citational grafts: reshuffling structures of a message to change its meaning or the way it is read.
Derrida introduced the idea of "grammatology" as a mode of communication. "Grammatology includes these ideas:
bahavior of words can change meaning.
a Phonic alphabet is an empty outer representation. It is a shell of the content.
"There is no innocent speech"
Derrida's work challenged the "grand narrative" of graphic design and typography.
Cranbrook explored "grammatology" and poststructualism. In a normative design, the viewer would see the image and then read the text. In a deconstructive design, the viewer would see the text and then read the image.
Ed Fella was a designer who worked with traditional media instead of computers. His style was very systematized and inspired "Grunge" typography and design.
David Carson refused to accept the impact of post structuralism. His designs bordered illegibility and chaos.
The postmodern style is known for irony, juxtaposition of styles, fragmentation, unpredictability, "perpetual presents" in series, no stable or permanent reality, knowledge for the sake of function, not for the sake of knowledge itself, parody, and surfaces without underlying meaning.
Monday, April 27, 2009
Monday, April 20, 2009
postmodern design
Postmodernism rejected concepts of the Grand Narrative, the Enlightenment, and Modernism. The Grand Narrative was the history of white male success. A famous quote describes it as "storytelling in the interest of the powerful". Modernism encompassed individual perception, subjectivity, knowledge for the value of knowing, and art for art's sake. The Enlightenment extolled the progress of science, logic, rational objectivity, and reason. The Enlightenment also claimed that science is the basis for any and all socially useful forms of knowledge and that language is transparent.
postmodern design involved a lot of reusing of older design (appropriation). Postmodernism proclaims the end of originality because everything has been done. There is a blending of all styles from all time periods. The past was considered invented and not only used for nostalgia.
Consumers of this period outgrew the use of message in graphic design and design of the post modern period started to use humor and self-consciousness.
structuralism was the idea that there are structural rules and relationships making words into a language. structuralism claims that structure is an essential part of all forms of communication.
Post structuralism strives to challenge the hierarchy of Structuralism, especially the binary opposites that characterize both Structuralism and Western metaphysics such as the metaphysic pairs of mind/body, presence/absence, etc.
Deconstruction is a part of post structuralism. It criticized Saussure's structural linguistics, questions motives, and looks for impurities in a critical process.
Traits of Modernist design are form, purpose, design, hierarchy, art objective, happening, presence, catering, genre, and root.
Anti-form, play, chance, anarchy, process, absence, dispersal, text, and surface are all elements of postmodern design
Swiss postmodern designers initiated the "New Wave" typographic style in the 70s. Some of the important Swiss designers of this time who utilized the "New Wave" were Wolfgang Wiengart, Rosmarie Tissi, Willi Zunz, and Steff Geissbuhler.
The "New Wave" style is characterized by wide letter spacing, bold stair stepped rules, rule lines punctuating space, diagonal type, mixing typefaces and weight in different parts of the same words, and reversal of type from a series of bars.
Wolfgang Weingart designed intuitively and did not trust forms born purely out of order. He was also one of the first people to use a MAC computer for his experimental designs and he possessed broad technical knowledge. He was skilled in creating rich visual effects.
Neither Paula Scher and Charles Anderson considered the artistic producer an original genius.
Paula Scher coined the term appropriation or "to quote" to describe copying instead of merely plagiarism. The implication was that originality has come to an end and art can only be repeated.
postmodern design involved a lot of reusing of older design (appropriation). Postmodernism proclaims the end of originality because everything has been done. There is a blending of all styles from all time periods. The past was considered invented and not only used for nostalgia.
Consumers of this period outgrew the use of message in graphic design and design of the post modern period started to use humor and self-consciousness.
structuralism was the idea that there are structural rules and relationships making words into a language. structuralism claims that structure is an essential part of all forms of communication.
Post structuralism strives to challenge the hierarchy of Structuralism, especially the binary opposites that characterize both Structuralism and Western metaphysics such as the metaphysic pairs of mind/body, presence/absence, etc.
Deconstruction is a part of post structuralism. It criticized Saussure's structural linguistics, questions motives, and looks for impurities in a critical process.
Traits of Modernist design are form, purpose, design, hierarchy, art objective, happening, presence, catering, genre, and root.
Anti-form, play, chance, anarchy, process, absence, dispersal, text, and surface are all elements of postmodern design
Swiss postmodern designers initiated the "New Wave" typographic style in the 70s. Some of the important Swiss designers of this time who utilized the "New Wave" were Wolfgang Wiengart, Rosmarie Tissi, Willi Zunz, and Steff Geissbuhler.
The "New Wave" style is characterized by wide letter spacing, bold stair stepped rules, rule lines punctuating space, diagonal type, mixing typefaces and weight in different parts of the same words, and reversal of type from a series of bars.
Wolfgang Weingart designed intuitively and did not trust forms born purely out of order. He was also one of the first people to use a MAC computer for his experimental designs and he possessed broad technical knowledge. He was skilled in creating rich visual effects.
Neither Paula Scher and Charles Anderson considered the artistic producer an original genius.
Paula Scher coined the term appropriation or "to quote" to describe copying instead of merely plagiarism. The implication was that originality has come to an end and art can only be repeated.
Bibliography for Discourse 2 - "The New Typography" By Jan Tschichold
Eckstein, Helene, Color in the 21st Century. New York: Watson-Guptill Publications, 1991. Print.
Rosen, Ben. Treasury of Alphabets and Lettering. New York, London: W.W. Norton & Company, Inc., 1992. Print.
Stiebner, Erhardt, and Dieter Urban. Initials and Decorative Alphabets. New York: F Bruckmann KG, 1983. Print.
Tschichild, Jan. The New Typography. Berlin: Publisher for the Educational Alliance of German Printers
Rosen, Ben. Treasury of Alphabets and Lettering. New York, London: W.W. Norton & Company, Inc., 1992. Print.
Stiebner, Erhardt, and Dieter Urban. Initials and Decorative Alphabets. New York: F Bruckmann KG, 1983. Print.
Tschichild, Jan. The New Typography. Berlin: Publisher for the Educational Alliance of German Printers
Sunday, April 19, 2009
Images for Discourse 2 - "The New Typography" by Jan Tschichold
(Helene)
This page demonstrates how color can be used to show the importance of different information. The red color helps distinguish the descriptive title from the rest of the page. The yellow color of the chapter titles makes them clearer and easier to quickly recognize as a chapter title.
(Rosen)
This is an example of an old typography layout. A preconceived form takes precedent over text. There is also ornamentation, very prominent margins, and a very old font is used.
(Stiebner and Urban )
This is an example of a decorative arty font from the early 20th century. It's the kind of font Jan Tschichold described in his writing as even worse for general use than fonts used in Old Typography.
Discourse 2 – on "The New Typography" by Jan Tschichold
Information from the section: “The Essence of New Typography is Clarity”
* Old typography was designed for beauty more than clarity
* It was designed differently because people of that time had different needs
* They had time to read slower, so they didn’t need to be as concerned with clarity for the sake of speedy easy communication like we do in the modern world
* In old typography, arranging all the text on a central axis had a higher priority than the arrangement of individual units
* Form of type sizes was more important than expressing logical order that is important to modern typography.
* To New Typography, it is wrong to arrange text for a preconceived idea or form, like, for example, axial arrangement of a text as if there was a focal point in the center of a line. Also, New Typography is against the preconceived ideas of pseudo constructivists.
* The objective of New Typography is to develop visible form out of the functions of the text.
* In both nature and technology, form grows out of function (purpose), materials used (organic or technical).
* Text usually reads top left to bottom right, but it can be arranged other ways.
* Willi Baumeister’s invitation card is an example of an exception to conventional text arrangement.
* Generally, it’s better not to set a following body of text higher than the preceding body of text. This will ensure the text has a logical sequence and order.
* Asymmetry can be created through unusual text placement (make sure it still reads in a logical order, though).
* Asymmetry creates a different rhythm than symmetrical typography.
* Asymmetry can be more logical depending on how it’s arranged.
* It can also be a lot more optically effective than symmetrical arrangement.
* It can create movement, but it must not create chaos and unrest
* It provides a much broader range of possible variation in New Typography
* Asymmetry expresses diversity of modern life
* New typography encouraged standardization in units but allows much more flexibility in design than old typography.
* Old typography allowed all possible construction elements but only recognized the central axis arrangement as the design of the overall form. Essentially, it is the opposite of New Typography in this way.
* Functional design requires abolition of “ornamentation” of old typography and reliance purely on design.
* Reliance on ornamentation shows fear of pure design and pure appearance and not design maturity.
* The thick/thin rule is an ornament and should be avoided
* The New Typography does emphasize contrasts and uses them to create a new unity.
* “abstract decorations” are ornaments in the same way old typography floral ornamentation was.
* New Typography has nothing to do with pictorial typesetting and it should be avoided.
* New Typography uses different type-sizes, weights, placing in relation to space, color, etc, to create logical organization that leads the eye from one word or group of words to the next
* Bigger differences in typographic weight are better than smaller differences because it is more apparent.
* It’s better to limit the number of type sizes used. Usually it’s better not to use more than three to five.
* Headlines should be bigger than the remaining text
* All contrasts should be logical
* Form should correspond with meaning, not contradict it
* White space is very important to asymmetric design
* Strong contrast between white and black and the form of type or rules emphasizes the white areas and assists the total effect
* It is wrong to decide the shape or area of the white before the text is compressed into it. White space is not more important than the words of the text.
* New Typography usually has much smaller margins than Old Typography for effectiveness and clarity of the relationship between black and white.
* Small items of text usually have margins of 12 to 24 points minimum
* Posters usually have a minimum of 48 point margins
* Borders of solid red or black can be taken almost right up to the edge of the text.
* Blocks can bleed off the page if the trim is accurate
* New Typography uses color functionally
* Old typography used color decoratively
* Physiological effects of colors can be used to increase or decrease importance and the attention drawn to text or other visual objects
* White appears like reflecting light and shines
* Red comes forward and seems closest out of any color
* Black is densest and seems farthest away
* Yellow is close to red
* Blue is close to black
* Literary definitions of color are not used (e.g.: red = love)
Section: “Type”
* Sanserif (grotesques) or block letters (skeleton letters) are the only ones suitable to New Typography
* Sanserifs aren’t perfected as all-purpose fonts. They still have too much of a humanistic style
* Jobbing sanserifs like ones from baur & co, in Stuttgart are the most suitable because they have a quiet line and functionalism
* Second best is venus and its copies
* 3rd place is malerischen block letters
* out of the roman types, bold romans like aldine and bold Egyptians are best for types used for emphasis
* old decorative fonts can occasionally find use in some cases (such as parody), but should not be used where they aren’t comfortable. They have to be excluded as a basic typeface for contemporary work
* the author claims roman type is the international typeface of the future
* artistic typefaces are even worse than old typefaces.
* Their individual nature makes them unsuitable for designing print in the modern spirit of today.
* Classic typefaces like walbaum, didot, and odoni can’t be primary all purpose types today because they have romantic association that would divert the reader’s attention to emotional and intellectual spheres that belong to a past we have no connection to
* Currently, the best types to use are sanserifs, but if a roman type has to be used, the best pre-war designed typefaces are ones like Sorbonne and nordische antiqua.
* They are good because they are legible, free from idiosyncrasies, and technically useful.
Section: “Expressiveness of type”
* Gothic type (textura) and sanserif do not express “spiritual content”
* Many people mistakenly believe gothic type is a good way to express peace, solemnity, and religion
* Many also think that italic expresses cheerfulness and joy.
* In reality, in the time period when gothic types were used, only one or two typefaces were used and they were used for everything in general, both religious and profane, both joyous and morose, not the things people associate them with.
* Gothic types express gothic, not religion.
* Rococo expresses the Rococo, not joy.
* Sanserif does not express lack of feeling, just the 20th century
* Good typefaces are never designed to express emotions. They only differ in different times because of changing conceptions of what is a good typeface
* Our age requires clarity and truth, so we must use types that reject the superfluous.
Section: “Orthography as at present or all in lower case?”
* Roman type and sanserifs in use today include different faces that were combined from two alphabets in the 15th century.
* The alphabet of capital letters (called majuscules) was created by old Romans as a form and was shaped by chisels.
* The lower case alphabet (called miniscules) comes from the time of emperor Charlemagne around 800 A.D. They were written with a pen and had ascenders and descenders
* In the Renaissance period, the lowercase and capitcal alphabets were combined to create the “Antiqua” (AKA roman) alphabet.
* The German language uses capitals much more often than most other languages, which makes type settings look less visually appealing when set in German.
* There have been efforts to abolish capital letters for nouns to make German writing conform with international style.
* In the Baroque period, nouns had to be signaled with capitals, but this practice isn’t useful anymore.
* Rules about the use of capitals increase difficulty of learning and teaching in school.
* 100 years ago, Jakob Grimm advocated following the example of Old and Middle High German literature where capitals were only used for proper names and the beginning of sentences. German scholars have followed his example.
* Some people in France have started using capitals and lowercase independently for text and headings instead of mixing them together.
* Instead of accepting either of these solutions, The New Typography would rather discontinue the use of capitals in favor of lowercase because it’s easier to read and recognize each character.
* A one-type system would greatly benefit efficiency and economy of almost everything and give an aesthetically, scientifically, and systematically better lettering system.
* It would also be beneficial to eliminate unnecessary letters like z, q, and c and have signs specifically for sch, ch, and dg.
* Old typography was designed for beauty more than clarity
* It was designed differently because people of that time had different needs
* They had time to read slower, so they didn’t need to be as concerned with clarity for the sake of speedy easy communication like we do in the modern world
* In old typography, arranging all the text on a central axis had a higher priority than the arrangement of individual units
* Form of type sizes was more important than expressing logical order that is important to modern typography.
* To New Typography, it is wrong to arrange text for a preconceived idea or form, like, for example, axial arrangement of a text as if there was a focal point in the center of a line. Also, New Typography is against the preconceived ideas of pseudo constructivists.
* The objective of New Typography is to develop visible form out of the functions of the text.
* In both nature and technology, form grows out of function (purpose), materials used (organic or technical).
* Text usually reads top left to bottom right, but it can be arranged other ways.
* Willi Baumeister’s invitation card is an example of an exception to conventional text arrangement.
* Generally, it’s better not to set a following body of text higher than the preceding body of text. This will ensure the text has a logical sequence and order.
* Asymmetry can be created through unusual text placement (make sure it still reads in a logical order, though).
* Asymmetry creates a different rhythm than symmetrical typography.
* Asymmetry can be more logical depending on how it’s arranged.
* It can also be a lot more optically effective than symmetrical arrangement.
* It can create movement, but it must not create chaos and unrest
* It provides a much broader range of possible variation in New Typography
* Asymmetry expresses diversity of modern life
* New typography encouraged standardization in units but allows much more flexibility in design than old typography.
* Old typography allowed all possible construction elements but only recognized the central axis arrangement as the design of the overall form. Essentially, it is the opposite of New Typography in this way.
* Functional design requires abolition of “ornamentation” of old typography and reliance purely on design.
* Reliance on ornamentation shows fear of pure design and pure appearance and not design maturity.
* The thick/thin rule is an ornament and should be avoided
* The New Typography does emphasize contrasts and uses them to create a new unity.
* “abstract decorations” are ornaments in the same way old typography floral ornamentation was.
* New Typography has nothing to do with pictorial typesetting and it should be avoided.
* New Typography uses different type-sizes, weights, placing in relation to space, color, etc, to create logical organization that leads the eye from one word or group of words to the next
* Bigger differences in typographic weight are better than smaller differences because it is more apparent.
* It’s better to limit the number of type sizes used. Usually it’s better not to use more than three to five.
* Headlines should be bigger than the remaining text
* All contrasts should be logical
* Form should correspond with meaning, not contradict it
* White space is very important to asymmetric design
* Strong contrast between white and black and the form of type or rules emphasizes the white areas and assists the total effect
* It is wrong to decide the shape or area of the white before the text is compressed into it. White space is not more important than the words of the text.
* New Typography usually has much smaller margins than Old Typography for effectiveness and clarity of the relationship between black and white.
* Small items of text usually have margins of 12 to 24 points minimum
* Posters usually have a minimum of 48 point margins
* Borders of solid red or black can be taken almost right up to the edge of the text.
* Blocks can bleed off the page if the trim is accurate
* New Typography uses color functionally
* Old typography used color decoratively
* Physiological effects of colors can be used to increase or decrease importance and the attention drawn to text or other visual objects
* White appears like reflecting light and shines
* Red comes forward and seems closest out of any color
* Black is densest and seems farthest away
* Yellow is close to red
* Blue is close to black
* Literary definitions of color are not used (e.g.: red = love)
Section: “Type”
* Sanserif (grotesques) or block letters (skeleton letters) are the only ones suitable to New Typography
* Sanserifs aren’t perfected as all-purpose fonts. They still have too much of a humanistic style
* Jobbing sanserifs like ones from baur & co, in Stuttgart are the most suitable because they have a quiet line and functionalism
* Second best is venus and its copies
* 3rd place is malerischen block letters
* out of the roman types, bold romans like aldine and bold Egyptians are best for types used for emphasis
* old decorative fonts can occasionally find use in some cases (such as parody), but should not be used where they aren’t comfortable. They have to be excluded as a basic typeface for contemporary work
* the author claims roman type is the international typeface of the future
* artistic typefaces are even worse than old typefaces.
* Their individual nature makes them unsuitable for designing print in the modern spirit of today.
* Classic typefaces like walbaum, didot, and odoni can’t be primary all purpose types today because they have romantic association that would divert the reader’s attention to emotional and intellectual spheres that belong to a past we have no connection to
* Currently, the best types to use are sanserifs, but if a roman type has to be used, the best pre-war designed typefaces are ones like Sorbonne and nordische antiqua.
* They are good because they are legible, free from idiosyncrasies, and technically useful.
Section: “Expressiveness of type”
* Gothic type (textura) and sanserif do not express “spiritual content”
* Many people mistakenly believe gothic type is a good way to express peace, solemnity, and religion
* Many also think that italic expresses cheerfulness and joy.
* In reality, in the time period when gothic types were used, only one or two typefaces were used and they were used for everything in general, both religious and profane, both joyous and morose, not the things people associate them with.
* Gothic types express gothic, not religion.
* Rococo expresses the Rococo, not joy.
* Sanserif does not express lack of feeling, just the 20th century
* Good typefaces are never designed to express emotions. They only differ in different times because of changing conceptions of what is a good typeface
* Our age requires clarity and truth, so we must use types that reject the superfluous.
Section: “Orthography as at present or all in lower case?”
* Roman type and sanserifs in use today include different faces that were combined from two alphabets in the 15th century.
* The alphabet of capital letters (called majuscules) was created by old Romans as a form and was shaped by chisels.
* The lower case alphabet (called miniscules) comes from the time of emperor Charlemagne around 800 A.D. They were written with a pen and had ascenders and descenders
* In the Renaissance period, the lowercase and capitcal alphabets were combined to create the “Antiqua” (AKA roman) alphabet.
* The German language uses capitals much more often than most other languages, which makes type settings look less visually appealing when set in German.
* There have been efforts to abolish capital letters for nouns to make German writing conform with international style.
* In the Baroque period, nouns had to be signaled with capitals, but this practice isn’t useful anymore.
* Rules about the use of capitals increase difficulty of learning and teaching in school.
* 100 years ago, Jakob Grimm advocated following the example of Old and Middle High German literature where capitals were only used for proper names and the beginning of sentences. German scholars have followed his example.
* Some people in France have started using capitals and lowercase independently for text and headings instead of mixing them together.
* Instead of accepting either of these solutions, The New Typography would rather discontinue the use of capitals in favor of lowercase because it’s easier to read and recognize each character.
* A one-type system would greatly benefit efficiency and economy of almost everything and give an aesthetically, scientifically, and systematically better lettering system.
* It would also be beneficial to eliminate unnecessary letters like z, q, and c and have signs specifically for sch, ch, and dg.
Monday, April 13, 2009
Graphic Design of the 1950s and 60s
Graphic design in the 1950s and 60s involved a lot of revolutionary developments in design in the process of redefining post war corporate identity and magazine layouts. Design was starting to be considered essential to business and graphics design was recognized as a profession. Colleges started teaching design in formal education.
Paul Rand was known for wit, inventive forms, and the use of symbols in communication (eg: graphic of the images of an eye, a bee, and M) The use of symbols in this way was new, innovative, and witty.
Bradbury Thompson utilized a vast well of experience, knowledge, and skill in typography and type setting to come up with new design possibilities never seen before. He is known for using type for innovative ideas such as creating a face out of letting (I mean in a much more complex way than a smiley face like this :), though.)
The Vignelli Associates created the unigrad system in 1977 used for the National subway system for Park Service. This was a new approach to maps that could be easily navigated even by people that weren't very familiar with the English language.
George Lois was one of the most influential designers of this time period. He used emptiness to emphasize nothing but pure typography to convey a message. It's radically different from Swiss design, which focused so much on the design that Lois removes in an extreme use of reduction to focus entirely on type and message without distraction. Lois is known for his work created in Esquire Magazine. He talked intelligently to the audience, used white space, focused on the product, and used simple imagery. This was very effective in his intended purpose of communicating the message without any distraction.
Herbert Lubalin was a typographic genius who focused on space and surface. He loved the "new flexibility" of Photo typography he could use to communicate a message.
Photo-Typography was invented in the 60s. It allowed people to photograph types and then use them. This resulted in the rebirth of many old outdated fonts that could be photographed and then used as a type. This invention also radically reduced the cost of creating new typefaces. The use of the outmodel was made possible by photo typography and resulted in changing views on type. Letterforms and objects became more interchangeable. Letterforms could be images. More variation and possibilities arose in the distortion of type.
The New Wave - Young swiss designers rejected the international style and created new styles of design with newer uses of typography. Wolfgang Weingart inspired the movement in Basal by quiestioning typographic arrangements and purpose.
Leo Burnett created myth and stereotypes in his designs to convey a certain attitude about a product. He is known for creating the iconography of the marlboro lone cowboy.
Paul Rand was known for wit, inventive forms, and the use of symbols in communication (eg: graphic of the images of an eye, a bee, and M) The use of symbols in this way was new, innovative, and witty.
Bradbury Thompson utilized a vast well of experience, knowledge, and skill in typography and type setting to come up with new design possibilities never seen before. He is known for using type for innovative ideas such as creating a face out of letting (I mean in a much more complex way than a smiley face like this :), though.)
The Vignelli Associates created the unigrad system in 1977 used for the National subway system for Park Service. This was a new approach to maps that could be easily navigated even by people that weren't very familiar with the English language.
George Lois was one of the most influential designers of this time period. He used emptiness to emphasize nothing but pure typography to convey a message. It's radically different from Swiss design, which focused so much on the design that Lois removes in an extreme use of reduction to focus entirely on type and message without distraction. Lois is known for his work created in Esquire Magazine. He talked intelligently to the audience, used white space, focused on the product, and used simple imagery. This was very effective in his intended purpose of communicating the message without any distraction.
Herbert Lubalin was a typographic genius who focused on space and surface. He loved the "new flexibility" of Photo typography he could use to communicate a message.
Photo-Typography was invented in the 60s. It allowed people to photograph types and then use them. This resulted in the rebirth of many old outdated fonts that could be photographed and then used as a type. This invention also radically reduced the cost of creating new typefaces. The use of the outmodel was made possible by photo typography and resulted in changing views on type. Letterforms and objects became more interchangeable. Letterforms could be images. More variation and possibilities arose in the distortion of type.
The New Wave - Young swiss designers rejected the international style and created new styles of design with newer uses of typography. Wolfgang Weingart inspired the movement in Basal by quiestioning typographic arrangements and purpose.
Leo Burnett created myth and stereotypes in his designs to convey a certain attitude about a product. He is known for creating the iconography of the marlboro lone cowboy.
Monday, April 6, 2009
Fusion of Swiss and American Design
Modern Graphics Design is based on the combination of American and Swiss graphic design. Originally, American and Swiss design were distinctly different styles. Over time, ideas and styles mixed and became indistinguishable, creating modern design commonly used in the corporate world today.
Design Innovations and Desiners from Switzerland:
Isotype emerged in Switzerland and Germany in the 1960s. It was designed to be an International Style of Typography. The purpose was to express information with graphic images instead of text. In this way, it could be read by anyone, even someone illiterate or unfamiliar with a language it would have been written in if it were written with letters. Otto Neurath was the founder of Isotype and the Isotype Institute.
The International style of typography rejects personal expression and embraces universal form.
Proportional grids were introduced by Max Bill and Theo Balmer. Grids could be used to structure designs. Swiss Design is well known for the use of modular grids.
Anton Stankowski contributed to design with the development of abstract "tectonics" used to convey kinetic motion and invisible processes.
The School at ULM utilized a comprehension of signs and symbols in multilingual formats.
The Basal School of Design was considered the "laboratory" of the international style. Design ideas and philosophy of the Basal School of Design spread through students and the publication of books on design methodology from the Basal School of Design.
Armen Hoffman used point, line, and plane to develop his philosophy on graphic design.
Muller Brockman created harmony by using mathematical spacial division and treated image as objective symbol.
American Design Innovations and Designers:
In the 940s, Modernists fled from Hitler and Fascists to other countries. This lead to the development of an American approach to modernist design with New York as a cultural center. European and American attitudes mixed and created new styles of modernism.
Some very influential individuals were Lester Beal and Alexy Brodovitch.
Lester Beal combined Reductionist and Dada methods of type with American and European design tendencies.
Alexy Brodovitch introduced the use of photography to American magazines and editorial layouts. As the art director for Harper's Bazaar, he introduced an international style of design with emphasis on photography. This has changed the course of magazine design in America.
Vignelli Associates created graphic maps of the New York Subway System. Swiss influence can be seen in the design of the New York Subway system map because of the use of isotype symbols.
Branding and Corporate Design was used and developed a lot in America. Some influential designers of this time period were Saul Brass, Bradbury Thompson, Paul Rand, and the Chermayoff and Geison Associates.
Design Innovations and Desiners from Switzerland:
Isotype emerged in Switzerland and Germany in the 1960s. It was designed to be an International Style of Typography. The purpose was to express information with graphic images instead of text. In this way, it could be read by anyone, even someone illiterate or unfamiliar with a language it would have been written in if it were written with letters. Otto Neurath was the founder of Isotype and the Isotype Institute.
The International style of typography rejects personal expression and embraces universal form.
Proportional grids were introduced by Max Bill and Theo Balmer. Grids could be used to structure designs. Swiss Design is well known for the use of modular grids.
Anton Stankowski contributed to design with the development of abstract "tectonics" used to convey kinetic motion and invisible processes.
The School at ULM utilized a comprehension of signs and symbols in multilingual formats.
The Basal School of Design was considered the "laboratory" of the international style. Design ideas and philosophy of the Basal School of Design spread through students and the publication of books on design methodology from the Basal School of Design.
Armen Hoffman used point, line, and plane to develop his philosophy on graphic design.
Muller Brockman created harmony by using mathematical spacial division and treated image as objective symbol.
American Design Innovations and Designers:
In the 940s, Modernists fled from Hitler and Fascists to other countries. This lead to the development of an American approach to modernist design with New York as a cultural center. European and American attitudes mixed and created new styles of modernism.
Some very influential individuals were Lester Beal and Alexy Brodovitch.
Lester Beal combined Reductionist and Dada methods of type with American and European design tendencies.
Alexy Brodovitch introduced the use of photography to American magazines and editorial layouts. As the art director for Harper's Bazaar, he introduced an international style of design with emphasis on photography. This has changed the course of magazine design in America.
Vignelli Associates created graphic maps of the New York Subway System. Swiss influence can be seen in the design of the New York Subway system map because of the use of isotype symbols.
Branding and Corporate Design was used and developed a lot in America. Some influential designers of this time period were Saul Brass, Bradbury Thompson, Paul Rand, and the Chermayoff and Geison Associates.
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