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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. -
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. -
The Power of the Poster Propaganda Poster Design
Austin Klubenspies Fall Quarter 2017 The Power of the Poster Graphic Design Studio 1 SCAD Atlanta Propaganda Poster Design For centuries, posters have played a major role in delivering information to the public. Whether it is the date for an upcoming performance or an alert about a missing person, posters offer quick access to information throughout our daily lives. However, during the years of WWI and WWII, posters played a much darker role. During the beginning of WWI in 1914, the era of the propaganda poster had begun. Both the Allied Forces and the Central Powers started creating public posters that would engage the people in the war. Besides an attempt to validate their war engagement, these posters were used to promote enlistment, encourage conservation of food and resources among the people, raise funds for the military, and boost the overall public morale. Little did designers know that their posters would be the difference between victory and defeat. The Beginning of Central Propaganda Unsurprisingly, the Central Powers had quite a different approach to design than the Allied Forces. The poster design of the Central Powers was primarily inspired by Lucian Bernhard (figure 1) and the simplicity of the Plakatstil style (seen in figures 2). Bernhard, largely known for his influence and engagement in Plakatstil, was born in Stuttgart, Germany in 1883, originally named Emil Kahn. Primarily self-taught, Bernhard was a Graphic Designer, Typographer, Professor, Interior Designer, and Fine-Artist. At the beginning of his career, the artist, after being kicked out of his home for repainting Fig.1. Lucian Bernhard Portrait his family’s antique décor, had decided to enter a poster advertisement competition for the Priester Lucian Bernhard, 1955. -
Women of the West & a World At
This catalogue is published on the occasion of Women of the West & A World at War, an exhibition curated by Kiaonno Bradley, Leah Holtz, Montana MacDonald and Chandra Yang, students of History 12: The West and Its Cultural Traditions Part II, under the direction of Professor Bert Gordon and Mills College Art Museum Director, Stephanie Hanor. The exhibition is presented May 4 through September 1, 2013 at MCAM and the lobby of the Vera M. Long Building for the Social Sciences. This project is made possible through support of The Andrew W. Mellon Foundation. © 2013 Mills College Art Museum 5000 MacArthur Boulevard Oakland, California 94613 mcam.mills.edu All rights reserved. No part of this publication may be reproduced in any manner without permission. Design: John Borruso COVER: Unknown Artist Become a Nurse—World War II Poster Color lithograph on paper, 28 x 22 inches Collection Mills College Art Museum Transfer from Mills College Library, 1972.25 2 Introduction Women of the West & A World at War, an exhibit organized by the students of History 12: The West and Its Cultural Traditions Part II, is curated by Kiaonno Bradley, Leah Holtz, Montana MacDonald and Chandra Yang, under the direction of Professor Bert Gordon and Mills College Art Museum Director, Stephanie Hanor. Using works selected by the History 12 students for their research projects, the curators have put together an exhibit showcasing works from the collection of the Mills College Art Museum. Spanning the 17th to the 20th centuries, the objects in the exhibition relate to women in the workplace and the World Wars, with additional objects focused on health, educa- tion, or fashion in the Western world. -
Audi Rs7 Cargurus Audi Is a Wholly Owned Subsidiary of the Volkswagen Group and Has Its Roots at Ingolstadt , Bavaria , Germany
Audi rs7 cargurus Audi is a wholly owned subsidiary of the Volkswagen Group and has its roots at Ingolstadt , Bavaria , Germany. Audi-branded vehicles are produced in nine production facilities worldwide. The origins of the company are complex, going back to the early 20th century and the initial enterprises Horch and the Audiwerke founded by engineer August Horch ; and two other manufacturers DKW and Wanderer , leading to the foundation of Auto Union in The company name is based on the Latin translation of the surname of the founder, August Horch. The four rings of the Audi logo each represent one of four car companies that banded together to create Audi's predecessor company, Auto Union. Automobile company Wanderer was originally established in , later becoming a branch of Audi AG. Another company, NSU, which also later merged into Audi, was founded during this time, and later supplied the chassis for Gottlieb Daimler 's four-wheeler. On 14 November , August Horch — established the company A. In , he moved with his company to Reichenbach im Vogtland. His former partners sued him for trademark infringement. The German Reichsgericht Supreme Court in Leipzig , [14] eventually determined that the Horch brand belonged to his former company. Since August Horch was prohibited from using "Horch" as a trade name in his new car business, he called a meeting with close business friends, Paul and Franz Fikentscher from Zwickau. At the apartment of Franz Fikentscher, they discussed how to come up with a new name for the company. During this meeting, Franz's son was quietly studying Latin in a corner of the room. -
John Heartfield: Wallpapering the Everyday Life of Leftist
the art institute of chicago yale university press, new haven and london edited by matthew s. witkovsky Avant-Garde Art Avant-Garde Life in Everyday with essays by jared ash, maria gough, jindŘich toman, nancy j. troy, matthew s. witkovsky, early-twentieth-century european modernism early-twentieth-century and andrés mario zervigÓn contents 8 Foreword 10 Acknowledgments 13 Introduction matthew s. witkovsky 29 1. John Heartfield andrés mario zervigÓn 45 2. Gustav Klutsis jared ash 67 3. El Lissitzky maria gough 85 4. Ladislav Sutnar jindŘich toman 99 5. Karel Teige matthew s. witkovsky 117 6. Piet Zwart nancy j. troy 137 Note to the Reader 138 Exhibition Checklist 153 Selected Bibliography 156 Index 160 Photography Credits 29 john heartfield 1 John Heartfield wallpapering the everyday life of leftist germany andrés mario zervigón 30 john heartfield In Germany’s turbulent Weimar Republic, political orientation defined the daily life of average communists and their fellow travelers. Along each step of this quotidian but “revolutionary” existence, the imagery of John Heartfield offered direction. The radical- left citizen, for instance, might rise from bed and begin his or her morning by perusing the ultra- partisan Die rote Fahne (The Red Banner); at one time, Heartfield’s photomontages regularly appeared in this daily newspaper of the German Communist Party (KPD).1 Opening the folded paper to its full length on May 13, 1928, waking communists would have been confronted by the artist’s unequivocal appeal to vote the party’s electoral list. Later in the day, on the way to a KPD- affiliated food cooperative, these citizens would see the identical composition — 5 Finger hat die Hand (The Hand Has Five Fingers) (plate 13) — catapulting from posters plastered throughout urban areas. -
Contents Preface Introduction the First Posters Historical Overview: Early Days of the Poster Circus and Carny Posters Chromolit
Contents 6 Preface 8 Introduction 12 The First Posters 20 Historical Overview: Early Days of the Poster With the generous support of: 22 Circus and Carny Posters 30 Chromolithographs 40 Art Nouveau in Paris 64 Historical Overview: The Poster We should like to express our very special in Art Nouveau thanks to the Hubertus Wald Stiftung. Once again, the foundation has proven to 66 be a reliable partner, and has supported Art Nouveau in this exhibition through a substantial con- tribution — in whose absence this endeav- Great Britain and the or, of such exceptional importance to our museum, would not have been possible. United States 82 Art Nouveau 228 The International Style in the Rest of Europe 246 Pop Art and the Poster 102 The First Professional 258 Historical Overview: Poster Artists Pop Art and the Poster 110 The German Sachplakat 264 (Object Poster) Protest Posters 268 122 Historical Overview: The 1970s Half Way to Modernism 282 Photo Design around 124 World War Ⅰ 1980 and the Political Poster 290 The 1980s 138 Art Deco 304 Historical Overview: 152 Cassandre Globalization 306 160 Historical Overview: Shock Advertising: Art Deco Poster Design around and Avant-Garde 1990 322 162 The Typographic Poster Japanese Posters 332 170 The Poster and the Posters of the 1990s Russian Avant-Garde 344 Chinese Posters 182 The 1930s 356 The Poster since 2005 198 The Political Poster and World War Ⅱ 372 Printing Techniques 206 The 1950s 374 Notes 210 Historical Overview: 379 Developments Image Rights after World War Ⅱ 380 Index 222 The Polish Poster 384 Imprint Jürgen Döring In 1966, the Polish poster artist Jan Lenica observed: “The poster undoubtedly has a function, it has a job to do, and it must fulfill this duty. -
An Investigation Into the Growing Popularity of Script Typefaces and the Technical Means by Which They Are Created Today Yacotzin Alva
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 5-1-1997 An Investigation into the growing popularity of script typefaces and the technical means by which they are created today Yacotzin Alva Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Alva, Yacotzin, "An Investigation into the growing popularity of script typefaces and the technical means by which they are created today" (1997). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Rochester Institute ofTechnology SCHOOL OF PRINTING MANAGEMENT AND SCIENCES An Investigation into the Growing Popularity of Script Typefaces and the Technical Means by which They are Created Today. A thesis project submitted in partial fulfillment of the requirements for the degree of Master of Science in the School of Printing Management and Sciences of the College of Imaging Arts and Sciences of the Rochester Institute ofTechnology Yacotzin Alva Thesis Advisor: David Pankow Technical Advisor: Archibald Provan Rochester, New York School of Printing Management and Sciences Rochester Institute ofTechnology Rochester, New York Certificate ofApproval Master's Thesis This is to certify that the Master's Thesis of Yacotzin Alva With a major in Graphic Arts Publishing has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master of Science degree at the convocation of May, I997 Thesis Committee: David Pankow Thesis Advisor Marie Freckleton Graduate Pro am Coordinator Director or,Designate An Investigation into the Growing Popularity of Script Typefaces and the Technical Means by which They are Created Today. -
New Typography in Scandinavia 2 in the Design Histories of Kjetil Fallan and Julia Meer.2 Titled
New Ty pog raphy in Scandinavia: Domesticating theory and practice amongst the graphic trades, 1927–43 Trond Klevgaard A thesis submitted in partial fulfilment of the requirements of the Royal College of Art for the degree of Doctor of Philosophy The Royal College of Art / Victoria and Albert Museum 22 December 2017 79,976 words ii Copyright statement This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from the thesis may be published without proper acknowledgement. iii Abstract This work provides the first extended account of New Typography’s path in Scandinavian countries, a topic which has yet to receive attention beyond a handful of articles and book chapters. Based on an exhaustive study of graphic trade journals published in Denmark, Norway and Sweden between the years of 1927 and 1943, it charts debate on New Typography and discusses the journals’ changing designs. Additional visual material has been sourced from a number of Scandinavian archives. In discussing the spread of New Typography’s theory and aesthetic from elsewhere in Europe, and then primarily from Germany, the thesis uses the concepts of domestication and networks, rather than those of diffusion or influence and centre–periphery. Dealing with a period in which the graphic designer had yet to appear as a professional figure, New Typography’s impact on a range of professional groups — all of which held responsibility for the design of graphic materials — is considered. -
PICTORIAL MODERNISM the “Golden Age of Illustration” Was a Period of Unprecedented Excellence in Book and Magazine Illustration
PICTORIAL MODERNISM The “Golden Age of Illustration” was a period of unprecedented excellence in book and magazine illustration. Western Engraving & Colortype Advertisement, 1916 The Golden Age of Illustration From the 1850s until about 1930 it developed from advances in technology, combined with a public demand for new graphic art. Maxfield Parish The Lantern Bearers, Life Magazine cover, 1908 The Golden Age of Illustration In Europe, Golden Age artists were influenced by such design-oriented movements as the Arts and Crafts Movement and Art Nouveau. Aubrey Beardsley Salomé, 1906 The Golden Age of Illustration In America, this period featured color lithographs by Howard Pyle and carried on by his students, who included N.C. Wyeth, Maxfield Parrish, Frank Schoonover and Edwin Austin Abbey. Howard Pyle Book of Pirates, 1903 The Golden ge of Illustration” The poster had established itself as a popular modern communication tool. Cubism Picasso, Man with a Violin, 1911-12 The modern-art influence In Europe, early 20th century poster designs were strongly affected by the modern-art movements. Futurism Fortunado Depero, Il Ciclista Attraversa la Citta, 1945 The modern-art influence Poster designs evoked a sense of speed and modernization. Suprematism (& Constructivism) Kasimir Malevich, Suprematism, 1916 The modern-art influence Even abstract paintings influenced poster designs of the early 1900s. Suprematism & Cubism Futurism Constructivism Pictorial modernism For poster designers to succeed in communicating to the masses, they would have to adopt a more pictorial representation people could better understand. Suprematism & Cubism Futurism Constructivism Suprematism & Cubism Futurism Constructivism Futurism Suprematism & Cubism Futurism Constructivism Futurism The Beggarstaffs Before Picasso began gluing chair caning into his compositions in 1912, the Beggarstaffs cut pieces of paper and moved them around to positions on board.