Mario Telles History Journal

Telles

Design

History Journal

by Mario

Vict

orian

Louis Prang Krebs Lithographing Co. Joseph Morse

Chromolithography Naturalistic renderings Decorative type Lots of ornament Ephemera

Stylized natural forms leaves, flowers Horror vacui crowding of design

Crafts

elements in the field Historicism use of past styles, especially medieval figures Private press movement books

Arthur H. Mackmurdo William Morris Bruce Rogers

Arts

Ukiy

oE

Wood cuts Floating objects in a floating world Sense that we are frozen in time Japanese themes such as geisha girls/kabuki theatre/nature: result of isolationism

Katsushika Hoku- sai Ando Hiroshige Hokusai Gashiki

uveau

Eugène Grasset Aubrey Beardsley Jan Toorop

Stylized natural forms flowers, birds Whiplash curve bimorphic lines, curvilinear Exotic females removed from contemporary time and place

Vienna

Secession

Elongated figures and typography Tall, thin compositions Hand-drawn, stylized type

Robert Thorne Robert Besley Vincent Figgens

Monochromatic palette analytical cubism Faceting of surfaces Geometric shapes Simultaneity the subject is viewed from several angles at once, the subject remains stationary and the viewer moves

ism

Pablo Picasso Georges Braque Jean Metzinger

Poetry

Futurism Filippo Marinetti Ardengo Soffici Lewis Carroll Free typography Onomatopoeia use of words whose sounds suggests a sense/emotion Simultaneity In graphic works, letters suggest sounds from different sources heard at once In figurative works, the viewer remains stationary and the subject moves, the subject is represented in multiple positions at once

Geometric patterns Onomatopoeia use of words whose sounds suggests a sense/emotion

Hugo Ball Marcel Duchamp lfred Stieglitz

Works

Machine aesthetic , automatons, or elements suggesting industry

Graphic

Da

da

Hannah Hoch Kurt Schwitters John Heart Field

Ready made materials Photomontage Absurdity, humor & social criticism

ssionism

Bold contour drawing Woodcuts Deep sense of social crisis Empathy for the poor Thick paint Exaggerated distorted color, drawing and proportions

Franz Kafka’s Wassily Kandinsky Henri Matisse

Surre

alism

Dream imagery Personal symbolism Illogical juxtapositions of elements

George Grosz Giorgio de Chirico Max Ernst

Francis Bruguière Alvin Langdon Coburn Man Ray

graphy

Concern for point, line, plane, shape and texture Multiple exposures, pure form and distortion Solarization and experimental techniques Plakatstil also known as Pictorial Modernism Dominant stylized image Flat background color Name of product

Photo

Plak

astil

Flat background color Dominant stylized image Name of product

James Pryde William Nicholson Dudley Hardy

A. M. Cassandre Jean Carlu Paul Colin

eco

Zig-zag line Geometric shapes Machine aesthetic streamline, converging lines Eclecticism, international motifs Assyrian, American Indian, Greek

uprematis

Constructivism

SUPREMATISM Non-representational Pure colors Basic geometric shapes Lettering looks Soviet influenced Often uses red and black on beige colored background

CONSTRUCTIVISM Geometric shapes Asymmetry Diagonal lines Lettering looks Soviet influenced Often uses red and black on a beige colored background

Vladimir Burliuk lja Zdanevich Kasimir Malevich

Piet Mondrian ThĂŠo van Doesburg Lasz- lo Moholy-Nagy

tijl

Asymmetry Primary colors with neutrals black, white and gray Perpendicular lines

he Bau

haus Oscar Schlemmer Joost Schmidt Herbert Bayer

Sans serif asymmetrical type-New Typography Deliver message and communicate Function not decoration Purity, clarity, simplicity New approaches to photography Extreme scale contrasts/bird’s eye/worm’s eye Montage

Jan Tschichold Eric Gill Paul Renner

Typography

Asymmetrical, flush left ragged right Priority assigned to text based on weight and size Purpose of communication is to function not decorate Type used in simple form without embellishment Rules should be used for emphasis

Moder

Movent in America

George Salter Lester Beall Romain de Tirtoff

Bauhaus influence American content WPA typography for social programs

Jacqueline S. Casey Arnold Saks Dietmar Winkler

Typographic Style

Asymmetry Flush left/ragged right layouts Sans serif letters with bold words for emphasis Reductive, objectivity, no superfluous decoration Grid systems

The Int’l.

New Y

ork

School

Paul Rand Alvin Lustig Bradbury Thompson

Uniquely American approach with origins in European modernism Playful, visually dynamic and unexpected Analyze communications content-reduce to symbolic essence Use of shape

Visual Symbols

William Golden Georg Olden Lou Dorfsman

Corp. ID & Logotypes and identities Pictograph signage for Olympics and transportation

oncep

etual Narrative information communicated with ideas and concepts Familiar in an unfamiliar setting Scale changes, substitution, visual puns and play

Image Lou Danziger Herbert Leupin Names of artists

Computer generated imagery Internet, interactive design and the worldwide web

Erik Adigard John Maeda Aaron Koblin

Dig

Postmo

dern

Design

DECONSTRUCTION Broke with international typographic style communications Intuitive Communicated emotional qualities with expressive typography Layering/overlapping Uses computers to generate layouts and typography

Michael Vanderbyl Michael Cronin hannon Terry

NEW WAVE Stair stepped rules Some evidence of grid underlying organization Layering, overlapping simultaneity Retro/Vernacular Eclectic modernist European design of first half of century Disrespect for proper rules of typography placed in new ways Kinky mannered type of 20s/30s

dernDesig

Paula Scher Louise Fili Carin Goldberg

Biblio

graphy

All content was resourced from: Meggs, Philip B. Meggs’ history of graphic design / Philip B. Meggs, Alston W. Purvis. -- 5th ed.

All images were imported into Photoshop through a PDF version of the book.

1. Victorian & Arts and Crafts : page’s,165, 167, 169, 178, 194, 182 2. Ukiyo E & Art Nouveau : page’s, 197, 198, 199, 203, 212 3. Vienna Secession & Cubism : page’s, 238, 239, 241, 257, 258 4. Futurism Poetry & Futurism Graphic Works : page’s, 262, 264 5. Dada & Expressionism : page’s, 265, 272, 273 6. Surrealism & Photography and the Modern Movement : page’s, 270, 271, 274 7. Plakatstil & Art Deco : page’s, 291, 292, 277 8. Suprematism/Constructivism & De Stijl : page’s, 302, 320, 321, 289, 315, 316, 314 9. Bauhaus & the New Typography : page’s, 334, 328, 329, 356 10. Modern Movement in America & International Typographic Style : page’s, 388, 389 11. New York School & Corporate ID & Visual symbols : page’s, 391, 394, 416, 418, 422 12. Conceptual Image & Digital Revolution : page’s, 554, 441, 443, 442 13. Postmodern Design : page’s, 560, 562, 565, 568, 569

raphy

Biblio

Design

Design

History Journal

History Journal