Telles
Design
History Journal
by Mario
Vict
orian
Louis Prang Krebs Lithographing Co. Joseph Morse
Chromolithography Naturalistic renderings Decorative type Lots of ornament Ephemera
Stylized natural forms leaves, flowers Horror vacui crowding of design
Crafts
elements in the field Historicism use of past styles, especially medieval figures Private press movement books
Arthur H. Mackmurdo William Morris Bruce Rogers
Arts
Ukiy
oE
Wood cuts 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
Katsushika Hoku- sai Ando Hiroshige Hokusai Gashiki
uveau
Eugène Grasset Aubrey Beardsley Jan Toorop
Stylized natural forms flowers, birds Whiplash curve bimorphic lines, curvilinear Exotic females removed from contemporary time and place
Vienna
Secession
Elongated figures and typography Tall, thin compositions Hand-drawn, stylized type
Robert Thorne Robert Besley Vincent Figgens
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
ism
Pablo Picasso Georges Braque Jean Metzinger
Poetry
Futurism Filippo Marinetti Ardengo Soffici Lewis Carroll 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
Geometric patterns Onomatopoeia use of words whose sounds suggests a sense/emotion
Hugo Ball Marcel Duchamp lfred Stieglitz
Works
Machine aesthetic , automatons, or elements suggesting industry
Graphic
Da
da
Hannah Hoch Kurt Schwitters John Heart Field
Ready made materials Photomontage Absurdity, humor & social criticism
ssionism
Bold contour drawing Woodcuts Deep sense of social crisis Empathy for the poor Thick paint Exaggerated distorted color, drawing and proportions
Franz Kafka’s Wassily Kandinsky Henri Matisse
Surre
alism
Dream imagery Personal symbolism Illogical juxtapositions of elements
George Grosz Giorgio de Chirico Max Ernst
Francis Bruguière Alvin Langdon Coburn Man Ray
graphy
Concern for point, line, plane, shape and texture Multiple exposures, pure form and distortion Solarization and experimental techniques Plakatstil also known as Pictorial Modernism Dominant stylized image Flat background color Name of product
Photo
Plak
astil
Flat background color Dominant stylized image Name of product
James Pryde William Nicholson Dudley Hardy
A. M. Cassandre Jean Carlu Paul Colin
eco
Zig-zag line Geometric shapes Machine aesthetic streamline, converging lines Eclecticism, international motifs Assyrian, American Indian, Greek
uprematis
Constructivism
SUPREMATISM Non-representational Pure colors Basic geometric shapes Lettering looks Soviet influenced Often uses red and black on beige colored background
CONSTRUCTIVISM Geometric shapes Asymmetry Diagonal lines Lettering looks Soviet influenced Often uses red and black on a beige colored background
Vladimir Burliuk lja Zdanevich Kasimir Malevich
Piet Mondrian ThĂŠo van Doesburg Lasz- lo Moholy-Nagy
tijl
Asymmetry Primary colors with neutrals black, white and gray Perpendicular lines
he Bau
haus Oscar Schlemmer Joost Schmidt Herbert Bayer
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
Jan Tschichold Eric Gill Paul Renner
Typography
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
Moder
Movent in America
George Salter Lester Beall Romain de Tirtoff
Bauhaus influence American content WPA typography for social programs
Jacqueline S. Casey Arnold Saks Dietmar Winkler
Typographic Style
Asymmetry Flush left/ragged right layouts Sans serif letters with bold words for emphasis Reductive, objectivity, no superfluous decoration Grid systems
The Int’l.
New Y
ork
School
Paul Rand Alvin Lustig Bradbury Thompson
Uniquely American approach with origins in European modernism Playful, visually dynamic and unexpected Analyze communications content-reduce to symbolic essence Use of shape
Visual Symbols
William Golden Georg Olden Lou Dorfsman
Corp. ID & Logotypes and identities Pictograph signage for Olympics and transportation
oncep
etual Narrative information communicated with ideas and concepts Familiar in an unfamiliar setting Scale changes, substitution, visual puns and play
Image Lou Danziger Herbert Leupin Names of artists
Computer generated imagery Internet, interactive design and the worldwide web
Erik Adigard John Maeda Aaron Koblin
Dig
Postmo
dern
Design
DECONSTRUCTION Broke with international typographic style communications Intuitive Communicated emotional qualities with expressive typography Layering/overlapping Uses computers to generate layouts and typography
Michael Vanderbyl Michael Cronin hannon Terry
NEW WAVE Stair stepped rules Some evidence of grid underlying organization Layering, overlapping simultaneity Retro/Vernacular Eclectic modernist European design of first half of century Disrespect for proper rules of typography placed in new ways Kinky mannered type of 20s/30s
dernDesig
Paula Scher Louise Fili Carin Goldberg
Biblio
graphy
All content was resourced from: Meggs, Philip B. Meggs’ history of graphic design / Philip B. Meggs, Alston W. Purvis. -- 5th ed. All images were imported into Photoshop through a PDF version of the book. 1. Victorian & Arts and Crafts : page’s,165, 167, 169, 178, 194, 182 2. Ukiyo E & Art Nouveau : page’s, 197, 198, 199, 203, 212 3. Vienna Secession & Cubism : page’s, 238, 239, 241, 257, 258 4. Futurism Poetry & Futurism Graphic Works : page’s, 262, 264 5. Dada & Expressionism : page’s, 265, 272, 273 6. Surrealism & Photography and the Modern Movement : page’s, 270, 271, 274 7. Plakatstil & Art Deco : page’s, 291, 292, 277 8. Suprematism/Constructivism & De Stijl : page’s, 302, 320, 321, 289, 315, 316, 314 9. Bauhaus & the New Typography : page’s, 334, 328, 329, 356 10. Modern Movement in America & International Typographic Style : page’s, 388, 389 11. New York School & Corporate ID & Visual symbols : page’s, 391, 394, 416, 418, 422 12. Conceptual Image & Digital Revolution : page’s, 554, 441, 443, 442 13. Postmodern Design : page’s, 560, 562, 565, 568, 569
raphy
Biblio
Design
Design
History Journal
History Journal