity, from the 1920s to the and malacca cane in hand, along the continent’s urban 1960s, they made some of the finest examples of the genre. One avenues. The original Pop Art posters — viewable cost-free of its masterpieces, a single minimalist button depicted by artist on trolleys, in train stations and on street-side kiosks — rose Otto Baumberger, hangs in New York’s Museum of Modern Art. -
A C C Jj P T Iiid
ACCjJPTiiiD FACULTY OF GRAHUATF qTnn,r?HE "NEW WOMAN" IN FIN-DE-SIECLE ART: tS FRANCES AND MARGARET MACDONALD by 1ATF _______________' i2 Janice Valerie Helland ~ --- ------ B.A., University of Lethbridge, 1973 M.A., University of Victoria, 1984 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY : in the Department of History in Art We accept this thesis as conforming to the required standard _________________ Dr. Ej^Tumasonis, Supervisor (Department of History in Art) Dr. J. Osborne, Departmental Member (Department of History in Art) Dr. A. Wel<gj)^*DepartmentaI Member (Department of Histor^in Art) Dr. A. McLa^fen, Outside Member (Department of History) _________________________________________ Dr. A. Fontaine, Outgj.de Member (Department of Biology) ________________________________________ Dr. B./Elliott, External Examiner (University of Alberta) ® JANICE VALERIE HELLAND, 1991 University of Victoria All rights reserved. Thesis may not be reproduced in whole or in part, by mimeograph or other means, without the permission of the author. 11 Supervisor: Dr. E, Turoasonis ABSTRACT Scottish artists Margaret and Frances Macdonald produced their most innovative art during the last decade of the nineteenth century. They received their training at the Glasgow School of Art and became known for their contribution to "the Glasgow Style," Scotland's answer to Continental Art nouveau and Symbolism. Although they inherited their visual vocabulary from the male-dominated language of the fin-de-siècle. they produced representations of women that differed from those made by their male colleagues. I suggest that these representations were informed by the female exper,i*nce and that they must be understood as such if we, as historians, are to discuss their art. -
The Spirit of the Sixties: Art As an Agent for Change
Dickinson College Dickinson Scholar Student Scholarship & Creative Works By Year Student Scholarship & Creative Works 2-27-2015 The pirS it of the Sixties: Art as an Agent for Change Kyle Anderson Dickinson College Aleksa D'Orsi Dickinson College Kimberly Drexler Dickinson College Lindsay Kearney Dickinson College Callie Marx Dickinson College See next page for additional authors Follow this and additional works at: http://scholar.dickinson.edu/student_work Part of the American Art and Architecture Commons, and the Interdisciplinary Arts and Media Commons Recommended Citation Lee, Elizabeth, et al. The Spirit of the Sixties: Art as an Agent for Change. Carlisle, Pa.: The rT out Gallery, Dickinson College, 2015. This Exhibition Catalog is brought to you for free and open access by the Student Scholarship & Creative Works at Dickinson Scholar. It has been accepted for inclusion in Student Scholarship & Creative Works By Year by an authorized administrator of Dickinson Scholar. For more information, please contact [email protected]. Authors Kyle Anderson, Aleksa D'Orsi, Kimberly Drexler, Lindsay Kearney, Callie Marx, Gillian Pinkham, Sebastian Zheng, Elizabeth Lee, and Trout Gallery This exhibition catalog is available at Dickinson Scholar: http://scholar.dickinson.edu/student_work/21 THE SPIRIT OF THE SIXTIES Art as an Agent for Change THE SPIRIT OF THE SIXTIES Art as an Agent for Change February 27 – April 11, 2015 Curated by: Kyle Anderson Aleksa D’Orsi Kimberly Drexler Lindsay Kearney Callie Marx Gillian Pinkham Sebastian Zheng THE TROUT GALLERY • Dickinson College • Carlisle, Pennsylvania This publication was produced in part through the generous support of the Helen Trout Memorial Fund and the Ruth Trout Endowment at Dickinson College. -
“Own a Piece of Polish Artistic History”
“Own a Piece of Polish Artistic History” A Silent Auction to Benefit the Polish Genealogical Society of America The PGSA recently received a very generous gift of original, vintage Polish posters from the collection of a serious collector. The gift covers a range of themes including opera, travel and Polish and American movies. As advertising posters, they were displayed on billboards, kiosks, walls, fences … any place with an open surface in clear view of the general public. Thus, only a fraction of those produced survive. Dating from 1938 to the 1960s (and one from 1985), they represent the artistic styles and cultural moods of Poland from pre-war independence through phases of the Communist period. The individuals who created these posters were true artists, some also known for their paintings, book illustrations and other graphic works. As artists, they interpreted each topic and theme as they saw fit, and they were able, within the confines of Communist aesthetic requirements and censorship. The PGSA has decided to make these posters available through a silent auction, fund-raising event. Each winning bidder will enjoy a beautiful example Polish art and history while assisting the Society in its mission to provide the highest level of research services to its members. A win/win for everyone! An Introduction to Polish Poster Art and Its Context From 1945 to the end of Communist rule in Poland, one art form dominated Poland’s attention – the cultural poster. This period in Polish art history has been heralded worldwide as the most influential for innovative graphic design. The historical context in which the Polish Style of Poster Design flourished was one of oppression and censorship. -
Bernhard Modern Mostly Self-Taught, Bernhard Studied Briefly at the Munich Art Academy Before Going to Berlin in 1901
>> “You see with your eyes, not with your brain. What you do with your hands should express the physical process and should never be 1883 - 1972 mechanical.” — Lucian Bernhard The life and work of is his enduring masterpiece of Lucian Bernhard. Lucian Bernhard was a German graphic designer, type designer, illustrator, painter, teacher, interior designer, and artist during the first half of the twentieth century. He was born in Stuttgart, Germany on March 15, 1883 as Emil Kahn, but changed his name in 1905. The family of typefaces he developed is called Bernhard. Bernhard Modern Mostly self-taught, Bernhard studied briefly at the Munich Art Academy before going to Berlin in 1901. He was influential in helping create the design style known as Plakastil (Poster Style), which used reductive imagery and flat-color as well as Sachplakat (Functional Poster), which restricted the image to simply the object being advertised and the brand name. These styles of poster design incorporated brief powerful statements with a single image and generated their own form of display lettering. designers. designers. without counting on the ink spread.” - Lucian Bernhard type design. It is considered a decorative and display font. Lucian Bernhard was one of this century’s eminent graphic “My aim was to get all the spice and contrast into the contour... Bernhard was a professor at the Berlin School of Arts & Crafts. In 1923, he emigrated to the United States, where he lived until his death on May 29, 1972. Bernhard had three children - Karl, Manfred and Ruth, a renowned photographer. 1 1883-1972 * Lucian Bernhard 2 Bernhard’s father was a physician and wanted him to follow a career in medicine. -
Americana Ancient Roman Antique Extended No. 53 Artcraft Italic
Serif There are three principal features of the roman face Americana Century Schoolbook Craw Clarendon MacFarland Van Dijck which were gradually modified in the three centuries Ancient Roman Century Schoolbook Italic Craw Clarendon Condensed MacFarland Condensed Van Dijck Italic from Jenson to Bodoni. In the earliest romans, the serifs were inclined and bracketed, that is to say, the Antique Extended No. 53 Cheltenham Craw Modern MacFarland Italic underpart of the serif was connected to the stem in a curve or by a triangular piece. On the upper case Artcraft Italic Cheltenham Bold Deepdene Italic Nubian the serifs were often thick slabs extending to both Baskerville Cheltenham Bold Condensed Eden Palatino Italic sides of the uprights. In the typical modern face serifs are thin, flat and unbracketed. In between the two Baskerville Italic Cheltenham Bold Extra Encore Palatino Semi-Bold extremes various gradations are found. In all early Condensed romans the incidence of colour or stress is diagonal, Bauer Bodoni Bold Engravers Roman Paramount Cheltenham Bold Italic while in the modern face it is vertical. If an O is Bembo Engravers Roman Bold Pencraft Oldstyle drawn with a broad-nibbed pen held at an angle to Cheltenham Bold Outline the paper, the two thickest parts of the letter will be Bembo ITalic Engravers Roman Shaded Rivoli Italic diagonally opposite. This was the manner in which Cheltenham Italic Bernhard Modern Roman Garamond Stymie Black the calligraphers of the fifteenth century drew an O; Clarendon Medium but by the year 1700 the writing masters, whose work Bernhard Modern Roman Italic Garamond Bold Stymie Bold was being reproduced in copper-engraved plates, had Cloister Oldstyle adopted the method of holding the pen at right angles Bodoni Garamond Bold Italic Stymie Bold Condensed to the paper, thus producing a vertical stress. -
A Typographic Journal Based on Meggs' History of Graphic Design
imminent. A typographic journal based on Meggs’ History of Graphic Design. Eggi Media. Autumn 2021 issue 16 Wobby Jar A photography Exhibition, March - July 2021 Museum of Contemporary Art, Sydney. Image courtesy of Issy Golding. The Polish Poster Editors Address. 4 Bob Cactus The following pages, were designed with love by Issy Golding for the purpose of Graphics One: Type & Language Image & Type. The body copy is respectfully used 8 Emily House from Megg’s History of Design for the purpose of this university assessment. The idea behind this design is to explore the global The American Experence. Sakura Mushroom. nuances of typography through the global edition 10 of imminent, a fictional publication. Creating a Nation 12 Elanora Button Japanese Type 14 Erin Kofe Published biannually by Eggi, Sydney. This publication was created on Darkingjung land and the creators pay their respects to Aboriginal leaders. Imminent is circulated to subscribers Chilean Type Membership is available at Tayla Crane www.eggi.media.com/subscribe 16 @eggi www.eggi.media.com 2 imminent The Polish Poster. The poster became a source of great national pride in Poland; its role in the cultural life of the nation is unique. Words by Bob Cactus Opposite Winter PJs by Sheila Squiggly. orld War II began in Europe on 1 Electronic broadcasting lacked the frequency September 1939 with Hitler’s lightning and diversity of Western media, and the din of Winvasion of Poland from the north, economic competition was less pronounced south, and west without a declaration of war. in a communist country. Therefore, posters for Seventeen days later, Soviet troops invaded cultural events, the circus, movies, and politics Poland from the east, and six years of devas- served as important communications.