Chromolithography | Naturalistic rendverings | Decorative type | Lots of ornament | Ephemera
Thomas Nast - The “BRAINS” (1871)
Charles Dana Gibson - Their First Quarrel (1914)
Kate Greenaway - Diamonds and Toads (1871)
1
Victorian Era
Stylized natural forms leaves, flowers | Horror vacui crowding of design elements in the field Historicism use of past styles, especially medieval figures | Private press movement books
Louis Rhead - Salon des Cent (1897)
Arthur Mackmurdo - Wren’s City Churches (1883)
Walter Crane - The Frog Prince (1873)
Arts & Crafts
2
Floating objects in a floating world | Sense that we are frozen in time Japanese themes such as geisha girls /kabuki theatre /nature: result of isolationism | Woodcuts
Utagawa Hiroshige - Naruto Whirlpool (1853)
Kitagawa Utamaro - Woman Wiping Sweat (1798)
Hishikawa Moronobu - Dancer (1618-94)
3
Ukiyo-e
Stylized natural forms flowers, birds | Whiplash curve bimorphic lines, curvilinear Exotic females removed from contemporary time and place
Alphonse Mucha - Gismonda (1895)
Aubrey Beardsley - The Climax (1893)
Privet Livemont - Absinthe Robette (1896)
Art Nouveau
4
Elongated figures and typography | Tall, thin compositions Hand-drawn, stylized type | Rose motif | Can resemble a stained glass window
Adolf Böhm - OCTOBER (1901)
Margaret Macdonald - The Mysterious Garden (1911)
Gustav Klimt - Adele Bloch-Bauer I (1907)
5
Vienna Secession
Monochromatic palette analytical cubism | Faceting of surfaces | Geometric shapes Simultaneity the subject is viewed from several angles at once, the subject remains stationary and the viewer moves
Pablo Picasso - Weeping Woman’ (1937)
Fernand Leger - Two Women Holding Flowers (1954)
Georges Braque - Bottle and Fishes’ (1910-12)
Cubism
6
Free typography | Onomatopoeia use of words whose sounds suggests a sense/emotion | Simultaneity In graphic works, letters suggest sounds from different sources heard at once | In figurative works, the viewer remains stationary and the subject moves, the subject is represented in multiple positions at once
Carlo Carrà - Rapporto di un nottambulo milanese (1914)
Filippo Tommaso Marinetti - The Riot in Milan (1914)
Guillaume Apollinaire - Calligramme (1915)
7
Futurism Poetry
Geometric patterns | Onomatopoeia use of words whose sounds suggests a sense/emotion Machine aesthetic automatons, or elements suggesting industry
Fortunato Depero - 1928 (1928)
Giacomo Balla - Circular Planes (1924)
Antonio Sant’elia - Futurist Architecture (1914)
Futurism Graphic Works
8
Ready made materials | Photomontage | Absurdity, humor & social criticism
John Heartfield - The Hand Has Five Fingers (1928)
Ilya Zdanevitch - ILIAzDE (1922)
Tristan Tzara - Untitled (1936)
9
Dada
Bold contour drawing | Woodcuts | Deep sense of social crisis | Empathy for the poor Thick paint | Exaggerated distorted color, drawing and proportions
Wassily Kandinsky - Orange (1923)
Max Beckmann - Faces (1919)
Kathe Schmidt Kollwitz - Help Russia (1921)
Expressionism
10
Dream imagery | Personal symbolism | Illogical juxtapositions of elements
Rene Magritte - The False Mirror (1929)
Giorgio de Chirico - The Song of Love (1914)
Max Ernst - Woman, Old Man, and Flower (1923)
11
Surrealism
Concern for point, line, plane, shape and texture | Multiple exposures, pure form and distortion Solarization and experimental techniques
Man Ray - Rayograph (1922)
Francis Brugiére - Untitled (1928)
Alvin Langdon Coburn - Vortograph (1916)
Photography and the Modern Movement
12
Name of product | Flat background color | Dominant stylized image
Lucian Bernhard - Bosch (1914)
Ludwig Hohlwein - Kunstgewerbehaus (1908)
Julius Gipkens - Continental AG (1920)
13
Plakatstil
Zig-zag line | Geometric shapes | Machine aesthetic streamline, converging lines Eclecticism, international motifs Assyrian, American Indian, Greek
A. M. Cassandre - L’Intransigeant (1925)
Jean Carlu - The Ultimate Goal (1949)
Paul Colin - Tabarin (1928)
Art Deco
14
Non-representational | Pure colors | Basic geometric shapes | Lettering looks Soviet influenced Often uses red and black on beige colored background
Kasimir Malevich - Suprematism (1915)
El Lissitzky - Announcer (1923)
Lyubov Popova - Painterly Architectonic (1917)
15
Suprematism
Geometric shapes | Asymmetry | Diagonal lines | Lettering looks Soviet influenced Often uses red and black on a beige colored background
Aleksandr Rodchenko - Rechevik (1929)
Vladimir Stenberg - Pounded Cutlet (1927)
Gustav Klutsis - Spartakiada (1928)
Constructivism
16
Asymmetry | Primary colors with neutrals black, white and gray | Perpendicular lines
Piet Mondrian - Composition (1921)
Vilmos Huszár - Composition (1918)
Bart van der Leck - Untitled (1917)
17
De Stijl
Sans serif asymmetrical type-New Typography | Deliver message and communicate Function not decoration | Purity, clarity, simplicity | New approaches to photography Extreme scale contrasts/bird’s eye/worm’s eye | Montage
Lyonel Feininger - Ruin by the Sea (1930)
Herbert Bayer - Olivetti (1959)
Walter Gropius - Door Handles (1922)
Bauhaus
18
Asymmetrical, flush left ragged right | Priority assigned to text based on weight and size Purpose of communication is to function not decorate | Type used in simple form without embellishment Rules should be used for emphasis
Jan Tschichold - Die Frau ohne Namen (1927)
Paul Renner - Technical Schools of Applied Arts of Bavaria (1928)
HENRY C. BECK - MATERIAL CULTURE AND THE LONDON TUBE MAP (1933)
19
New Typography
Bauhaus influence | American content | WPA typography for social programs
Walker Evans - Tin Relic (1930)
Lester Beall - Running Water (1937)
Will Burtin - Scope (1952)
Modern Movement in America
20
Asymmetry | Flush left/ragged right layouts | Sans serif letters with bold words for emphasis Reductive, objectivity, no superfluous decoration | Grid systems
Josef Müller Brockmann - Weniger Lärm (1960)
Armin Hofmann - Form & Farbe (1951)
Anton Stankowski - Hill auch in Witten (1929)
21
The International Typographic Style
Uniquely American approach with origins in European modernism Playful, visually dynamic and unexpected | Analyze communications content-reduce to symbolic essence Use of shape | Asymmetrical balance
Paul Rand - Interfaith Day (1951)
Saul Bass - Anatomy of a Murder (1959)
Alvin Lustig - Counterchange (1949)
New York School
22
Logotypes and identities | Pictograph signage for | Olympics and transportation
Giovanni Pintori - Olivetti Tetractys (1957)
Georg Olden - Emancipation Proclamation (1963)
Massimo Vignelli - New York City Subway Street (1966-70)
23
Corporate identity & Visual Systems
Narrative information communicated with ideas and concepts Familiar in an unfamiliar setting | Scale changes, substitution, visual puns and play
Milton Glaser - Dylan (1966)
Raúl Martinez - Lucia (1968)
Henryk Tomaszewski - Moore (1959)
Conceptual Image
24
Computer generated imagery | Internet, interactive design and worldwide web
Zuzana Licko - Oakland (1985)
Jennifer Morla - Capp Street Project (1995)
Paula Scher - HIM (1994)
25
Digital Revolution
Deconstruction: Broke with international typographic style communications | Intuitive | Layering/overlapping Communicated emotional qualities with expressive typography | Uses computers to generate layouts and typography
New Wave: Stair stepped rules | Some evidence of grid underlying organization | Layering, overlapping simultaneity
Retro/Vernacular: Eclectic modernist European design of the first half of century Disrespect for proper rules of typography placed in new ways | Kinky mannered type of 20s/30s
Rosmarie Tissi - City Druck (1958)
Wolfgang Weingart - Das Schweizer Plakat (1984)
Michael Vanderbyl - California College of Arts and Crafts Show (1990)
Post Modern Design
26
Victorian Era
Cubism
Surrealism
Arts & Crafts
Futurism Poetry
Photography and the Modern Movement
bit.ly/3xzQzeF bit.ly/2VsxMEK bit.ly/3C9ewwC
bit.ly/3ilpFmi bit.ly/3lxVcU6 bit.ly/3fz5fnQ
Ukiyo-E
bit.ly/3AcIEFK bit.ly/2TYBHIW bit.ly/2WVqHgx
bit.ly/3xpFn3S bit.ly/3A68g70 bit.ly/3Aen2ZI
mo.ma/3ltBMj6 mo.ma/2VtpE6I bit.ly/3fwiIgu
Futurism Graphic Works mo.ma/3lyGLyP mo.ma/3yDNUC1 bit.ly/3Ch67ap
Art Nouveau
Dada
Vienna Secession
Expressionism
bit.ly/3jmqIS3 bit.ly/2VpUFIJ bit.ly/3rS6fIV
bit.ly/3rSefJV bit.ly/3yuZIWY bit.ly/2WVeCbc
Bibliography
mo.ma/3CgKmrg mo.ma/3jrPVKO mo.ma/3lwEkgd
mo.ma/3Cj3Njh mo.ma/3ysZIGO mo.ma/3fzQYHL
mo.ma/3xtmo8C mo.ma/2WWycns mo.ma/3yEdDdz
mo.ma/3rUDMlC mo.ma/2Vndc8M mo.ma/3Ci9zSs
Plakatstil
mo.ma/2TW5H8h mo.ma/3lztXIv bit.ly/37jddgj
Suprematism
New Typography
Conceptual Image
Art Deco
Modern Movement in America
Digital Revolution
The International Typographic Style
Post Modern Design
bit.ly/3Ac9Mo9 mo.ma/2TXZYig mo.ma/3xqxT0z
mo.ma/3Cj6rWf mo.ma/3CktgZO mo.ma/3AecObs
Constructivism mo.ma/3s2MApK mo.ma/2TU3pGz mo.ma/3irBCHc
mo.ma/3ipbf4r mo.ma/3xpBLio mo.ma/3inOeik
bit.ly/3yrHNAw mo.ma/37j4H0Y bit.ly/2X1tghf
bit.ly/3rSDMme mo.ma/3Chx0uS mo.ma/3CkblT5
De Stijl
New York School
Bauhaus
Corporate identity & Visual Systems
bit.ly/3ipfkpx mo.ma/3A9gxqX mo.ma/3rVko7V
mo.ma/3xAOoYh mo.ma/3xpBLio mo.ma/3yxcmF6
mo.ma/3fugzBB mo.ma/3xkwicI mo.ma/3CgpaSr
mo.ma/3rSHZGq mo.ma/3fyBcwG bit.ly/2VzOSAf
bit.ly/3AbBQrN mo.ma/3ip4MGR bit.ly/37j92Bi
bit.ly/3yD6cTy mo.ma/3fu2tQQ mo.ma/3yrdyK1
mo.ma/2TW8Q85 bit.ly/3joofH1 mo.ma/3ltUmaR
Bibliography