Meggs' History of Graphic Design
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The Cooper Union for the Advancement of Science and Art Atcooper 2 | the Cooper Union for the Advancement of Science and Art
Winter 2008/09 The Cooper Union for the Advancement of Science and Art atCooper 2 | The Cooper Union for the Advancement of Science and Art Message from President George Campbell Jr. Union The Cooper Union has a history characterized by extraordinary At Cooper Union resilience. For almost 150 years, without ever charging tuition to a Winter 2008/09 single student, the college has successfully weathered the vagaries of political, economic and social upheaval. Once again, the institution Message from the President 2 is facing a major challenge. The severe downturn afflicting the glob- al economy has had a significant impact on every sector of American News Briefs 3 U.S. News & World Report Ranking economic activity, and higher education is no exception. All across Daniel and Joanna Rose Fund Gift the country, colleges and universities are grappling with the prospect Alumni Roof Terrace of diminished resources from two major sources of funds: endow- Urban Visionaries Benefit ment and contributions. Fortunately, The Cooper Union entered the In Memory of Louis Dorfsman (A’39) current economic slump in its best financial state in recent memory. Sue Ferguson Gussow (A’56): As a result of progress on our Master Plan in recent years, Cooper Architects Draw–Freeing the Hand Union ended fiscal year 2008 in June with the first balanced operat- ing budget in two decades and with a considerably strengthened Features 8 endowment. Due to the excellent work of the Investment Committee Azin Valy (AR’90) & Suzan Wines (AR’90): Simple Gestures of our Board of Trustees, our portfolio continues to outperform the Ryan (A’04) and Trevor Oakes (A’04): major indices, although that is of little solace in view of diminishing The Confluence of Art and Science returns. -
Alysa Story Thesis Paper Copy.Pdf
1 Keyframes: Turning Points in Motion Graphic Design A Thesis Submitted to the Faculty of the Motion Media Design Department in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Savannah College of Art and Design By Alysa Marie Story Atlanta, Georgia August 2010 Table of Contents Table of Contents ............................................................................................................... i Abstract.............................................................................................................................. ii Introduction....................................................................................................................... 1 Why............................................................................................................................................. 2 Review of Literature.................................................................................................................. 3 Results....................................................................................................................................... 16 Discussion ................................................................................................................................. 18 Conclusion ........................................................................................................................iii Appendix I ......................................................................................................................... v Biographies -
GOOSE LIVER Aittald
Aa Bb Cc Dd EeFf Gg Hh liJj Kk LI Mm Nn OoPp Qq RrSsTt UuVvWwXxYyZz1234567890&/ECE$$(£%!?( UPPER AND LOWER CASE THE INTERNATIONAL JOURNAL OF 1 YPOGRAPHICS PUBLISHED BY THE INTERNATIONAL TYPEFACE CORPORATION, VOLUME TWO, NUMBER ONE 1975 In This Issue: The Washington Seminar An historic two-day typographic forum took place last October, bringing together a who's who of distinguished designers and typographic craftsmen from all over the THE ART OF TYPEFACE DESIGN world. Subject of discussion: "The Art of Typeface AND VISUAL COMMUNICATIONS Design and Visual Communications?' The seminar was called by the Library of Congress, the National Endowment for the Arts, and the Graduate School of An historical two-day typographic symposium took place October PAGE 4 15-16 in Washington, D.C. It answered and asked many questions. The the U.S. Department of Agriculture. Highlights of the symposium evolved from a need to teach approximately twenty attor- program are presented, along with editorial comment neys of the Copyright section of the Library of Congress how to dis- supporting copyright protection for typefaces. tinguish between typefaces, the differences between the various The Letterform In Illustration typographic systems and their applications, the problems faced by a The art of illustration and letterforms is a relatively designer of new typefaces, and the relationship of technology to typeface design and use. In addition to the attorneys, the audience new means of enhancing communications. U&lc has included art directors, typographers, and printers from government put together several extraordinary examples of the art, agencies and departments. Sponsors were the Library of Congress, coupled with a few words of wisdom on the subject. -
20 Corporate Identity and Visual Systems
20 Corporate Identity and Visual Systems The technological advances made during World War II were immense. After the war, productive capacity turned toward consumer goods, and many believed that the outlook for the capitalist economic structure could be unending economic expansion and prosperity. With this bright view of the future in mind, “Good design is good business” became a rallying cry in the graphic design community during the 1950s. Prosperity and technological development appeared closely linked to the era’s increasingly important corporations, and the more perceptive corporate leaders comprehended the need to develop a corpo- rate image and identity for diverse audiences. Design was seen as a major way to shape a reputation for quality and reliability. Visual marks had been used for identification for centuries. In medieval times, proprietary marks were compulsory and enabled the guilds to control trade. By the 1700s virtually every trader and dealer had a trademark or stamp. The Indus- trial Revolution, with its mass manufacturing and marketing, increased the value and importance of trademarks for visual identification. But the visual identification systems that began during the 1950s went far beyond trademarks or symbols. The national and multinational scope of many corporations made it difficult for them to maintain a cohesive image, but by unifying all communications from a given organization into a consistent design system, such an image could be projected, and the design system enlisted to help accomplish specific corporate goals. Pintori at Olivetti The first phase in the development of postwar visual identifi- cation resulted from pioneering efforts by strong individual 20–1 designers who put their personal imprint on a client’s designed image. -
Georg Olden Designer, CBS 1945-1960
CORPORATE IDENTITY AND VISUAL SYSTEMS "Good design is good business." -- Thomas Watson, IBM, c. 1950s William Golden Creative Director for advertising and sales promotion, CBS, 1951 William Golden Media companies take control of their own promotions inhouse , creating marketing and design strategies. Georg Olden Designer, CBS 1945-1960 On air promos had to be read quickly, yet grab the viewer’s attention. Georg Olden Designer, CBS 1945-1960 Emphasis was placed on concepts for each program through signs, symbols and images. Georg Olden The grandson of a Civil War-era slave, Olden designed the stamp for the centennial of the Emancipation Proclamation in 1963 Gail Anderson designed the 2013 stamp which commemorates the 150th anniversary of the emancipation proclamation. Lou Dorfsman enjoyed a long career at CBS lasting into the 1980s. Art Director, CBS Radio, 1946 Director advertising & promotion, CBS Radio Network, 1954 Creative Director, CBS Television, 1959 Director of Design, CBS Corp., 1964 and Vice President, 1968 Lou Dorfsman Gastrotypographical assemblage is a 35 feet wide by 8.5 feet long wall relief. It decorates the cafeteria in the CBS Building on 52nd Street and Sixth Avenue, New York City Lou Dorfsman Radio news promotional ad, c. 1956 Lou Dorfsman TV news series promotional newspaper ad, 1968 Paul Rand IBM trademark, 1956 Paul Rand IBM packaging, late 1950s Paul Rand Logo designs Chermayeff & Geismar Associates Chase Manhatten Bank corporate identity program, 1960 Chermayeff & Geismar Associates Logo designs Saul Bass & Associates Bell Telephone System trademark, 1969. The design increased public recognition from 71% to more than 90% Saul Bass & Associates In 1984, he redesigned the mark to better fit with the company’s expanding role in global communications The company merged with SBC Communications in 2005, and the logo was redesigned again — but AT&T won’t identify the new designer. -
ABSTRACT Title of Thesis: TELEVISING the SPACE AGE: a DESCRIPTIVE CHRONOLOGY of CBS NEWS SPECIAL COVERAGE of SPACE EXPLORATION
ABSTRACT Title of Thesis: TELEVISING THE SPACE AGE: A DESCRIPTIVE CHRONOLOGY OF CBS NEWS SPECIAL COVERAGE OF SPACE EXPLORATION FROM 1957 TO 2003 Alfred Robert Hogan, Master of Arts, 2005 Thesis directed by: Professor Douglas Gomery College of Journalism University of Maryland, College Park From the liftoff of the Space Age with the Earth-orbital beeps of Sputnik 1 on 4 October 1957, through the videotaped tragedy of space shuttle Columbia’s reentry disintegration on 1 February 2003 and its aftermath, critically acclaimed CBS News televised well more than 500 hours of special events, documentary, and public affairs broadcasts dealing with human and robotic space exploration. Much of that was memorably anchored by Walter Cronkite and produced by Robert J. Wussler. This research synthesizes widely scattered data, much of it internal and/or unpublished, to partially document the fluctuating patterns, quantities, participants, sponsors, and other key details of that historic, innovative, riveting coverage. TELEVISING THE SPACE AGE: A DESCRIPTIVE CHRONOLOGY OF CBS NEWS SPECIAL COVERAGE OF SPACE EXPLORATION FROM 1957 TO 2003 by Alfred Robert Hogan Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2005 Advisory Committee: Professor Douglas Gomery, Chair Mr. Stephen Crane, Director, Capital News Service Washington Bureau Professor Lee Thornton. © Copyright by Alfred Robert Hogan 2005 ii Dedication To all the smart, energetic, talented people who made the historic start of the Space Age an unforgettable reality as it unfolded on television; to my ever-supportive chief adviser Professor Douglas Gomery and the many others who kindly took time, effort, and pains to aid my research quest; and to my special personal circle, especially Mother and Father, Cindy S. -
GETTING ELECTED • • from Radio and Roosevelt • to Television and Reagan
11 f¡wird Reinsch GETTING ELECTED • • From Radio and Roosevelt • to Television and Reagan :41 114: jI • 'N tjerrr - as e, _ J. Leonard Reinsch, at left, served both Lyndon B. Johnson, center, and John F. Kennedy, at right, during their terms as President of the United States. The great television debates that pushed Kennedy to the forefront in the 1960 elections were the brainchild of Leonard Reinsch. In recogni- tion of Reinsch's part in his successful election campaign, John Kennedy signed aphotograph of himself for Reinsch with 'To Leonard Reinsch, whose great debates made the great debates possible." "This is an exceptional book about the role of radio and television in national politics by a professional. Leonard Reinsch's inside observations tell what it takes to get elected." —FRANK STANTON, President Emeritus, CBS, Inc. 'An always intriguing... behind-the-rostrum look at getting the media message across, by the man who was director of radio and television for Democratic presidents and presiden- tial hopefuls from FDR to LBJ. .No matter where their political sympathies lie, readers are certain to be swept along by this frank and unapologetic reminiscence." —THE KIRKUS REVIEW ISBN 0-87052-500-X $18.95 (continued from the front flap) J. Leonard Reinsch Reinsch to help him defeat Richard Nixon, and it was the author who came up with the concept of the debates with Nixon, an idea that by all accounts was the single most important factor in GETTING Kennedy's victory. As no one else can, Leonard Reinsch tells the inside story of Democratic con- ELECTED ventions. -
Information, Please
Aa Bb Cc Dd Ee Ff Gg1-11-11iJj Kk LI Mm Nn Oo Pp Qq RrSsTt UuVvWwXxYy Zz1234567890&/ECEW£70!?( )[] PUBLISHED BY THE INTERNATIONAL TYPEFACE CORPORATION. VOLUME ONE, NUMBER ONE , 1973 UPPER AND LOWER CASE, THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS In this issue: Typography' and the Information, Typography and the New Technologies New Technologies Please A retrospective by Aaron Burns of the development of the emerging technologies in the 20th Century; the challenges, the opportunities. Information, Please a The New York Times Information Bank is a hen I went to uppose that you computerized system that can help you find out art school, I learned that many of my fel- wonted to find out... WHO is the new head of the low students had problems when it came Johnson Foundation? everything about anybody or anything— to drawing certain parts ofthe human ana- WHAT were the basic terms of the General Motors-Curtiss-Wright agreement for the Wonkel that was reported in a newspaper or magazine. tomy. They simply could not draw hands engine? Stop the "Perpetrators" or feet. WHEN was the Amchitka otomictestconducted? I first became conscious of their diffi- WHERE will Swindell-Dressler Company build a A scathing indictment by Edward Rondthaler of culties when I noticed that the people steel foundry in Russia? the unscrupulous typeface design pirate companies who appeared in their layouts never had WHY did Secretary Volpe sign a transportation which unconscionably copy for cut-rate sale hands or feet. Hands always seemed to research agreement with the Polish Government? the original work of creative artists.