Meet Your Design Styles

Design Through the Years Meet Your Design Styles

Design Through the Years

Haley Wenning GLASGOW (5)

ART NOUVEAU (6) FUTURISM (9) Styles Through CONSTUCTIVISM (11) DADA (12) the Years (1890s-2000s) BAUHAUS (15)

ART DECO (16) 1890 1940 1950 2000

1900 1910 1920 1930 1960 1970 1980 1990

NEW TYPOGRAPHY (18)

PICTORIAL MODERNISM (21)

SWISS STYLE (22)

MID-CENTURY MODERN (25)

PSYCHEDELIC (26)

POP (29)

DECONSTRUCTION (31)

FLAT DESIGN (32) 2 Glasgow

The Glasgow style was invented in the ear- within the original movement were women. ly 1890s, and was popularized up through The Macdonald sisters are two of the most 1915. It was founded in Glasgow, Scotland, recognized female members of Glasgow, but the style was far reaching. It began Margaret was married to Mackintosh and within the Glasgow School of Art, which her sister Frances also helped expand the was a group of artists who sought out their style to the public.[2] However, the creators own style. It draws heavily upon the Eu- of the style didn’t share similar ideologies, ropean Art Nouveau style that was also but rather they created the style from a popular during this time, though little is combination of concepts that were popular known about the school itself or their moti- at the time. It was popularized in an indus- vations. They relied upon organic forms and trial context, and spread greatly in Germany line work, and rarely used geometric forms. and Austria, outside the British Isles, de- They worked largely in wood and glass, and spite the name. The building most known a lot of traditional “pub” styled places uti- for incorporating the style into its architec- lize this style for a traditional aesthetic. ture is the Glasgow Art School itself, which [1] The styles best known artist is Charles was designed by Mackintosh himself. Rennie Mackintosh, although many artists

“...relied upon organic forms and line work, ◀ Margaret MacDonald and rarely used geometric forms.” Mackintosh, O Ye All Ye That Walk in Willow Wood, 1902, glasgowlife.org 5 Art Nouveau

The Art Nouveau movement began in the in woodblock prints seen in Japanese art. 1890s and lasted for about two decades. It [3] Art Nouveau posters are seen having was first introduced in England and - even an asymmetrical typographic style as well tually spread across Europe and into the as ornate forms of typeface. An important United States. Art Nouveau, which trans- Art Nouveau artist was architect designer, lates to “new art,” was created as a way Hector Guimard whose designs are noted to break away from traditionally taught for his attention to detail and asymmetri- historicist art and became an innovative cal compositions. Johan Thorn Prikker, a style of modern art. This style was a popular Dutch poster designer who worked mostly “decorative style in architecture, furniture, in Germany, helped reveal an “all-purpose consumer products, fashion and graphics” use of a traditional Gothic lettering.”[4] Al- throughout both Europe and the US until though Art Nouveau declined dramaticall in about 1910. Art Nouveau is characterized as popularity after 1910, it is still being seen having long organic lines, inspired by na- in many modern pieces and is an important ture and plant forms, and decorative details. movement in art history. Many Art Nouveau designers took interest

“...characterized as having long organic lines, inspired by nature and plant forms, and decorative details.” ▶ Alphonse Mucha, Job (Cigarette Papers), 1896, 6 www.myddoa.com Futurism

Founded in 1909 as a method for writers to their interest in chrono-photography.[6] and poets to express themselves, the Italy joined World War I in 1915, which led Futuristic art movement was considered to the perish of notable Futurists, including anything abnormal from previous creations. Boccioni and architect Antonio Sant’Elia. The movement was founded by Italian The Futurists moved from Milan to Rome writer and poet Filippo Tommaso Marinetti. post-war, but the spirit and strength had Many futurists helped this art movement faded. Severini continued painting with gain recognition, such as Umberto Boccioni, the concept of Divisionism and the ideals Giacomo Balla and Gino Severini.[5] The art of the Futurist. Futurism triggered expan- movement’s main influence was between sion outside of Italy, particularly in Russia the years 1909 and 1915 with the main goal between 1912 and 1920.[7] A noticeable being to explore the totally new in a fast, difference grew between the Russian and chaotic style. Many styles were used and Italian movements which was referred to as favorites of this time featured the use of Rayonist, or Cubo-Futurist. Futurism was a type elements and collage. The Futurists style that allowed artist of the time to ex- struggled to find a recognizable style but press themselves while exploring the in were fascinated with movement, which led new a fast and chaotic style.

◀ Umberto Boccioni, Dynamism of a Cyclist, Painting , 1913, www.wikiart.org 9 Constructivism

Constructivism came about in Russia in the and shapes as well as complementing it early 1900's moments before the infamous when using different typographical strat- Bolshevik Revolution. One of the founding egies. People wanted to get away from fathers of the movement, Vladimir Tatlin, autonomous art and go back to the idea of first coined the term in 1913. It started "constructing" it instead. Some designers to gaining popularity during the revolution note when talking about the Constructivism and even spread to countries like Germa- style are Vladimir Tatlin, Lyubov Popova, ny in the 1920's and England in the 1930's and Alexander Rodchenko.[9] People used and 1940's. This particular movement was this approach for many different ideas at made in response and rejection of the men- the time including when making product tality, "art for art's sake". The group of packaging, logos, posters and even book artists who dabbled into Constructivism covers. Constructivism gives the design a wanted to reshape the role of the artist as very strong and impactful look as well as well as express the newly constructed state keeping things simple and intriguing. The in their country. [8] The visual aesthetic moral of the movement is to make art as a of the movement is a very geometric one. practice directed towards social movement It is a style that emphasizes lines, angles, and change.

“The visual aesthetic of the movement is a very geometric one.” ◀ Aleksandr Rodchenko, Film Eye, Poster, 1924, www.moma.org 11 Dada

Dada was a European art movement that started in the early 20th century that gained steam around the time after WWI. This art movement was to create confusion as well as hate and or anger towards it. The movement itself was to go against the conventional ways people make as well as see art. Artist such as Hugo Ball, Tristan Tzara, Max Ernst, Man Ray, Marcel Duchamp, and Picabia all focused on the idea of having no idea when creating. This means rejecting all logic, reason, and aestheticism of the modern way of thinking of art at the time.[10] They did this through graphic design, movies, theater, and paintings. Dada was a group of young people affected by what had happened in WWI and wanted to give art a look into that confusion. You can see this influence in other ◀ more modern movements such as “Dada is not Dada” and abstract Tristan Tzara, Self? Portrait, art in the 70’s and 80’s, such as works by Jackson Pollock. Dada is 1949, theartstack.com an early 20th century movement focused on changing the idea of art and going against the conventional ways.

▶ Raoul Hausmann, ABCD, 12 Poster, 1923, artpla.co Bauhaus

The Bauhaus school was founded in 1919 by them. New developments in screen print- Walter Gropius in Weimar, Germany. Fa- ing technology greatly influenced Bauhaus mous Bauhaus designers include Herbert designers. During the 1930’s printed media Bayer, Joost Schmidt, and El Lissitzky. All was being consumed more and more around of these designers helped bring the Bau- the world, since Gutenberg, consumption haus movement to a whole new level during of printing media kept rising all the way to the 1930’s. Bauhaus design is character- the digital revolution. This was a major fac- ized by its sense of utilitarian structure and tor that lead to the success of the Bauhaus. emphasis on color theory. Their forms are A healthy mix of grid layout and free-form basic, rich with color, and have contrast. At design was the main component to the com- the turn of the century, designers were us- position of the work, which is usually the ing more advanced and proficient ways of indicator of a work created within the Bau- designing with new technologies that were haus movement. Abstract design concepts being invented during western Europe's such as harmony and asymmetry were some industrial boom.[11] While some design- of the main components to Bauhaus design. ers were skeptical of the non-traditional [12] Such concepts founded during this pe- techniques, the Bauhaus school embraced riod greatly influence designers today.

“...utilitarian structure and emphasis on ◀ Herbert Bayer, Harper Ba- color theory. Their forms are basic, rich zaar, Magazine Cover, 1940, with color, and have contrast.” www.1stdibs.com 15 Art Deco

Art Deco was a style of design in the first print materials to circulate more efficiently half of the 20th century. It was mainly than ever and, in turn, popularized materi- characterized by bold geometric shapes, als like magazines and advertising posters. elongated and elegant lines, as well as em- Commercial designers like Erté and A. M. ulating the rapidly industrializing societies Cassandre championed the Art Deco move- it arose from. The roots of Art Deco can be ment in print design. They designed covers traced back to post-World War 1 Paris as for some of the most influential publica- early as 1920, but it would lose relevance tions of the time like Harper’s Bazaar, The shortly before the post-World War 2 era New Yorker and Vogue. Art Deco is easily around 1945. Although the style originat- recognizable by its sleek and stylish use of ed in France, it would garner international typography, especially with the creation of popularity and have a prominent influence Bifur and Peignot typefaces by A. M. Cas- on not only American design but architec- sandre.[14] Art Deco employs both a sense ture, textiles and fine commercial artworks. of boldness and simplicity in form to ac- [13] The increasing efficiency that came company geometric and futuristic typefaces with further development of the rotary evoking status and prestige in its message. printing press allowed for mass-produced

“Art Deco employs both a sense of boldness and simplicity in form.” ▶ A.M. Cassandre, Nord Express, Poster, 1927, 16 retrographik.com New Typography

Being a reaction to the chaos in Germany and Switzerland’s typography in 1923, New Typography was born. Jan Tschichold’s New Typography originated in Germany in the 1920s and 1930s and became very popular for its impressive asymmetrical compositions. Tschichold was also influenced by the concepts of the Bauhaus school and Russian constructivism.[15] New printing methods made it possible for different shapes with boxes, lines, illustration and type to be arranged. Almost overnight, it quickly became popular and was used for magazines, posters, books and advertisements. It is also known for the hierarchy of the content. The designed hierarchy, with the use of white space, sans serif typography and asymmetrical arrangements made up the New Typography. Struc- ◀ ture and balance are the most efficient way to get the message Herbert Matter, One of across.[16] The new designs sparked much creativity in central Eu- Them Had Polio: Skilled Teamwork Brought Recovery, rope and even more ideas became new and exciting. This modern Poster, 1949, www.moma.org movement was mainly about beauty and the dynamic force in a composition. It was also to focus on the structure, balance and message of each piece.

▶ Jan Tschichols, Die Frau ohne Namen (The Woman Without a Name), Poster, 1927, www.moma.org 18 Pictorial Modernism

Pictorial Modernism began in the early 20th century. It was a new way for designers to create posters that brought more attention to what was being displayed. Designers wanted to keep pictorial references in their posters in hopes they would become more persuasive towards audiences.[17] A. M. Cassandre was a French painter who created pictorial posters for design. Pictorial modernist posters became popular in war propaganda. The use of more real- istic propaganda posters allowed designers to use more symbolic imagery, such as the famous Uncle Sam “I Want you for the U.S. Army’ poster. North Korean propaganda utilizes this style of design heavily. Many of their older posters portrayed anti-US propaganda but recently much of their propaganda has become more focused on ◀ A.M. Cassandre, Say It farming and agriculture.[18] These graphic posters attracted more With Teleflowers,Poster, viewers and bring more attention to the subjects they are portray- 1938, www.historygraphicde- ing. Pictorial posters also brought many influences from other sign.com types of art. Art Deco style was also a strong influence among designs of this period. The use of pictorial modernist posters brought more attention to design and allowed posters to stand out amongst viewers.

◀ James Montgomery Flagg, I Want You, Poster, 1916, amhistory.si.edu 21 International Style

The Swiss Style was developed in the 1950s design community in Switzerland. Most and gained traction in Switzerland before Swiss designers stuck with Akidenz Grotesk spreading to the rest of the world. It was as their go to typeface for the design. During designed for many uses in the corporate the 1950s, two new typefaces were intro- environment. The style was considered duced and had become the mainstays of the simple, elegant, and neutral. The typefaces profession.[21] The first ypefacet was Neue draw attention to the information within Haas Grotesk: Known now as Helvetica. It the design rather than the aesthetic of the was commissioned from Max Meidinger by typeface. Swiss style focused on neutrality Eduard Hoffman, who was tasked to- cre and on one typeface. Designers at the time ate a serif typeface with inspiration from thought that you should not mix differ- Akidenz Grotesk. The second typeface that ent typefaces together within a design. became a major part of Swiss design was [19] Many different designers have- de the Univers typeface, that was designed signed in the Swiss/International style. for phototypesetting systems. This allowed Max Meidinger, Eduard Hoffman, Wolfgang the type to be printed at any scale without Weingart, Ernst Keller, Armin Hoffman, skewing itself or pixelating.[22] The Swiss and Emil Ruder all worked with this style. Style was a simple and elegant style that al- [20] Max Bill and Theo Ballmer sought lowed designers to follow a gridded system. to introduce geometric abstraction to the ▶ Josef Müller-Brockmann, Schütxt Das Kind, Poster, 1953, www.grapheine.com 22 Mid-Century Modern

The Mid-century Modern style was popular more sought after. Some notable design- from 1933 to 1965, but some people argued ers from this era were Eileen Gray and that it only pertains to the years spanning Isamu Noguchi, who were interior designers 1947-1957. This design style was something working within the mid-century art move- that grew in America and was influenced ment. A few notable graphic designers from by earlier movements such as Bauhaus and this time are Josef Albers, who was a master International style.[23] With most designs of color, and Lucienne Day, a British tex- from this era, there was an extreme focus tile designer.[25] The whole movement was on functionality, uncluttered sleek lines in a direct effect of World War II, after which geometric and organic forms, minimal or- there was a great amount of damage to sur- namentations, explorations with traditional rounding cities. There was a push for things and non-traditional materials, and juxta- to be designed with functionality, and min- position of different and clashing materials. imal ornaments, due to the change going on [24] The Mid-Century movement is show- at the time around the world, and especially ing a resurgence in modern times, as the in America.[26] simplistic functional designs are becoming

“there is an extreme focus on functionality, uncluttered sleek lines in geometric and organic forms, minimal ornamentation...”

◀ Lucienne Day, Calyx Fabric for Heal’s Fabrics, Textile, 1951, www.heals.com 25 Psychedelic

The psychedelic movement began in the process. Lithography involves printing from early 1960s throughout Europe and the a stone or metal plate with an image drawn United States as a response to the Interna- on it and then using oil-based inks.[27] A tional Style. The artists working during the few designers that were very famous for time emerged from growing music scene in this style are Wes Wilson, Bonnie MacLean, San Francisco, California. Psychedelic drugs and Victor Moscoso. Victor Moscoso was one like LSD played a major role on the poster of the very few psychedelic designers from designers inspiration. Some characteristics this era that had studied art. A lot of people of this style are to give the effect of visual were upset by this because one of the main and auditory hallucinations. They use very points of the movement was for it to be a vivid palette colors so bright that the posters counterculture movement.[28] The psyche- are nearly impossible to read. To print these delic movement was an "underground" and posters, the designers used a technique "anti-establishment" where designer used called chromolithography which is a type of vivid colors and effects to create an unrec- color printing derived from the lithography ognizable visual poster.

“Some characteristics of this style are to give the effect of visual and auditory hallucinations.” ▶ Bonnie MacLean, Muddy Waters, Buffalo Springfield, Richie Havens, Poster, 1967, artblart.com 26 Pop Art

The Pop Art Movement emerged in Brit- movement was mass production, which had ain and the United States in the mid 1950s, been made possible with the printing press. but really advanced in the 1960s-1970s. This advanced technology also allowed new [29] Some well known designers dur- color printing capabilities in order to print ing this time period were Andy Warhol, such vivid colors. Media-theorist Marshall Herb Lubalin, George Lois, Milton Glaser, McLuhan said “the medium was the mes- Dylan Poster, Seymour Chwast, and Wil- sage” during the Pop Art Movement, but liam Taubin. The Pop Art Movement is also said it was the “massage” and the heavily based on advertising, packaging “graphic designers were massaging the designs, and promoting consumer goods media with verve and enthusiasm.”[30] Pop in a new and comical way. Vivid colors and promoted media and media growth because sharp edge designs are the new style taking of the vulnerability of the advertisements place at this time. Pop Art replicates comic that were being created during this very books and uses appropriation of logos and popular movement. branding. Another big idea of the Pop Art

“Vivid colors and sharp edge designs are the new style taking place at this time.”

◀ Andy Warhol, Marilyn Monroe Orange, Painting, 1964, dlrcreativityintheclassroom.wordpress.com 29 Deconstruction

The concept of "deconstruction" first appeared to designers around the mid-1980's in the United States through photography, perfor- mance and installation art. Its beginnings took root right after the post-structuralism era, which heightened interest in the new style. The style can include cluttered pages, unusual or custom fonts, and combining different fonts and sizes.[31] A grid is almost always used in print styles to make sure the page is formatted, however, with deconstruction a grid isn't necessary and usually isn't used. As described by Ellen Lupton, "The manipulation of existing media imagery is one activity in contemporary design that can be described as deconstruction".[32] Deconstruction is often looked at as the in- trusion of graphic marks, gaps and many differences on one page. ◀ April Greiman, The Modern [33] The style has also taken effect in typography, turning type into Poster, 1988, an interpretive medium. For example, early sources of newspaper www.moma.org were structured in a hierarchy of information and formatted to be read a certain way; clean and cut. Now modern newspapers are created based on style preferences and experience a constant struggle between the style of editorial and advertising.[34] Deconstruction leaves much room for individual designers’ interpretations.

◀ David Carson, The End of Print, 2013, theartstack.com 31 Flat Design

With its minimalist features and two-di- and avoiding complex details. As the pop- mensional visuals, flat design has become ularity of flat design increased the use for widely popular in the digital world during it in the digital world was becoming more the 21st century. Flat design had not always common. Microsoft and Apple are two well- been for the digital world, in fact many art- known digital companies that have adopted ist created posters, magazines, and book the style when creating updates to their covers using flat design. This style had ap- products. An example would be the Apple peared in the 1920s in Germany but got its iOS 7 update where designers decided to use roots from Switzerland through the “Swiss flat graphics over their skeuomorphic style style”. The Swiss style was known as the for better legibility on screen. A contem- International Typographic Style and domi- porary graphic design artist, well-known nated graphic design in the 1940s and 1950s. for his poster series “Iconic TV”, is Albert [35] Well known designers of this style were Exergian. Exergian uses images or forms Josef Müller-Brockmann and Armin Hof- in relationship to the subject which would mann. They focused on the use of grids, san be the TV series.[37] Flat design is a widely serif typography, and visual hierarchy.[36] popular style that provides clear visuals and The idea was to create minimalist art that simplistic design elements for both digital allowed for simple shapes, bold clear type, and non-digital use.

“...create minimalist art that allowed for simple shapes, bold clear type, and avoiding ▶ Albert Exgerian, Game of complex details.” Thrones, Poster, 2012, 32 www.cooperhewitt.org References

1. The Glasgow Style. www.theglasgowstyle.co. 20. Budrick, Callie. "Swiss Style: The Principles, the Typefaces & the Designers." Print Magazine. 2. Charles Rennie Mackintosh Society, www.crmsociety.com www.printmag.com 3. Gontar, Cybele. "Art Nouveau.” www.metmuseum.org 21. Eskilson, Stephen J. 290-291. 4. Ryan, David. Letter Perfect: The Art of Modernist Typography, 1896-1953. N.p.: Pomegrante, 2001. 22. Eskilson, Stephen J. 291. 5. Livingston, Alan. “Futurism.” Dictionary of Graphic Design and Designers, 3rd ed., Thames and 23. Fenton, Laura. "Why The World Is So Obsessed With Midcentury Modern Design" Hudson Ltd. London, 1992, p. 82. www.curbed.com 6. “Futurism Movement, Artists and Major Works.” The Art Story, www.theartstory.org 24. Abbas, Abe. "5 Things You Should Know About the Mid-Century Modern Style." 7. Flask, Dominic. “Futurism: Design Is History.” Home: Design Is History, www.thespruce.com www.designishistory.com 25. Penney, Margaret. "A Mid-Century Modern Primer for Graphic Designers" envato.com 8. Livingston, Alan and Isabella. Graphic Design + Designers. New York: Thames and Hudson Inc., 26. Hollis, Richard, ed. Graphic Design: A Concise History. London. Thames and Hudson Ltd.1994 1992. 27. Eskilson, Stephen J. 180-182. 9. “Constructivism”. Design is History. www.designishistory.com 28. "Victor Moscoso Psychedelic Drawings, 1967-1982." Andrew Edlin Gallery. edlingallery.com 10. “Dada.” The Art Story: Modern Art Insight. www.theartstory.org 29. “Pop Art." The Metropolitan Museum of Art, I.e. The Met Museum. www.metmuseum.org 11. Lekach, Maya. “Know Your Design History: The Bauhaus Movement - Designer Blog.” 99designs, 30. Drucker, Johanna, and Emily MacVarish. "Pop and Protest." In Graphic Design History: A Critical www.99designs.com Guide, 281-297. Upper Saddle River, NJ: Pearson/Prentice Hall, 2009. 12. “The History of Print from 1900 to 1949.” Go to Prepressure., www.prepressure.com 31. "Ellen Lupton." Ellen Lupton RSS. elupton.com 13. Wolf, Norbert. Art Deco. Prestel Publishing, 2013 32. Carson, David, and Lewis BLACKWELL. The End of Print: The Grafik Design of David Carson. Revised 14. New York Public Library. “Art Deco: A Research Guide.” Accessed August 28, 2018. www.nypl.org Adition. London: Laurence King Publishing, 2000. 15. "Tschichold's New Typography." Tschichold’s New Typography and the Relationship to the 33. “Ellen Lupton” Ellen Lupton RSS. Bauhaus. www.designhistory.org 34. “Ellen Lupton” Ellen Lupton RSS. 16. Meggs, Philip B. A History of Graphic Design. 3rd ed. New York: J. Wiley & Sons, 1998. 35. Flat Design. History, Benefits and Practice, tubik blog, tubikstudio.com 17. "Pictorial Modernism." History of Graphic Design. www.historygraphicdesign.com 36. Lars Müller, Josef Müller-Brockmann: A Pioneer of Swiss Graphic Design. Lars Müller Publisher, 18. Meggs, Philip B. A History of Graphic Design. Kyōto-shi: Tankōsha, 1996. 1995, 5-12. 19. Eskilson, Stephen J. Graphic Design: A New History. New Haven, Conn: Yale University Press, 2012. 37. Iconicity: Scott Campbell + Albert Exergian, TAG at UWF, tag82uwf.wordpress.com 35 About this Book

Written by ART3510 class of Fall 2018 at Ohio University

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