1960's Typography

1960’s

PEACE SOLID, PEACE OUTLINE, LOVE STONED and LOVE OPEN

are some

Typefaces reminiscent of the swinging 1960s, the psychedelic era of hippies, bellbottoms, lava lamps, pop music, the Beatles, and free love

PEACE SOLID

The psychedelic concert poster lettering of the 1960’s’ was actually a throwback to the Vienna Secession art movement of one hundred years ago by Alfred Roller in 1902. Preeminent Fillmore poster designer, Wes Wilson spotted it at a gallery exhibition in the mid sixties and adapted Roller’s lettering style, adding his own unique “spin. Wes Wilson was an American Artist and leading designer of the American psychedelic posters in San Francisco. Wes was synonymous with the peace movement, and the psychedelic posters of the 1960’s..

LOVE OPEN

LOVE SOLID

books.google.com.au/books?isbn=1581804369..

http://www.identifont.com/similar?5HJ

journeyofthedesignstudent.blogspot.com/2009/02/wes-wilson.

ROGER DEAN’S ‘YES” COVERS

1970's

ROGER DEAN’S ‘YES” COVERS

Roger Dean, born August 31^st 1944 is an English artist, designer, architect and publisher. He is best known for his work on album covers for musicians which he began painting in the late 1960s. The covers usually feature exotic, fantastic landscapes.

In 1971 Roger produced the first Osibisa album cover, which attracted a lot of attention to his work as an album cover designer and late in that same year he designed his first album cover for "Yes". 1975 saw Roger and his brother, Martyn designing a stage set for "Yes". In America the auditoriums often have seating for as many as twenty thousand people, so the scale of production and the nature of the design are quite different to those of a theater

The most recognized album cover work is that of the English progressive rock band Yes. Dean first started creating Yes covers with the 1971 album Fragile. Along with the cover art he also developed their bubble logo, which appeared on the 1972 album Close to the Edge. He has also worked on video game art beginning in 1985, has done architectural pieces, and is currently working on a film project that will feature 3D renderings of his classic images, using music by Yes.

Dean has continued to paint album covers for the likes of YES, Uriah Heep, Osibisa, Asia and Budgie, whilst remaining involved in design work which now includes working with computer software.

There are many more of Deans "yes" covers but nine of my favourite images was a bit over the top...sorry.

I'm a big admirer of Deans work.

http://www.abandonart.co.uk/artists/biog_rd.html

en.wikipedia.org/wiki/Category:Albums_with_cover_art_by_Roger_Dean –

http://photographytodaynet.blogspot.com/2009/04/book-review-views-by-roger-dean-carla.html

www.myspace.com/rogerdeanart

Peace, Love and the Psychedelic 60s rock posters started an art form that continues today. The Psychedelic Sixties”, psychedelic music , Big Brother and the Holding Company, Bo Diddley, the Grateful Dead and the Jefferson Airplane. It was a time of free love and anti establishment rebelling against authority figures and spreading peace and love through music this reflected on design. Poster designs for bands and music concerts became an outlet for creative people to express their views and spread the love. psychedelic concert posters from mid-’60s displayed psychedelic dances and all sorts of psychedelic references posters were chosen for their aesthetic qualities, primarily use of color and design and not for rock history. From an art-based perspective, it’s instructive to note that, according to a 2007 Kelley interview, he and Mouse lifted ideas from American Native and Chinese art, from Art Nouveau, Art Deco and Bauhaus along with modern and contemporary sources. The result was a distinctive visual language that communicated more than just the facts about an upcoming show.

The 1960s planted the postmodern seed, and as it sprouted in the '70s, graphic design finally started to pay attention to the context in which they were creating their work. Since then Postmodernism has grown and changed throughout the years as we develop new technologies that affect how we live, but even as we have moved through the decades, Postmodernism still asks us to question everything. Not only does it encourage us to question the boundaries of art and design, but it has also asked us to address our surroundings, including our political systems, our idea of social norms, and consumerism along with a variety of other topics involving what is going on around us.

As the old homage goes, art imitates life, but in our contemporary world of consumer culture and capitalism, life can also imitate art. Postmodernism has opened up a two way dialogue between the designer and the audience, and this exchange has produced thousands of resources and events to pull from in order to inform future design, political, and social movements. As the digital age is in full bloom, and the internet has become it's own social networking system, we see those thousands of resources turn to millions, then to billions; all available within a split second Like Postmodern design preaches, we have documented our design history as it progresses through Postmodernism, the Digital Revolution, and anticipate what is still to come.

Feminist, gay liberation, racial, and environmental movements began to cause social and political upheaval in the 1970s. As a result, advertisers, graphic designers, and illustrators began to consider these issues and to address them in their work as a documentation of what was going on. The decontextualization that plagued the Modernist movement was dying out, as opinions of women, blacks, and other “minorities” became loud and clear. It became clear that it was a time of protest, of self-awareness, and of freedom.
In 1979, a nuclear accident occurred at Three Mile Island[1], causing political and social movements against nuclear weapons in a quest for peace. In addition, this era was a dark period for the economy. There was the oil crisis in 1973 and then again in 1979, causing an economic depression and high inflation in America[2]. Many advertisers focused and emphasized a product’s economical aspects to appeal to people having financial trouble, due to the economic depression. TV also became popularized and new and more creative TV commercials were produced. In addition, through television because they were more common in households, they helped to popularize many campaigns for public benefit.
In the mid 70s, Microsoft was founded and the Apple computer was also launched[3], marking the rapid development of digital technology and contributing to the morphing of Postmodernism. Objective and universal design in the modernism era became more experimental, multi-cultural, subjective, and dynamic as artist and designers began to use the tools that would fuel the digital revolution.

Design from the 1960s. 

The abundance of handcrafted typography and illustration. Layouts inspired by the European avant garde. Design that is beautiful and functional—despite the mysterious absence of drop shadows, rounded corners, and gradients.


As popular music became increasingly culturally significant, graphics for the recording industry emerged as a locus of design creativity. One Push Pin Studio founder, Milton Glaser, captured the imagination of a generation with his stylized curvilinear drawing, bold flat colour, and original concepts. Glaser’s poster (1967) for folk-rock musician Bob Dylan is one of many music graphics from the 1960s that achieved an iconic presence not unlike that of Flagg’s I Want You poster from World War I. Over the course of the second half of the century, Glaser steadily expanded his interests to include magazine design, restaurant and retail store interiors, and visual identity systems.

The 1960s also saw the rapid decline of hand- and machine-set metal type as they were replaced by display-and-keyboard phototype systems. Since it is very inexpensive to produce new typefaces for photographic typesetting, the widespread use of phototype systems set off a spate of new designs and reissues of long-unavailable typefaces, such as decorative Victorian wood types. American Herb Lubalin is notable among the designers who embraced the new flexibility phototype made possible for designers. Type could be set in any size, the spaces between letters and lines could be compressed, and letters could be expanded, condensed, touched, overlapped, or slanted. Lubalin’s ability to make powerful visual communications solely with type is seen in a 1968 announcement for an antiwar poster contest sponsored by Avant Garde magazine. The magazine’s logo, placed in the dot of the exclamation point, uses ligatures (two or more letters combined into one form) and alternate characters to form a tightly compressed image. This logo was developed into a typeface named Avant Garde, one of the most successful and widely used fonts of the phototype period.

Several major directions emerged in American graphic design in the 1960s. Political and social upheavals of the decade were accompanied by a resurgence of poster art addressing the civil rights movement, the women’s movement, environmentalism, and the Vietnam War. Placing ads on radio and television was beyond the economic means of most private citizens, independent art groups, and social-activist organizations; however, they could afford to print and distribute flyers and posters, and they could even sell their posters to public sympathizers to raise money for their causes.

1. www.britannica.com

www.detourdesign.com

The Japanese Andy Warhol...................... Tadanori Yokoo............

 1960's to 1970'2

Post by Melissa Mackie

Tadanori Yokoo ia one of Japans most successfull and internationally recocognised graphic designers. He is also recognised for his painting, printmaking, photography and illustrations.

 He was born in Hyogo Prefecture, Japan, in 1936

His early works show the influence of the New York based Push Pin Studio (Milton Glaser and Seymore Chwast in particular), but Yokoo himself cities filmmaker Akira Kurosawa and writer Yukio Mushima as two of his most formative influences. He is probably most recognised in our country for his 70's album covers for Miles Davis, Santana, Cat Stevens and the Beatles.

After traveling to india in the late 1960's he became interested in mysticism and psychedelia.

By the late 60's he had already achieved international recognition for his work and was included in the 1968 "Word and Image" exhibition at the Museum of Modern Art in New York. Four years later MoMA mounted a solo exhibition of his graphic work organised by Mildred Constantine.

By the early 1990's Yokoo added computer design to his technique vocabulary and changed his style even further, by reassembling previous works digitally.

In 1981 he unexpectedly retired from commercial work and devoted his time to fine art. His career as a fine artist continues to this day with numerous exhibitions of his paintings every year.

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

http://www.tadanoriyokoo.com/info/index_e.html

http://ajourneyroundmyskull.blogspot.com/2008/10/tadanori-yokoo-posters.html

http://www.adcglobal.org/archive/hof/2000/?id=205

1940-1950 Design

When PENGUIN was founded in 1935 with the radical concept of producing inexpensive paperback editions of high quality books, it adopted an equally progressive approach to typography and cover design. Under Jan Tschichold in the 1940s and Germano Facetti in the 1960s, Penguin became an exemplar of book design. The discovery began, when publisher Allen Jane scoured a london train station for something to read. All he could find were reprints of 19th century novels and Lane decided to found a publishing house to produce good quality paperbacks, sold at sixpence each.

Lane’s secretary suggested Penguin as a “dignified, but flippant” name for the company and the office junior Edward Young was sent to sketch the penguins at London Zoo as its logotype. Young was then asked to design the covers of the first set of ten paperbacks to be published in summer 1935 including Ariel and A Farewell to Arms. Considering illustrated book covers to be trashy, Lane insisted on his following a simple horizontal grid for Penguin’s jackets in colours that signified the genre of each book: orange for fiction, green for crime, and blue for biography.

The rigorous application of colour, grid and typography in those early paperbacks instilled Penguin with a commitment to design from the start. The company then strengthened its design ethos under the direction of the German typographer Jan Tschichold (1902-1974) during the 1940s and the Italian art director Germano Facetti (1926-) in the 1960s.

The design of individual books had appeared cohesive, at least compared to those of rival publishers, but had varied with the views of the editor and printer. A firm believer in typographic systems, Tschichold designed a template for all Penguin books with designated positions for the title and author’s name with a line between the two. He unified the design of the front, spine and back and redrew Edward Young’s endearingly amateurish Penguin symbol in eight variations. Finally he produced a set of Composition Rules which, he insisted, were to be followed by Penguin’s typographers and printers to ensure that the same style was always applied.

Tschichold was equally rigorous in the design of special sets of books published by Penguin. These included Penguin Modern Painters, introduced in 1944 by the art historian Sir Kenneth Clark to popularise modern art to “the wide public outside the art galleries”, and the Penguin Shakespeare Series, which had the same democratising objective for William Shakespeare’s plays. Among Tschichold’s innovations was to persuade Allen Lane to allow Penguin to take advantage of recent advances in printing by using illustration on the jackets of particular sets of books such as the Shakespeare Series.

In 1949 Tschichold returned to Switzerland after three highly productive years in which he had defined an intellectually rigorous and inspiring visual language for Penguin. His successor, the typographer Hans Schmoller (1916-1985) had a rich knowledge of type and unerring eye for detail, but was less radical in his approach and tended to refine Tschichold’s templates rather than inventing his own. Schmoller’s design for the 1950s architectural series, The Buildings of England written by the historian Nikolaus Pevsner, was modelled closely on Tschichold’s templates. However he did change the Penguin grid from horizontal to vertical in 1951. The vertical grid had been devised at Tschichold’s behest by the designer Erik Ellegaard Frederiksen, but was not adopted until Schmoller had modified it. The result was the division of the cover into three vertical stripes, which allowed enough space for illustration while maintaining the tri-partite division and the original 1930s colour coding so strongly associated with Penguin.

visitbath.co.uk/site/ seventy-years-of-penguin...

www.designmuseum.org/design/penguin-books

 

STACY POST 10: 1960'S AND 1970'S

My apologies for being absent today I have been fighting off the flu. I will be there tomorrow for your surfwear presentations. The 1960's and 1970's were busy and diverse times in the development of graphic design- write a post about one aspect of 1960 and one aspect of 1970's with 150wds with 4 images and 4 links for each post.

1960s

apollo 11 first manned lunar landing, the mini skirt, the beatles,hippie culture, herb lubalin, milton glaser, saul bass, otto preminger, ken garland, john mcconnell -pentgram, rick griffen, ken kesey, pscychodelia, contraceptive pill, sexual revolution, roger excoffon, the bikini, elvis, portable tv, kodak brownie 127, david bailey, ibm typewriter 72, ibm computer system 360, barbarella, pierre cardin - moon girl, 'oz' magazine,martin sharp, 'women and beauty', 'time', 'paris match' 'look', peter blake , sgt peppers lonely hearts club band, tadnori yokoo, kobe workers music council poster, dick elffers, the paper dress show hirokatsu hijikata, 'wozzeck', jan lenica, wes wilson, john riebens, 'neue grafik', josef muller-brockmann, 'foultitude' pop art, robert rauschenberg, litchenstein, folon, tibor reich textiles, astrid sampe textiles, grillo phone, valentine portable typewriter, ibm golfball typewrite, tschichold , sabon 1964, fluxus, functionalism, stanley mouse, victor moscoso, chet helms, fonts ortem, cruz swinger, windsor, windsor elongated, peace open, peace solid, peace outline, love stoned, love open etc.

1970's

Punk, mark perry, 'sniffin' glue',i- D, jamie reid- suburban press, saatchi and saatchi, helmut newton, beogram 4000 turntable bang and olufson, totem stereo ,sony walkman, sony trinitron tv, valentine portable typewriter, 'vanity fair', 'cosmopolitan',andy warhol's 'sticky fingers', roger dean's 'yes' covers, hipgnosis, the clash 'london calling', kit kat, reginald mount, verner panton textiles, polaroid sx-70, apple 11c computer, bell centennial font 1978, matthew carter, swiss posters and typography and many others are the icons of the 1970s.

Jean Carlu

Born in Bonnières, France, Jean Carlu came from a family of architects and studied to enter that profession

. After an accident at the age of eighteen in which he lost his right arm,

Carlu turned to graphic design. His early work reveals a fascination with the angular forms of Cubism

Jean Carlu started his career as a professional poster-designer in 1919, after a competition by a producer of dental aids. 1918. From 1919 until 1921 he served as an illustrator,

As Carlu's work evolved over the next two decades, it continued to show a concern with the geometric shapes of Cubism, but this was manifested in very different ways. Carlu sought to create a symbolic language in which color, line, and content would represent emotional values. His work thus achieved a distinctive, streamlined economy of form, rarely incorporating

narrative or illustrative elements. He was one of the first who realised that to fix a trademark in the minds of consumers a process needs to be gone through in which schematic forms and expressive colours are applied. These are the characteristics that give his posters and other works their distinguishable quality

Carlu’s art would not be art for museums, galleries, or parlors. He wanted his art to be seen, to serve a purpose, as did the architecture of his father and brother. He also wanted to make a living. So, turning to advertising, he began with posters. They were to be posters which called for simplification in design, concentration in presentation, brevity in text. Such a conception attracted his interest and his talent.

Carlu spent the years of World War II in the United States, where he executed a number of important poster designs for the government's war effort. Characterized by the same scientific precision of form as his other work, these designs were well suited to the promotion of industrial efficiency. Both American and international design traditions continue to reflect his influence.

.

http://www.derbycityprints.com/doc-details-238-artist.htm

en.wikipedia.org/wiki/Jean_Carlu - 20k

www.art.com/gallery/id--a9899/jean-carlu-posters.htm - 54k