NEW GRAPHIC DESIGN
Issue Number One Form follows function Modernism and Post Modernism
GRAPHIC DESIGN
Welcome to the New Graphic Magzine .In this issue we explore one of the most influencial movements of the 20th century and its influence on modern artists .
New Graphic Design
The Bauhaus
The Bauhaus was a school whose approach to design and the combination of fine art and arts and crafts proved to be a major influence on the development of graphic design as well as much of 20th century modern art. Founded by Walter Gropius in Weimar, Germany in 1919, the school moved to Dessau in 1924 and then was forced to close its doors, under pressure from the Nazi political party, in 1933. The school favored simplified forms, rationality, functionality and the idea that mass production could live in harmony with the artistic spirit of Walter Gropius studied architec- individuality. ture between 1903 and 1907 in Munich and Berlin. From 1908 to Along with Gropius, and many other 1910 Walter Gropius worked for artists and teachers, both Laszlo Peter Behrens, in whose practice Moholy-Nagy and Herbert Bayer the seminal AEG Tubine Hall of made significant contributions to concrete, steel, and glass was the development of graphic design. planned and built. From 1910 Among its many contributions to Gropius had his own architecture the development of design, the practice in Berlin. In 1911 Gropius Bauhaus taught typography as designed the Fagus Works in Al- part of its curriculum and was feld. Walter Gropius was a mem- instrumental in the development of ber of the Deutscher Werkbund sans-serif typography, which they from 1910, where he joined Henry favored for its simplified geometric van de Velde in his initial efforts to forms and as an alternative to the counter standardization of design heavily ornate German standard of and promote individual creativity. blackletter typography.
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Swiss Design Often referred to as the International Typographic Style or the International Style, the style of design that originated in Switzerland in the 1940s and 50s was the basis of much of the development of graphic design during the mid 20th century. Led by designers Josef M端ller-Brockmann at the Zurich School of Arts and Krafts and Armin Hofmann at the Basel School of Design, the style favored simplicity, legibility and objectivity. Of the many contributions to develop from the two schools were the use of, sans-serif typography, grids and asymmetrical layouts. Also stressed was the combination of typography and photography as a means of visual communication. The primary influential works were developed as posters, which were seen to be the most effective means of communication.
New Graphic Design
Josef muller brockmann
As with most graphic designers that can be classified as part of the Swiss International Style, Joseph M端ller-Brockmann was influenced by the ideas of several different design and art movements including Constructivism, De Stijl, Suprematism and the Bauhaus. He is perhaps the most well-known Swiss designer and his name is probably the most easily recognized when talking about the period. He was born and raised in Switzerland and by the age of 43 he became a teacher at the Zurich school of arts and crafts. Perhaps his most decisive work was done for the Zurich Town Hall as poster advertisements for its theater productions. He published several books, including The Graphic Artist and His Problems and Grid Systems in Graphic Design. These books provide an in-depth analysis of his work practices and philosophies, and provide an excellent foundation for young graphic designers wishing to learn more about the profession. He spent most of his life working and teaching, even into the early 1990s when he toured the US and Canada speaking about his work. He died in Zurich in 1996.
New Graphic Design
Alvin Lustig for his book jacket designs
New Graphic Design
Alvin Lustig A student of Frank Lloyd Wright, among others, Alvin Lustig had a very successful career in graphic design and art direction. Revolutionizing the approach to book cover design in the 1940s, Lustig would attempt to get a sense of the writers direction from reading the book and then translate it into his own graphic style (The previous trend was to summarize the book with one image). The combination of technology and creativity in his designs was reminiscent of the Bauhaus, as did his intellectual approach to problem-solving. He designed books in LA for New Directions before moving to New York to become the Director of Visual Research for Look Magazine. He rose to success early in his career garnering work for all types of clients and working on a vast array of types of projects. He died much too early at the age of 40, in 1955. His simplified shapes and use of flat colors, all while creating elaborate and intensely interesting compositions, are still imitated today by many graphic designers.
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His work has a distinctly modernist aesthetic and although he never had the opportunity to attend the Bauhaus Laszlo Moholy-Nagy has been quoted as saying, “Who is this guy that is doing the Bauhaus in New York?� He designed promotional and advertising campaigns for a host of different clients including department stores, feature films, record companies and the New York Transit Authority. Nitsche greatly influenced the young generation of designers in America in the mid-20th century including the legendary designers Walter Bernard and Seymour Chwast.
Erik Nitsche
Erik Nitsche left an unmistakable mark on the world of design in his approximately 60 year career. Leaving almost no field untouched, he worked as an art director, book designer, illustrator, typographer, graphic designer, photographer, advertiser, and packaging designer. His graphic design work included magazine covers, signage, film, exhibitions, posters and many other advertising mediums. Before emigrating to the United States in 1934 Nitsche studied at the Collège Classique in Switzerland and the Kunstgewerbeschule in Munich.
Layout and Design by Mahsa Mohammadi University of Huddersfield U1164536