A Typographic Journal Based on Meggs' History of Graphic Design

imminent. A typographic journal based on Meggs’ History of Graphic Design. Eggi Media. Autumn 2021 issue 16 Wobby Jar A photography Exhibition, March - July 2021 Museum of Contemporary Art, Sydney. Image courtesy of Issy Golding. The Polish Poster Editors Address. 4 Bob Cactus The following pages, were designed with love by Issy Golding for the purpose of Graphics One: Type & Language Image & Type. The body copy is respectfully used 8 Emily House from Megg’s History of Design for the purpose of this university assessment. The idea behind this design is to explore the global The American Experence. Sakura Mushroom. nuances of typography through the global edition 10 of imminent, a fictional publication. Creating a Nation 12 Elanora Button Japanese Type 14 Erin Kofe Published biannually by Eggi, Sydney. This publication was created on Darkingjung land and the creators pay their respects to Aboriginal leaders. Imminent is circulated to subscribers Chilean Type Membership is available at Tayla Crane www.eggi.media.com/subscribe 16 @eggi www.eggi.media.com 2 imminent The Polish Poster. The poster became a source of great national pride in Poland; its role in the cultural life of the nation is unique. Words by Bob Cactus Opposite Winter PJs by Sheila Squiggly. orld War II began in Europe on 1 Electronic broadcasting lacked the frequency September 1939 with Hitler’s lightning and diversity of Western media, and the din of Winvasion of Poland from the north, economic competition was less pronounced south, and west without a declaration of war. in a communist country. Therefore, posters for Seventeen days later, Soviet troops invaded cultural events, the circus, movies, and politics Poland from the east, and six years of devas- served as important communications. In 1964 tation followed. Poland emerged from the war the Warsaw International Poster Biennial be- with enormous population losses, its industry gan, and Muzeum Plakatu— a museum devot- devastated, and its agriculture in ruins. ed exclusively to the art of the poster— was established in Wilanów, near Warsaw. The capital city of Warsaw was almost com- pletely destroyed. Printing and graphic design, The Polish poster began to receive interna- like so many aspects of Polish society and cul- tional attention during the 1950s. Tomaszewski ture, virtually ceased to exist. It is a monumental led the trend toward developing an aesthet- tribute to the resilience of the human spirit that ically pleasing approach, escaping from the an internationally renowned Polish school of somber world of tragedy and remembrance poster art emerged from this devastation. In the into a bright, decorative world of color and communist society established in Poland after shape. the war, the clients were state-controlled insti- tutions and industry. Graphic designers joined In an almost casual collage approach, de- filmmakers, writers, and fine artists in the Polish signs were created from torn and cut pieces Union of Artists, which established standards. of colored paper and then printed by the silkscreen process. Typical of this style is the film Entry into the union came after completion of poster for Rzeczpospolita Babska by Jerzy Fli- the educational program at either the Warsaw sak (1930– 2008). The symbolic female figure or the Kraków Academy of Fine Arts. Entry stan- has a pink, doll-like head with round, rouged dards for these schools were rigorous, and the cheeks and a heart-shaped mouth. number of graduates was carefully controlled to equal the need for design. The circus poster has flourished as a light- hearted expression of the magic and charm The first Polish poster artist to emerge after of this traditional entertainment since 1962, the war was Tadeusz Trepkowski. The poster when concern about mediocre circus publicity became a source of great national pride in inspired a juried program to select a dozen Poland; its role in the cultural life of the nation is circus posters per year for publication by the unique. Graphic Arts Publishers in Warsaw. 4 imminent g a lbl Type & bliski Language неизбежный Words Emily House ආසන්නයි Images Claudio Fish. The creation of conceptual images op hande became a significant design approach in Poland, the United States, Germany, and even Cuba. It also cropped up imminente around the world in the work of individuals whose search for relevant and effective images in the post– World War ar tí tarlú II era led them toward the conceptual image. yaxındır In the most original work of the Ital- The creation of conceptual images ian graphic designer Armando Testa became a significant design approach okuseduze (1917– 92), for example, metaphysical in Poland, the United States, Germany, combinations were used to convey ele- and even Cuba. It also cropped up yfirvofandi mental truths about the subject. around the world in the work of indi- iminente lata mai In his posters and advertisements, the viduals whose search for relevant and image is the primary means of commu- effective images in the post– World War nication, and he reduces the verbal II era led them toward the conceptual berehalakoa content to a few words or just the prod- image. In the most original work of the uct name. Testa effectively used more Italian graphic designer Armando Testa subtle contradictions, such as images (1917– 92), for example, metaphysical made of artificial materials, as a means combinations were used to convey ele- of injecting unexpected elements into mental truths about the subject. graphic design. 8 imminent Sakura Mushroom. Sakura Mushroom. of the A Graphic icon american experience. “As photography stole illustration’s traditional function, a new approach to illustration emerged.” uring the 1950s the Glaser’s versatile and singular genius is hard to golden age of American categorize, for over the course of several de- Dillustration was drawing to cades he reinvented himself as a creative force a close. For over fifty years narra- by exploring new graphic techniques and motifs. tive illustration had ruled American During the 1960s he created images using flat shapes formed by thin, black-ink contour lines, add- graphic design, but improvements ing color by applying adhesive color films (Fig. 21– in paper, printing, and photogra- 18 ). This almost schematic drawing style echoed phy caused the illustrator’s edge the simple iconography of comic books, the flow- over the photographer to recede ing curvilinear drawing of Persian and art nouveau rapidly. Traditionally, illustrators arabesques, the flat color of Japanese prints and had exaggerated value con- Matisse cutouts, and the dynamic of contemporary trasts, intensified color, and made pop art. As with other graphic designers whose edges and details sharper than work captured and expressed the sensibilities of life to create more convincing their times, Glaser was widely imitated. images than photography. In 1958 Sorel started freelancing, and he later emerged as one of the major political satirists of Only his ability to maintain a steady stream of inno- But now, improvements in materials and pro- his generation. Glaser and Chwast continued their vative conceptual solutions, along with his restless exploration of different techniques, prevented him cesses enabled photography to expand its partnership for two decades. In 1974 Glaser left to from being consumed by his followers. range of lighting conditions and image fidelity. pursue a wide range of interests, including maga- While the images described above are formed The death of illustration was somberly predict- zine, corporate, and environmental design. Chwast remains as director of the renamed Pushpin Group. by the edge, another approach developed by ed as photography made rapid inroads into Glaser evolved from the mass. Inspired in the late the profession’s traditional market. However, as The Push Pin Almanack became the Push Pin 1950s by oriental calligraphic brush drawing and photography stole illustration’s traditional func- Graphic , and this experimental magazine provid- Picasso aquatints, Glaser began making gestured tion, a new approach to illustration emerged. ed a forum for presenting new ideas, imagery, and silhouette wash drawings that tease by only sug- This more conceptual approach to illustra- techniques. Together with the journalist Clay Felker, gesting the subject, requiring the viewer to fill in the tion began with a group of young New York Glaser founded New York Magazine in 1968 and details from his or her own imagination. graphic artists. worked as its art director for the next nine years. The philosophies and personal visions of Push Pin Glaser’s concert posters and record-album Studio artists had global influence. Graphic design designs manifest a singular ability to combine his Image Modern by April Jar, has often been fragmented into separate tasks of personal vision with the essence of the content. 2019. image making and layout or design. 10 imminent The term Push Pin style became widely used for the studio’s work and influence, which spread around the world. The studio hired other designers and illustrators in addition to Glaser and Chwast, and a number of these younger individuals, who worked for the studio and then moved on to freelance or to other positions, extended the boundaries of the Push Pin aesthetic. The Push Pin approach is less a set of visual conventions or a unity of visual techniques or images than an attitude about visual communications, an openness about trying new forms and techniques as well as reinterpreting work from earlier periods, and an ability to integrate word and image into a conceptual and decorative whole. Barry Zaid (b. 1939), an influential graphic designer in the late 1960s and early 1970s, joined Push Pin for a few years during this period. A Canadian who majored first in architecture and then in English during college before becoming a self-taught graphic designer and illustrator, Zaid worked in Toronto and then London prior to joining Push Pin Studio.

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