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Tuesday, May 12, 2009
Post 7:
Lucien Bernhard Poster designer Reveloutionary.
persuasive simplicity was a rare thing in most advertising: posters especially tended to be wordy and ornate. No one had yet heard of its young creator, who, was to influence the genre of advertising know as the Sachplakat, or object poster. Over the course of his career, which progressed from the turn of the century to the 1950s, Lucian Bernhard became a prolific designer not only of innovative posters but of trademarks, packaging, type, textiles, furniture, and interior design. From his studio in New York City (he left Berlin in 1922), he developed some of the most recognizable American business advertising and trademarks, for such clients as Cat's Paw, ExLax, and Amoco. He also designed more thank thirty-five popular display typefaces, including Bernhard Gothic. Bernhard deliberately invented most of his early biographical accounts. As his son Karl explains, Lucian believed that the actual facts of his youth had little relevance in judging his adult life and work, and enjoyed toying with the details of his life, revising his stories depending on his audience of mood. But past conversations with his children—Karl, Manfred, and Ruth (the renowned photographer)—and with various now-deceased friends, including Fritz Eichenberg, Aaron Burns, and Cipe Pineles, yield some biographical threads that can be sown together. This is genius that was what the judge said about Luciens first ever poster design Bernhard had won both the contest and a long-term benefactor. Bernhard capitalized on the Priester success. Although his subsequent designs were good—often gorgeous—Bernhard never really surpassed Priester's serendipity in any of his other poster. He did, however, produce countless images for a range of different German (and later foreign) products. By the ripe old age of twenty-three, he had become so sought after that he was compelled to open his own studio. Within ten years his elegant new studio employed around thirty artists and their assistant. In 1920, he was mad the first professor of poster art at the Berlin School of Arts and Crafts.Lucien Bernhard made profound contributions to the poster world of the 1920s with radical new takes on design. http://www.internationalposter.com/abo britannicaut-poster-art/style- orgprimer.aspx media-2.web.britannica.com www.spartacus.schoolnet.co.uk www.aiga.org flaggenkunde www.flaggenkunde www.bosch.com www.internationalposter.com www.stepinsidedesign.com www.emailleschilder.com
Art Deco
Post No:7
post by Melissa
The economical and social pressures that immediately followed the First World War brought with them a new mood for a rigorous and clean cut look.
Art Deco was a design style popular in the 1920's and 1930's. Its sleek,streamlined forms conveyed elegance and sophistication.
The structure of Art Deco is on mathematical geometric shapes,It was widely considered elegant and stylish modernism being influenced by a variety of sources. Among them were the so called primitive arts of Africa, Ancient Egypt and Aztec Mexico. It also drew on machine age on streamline technology.
Some of the most popular Art Deco Graphic Artist are Adolphe Mouron Cassandre and Leonetto Cappiello.
Art Deco slowly lost patronage in the west
after reaching mass production when it began to be derides as gaudy and presenting a false image of luxuary.
Eventually the style was cut short by the austerities of World War 2. A resurgence of interest in the Art Deco came first in the `1960's and then again in the 1980's with the growing interest in graphic design where its association with film noir and 1930's glamour led to its use in advertisement for jewelry and fashion.
1910-1920 POSTER ART/OUTDOOR ADVERTISING
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POSTER ART 1900-1910
The first was The Billposter and Distributor (the official journal of the Associated Billposters and Distributors of the United States and Canada) which premiered in 1897 it was changed and named to Advertising Outdoors: A Magazine Devoted to the Interests of the Outdoor Advertiser. In 1910 the title was again changed to The Poster: The National Journal of Outdoor Advertising and Poster Art which continued until 1930 when the title was changed for the last time to Outdoor Advertising.
Under each of these were published similar cases of successful poster campaigns and of popular designers’ work. A few of the illustrations were reproduced in full-color most were black and white, which played a part in the dullness of the magazines. Another negative factor was the artwork; despite a few exceptions. The majority of American advertising posters had, romantic and sentimental realism.
If only advertising agents had been influenced by German design at that time American posters and billboards might have made a quantum, aesthetic leap in the twentieth century. Although the art poster was born in Paris before the turn of the century, by 1905 Berlin was the capitol of modern form. And the clarion of this German poster exuberance was a magazine called Das Plakat, which not only exhibited the finest poster examples from Germany and other European countries, but its high standards, underscored by exquisite printing, established qualitative criteria that defined the decade of graphic design between 1910 and 1920.
www.typotheque.com/articles/graphic_design_magazines_das_plakat
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7VBFNA5BUCon_4c_TWNc7ai-xWE4Lrugos1KkVM9MyXifqN1qNfdEGvI3WMxqSAVpkZid7P590w-1GA8Dso0hQO3TUprRLQ6PjZqLOIYz0OdFz8x1aZOudW9zPq1uFx1MTHB35K4daBg/s400/WarPoster1+(2).jpg
http://images.google.com.au/images?hl=en&q=1900%201920%20poster%20art&safe=on&um=1&ie=UTF-8&sa=N&tab=wi
http://www.nebraskahistory.org/images/oversite/store/catalog-08/7Amfam-1900-1920.jpg
http://www.mapsofworld.com/olympic-trivia/images/olympic-posters/paris1900.jpg
http://www.grosell.dk/images/112646.jpg
http://ard.ndr.de/peking2008/geschichte/1920/olympiaplakat112_v-ardgross.jpg
1920-1930 Woman’s, magazines, advertising and smoking
In the 1920 started a craze of smoking. This appeared in many areas of graphic design, from magazine covers, posters, films and even cigarette cases.
The art deco style and the glamour of Hollywood influenced smoking and its accessories. Women smoked openly and Hollywood stars appeared in adverts. Travel and over seas travel also became very popular and this became clear in advertising as well. Along with music such as jazz and females dressed in flapper style. Women were becoming more marketable in this era, as seen in Hollywood.
My pictures display a variety of styles in this era but all relates to advertising
• There were two art movements during this time:
• Surrealism Movement
• Began post World War I
• Used techniques of automatic drawing and painting
• Art Deco Movement
• Decorative art that affected architecture
• Originally began in Europe in the early 1920’s but caught on in the US in 1928
• Used materials such as stainless steel, aluminum, and zebraskin
• Used bold curves, sweeps, and zigzags
• Two famous American Artists
• Maxfield Parris § Helped shape the Golden Age of Illustration
• In the 1920’s he turned away from illustration to do Androgynous Nudes
• Used bright, luminous colors
• C. Coles Phillips
• Did many covers for magazines and ads in the 1920’s
http://images.google.com.au/images?hl=en&safe=on&q=1920-1930%20coke%20advertising&um=1&ie=UTF-8&sa=N&tab=wi
http://images.google.com.au/images?hl=en&safe=active&um=1&sa=1&q=1920-1930+advertising&btnG=Search+Images&aq=f&oq=
http://www.travelbrochuregraphics.com/
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiykUI6OpoBQtbl3Y1Hv_WXyRxlWV4m8pEn3sYSrTR5M3KsFFhqqAlSVAMe2VDNRsEpA0QnKqlKvlLEuxY0dghaQL-YseYVwBAKBthCIzYQmS9v5TXibRkmgw5r0HXmshAUjZwUrzoGx_k/s150/1920s_postcard_02coke
ttp://www.google.com.au/search?hl=en&safe=active&q=1920-1930+women%27s+magazines&btnG=Search&meta=
www.smokerama.co.uk/ 1920-1930.asp
1940 - 1950 Swiss Graphic Design
European graphic design from the early days 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 styles are asymmetric layouts, use of a grid, sans-serif typefaces like Akzidenz Grotesk, and flush left, ragged right text. The style is also associated with a preference for photography in place of illustrations or drawings. Many of the early International Typographic Style works featured typography as a primary design element in addition to its use in text, and it is for this that the style is named.
Switzerland had developed a uniquely clear graphic language which matched the country’s reputation for efficiency and precision. Evident not just in posters but in advertisements, brochures and books, Neue Grafik or Swiss Style, as it became known, was respected internationally for its formal discipline: simple methods that could make posters dramatic and give an order and elegance to typographic design. Sharing the disciplines of Swiss Concrete Art, designers organised images and text
into geometrical grids. With sans-serif typefaces suchas
Helvetica and Univers, these were the chief components
of the Swiss Style which spread across the world. Its influence is still seen today, recognisable in corporate publicity and highway signs from Amsterdam to Tokyo and from London to Los Angeles.
The typical large, straight typography, sophisticated and simple styles were used. I have picked a collection of great posters and other artwork from the European graphic design. These are not all very typical Swiss style, but many of the designs presented here are clearly inspired by it, one way or another.
• Swiss graphic designs book
• Helvetica type face
• Akzidenz Grotesk designed in 1896 for the H. Berthold AG type foundry. The face was a hallmark of the modernist Swiss Style.
• Joseph Müller-Brockman 1955 design in the series for concert posters for the Tonhalle Gesellschaft Zürich.
• Basel 1959 for Geigy.
http://motiondesign.wordpress.com/category/1940/
http://www.google.com.au/search?hl=en&q=1940-1950+graphic+design&btnG=Google+Search&meta=&aq=f&oq=
http://devkick.com/blog/design-inspiration-european-graphic-design-from-1950-1970/
http://en.wikipedia.org/wiki/International_Typographic_Style
http://www.jannuzzismith.com/downloads/swissgraphicdesign_pr.pdf
http://www.google.com.au/search?hl=en&safe=active&q=1950+Swiss+graphic+design&btnG=Search&meta=
http://www.swisslegacy.com/wp-content/uploads//helvetica_3.jpg
Psychedelic designs inspired by the 60's and 70's
I think a lot of this psychedelic design goes well in several different genres – everything from music and concerts to skateboarding and surfing. It appears a lot to day in the design world of music, skate, surf culture.
High Society Psychedelic Rock Posters of Haight-Ashbury
Within the mid-1960s rock culture of San Francisco, a radical new form of graphic design, informed by the psychedelic (literally "mind-revealing") experience, was born. This was a bold new art form meant to advertise the dance concerts produced by impresarios Bill Graham and Chet Helms between 1965 and 1971. These events were an outgrowth of the "Acid Tests," multisensory happenings at which LSD, then a non-controlled substance, was dispensed to those attending.
The bands most frequently featured at the dance concerts, the Grateful Dead, Jefferson Airplane, Quicksilver Messenger Service, Moby Grape, and Big Brother and the Holding Company, emerged from the local hippie community flourishing in the city's Haight-Ashbury neighborhood. The dance concerts were participatory events combining sound, light, and motion. The audience moved about the hall freely, dancing, listening, and watching the transporting projections of light-show artists.
Psychedelic rock posters are the graphic extensions of the dance concerts and lasting documents of these events. Breaking long-established conventions of graphic design, the artists abandoned legibility and order for entwining, flowing, and distorted forms and lettering. The dizzying patterns, charged hues, wit, and visionary imagery of their designs reflect the sound and spirit of a particularly provocative moment in the history of American culture.
A small focus in the exhibition utilizes the Hood's collection of bold and colorful art nouveau posters of the 1890s to demonstrate their direct influence on many of the psychedelic posters of the 1960s. Several influential artists including Alphonse Marie Mucha in France, Aubrey Beardsley in England, and William Bradley in America were major practitioners of the emerging art nouveau style which utilized the curving lines and distorted lettering that later influenced the psychedelic poster artists. Graphic artists of the 1960s often used these elements in their posters, sometimes adopting imagery directly from art nouveau advertisements and altering only the color, wording, and layout of the original design.
High Society: Psychedelic Rock Posters of Haight-Ashbury is an ambitious exhibition that reexamines popular advertisements of a key moment in the history of American culture. It presents a unique opportunity to witness the journey of commercial graphic art from ephemera to fine art.
http://www.google.com.au/search?hl=en&safe=active&q=Psychedelic+designs+&btnG=Search&meta=
http://www.google.com.au/search?hl=en&safe=active&q=psychedelic+graphic+design&revid=0&ei=zFg4SseFAYmIkAX8su2ODQ&sa=X&oi=revisions_inline&resnum=0&ct=broad-revision&cd=3
http://www.tfaoi.com/aa/3aa/3aa236.htm
http://crossedcombs.typepad.com/.a/6a00e00980a6f3883301053707de3f970b-320wi
http://images.google.com.au/images?hl=en&safe=on&q=psychedelic%20graphic%20design&revid=0&ei=zFg4SseFAYmIkAX8su2ODQ&resnum=0&um=1&ie=UTF-8&sa=N&tab=wi
http://farm4.static.flickr.com/3419/3387541588_2f91af8e93.jpg
http://www.panopticist.com/graphics/jamesbrownposter.jpg
http://www.abductit.com/files/wallpapers/wpw35/wp_600.jpg
80’s computer pixel art
In the 80’s was a crazy of computer games and computerized art. This was pixelated art that came on computer screens for manly computer games. The computer became more available to the every day user. This was the starting of the computer era and from here on the computer would play a big part in our every day lives. Apple computers became popular along with the commodore 64 and the Atari.
The 80’s was fill with bright colour and miss mash of patterns and prints. ANYTHING GOES really. THE BIGGER THE BETTER. Big hair, bright make up shoulder pads in fashion. This trend followed through in the style of computer graphics being bold and bright.
The term pixel art was first published by Adele Goldberg and Robert Flegal of Xerox Palo Alto Research Center in 1982.[1] The concept, however, goes back about 10 years before that, for example in Richard Shoup's SuperPaint system in 1972, also at Xerox PARC.
Some traditional art forms, such as cross-stitch, mosaic and beadwork, bear some similarity to pixel art by constructing pictures out of small colored units analogous to the pixels of modern digital computing. A similar concept on a much bigger scale can be seen in the mass games.
Bert Monroy is an American artist best known for his skill in using Adobe Photoshop and Adobe Illustrator.
Monroy is considered by some[who?] to be one of the pioneers of digital art. Much of his work is photorealistic. He has published several books, including the first on the use of Photoshop (The Official Adobe Photoshop Handbook, coauthored with David Biedny), and is also an accomplished lecturer. He was a frequent guest on The Screen Savers, where he gave brief Photoshop tutorials. In 2004 he was inducted into the Photoshop Hall of Fame. He also hosts a web TV show, PixelPerfect
http://www.google.com.au/search?hl=en&safe=active&q=computer+game+graphics+80%27s&btnG=Search&meta=
http://www.designflavr.com/ATARI-is-Hot-Genaro-Desia-i675/
http://www.colourlovers.com/blog/2009/05/08/vintage-color-design-70s-80s-arcade-graphics/
http://www.google.com.au/search?hl=en&safe=active&q=Bert+Monroy&btnG=Search&meta=
http://en.wikipedia.org/wiki/Bert_Monroy
http://en.wikipedia.org/wiki/Pixel_art
post 7: cubism
Cubism was a 20th century avant-garde art movement, pioneered by Pablo Picasso and Georges Braque, that revolutionized European painting and sculpture, and inspired related movements in music and literature.
In cubist artworks, objects are broken up, analyzed, and re-assembled in an abstracted form instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Often the surfaces intersect at seemingly random angles, removing a coherent sense of depth. The background and object planes interpenetrate one another to create the shallow ambiguous space, one of cubism's distinct characteristics.
Analytical Cubism is one of the two major branches of the artistic movement of Cubism and was developed between 1908 and 1912. In contrast to Synthetic cubism, Analytic cubists "analyzed" natural forms and reduced the forms into basic geometric parts on the two-dimensional picture plane. Colour was almost non-existent except for the use of a monochromatic scheme that often included grey, blue and ochre. Instead of an emphasis on colour, Analytic cubists focused on forms like the cylinder, sphere and the cone to represent the natural world. During this movement, the works produced by Picasso and Braque shared stylistic similarities.
In 1913 the United States was exposed to cubism and modern European art when Jacques Villon exhibited seven important and large drypoints at the famous Armory Show in New York City. Braque and Picasso themselves went through several distinct phases before 1920, and some of these works had been seen in New York. Czech artists who realized the epochal significance of cubism of Picasso and Braque attempted to extract its components for their own work in all branches of artistic creativity especially painting and architecture. This developed into Czech Cubism which was an avant-garde art movement of Czech proponents of cubism active mostly in Prague from 1910 to 1914.
http://en.wikipedia.org/wiki/Cubist
http://www.metmuseum.org/toah/hd/cube/hd_cube.htm
http://tars.rollins.edu/Foreign_Lang/Russian/cubism.html
Product design in the 1920's-1930's
In design, if the second decade of the 20th century was noted for significant changes in typography, the 1920s were a time of significant changes in the use of illustration.The influences of popular illustrators as diverse as Maxfield Parrish, Beatrix Potter, James Montgomery Flagg,
and C. Coles Phillips (In a position to know), were beginning to alter the look of advertising and package design.
'In a position to
know',
C. Coles Phillips.
This decade was also a time when new package design
themes were originated. In many cases these themes
still have a profound influence on the conventions of contemporary design. This also seemed to be a time when interesting design precedents were being established. Some categories would become design leaders and others would become design followers.
Perfume bottle design and fruit crate label art, appeared to be a clear intention to break new ground and create a very
new, more contemporary
look. These companies
certainly wanted to signal a change from the past. Cigar labels, show a clear intention to use historical references, and graphic conventions from previous
decades, to bolster the traditions of the manufacturers.
The fragrance indus
try,until this decade, had been heavily influenced by designs that relied on historical references, were
complex,organically modeled feminine
forms, and still heavily influenced by the complex motifs
of the late 19th century gilded age. The most modern influences until the 1920s
were art nouveau inspired bottle and label shapes.
These new brands offered a radical mix of simplified bottle shapes, and label typography. The notion of using simple black sans-serif typography on an unadorned white or gold label would not have occurred to a perfumer previously.
The most significant influence in fruit crate art was the use of new printing techniques that could inexpensively reproduce
bold, full color illustration. There was an explosion of graphic icons, bold colour,
and dramatically simplified layouts and typography.
These layouts often depended solely on the strength of the illustration for their communication.
Cigar label art benefitted from the same opportunities afforded by the new printing techniques, the marketers were far more conservative with their brand equity, preferring to continue with design themes from the previous two decades. Typography was still heavily influenced by the 19thcentury hand-drawn letterforms, with the use of art nouveau inspired textures and patterns. But the use of bright colorful illustration was truly a break from the past. Previously cigar labels, and many other types of label graphics, had used a limited palette of 2-3 line colours and the illustrations were often rendered, like old-master etchings, in a black line drawing style. While the graphic style might be intentionally traditional, these new cigar labels do explode with full colour, tonal drawings.
richardshear.wordpress.com/2009/04/02/package-design-a-leading-or-trailing -indicator-1920-1930
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