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Here Defeat His Heroin Addiction Type Insights Sandra Cruz TTable ooff Contents Type Insights 4-5 Saul Bass 6-7 Herbert Matter 8-9 Milton Glaser 10-11 Ludwig Howlwein 12-13 Micheal Bierut 14-15 Bibliography Sandra Cruz Type and Design Fall 2018 SaulSaul Bass Saul Bass was born on May 8, 1920, Bronx, New York, in his contribution to Preminger’s The Man with the Golden an household of Eastern European Jewish immigrants. Arm (1955). The film focused on a musician’s struggle to He attended the James Monroe High School from where defeat his heroin addiction. As to underline the inten- he earned his graduation. In 1936, he received a fellow- sity of then tabooed subject, he featured an animated ship to the Art Students League in Manhattan. He then paper cut-out arm in the film title which had a sensa- went on to study at Brooklyn College, attending night tional effect on the audience. Besides, another notable classes with a famous Hungarian-born designer, György filmmaker Alfred Hitchcock brought him on board for the Kepes. Upon completion of his studies, he worked as a title designing of his films. freelancer for several advertising companies and agen- cies, including the illustrious Warner Bros. He moved to Bass developed iconic, influential and noteworthy title Los Angeles, where he pursued graphic designing as a sequences employing distinguished kinetic typography commercial artist. During 1940’s he took up some Holly- for motion pictures, including North by Northwest (1959), wood projects, which involved the print work for promo- Vertigo(1958) and Psycho (1960). He was the first to intro- tional purposes. In fact, he started up his own practice in duce this technique in Hollywood films which previously 1952 and a few years later established his private firm as employed static titles. Saul Bass & Associates. Bass regarded title sequence designing as an art with its In 1954, Bass finally had his big break as he was offered unique purposes. His creation was based on the philos- a job by the filmmaker Otto Preminger to design a poster ophy of enlightening the audience about the subject of for Carmen Jones. His work left a remarkable impression the film and invoking their emotions accordingly. Another on Preminger, who availed his expertise yet again for one of his philosophies stresses on rendering the ordi- his film’s title sequence. With the opportunity, came the nary, extraordinary, by acquainting the audience with realization that the title sequence can not only be served familiar objects in an unfamiliar way. His graphic work in as mere static credits but it can enhance the watching Walk on the Wild Side (1962) and Nine Hours to Rama experience of the audience. Bass realized the potential (1963) are the epitome of this philosophy. The former of title sequence if incorporated with the right audio and features an ordinary cat as a dangerous predatory crea- visual sequence can help set the mood and theme at the ture and the latter represents the internal mechanism of opening of a film. a clock embodying a large landscape. Some of his other After his debut work in the Hollywood, he worked for sev- popular title sequence creations include Spartacus, The eral reputable production houses. In 1955, he produced Age of Innocence, The Shining and Casino. title sequence for The Seven Year Itch. However, he did not earn his reputation in the Hollywood until he made 5 Exodus (1962) One Sheet Movie Anatomy of a Murder (1959) One Sheet Movie Poster Man with a Golden Arm (1956) One Sheet Movie Poster Herbert Matter Herbert Matter was born in 1907 in Engelberg, a Swiss in buildings designed by Louis Kahn and Paul Rudolf. mountain village, where exposure to the treasure of In 1954, he was commissioned to create the corporate one of the two finest medieval graphic art collections in identity for the New Haven Railroad. The ubiquitous “NH” Europe was unavoidable. In 1925, he attended the Ecole logo, with its elongated serifs, was one of the most iden- des Beaux-Arts in Genva, but after two years, the allure tifiable symbols in America. of modernism beckoned him to Paris. There, the artist attended the Academie Moderne under the tutelage of From 1958 to 1968, he was the design consultant for the Fernand Léger and Amédée Ozenfant. Guggenheim Museum, applying his elegant typographic style to its posters and catalogues many of which are In 1929, his entry into graphic design was completed still in print. He worked in Gertrude Vanderbilt Whitney’s when he was hired as a designer and photographer for former studio in McDougal Alley with his wife, Mer- the legendary Deberny and Peignot concern. There he cedes Matter, who founded the famed Studio School learned the nuances of fine typography, while he assisted just around the corner. During the late Fifties and early A.M. Cassandre and Le Corbusier. Sixties, he was an intimate participant in the New York art scene, counting Jackson Pollock, Willem de Kooning, In 1936, Matter was offered roundtrip passage to the Franz Kline and Philip Guston as friends and confidants. In United States as payment for his work with a Swiss ballet 1960, he started photographing the sculpture of Alberto troupe. He spoke little English, yet traveled across the Giacometti, another spiritual intimate, for a comprehen- United States. When the tour was over, he decided to sive book, a project on which Matter worked for 25 years remain in New York. At the urging of a friend who worked and that got published posthumously. at the Museum of Modern Art, Matter went to see Alexey Brodovitch, who had been collecting the Swiss travel The first major retrospective of his work was an exhibition posters (two of which were hanging on Brodovitch’s in 1978 at Yale University, School of Art. In the same year studio wall). the Kunsthaus in Zurich honored Matter with an exhibi- tion of his work from the 1930s. In 1980 Matter received During World War II, Matter made striking posters for a Guggenheim Fellowship for Photography, and was Container Corporation of America. In 1944, he became named Honorary Royal Designer for Industry from the the design consultant at Knoll, molding its graphic iden- members of the Royal Designers in England in 1982. The tity for over 12 years. American Institute of Graphic Arts (AIGA) awarded Matter its Gold Medal in 1983. In 1952, he was asked by Eisenman to join the Yale faculty as professor of photography and graphic design. At Yale, he tried his hand at architecture, designing studio space 5 Winter-Luftverkehr Poster, 1935 PKZ, 1928 Womb Chair Ad for Knoll, 1946-1966 MiltMiltoonn Glaser Milton Glaser (b.1929) is among the most celebrated sonian Cooper-Hewitt, National Design Museum, for his graphic designers in the United States. He has had the profound and meaningful long-term contribution to the distinction of one-man-shows at the Museum of Modern contemporary practice of design. Art and the Georges Pompidou Center. He was selected for the lifetime achievement award of the Cooper Hewitt Milton Glaser, Inc. was established in 1974. The work pro- National Design Museum (2004) and the Fulbright Asso- duced at this Manhattan studio encompasses a wide ciation (2011), and in 2009 he was the first graphic design- range of design disciplines. In the area of print graphics, er to receive the National Medal of the Arts award. As a the studio produces identity programs for corporate and Fulbright scholar, Glaser studied with the painter, Giorgio institutional marketing purposes — including logos, sta- Morandi in Bologna, and is an articulate spokesman for tionery, brochures, signage, and annual reports. the ethical practice of design. He opened Milton Glaser, Inc. in 1974, and continues to produce a prolific amount In the field of environmental and interior design, the firm of work in many fields of design to this day. has conceptualized and site-supervised the fabrication of numerous products, exhibitions, interiors and exteri- Born in 1929, Milton Glaser was educated at the High ors of restaurants, shopping malls, supermarkets, hotels, School of Music and Art and the Cooper Union art school and other retail and commercial environments. in New York and, via a Fulbright Scholarship, the Academy of Fine Arts in Bologna, Italy. He co-founded the revolu- Glaser is also personally responsible for the design and tionary Pushpin Studios in 1954, founded New York Mag- illustration of more than 300 posters for clients in the ar- azine with Clay Felker in 1968, established Milton Gla- eas of publishing, music, theater, film, institutional and ser, Inc. in 1974, and teamed with Walter Bernard in 1983 civic enterprise, as well as those for commercial prod- to form the publication design firm WBMG. Throughout ucts and services. his career, Glaser has been a prolific creator of posters and prints. His work is in the permanent collections of To many, Milton Glaser is the embodiment of American many museums. Glaser also is a renowned graphic and graphic design during the latter half of this century. His architectural designer with a body of work ranging from presence and impact on the profession international- the iconic logo to complete graphic and decorative pro- ly is formidable. Immensely creative and articulate, he grams for the restaurants in the World Trade Center in is a modern renaissance man — one of a rare breed of New York. Glaser is an influential figure in both the de- intellectual designer-illustrators, who brings a depth of sign and education communities and has contributed understanding and conceptual thinking, combined with essays and granted interviews extensively on design. a diverse richness of visual language, to his highly inven- Among many awards throughout the years, he received tive and individualistic work.
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