GRAPHIC DESIGN
Artists in America caught up to the improvements in typeface and book
1920s CE
design, like Frederick Goudy (designer of the renowned Goudy Old Style typeface). Bookmaking in private presses (which used handmade paper, quality inks, and its own typefaces) advanced with William Addison Dwiggins, who actually coined the industry name of Graphic Design for the first time and created the widely used typeface “Caledonia.” Book layouts were based upon the idea of orderliness or cleanliness, then structure of type and text. Designs were reminiscent of medieval patterns and illuminations, but on a scaled down level. By this time, the Arts and Crafts Movement had faded from people’s interest. It moved them away from cheap mass production to quality craftmanship, and brought impact on typograpghy and bookmaking. Eventually, people wanted something new and more modern. It even spawned the first high-quality magazine for the visual arts -- the Hobby Horse, designed by artists of Century Guild in London.
ARTS & CRAFTS MOVEMENT
In reaction to the high demand and cheaply manufactured goods, a new movement swept the country
1880s CE
of England -- the Arts and Crafts Movement. This era was primarily launched by William Morris (a designer that abhorred the cheap products of the time) and John Ruskin. From buildings to bedding to seamless wallpapers, the style of this time were ornate, intricate patterns of plant forms and flowers. The beauty of this style spread to the art of bookmaking in private presses, covering the pages in complex yet captivating patterns.
This time was also a renaissance in type typeface design; Morris created his own fonts, such as “Gold-
en” and “Troy.” Both Germany, the Netherlands, and America experienced innovations with typeface design. A simplified, utilitarian belief in type was established where pictures should not interfere with typefaces or reading text. Rather, according to designers S.H. de Roos and Jan Van Krimpen, type should be practical, beautiful, and easily readable for book design.
PICTORIAL MODERNISM
New design styles were in the works as the Beggarstaffs advertising studio opened; design
1900s -1930s CE
became simplified to space, text, and form. The Beggarstaffs would influence poster design by cutting and pasting paper into a collage, with flat colors and an incomplete-looking, final image. The intent was that the audience’s imaginations would decipher the complete image. (1898) Lucian Bernhard would introduce plakatstil poster style, which simplified design to signage and shapes to create a basic form. (1914-1918) As the U.S. and Europe were sucked into war, poster design became directed at advertising for the war efforts. Visual and pictorial advertisement were the main way of communicating to the public to boost morale, support, and fundraising for both the Allies and Central Powers. Lugwig Huhlwein was a prolific designer for the Central Powers, who employed symbolic imagery, textures, and decorative patterns. The Allies poster propaganda was more illustrative and used literal imagery rather than text to influence its audience emotionally. James Montgomery Flagg and Joseph Leyendecker were hallmark war-poster designers, the latter using popular American motifs and symbols to promote patriotism among United States citizens.
Two examples of pictorial modernism: “Two Girls Holding Hands” (pictured left) and “Priester” matches (pictured right). Both are simple, collage-based images produced in the early 1900s.