GRAPHIC DESIGN HISTORY 2009

2009-07-13T00:30:00.000-07:00

Zuzana Licko

Zuzana Licko is the co-founder of Émigré, together with her husband Rudy VanderLans.
Licko was born in 1961 in Bratislava, Czechoslovakia and emigrated to the U.S. in 1968. She graduated with a degree in Graphic Communications from the university of California at Berkeley in 1984.
Émigré magazine was founded in 1984 and garnered much critical acclaim when it began to incorporate Licko’s digital typeface designs created with the first generation of the Macintosh computer. This exposure of her typefaces in Émigré now distributes as software, worldwide.

Eye Magazine ( UK) Published in 2002.
Interviewed by Rhonda Rubinstein.
As one of the first type designers to exploit the potential of the Apple Macintosh in it’s pre- designer days, Zuzana Licko transformed the pixel from low- resolution imitation to high-style original.
Her early Émigré fonts not only revolutionized digital typography but also opened up the market for the smaller foundries whose quarter-page ads populate today’s design magazines. She has designed more than two dozen typeface families and overseas the Émigré foundry, which currently offers 300 or so typefaces by the likes of Barry Deck, Jonathan Barnbrook, Frank Heine and Rodrigo Cavazos.

90's TIMELINE, Brianna

2009-06-23T20:28:00.000-07:00

QWASIAN - Rap album cover, club posters, flyers and advertising.

Shepard Fairey - OBEY, posters, graffiti, street art and clothing 1990-1999

David Carson, Nine Inch Nails album covers.

Robert Greene, on his career in fashion and beauty. We were all into fashion and fashion photography, I was fascinated by the 90s models. I ended up moving to New York in 1997 from Miami to Attend the Fashion Institute of Technology. I graduated with a BFA in Graphic Design and Advertising. The magazine I worked for at the time folded, and this, believe it or not, lead to my career as a makeup artist.

KULTE THE FRENCH BRAND, Adam Love. After moving to Paris in the ’90s, Adam Love worked as a freelance art director, graphic designer, stylist and consultant. Here’s the result of some of his great designs produced on a series of tshirt, by the French Brand Kulte.

BANKSY 1990-1999
His earlier work in Bristol was freehand graffiti. With political statements throughout his work.
This piece of graffiti art work was done in the early 90's

1920-29 Chloe

2009-06-22T16:59:00.000-07:00

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luke post 11: Zuzana Licko

2009-06-22T01:54:00.000-07:00

Zuzana Licko, born 1951 is a typeface designer from Bratislava. She studied architecture, photography and computer programming before taking a degree in graphic communications at the University of California at Berkeley Zuzana Licko is the co-founder of Emigre, together with her husband Rudy VanderLans. Emigre Magazine was founded in 1984 and garnered much critical acclaim when it began to incorporate Licko's digital typeface designs created with the first generation of the Macintosh computer. This exposure of her typefaces in Emigre magazine led to the manufacture of Emigre Fonts, which Emigre now distributes as software, worldwide. Emigre's development reflected the evolution of digital technology while questioning conventional ideas of legibility and layout. Licko's highly structured typefaces counterbalanced VanderLans' organic compositions. The "Emigre aesthetic" lay at the heart of a once-controversial battle on the American design scene, pitting them against Modernists such as Massimo Vignelli, who referred to the new typography as "garbage." The debate did little to slow the popularisation of the Emigre fonts, which by the late 1980s had moved beyond alternative pop cult status into the mainstream (The New York Times, ABC and Nike). The graphic design establishment has since recognised Licko and VanderLans with a 1994 Chrysler Award, the 1997 AIGA gold medal and the 1998 Charles Nypels Award for Innovation in Typography.

http://en.wikipedia.org/wiki/Zuzana_Licko
http://www.emigre.com/Bios.php?d=10
http://www.emigre.com/Licko.php
http://www.identifont.com/show?1I2

luke post 10: Rick Griffin/Mathew Carter

2009-06-22T01:33:00.000-07:00

Richard Alden Griffin was an American artist and one of the leading designers of psychedelic posters in the 1960s. He was also a contributor to the underground comix. Griffin was closely identified with the Grateful Dead, having designed some of their best known posters and record jackets. He was also known for his work within the surfing subculture, including his comic strip about a surfer named "Murphy". After attending high school, he worked on the staff of Surfer magazine where he created his surfing comic strip. In Los Angeles, Griffin met a group of artists and musicians known as the Jook Savages and participated in the Watts Acid Test held by Ken Kesey. After seeing the psychedelic rock posters that were being designed by Stanley Mouse and Alton Kelly, Griffin and the Jook Savages decided to move to San Francisco in the fall of 1966, where he designed posters in the living room of his home on Elsie Street in the Bernal Heights district. Eventually, a poster distribution agency by the name of Berkeley Bonaparte hired Griffin, where he teamed up with the leading poster artists of the 1960s. He published The Illustrated Book of St. John, a retelling of the Gospel of John with his unique illustrations. In 1991, Griffin was killed in a motorcycle accident in Petaluma, California.

http://en.wikipedia.org/wiki/Rick_Griffin
http://www.myraltis.co.uk/rickgriffin/galleries1.htm
http://rickgriffinink.com/
http://lambiek.net/artists/g/griffin.htm

Matthew Carter was born in London, England in 1937. He is a type designer. He lives in Cambridge, Massachusetts, United States. Carter's career in type design has witnessed the transition from physical metal type to digital type. At the age of 19, Carter spent a year studying in The Netherlands. By 1961 Carter was able to use the skills he acquired to cut his own version of the semi-bold typeface Dante. Carter eventually returned to London where he became a freelancer as well as the typographic advisor to Crosfield Electronics, distributors of Photon phototypesetting machines.. Matthew Carter focuses on improving many typefaces' readability. He designs specifically for Apple and Microsoft computers. Georgia and Verdana are two fonts that have been created primarily for viewing on computer monitors. Carter has designed type for magazines such as Time, The Washington Post, The New York Times, the Boston Globe, Wired, and Newsweek. He is a member of Alliance Graphique Internationale. Carter has won numerous awards for his significant contributions to typography and design, including an honoris causa Doctorate of Humane Letters from the Art Institute of Boston, an AIGA medal in 1995, and the 2005 SOTA Typography Award. A retrospective of his work, "Typographically Speaking, The Art of Matthew Carter," was exhibited at the University of Maryland, Baltimore County in December 2002. In 2007, Carter designed a new variant of the typeface Georgia for use in the graphical user interface of the Bloomberg Terminal.

http://en.wikipedia.org/wiki/Matthew_Carter
http://www.designmuseum.org/design/matthew-carter
http://www.graphic-design.com/Type/carter/
http://www.fontbureau.com/people/MatthewCarter

luke post 9: wolfgang weingart

2009-06-22T01:20:00.000-07:00

Weingart was born in 1941 in the Salem Valley, where spent his childhood. In 1954 he moved to Lisbon with his family and developed an interest in the local museums and for the arts.
In April 1958 he began his studies at the Merz Academy where he attended a two year program in applied graphic arts.
Between 1960 and 1963 he completed his training as typesetter in a small printing shop in Stuttgart, where he worked primarily doing hand composing. It was here that he first became familiar with Swiss typography.
In 1963 he presented his work to Emil Rudder and Armin Hofmann, founders of the Basel School of Applied Arts and established Swiss-style typographers.
Weingart moved to Basel in 1964, sat in at irregular intervals in the Basel School, and only began to study typography four years later, under the instruction of Ruder and Hofmann. He retired in 2004.
He was instructor at the Yale Summer Program in Graphic Design in Switzerland from 1974 until 1996.
His work has been awarded a mark of excellence by the Swiss Federal Minister of the Interior in Berne. In May 2005 he was awarded the honorary title of Doctor Of Fine Arts. He was a member of the Alliance Graphique Internationale from 1978 to 1999, and was on the editorial board of the Swiss typographic magazine Typographische Monatsblätter from 1970 to 1988.

http://en.wikipedia.org/wiki/Wolfgang_Weingart
http://www.geocities.com/dyingsadist/biographyplain.html

joana_1970's

2009-06-21T19:00:00.000-07:00

I need some help to decide the 7 images to post, please give me some opinions.

2009-06-21T06:54:00.000-07:00

NEVILLE BRODY

Neville Brody is perhaps the best known graphic designer of his generation. He studied graphic design at the London College of Printing and first made his way into the public eye through his record cover designs and his involvement in the British independent music scene in the early 1980s.

As the Art Director of Fetish he began experimenting with the beginnings of a new visual language that consisted of a mixture of visual and architectural elements. Later he was able to put these ideas into practice and to set new precedents through the innovative styling of The Face magazine (1981-1986).

It was his work on magazines that firmly established his reputation as one of the world’s leading graphic designers. In particular, his artistic contribution to The Face completely revolutionised the way in which designers and readers approach the medium. Though Brody rejected all commercialisation of his graphic style, his unique designs soon became much-imitated models for magazines, advertising and consumer-oriented graphics of the eighties.

Brody also won much public acclaim through his highly innovative ideas on incorporating and combining typefaces into design. Later on he took this a step further and began designing his own typefaces, thus opening the way for the advent of digital type design. His pioneering spirit in the area of typography manifests itself today in such projects as FUSE, a regularly published collection of experimental typefaces and posters which challenges the boundaries between typography and graphic design.

While working for Arena (1987-1990) he embarked on a completely opposite course, using minimalist, non-decorative typography for a time before returning to his expressive visual style which he now began propagating with the aid of computers.

In 1987 he founded The Studio in London, and his unusual computer-generated designs received a great deal of recognition, especially abroad. His work has been commissioned by such major organisations as Berlin’s Haus der Kulturen der Welt, Greenpeace, Japanese companies Men’s Bigi and Parco, the Dutch Postal Service, the German cable channel Premiere and Austria’s ORF TV channel.

Today, Neville Brody’s work focuses largely on electronic communications design. At the same time, he continues to create his unique and striking digital typefaces. His contributions to the world of graphic design and digital typography are absolutely invaluable.

Brody has consistently pushed the boundaries of visual communication in all media through his experimental and challenging work, and continues to extend the visual languages we use through his exploratory creative expression.

www.researchstudios.com/home/006-neville-brody/NEVILLE_home.php

www.fontshop.de/fuse95/fuse-talk/brody.html

www.fontshop.com/fonts/designer/neville_brody/

www.art-directory.info/design/neville -brody .../index.shtml

2009-06-21T04:34:00.000-07:00

MILTON GLASER

Born in 1929, Milton Glaser was educated at the High School of Music and Art and the Cooper Union art school in New York and, via a Fulbright Scholarship, the Academy of Fine Arts in Bologna, Italy. He co-founded the revolutionary Pushpin Studios in 1954, founded New York Magazine with Clay Felker in 1968, established Milton Glaser, Inc. in 1974, and teamed with Walter Bernard in 1983 to form the publication design firm WBMG.

Throughout his career, Glaser has been a prolific creator of posters and prints. His artwork has been featured in exhibits worldwide, including one-man shows at both the Centre Georges Pompidou in Paris and the Museum of Modern Art in New York. His work is in the permanent collections of many museums. Glaser also is a renowned graphic and architectural designer with a body of work ranging from the iconic logo to complete graphic and decorative programs for the restaurants in the World Trade Center in New York. Glaser is an influential figure in both the design and education communities and has contributed essays and granted interviews extensively on design.

Milton Glaser is the embodiment of American graphic design during the latter half of this century. His presence and impact on the profession internationally is formidable. Immensely creative and articulate, he is a modern renaissance man — one of a rare breed of intellectual designer-illustrators, who brings a depth of understanding and conceptual thinking, combined with a
diverse richness of visual language, to his highly inventive and individualistic work.

Pushpin Studios
In 1954, Milton Glaser, along with Reyonld Ruffins, Seymour Chwast, and Edward Sorel, founded Pushpin Studios. For twenty years Glaser, together with Seymour Chwast, directed the organization, which exerted a powerful influence on the direction of world graphic design, culminating in a memorable exhibition at the Louvres Museum of Decorative Arts in Paris.

In 1968, Glaser and Clay Felker founded New York magazine, where Glaser was president and design director until 1977. The publication became the model for city magazines, and stimulated a host of imitations.
Glaser is also personally responsible for the design and illustration of more than 300 posters for clients in the areas of publishing, music, theater, film, institutional and civic enterprise, as well as those for commercial products
and services.

Milton Glaser is at present design consultant to Stony
Brook University, Lands’ End Direct Merchants, Schlumberger Ltd., Bruegger’s Bagels and a number of other businesses.

From the start of his career, Milton Glaser has been an active member of both the design and education communities. He has been an instructor and a Board Member at the School of Visual Arts, New York since 1961, and is on the Board of Directors at The Cooper Union, New York.

www.designboom.com/eng/interview/glaser.html

en.wikipedia.org/wiki/Milton_Glaser

www.worthington-levy.com/glaser.html

www.linotype.com/406/miltonglaser.html

2009-06-20T20:10:00.000-07:00

WOLFGANG WEAINGART

WOLFGANG WEINGART

Weingart: ‘what still surprises and inspires me today: to turn blank paper into a printed page.’ Nothing can be more reassuring than to read words like these from someone who has almost forty years of experience behind him. What more can you ask for in a career?

Weingart was born in the midst of the World War II in Germany. Most famous for his experimental, expressive work that broke the mould of classical Swiss typography, Weingart began his typographic career in the early sixties as an apprentice of hand composition at a typesetting firm. He then decided to further his studies at the Basel School of Design in Switzerland, the cradle of classical Swiss typography. Following his rather unsuccessful attempt at completing his course, Armin Hoffmann, who was then the head of the Basel School, invited him to teach there, by the sheer admiration of his work. He has been teaching there ever since and had made extraordinary impact on the contemporary typographic landscape.

Swiss typography was founded upon the teachings of the Bauhaus in Germany soon after World War II and became a rational approach to typography. The use of grid systems was the key to the logical disposition of type and images on the page, along with sanserif typefaces for clear, functional communication. It was believed that typography should be unobtrusive and transparent, in order to clearly communicate its textual content. By the beginning of the sixties, the language of Swiss typography had already gained reputation the world over. Swiss typography became synonymous with corporate design for multinationals, and subsequently referred to as the ‘international typographic style’.

and then came.....Wolfgang Weingart- it can be said that he started it all, he ignited the spark of ‘typographic anarchy’ that exploded on the verge of the nineteen nineties, he began what was subsequently dubbed ‘Swiss Punk’, ‘New Wave’ ,perhaps even post-modernism.

‘not only one conception of typography exists in Switzerland.’ His experimental typography was also Swiss, because it was a ‘natural progression’ from the classical Swiss typography as we know it. His typographic experiments were strongly grounded, and were based on an intimate understanding of the semantic, syntactic and pragmatic functions of typography. Whereas ‘traditional’ Swiss typography mainly focused on the syntactic function, Weingart was interested in how far the graphic qualities of typography can be pushed and still retain its meaning. This is when the semantic function of typography comes in: Weingart believes that certain graphic modifications of type can in fact intensify meaning. ‘What’s the use of being legible, when nothing inspires you to take notice of it?’

Weingart’s work is characterized by his painterly application of graphical and typographical elements. The emotionally-charged lines, the potent, image-like qualities of his type, the almost cinematic impact of his layouts, all speak of his great passion of creating with graphical forms. His typographic layouts are compelling yet lucid, free yet controlled. Some of his personal work is almost akin to landscape paintings, only that his paintbrush is replaced by type, rules and screens. He does not create a divide between fine art and typography. His inspirations were mainly drawn from the processes of typesetting and reproduction, where he finds great pleasure in discovering their characteristics and pushing them to their limits.

Weingart works with a very limited palette of typefaces. He suggests that four typefaces are enough to address all typographic problems. One of these typefaces would certainly be Akzidenz Grotesk, an early sanserif of the grotesque genre designed by the Berthold Foundry in Germany at the close of the 19th century. ‘I grew up with Akzidenz Grotesk and I love it. Akzidenz Grotesk has a certain ugliness to it, that’s why it has character.’ The simplicity of his choice of typefaces speaks of his fondness of simple tools.

‘For me, typography is a triangular relationship between design idea, typographic elements, and printing technique,’ writes Weingart. The possibilities that these technologies offer seem endless to him, and he finds it hugely satisfying to explore the materials: ‘The thing that is so special for me… is the variability of the materials under the influence of idea and technique.’

It is the tension between his desire to express and his consideration for communication that creates this interesting mix of work and his perpetually inquisitive working ethos.‘That’s my schizophrenic personality’.

Weingart’s typographic experimentations spanned across three different eras of typesetting technology: letterpress, phototypesetting and the computer. Yet, despite how readily he accepted and pushed the boundaries of the letterpress and phototypesetting processes, he is rather unenthusiastic about the computer technology. The computer, to him, is too illusive. He compares the computer to a digital watch: a traditional watch shows a ‘landscape’, it tells a story; a digital watch only shows a particular moment. Graphic design is in a big crisis. The education in our school is not the best any more. The value of living has changed. The computer and electronic tools in general are destroying our natural needs.’ The natural needs, perhaps, is our need to create, to express.

www.keithtam.net/writings/ww/ww.html

http://en.wikipedia.org/wiki/Wolfgang_Weingart

www.weingartarchive.com/

www.typotheque.com/.../wolfgang_weingart:_typography

EL LISSITSKY

2009-06-20T19:17:00.000-07:00

EL LISSITSKY

El Lissitzky was born in 1890.

Russian painter, typographer, and designer, a pioneer of nonrepresentational art in the early 20th century. His innovations in typography, advertising, and exhibition design were particularly influential.

Lissitzky studied architecture at Darmstadt, Ger., and, during WW1, at Moscow. In 1919 Marc Chagall appointed him teacher at the revolutionary school of art in Vitebsk. Kasimir Malevich, the painter and founder of the Suprematist movement, which advocated the supremacy of pure geometric form over representation, also taught there, and he greatly influenced Lissitzky. In 1919 Lissitzky began to work on a series of abstract geometric paintings that he named “Proun,” an acronym for the Russian words translated as “Projects for the Affirmation of the New.” These paintings were a major contribution to the Constructivist art movement. In 1921 he became professor at the state art school in Moscow. He founded the international journal 'Vesc' in 1922 and devoted himself increasingly to typography and exhibition design. In Germany, he met the artist-designer Lászlo Moholy-Nagy, who transmitted Lissitzky’s ideas on art to western Europe and the United States through his teaching at the Bauhaus.

In 1925 Lissitzky returned to Moscow and taught at the post-Revolutionary art school Vkhutemas. Between 1926 and 1934 Lissitzky designed several exhibitions. Lissitzky worked on the journal 'The USSR in Architecture', for which Lissitzky and his wife, Sophie Lissitzky-Küppers, designed a great many issues. Lissitzky was a Russian avant-garde artist who did not limit himself to developing a form of abstract painting but rather extended the new functionalism to photography, book design, architecture and urban planning. His enormous versatility enabled El Lissitzky to forge links between the Russian Constructivists and Neo-Plasticism (De Stijl), the Bauhaus and Dada.

His experiments in spatial construction led him to devise new techniques in exhibiting, printing, photomontage, and architecture, which have had much influence in western Europe.

El Lissitzky died in Moscow in 1941.

www.britannica.com/EBchecked/topic/343316/El-Lissitzky

www.ibiblio.org/eldritch/el/el.html

www.el-lissitzky.com/

GUSTAV KLIMT

2009-06-19T23:56:00.000-07:00

GUSTAV KLIMT

Gustav Klimt was born on July 14, 1862, Austria, the second seven children, the son of a poor jewelry engraver. At the age of fourteen Gustav began studying at the University of Plastic Arts in Vienna, he studied at the University until graduating at the age of twenty, at which time he had been commissioned to create several decorative works, making use of his training in modernist craftsmanship. He then founded the Känstlercompanie (Company of Artists) studio with his brother Ernst, and Franz Matsch, a fellow student. The three found much success as mural painters, getting contracts from museums, theaters, and other decorative artwork for wealthy patrons. The company eventually ceased to exist, following the death of Ernst, and a falling out with Franz Matsch.

Klimt's paintings often included gold and silver paint, metal, and ceramics, and as much attention was given to ornamental details as to their subjects. Very few of Klimt's paintings were done on canvases, as he preferred to paint murals. Klimt also found inspiration in Byzantine mosaics, which he discovered while exploring Vienna.

In 1897, Gustav Klimt took an interest in politics and rallied other artists to found the Vienna Sezession, a Art Nouveau movement whose goal was to give young, innovative artists a chance to get exposure, and to revolt against the conservative attitudes of the academic art world. He organized several exhibits, attracting thousands from around the world to view their revolutionary art, and even published "Ver Sacrum", a monthly magazine about the movement and its artists. His own personal style came to represent the movement's aesthetics.

In 1905, following a series of disagreements with other embers of the Sezession several others leave the group, and form a new association called the Kunstschau (Art Show). Klimt was a very popular artist, but he was also quite controversial. He was renowned for his womanizing, and often used prostitutes as models. Many of his works were considered too sensual for the mores of early 20th Century Vienna, and even his more historical, or mythical works featuring nudes were often criticized for being too erotic. Fortunately, the scandals only served to heighten Klimt's international recognition, if not his notoriety.

In addition to women, Klimt often traveled to the outskirts of Vienna, and the Italian countryside, finding inspiration in nature, particularly autumnal landscapes, which already showed the rich golden hues of his own decorative designs. From the opulence of the Viennese Bourgeoisie to the mythological, from eroticism to the simple beauty of nature, Klimt's artwork always maintained its highly stylized feel, but what remains one of its most fascinating traits is that while concentrating on the superficial, its depth cannot be ignored.

In 1917, he was made an honorary member the Viennese Academy of Fine Arts. On January 11th of the following year, at the age of 55, Gustav Klimt suffered a stroke while working in his apartment. Weakened from the stroke, and suffering from pneumonia, he died less than a month later, on February 6th, 1918.

www.famouspainter.com

www.artadox.com/

www.artcyclopedia.com/artists/klimt_gustav.html

artchive.com/artchive/K/klimt.html

Katie...

2009-06-19T16:44:00.000-07:00

1990 - 1999

Designer- Rob Janoff 1998

2. Paul Rand 1990

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Nike - Carolyn Davidson 1995

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Paul Rand logo's

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'Palawa Fonts' 1998

8. Mark Dagley

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David Carson - Raygun (Music magazine)

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Colors magazine - 'Benetton' 1991

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Adobe Pahotoshop 1.0 'Thomas and John knoll' 1990-95

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Bambang Widodo Typography 'Domino Type' 1998

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'Kero' 1999

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'Marvel' 1990's

luke: 80s, 89 images

2009-06-16T21:03:00.000-07:00

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2009-06-16T20:43:00.000-07:00

ELISHA IS THE 21ST CENTURY!!!

2009-06-16T20:41:00.000-07:00

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THE 50s B$%CHES

2009-06-16T20:24:00.000-07:00

Cars Designed by plane59 designs

Corporate Diversity: Swiss Graphic Design by Geigy 1940-1970

design history 1940

2009-06-16T20:08:00.000-07:00

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2009-06-16T01:24:00.001-07:00

Melissa Mackie - Selected Images - 1950 to 1959 Graphic Design

1AGI
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4YUSAKU KAMEKURA (JAPANESE DESIGNER, COVER DESIGN FOR PAUL RAND)
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1970'S PUNK ROCK

2009-06-12T22:13:00.000-07:00

"Punk rock is an anti-establishment rock music genre and movement that emerged in the mid-1970s. Preceded by a variety of protopunk music of the 1960s and early 1970s, punk rock developed between 1974 and 1977 in the United States, the United Kingdom, and Australia, where groups such as the Ramones, Sex Pistols, and The Clash were recognized as the vanguard of a new musical movement. Punk rock bands, issuing the perceived excesses of mainstream 1970s rock, created short, fast, hard music, with stripped-down instrumentation and often political or nihilistic lyrics. The associated punk subculture expresses youthful rebellion, distinctive clothing styles, a variety of anti-authoritarian ideologies, and a DIY (do it yourself) attitude.

Punk was an aesthetic response to the political and social disasters of the nineteen seventies. It reflected a world of industrial and social antagonism, urban decay and hopelessness, not just through the employment of specific imagery, but through the very methods of cut-up, montage and appropriation it employed, which visually articulated the dislocations in the coming of post-industrial society

Punk was far more than simply a musical genre, though it produced some of the best pop music ever made (as well as a lot of the worst). It was a fully articulated subculture, with a distinctive visual style involving a bricolage of elements such as fetish clothing, teddy boy gear, ripped and torn items and, unfortunately, nazi uniforms (though these were eschewed fairly early on). It also developed, partly through necessity, a distinctive graphic design style, which found expression in record sleeves, publicity and in 'zines', the xeroxed and collaged publications which were one of the most distinctive developments coming out of punk. The most famous 'zine', 'Sniffin Glue', edited by Mark Perry, was exemplary in its use of roughly put together found material and hand written/drawn graphics; known as deconstructionist graphic design or ‘The New Typography’.
Jamie Reid's graphics for the Sex Pistols' record covers and publicity material also employed similar techniques to great effect. His famous collage of the Queen with a safety pin through her nose for the cover of the Pistols' controversial single 'God Save the Queen' is now recognised as a classic piece of design. While designer Jamie Reid developed a style for record sleeves and posters that evoked Situationist graphics, and the cut-up techniques of William Burroughs and others. Other punk graphics referred or were reminiscent of Dada, Constructivism, Bauhaus or Futurism.

www.chart.ac.uk/chart2000/papers/noframes/gere.html

www.scribd.com/doc/3097490/punk-graphic

http://www.designhistorylab.com/

www.zazzle.co.uk/fist_punk_mug

https://www.coroflot.com/public/individual_file.asp?individual_id=224279&portfolio_id=1526196&is_featured=-1

1960's

2009-06-12T17:34:00.001-07:00

1960's POP ART

ROY LICHTENSTEIN

Lichtenstein interest in Proto-pop imagery began his first Pop paintings in 1961 using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965 and included the use of advertising imagery suggesting consumerism and homemaking. His first work to feature the large-scale use of hard-edged figures and Benday dots was Look Mickey (1961). This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet you can't paint as good as that, eh, Dad?" In the same year he produced six other works with recognizable characters from gum wrappers and cartoons. In 1961 Leo Castelli started displaying Lichtenstein's work at his gallery in New York, and he had his first one man show at the gallery in 1962; the entire collection was bought by influential collectors of the time before the show even opened. Interestingly Castelli rejected the work of one of Lichtenstein's contemporaries, Andy Warhol.
It was at this time that Lichtenstein began to find fame not just in America but worldwide. Lichtenstein used oil and Magna paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC comics' Secret Hearts #83. Featuring thick outlines, bold colours and Benday dots to represent certain colours, as if created by photographic reproduction. Lichtenstein would say of his own work: Abstract Expressionists "put things down on the canvas and responded to what they had done, to the colour positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic.
Rather than attempt to reproduce his subjects, his work tackled the way mass media portrays them. Lichtenstein would never take himself too seriously however: "I think my work is different from comic strips- but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art". When his work was first released, many art critics of the time challenged its originality. More often than not they were making no attempt to be positive. Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content". However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument".
His most famous image is arguably Whaam! (1963), one of the earliest known examples of pop art, adapted a comic-book panel from a 1962 issue of DC comics' All-American Men of War. The painting depicts a fighter aircraft firing a rocket into an enemy plane, with a red-and-yellow explosion. The cartoon style is heightened by the use of the onomatopoeic lettering "Whaam!" and the boxed caption "I pressed the fire control... and ahead of me rockets blazed through the sky..."
Most of his best-known artworks are relatively close, but not exact, copies of comic-book panels, a subject he largely abandoned in 1965.

www.artchive.com/artchive/L/lichtenstein.html
http://en.wikipedia.org/wiki/Roy_Lichtenstein www.lichtensteinfoundation.org www.abstract-art.com/abstraction/l2_grnfthrs_fldr/g037b_Lichtenstein_Brush.html

2009-06-10T21:38:00.001-07:00

70’S TYPE DESIGN The decade from 1970 to 1980 stands out for many reasons, from sideburns to Richard Nixon to disco. But the things Gene Gable remembers most fondly are the decorative, bold, and sometimes goofy type designs. I've never qualified as a "typophile," or any other –phile for that matter. For one thing, my knowledge of type history is woefully inadequate. And my attempts at drawing letterforms stopped precipitously in the eighth grade. It was then that I won a consolation prize for my hometown's fire-prevention poster contest. My entry depicted a joint-smoking, long-haired man tossing a lit match into the trash. Below I had carefully penned the caption: "Don't be a careless Hippie." I have no idea if I used a serif or san-serif style, but I'm guessing sans. I had no clue at that time what a serif was. All I remember is running out of space and desperately switching to a condensed writing style for the last few characters.

I will gladly confess to being a "typo-hack," however, prone more to gimmickry and showmanship than fine typography. I know and appreciate the difference, but fine typography is damn hard work. I find myself preferring type that cheaply draws attention to itself, boldly screaming "look at me!" Perhaps that's why I love 1970s graphic design so much. And why I'm nominating that decade for the title "Golden Age of Type Design." It was certainly the "Golden Age of Type Setting." Nobody set type like some of those guys in the '70s www.creativepro.com . www.overexposeddesign.com www.overexposeddesign.com www.printmag.com www.cpluv.com

Post 12 -Chris Nowlan 1920-29

2009-06-09T21:59:00.001-07:00

Alexander Rodchenko

1.
2.
3.

Contructivism
5.
6.
7.

8.

Bauhaus
10.

11.

12.

Art Deco
13.

14.

15.

2009-06-09T21:54:00.000-07:00

60’s -70’s Tadanori Yokoo

Tadanori Yokoo (横尾忠則, Yokoo Tadanori) (born 1936) is a Japanese graphic designer, illustrator, printmaker and painter.

Tadanori Yokoo, (pronounced "yoko-o") born inHyogo Prefecture, Japan, in 1936, is one of Japan's most successful and internationally recognized graphic designers and artists. He began his career as a stage designer for avant garde theatre in Tokyo. His early work shows the influence of the New York based Push Pin Studio (Milton Glaser and Seymour Chwast in particular) but Yokoo himself cites filmmaker Akira Kurosawa and writer Yukio Mishima as two of his most formative influences.

In the late 1960s he became interested in mysticism and psychedelia, deepened by travels in India. Because his work was so attuned to 1960s pop culture, he has often been (unfairly) described as the "Japanese Andy Warhol" or likened to psychedelic poster artistPeter, but Yokoo's complex and multi-layered imagery is intensely autobiographical and entirely original. By the late 60s he had already achieved international recognition for his work and was included in the 1968 "Word & Image" exhibition at the Museum of Modern Art in New York. Four years later MoMA mounted a solo exhibition of his graphic work organized by Mildrid Constantine. Yokoo collaborated extensively with Shuji Terayama and his theater Tenjo Sajiki. He has also starred as a protagonist in Nagisa Oshima's film Diary of a Shinjuku Thief.

In 1981 he unexpectedly "retired" from commercial work and took up painting. His career as a fine artist continues to this day with numerous exhibitions of his paintings every year, but alongside this he remains fully engaged and prolific as a graphic designer.

60’s and 70’s rock and roll poster Design

2009-06-09T21:42:00.000-07:00

In the sixties and seventies some crazy shit went down

From 1965-1970 rock and roll veered off into a political and cultural revolution that changed music and art forever.

During the mid to late 60s, as rock music began the transition into psychedelia, art crept into the scene in the form of flyers and posters announcing the venues and bands playing in the San Francisco area. This art quickly took hold and soon enough posters were being produced for all kinds of shows up and down the west coast, and later in the east. At the heart of the scene was Bill Graham and The Fillmore Auditorium in SF.

As the 60s drew to close, we saw the music and art peak with events like Woodstock and the acid tests. The scene started to fade at the end of the decade, with the deaths of Jim Morrison, Janis Joplin and Jimi Hendrix signalling both the beginning of the 70s and the end of rock and roll as people had known it. For many, the posters shown here are vivid reminders of an amazing time in history. That is part of the reason why values for these posters and handbills have risen tremendously in recent years, and are going to continue to rise in the future

LINKS

www.zazzle.com

www.media.commercialappeal.com

www.flickr.com

www.bmasse.com/60s.html

2009-06-09T21:29:00.000-07:00

1980'S BLOG BY TOM..............ERIC Erik Spiekermann (born 1947) is a typographic designer and font developer. In fact, some of his latest fonts, including FF Meta and ITC Officina, have received expert acclaim as modern classics.

He studied history of art in Berlin, though unsuccessfully, financing his studies by running a basement printing company. He then moved with wife and child to London where he worked as a consultant to some big design companies as well as lecturing at various establishments including the London College of Printing. On his return to Berlin (1981) he ran a design studio with a succession of partners working chiefly for the graphics sector, his clients including Berthold, Scangraphic, Linotype, Adobe and Apple.

Along with his wife, Joan Spiekermann, he formed FontShop in 1989, the first mail order company for computer fonts. In 1990, he and two partners, Uli Mayer and Hannes Kruger, set up MetaDesign plus.

Today, MetaDesign has over 200 employees at its offices in Berlin, London and San Francisco, and is Germany`s largest design company. MetaDesign Berlin handles such projects as the new passenger information system for the Berlin public transport corporations and the control system at Düsseldorf Airport. It is the lead agency world-wide for the corporate design of Volkswagen and Audi and MetaDesign has also developed and is still developing strategic design systems for Boehringer Ingelheim, HEWI, Westdeutscher Rundfunk (West German Broadcasting Company) and the scientific division of the Springer publishing house. Its clients around the world include the cream of the computer and software industry, from Apple to Adobe, Hewlett-Packard, Netscape and IBM down to Texas Instruments.

Erik Spiekermann is an honorary professor at the College of Art in Bremen and vice-president of the International Institute for Information Design. He is also the author of a number of academic books on fonts and typography. His travels to seminars, lectures and educational events take him all over the worldwww.atypi.org www. s www.porchez.com po-sportsdesign.com www.atyp www.fontme.neti.org www.fontme.net

Penguin Books

2009-06-09T21:22:00.001-07:00

Penguin Books is a publisher founded in 1935 by Allen Lane. Lane's idea was to provide quality writing cheaply, for the same price as a packet of cigarettes. He also wanted them to be sold not only in bookshops but in railway stations, general stores and corner shops. Its most emblematic products are its paperbacks. The first Penguin paperbacks were published in 1935, but at first only as an imprint of Bodley Head (of Vigo Street) with the books originally distributed from the crypt of Holy Trinity Church Marylebone. The vertical grid covers that became the standard for Penguin fiction throughout the 1950s. By this time the paperback industry in the UK had begun to grow, and Penguin found itself in competition with then fledgeling Pan Books. Many other series were published such as the Buildings of England, the Pelican History of Art and Penguin Education.

LINKS

www.penguin.co.uk

www.amazon.com/Penguin-Book-

www.wikipedia.org/wiki/Penguin_Books

www.answers.com/topic/penguin-books

www.us.penguingroup.com

Pictures for Timeline - Robyn Rand

2009-06-09T21:03:00.000-07:00

1930 - 1939

  1   2
3
   4


   5 6
  7   8

9   10

  11   12

13 14

15 16
17 18

19 (should be red) 20

   21   22 23

   24

I was thinking I would choose the number s 3, 6, 8, 12, 13, 15, 19.

2009-06-09T20:59:00.001-07:00

TOM'S POST ON 1900-1909

2009-06-09T20:57:00.001-07:00

TOM'S POST ON 1900-1909

Jacks Art Deco Post 8

2009-06-09T20:48:00.000-07:00

Art Deco was a popular international art design movement from 1925 until 1939, affecting the decorative arts such as architecture, interior design, and industrial design, as well as the visual arts such as fashion, painting, the graphic arts, and film. At the time, this style was seen as elegant, glamorous, functional, and modern.

The movement was a mix of many different styles and movements of the early 20th century, including Neoclassical, Constructivism, Cubism, Modernism, Art Nouveau, and Futurism.

Its popularity peaked in Europe during the Roaring Twenties and continued strongly in the United States through the 1930s.

Although many design movements have political or philosophical roots or intentions, Art Deco was purely decorative. Art Deco was an opulent style, and its lavishness is attributed to reaction to the forced austerity imposed by World War I. Its rich, festive character fitted it for "modern" contexts, including the Golden Gate Bridge, interiors of cinema and ocean liners such as the Île de France, the Queen Mary, and Normandie.

Art Deco was employed extensively throughout the United States' train stations in the 1930s, designed to reflect the modernity and efficiency of the train. The first Art Deco train station in the United States was the Union Station in Omaha, Nebraska. Art Deco made use of many distinctive styles, but one of the most significant of its features was its dependence upon a range of ornaments and motifs.

LINKS

www.artdecoworld.com

www.wikipedia.org/wiki/Art_Deco

www.artdeco.org.au

www.artdecoblog.blogspot.com

www.artdecowa.org.au

Post 10: 1970s - The Swiss Poster Style - Chris Nowlan

2009-06-09T20:46:00.002-07:00

In the 1970s, however, Swiss graphic design and poster art began to change -- not in quality but in direction and vision. Designers, critics, and historians of design suggest many factors for the future changes, including changing tastes, rising quality in other countries, the decline of artistic personalities, commercial influence, and so forth.

What is clear, however, is that Swiss poster art remained at a high level of quality and expressive force and continues to attract worldwide attention.

One may view Swiss posters either as street art or as excellent examples of graphic design, showing effective use of form, colour and image to communicate an idea.

Swiss posters are a superb illustration of the ability of design to shape and transform content through formal expression. One should watch for expressions of traditional "Swiss Style" and for the changes that emerge in the tradition.

http://ryan.library.cmu.edu/Home.html

http://www.postershow.com/swiss_poster/poster_art.htm

http://openlibrary.org/b/OL21029388M/Swiss-posters%2C-1970-1980

http://www.swisslegacy.com/index.php/category/poster/page/26/

2009-06-09T20:46:00.001-07:00

TOM'S POST ON 1900-1909

2009-06-09T20:41:00.000-07:00

TOM'S POST ON 1900-1909

2009-06-08T03:35:00.000-07:00

1940’s-50’s Rene’ Gruau

Rene’ Gruau was born in Italy in 1909 of an aristocratic Italian father and a French mother, Marie Gruau, whose name he took. He settled in Paris in 1924 and embarked on his career as a fashion illustrator. His earliest drawings were published in Italy, Germany and England.

From 1935 to 1939, he worked with FEMINA, MARIE-CLAIRE, L’OFFICIEL, L’ALBUM DU FIGARO and other magazines.

In 1946, he did his first job for INTERNATIONAL TEXTILES, whose covers he designed until1984.

In 1947, his friend Christian DIOR entrusted him with drawing the MISS DIOR advertisement and the famous bar dress .the New Look was born.

In 1948, he left for the United States to work for HARPERS BAZAAR and VOGUE, before becoming the exclusive artist for FLAIR.

In 1949, he devoted his time to advertising: ROUGE BAISER, LIDO, MOULIN ROUGE, BEMBERG, BLIZZARD.

Between 1950 and now, he has worked for the greatest name sin Haute Couture: BALMAIN, FATH, BALENCIAGA, GIVENCHY, ROCHAS. Whilst continuing to produce fashion drawings for ELLE, VOGUE, FRANCE, MADAME FIGARO and L’OFFICIEL DE LA COUTURE.

With his stunning, passionate, figures, his arresting use of color and dramatic, explosive element of line, Rene Gruau developed his distinctive “New Look” in the 1940’s which greatly impacted haute couture, theatre, art, and commercial design. With his trademark use of his powerful minimal line, Gruau’s style combined seductive sophistication with classic beauty, grace and sensual elegance. The quality of the visual appeal of his glamorous and radiant “beautiful people” is at once bold and languid. Internationally Gruau’s artwork is celebrated internationally noted for its exceptional and masterful line, and its timeless, enduring style.

Today Gruau’s works are collected and exhibited by the finest art institutions including the Louvre in Paris. Rene Gruau’s artistic passion, intensity and technical brilliance have left a high-water mark on art history.

http://www.renegruau.com/

http://www.artnet.com/artist/641308/rene-gruau.html

http://www.americanfineartgallery.com/artist_bios/gruau_bio.html

http://www.britannica.com/EBchecked/topic/1014505/Rene-Gruau

http://www.woodmansterne.co.uk/rene.htm

2009-06-08T03:22:00.000-07:00

1920’s-30’s Bauhaus Graphic Design

A workshop for printmaking existed only at the Bauhaus in Weimar. In 1921,

Lyonel Feininger was artistic director, master craftsman was the lithographer Carl Zaubitzer.

The production of graphic series and portfolios of the Bauhaus masters, started in 1921,

stood at the peak of the workshop activity. Amongst them were Feininger's "Twelve woodcuts"

and Kandinsky's portfolio "Small worlds". A "Master Portfolio of the State Bauhaus" was published

as the first title of the "Bauhaus Verlag" (Bauhaus edition).

In 1921, parallel to these works, the ambitious project of "Neue Europ�ische Graphik"

("New European Graphics") began: Five portfolios with which the Bauhaus aimed at bringing together

not only the artistic forms of expression of the school, but in addition, all the important tendencies

of the international Avant-garde - from Futurism to Dada, Constructivism, and Surrealism - were produced.

The first portfolio introduced the Bauhaus masters; the consecutive ones presented works by German,

Italian, and Russian artists. A portfolio with French prints remained incomplete. The names of the artists

- from Chagall to Schwitters, de Chirico to Kokoschka, Archipenko to Severini - make clear the quality of

this compendium of art prints from the twenties.

The printmaking workshop did not only produce these series and many individual sheets for the

Bauhaus masters, it was equally available to the students for their own works. In addition, the printing

workshop also accepted commissions from the outside, for instance for the printing of lithographs after

works by Piet Mondrian and Alexander Rodchenko.

Also, the foundations for the future development of functional typography at the Bauhaus were laid with

poster and typography designs for various events and publications at the school. This included the

Bauhaus postcards, which found wide distribution as original graphic miniatures and which, in their

combination of typeface and image, were to become an important advertising medium for the Bauhaus.

http://www.bauhaus.de/english/bauhaus1919/kunst/kunst_graphik.htm

http://en.wikipedia.org/wiki/Graphic_design

http://www.artlex.com/ArtLex/b/bauhaus.html

http://www.amazon.co.uk/ABCs-Triangle-Circle-Square-Bauhaus/dp/1878271423

http://www.eyemagazine.com/review.php?id=130&rid=633&set=700

Rick Valiencti 1990

2009-06-04T07:04:00.000-07:00

Rick Valicenti
Rick Valicenti is the founder and design director of Thirst/Chicago, an internationally recognized design consultancy founded more than twenty years ago. The firm is also known for typography and has designed a new font, Infinity,Thirst a communication design firm devoted to art, function and real human presence. is one of the very first designers chosen for ID Magazine's 40
Rick Valicenti provides inspiration to his colleagues and mentorship to a generation of students. In 2006 Rick was awarded the American Institute of Graphic Artists (AIGA) Medal, the highest honor in the graphic design profession, for his sustained contribution to design excellence and development of the profession. Rick is a member of AGI (Alliance Graphique Internationale).

His works are included in the permanent collection of MoMA, The Cooper-Hewitt National Design Museum and the 2006 Triennial, Design Life Now. His clients include the leaders of Chicago’s design and cultural community.

www.esad.pt/personalviews/

bustbright.com/wordpress/?m=200610

http://www.3st.com/#/content/about/rick

http://www.vllg.com/Thirstype/

letterarms.blogspot.com/2008_10_01_archive.html

Ikko Tanaka 1980

2009-06-04T04:09:00.000-07:00

Ikko Tanaka
is considered the most important contemporary Japanese graphic designer. He was born in Nara in 1930. – Jan 11 2002. After studying in Kyoto and working for the newspaper Osaka Sankei Shimbun he founded his own studio in Tokyo in 1963 which still exists. His oeuvre consists of posters, books, lettering and packaging design, as well as the corporate identity of many Japanese and international groups, but also includes experimental forms of calligraphy and interior design. Tanaka's work combines in a fascinating way the visual language of modernism with elements of Japanese tradition. Many of his posters are counted among the classics of modern poster design.

Ikko Tanaka, fusion of Japanese tradition and the International Style contributed a modern sensibility to Japanese poster and publication design, he succeeded in marrying past and present in graphic compositions that were strong and clean, colorful and playful and unerringly precise. He borrowed the simple shapes and patterns of ancient arts and incorporated them into designs that were definitely of his time and place.

www.nytimes.com/2002/01/24/arts/ikko-tanaka-71-japanese-graphic-designer.html

anti-corporation.blogspot.com/2007/10/ikko-tanaka.html

www.maedastudio.com/redirect.php?this=samsung&category=all&dir=prev -

chloe. 1980 1990

2009-06-02T21:38:00.000-07:00

Neville Brody born 23rd April 1957 in London, became famous in the 1980's for his typographic design work on numerous British magazines, in particular The Face and Arena. Brody used newly invented desktop publishing tools to the fullest and continues to be influential as a type designer for both print and web
In 1988 Thames & Hudson published the first of two volumes about his work, which became the world's best selling graphic design book. Combined sales now exceed 120,000. An accompanying exhibition of his work at the Victoria and Albert Museum attracted over 40,000 visitors before touring Europe and Japan.

 In 1994, together with business partner Fwa Richards, Brody launched Research Studios, London. Since then studios have been opened in Paris, Berlin with plans to open a New york studio. Clients range across all media, from web to print, and from environmental and retail design to moving graphics and film titles.  
A sister company, Research Publishing, produces and publishes experimental multi-media works by young artists. The primary focus is on FUSE, the renowned conference and quarterly forum for experimental typography and communications. The publication is approaching its 20th issue over a publishing period of over ten years.

http://www.researchstudios.com/home/006-neville-brody/NEVILLE_home.php
http://en.wikipedia.org/wiki/Neville_Brody
http://www.graphic-design.com/Type/2008/neville_brody.html

Post 11: 1980s-90s - David Carson - Chris Nowlan

2009-06-02T21:23:00.001-07:00

In 1983, Carson started to experiment with graphic design and found himself immersed in the artistic and bohemian culture of Southern California. By the late eighties he had developed his signature style, using "dirty" type and non-mainstream photography. He would later be dubbed the "father of grunge." He became renowned for his inventive graphics in the 1990s. As art director of surfing magazines and more famously style magazine Ray Gun (1992-5), Carson came to worldwide attention. His layouts featured distortions or mixes of 'vernacular' typefaces and fractured imagery, rendering them almost illegible.

Indeed, his maxim of the 'end of print' questioned the role of type in the emergent age of digital design, following on from California New Wave and coinciding with experiments at the Cranbrook Academy of Art. In the later 1990s he shifted from 'surf subculture' to corporate work for Nike, Levis, and Citibank. Carson became interested in a new school of typography and photography-based graphic design and is largely responsible for popularizing the style; he inspired many young designers of the 1990s. His work does not follow "traditional" graphic design standards.

Carson is emotionally attached to his creations. Carson's work is considered explorative of thoughts and ideas that become "lost" in the subconscious. Every piece is saturated, but Carson still manages to communicate both the idea and the feeling behind his design. His extensive use of combinations of typographic elements and photography led many designers to completely change their work methods and graphic designers from all around the world base their style on the new “standards” that have

distinguished Carson's work.

chloe 1960 1970

2009-06-02T21:22:00.001-07:00

European graphic design from the early days in 1960 and 1970's is a powerful inspiration source for designers all over the world. The new graphic design movement, also known as swiss graphic design or International typographic style that emphasizes cleanliness, readability and objectivity has had a huge impact on all areas of design ever since it was developed in Switzerland in the 50’s. The typical large, straight typography, sophisticated grid systems and a simple, clear message are all useful ingredients when designing web sites as well.

http://devkick.com/blog/design-inspiration-european-graphic-design-from-1950-1970/

1980's - Emigre Magazine / Sumner Stone - Robyn Rand

2009-06-02T21:16:00.000-07:00

Emigre Magazine

The Emigre Magazine is a graphic design magazine published by Emigre graphics, lasting between 1984 and 2005, founded in California.

Emigre Graphics is an independent design association founded in 1984, the founders took advantage of the Apple Mac computers ability to design digital typefaces without the need of typesetting equipment. The graphic designers began designing fonts that, rather then trying to imitate letterpress technology, took advantage of bitmap design, dot matrix printing and vector based design.

The Emigre Magazine provided an outlet showcasing the potential of it's typeface designs and was well known for it's graphical experimentation. The magazine had a huge influence on graphic designers who were moving into desktop publishing with it's typestyles, layouts, gust designers and articles.

The magazine was initially inspired by ITC's 'U&lc' and the Dutch magazine 'Hard Werken'. The idea of the magazine was to feature the work of artists, designers, writers etc.. who were emigrants and had experience from working in other countries. In the late 80's and early 90's the font sales became enough for the Emigre design company to concentrate wholy on the licensing and marketing of their fonts.

http://www.emigre.com/

http://en.wikipedia.org/wiki/Emigre_magazine

http://en.wikipedia.org/wiki/Emigre

https://secure.emigre.com/VanderLans5.php

http://new.myfonts.com/foundry/Emigre/

________________________________________________________

Sumner Stone

Sumner Stone was former director of typography for Adobe systems in the late 1980's, where he conceived and implemented the companies typographic program including the Adobe Originals.

In 1990 Sumner Stone left Adobe to design and produce typefaces for his own studio: the Stone Type Foundry. He creates new designs that he sells directly from his foundry and licences some of his work to companies like ITC and Monotype Imaging for distribution. The Stone Type Foundry also works on custom designs for companies and publications that are wanting their own special typeface.

The Stone Type Foundry was commissioned by Scripps College (a liberal arts women's college in California) to revive the Scripps College Old Style family which was originally designed by Frederic Goudy.

Some of his creations include: Magma, Silica, Basalt, Leaves & Straw, ITC Bodoni, ITC Stone and Tuff. Stone was one of the first designers to integrate serif and sans serif in the same 'superfamily'.

http://www.designer-daily.com/16-type-foundries-you’ve-probably-never-heard-before-and-1-font-from-their-libraries-1357

http://www.itcfonts.com/Ulc/3012/SumnerStone.htm

http://en.wikipedia.org/wiki/Stone_Type_Foundry

http://www.stonetypefoundry.com/aboutsumnerstone.html

2009-06-02T21:09:00.000-07:00

1990's

"The Digital Revolution"

Post 11 by Melissa Mackie

By the mid- 1990's, The Transition of graphic design from a drafting-table activity to an onscreen computer activity was virtually complete.

Software for Apple's 1984 Macintosh computer, such as the MacPaint program by computer programmer Bill Atkinson and graphic designer Susan Kare, had a revolutionary human interface.

Tool icons controlled by a mouse or graphics table enabled designers and artists to use computer graphics in an intuitive manner.

The Digital revolution in graphic design was followed quickly by public access to the internet. A whole new area of graphic design activity mushroomed in the mid 1990's when internet commerce became a growing sector of the global economy, causing organisations and businesses to scramble to establish Web sites.

http://www.designhistory.org/Digital_Revolution.html

https://wikis.otis.edu/graphicdesigna/index.php/Historical_Overview_of_1970-present

http://www.britannica.com/EBchecked/topic/1032864/graphic-design/242769/Graphic-design-in-the-20th-century