Graphic Design History

1. Modern
Graphic
Design
Kimberly
Espinoza
Yekaterina
Lobuzova
Samantha
Gonzalez
San:ago
Cevallos

2. Modern
Period
• A
period
in
art
is
created
by
a
common
philosophy
or
goal,
followed
by
a
group
of
ar:st
during
that
:me
who
prac:ce
that
form
of
art
for
however
long
the
period
lasts.
A
period
in
art
can
last
for
months,
years,
or
decades.
• With
the
advances
of
technology
Modernism
began
to
break
through
at
the
end
of
the
19th
century
into
the
beginning
of
the
20th
century.
With
this
new
advanced
technology
it
provided
the
opportunity
for
mass
produc:on
and
the
machine
itself
became
a
theme
in
modernism.

3. Modernism
in
Graphic
Design
changed
the
thinking
process
for
communica:on
and
typography.
Before
Modernism,
graphic
design
and
typography
was
overly
decorated
and
elaborate,
every
possible
inch
of
poster
would
be
filled
with
imagery
and
type.
VS.

4. Designers
of
the
era
of
Modernism
abided
to
strict,
structured
grid
systems
with
emphasis
on
nega:ve
space,
just
as
important
was
the
use
of
clean
sans-­‐serif
type.
The
idea
was
to
create
strong
graphics
that
were
against
commercialism,
greed
and
cheapness.
Typical
typefaces
used
in
the
Modernism
era
included
Franklin
Gothic,
Monotype
Grotesque,
Futura,
and
Helve:ca
Neue.

5. Armin
Hofmann

6. • Armin
Hoffman
was
a
Swiss
Graphic
Designer.
• He
began
his
career
at
26
teaching
at
the
Basel
School
of
Arts
and
CraVs
then
to
become
the
head
of
the
Graphic
Design
department
at
the
Basel
school
of
Design
• Influen:al
in
the
development
of
the
Graphic
Design
style
known
as
Swiss
Style.
Background

7. Swiss
Style
Swiss
style
emphasizes
cleanliness,
readability
and
objec:vity.
Hallmarks
of
the
style
are
asymmetric
layouts,
use
of
a
grid,
sans-­‐serif
typefaces
and
flush-­‐leV
ragged
right
text.
Use
of
photography
in
place
of
illustra:ons
or
drawings.

8. • Hoffman
believed
that
one
of
the
most
efficient
forms
of
communica:on
was
through
a
poster.
• He
spent
much
of
this
career
designing
posters,
par:cularly
for
the
Basel
Stadt
Theater.
• Some
of
his
posters
captured
the
drama:c
experience
of
watching
and
listening
as
its
displayed
in
the
enlarged
grainy
photos
of
an
ear
and
eye.

9. AIGA
Medalist
• Armin
Hofmann
was
awarded
a
AIGA
Medal
in
2011
• AIGA
Medal
is
awarded
to
individuals
in
recogni:on
of
their
excep:onal
achievements
in
the
field
of
design
• He
was
recognized
for
his
immeasurable
influence
on
genera:on=ns
of
designers,
teaching
the
power
and
elegance
of
simplicity
and
clarity
through
a
:meless
aesthe:c
and
always
informed
by
context.
h]p://bcove.me/6t1juzte

10. Giovanni
Pintori

11. Background
§ Born
in
Italy
(1912-­‐1999)
§ Graphic
,
exhibi:on,
and
industrial
designer
and
painter
§ Studied
in
Is:tuto
Superiore
per
le
Industrie
Ar:sc:che
(near
Milan)
(1930-­‐1936)
§ Designer
of
31
years
for
Olived
Company:
agreed
by
cri:cs
to
be
the
leading
corpora:on
in
the
western
world
in
the
field
of
design.

12. Contribution
to
Olivetti
Company
§ Joined
company
in
1936
§ Master
of
visually
communica:ng
Olived’s
technologically
advanced
products.
§ Had
a
lot
of
technological
precision
and
modern
elegance
in
the
development
of
a
successful
corporate
iden:ty
for
the
company
§ ”A
Page
or
a
poster
must
be
rich
in
significance
and
that
its
meaning
must
derive
from
the
inherent
quali:es
of
the
object
or
of
the
func:on
to
be
publicized.”-­‐Pintori

13. Contribution
to
Olivetti
Company
§ Era
of
Corporate
Iden:ty:
compe::on
among
corpora:ons
was
becoming
keen
in
1950s
for
postwar
economic
boom.
§ Companies
looked
cri:cally
at
their
trademarks,
logotypes
and
brand
iden::es.
§
In
order
to
change
the
public’s
eye
for
a
company,
many
posters
had
to
be
done
to
show
what
the
company
was
all
about,
one
poster
was
not
enough.

14. His
Style
§ Master
of
Visual
Communica:on
and
adver:sing
campaigns
§ Abstract
pa]erns
to
represent
the
“feeling”
not
the
“features”
§ Signature:
Technology
enhancing
human
crea:vity
§
Repeated
visual
pa]erns
and
color
schemes

15. His
Style
Juxtaposi:on
of
photograph
and
Illustra:on

16. His
Style
Playful
and
poe:c
exploita:on
of
le]erforms.
Remind
viewers
there
was
a
more
fun,
human
side
to
poster
designs.

17. His
Style
Used
carefully
chosen
type
design
which
conveys
deep
emo:on,
difficult
concepts,
playfulness,
iden:ty,
order,
urgency
and
more.
§ Can
move
people
to
revolu:on,
to
consume,
to
mislead,
or
to
confuse.

18. Olivetti
Branding
Designs
§ Most
famous
work:
Olived
Typewriter
§ Pleasant
to
write
on
a
beau:ful
typewriter
§ Colorful
clusters
of
graceful
arcs
evoke
the
rapid
movements
of
deV
fingers
on
the
keys

19. Other
works
for
Olivetti
Three-­‐dimensional
displays
for
store
windows
and
industrial
shows

20. Other
works
for
Olivetti
Graphically
and
in
three-­‐dimensional
form,
telescopes
the
over-­‐all
idea
of
Olived
and
the
specific
idea
of
a
par:cular
product
into
one
image

21. Life
After
Olivetti
§ AVer
re:rement
from
Olived
established
a
studio
in
Milan
§ Awarded
Palme
d’Oro,
Milan
in
1950
§ Awarded
Grand
Prix
at
the
Triennale,
Milan
in
1957
§ Later
years
were
devoted
to
his
pain:ng
§ Posters
stored
in
a
permanent
collec:on
in
SF
MOMA

22. Jean
Carlu

23. Glycodont
• Won contest
• Only poster created with his right hand.
• Easy win- SMILE!

24. The
Kid
• Poster for Charlie Chaplin’s “The Kid”- His first full-length film.
• First Art Deco poster

25. Au
Bon
Marche’
(1928
Lithograph)
• Architecture background led to interest in cubism.
• Art Deco lithograph for the department store “Au Bon Marche’”
• Purism
1928 Lithograph

26. America’s
Answer!
Production
• World War Two
• Art Deco in the U.S.
• Federal Art Project
• Museum of Modern Art
1942 Poster -
Offset Lithograph

27. Adolphe
Jean-­‐Marie
Mouron
aka
AM
Cassandre

28. Background
§ Born
in
Ukraine
(1901-­‐1968)
§ Moved
from
Ukraine
to
Paris
as
a
young
man
due
to
hos:le
poli:cal
climate
in
Ukraine.
§ Painter,
Art
Deco
Graphic
Designer,
Commercial
Poster
Designer,
and
type
face
designer
§ Studied
in
Ecole
de
Beaux-­‐Arts
and
Academie
Julian
in
Paris.

29. The
beginning
of
his
career
• The
Popularity
of
posters
helped
him
get
a
job
in
a
printing
house
where
he
was
heavily
inNluenced
by
Cubism
and
Surealism.
His
main
tools
were
stencils
and
airbrush.
Earned
a
reputation
with
works
such
as
Bûcheron
(Woodcutter),
a
poster
created
for
a
cabinetmaker
that
won
Nirst
prize
at
the
1925
Exposition
Internationale
des
Arts
Décoratifs
et
Industriels
Modernes.
Right
after
wining
this
award
he
published
an
essay
in
the
Revue
de
l’Union
de
l’AfNiche
Française
in
which
he
wanted
to
invoke
the
medieval
tradition
of
communicating
meaning
through
images,
not
words

30. The
beginning
of
his
career
• Pi Volo aperitif poster was a big leap from the Boucheron.
• This poster, fused the glass, bird, and the dark forms with its ART DECO
lettering.
• Reminiscent of Ozenfants’s paintings

31. The
beginning
of
his
career
A little bit less than a year later came the immortal “L’lntransigeant” truck
poster.
The forceful head and radiating telephonic lines of its composition created an
indestructible image.
Was very bold in making the copy run off the page so it looks cropped.

32. Alliance
Graphique
and
his
inNluence
on
advertising
Had great success, opened up his own advertising agency, “Alliance
Graphique.”
The Dubo, Dubon, Dunonnet posters were the first posters designed to be
read, specifically by moving vehicles.
This is what created the idea of a serial poster, that conveyed a complete idea
with a group of posters.

33. Type
Face
Designs
Not only was Cassandre a great designer but also made some influential type faces like
the two above.
The way Cassandre links his typography with his images is one of the hallmarks of his
design. Type is not a separate element but is integrated with the image to create the
unified concept of the design.
Bifur (1929)
- Strokes from each letter are
omitted, linear shaded area
restores the basic silhouette
Acier Noir (1936)
- Each letter is half solid
and hald outline

34. Type
Face
Designs
In 1937 his most famous type face appeared and was a dedication to his good
friend Charles Peignot
Thick and thin sans serif replaces lowercase with small capitals having
ascenders and descenders.
After 1940’s Peignot died out until the 1970’s it had a revival thanks to the
Mary Tyler Moore Show and the second season of “That’s My Mama.”
Peignot (1937)

35. The
Normandie
Poster
(1935)
This was his most famous poster for a French transatlantic cruise.
Uses the enormous size with a dramatic angle to convey the message of the its size.
• Also uses
bold, graded cool colors, and crisp lines that were typical of the
modern movement

36. Late
career
One of his last works before he committed suicide in 1968.
In this logo he blends the letterforms with exceptional harmony, mixing sans
and serifs in a subtle way, while successfully mixing roman and italic forms at
the same time.
Here , he dared to break the unwritten rule of not mixing - in the same word -
two typeface features that are, in principle, incompatible.