Graphic

Design
Index
1
GRAPHIC 3 ...... Constructivism
Constructivism
Constructivism was the last and most influential modern art move-

DESIGN
ment to flourish in Russia in the 20th century. It borrowed ideas
from Cubism, Suprematism and Futurism, but at its heart was
an entirely new approach to making objects, one which sought
4 ...... Futurism to abolish the traditional artistic concern with composition, and
replace it with 'construction.' Constructivism called for a careful
technical analysis of modern materials, and it was hoped that this
5 ...... Dada investigation would eventually be put to use in mass production,
serving the ends of a modern, Communist society. Constructivists
proposed to replace art's traditional concern with composition
6 ...... De Stijl with a focus on construction. Objects were to be created not in

HISTORY
order to express beauty, or the artist's outlook, or to represent the
world, but to carry out a fundamental analysis of the materials
and forms of art, one which might lead to the design of functional
7 ...... Modernism objects. For many Constructivists, this entailed an ethic of "truth
to materials," the belief that materials should be employed only
in accordance with their capacities, and in such a way that demon-
8 ...... Swiss Design strated the uses to which they could be put.
Aleksander Rodchenko - Cover for Novyi Lef (1928)
El Lissitzky - Cover for Artists' Brigade (1931)

Gustav Klutsis - Workers Everyone must vote in the

Election of Soviets (1930)

9 ...... Post-modernism

Varvara Stepanova - Cover for Children and the Alexander Rodchenko - Books (The Advertisement
Cinema (1928) Poster for the Lengiz Publishing House) (1924)

2 Graphic Design History 3

http://www.theartstory.org/movement-constructivism.htm
Futurism
The most important Italian avant-garde art movement of the 20th
century, Futurism celebrated advanced technology and urban
modernity. Committed to the new, its members wished to destroy
older forms of culture and to demonstrate the beauty of modern
life - the beauty of the machine, speed, violence and change.
Although the movement did foster some architecture, most of its
adherents were artists who worked in traditional media such as
painting and sculpture, and in an eclectic range of styles inspired
by Post-Impressionism. Nevertheless, they were interested in
Natalia Goncharova - The Cyclist (1913) embracing popular media and new technologies to communicate
Giacomo Balla - Dynamism of a Dog on a Leash (1912) their ideas. By its end the group was largely spent as an important
avant-garde, though it continued through the 1920s, and, during
that time several of its members went on to embrace Fascism,
making Futurism the only twentieth century avant-garde to have
embraced far right politics. The Futurists were fascinated by the
Gino Severini - Sea = Dancer (Mare = Ballerina) (1914)
problems of representing modern experience, and strived to have
their paintings evoke all kinds of sensations - and not merely
those visible to the eye. At its best, Futurist art brings to mind the
noise, heat and even the smell of the metropolis. Futurism influ-
enced many modern art movements of the 20th century which in
turn influenced the development of graphic design. The writings,
philosophies and aesthetic characteristics of futurism have been
particularly influential to designers.
Umberto Boccioni - The City Rises (1910)
Umberto Boccioni - Unique Forms of Continuity
in Space (1913)
Carlo Carrà - Interventionist Manifesto (1953-54)
4 Graphic Design History
http://www.theartstory.org/movement-futurism.htm
http://www.designishistory.com/1850/futurism/
Dada
Dada was an artistic and literary movement that began in Zürich,
Switzerland. It arose as a reaction to World War I and the nation-
alism that many thought had led to the war. Influenced by other
avant-garde movements - Cubism, Futurism, Constructivism, and
Expressionism - its output was wildly diverse, ranging from per-
formance art to poetry, photography, sculpture, painting, and
collage. Dada's aesthetic, marked by its mockery of materialistic
and nationalistic attitudes, proved a powerful influence on artists
in many cities, including Berlin, Hanover, Paris, New York, and
Cologne, all of which generated their own groups. The movement
dissipated with the establishment of Surrealism, but the ideas it
gave rise to have become the cornerstones of various categories
of modern and contemporary art.
Dada was the first conceptual art movement where the focus of
the artists was not on crafting aesthetically pleasing objects but on Hannah Höch - Cut With The Dada Kitchen
Knife (1919) Kurt Schwitters - Cover for Merz 7 (1924) Man Ray - Rayograph (1922)
making works that often upended bourgeois sensibilities and that
generated difficult questions about society, the role of the artist,
and the purpose of art.
So intent were members of Dada on opposing all norms of bour-
geois culture that the group was barely in favor of itself: "Dada is
anti-Dada," they often cried.
Dada artists are known for using readymade objects - everyday
objects that could be bought and used as art with little manipu-
lation by the artist. The use of the readymade forced questions
about artistic creativity and the very definition of art and its pur-
pose in society.
Raoul Hausmann - The Spirit of our Time (1920)
Marcel Duchamp - Fountain (1917)
Graphic Design History 5
http://www.theartstory.org/movement-dada.htm
De Stijl
The De Stijl movement was launched in the Netherlands in the late
summer of 1917. Its founder and guiding spirit, Theo van Doesburg,
was joined by painters Piet Mondrian, Bart Anthony van der Leck,
Vilmos Huszar, Gerrit Reitveld, and others. Working in an abstract
geometric style, De Stijl artists sought universal laws of balance
and harmony for art, which could then be a prototype for a new
social order.
The harmony and order was established through a reduction of
elements to pure geometric forms and primary colors. Die Stijl
was also the name of a publication discussing the groups theories
which was published by van Doesburg. The publication Die Stijl
Gerrit Rietveld - Red and Blue Chair (1917)
represents the most significant work of graphic design from the
Piet Mondrian - Composition with Yellow, Blue, and
Red (1937-42) movement, but the ideas of reduction of form and color are major
influences on the development of graphic design as well.
Vilmos Huszar - Mechano Dancer (1922)
Like other avant-garde movements of the time, De Stijl, which
means simply "the style" in Dutch, emerged largely in response to
the horrors of World War I and the wish to remake society in its
aftermath. Viewing art as a means of social and spiritual redemp-
tion, the members of De Stijl embraced a utopian vision of art and
its transformative potential.
Even though De Stijl artists created work embodying the move-
ment's utopian vision, their realization that this vision was unattain-
able in the real world essentially brought about the group's demise.
Ultimately, De Stijl's continuing fame is largely the result of the
enduring achievement of its best-known member and true mod-
ern master, Piet Mondrian.
Theo van Doesburg - Arithmetic Composition
(1929-30)
Gerrit Rietveld - The Rietveld Schröder House (1924)
6 Graphic Design History
http://www.theartstory.org/movement-de-stijl.htm
http://www.designishistory.com/1920/de-stijl/
Modernism
Modernism is a philosophical movement that, along with cultural
trends and changes, arose from wide-scale and far-reaching
transformations in Western society during the late 19th and early
20th centuries. Among the factors that shaped modernism were
the development of modern industrial societies and the rapid
growth of cities, followed then by reactions of horror to World
War I. Modernism also rejected the certainty of Enlightenment
thinking, and many modernists rejected religious belief. Modern-
ism, in general, includes the activities and creations of those who
felt the traditional forms of art, architecture, literature, religious
faith, philosophy, social organization, activities of daily life, and
even the sciences, were becoming ill-fitted to their tasks and out-
dated in the new economic, social, and political environment of
an emerging fully industrialized world. The poet Ezra Pound's 1934
Herb Lubalin - Beards (1976)
injunction to "Make it new!" was the touchstone of the movement's
approach towards what it saw as the now obsolete culture of the
past. In this spirit, its innovations, like the stream-of-conscious-
ness novel, atonal (or pantonal) and twelve-tone music, divisionist Josef Müller-Brockmann - musica viva (1958)
painting and abstract art, all had precursors in the 19th century. Seymour Chwast - VISIT DANTE'S INFERNO (1967)
A notable characteristic of modernism is self-consciousness and
irony concerning literary and social traditions, which often led
to experiments with form, along with the use of techniques that
drew attention to the processes and materials used in creating a
painting, poem, building, etc. Modernism explicitly rejected the
ideology of realism and makes use of the works of the past by
the employment of reprise, incorporation, rewriting, recapitulation,
revision and parody.
Wim Crouwel - Preisträger der stankows-
ki-stiftung (1991)
Saul Bass - The Shining poster (1970)
Graphic Design History 7
https://en.wikipedia.org/wiki/Modernism
Swiss Design
Armin Hoffman - giselle (1959)
Joseph Müller-Brockmann (1962)
8 Graphic Design History
Armin Hofmann - Vollendung Bürgerspital (1963)
Joseph Müller-Brockmann - Zürich Town Hall
Poster (1955)
Often referred to as the International Typographic Style or the
International Style, the style of design that originated in Switzer-
land in the 1940s and 50s was the basis of much of the devel-
opment of graphic design during the mid 20th century. Led by
designers Josef Müller-Brockmann at the Zurich School of Arts
and Krafts and Armin Hofmann at the Basel School of Design, the
style favored simplicity, legibility and objectivity.
Of the many contributions to develop from the two schools were
the use of, sans-serif typography, grids and asymmetrical layouts.
Also stressed was the combination of typography and photogra-
phy as a means of visual communication. The primary influential
works were developed as posters, which were seen to be the most
effective means of communication.
Appreciating Swiss Style means appreciating the typefaces that
started it all. Those grid systems wouldn’t be anything without the
Josep Müller-Brockmann - Auto Club of
Switzerland Poster (1955)
classic sans serif typeface that so seamlessly folds into Swiss Style.
Those who taught Swiss Style argued that design should focus
on the content and not decorative extras. By stripping away the
embellishments, Swiss Style eliminates distractions for the viewer
and allows the information-heavy design to be read and studied
rather than merely seen and admired. Because of this, the type-
faces chosen to represent Swiss Style are those that really hone
in one the movement’s key principles: Akzidenz-Grotesk, Univers,
and Helvetica.
http://www.printmag.com/typography/swiss-style-principles-typefaces-designers/
http://www.designishistory.com/home/swiss/
Postmodernism
Postmodernism is a late-20th-century movement in the arts, archi-
tecture, and criticism that was a departure from modernism. Post-
modernism includes skeptical interpretations of culture, literature,
art, philosophy, history, economics, architecture, fiction, and literary
criticism. It is often associated with deconstruction and post-struc-
turalism because its usage as a term gained significant popularity
at the same time as twentieth-century post-structural thought.
The term postmodernism has been applied to a host of move-
ments, many in art, music, and literature, that reacted against
tendencies in modernism, and are typically marked by revival of
historical elements and techniques.
Postmodernism is best understood by defining the modernist
ethos it replaced - that of the avant-garde who were active from
1860s to the 1950s. The various artists in the modern period were
driven by a radical and forward thinking approach, ideas of tech-
nological positivity, and grand narratives of Western domination April Greiman - poster for fall lecture series (1987) Wolfgang Weingart - seeing, reading and learning (1971)
and progress. The arrival of Neo-Dada and Pop art in postwar
Wolfgang Weingart - poster for convention on
America marked the beginning of a reaction against this mindset teaching aids (1980)
that came to be known as postmodernism. The reaction took
on multiple artistic forms for the next four decades, including
Conceptual art, Minimalism, Video art, Performance art, and
Installation art. These movements are diverse and disparate but
connected by certain characteristics: ironic and playful treatment
of a fragmented subject, the breakdown of high and low culture
hierarchies, undermining of concepts of authenticity and origi-
nality, and an emphasis on image and spectacle. Beyond these
larger movements, many artists and less pronounced tendencies
continue in the postmodern vein to this day.
Siegfried Odermatt - union poster (1980)
Kenneth Hiebert - Phillidelphia college of the art (1971)
Graphic Design History 9
http://www.historygraphicdesign.com/the-age-of-information/postmodern-design
http://www.theartstory.org/definition-postmodernism.htm
THE The Bauhaus
The Bauhaus was the most influential modernist art school of the

BAUHAUS
20th century, one whose approach to teaching, and understanding
art's relationship to society and technology, had a major impact both
in Europe and the United States long after it closed. It was shaped
by the 19th and early 20th centuries trends such as Arts and Crafts
movement, which had sought to level the distinction between fine
and applied arts, and to reunite creativity and manufacturing. This
...... 11 - 13 is reflected in the romantic medievalism of the school's early years,
in which it pictured itself as a kind of medieval crafts guild. But in
the mid 1920s the medievalism gave way to a stress on uniting art
and industrial design, and it was this which ultimately proved to
be its most original and important achievement. The school is also
renowned for its faculty, which included artists Wassily Kandinsky,
Josef Albers, Laszlo Moholy-Nagy, Paul Klee and Johannes Itten,
architects Walter Gropius and Ludwig Mies van der Rohe, and
designer Marcel Breuer.

The motivations behind the creation of the Bauhaus lay in the 19th
century, in anxieties about the soullessness of manufacturing and its
products, and in fears about art's loss of purpose in society. Creativ-
ity and manufacturing were drifting apart, and the Bauhaus aimed
to unite them once again, rejuvenating design for everyday life. Walter GropiusBauhaus building in Dessau now
(1919-1925)
Although the Bauhaus abandoned much of the ethos of the old aca-
demic tradition of fine art education, it maintained a stress on intel-
lectual and theoretical pursuits, and linked these to an emphasis on
practical skills, crafts and techniques that was more reminiscent of
the medieval guild system. Fine art and craft were brought together
with the goal of problem solving for a modern industrial society. In
so doing, the Bauhaus effectively leveled the old hierarchy of the
arts, placing crafts on par with fine arts such as sculpture and paint-
ing, and paving the way for many of the ideas that have inspired
artists in the late 20th century.The stress on experiment and problem
solving at the Bauhaus has proved enormously influential for the
approaches to education in the arts. It has led to the 'fine arts' being
rethought as the 'visual arts', and art considered less as an adjunct
Old Walter Gropius Bauhaus building in Dessau
(1919-1925)

10 The Bauhaus 11
 of the humanities, like literature or history, and more as a kind of
research science.

Central to the school's operation was its original and influential curric-
ulum. It was described by Gropius in the manner of a wheel diagram,
with the outer ring representing the vorkurs, a six-month preliminary
course, initiated by Johannes Itten, which concentrated on practical
formal analysis, in particular on the contrasting properties of forms,
colors and materials. The two middle rings represented two three-year
courses, the formlehre, focused on problems related to form, and
werklehre, a practical workshop instruction that emphasized technical
craft skills. These classes emphasized functionalism through simpli-
fied, geometric forms that allowed new designs to be reproduced
with ease. At the center of the curriculum were courses specialized
in building construction that led students to seek practicality and
necessity through technological reproduction, with an emphasis on
Joost Schmidt - bauhaus poster (1915) Oskar Schlemmer - bauhaus costume (1920)
craft and workmanship that was lost in technological manufacturing.
And the basic pedagogical approach was to eliminate competitive Joost Schmidt - Bauhaus Exhibition in Weimar (1923)

tendencies and to foster individual creative potential and a sense of Oskar Schlemmer - bauhaus costume (1920)
community and shared purpose.

The Bauhaus influence travelled along with its faculty. Gropius went
on to teach at the Graduate School of Design at Harvard University,
Mies van der Rohe became Director of the College of Architecture,
Planning and Design, at the Illinois Institute of Technology, Josef
Albers began to teach at Black Mountain College in North Carolina,
Laszlo Moholy-Nagy formed what became the Institute of Design
in Chicago, and Max Bill, a former Bauhaus student, opened the
Institute of Design in Ulm, Germany. The latter three were all import-
ant in spreading the Bauhaus philosophy: Moholy-Nagy and Albers
were particularly important in refashioning that philosophy into one
suited to the climate of a modern research university in a market-ori-
Johannes Itten - The Encounter (1916) ented culture; Bill, meanwhile, played a significant role in spreading
Josef Albers - goldrosa (1926)
geometric abstraction throughout the world.
Herbert Bayer - Universal Bayer (1925) Laszlo Moholy-Nagy - photogram (1926)
Johannes Itten - Color Class in Bauhaus

12 The Bauhaus The Bauhaus 13

http://www.theartstory.org/movement-bauhaus.htm
GRAPHIC
16 ...... Web / Interactive Design

DESIGN 17 ...... Brand Design

18 ...... Package Design

19 ...... Advertising

DISCIPLINES
20 ...... Motion Design

21 ...... Illustration

22 ...... Exhibition Design

23 ...... Industrial Design

14 15
Web / Interactive Design
http://www.femmefatale.paris/en/contact
16
http://www.alexandrerochet.com/about
Web design is the process of creating websites. It entails several
aspects including, webpage layout, content production, and
graphic design. While web design is useful, it falls into a larger cat-
egory of interactive design. Interactive design is design based off
of user-oriented studies that focuses primarily on communication
of media through the collaborative processes between the user
and technology.
Graphic Design History
http://www.theartstory.org/movement-futurism.htm
http://www.designishistory.com/1850/futurism/
Brand Design
Audi - Meta Design (2009)
Target - Undisclosed (2000)
WWF - Asha (2010)
Brand Identity is the combined message transmitted via the brand
name, logo, style and visuals. Brand design is essentially ‘how’ a
business wants to be perceived by customers and the general
public. It is through such design that a brand strives to commu-
nicate clearly with the target audience. Identity and brand image
differ; identity being the goal of broadcasting a strong message
to the consumer populace while brand image is the summary Nike_Nike_1978
opinion formed within the marketplace.
Starbucks - Lippincott and Starbucks Global
Creative Team (2011)
Graphic Design History 17
http://www.theartstory.org/movement-dada.htm
Package Design
Poilu Paintbrushes - Simon Laliberté
Festina Waterproof Watches - Ralf Schroder
Nike Air - Scholz & Friends
Fruit Skin - Naoto Fukasawa
The discipline of package design focuses on producing a container
that will get noticed. By skillfully teaming colorful graphics, a unique
shape, or any other eye-arresting method, the package designer
is a key played in any company’s marketing effort. Customers are
drawn, more than anything to products that look good. Something
Trident Gum - Hani Douaji
that is well designed and interesting is bound to attract more poten-
tial customers that a product that is poor designed and looks bland.
18 Graphic Design History
http://www.theartstory.org/movement-futurism.htm
http://www.designishistory.com/1850/futurism/
Advertising
Stop the Violence - Terremoto Propaganda (2012) Stop the Violence - Terremoto Propaganda (2012)
Muscle Surprise - Wieden & Kennedy (2009)
Think Small - Helmut Krone (1959)
Advertising design refers to the creation and organization of visual
artwork used in advertisements for products and services. The
designs used in advertising are created by graphic designers, and
advertising agencies as well as the advertising departments of
corporations employ these professionals to create and execute
brochures, direct mail, web ads, and print ads. The difference
between advertisement design and mainstream artwork is that Just Do It - Nike (1988)
advertising by nature must be designed to reach and compel the
target audience to purchase products and/or services.
Graphic Design History 19
http://www.theartstory.org/movement-dada.htm
Motion Design Illustration

Nike Air Zoon Elite 8 - Ryan Dunn (2016) ARIEL AMBROSIA - Oriol Puig (Trizz) (2013)

Horton Hears a Who - Dr.Seuss (1954)

A Mini Marvel - Russo Brothers (2016) Ghost In The Shell

Desolate Night Hells Kitchen - Jeremyville (2011) One Line Elephant - Christophe Louis Quibe

Urban $tyle
Motion graphics is a subset of graphic design in that it uses graphic
design principles but in a filmmaking or video production context
through the use of animation or filmic techniques. Examples include
kinetic typography and graphics used in film and television opening
title sequences. Furthermore, motion graphics can also extend to
business as logos are often animated and are applied to motion
graphics. Motion graphics are kinetic visuals.
Illustration is a decoration, interpretation or visual explanation of
a text, concept or process, designed for integration in published
media, such as posters, flyers, magazines, books, teaching mate-
rials, animations, videogames, and films. Illustration covers a wide
range of mediums and techniques including drawing, painting,
printmaking, collage, montage, etc. Illustration utilizes visuals to Where the Wild Things are - Maurice Sendak (1963)
push further meaning or purpose. Nike Store - Gabriel Moreno (2011)

A Guide to Happy - Panoply (2015)

20 Graphic Design History Graphic Design History 21

http://www.theartstory.org/movement-futurism.htm http://www.theartstory.org/movement-dada.htm
http://www.designishistory.com/1850/futurism/
Exhibition Design Industrial Design

National Center for Civil and Human Rights Off the Wall - Z-A Studio
Exhibit Design - David Rockwell

iPhone - Jonathan Ive (2007)

Papercut - Studiospass

Queens Metropolitan Campus - Paula Scher Alessi Juicy Salif - Phillipe Starck (1990) Braun TP1 - Dieter Rams (1959) Dyson cyclone vacuum - James Dyson (1991)

First Papers of Surrealism - Marcel Duchamp (1942)
Exhibit/exhibition design is the process of developing an exhibit
from a concept through to a physical, three-dimensional exhibition.
it is a continually evolving field, drawing on innovative, creative
and practical solutions to the challenge of developing communica-
tive environments to represent a narrative in a three-dimensional
space. exhibition designers utilize a wide range of technologies and
techniques to develop experiences that will resonate with diverse
audiences, enable these targeted audiences to access the messages,
stories and objects of an exhibit.
Industrial design is a process of design applied to products that Hasselblad 500C Camera (1957)
are to be manufactured through techniques of mass production.
Its key characteristic is that design is separated from manufacture:
the creative act of determining and dining a product’s form and
features takes place in advance of the physical act of making a
product, which consists purely of repeated, often automated, repli-
cation. This distinguishes industrial design from craft-based design
where the form of the product is determined by the product’s cre-
ator at the time of its creation.

22 Graphic Design History Graphic Design History 23

http://www.theartstory.org/movement-futurism.htm http://www.theartstory.org/movement-dada.htm
http://www.designishistory.com/1850/futurism/
REVIEWS 26 ...... La Jetée

27 ...... Blind Studio

28 ...... Paula Scher

29 ...... Andrew Baluvelt

24 25
La Jetée
La Jetée is a 1962 French science fiction directed by Chris Marker.
This film is constructed entirely by still photos with one footage.
It tells the story of a post-nuclear war experiment of time travel.
With the series of still images, the film communicates a story
through mood and the setting of the images. Background music
also helps setting the mood and flow of the story. This film is cru-
cial to graphic designers since we communicate through images.
Although La Jetée only consists of still images, the way the still
images were composed was also aesthetically pleasing. Each
images were composed to communicate certain mood or story.
26 Reviews
http://www.theartstory.org/movement-futurism.htm
http://www.designishistory.com/1850/futurism/
Blind Studio
Blind Studio is a small motion studio consist of 14 member. They
worked with many big clients such as Microsoft, Sony, Audi, Etc.
On our visit, Chris Do, CEO of Blind Studio, answered few ques-
tions regarding to how designers work. He gave us few tips on
how to work with clients and his life lessons. First was to prioritize
and analyzing. We as designers are given with many tasks and
if we do not prioritize, we often get lost in the process. That is
why Chris emphasized designers’ process of working is the most
important area when working with client. Second was to listen and
emphasize on what the clients want. This idea of following entirely
on what client want was different from other studio, Champion
Graphics. Geoff McFetridge, Champions Graphics, focused on his
style and making client come for his style however, Blind studio
focused on what client wants and making what clients want.
Reviews 27
http://www.theartstory.org/movement-dada.htm
Paula Scher Andrew Blauvelt
Paula Scher is american graphic designer who worked for clients such as Andrew Blauvelt is an art director of the Cranbrook Art Museum.
Citibank, Coca-Cola, the Metropolitan Opera, the Museum of Modern He is a trained graphic designer and previously served as Senior
Art and the New York Philharmonic. At CalArts, she gave lecture on how Curator, Design, Research, and Publishing at the Walker Art Center
to become a successful designer based on her life as successful graphic in Minneapolis. On the visit to CalArts, Andrew gave lecture on
designer. She gave 10 steps to become a successful designer: Hippie Modernism and explained what Hippie modernism and the
1. Be ready to fall in love with something that was designed by someone. importance of graphic design. Hippie Modernism critiques post-
2. Have heros and mentors. modernism and shows unique and different art, show, architecture
3. Push back against something and design. He explained, Art and design shouldn’t be following
4. Defy the career staircase: the same rule and guide line but be unique in a way it speaks up
20s Peon/Wunderkind for itself; Posters should be protesting and speaking up [...] there
30s Pro should be better ways to organize and record rather than follow-
40s Aging pro ing the same grid system all the time. Through his lecture I was
50s POWER
able to understand the importance of theology behind the design
60s Wanting Power
70s Total declin and how design shouldn’t be solely based on visual aesthetic.
80s Dead
5. Go the distance (identity)
6. Be neophyte - a person who is new to a subject, skill, belief
7. Find a personal expression
8. Work for free. Do something that you want to do with less restriction.
Don’t let money control your work
9. Hang around with smart people.
10. Do what you do best. But change with times.

Her lecture allowed us to glimpse the experience as a graphic

designer. Her lecture gave us a guide line of what we should look
forward to as a graphic designer.

28 Reviews Reviews 29
http://www.theartstory.org/movement-futurism.htm http://www.theartstory.org/movement-dada.htm
http://www.designishistory.com/1850/futurism/
GRAPHIC Pioneer
32 ...... Alexander Rodchenko
DESIGNER
33 ...... Filippo Marinetti
34 ...... John Heartfield
35 ...... Hannah Höch
36 ...... Gerrit Rietveld
37 ...... Theo van Doesburg
38 ...... Kurt Schwitters
39 ...... H.N. Werkman
40 ...... Johannes Itten
41 ...... Lazlo Maholy-Nagy
42 ...... El Lissitzky
43 ...... Herbert Bayer
44 ...... Piet Zwart
45 ...... Jan Tschichold
30
Modern
46 ...... Bradbury Thompson
47 ...... Saul Bass
48 ...... Max Bill
49 ...... Josef Müller-Brockmann
50 ...... Wim Crouwel
51 ...... Armin Hofmann
52 ...... Seymour Chwast
53 ...... Milton Glaser
54 ...... Herb Lubalin
55 ...... Massimo Vignelli
Contemporary
56 ...... Wolfgang Weingart
57 ...... Tadanori Yokoo
58 ...... Henryk Tomaszewski
59 ...... Grapus
60 ...... April Greiman
61 ...... Neville Brody
62 ...... Hard Werken
63 ...... Studio Dumbar
64 ...... Tibor Kalman / M&Co
65 ...... Paula Scher
66 ...... Paul Sahre
67 ...... Stefan Sagmeister
68 ...... Ed Fella
69 ...... David Carson
70 ...... Karel Martens
71 ...... Mevis & van Deursen
72 ...... Erik Spiekermann
73 ...... Experimental Jetset
74 ...... M/M
75 ...... Richard Niessen
76 ...... Geoff McFetridge
77 ...... Antoine + Manuel
31
Alexander Rodchenko
Maquette for the Advertisement of the Red
October Bisquittes (1923)
Alexander Rodchenko is perhaps
the most important avant-garde
artist to have put his art in the
service of political revolution. In
this regard, his career is a model of
the clash between modern art and
radical politics. He emerged as a
fairly conventional painter and his
commitment to the Russian Rev-
olution subsequently encouraged
him to abandon first painting and
then fine art in its entirety, and to
instead put his skills in the service
of industry and the state, designing
everything from advertisements
32 Pioneer
http://www.theartstory.org/artist-rodchenko-alexander.htm
Filippo Tommaso Marinetti
Books (The Advertisement Poster for the Lengiz
Publishing House) (1924)
Montagne + Vallate + Strade x Joffre (1919)
Kino Glaz (1924)
Fold out from Les Mots en Liberte Futuristes (1919)
Cover for Les mots en liberte Futuristes (1919)
Dobrolet (1923)
to book covers. His life's work was The most important Italian avant- to celebrate the arrival of the First
a ceaseless experiment with an garde art movement of the 20th World War. By its end the group was
extraordinary array of media, from century, Futurism celebrated largely spent as an important avant-
painting and sculpture to graphic advanced technology and urban garde, making Futurism the only
design and photography. modernity. Committed to the new, twentieth century avant-garde to
its members wished to destroy older have embraced far right politics.
forms of culture and to demonstrate
the beauty of modern life - the
beauty of the machine, speed, vio-
lence and change. Nevertheless,
they were interested in embracing
popular media and new technol-
ogies to communicate their ideas.
Their enthusiasm for modernity and
the machine ultimately led them
Pioneer 33
http://www.theartstory.org/movement-futurism.htm
John Heartfield Hannah Höch

Cut with the Dada Kitchen Knife through the Last

Dada Puppen (Dada Dolls) (1916) Weimar Beer-Belly Cultural Epoch in Germany (1919)
Adolf Hitler Swallows Gold and Shits Tin (1932) Hurrah, die Butter ist Alle! (1935)
The Meaning of Geneva, Where Capital Lives, Untitled, (From an Ethnographic Museum) (1930)
There Can Be No Peace (1932)

John Heartfield is credited as the
founder of modern photomontage. His montages conveyed moral, not
His stunning political art became
famous on both sides of the Atlan-
tic as courageous effective artistic
weapons that revealed, satirized,
and opposed the worldwide threat
of fascism and The Nazi Party. From
his early work as fledgling painter to
his embrace of Dada to the anti-fas-
cist montages that made him a Nazi
target, Heartfield’s life and work was
a profile in courage. Its ammunition
was his imagination, scissors, glue
pots, retoucher paint, and stacks of
photographs and magazine articles. Höch was not only a rare female projects evidenced a well-developed
practicing prominently in the arts early example of "appropriation" as
literal, truths. in the early part of the twentieth an artistic technique.
century - near unique as a female
active in the Dada movement that
coalesced in her time - she also con-
sciously promoted the idea of women
working creatively more generally in
society. She explicitly addressed in
her pioneering artwork in the form
of photomontage the issue of gender
and the figure of woman in modern
society. Her transformation of the
visual elements of others by integrat-
ing them into her own larger creative

34 Pioneer Pioneer 35
http://www.johnheartfield.com/John-Heartfield-Exhibition/helmut-herzfeld-john-heartfield/artist-john-heartfield-biography http://www.theartstory.org/artist-hoch-hannah.htm
Gerrit Rietveld
Red-blue chair (1917)
Gerrit Thomas Rietveld was a Dutch
architect and furniture designer
notable for his application of the
tenets of the de Stijl movement. He
was an apprentice in his father’s
cabinetmaking business from 1899
to 1906 and later studied architec-
ture in Utrecht. At about the same
time he created his famous red-and-
blue armchair, which, in its emphasis
on geometry and in its use of pri-
mary colours, was a realization of de
Stijl principles.His masterpiece is the
Schroeder House in Utrecht, remark-
able for its interplay of right-angle
36 Pioneer
https://www.britannica.com/biography/Gerrit-Thomas-Rietveld
Theo van Doesburg
Gerrit Rietveld Jr side chair (1955)
Dancers (1916)
End Table (1923)
Composition VII (The Three Graces) (1917) Counter composition V (1924)
The schroder house (1924)
Composition VIII (The Cow) (1918)
forms, planes, and lines, and for Theo Van Doesburg was one of the geometric abstraction and De Stijl,
its use of primary colours. His founders and leading theorists of published journals, and organized
mass-produced houses at Utrecht De Stijl along with Piet Mondrian. many exhibitions of works by De
were closely related in style. It advocated a simplified, geomet- Stijl artists and related movements.
ric, and reductive aesthetic in the
visual arts and argued that painting,
design, and architecture should
be fully integrated. Van Doesburg
created numerous abstract paint-
ings and designed buildings, room
decorations, stained glass, furniture,
and household items that exem-
plified De Stijl's aesthetic theories
and his personal ideas. He wrote
numerous essays and treatises on
Pioneer 37
http://www.theartstory.org/artist-van-doesburg-theo.htm
Kurt Schwitters
Das Undbild (1919)
Directly affected by the depressed
state of Germany following World
War I, Kurt Schwitters began to
collect garbage from the streets
and incorporate it directly into his
art work. He actively produced
artistic journals, illustrated works,
and advertisements, as well as
founding his own Merz journal. He
wrote poems and musical works
that played with letters, lacing them
together in unusual combinations
in the hope of encouraging his
audience to find their own mean-
ings. These works, collaborations
38 Pioneer
http://www.theartstory.org/artist-schwitters-kurt.htm
H.N. Werkman
Merz Picture 32 A. The Cherry Picture (1921) Hot Printing (1935-36)
Merz 11 - Typo Reklame (1924)
Diploma Groote Internationale Tentoonstelling Op
Bakkerijgebied (1925)
Calendar page for De Ploeg (1927)
with other avant-garde artists, would Dutch designer and printmaker tell the story of a maverick designer
start with one object to which oth- Hendrik Werkman is best known for and typographer whose graphic
ers were added, growing to great his innovative printing techniques vision was playful, bold, experimen-
proportions that forced the viewer and avant-garde typography.Werk- tal, and unwaveringly optimistic.
to actually experience, rather than man founded his own printmaking
simply view, the art. shop in 1908. Werkman also devel-
oped a printmaking process he
called “hot printing,” a technique
incorporating found materials that
added repeated design elements
directly onto the paper—all without
the use of a printing press. Although
much of his work was destroyed
at the time of his execution, the
remarkable examples that remain
Pioneer 39
http://yalebooks.com/book/9780300102901/h-n-werkman
Johannes Itten Laszlo Moholy-Nagy

The Encounter (1916) Pneumatik (1923) Untitled (1928)

Tower of Fire (1920) Ramp (1920)

Colour Sphere in 7 Light Values and 12 Tones
(1921)

Before joining the Bauhaus Itten
headed his own art school in Vienna.
At the Bauhaus he designed an
innovative introductory course: he
let students explore form, color,
rhythm and contrast. Itten’s princi-
ples were of tremendous influence
not only on art education, but also
on Kandinsky and Klee.Feeling blue?
Seeing red? Swiss color theorist
Johannes Itten (1888-1967) would
understand. He helped explain what
colors do and how they do it. He
assigned colors qualities like “warm”
and “cool” to describe how they
react with each other and how they Lazlo Maholy-Nagy was an Ameri-
affect us physically and psycholog- can painter, photographer, educator
ically. He made Pantone and Color and artist born in Hungary 1895.
Me Beautiful possible. Moholy-Nagy is arguably one of
the greatest influences on post-
war art education in the United
States. A modernist and a restless
experimentalist from the outset,
the Hungarian-born artist was
shaped by Dadaism, Suprema-
tism, Constructivism, and debates
about photography. He was highly
influenced by constructivism and a
strong advocate of the integration
of technology and industry into the
arts. Maholy-Nagy developed the
belief that artists should adopt new
technologies and their potential in
order to find answers to humanity’s
needs. When Walter Gropius invited
him to Bauhaus, in Dessau, Ger-
many, he took over the school's cru-
cial preliminary course, and gave it
a more practical, experimental, and
technological bent.

40 Pioneer Pioneer 41
http://the-artists.org/artist/johannes-itten http://moholy-nagy.org/biography/
El Lissitsky
USSR, Russische Ausstellung (1929)
Lazar Markovich Lissitzky, most
commonly known as El Lissitzky, was
born in the Russian Empire 1890. He
was an important figure of the Rus-
sian avant-garde, helping develop
suprematism with his mentor, Kazimir
Malevich, and designing numerous
exhibition displays and propaganda
works for the Soviet Union. Lissitzky’s
development of suprematist was
influential in the development of the
Bauhaus and the Constructivist art
movements. His style and experimen-
tation with production techniques
developed in the 1920s and 30s
42 Pioneer
http://www.designishistory.com/1920/el-lissitzky/
Herbert Bayer
Beat the Whites with the Red Wedge (1919)
Staatliches Bauhaus in weimar (1923)
La soledad del ciudadano (1932)
Part of the Show Machinery (1923)
Cover for Bauhaus magazine (1928)
have been an influence on graphic Born in Austria-Hungary 1900, Her- and advertising were many. He is
designers since. Though many of his bert Bayer was an American graphic one of the most recognized design-
pieces consist of rudimentary shapes designer, painter, photographer, ers to come from the Bauhaus insti-
and limited color, Lissitzky’s pieces sculptor, art director, environmental tution and his theories of design are
were still able to make a strong state- and interior designer, and architect, still taught in many schools today.
ment for political change and other who was widely recognized as the
progressive ideology. last living member of the Bauhaus.
Bayer was both student and even-
tually teacher at the Bauhaus. He
spent time teaching at the Bauhaus,
working as an Art Director for the
Container Corporation and as an
architect in both Germany and
America. His contributions to the
fields of graphic design, typography
Pioneer 43
http://www.designishistory.com/1920/herbert-bayer/
Piet Zwart
Trip-reclameboek (1931)
Dutch photographer, typogra-
pher, industrial designer and critic
Piet Zwart was born 28 may 1885
in Zaandijk, the Netherlands. A
pioneer of modern typography,
designer Piet Zwart was influenced
by Constructivism and De Stijl. Zwart
attended the National School of
Applied Arts, in Amsterdam from
1902 to 1907. He spent most of his
career moonlighting as an architect
and photographer, as well as a
designer and for several years he
was very successful. However his
success would be short lived as he
44 Pioneer
http://www.iconofgraphics.com/piet-zwart/
The Hague (1925)
Hot Spots (1925)
was arrested by German soldier in
1942 but was eventually released.
Zwart’s contribution to the design
world boast a wide range as his
excellent use of color, typography,
composition and photography are
reminiscent of design from the Bauhaus.
Jan Tschichold
cover for "Elementare Typographie" (1925)
"Film und Foto" Exhibition poster (1919) Die Hose, Phoebus Palast (1926)
Jan Tschichold was born in Leipzig the use of all typefaces except
Germany, 1902. Tschichold con- for sans-serif types. He advocated
verted to Modernist design prin- standardized sizes of paper and set
ciples in 1923 after visiting the first forth guidelines for establishing a
Weimar Bauhaus exhibition. Tsch- typographic hierarchy when using
ichold became a prominent advo- type in design.
cate for modernist design: first with
an influential 1925 magazine supple-
ment; then a 1927 personal exhibi-
tion; then with his most noted work
Die neue Typographie. When Tsch-
ichold wrote Die Neue Typographie
he set forth rules for standardization
of practices relating to modern type
usage. Tschichold testified against
Pioneer 45
http://www.designishistory.com/1920/jan-tschichold/
Bradbury Thompson
Yale University Capital Development Plan (1968)
Born in Kansas 1911 and receiving an
education from Washburn University,
Bradbury Thompson was considered
to be a “giant” within the realm of
20th-century graphic designers. His
career was recognized by many
American design organizations, as
he masterfully practiced printing
production, directed the Mademoi-
selle magazine, designed books,
pushed the conventional boundaries
of typography, and taught design
at Yale University. Arguably one of
Thompson’s greatest accomplish-
ments, Thompson contributed to
46 Modern
http://www.designishistory.com/1960/bradbury-thompson/
Saul Bass
Magic House of Printing (1947)
Pitney Bowes (1980)
Credits Page of West Virginia Insprirations “The Man With the Golden Arm.” (1955)
for Printers (1984) The Shining (1980) Schindler's List (1993)
the publication of The Washburn Saul Bass was born on May 8, 1920, Preminger, and more. He became
College Bible, the most innovative in the Bronx, New York, United well-known in the film industry
reassessment of Bible typography States, to Eastern European Jewish after creating the title sequence for
since Gutenberg's own edition immigrant parents. He began his Otto Preminger’s The Man with the
appeared in 1455. Another signifi- time in Hollywood in the 1940s, Golden Arm in 1955.
cant point in his career, in the field designing print advertisements for
of typography, was his publication films including Champion (1949),
of Alphabet 26, which was labeled Death of a Salesman (1951) and The
as a monoalphabet. Moon Is Blue (1953). Overtime, Bass
we become popular through the
design of movie title sequences.
During his 40-year career Bass
worked for some of Hollywood’s
greatest filmmakers, including Alfred
Hitchcock, Stanley Kubrick, Otto
Modern 47
http://www.artofthetitle.com/designer/saul-bass/
Max Bill
Book cover (1942)
Max Bill was Swiss architect, painter,
graphic designer, typeface designer,
and an industrial designer. Bill stud-
ied art and design in the Bauhaus
at Dessau under the instruction
of many teachers. His instructors
included Wassily Kandinsky, Paul
Klee, Oskar Schlemmer from 1927-
1929. Bill was known for founding
the Concrete Art Movement as well
as his interpretation of Constructivist
ideology, bringing studied geom-
etry and mathematics in his artistic
practices. He was later a co-founder
of the Ulm School of Arts and Crafts,
48 Modern
http://www.artnet.com/artists/max-bill/
Josef Müller-Brockmann
Junghans Kitchen clock (1957)
Variation (1950) Der Film (1960) Internationale Juni Festwochen (1962)
Beethoven (1955)
where he was the head of the archi- Josef Müller-Brockmann was a Swiss Productions. Furthermore, Brock-
tecture and product design depart- graphic designer and teacher born mann published several books that
ments during the 1950s. Bill is widely in 1914 Switzerland. Like many of would give insight to his practice and
considered the single most decisive the Swiss International Style design- philosophy, becoming an excellent
influence on Swiss graphic design ers, Joseph Müller-Brockmann was resource for young graphic designers.
beginning in the 1950s with his the- influenced by the ideas of several
oretical writing and progressive work. different design and art movements
including Constructivism, De Stijl,
Suprematism and the Bauhaus. His
fame skyrocketed and his name is
commonly recognized when men-
tioning Swiss International Style.
Brockmann’s most decisive work
consists of poster advertisements
for the Zurich Town Hall Theater
Modern 49
Source - http://www.designishistory.com/1940/joseph-mueller-brockmann/
Wim Crouwel Armin Hofmann

Beelden in het heden (1960) Giselle, Basler Freilichtspiele (1959) Stadt Theater Basel (1962)
Das Holz als Bau Stoff (1952)
Leger (1957).jpg Licht/kunst (1971)

Wim Crowel is a graphic designer Hofmann taught for several years was, and still is, a reference book for
and typographer born in the Neth- at the Basel School of Design and all graphic designers.
erlands. In 1963 he founded the he was not there long before he
studio Total Design, now called Total replaced Emil Ruder as the head of
Identity. His most well known work the school. The Swiss International
has been for the Stedelijk Museum. Style, and Hofmann, thought that
His typography is extremely well one of the most efficient forms of
planned and based on very strict sys- communications was the poster and
tems of grids. He has also designed Hofmann spent much of his career
expositions, album covers and iden- designing posters, in particularly for
tity systems. He has published two the Basel Stadt Theater. Just as Emil
typefaces Fodor and Gridnik. Ruder and JAoseph Müller-Brock-
mann did, Hofmann wrote a book
outlining his philosophies and prac-
tices. His Graphic Design Manual

50 Modern Pioneer 51
http://www.designishistory.com/1960/wim-crouwel/ http://www.designishistory.com/1940/armin-hofmann/
Seymour Chwast Milton Glaser

Cover LIFE 1 (1967)

Blues Project (1968)
Baby Teeth Font (1968)
Dick Gregory on Poppy (1969)
End Bad Breath (1967)
Judy Garland (1968)

As a designer, illustrator and art A designer and an illustrator, if you

director Seymour Chwast has gained can separate the two, Milton Glaser is
international recognition for his con- one of the most recognized design-
tribution to the fields of advertising ers of the second half of the 20th
and design, been awarded the AIGA century. His work has taken the form
medal and has been inducted into of many vessels, including Pushpin
the Art Directors Club Hall of fame. Studios, New York Magazine, and
Together with Milton Glaser and Milton Glaser, Inc. He was a founding
Edward Sorel he founded Pushpin member of all three organizations.
studios in 1954. The studio quickly Each of which has significantly con-
gained an excellent reputation for its tributed to the development of the
design and illustration work, which design and advertising professions.
was witty and culturally relevant. Still in operation, all three continue to
Chwast continues to design and cre- create new material on a regular basis.
ate as the principal of Pushpin.

52 Modern Modern 53
http://www.designishistory.com/1960/seymour-chwast/ http://www.designishistory.com/1960/milton-glaser/
Herb Lubalin
Cover for Les mots en liberte Futuristes (1919)
Most people recognize the name
Herb Lubalin in association with
the typeface Avant Garde. And he
was the typographer and designer
behind its creation, after the success
of Avant Garde Magazine and its
typographic logo. But, his career
spanned a much wider scope than
that. One of the pAeople behind
the culture-shocking magazines
Avant-Garde, Eros and Fact, he was
a constant boundary breaker on
both a visual and social level. Part
of the founding team of the Inter-
national Typeface Corporation (ITC)
54 Modern
http://www.designishistory.com/1960/herb-lubalin/
Massimo Vignelli
Mother & Child (1965)
Fold out from Les Mots en Liberte Futuristes (1919)
NY subway map (1970)
"Dot Zero" Magazine Issue no. 3 (1966-67) "Dot Zero" Magazine Issue no. 4 (1966-67)
Families (1980)
and the principal of Herb Lubalin, Massimo Vignelli has designed iden- ter or unnecessary material.
Inc it was hard to escape the reach tities for international corporations
of Herb during the 1960s and 70s. including American Airlines (which is
the only airline to have not changed
their identity in the past 50 years),
Bloomingdales and Knoll. He favors
a clarity in design and is a huge fan
of using Helvetica, which can be
seen in much of his work. His work
covers nearly every field of design
including advertising, identity, pack-
aging, product, industrial, interior
and architectural design. An avid
fan of modernism, his work is always
very clear and concise with no clut-
Modern 55
http://www.designishistory.com/1960/massimo-vignelli/
Wolfgang Weingart
Kunstkredit (1979)
Weingart was most influential as a
teacher and a design philosopher.
He began teaching at the Basel
School of Design, where he was
appointed an instructor of typogra-
phy by Armin Hofmann in 1963. He
taught a new approach to typog-
raphy that influenced the develop-
ment of New Wave, Deconstruction
and much of graphic design in
the 1990s. While he would contest
that what he taught was also Swiss
Typography, since it developed nat-
urally out of Switzerland, the style
of typography that came from his
56 Contemporary
http://www.designishistory.com/1960/wolfgang-weingart/
Tadanori Yokoo
“18th Didacta/Eurodidac” Worldformat poster (1981) Fabrica Treviso (1998) "Tadanori Yokoo" (1965) 'Koshimaki-Osen' Poster for a theater group (1966) Recruiting Members for Tenjo Sajiki (1967)
students led to a new generation Traversing the world between art ers was held in Japan, the 40,000
of designers that approached most and design, Tadanori Yokoo's work people that crowded the exhibition
design in an entirely different manner has a very personal nature and often during its thirteen-day event were a
than traditional Swiss typography. reflects his own interests. He began testament to his popularity.
working as a designer during the late
1960's and his work often resembles
a collage style that was quite the
opposite of the modernist movement.
Interested in mysticism, psychedelia
and the Indian culture his work is
often associated with the 1960s pop
culture. He has repeated several
motifs throughout his work including
the rising sun and waterfalls. In 1998
a large scale exhibition of his post-
Contemporary 57
http://www.designishistory.com/1960/tadanori-yokoo/
Henryk Tomaszewski
Grock (1950)
The strength of his graphic works
lies in a simple and intelligent trans-
lation of messages and symbols
from literary, theatrical, film, music
and social themes into a visual lan-
guage. Tomaszewski, whose debut
took place in the second half of the
1930s, brought to the Polish poster
the vigour of youth, a freedom
in shaping the picture, and a rich
imagination. His works are unique
for their simplicity, intellectual preci-
sion, extraordinary sense of humour
and easy, laconic drawing. They con-
vey general and profound truths by
58 Contemporary
http://culture.pl/en/artist/henryk-tomaszewski
poster for a film festival (1961)
commenting on events that would
otherwise have gone unnoticed, and
their allusions and understatements
invite a creative reception.
Expo Grapus (1982)
Teatr Pantomimy (1972)
The group was founded in France in
1970 by Pierre Bernard. The group's
members were all members of the
Communist party, and the group
maintained an explicit political,
social and cultural engagement.
They at first rejected assignments
with commercial and government
clients, instead working with exper-
imental theatre groups, progressive
town councils, the Communist Party
itself, the Communist trade union
CGT, educational causes, and social
institutions. Grapus wore its Marxist
heritage proudly, remaining devoted
Grapus
Protest poster against the closure of a Cultural
Center for young people (1983)
Apartheid, Poster against apartheid in South
Africa (1986)
to the plebeian immediacy of post-
ers, leaflets and bumper stickers.
Among its recurring elements of
style are the use of handwritten text,
the use of an extensive symbolic
vocabulary and the convergence
of diverse techniques, a technique
known as “detournement, the rerout-
ing of a message through acts of
visual vandalism.”
Contemporary 59
http://www.historygraphicdesign.com/the-age-of-information/the-conceptual-image/751-grapus
April Greiman Neville Brody
editorial pages for the Face, no. 59 (1985)

Vertigo branding design (1979) 1982 Seven Songs

WET Magazine (1979)

IDEA magazine, 179 (1983)
Portada de FUSE (1990)
“Does It Make Sense?” Design Quarterly #133. (1986)

1992 FF Blur

In the 1980s when the computer hit tool of design and to be curious and Neville Brody is a London born during its developmental stages.
the consumer market on a variety of searching in their design approach. designer who studied design in
different fronts, April Greiman took Britain during the 1970s. He gained
advantage of its potential as a new a fair amount of attention as an
visual medium and helped usher art director for The Face magazine,
in the digital era of design as she where he worked from 1980 to 1993.
pushed the boundaries of design. He is a founding member of the
Not limited to the basics of graphic London based type foundry Font-
design she is also an accomplished works and has designed over 20
photographer and works in a vari- different typefaces during his career.
ety of mediums. She finds the title He was also a major contributor
graphic designer too limiting and to FUSE, which was a publication
prefers to call herself a trans-media about the practice of experimental
artist. Her work has inspired design- typography and was an avid user
ers to develop the computer as a of the computer as a design tool

60 Contemporary Contemporary 61
http://www.designishistory.com/1980/april-greiman/ http://www.designishistory.com/1980/neville-brody/
Hard Werken
Covers for Hard Werken magazine no.1 (1979)
Hard Werken was the partnership
of Rotterdam graphic designers
founded in 1978. The eponymous
magazine was characterized by
experiments with typography,
photography and illustration and
established itself at the forefront
of developments in graphic design.
Hard Werken was essentially more
of a collaborative group of indepen-
dent designers than a formal busi-
ness. Hard Work put the traditional
values ​​of the functional design,
modernism and the Swiss School
at the side replacing with quirky
62 Contemporary
http://www.historygraphicdesign.com/the-age-of-information/national-visions-within-a-global-dialogue/521-hard-werken-design
Studio Dumbar
Covers for Hard Werken magazine no.10 (1982)
Poster for Holland Festival (1987) Holland Festival Posters (1995)
Poster for the Gallery (1995) Holland Festival Posters (1995)
solutions. Hard Werken created In 1977 Gert Dumbar established Stu- Royal College of Art in London, the
artistic freedom with all visual and dio Dumbar. With his team at Studio university at Bandung, Indonesia and
typographic options which became Dumbar he completed numerous the Hochschule der Bildenden Kün-
internationally effect. extensive corporate identity pro- ste Saar in Saarbrücken, Germany).
grams for many major national and
international clients including: the
Dutch Postal and Telecom Services
(PTT), the ANWB (Dutch Automobile
Association), the Dutch Railways,
the Dutch Police, the Danish Post
(together with Kontrapunkt a/s,
Denmark) and the Czech Telecom.
Since 1980 he has periodically taught
and lectured at various universities
around the globe (among them the
Contemporary 63
http://www.historygraphicdesign.com/the-age-of-information/national-visions-within-a-global-dialogue/523-gert-dumbar
Tibor Kalman / M&Co Paula Scher

Cover for Mi-Sex 12" single "Computer Games" (1979)

Colors (1993)
Notorious (1992) 'Bring in Da Noise Bring in Da Funk' (1995)

Colors 7 Cover (1994)

'Bring in Da Noise Bring in Da Funk' (1995)

Tibor worked for a small book store. His designs for the covers of the Scher began her career creating film. Her work has been published
The store would eventually become first 13 issues garnered him much album covers for both Atlantic and internationally and her contributions
Barnes and Noble, the literary retail attention as a designer. CBS records. However, it was not to the field design are numerous.
giant, Tibor would become the long before she formed her own
director of their in-house design design company, and after only a few
firm. Together with Carol Boku- years there she joined Pentagram.
niewicz and Liz Trovato he formed During her career she has created
the design company M&Co. Tibor memorable identities and other work
Kalman is most famous for his for clients such as Citibank, Coca-
provocative work for the publica- Cola, the Metropolitan Opera, the
tions Interview, and especially Col- Museum of Modern Art and the New
ors. Kalman became the founding York Philharmonic, among others. Her
editor-in-chief of the magazine, style of design communicates with
which covered a specific, and often contemporary audiences through the
controversial, topic with each issue. use of pop iconography, music and

64 Contemporary Contemporary 65
http://www.designishistory.com/1980/tibor-kalman/ http://www.designishistory.com/1980/paula-scher/
Paul Sahre
(2010)
Paul Sahre has been called one of
the most influential graphic design-
ers of his generation and has oper-
ated his own independent practice
since 1997. He is a frequent visual
contributor to The New York Times,
authored books, redesigned two of
Canada’s largest magazines, built
and destroyed a life-sized monster
truck hearse for the band They
Might Be Giants and appeared in a
90’s Winona Rider film.
Paul received his BFA and MFA from
Kent State University and has taught
66 Contemporary
http://paulsahre.com/about
Stefan Sagmeister
Aizone
Malcolm Gladwell Collected(2011) Aizone
Invitation Defile 43(2008) CCNT - Hiver (2002)
(2012)
graphic design at the School of Born in Austria in 1962, Stefan about his personal success.
Visual Arts for the past 13 years. Sagmeister first started working
professionally in the field for Leo
Burnett, in their Hong Kong office
in 1991. After a short stint there he
began working with Tibor Kalman at
his studio M&Co. It wasn't long after
that that Tibor announced he was
closing the doors on M&Co, in 1993,
and Sagmeister formed Sagmeister,
Inc. Thoroughly convinced that the
reflection process was important
in his continued creativity he has
toured the design circuit giving
many lectures and presentations
Contemporary 67
http://www.designishistory.com/2000/sagmeister/
Ed Fella
Poster (1987)
Ed Fella spent 30 years as a com-
mercial artist in Detroit. During
that time he experimented with
typography and gave lectures to
students at the Cranbrook Academy
of Art. In 1987 he began teaching
design at the California Institute
of the Arts. His spare time has
been devoted to his own personal
experimentation, which, for the
most part, he self-publishes. His
has been awarded an honorary
doctorate from CCS in Detroit, the
AIGA medal and has been accepted
into the permanent collection of
68 Contemporary
http://www.designishistory.com/1980/ed-fella/
Cranbrook Thesis Project (1987)
the Museum of Modern Art in New
York. His style of personal, whimsical
and extremely detailed typography
has influenced the development of
much of modern typography.
David Carson
poster for his A.I.G.A. (2014)
poster for his A.I.G.A. (2014) poster for his A.I.G.A. (2014)
Poster (1992)
Ingrained within the surfing subcul- his design style, characterized by
ture of southern California, Carson "dirty" type which adheres to none
started experimenting with graphic of the standard practices of typog-
design during the mid 1980s. His raphy and is often illegible, with the
interest in the world of surfing gave widest audience.
him the opportunities to experiment
with design, working on several
different publications related to the
profession. Transworld Skateboard-
ing, Beach Culture, How Magazine
and RayGun were among the
primary publications on which he
worked. However, it was RayGun
where he gained perhaps the most
recognition and was able to share
Contemporary 69
http://www.designishistory.com/1980/david-carson/
Karel Martens
Untitled (1958)
Trained at the Arnhem School of Art traditional letterpress design work.
and Industrial Arts, Karel Martens
began work as a book designer
for presses like the Socialistiese
Uitgeverij Nijmegen for whom he
designed book covers between 1975
and 1981. Starting in 1977 he began
teaching at ArtEZ College of Art in
Arnhem while producing, during the
following three decades, designs
for the Dutch government including
coins, postage stamps and telephone
cards. In 1996 he published a cele-
brated book entitled Printed Matter,
containing pages of his digital and
70 Contemporary
https://collection.cooperhewitt.org/people/18064377/bio#ch
Mevis & van Deursen
Stedelijk Museum identity (2012) museum of contemporary art logo
IDEA magazine, 308 (2005)
Untitled (1963)
Untitled (1992)
Graphic designers Armand Mevis ment at the Gerrit Rietveld Academy,
He has also acted as a visiting pro- and Linda van Deursen live and while Mevis is a design critic at the
fessor at Yale University since 1997. work in Amsterdam, where they Werkplaats Typografie, Arnhem.
began their collaboration after
graduating from the Gerrit Rietveld
Academy in 1986. Mevis & Van
Deursen have been influential in
the development of contemporary
Dutch design and are known for
their intelligent and innovative work
for cultural clients. Their work has
been shown in museums and edu-
cational institutions throughout the
United States. Van Deursen serves as
head of the Graphic Design Depart-
Contemporary 71
http://www.walkerart.org/calendar/2006/armand-mevis-and-linda-van-deursen-mevis-van-
Erik Spiekermann
Poster 'Erik Spiekermann' (2012)
Erik Spiekermann, studied History
of Art and English in Berlin. He is an of Fame by the European Design
author, information architect, type
designer and author of books and
articles on type and typography.
He was the founder of MetaDe-
sign, Germany’s largest design firm
with offices in Berlin, London and
San Francisco. He is responsible
for corporate design programs for
Audi, Skoda, Volkswagen, Lexus,
Heidelberg Printing, Bosch and
way-finding projects like Berlin
Transit, Düsseldorf Airport and many
others. In May 2007 he was the first
72 Contemporary
https://www.fontfont.com/designers/erik-spiekermann
Experimental Jetset
Berliner Grotesk (1979)
Meta (1991) Loose Lips Build Ships poster created for The
Wolfsonian (2008)
Poster for the Stedelijk Museum CS (2004)
Poster for the 2010 Shelpley Bulfinch Summer
HWTArtz b (2014) Design Fellowship (2010)
designer to be elected into the Hall Experimental Jetset is a small, inde- their graduation. While their influ-
pendent, Amsterdam-based graphic ences are wide-ranging and varied,
Awards for Communication Design. design studio, founded in 1997 by their aesthetic is closely related to
(and still consisting of) Marieke that of the Modernist movement.
Stolk, Erwin Brinkers and Danny van
den Dungen. Focusing on printed
matter and site-specific installations,
and describing their methodology
as “turning language into objects”,
Experimental Jetset have worked on
projects for a wide variety of insti-
tutes. All three members are gradu-
ates of the Gerrit Rietveld Academy,
located in Amsterdam, and have
been collaborating since right after
Contemporary 73
http://www.experimentaljetset.nl/misc/about
http://www.designishistory.com/2000/experimental-jetset/
M/M Richard Niessen

Eye no. 84 vol. 21 (2012)

Balenciaga (2008)
the Elevator of Beauty (2015) Building Bricks Storage (2014)
Le Havre (2014)
The Alphabet (2001)

Founded in 1992 by Michael
Amzalag and Mathias Augustyniak.
They’ve worked together as graphic
designers and art directors on
fashion and art projects mostly for
longstanding clients and collab-
orators such as fashion designers
Yohji Yamamoto and Martine Sit-
bon, and the photographers Craig
McDean, Inez van Lamsweerde and
Vinoodh Matadin. After starting out
with music projects, M/M became
involved with Yamamoto and Sit-
bon in 1995 and have since worked
for other fashion houses including
Balenciaga, Louis Vuitton and Calvin
Klein. Their work in art ranges from
commissions for museums such
as Centre Georges Pompidou and
Palais de Tokyo, to collaborations
with artists like Philippe Parreno and
Pierre Hughe.
Richard Niessen graduated from the self-initiated projects (such as
the Gerrit Rietveld Academy in 1996. "JACK", "1:1:1", "Based on Bas Oudt")
He’s worked on a body of work that lead to experiments with presenta-
he calls ‘Typographic Masonry’ ever tion forms and collaborations with
since. This syncretic approach to other designers and artists.
graphic design, with a predilection
for printwork, creates a coherent
formal language exclusively to the
project at hand. Richard works for
various clients including artists like
Jennifer Tee and Ad de Jong, exhibi-
tion spaces as Cobra Museum and
Tijdelijk Museum and organizations
like the Stimuleringsfonds and
Rijksgebouwendienst. In addition,

74 Contemporary Contemporary 75
http://design.designmuseum.org/design/m-m http://www.richard-niessen.nl/info/about/
Geoff McFetridge
A Test For Emotional Intelligence (2016)
Geoff McFetridge’s stylized paint-
ings of figures and hands in pat-
terned formations have their roots
in the synergy between his fine
arts practice and prolific career as
a graphic designer. Working in a
simple palette of grays, blues, whites,
and pinks, he places his subjects
in humorous and everyday scenar-
ios. “Design language, which has a
relationship with abstraction, is very
accessible to me. My paintings are
as much rooted in logos as they
are in art history.” Beginning with
drawings, he composes his paintings
76 Contemporary
https://www.artsy.net/artist/geoff-mcfetridge
Antoine + Manuel
Forgetting Is What Infinity Feels Like (2016)
A Poem Looks Like What It Says (2015)
CCNT - Hiver (2002)
Invitation Defile 43(2008)
Comedie De Cleront (2014)
from simple geometric shapes and Antoine Audiau and Manuel Warosz work in furniture design, illustration,
flat two-dimensional planes of color, started working together in 1993 painting, and photography, showing
so that they resemble advertisements, as graphic designers at their firm, the true scope of their multidisci-
signs, maps, and other designed ele- Antoine+Manuel. Their work encom- plinary approach.
ments from the urban environment. passed their shared knowledge of
culture and Audiau’s knowledge of
fashion design. Their works have
spanned a wide range of projects
over the years, including designing
corporate identities for brands like
Christian Lacroix.
They have also worked on theaters
and museums, like LaComedie and
Collection Lambert, and have done
Contemporary 77
Source - http://www.cmog.org/glasslab/designers/antoine-audiau-and-manuel-warosz
Graphic
Design
79 ...... The Basel School Of Design
80 ...... California Institute of the Arts
School
81 ...... Cranbrook Academy of Art
82 ...... Gerrit Rietveld Academie
83 ...... Jan van Eyck Academie
84 ...... Rhode Island School of Design
85 ...... Royal College of Art
86 ...... Werkplaats Typografie
87 ...... Yale Graphic Design Program
78
The Basel School of Design
The Basel School of Design and its students have influenced the
international Graphic Design community since the 1960’s. Under the
direction of Armin Hofmann and Emil Ruder courses for Graphic
Design and Typography were developed. They were outstanding
models for a modernist design education.
Since the year 2000, the Swiss educational system has undergone
an astonishingly rapid process of adapting its educational insti-
tutions to the international standards of the Bachelor and Master
curricula at the University level. In this process the Visual Communi-
cation department became a separate institute from the vocational
level School of Design (Schule für Gestaltung Basel).
We are now part of the University system of Northwest Switzerland
and have developed a curriculum for the University level with inter-
national accreditation.Today the Visual Communication Institute/
The Basel School of Design offers a Bachelor's Degree program, an
international Master’s Degree program, international Summer Work-
shops, and is involved in many national and international research
and development projects.
Basel, Switzerland
Graphic Design School 79
http://www.fhnw.ch/hgk/ivk/the-basel-school-of-design-en
California Institute of the Arts
California Institute of the Arts is renowned globally as a game-changer
in the education of professional artists. The transformative cultural
impact of its alumni over the past half-century shows why: CalArts brings
out creative talent unlike any other university, school or conservatory.
Founded by Walt Disney, CalArts offers comprehensive degree pro-
grams across the full range of the visual, performing, media and liter-
ary arts through its six Schools. Admissions are decided primarily on
artistic merit and creative promise.
Valencia, California
80 Graphic Design School
http://www.designishistory.com/1960/bradbury-thompson/
Cranbrook Academy of Art
The 2D Department is the graduate graphic design department of
Cranbrook Academy of Art. The department is actively pursuing
work at the intersection of design and art. Traditional forms of
design, activities where the designer acts as a conduit for the com-
munication of a third-party message, and non-traditional forms of
design, activities where the designer’s agency is foregrounded, are
explored in the program. In both of these approaches to design,
the emphasis in the department is placed on the experimental.
Work being produced in the department falls on a continuum from
book, poster and letterform design, through installation, social prac-
tices and contemporary art. The results of these investigations often
exist at the threshold between design and art. In our conception,
the designer is a powerful cultural agent able to seamlessly engage
in many forms of cultural production.
Bloomfield Hills, Michigan
Graphic Design School 81
http://cranbrookart.edu/2d-department/departmental-philosophy/
Gerrit Rietveld Academie
The Gerrit Rietveld Academie is an independent school for higher
vocational education which is attended by some nine hundred
fifty students. The Executive Board manages all matters concern-
ing the Academie.
Relatively speaking the Rietveld Academie offers a wide range of
graduation courses that are grouped together within departments.
These are managed by coordinators, who are responsible for the
course programme and day-to-day affairs. Around one-hundred
and sixty part-time teachers work for the Academie, most of whom
are also working as independent artists or designers.
Some departments have their own workshop where students have
the opportunity to learn and develop certain skills. Next to these
there are general workshops for computers, wood, metal and
graphic techniques.
The Rietveld Academie is internationally orientated; around forty
percent of the students at the Academie originates from outside the
Netherlands. They come from more than forty different countries.
Therefore a lot of English is spoken at the academy and in some
classes English is the main language.
Amsterdam, Netherlands
82 Graphic Design School
http://www.saatchigallery.com/artcolleges/ArtCollege.php/Gerrit+Rietveld+Academie/3445.html
Jan van Eyck Academie
The Jan van Eyck Academie is a post-academic institute for
research and production in the fields of fine art, design and art
theory, based in Maastricht, Netherlands. The academy was estab-
lished in 1948 and is named after the painter Jan van Eyck. In 2013,
39 researches from countries around the world were working and
studying at the institute's premises in Jekerkwartier. In 2012, the
Hubert van Eyck Academie was established as a ‘teaching bridge’,
linking the Jan van Eyck Academy with Maastricht University and
other Maastricht art schools.
On 25 January 2012, the Hubert van Eyck Academie was estab-
lished as a post-academic institution aiming to develop teaching
facilities in partnership with the faculty of Cultural and Social
Sciences of Maastricht University and three Maastricht branches
of Hogeschool Zuyd (Zuyd University of Applied Sciences): the
Maastricht Academy of Dramatic Arts, the Maastricht Academy of
Music and the Maastricht Academy of Fine Arts.
Maastricht, Netherlands
Graphic Design School 83
www.janvaneyck.nl/
Rhode Island School of Design
Rhode Island School of Design is one of the oldest and best-known
colleges of art and design in the U.S. Each year approximately 2,300
students from around the world pursue a creative, studio-based
education at RISD, which offers rigorous bachelor’s and master’s
degree programs in 19 architecture, design, fine arts and art educa-
tion majors.
The college is located in Providence, Rhode Island, which offers
its own vibrant art scene and is conveniently located between two
other major cultural centers: Boston and New York.
Providence, Rhode Island
84 Graphic Design School
http://www.designishistory.com/1960/bradbury-thompson/
Royal College of Art
The RCA offers 24 programmes across the art and design dis-
ciplines, delivered through six integral schools. The six schools
focus on architecture, design, fine art, humanities, communication
and material. MA programmes and MPhil/PhD research are done
through the schools. Every programme offers a full package of
assisted learning through tutorials, seminars and support for indi-
vidual and group projects. Facilities and technical equipment on
offer at the college are among the best of their kind in the world.
The RCA has strong connections with creative industries and the
professional worlds of art and design.Numerous projects, prizes
and award schemes are sponsored by industrial partners each
year. The annual Summer Show of final year student work is one
of the main highlights of the UK art and design events calendar,
attracting many potential patrons and employers.
London , UK
Graphic Design School 85
https://www.rca.ac.uk
Werkplaats Typografie
The Werkplaats Typografie (WT), a part of the ArtEZ University of
the Arts, is a two-year graphic design masters programme founded
in 1998 by Karel Martens and Wigger Bierma. The WT is centered
on assignments and self-initiated projects with lectures, seminars,
meetings and readings geared towards self-accountable and inde-
pendently motivated work and research.
Karel Martens is a dutch freelance graphic designer tha specialized
in typographie. He graduated from Arnhem Academy of Art and
Industrial Arts of the Netherlands in 1961.
Arnhem, Netherlands
86 Graphic Design School
http://www.werkplaatstypografie.org/info/
Yale Graphic Design Program
Yale School of Art is the art school of Yale University. It was
founded as the first professional fine arts school in the United
States and grants Masters of Fine Arts degrees to students com-
pleting a two-year course in graphic design, painting/printmaking,
photography, or sculpture.
The department of graphic design (initially called graphic arts)
was begun in 1951 under the direction of Alvin Eisenman. It was
the first graduate program in graphic design in the United States.
Joseph Albers came to the school in the same decade, and under
his chairmanship the Departments of Painting and Sculpture were
renamed the “Department of Design.”
New Haven, Connecticut
Graphic Design School 87
http://www.artofthetitle.com/designer/saul-bass/
Design
Publications 90 ...... AIGA

90 ...... Design Observer

Organizations
90 ...... BP&O

91 ...... Google Design

Blogs
91 ...... Eye

91 ...... Idea

92 ...... Grafik

92 ...... Graphis

92 ...... Print

93 ...... Communication Arts

93 ...... Emigre

93 ...... Dot, Dot, Dot

88 89
 AIGA
The American Institute of Graphic
Arts (AIGA) is a professional
organization for design. They
practice communication design,
including graphic design,
typography, interaction design,
branding and identity.
http://www.aiga.org/about/
Design Observer
Communication Arts is the
international trade journal of
visual communications founded in
1959. They provide inspiration for
graphic designers, art directors,
design firms, corporate design
departments, advertising agencies,
interactive designers, illustrators and
photographers—everyone involved
in visual communication.
https://en.wikipedia.org/wiki/Design_Observer
BP&O
BP&O is a blog dedicated to
sharing opinion on the latest brand
identity and package design run by
British designer Richard Baird.
https://www.patreon.com/bpando
90 Type Terms
Google Design
Google Design is a cooperative
effort led by a group of designers,
writers, and developers at Google.
They work across teams to create
tools, resources, events and
publications that support and
further design and technology both
inside and outside of Google.
https://design.google.com/about/
Eye (Magazine)
IDEA magazine was first in 1953
founded by Seibundo Shinkosha
Co.,Ltd. IDEA focuses on graphic
design and typography, published
quarterly in Tokyo, Japan.
http://www.eyemagazine.com/about
Idea (Magazine)
This classification of type has little
or no variation between thick and
thin strokes, lack of serifs, larger
x-height and no stress in rounded
strokes Influenced by the European
Bauhaus and De Stijl Movements.
http://www.idea-mag.com/en/about/
Type Terms 91
http://graphicdesign.spokanefalls.edu/
 Grafik (Magazine) Communication Arts (Magazine)

Grafik was a specialist London- Communication Arts is the

based bi-monthly magazine on international trade journal of
graphic design and visual culture. visual communications founded in
Grafik first published in 2003 and 1959. They provide inspiration for
ended after 2011. graphic designers, art directors,
design firms, corporate design
departments, advertising agencies,
interactive designers, illustrators and
photographers—everyone involved
in visual communication.

https://en.wikipedia.org/wiki/Grafik_(magazine) http://www.commarts.com/aboutus

Graphis Emigre (Magazine)

Graphis magazine was first Emigre is a digital type foundry

published in 1944 by Walter Herdeg based in Berkeley, California
and Dr. Walter Amstutz in Zürich, founded in 1984. They published
Switzerland. They are committed to journals and created numerous
presenting and promoting the work digital layouts and typefaces.
of exceptional talent in Graphic
Design, Advertising, Photography
and Art/Illustration.

http://www.graphis.com/about/ http://www.emigre.com/AboutEmigre.php

Print Dot, Dot, Dot (Magazine)

Print, A Quarterly Journal of the Dot, Dot, Dot was a magazine of

Graphic Arts was a limited edition visual culture produced and edited
quarterly periodical begun in 1940 by graphic designers Stuart Bailey,
and continued under different Peter Bilak, and David Reinfurt. Dot,
names up to the present day Dot, Dot ran from 2001 to 2010,
as Print, a bimonthly American publishing 20 issues of journals.
magazine about visual culture and
design. Currently, Print documents
and critiques commercial, social,
and environmental design.

https://en.wikipedia.org/wiki/Print_(magazine)
http://www.printmag.com/about-us/ https://en.wikipedia.org/wiki/Dot_Dot_Dot_(magazine)

92 Type Terms Type Terms 93

http://graphicdesign.spokanefalls.edu/
Personal
Design
Atlas ...... 96 - 121

94 95
Personal Design Atlas

Antoine+Manuel - Schools is cools! (2012)

Akatre - TU Nantes visuals (2014)
Alexia Roux - Le Quotidien des Tranchees (2015)

Antoine+Manuel - Olympus (2009)

Antoine+Manuel - Uzès danse(2015)
Antoine+Manuel - Une saison danse (2012)
Antoine+Manuel - Invitation Defile 43 (2008)
Akatre - Studio 13/16 (2015) Antoine+Manuel - Carte avant-programme (2009)
Antoine+Manuel - Abonnez-vous!(2014)

96 Personal Design Atlas Personal Design Atlas 97

 Bonsoir Paris - Metal (2014)
Benoit Challand - Furniture (2014)

Giga Kobidze - SEVEN - Diversities of Human

Benoit Challand - Lost Behaviour (2014) Giga Kobidze - BEWARE of FALSE PROPHETS
(2012)

Giga Kobidze - Anonymous (2015)

Bonsoir Paris - En noir (2015)
Avant Post - Les Salins (2014)

Bonsoir Paris - En noir (2015) In the Pool - Paris Climat (2015)

Jonas Sellami aka sella - Fluxe (2013)

98 Personal Design Atlas Personal Design Atlas 99

 Marc Da Cunha Lopes - La Chasse (2014)

Jonas Sellami aka sella - Fluxe (2013)

Lili des Bellons - Neon (2015)

Marc Da Cunha Lopes - La Chasse (2014)

100 Personal Design Atlas Personal Design Atlas 101

 Studio Dessuant Bone - Fasted (2015) Pierre Jeanneau - Pacha mama (2015)
Julien Lelièvre - LE HOUR LE PLUS COURT
(2012)

Pierre Sponchiado - Celebrating Earth - Welcome

Home (2015)

Pierre Jeanneau - Théâtre de Belleville pro-

Les produits de l'épicerie - La Rose Des Vents grammes & posters (2011-15)
Les produits de l'épicerie - constellations Les produits de l'épicerie - Tell Pierre Jeanneau - Théâtre de Belleville pro- Pierre Jeanneau - Théâtre de Belleville pro-
Saison 13.14
grammes & posters (2011-15) grammes & posters (2011-15)

102 Personal Design Atlas Personal Design Atlas 103

 Studio Paris se quema - Superbox (2015)

Studio Paris se quema - Art Mobile(s) (2015)

Studio My Name is Wendy - Meteor Project /

Infastructure (2013)

Studio My Name is Wendy - Mallarme's Book (2015) Studio My Name is Wendy - Mallarme's Book (2015) Violaine et Jérémy - Théâtre des Bouffes du Nord
Identity (2015)

Studio My Name is Wendy - Meteor Project Poster

(2013)
Studio Paris se quema - Art Mobile(s) (2015)

104 Personal Design Atlas Personal Design Atlas 105

 Bartholot - Tool Kit (2016)

Dvoika - Andriy Fedoriv's biography (2015)

Büro Bum Bum - Patterns in Disguise

Bartholot - Tool Kit (2016)

Dvoika - Andriy Fedoriv's biography (2015)

Dvoika - Cover for EP Ghallas (2016)

Büro Bum Bum - Patterns in Disguise
Bartholot - Fadfest Cover (2016) Bartholot - Fadfest Cover (2016)

106 Personal Design Atlas Personal Design Atlas 107

 Eps51 - BiScriptual (2015)

Eps51 - M4 Show Cards (2012-15)

Eps51 - ReLevant (2014)

Eps51 - BiScriptual (2015)
Eps51 - BiScriptual (2015)

108 Personal Design Atlas Personal Design Atlas 109

 Eps51 - Palais Monthly Programme (2012-15)
Eps51 - M4 Show Cards (2012-15) Eps51 - M4 Show Cards (2012-15)
Fons Hickmann M23 - Semperoper Premiereposter Fons Hickmann M23 - Semperoper Premiereposter Fons Hickmann M23 - Semperoper Premiereposter
(2012-13) (2012-13) (2012-13)

Eps51 - Palais Monthly Programme (2012-15)

Eps51 - M4 Show Cards (2012-15) Eps51 - M4 Show Cards (2012-15) Fons Hickmann M23 - Agi São Paulo (2014)

Fons Hickmann M23 - Semperoper Premiereposter Fons Hickmann M23 - Semperoper Premiereposter Fons Hickmann M23 - Semperoper Premiereposter
(2012-13) (2012-13) (2012-13)

110 Personal Design Atlas Personal Design Atlas 111

 Herburg Weiland - Gold (2016)
Hochburg - Achtender (2014)
Fons Hickmann M23 - Silent Movie Festival

Herburg Weiland - Michaela Melián Electric

Ladyland (2016)
Fons Hickmann M23 - Jüdisches Museum Berlin Fons Hickmann M23 - Jüdisches Museum Berlin Fons Hickmann M23 - Semperoper Premiereposter Hubert & Fischer - ZF Art Foundation (2013) Hubert & Fischer - ZF Art Foundation (2013)
Heimatkunde (2011-12) Heimatkunde (2011-12) Fons Hickmann M23 - Silent Movie Festival (2012-13)

112 Personal Design Atlas Personal Design Atlas 113

 I Like Birds - Graphic Design Festival Breda (2015) I Like Birds - Graphic Design Festival Breda (2015)

I Like Birds - Nido - Less is more (2015) I Like Birds - Nido - Less is more (2015)

Hubert & Fischer - ZF Art Foundation (2013) Hubert & Fischer - ZF Art Foundation (2013)
I Like Birds - Graphic Design Festival Breda (2015) I Like Birds - Graphic Design Festival Breda (2015)

114 Personal Design Atlas Personal Design Atlas 115

 Maison Vignaux - Ask the Dust (2015) Maison Vignaux - Moonlit (2016)

I Like Birds - Nido - Less is more (2015)

KoeperherFurth - Picknick am Wegesrand (2016) Marcel Häusler Grafik - One Poster a Day (2014) Marcel Häusler Grafik - One Poster a Day (2014)

Maison Vignaux - Moonlit (2016)

Maison Vignaux - Ask the Dust (2015)

116 Personal Design Atlas Personal Design Atlas 117

 OUI R creative Studio - Industrial Escape (2016)

Sebastian Schwamm - Happy Freak Mess (2013)

OUI R creative Studio - The boarder between

dream and reality (2010)

OUI R creative Studio - Self Promotion (2013)

Studio Mennicke - Deutscher Preis für

Innovationsjournalismus (2013)

Marcel Häusler Grafik - One Poster a Day (2014)

Studio Mennicke - CARE affair (2013) Studio Mennicke - CARE affair (2013) Studio Mennicke - CARE affair (2013)

118 Personal Design Atlas Personal Design Atlas 119

 unfun.de - Superklub (2013-16)
unfun.de - 404 EAST

unfun.de - Superklub (2013-16) unfun.de - Superklub (2013-16)

unfun.de - Kunstverein Nürnberg poster (2013-15) unfun.de - Kunstverein Nürnberg poster (2013-15)
unfun.de - Superklub (2013-16)

120 Personal Design Atlas Personal Design Atlas 121

Visual 124 - 125 ...... Gastalt Theory 129 ...... Static 132 ...... Color

Principles 126 ...... Hierarchy

126 ...... Composition

127 ...... Similarity

129 ...... Dynamic

130 ...... Balance

130 ...... Scale

133 ...... Organic

133 ...... Linear

133 ...... Inventiveness

127 ...... Contrast 130 ...... Weight

127 ...... Symmetrical 131 ...... Direction

128 ...... Asymmetrical 131 ...... Texture

128 ...... Order 131 ...... Form

128 ...... Unity 132 ...... Space

129 ...... Variety 132 ...... Value

122 123

Gastalt Theory
Gestalt is a psychology term which means "unified whole".
It refers to theories of visual perception developed by
German psychologists in the 1920s. These theories attempt
to describe how people tend to organize visual elements
into groups or unified wholes when certain principles are
applied. These principles are:
Similarity
The principle of similarity states
that things which share visual
characteristics such as shape, size,
color, texture, value or orientation
will be seen as belonging together.
Continuation
This Gestalt law states that learners
"tend to continue shapes beyond their
ending points".
The edge of one shape will continue
into the space and meet up with other
shapes or the edge of the picture plane.
124 Visual Principles
Closure
The satisfaction of a pattern
encoded, as it were, into the brain,
thus triggering recognition of the
stimulus. This can involve the brain's
provision of missing details thought
to be a part of a potential pattern,
or, once closure is achieved, the
elimination of details unnecessary to
establish a pattern match.
Proximity
The Gestalt law of proximity states
that "objects or shapes that are
close to one another appear to form
groups". Even if the shapes, sizes,
and objects are radically different,
they will appear as a group if they
are close together.
Figure and Ground
The eye differentiates an object
form its surrounding area. a form,
silhouette, or shape is naturrally
perceived as figure (object), while
the surrounding area is perceived as
ground (background).
Balancing figure and ground can
make the perceived image more
clear. Using unusual figure/ground
relationships can add interest and
sublety to an image.
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 Similarity

Visual Principles (noun)

the state or fact of being similar.

Hierarchy
(noun)
a system or organization in which
people or groups are ranked one
above the other according to status
or authority.
Visual hierarchy refers to the Contrast Contrast refers to the arrangement
arrangement or presentation of of opposite elements (light vs. dark
elements in a way that implies (noun) colors, rough vs. smooth textures,
importance. In other words, visual the state of being strikingly large vs. small shapes, etc.) in a
hierarchy influences the order in different from something else, piece so as to create visual interest,
which the human eye perceives typically something in juxtaposition excitement and drama.
what it sees. This order is created by or close association.
the visual contrast between forms in
a field of perception.

Composition Visual composition is the placement Symmetrical

or arrangement of visual elements
(noun) or ingredients in a work of art, as (adjective)
the nature of something's ingredients distinct from the subject. made up of exactly similar parts
or constituents; the way in which a facing each other or around an axis;
whole or mixture is made up. showing symmetry.

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 Asymmetrical Variety

(adjective) (noun)
having parts that fail to correspond the quality or state of being
to one another in shape, size, or different or diverse; the absence of
arrangement; lacking symmetry. uniformity, sameness, or monotony.

Order Static

(noun) (adjective)
the arrangement or disposition characterized by a lack of movement,
of people or things in relation to animation, or progression
each other according to a particular
sequence, pattern, or method. producing an effect of repose
or quiescence

Unity Visual unity is one of the most Dynamic

important aspects of well-developed
(noun) art and is planned by the artist. (adjective)
the state of being united or joined Unity provides the cohesive quailty characterized by constant change,
as a whole. that makes an artwork feel complete activity, or progress.
and finished. When all the elements
in a work look as though they
belong together, the artist has
achieved unity.

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 Balance Balance is the concept of visual
equilibrium, and relates to our
(noun) physical sense of balance. It is a
a condition in which different reconciliation of opposing forces in
elements are equal or in the a composition that results in visual
correct proportions. stability. Most successful compositions
achieve balance in one of two ways:
symmetrically or asymmetrically.
Scale Scale and proportion in art are both
concerned with size. Scale refers
(noun) to the size of an object (a whole)
the relative size or extent of something. in relationship to another object
(another whole).
Weight Physical weight is a measure of
the force that gravity exerts on an
(noun) object, but two-dimensional objects
the amount or quantity of heaviness (such as elements on a web page)
or mass; amount a thing weighs. don't have mass and, therefore,
don't have any physical weight.
Visual weight is a measure of the
force that an element exerts to
attract the eye.
130 Visual Principles
Direction Visual direction is about leading
the eye to the next location. Visual
(noun) direction is the perceived direction
a course along which someone or of visual forces. Think of it as the
something moves. direction you would expect an
element to move if it were in motion.
Texture Texture refers to the surface quality
in a work of art. We associate
(noun) textures with the way that things
the feel, appearance, or consistency look or feel. Everything has some
of a surface or a substance. type of texture. We describe things
as being rough, smooth, silky, shiny,
fuzzy and so on.
Form Form is very similar to the element
of design shape. The difference is
(noun) that the term is form is used in art
the visible shape or configuration work that has three dimensions
of something. instead of two as shapes. The three
dimensions are length, width and
depth. Two types of forms are
geometric and organic forms.
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 Space The Element of Design Space refers to Organic Are shapes with a natural look and a
the area within, around, above or below flowing and curving appearance.
(noun) an object or objects. It is important to (adjective) Organic shapes and forms are
creating and understanding both two
the dimensions of height, depth, relating to or derived from living matter. typically irregular or asymmetrical.
dimensional or three dimensional works
and width within which all things of art. With three dimensional art the Organic shapes are associated with
exist and move. space things occupy is real as is the space things from the natural world, like
around object. In two dimensional art this plants and animals.
is definitely not the case. Two dimensionall
art exists on a flat surface, so if something
looks three dimensional- it is an illusion!
Even the most realistic paintings or
photographs are illusions. Two dimensional
artists use a number of "tricks" for creating
the illusion of depth in their art.

Value The term value is used in the Linear Often called geometric
language of Art to refer to the Are circles, rectangles, squares,
(noun) "value" of light. The more light, the (adjective) triangles and so on - have the clear
the relative degree of lightness or higher the the value. White is the arranged in or extending along a edges one achieves when using
darkness of a particular color. highest or lightest value.On the other straight or nearly straight line. tools to create them.
hand , black is the lowest or darkest Most geometric shapes are made
value. Colors have value as well. by humans, though crystals are
Yellow for example has a relatively also considered to be geometric
high (light) value, while violet has a despite the fact that they are made
relatively low value (dark). in nature.

Color Of all the Elements of Design, color Inventiveness Inventiveness refers to work that is
is probably the most challenging does not exist already. Often time
(noun) to understand. We have to learn a (noun) very experimental. Something new
the property possessed by an object little science to fully understand the the quality of being inventive; creativity. and interesting.
of producing different sensations nature of color. Color has three main
on the eye as a result of the way the properites: hue, value and intensity.
object reflects or emits light.

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Communication Dog Food Semiotic
Royal Canin
Category
Health

Principles
Scientific
Professional
Photographic Images
Yorkshire Terrier - Stylized
Dog food - Stylized
Illustration
Yorkshire Terrier Logo - Crown
Inch marks Chart - dog food, timer, dog
135 ...... Dog Food Semiotic: Royal Canin Arrows
Style
How to open

Minimal
Scientific

136 ...... Dog Food Semiotic: Cesar Classic

Emphasizes health benefits
Package shape, type
Plastic zip bag
Material
Coated foil
137 ...... Dog Food Semiotic: Green Cow Plastic seal
Colors
Gold - Background
White - Classification, Charts, Background

138 ...... Image Series: Denotation, Red - Logo

Grey - Headers, Sub-headers
Black - Body type
Connotation, Methphor, Pun Abstract elements
Logo
Moon shape on dog food illustration
Texture
139 ...... Image Annotation Ecercise Shiny
Plastic

Still Image
Smooth
Typography
Rounded Sans Serif - Logo
Sans Serif

140 ...... Apple iPad "Your Verse."

Marketing language
141 ...... 2014 Cadillac ELR "Poolside" Suggests it will keep the coat healthy
Justifies why this is the best

134 Graphic Design School 135

Dog Food Semiotic Dog Food Semiotic
Cesar Classic Green Cow
Marketing language Category
Professional Marketing language Category
Budget
Natural Exotic
High quality Mainstream
Photographic Images
Maintenance dog food for adult dog Photographic Images
No Photographic Image
Fancy Maltese
Image of the food
Improved Formula Illustration
Cow - Stylized

Marketed towards adult dogs (On plate, decorated with parsley)

Illustration
Style
Bright vibrant color - Metallic Green, Yellow
No Illustration Wimsical
Style Looks risky
Sophisticated Package shape, type
Minimal Aluminum can
Upper class Material
Package shape, type Aluminum
Small Rounded Square box Paper
Compact Colors
Light Metallic Green
Material Yellow Stripe
Foil Black
Sturdy Plastic White
Colors Abstract elements
Purple Star burst shape - Pow!
Black Texture
White Shiny
Gold Smooth
Brown Typography
Abstract elements Sans Serif - Ugly af
Oval shape in logo Headers: Green with Black outline stroke
Texture Logo: Green with White outline stroke
Smooth
Shiny
Typography
Script (Logo)
Sans Serif - Dominant

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Image Series: Image Annotation Ecercise
Denotation, Connotation, Methphor, Pun Still Image
Denotation Denotative Clues
KFC
Denotative Meaning
KFC: KFC is everywhere and it is
Dam Middle Eastern
Pepsi
well known
Middle Eastern: Image is taken in
Eatting Food Middle Eastern country. People are
Store generally rich
Expensive looking Watch Food: Lots of food represents

Connotation Metal Table

Mall Area
Arabic
wealth. Fast food chains.
Dubai: Wealthy accessories, rich
people.
Wall English
Dubai

Connotation
Metaphor Americanization
Capitalism
Restriction Materialism

Pun Communication
Rich people eatting KFC in Dubai Mall
Damn

138 Image Series Image Annotation - Still Image 139

Apple iPad "Your Verse" 2014 Cadillac ELR "Poolside"
Agency: Chiat TBWA - Media Arts Lab Agency: Rogue
Denotative Clues Denotative Meaning Denotative Clues Denotative Meaning
iPad Culture: All mankind regardless of Pool Pool: Symbol of wealth. Big house,
Different Culture their gender or race are included. White family nice pool, nice car.
Art Different Place: Apple can be found Expensive House White Family: Patriotism and the
Music everywhere in the world. Modern House "American Way of living."
Poetry Apple products / Applications: iPad Casual Clothing Suit: Another symbol of wealth. Also
World Wide has endless possibility. Expensive Suit symbol of confidence.
Education Different Job: iPad is used Cadillac Cadillac: Luxurious car for american
Rescue everywhere in different professions. Electric Cord family. It's reward for those who
Enabler All age: Everyone can use iPad easily. Eco System worked hard.
Contributor Hard Working
Writing Children Reading
Reading Patriotism
Weather
Tool
All age Group Connotation Connotation
Capitalism Capitalism
Materialistic Materialistic
Development Patriotism

Communication Communication
iPad is ubiquitous tool for creativity where it is used Cadillac is a luxury you could enjoy as a reward for working
everywhere by everyone. You can take a part by using iPad. hard. If you are American and wealthy, you need to buy
(Apple is essential in your life) Cadillac to prove yourself.

140 Image Annotation - Advertising Image Annotation - Advertising 141

Type 144 ...... Old Style 147 ...... Stroke 151 ...... Font

Term
144 ...... Transitional 148 ...... Bracket 151 ...... Point

145 ...... Modern 148 ...... Roman 151 ...... Pica

145 ...... Slab serif / Egyptian 148 ...... Italic 152 ...... Leading

145 ...... Sans Serif / Contemporary 149 ...... Upper case 152 ...... Kerning

146 ...... Stress 149 ...... Lower case 152 ...... Letter spacing

146 ...... Thicks and thins 149 ...... Ascenders 153 ...... Word spacing

146 ...... Serif 150 ...... descenders

147 ...... Sans-serif 150 ...... Counter-space

147 ...... Character 150 ...... X-height

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Type Terms
Old Style (15-17th century)
This classification of type has a
minimal variation of thick and thin
strokes, small, coarse serifs, often
with slightly concave bases, small
x-heights, and In the round strokes,
the stress is diagonal, or oblique, as
their designs mimic the hand-held
angle of the pen nibs of the scribes.
Transitional (mid 18th century)
This classification of type has a
greater contrast between thick and
thin strokes, wider, gracefully
bracketed serifs with flat bases,
vertical stress in rounded strokes
and the height of capitals matches
that of ascenders.
144 Type Terms
Didone / Modern
(late 18th century)
This classification of type has
extreme contrast between thick and
thin strokes,hairline serifs without
bracketing, small x-height and
vertical stress in rounded strokes.
Slab Serif/Egyptian (19th century)
This classification of type has
minimal variation of thick and thin
strokes,heavy serifs with squared-off
ends,large x-heights and vertical
stress in rounded strokes heavily
impacted by the mass production
during Industrial Revolution.
Sans Serif/Contemporary
(19th-20th century)
This classification of type has little
or no variation between thick and
thin strokes, lack of serifs, larger
x-height and no stress in rounded
strokes Influenced by the European
Bauhaus and De Stijl Movements.
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 Stress
The term ‘Stress’ pertains to what
are sometimes called the ‘Thick-
Thin’ transitions on opposite sides
the rounded or circular portion of
the font that encloses the counter,
known as a bowl. Stresses/thicks
and thins are utilized to mimic the
human touch in early type usage.
Thinks and thins
Similar to stress, thicks and thins
refer to the way weight is carried/
dispersed throughout the letterform.
The angle, direction, and pressure
of a pen or brush can produce
seemingly endless models of thick
and thin in calligraphy and lettering.
Serif
Serifs are semi-structural details on
the ends of some of the strokes
that make up letters and symbols.
A typeface that has serifs is called
a serif typeface. Some of the main
classifications of Serif type are:
Blackletter, Venetian, Garalde,
Modern, Slab Serif, Transitional,
and Informal.
146 Type Terms
Sans-serif
In typography, a sans serif or sans-serif
typeface is one that does not have the
small projecting features called "serifs"
at the end of strokes. The term comes
from the French word sans, meaning
"without". In print, sans-serif fonts are
more typically used for headlines than
for body text, while sans-serif fonts
have become the de facto standard for
body text on-screen, especially online.
Character
The term ‘Stress’ pertains to what
are sometimes called the ‘Thick-
Thin’ transitions on opposite sides
the rounded or circular portion of
the font that encloses the counter,
known as a bowl. Stresses/thicks
and thins are utilized to mimic the
human touch in early type usage.
Stroke
The main diagonal portion of a
letterform such as in N, M, or Y is
the stroke. The stroke is secondary
to the main stem(s). Some
letterforms with two diagonals, such
as A or V have a stem (the primary
vertical or near-vertical stroke) and a
stroke (the main diagonal).
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 Bracket
The bracket is a curved or wedge-
like connection between the stem
and serif of some fonts. Not all
serifs are bracketed serifs.
Brackets can have different shapes
with deep or gentle curves. Brackets
may taper all the way to the end
of the serif or attach at a midpoint
before the serif ends.
Roman
The normal typography style in
which the vertical lines of the
characters are straight up and not
on an angle. It is the opposite of
italic, which uses slanted lines.
Italic
(noun)
the property possessed by an object
of producing different sensations
on the eye as a result of the way the
object reflects or emits light.
148 Type Terms
Upper case
The capital letters of the alphabet are
uppercase glyphs. Uppercase letters
are normally used at the beginning
of sentences and as the first letter of
proper names.
Lower Case
The little letters or non-capital
letters of the alphabet are lowercase
glyphs. They make up the bulk
of written text, with uppercase or
capital letters used primarily only to
start sentences or proper names.
Ascenders
The part of the lowercase letter that
rises above the body, as in b,d,f,h,k,l
and t.
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 Descenders
The part of the lowercase letter that
falls below the body of the letter, as
in g, j, p, q, and y.
Counter-space
Space enclosed by the strokes of a
letter, such as the bowl of b,d,p, etc.
X-height
Height of the Body of lowercase
letters, exclusive of ascenders
and descenders.
150 Type Terms
Font
Complete assembly of all the
characters (uppercase and
lowercase letters, numerals,
punctuation marks, points, reference
marks, etc.). Traditionally, a font
referred to one size of one typeface;
today a font is not size specific.
Point
Smallest typographical unit of
measurement: 12 points = 1 pica,
and 1 point = approximately 1/72 of
an inch. Type is measured in terms
of points, the standard sizes being
6, 8, 10, 12, 14, 18, 24, 30, 36, 42, 48,
60, and 72 points in body size.
Pica
A typographic unit of measurement: 12
points = 1 pica, and 6 picas = 1 inch.
Also used to designate type-writer type
10 characters per inch (as opposed
to elite typewriter type, which has 12
characters per inch).
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 Leading Word Spacing

Also called linespacing. In metal Word spacing refers to the space

type composition, the insertion of
leads between lines of type. The
term is still used to indicate space
added between lines of type.
between letters and words respectively.
Adjusting the spacing between letters
and words not only affects the number
of characters that can be set on a
line, but also readability. The looser
the setting, the fewer characters per
line; the tighter the setting, the more
characters per line.

Kerning

Kerning is the spacing in between

individual characters. Most fonts
will have specific default kerning for
individual character sets so that the
spacing in between the letters in
words feels more natural.

Letter Spacing

Also known as char­ac­ter spac­ing

or track­ing, letter spacing is the
ad­just­ment of the hor­i­zon­tal white
space be­tween the let­ters in a block
of text. Un­like kern­ing, which af­fects
only des­ig­nated pairs of let­ters, let­
terspac­ing af­fects every pair.

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