DOCSLIB.ORG

The New York School the NEW YORK SCHOOL

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The New York School the NEW YORK SCHOOL ANM102 | HISTORY OF GRAPHIC AND WEB DESIGN CHAPTER 19 The New York School THE NEW YORK SCHOOL • European designers, escaping the political climate, immigrated to the United States and became major influences in the American design movement. • European design was fairly theoretical and structured, where American design was pragmatic, intuitive and less formal in its approach to organizing space. • New York was the center of the movement in the 1940s. • Emphasis was placed on the expression of ideas and an open, direct presentation of information. William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 2 LOGO DESIGN Paul Rand • Began his career as a promotional and editorial designer for Apparel Arts, Esquire, Ken, Coronet, and Glass Packer. • Collaborated with copywriter Bill Bernbach becoming the prototype for art/copy teams working together. • Created many of the most recognizable logos seen today. William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 3 POSTER DESIGN Paul Rand • style often reflected entertaining puns and wordplay • played with contrasts: red against green, organic against geometric, cut or torn edges against sharp forms, and textural pattern against white • http://www.paul-rand.com/site/posters/ William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 4 PUBLICATION Paul Rand • Created this cover for Direction magazine, 1940 • red dots are symbolically are interpreted as holiday decorations or blood drops William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 5 PUBLICATION Alvin Lustig • graphic designer, architect, and interior designer • became the visual design research director at Look Magazine • heavily involved with design education and in 1951 helped develop a graduate graphic design program at Yale University William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 6 LAYOUT Bradbury Thompson • one of the most influential designers of postwar America • had a thorough knowledge of printing and typesetting and experimented with both with great success • turned to classic approach to book and editorial design focusing on readability, formality, and Old Style typefaces. Worked for Smithsonian William Pickering, title page for the • Book of Common Prayer, 1844. and ARTnews CHAPTER 19: THE NEW YORK SCHOOL 7 FILM AND LOGO DESIGN Saul Bass • opened a studio in Los Angeles in the 1950s • greatly influenced by Paul Rand • decorative letterforms are combined with typography or handwriting • often used irregular forms drawn with a brush or cut from paper • like Rand, designed some well known logos William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 8 FILM PROMOTION Saul Bass • became the acknowledged master of film titles. • his work has inspired many contemporary designs both in print and in the film industry • http://www.youtube.com/watch?v=z25t- PQDn5A&feature=related http://www.youtube.com/watch? v=rD6dDzUTJJ0&NR=1 William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 9 LOGO DESIGN Ivan Chermayeff • began his career as a record album designer who coined the phrase "problem solving” in relation to design • known for his logo designs and whimsical collages William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 10 POSTER Ivan Chermayeff • Between the Wars, 1977 • interwar years are represented by Churchill’s hat between two helmets William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 11 LAYOUT Robert Brownjohn • New York designer • best known for motion picture title sequences • worked for Columbia Records designing jackets (Rolling Stones) • founding partner of Brownjohn, Chermayeff and Geisman Agency, just known as Chermayeff & Geisman today William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 12 AD AGENCIES Tom Geismar • co-founder of Brownjohn, Chermayeff and Geismar • designer of major corporate identities along with Chermayeff William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 13 AD AGENCIES Doyle Dane Bernbach • founded in 1949 by James Edwin Doyle, Maxwell Dane, and Bill Bernbach • one of the largest internationally known advertising agencies today • considered to be the original “Mad Men” • created some of the most iconic layouts of the century William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 14 MAGAZINE Otto Storch • notable magazine art director for McCalls • revolutionized the visual organization of magazine page layout • known for merging photography and words into a dynamic visual idea William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 15 MAGAZINE Mike Salisbury • pages from West, late 1960s • here the art director became a visual historian, researching and selecting old Levi’s advertisements and products for a pictorial essay William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 16 MAGAZINE George Lois • prolific New York graphic designer • worked for several major clients: MTV, Lean Cuisine, Jiffy Lube, ESPN... • designed over 30 covers for Esquire Magazine • http://www.georgelois.com/index.html William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 17 TYPOGRAPHY Herb Lubalin • American graphic designer • graduate of Cooper Union • created two well-known publications, Avant Garde and Upper & Lower Case • designed Avant Garde font • turned typography into an art form and a powerful communicative element William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 18 TYPOGRAPHY Herb Lubalin William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 19 LOGO Herb Lubalin • proposed New York City logo, 1966 • Isometric perspective creates a dynamic tension between two- and three-dimensionality while implying the city’s high-rise architecture William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 20 TYPOGRAPHY Herb Lubalin • Ice Capades logo, 1967 William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 21 MAGAZINE Herb Lubalin • pages from Eros, 1962 • Lubalin overlapped and touched letterforms, compressed the space between words, and squeezed words and images into a rectangle William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 22 KEY PEOPLE • Paul Rand • Leo Lionni • Bob GAge • Bill Bernbach • Alexander • Phyllis Robinson Liberman • Alvin Lustig • Alcorn • Cipe Pineles • Bradbury • Gene Frederico Thompson • Otto Storch • Rondthaler • Saul Bass • Henry Wolf • Herb Lubalin • George Tscherny • Peter Palazzo • George Lois • Robert Brownjohn • Dugald Stermer • Ivan Chermayeff • Bea Feitler • Thomas H. • Michael Salisbury Geismar • Doyle Dane Norman Ives Bernbach Agency • William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 23 KEY TERMS Brownjohn, Chermayeff, and Geismar “The new advertising,” The initial contribution of these three to American In new, small boutique advertising agencies emphasis graphic design sprang from a strong aesthetic was placed on creativity rather than on full marketing background and an understanding of the major ideas services. An attempt was made to create more honest, of European modern art. A communicative immediacy, literate, and tasteful appeals to the market audience. a strong sense of form, and a vitality and freshness characterized their work in the early months of the Figurative typography partnership. Images and symbols were combined with a playful direction taken by New York graphic designers a surreal sense of dislocation to convey the essence of during the 1950s and 1960s. This approach, the subject on book jackets and posters. A fine sense spearheaded by Gene Frederico took many forms: of both typography and art history enabled them to letterforms became images, such as the wheels in the solve problems through inventive and symbolic Frederico’s ad for Woman’s Day, or the visual manipulation of forms and imagery. Solutions grew out properties of words themselves, or their organization of the needs of the client and the limitations of the in space, were used to express an idea, such as in Don problem at hand. Egensteiner’s “Tonnage” advertisement, in which the visual form of the word takes on a Visual/verbal syntax connotative meaning. word and image fused into a conceptual expression of an idea so that they become completely interdependent, the Bernbach approach evolved during the 1950s and 1960s by Bill Bernbach at the New York advertising agency Doyle Dane Bernbach. William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 19: THE NEW YORK SCHOOL 24 KEY TERMS Phototypography International Typeface the setting of type by exposing negatives of alphabet Corporation (ITC) characters to photographic paper dawned in 1925 with established by Aaron Burns, thirty-four fully developed the public announcement of the Thothmic type families and about sixty additional display faces photographic composing machine invented by E. K. were designed and licensed during its first decade. Its Hunter and J. R. C. August of London. A keyboard fonts had large x-heights and short ascenders and produced a punched tape to control a long, opaque descenders; these became the prevailing master film with transparent letterforms. As a given characteristics of fonts designed during the 1970s and letter moved in position in front of a lens, it was early the 1980s. exposed to photographic paper by a beam of light. Typogram brief, visual typographic form in which concept and visual form are merged into a oneness. William Pickering, title page for the Book of Common Prayer, 1844.
Load more

Recommended publications
  • Paul Rand: a Significant Collection
    paul rand: a significant collection modernism 101 rare design books 1938 ● 1996 “[Rand] has no patience with slickness, with facility; he is a se- vere critic of the hackneyed and the insincere. All this is dead wood to be cleared away.” — ­ ­E. ­McKnight ­Kauffer ­ [Introduction ­to ­THOUGHTS ­ON ­DESIGN] Paul ­Rand ­[1914 ­– ­1996] ­had ­established ­himself ­as ­the ­most ­influ- ential graphic­ designer­ of­ his­ time­ by­ the­ ripe­ old­ age­ of­ 23.­ Our­ cata­ - log ­cover ­portrait ­first ­appeared ­in ­the ­PM Shorts ­column ­from ­the ­ February ­– ­March ­1938 ­PM ­over ­the ­cutline ­“[Paul ­Rand] ­recently ­ appointed ­art ­director ­of ­Esquire’s ­New ­York ­Office. ­Rand, ­who ­is ­23, ­ is one­ of­ the­ country’s­ youngest­ art­ directors.”­ The­ lowercase­ job­ title­ ­ presentation ­underscored ­the ­nascent ­form ­of ­the ­industry ­that ­Rand ­ would ­come ­to ­personify ­over ­the ­next ­half ­century. The development­ of­ Graphic­ Design­ as­ an­ industry­ and­ a­ profession­ is­ ­ the focus­ of­ this­ catalog.­ Assembled­ here­ is­ a­ collection­ of­ rare­ books,­ ­ periodicals and­ artifacts­ meant­ to­ recount­ history­ via­ a­ chronological­ ­ exploration ­of ­Rand’s ­professional ­roles: ­first ­as ­a ­media ­promoter, ­ then advertising­ designer,­ then­ corporate­ identification­ specialist­ and­ ­ finally ­as ­educator. ­ Everybody ­whose ­resumé ­includes ­the ­title ­Art ­Director ­in ­capital ­let- ters owes­ a­ professional­ debt­ to­ Brooklyn­ native­ Peretz­ Rosenbaum­ and­ ­ his ­lifelong ­quest ­to ­clear ­away ­the ­dead ­wood ­that ­threatened ­to ­ overgrow ­America ­and ­the ­rest ­of ­the ­postwar ­world. Catalog Fun Fact Titles appearing­ in­ red­ contain­ an imbedded URL hotlink to­ our­ website­ ­ modernism101.com. ­ When ­ clicking ­ on ­ a ­ title ­ of ­ interest, ­ your ­ web ­ browser ­may ­display ­this ­message: ­ If you trust the site, choose Allow.
    [Show full text]
  • 2014 Media Kit Covers.Indd
    2014 MEDIA KIT PRINT | DIGITAL | EVENTS ABOUT THE VOICE OF MEDIA VOL. LV NO. 1 JANUARY 6-12, 2014 Merger MVPs LOOK WHO’S TALKING Thanks to the Internet of Things, we’ve fi nally arrived at the Jetsons age—and we’ll see it all at CES 00_0106_COVER_LO [P].indd 2 1/2/14 6:04 PM MUTUALLYU ASSURED THE VOICE OF MEDIA VOL. LIV NO. 40 NOVEMBER 11-17, 2013 5 353 s YYearsear Online streaming services are threatening to take down LASTNAME N: LINCOLN AGNEWLINCOLN N: SURVIVAL? T the bloated cable model. But success could lead them to IO FIRS kill their primary source of content. How will it all end? : By Sam Thielman ILLUSTRAT PHOTO 1 MONTH ##, #### | ADWEEK ADWEEK | MONTH ##, #### RonRon BergerBerger, formerlyformerly ofof EuroEuro RRSCG,SCG, aandnd hhisis ssonsons CCoryory BergerBerger ((l.)l.) ooff PPereiraereira & OO’Dell’Dell aandnd RRyanyan BBergererger ooff tthehe BBergererger SShop.hop. The Familyy In ccelebratioelebra n of our 35th anniversary, a pportfortfolioio of industry veterans and the sons and ddaughtersaugh to whom they’re passing the torch. THE VOICE OF MEDIA Updated: 6/16/14 PRINT Before you take the deep dive, here’s a peek at what’s ahead in the pages of the magazine First Mover Data Points Portrait The innovators, game changers, decision The latest in media, marketing and A close-up on the new generation of makers on their new jobs and how they got technology through the lens of data. advertising and media stars. from here to there. Trending Topics Accounts in Review Information Diet The hottest trends shaping the world of A weekly roundup of major accounts up Celebrities come clean on their media media, advertising and technology.
    [Show full text]
  • Paul Rand Louis Danziger: Early Life and Education
    Indisputably, Rand’s most widely known His career began with humble assignments, starting contribution to graphic design are his with a part-time position creating stock images for a corporate identities, many of which are syndicate that supplied graphics to various newspa- still in use. IBM, ABC, Cummins Engine, pers and magazines. Between his class assignments Westinghouse, and UPS, among many and his work, Rand was able to amass a fairly large others, owe their graphical heritage to portfolio, largely influenced by the German advertis- him, though UPS recently carried out a ing style Sachplakat (ornamental poster) as well as controversial update to the classic Rand the works of Gustav Jensen. design. One of his primary strengths, as Maholy-Nagy pointed out, was his abil- ity as a salesman to explain the needs his identities would address for the cor- poration. According to graphic designer Paul rand Louis Danziger: Early life and education Paul Rand (born Peretz Rosenbaum, “ We went from being commer- It was at around this time that he decided to cam- August 15, 1914 – November 26, 1996) cial artists to being graphic de- ouflage (and abbreviate) the overtly Jewish identi- was a well-known American graphic signers largely on his ty telegraphed by ‘Peretz Rosenbaum,’ shortening designer, best known for his corporate merits.” his forename to ‘Paul’ and taking ‘Rand’ from an logo designs. Rand was educated at the uncle to form his new surname. Morris Wyszogrod, Pratt Institute (1929-1932), the Parsons a friend and associate of Rand, noted that “he fig- School of Design (1932-1933), and the ured that ‘Paul Rand,’ four letters here, four letters Art Students League (1933-1934).
    [Show full text]
  • A DESIGNER's ART by Paul Rand. Illustrated. 239 Pp. New Haven
    9/19/2018 IN THE BEGINNING WAS THE LOGO - The New York Times ARCHIVES | 1985 By ALAN FERN PAUL RAND: A DESIGNER'S ART By Paul Rand. Illustrated. 239 pp. New Haven. Yale University Press. $39.95. IN our built environment and our civilization of manufactured objects, every product, every printed page, every urban corner has been designed, sometimes badly, sometimes well. Yet we have few opportunities to reflect on the ways designers work and to celebrate their accomplishments. Our painters, sculptors and architects are household names, but few people, apart from the members of the design community, are aware of the identities and the qualities of the principal shapers of the forms with which we are surrounded. Fewer still have an understanding of the thought processes or the intellectual preoccupations of the major designers of our time. The curse of the designer is that he remains anonymous to those who use (and may even admire) his work. Many who read this review will recognize the characteristic logotype of the I.B.M. Corporation, with its blocky letters rendered in horizontal lines of blue or gray; the underlined ''W'' that appears on every Westinghouse product; or the refined, multicolored stenciled letter forms of the El Producto cigar box. But the name of the designer who created them is know primarily to his colleagues. ''Paul Rand: A Designer's Art'' admirably serves to introduce us to the mind and the work of the orginator of these and many other memorable graphic images, and to a man who is one of the most influential and fascinating designers of our time.
    [Show full text]
  • Paul-Rand.Com __ Logos, Flags, and Escutcheons
    About Paul Rand Thoughts on Design Gallery Resources Shop News Search Submit Thoughts on Design Logos, Flags, and Escutcheons More Articles by Paul Rand Integrity and Invention Graphis Annual, 1971 t reminds me of the Georgia chain gang,” quipped the IBM executive, when he first eyed the “I striped logo. When the Westinghouse insignia (1960) was first seen, it was greeted similarly with such gibes as “this looks like a pawnbroker’s sign.” How many exemplary works have gone A Selection of Quotes down the drain, because of such pedestrian fault-finding? Bad design is frequently the consequence Various resources of mindless dabbling, and the difficulty is not confined merely to the design of logos. This lack of understanding pervades all visual design. Interview with a Portfolio Center Student There is no accounting for people’s perceptions. Some see a logo, or anything else seeable, the way A witty interview conducted they see a Rorschach inkblot. Others look without seeing either the meaning or even the function of via fax. a logo. It is perhaps, this sort of problem that prompted ABC TV to toy with the idea of “updating” their logo (1962). They realized the folly only after a market survey revealed high audience recognition. This is to say nothing of the intrinsic value of a well-established symbol. When a logo is The Politics of Design designed is irrelevant; quality, not vintage nor vanity, is the determining factor. Originally published in “A Designer’s Art”. There are as many reasons for designing a new logo, or updating an old one, as there are opinions.
    [Show full text]
  • The Rise of Research in Graphic Design
    Introduction: The Rise of Research in Graphic Design AUDREY BENNETT Graphic design is at a crossroads. Looking back, one sees designers engaged in a process where intuition informs the development of visual rhetoric intended to evoke a response from a target audience. Looking ahead, one sees them engaged in a process where research is integrated into the design of objects and experiences for and with the audience. By adopting interdisciplinary research approaches, graphic designers can both question and agrm their intuitive inclinations, and place this process in conversation with peers and even the lay public. Traditionally graphic design theory has privileged intuition and creativity over empirical research. This book seeks to provide an alternative approach to graphic design theory by surveying the best work, past to present, on research- based graphic design theory. The question then is: what are graphic design’s theories? It can be argued that the art-based principles of graphic design—including (but not limited to) contrast, hierarchy, repetition, alignment, and color—are in fact theories proven through a long history of successful experimentation in practice.1 Indeed, graphic designers—through professional practice— have tested and retested to the point where it makes sense to refer to these theories as laws or principles. Marty Neumeier’s and James Souttar’s analyses of the work of John Rushworth, Massimo Vignelli, 16 Nancy Skolos, and Chuck Close, confirm the replicability of these principles to create aesthetics that sell ideas, products, and experiences.2 Yet within the discipline of graphic design these principles are not regarded as “proven” theories because graphic design historically lacks a strong research agenda.
    [Show full text]
  • AMERICAN MODERNISM / Overview 1 / 50
    GDT-101 / HISTORY OF GRAPHIC DESIGN / AMERICAN MODERNISM / OVerVieW 1 / 50 American Modernism 1 European Imports 6 2 Native Modernists 24 3 Paul Rand 40 © Kevin Woodland, 2019 Iwao Yamawaki, The Attack of the Bauhaus, 1932. GDT-101 / HISTORY OF GRAPHIC DESIGN / AMERICAN MODERNISM / OVerVieW 2 / 50 © Kevin Woodland, 2019 Dessau Bauhaus, circa 1933 GDT-101 / HISTORY OF GRAPHIC DESIGN / AMERICAN MODERNISM / OVerVieW 3 / 50 © Kevin Woodland, 2019 Dessau Bauhaus, circa 1933 GDT-101 / HISTORY OF GRAPHIC DESIGN / AMERICAN MODERNISM / OVerVieW 4 / 50 © Kevin Woodland, 2019 Hitler’s Bunker, 50 feet under Berlin, 1945 GDT-101 / HISTORY OF GRAPHIC DESIGN / AMERICAN MODERNISM / OVerVieW 5 / 50 © Kevin Woodland, 2019 Dessau Bauhaus, 1945 GDT-101 / HISTORY OF GRAPHIC DESIGN / AMERICAN MODERNISM 6 / 50 1930’S European Imports An influx of European ideas made its way into America through several avenues during the 1930’s. © Kevin Woodland, 2019 Walker Evans, Houses and Billboards, Atlanta, 1936 GDT-101 / HISTORY OF GRAPHIC DESIGN / AMERICAN MODERNISM / The BAUhaUS 7 / 50 © Kevin Woodland, 2019 Walker Evans, circa 1930’s GDT-101 / HISTORY OF GRAPHIC DESIGN / AMERICAN MODERNISM / The BAUhaUS 8 / 50 1920’S–30’S Modernism in America gained a foothold in the form of: • Book design • Editorial design • Corporate identity New typeface designs, including Futura and Kabel, became available in America, spurring the modern movement forward. – MEGGS © Kevin Woodland, 2019 Paul Renner, Futura type specimen, 1927 GDT-101 / HISTORY OF GRAPHIC DESIGN / AMERICAN MODERNISM / The BAUhaUS 9 / 50 1897–1967 George Salter • Bremman, Germany • Emmigrated to U.S. in 1934 • Book Cover designer • Magazine Cover designer • American citizen in 1940 Alfred Döblin’s Berlin Alexanderplatz launched his career.
    [Show full text]
  • Research Paul Rand
    Research Paul Rand (born Peretz Rosenbaum) – (1914 – 1996) American graphic designer. Well known for designing corporate logos. He helped originate the Swiss Style of graphic design. http://www.paul-rand.com/foundation/biography/#.UukMANDFKLI “Emerging from the modernist and constructivist ideals, the Swiss Style can be defined as an authentic pursue for simplicity – the beauty in the underlines of a purpose, not beauty as a purpose in itself. The principle “form follows function” became a battle-cry of Modernist architects after the 1930s. As a consequence of this principle, most of the Swiss Style craft is devoted to the minimal elements of style such as typography and content layout rather than on textures and illustrations.” http://www.smashingmagazine.com/2009/07/17/lessons-from-swiss-style-graphic- design/ 1981 1972 The left image is cleverly created because each letter is symbolised with a picture. Rand liked to create playful images and this image definitely reflects that. The right image is more suited for a business because the image is plain and simple – it consists of horizontal blue lines. However, there is a lot of hidden meaning to this image because the striped lines looks like venetian blinds, the type of blinds that we usually see on windows of business. It also looks like lines that we would see in an old computer screen, this is a good representation of the company because the company is a computer business. We can see the striped effect on the “m” in the image on the left. If someone hadn’t heard of the company IBM before they might get confused by the symbols shown in the left design.
    [Show full text]
  • Experimental Vs. Narrative Films
    VolVol 22 IssueIssue 1010 January 1998 FundingFunding Co-ProductionsCo-Productions WorkingWorking HistoryHistory aa MarketMarket ofof 16mm 16mm DistributionDistribution EducatorsEducators onon ExperimentalExperimental vs.vs. Narrative Narrative FilmsFilms Plus:Plus: The The CreationCreation ofof an an Icon,Icon, the the MTVMTV LogoLogo Table of Contents January 1998 Vol. 2, . No. 10 4 Editor’s Notebook Where there is a will, a way can sometimes be created... 5 Letters: [email protected] PRODUCING RESULTS 6 Funding Co-Productions:A Complicated But Tasty Recipe Michael Hirsh explains firsthand the recipe for success that has NELVANA’s co-productions filling the air- ways on both sides of the Atlantic and beyond. 9 Working the Floor at International Program Markets Dominic Schreiber relates tips from the pros on how to attend a market and make the most of it for you and your property. 13 The Unnatural History of Independent Animated Films on 16mm Once upon a time there was a world without video tape...Karl Cohen takes us back in time to the days when 16mm film reigned. 19 A Literary Draw: Storyopolis Wendy Jackson interviews Fonda Snyder, co-founder of Storyopolis, a unique company which is a sym- biosis of a bookstore, art gallery, development think tank and production company. 22 Liquid Light Studios Says,“Olé!” to Mexico’s Pronto Julie Pesusich, of Liquid Light Studios, discusses the formation of a startup CGI company and their cur- rent co-production with Mexican director Jorge Ramirez-Suarez. OTHER ARTICLES 26 The Creation of an Icon: MTV In a personal memoir, Candy Kugel describes how she and a small team created an icon that would one day take the world by storm.
    [Show full text]
  • Discovering Design
    12 (Re)Discovering Design Discussion about design is ubiquitous these days. Newspapers and magazines carry on about design as if it were a new concept, even though it is an all-encompassing part of daily life. All forms of design are getting attention: graphic design, advertising design, illustration, product design, interior design, fashion design, industrial design, web design, motion design, and urban design. University art departments are changing their names from departments of art to departments of art and design to designate the inclusive nature of art and design. Art and design professors around the country agree, “Artists and designers are all artists – period.” The wall of a cave, the side of a pot, the vaulted ceiling, the printed page, the digital screen. The media have changed; the purpose has not. Designers and illustrators have a pivotal role in a process of visual communication that provides a sense of who we are as a culture, how we are perceived, where we have come from, and where we’re heading. Brochure from the Fashion Institute of Technology in New York City Barbara Bloemink, art historian and curator of the 2004 Smithsonian Cooper-Hewitt National Design Museum exhibition Design ≠ Art, reminds us that the relationship between fine art and design has been both harmo- nious and fractious. “Modern Western society has found it necessary to Ideas About Art, First Edition. Kathleen K. Desmond. © 2011 Kathleen K. Desmond. Published 2011 by Blackwell Publishing Ltd. DDesmond_c12.inddesmond_c12.indd 117171 22/7/2011/7/2011 112:00:282:00:28 PPMM 172 (Re)Discovering Design distinguish between aesthetics and function, between the spiritual in art and the corporeal in design” (Bloemink and Cunningham 2004: 7).
    [Show full text]
  • SMILING THROUGH the APOCALYPSE - Esquire in the Sixties
    SMILING THROUGH THE APOCALYPSE - Esquire in the Sixties A Documentary by Tom Hayes 98 min / 2013 / English / Digital (DCP & BluRay) FIRST RUN FEATURES The Film Center Building 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 / Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] Synopsis: SMILING THROUGH THE APOCALYPSE - Esquire in the Sixties traces the life of legendary Esquire Magazine Editor Harold Hayes. Twenty-five years after his father's passing, Hayes’ son Tom takes the viewer on a journey to understand how his father’s magazine became a galvanizing force in American culture, and the voice of an era. The film is a compelling story of challenge, triumph, and defeat, painting an explicit portrait of an era through a man who cultivated an extraordinary group of writers, photographers and artists, providing a vivid context for nothing less than the rebirth of American aesthetics. Featuring interviews with, Tom Wolfe, Gay Talese, Robert Benton, Peter Bogdanovich, Nora Ephron, Gore Vidal, Hugh Hefner and more. Director’s Bio: Born and raised in New York City, Tom Hayes is the son of the legendary magazine editor Harold Hayes and Broadway actress Suzette Meredith. After graduating from Wake Forest University in 1979, he assisted Academy Award nominated director Peter Bogdanovich on the film “They All Laughed” starring Audrey Hepburn. This on-set training earned him entre as an Associate Producer at CBS Cable for three years. Hayes then moved into independent television and film production, working on numerous news magazine stories, documentaries, TV movies and commercials. SMILING THROUGH THE APOCALYPSE - Esquire in the Sixties is his first feature film.
    [Show full text]
  • Simplicity Is Not the Goal. It Is the By-Product of a Good Idea and Modest Expectations.”
    PAUL RAND “Simplicity is not the goal. It is the by-product of a good idea and modest expectations.” 1914-1996 Biography/Background Work Experience 1937-1941 - Art director for Esquire and Apparel Arts magazine Peretz Rosenbaum was born on August 15th, 1914 in Brooklyn, New York. ---He believed that lines, shapes and colors could become He later changed his name to Paul Rand, which sounded more American. He message-conveying signs and symbols in visual communications and artis- wanted to do away with his Jewish identity because he thought he would be tic composition more successful. 1941 – 1954 – art director of the William H. Weintraub advertising agency, From a very young age, he had a profound interest in designing (particularly collaborated with Bill Bernbach painting at first), which ultimately influenced his future career in design. ---Paul thought that text and images were integrated into a whole, with words and pictures working together to create an effective Paul Rand created trademarks up to the day he died. He passed away on message November 26, 1996 at the age of 82. 1947 - Rand published his first book,Thoughts on Design. ---This book would remain influential for decades, making the case for the essential relationship between how something looked and what it accom- Awards plished. Education 1972 - Rand was inducted in the New York Art Directors 1950s and 1960s – American corporations were turning to graphic Club Hall of Fame. This is a professional organization in the design and creative industries. The Art Directors Club His father said that art alone wouldn’t be sufficient enough for his son, so he was enrolled in designers to create trademarks.
    [Show full text]