Pierre Mendell at RIT

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Pierre Mendell at RIT

Pierre Mendell at RIT

Contents

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Biography Opera Museum Cultural Insitutions Social Themes Behind the Scenes

Pierre Mendell Pierre Mendell was one of the world’s leading graphic designers. For almost 30 years he played a role in creating the visual identity of the Neue Sammlung – the International Design Museum in Munich. Over a period spanning more than 40 years, Mendell’s posters became a prominent feature in advertising columns and billboards around Munich; these included posters for museums such as the Neue Sammlung and advertisements for the Bavarian State Opera. For many years, Mendell’s posters were a prominent feature in advertising columns and billboards around Munich. Mendell died in Germany on December 19, 2008 at the age of 79.

Mendell’s Workflow Poster, as defined by the German “Duden:” A large thick piece of paper bearing text (and images) that is mounted in easily visible places for the purpose of conveying information, advertising messages, and/or political propaganda.

One of my first impressions of Pierre Mendell was of him sitting at his desk, totally concentrated, cutting coloured paper with small scissors. After an hour or more a beautifully small design, a paper collage, lay on his desk under a piece of glass. It stayed there for up to a week. This was the first step in the process of an idea taking on a concrete form.

Pierre Mendell and the studio worked on poster assignments for several cultural institutions, museums, theatres, the Munich Volkshochschule Community College, the Opera House, and many other companies. The beginning of the working process was a discussion with the client about the assignment and the theme. “The proof of the pudding is in the eating.” This phrase was often quoted by Pierre Mendell, meaning that the problem is an ingredient of the solution.

Once a year, at the start of the new opera season, Pierre Mendell received a list of five to six operas. Most operas deal with the themes of love, power, passion and death, so it was important to read the libretto carefully to find the particular message and select some striking symbols. One assignment on this list was the poster for the opera Ulysses. Pierre Mendell had made several designs with torn paper, colored pencils and chalk. They were no bigger than a playing card.

The design for Ulysses involved the idea of a tiny little island made of torn paper. They created a place of longing, situated on the horizon where the sky touches the ocean, visualized by two colour gradients. Already, the small design invited the eyes to look, and the mind to imagine the story.

The second step, which Pierre Mendell always worked on together with one of his assistants, was to enlarge the little design. I remember tearing paper for hours to create the perfectly shaped island full of life. Several kinds of gradients were created at the computer and some colours were tested for the sky and the ocean. From time to time, Pierre Mendell gave his advice. This work in progress lasted days, sometimes weeks. At that time, we worked parallel on three or four posters. The result of this process was a collage in the format DIN A4 (8,27 x 11,7 inches). Over a period of 13 years, new ideas were found for the Bavarian State Opera. Over more than 25 years new posters were made for Die Neue Sammlung, the International Design Museum in Munich.

Sometimes, it was difficult to find a big idea or the perfect form, and Pierre Mendell would say: “Es ist nicht jeden Tag Sonntag.” In English, this means that, “Christmas comes but once a year. You can only make 8 to 10 outstanding posters in your life-time and that’s a lot.” I think he did more.

There were some other difficulties to overcome before the poster was able to start its life on the advertising column. The collage had to be scanned and digitally enlarged to the A0 format, for example. Pierre Mendell feared this would mean the death of the lively lines. Every detail had to be carefully reproduced. He always claimed that: “The printed poster is what people will see, and we are responsible for the result.”

And it was not always easy to get the perfect result printed. I remember one time when it was not just right, and the whole edition had to be printed a second time.

Pierre Mendell was a masterful designer and he worked with great passion. He once mentioned that all the posters were his children. It was always a great moment when the first printed poster came off the printing press – came to life; one more beautiful child.

Annette Kröger Pierre Mendell Design Studio

Special Thanks To our beloved professor Nitin Sampat To our navigator Annette Krรถger To our advisors R. Roger Remington Bruce Ian Meader To our providers Merlin Digital Printing Solutions

Opera

Venus and Adonis 1996 The Bavarian State Opera

Size 84.1 x 118.9 cm 10

Katja Kabanova 1999 The Bavarian State Opera

Size 84.1 x 118.9 cm 11

L’Orfeo 1999

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 12

Falstaff 2000

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 13

Don Carlo 1999

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9cm 14

Ulisse 2001

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 15

Tristan and Isolde 1998

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 16

Aida 1995

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 17

Slaughterhouse 5 1996

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 18

Don Giovanni 1994

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 19

The Threatened Murderer 1994

Theme

Technique

The Bavarian State Ballet

Size 84.1 x 118.9 cm 20

Macbeth 1997

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 21

Der Freisch端tz 1998

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 22

L’incoronazione di Poppea 1996

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 23

The Castle 1995

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 24

The Flying Dutchman 2006

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 25

Le Nozze di Figaro 1993

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 26

La Traviata 1993

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 27

Parsifal 1994

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 28

Cosi fan tutte 1993

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 29

Otello 1998

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 30

The Rape of Lucretia 2004

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 31

Saul 2003

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 32

Giselle-Mats Ek 2000

Theme

Technique

The Bavarian State Ballet

Size 84.1 x 118.9 cm 33

Les Troyens 2001

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 34

Rigoletto 2005

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 35

Lulu 2003

Theme

Technique

The Bavarian State Opera

Size 84.1 x 118.9 cm 36

Gades 1987

Size 84.1 x 118.9 cm 37

Museum

Design Process Auto 1986 Die Neue Sammlung, Museum for Applied Art Munich

Theme Poster for an exhibition which provided an insight into the design process of automobiles

Technique Photography and line conversion

Size 84.1 x 118.9 cm 40

Hans Gugelot, System Design 1984

Theme

Technique

Die Neue Sammlung, Museum for Applied Art Munich

Size 84.1 x 118.9 cm 41

Marcello Morandini 1993 Die Neue Sammlung, Museum for Applied Art Munich

Theme Exhibition poster for the designer and architect Marcello Morandini

Technique Paper collage and photography

Size 84.1 x 118.9 cm 42

Design Is Art that Makes Itself Useful 1984 Die Neue Sammlung, Museum for Applied Art Munich

Theme Image poster for the International Design Museum Munich

Technique Type design out of coloured paper

Size 84.1 x 118.9 cm 43

Amish Quilts 1991 Die Neue Sammlung, Museum for Applied Art Munich

Size 84.1 x 118.9 cm 44

Japanese Posters 1989 Die Neue Sammlung, Museum for Applied Art Munich

Theme Poster for an exhibition of posters designed in Japan

Technique Paper collage and photography

Size 84.1 x 118.9 cm 45

New 1982 Die Neue Sammlung, Museum for Applied Art Munich

Theme Poster for an exhibtion of new objects, donations and acquisitions in the collection of the International Design Museum Munich

Technique Type design

Size 84.1 x 118.9 cm 46

Armin Hoffman 1989 Die Neue Sammlung, Museum for Applied Art Munich

Theme Exhibition poster for the graphic designer Armin Hofmann, the teacher of PIerre Mendell at the famous Basel School of Design, Switzerland

Technique Collage (of objects and paper) photography, and partial line conversion

Size 84.1 x 118.9 cm 47

Polish Posters 1985 Die Neue Sammlung, Museum for Applied Art Munich

Theme Poster for an exhibition of Polish poster design

Technique Collage of paper and photography

Size 84.1 x 118.9 cm 48

I love Design 1991 Die Neue Sammlung, Museum for Applied Art Munich

Theme Image Poster for the International Design Museum Munich

Technique Paper collage

Size 84.1 x 118.9 cm 49

Swiss Book Design 1994 Die Neue Sammlung, Museum for Applied Art Munich

Theme Poster for an exhibition of selected books, designed in Switzerland

Technique Paper collage and photography

Size 84.1 x 118.9 cm 50

Horst Sch채fer, Architectural Photography 1997 Die Neue Sammlung, Museum for Applied Art Munich

Theme Exhibition poster for an exhibition of the architectural photographer Horst Sch채fer which included photographs of New York and Paris

Technique Type design

Size 84.1 x 118.9 cm 51

The Church and The Arts 1995 Die Neue Sammlung, Museum for Applied Art Munich

Theme Poster for an exhibition of sacred art pieces

Technique Paper collage and photography

Size 84.1 x 118.9 cm 52

Arne Jacobsen 1994 Die Neue Sammlung, Museum for Applied Art Munich

Theme Exhibition poster for the famous architect and designer Arne Jacobsen

Technique Photography and line conversion

Size 84.1 x 118.9 cm 53

Klaus Kinold, Architectural Photography 1982 Die Neue Sammlung, Museum for Applied Art Munich

Theme Exhibition poster for the German architectural photographer Klaus Kinold

Technique Paper collage, type design, photography, and line conversion

Size 84.1 x 118.9 cm 54

Design: Vignelli New York 1997 Die Neue Sammlung, Museum for Applied Art Munich

Theme Poster for an exhibition of designer Massimo Vignelli, including his iconic graphic design

Technique Type design

Size 84.1 x 118.9 cm 55

Japanese Packaging 1993 Die Neue Sammlung, Museum for Applied Art Munich

Theme Exhibtion poster for different kinds of packaging from Japan

Technique Paper collage and photography

Size 84.1 x 118.9 cm 56

Closed 1984 Die Neue Sammlung, Museum for Applied Art Munich

Theme Poster for a period of reconstruction of the International Design Museum Munich

Technique Collage of object and painting, photography

Size 84.1 x 118.9 cm 57

M채nner Kleider Japan 1998 Die Neue Sammlung, Museum for Applied Art Munich

Theme

Technique

For an exhibition of Japanese male attire, or kimonos

Paper collage and type design

Size 84.1 x 118.9 cm 58

Museum of Tomorrow 1996 Die Neue Sammlung, Museum for Applied Art Munich

Theme Image poster for The International Design Museum Munich

Technique Collage of paper and computer graphic

Size 84.1 x 118.9 cm 59

Cultural Institutions

Kieler Woche 1986

Theme

Technique

The Sailing Regatta

Size 84.1 x 118.9 cm 62

Mendell & Oberer Graphic Design 1990

Theme

Technique

Stuttgard Design Center

Size 84.1 x 118.9 cm 63

Art Opens the Eyes 1989

Theme

Technique

Bavarian State Art Museum

Size 84.1 x 118.9 cm 64

Danilo Silvestrin 1992

Theme

Technique

Museum Villa Stuck, Munich

Size 84.1 x 118.9 cm 65

Deutsches Museum 1980

Theme

Technique

German Museum Munich

Size 84.1 x 118.9 cm 66

M端nchner Raume 1991

Theme

Technique

Munich City Museum

Size 84.1 x 118.9 cm 67

Thought 2001 Munich Academy of Adult Education

Size 84.1 x 118.9 cm 68

National Museum of Munich 1989

Theme

Technique

Bavarian National Museum Munich

Size 84.1 x 118.9 cm 69

Mendell & Oberer Graphic Design 1980

Theme

Technique

Initiative of the studio

Size 84.1 x 118.9 cm 70

Der Neuen Pinakothek 1990

Theme

Technique

Stuttgard Design Center

Size 84.1 x 118.9 cm 71

Mendell & Oberer Graphic Design 1980

Theme

Technique

Goethe Institute

Size 84.1 x 118.9 cm 72

Social Themes

All Men Are Created Equal 1995

Theme

Technique

Initiative of the studio

Size 84.1 x 118.9 cm 76

Unicef 1993

Theme

Technique

Size 84.1 x 118.9 cm 77

Drugs!

1993

Theme

Technique

Initiative of the studio

Size 84.1 x 118.9 cm 78

In English: Love 2008

Theme

Technique

Size 84.1 x 118.9 cm 79

Share 2004

Theme

Technique

Initiative of the studio

Size 84.1 x 118.9 cm 80

Theme

Technique

Size 84.1 x 118.9 cm

Behind The Scenes

Workflow 1 A plan for our challenge was established: to

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Minor edits to the stitched files in Adobe Photoshop were made. For example, the magnets that were used to hang the work needed to be removed from the images.

photograph Pierre Mendell’s posters through plexiglass while evenly and consistently lighting all the artwork. The group solved this problem by creating a moveable black 9 Information from Annette Kröger, the Mendell seamless with an opening for the camera Archive manager, was obtained. This lens, which had it’s own black covering. information including the clients involved, and Mendell’s design techniques.

Gathering equipment from RIT’s School of Photographic Arts and Sciences equipment cage. In order to maintain consistency, the 10 Frau Kröger assisted the group throughout the design process by providing names. same pieces of equipment were needed for each imaging session.

11 Design book layout using Adobe InDesign. a) Nikon D810 12 Create a printer profile using test target prints, b) 105mm Macro lens ProfileMaker 5.0, and collaborations with Merlin c) Camera Slider Rail Digital Printing Solutions. d) 2 Mosaic Light kits with stands e) Background Stand kit 13 Finalize the book by inserting final images f) Tripod #51 and information gathered from Annette Kröger. g) Additional materials: masking tape, one The group worked with Merlin Digital Printing tape measure, a bubble level, black Solutions in Henrietta, New York to print seamless paper, vertical camera mount, the final publication. and a white reference poster.

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Photograph posters in the University Gallery as well and in the Vignelli Center Archive. The 65 posters in this book were photographed over a span of nine weeks.

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Take color samples of each individual poster using an i1 spectrophotometer.

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Photograph a white card as a reference for each poster to guarantee even and accurate image illumination.

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Photographs were taken in grids of 9 to maintain crisp focus during the reproduction process. Files were photographically stitched using Microsoft Image Composite Editor.

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ColorPony, a program that corrects for color and luminance by using color samples and white references to produce a “yoked” TIFF file, was used.

Jace Artichoker

Chrissy Connors

Evan Darling

is a fourth year Imaging and Photographic Technology student from Boulder, Colorado.

He enjoys the technical aspect of art and design and strives to master and develop as many facets of the imaging workflows process as possible.

is a fourth year Advertising Photography student at Rochester Institute of Technology from Boston, MA.

is a fourth year Imaging and Photographic Technology student from Brattleboro, Vermont.

He strives to create stunning and accurately reproduced artworks.

Courtney DiStasio

Colleen Mann

Karie Eng

is a fourth year Professional Photographic Illustration student from Elizabethtown, Pennsylvania. At a very young age, precision and accuracy became a key factor in all aspects of her life.

is a fourth year Fine Art Photography student from Drexel Hill, Pennsylvania. She will graduate from RIT in May of 2015 with a Bachelor of Fine Arts.

is a fourth year Professional Photographic Illustration student from Katonah, New York. She is focused and has found a passion for incorporating design into her work.

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