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.