Graphic Design Index
Graphic Design Index
Graphic Design Index
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)
9 ...... Post-modernism
Varvara Stepanova - Cover for Children and the Alexander Rodchenko - Books (The Advertisement
Cinema (1928) Poster for the Lengiz Publishing House) (1924)
the horrors of World War I and the wish to remake society in its painting and abstract art, all had precursors in the 19th century. Seymour Chwast - VISIT DANTE'S INFERNO (1967)
aftermath. Viewing art as a means of social and spiritual redemp- A notable characteristic of modernism is self-consciousness and
tion, the members of De Stijl embraced a utopian vision of art and irony concerning literary and social traditions, which often led
its transformative potential. to experiments with form, along with the use of techniques that
drew attention to the processes and materials used in creating a
Even though De Stijl artists created work embodying the move- painting, poem, building, etc. Modernism explicitly rejected the
ment's utopian vision, their realization that this vision was unattain- ideology of realism and makes use of the works of the past by
able in the real world essentially brought about the group's demise. the employment of reprise, incorporation, rewriting, recapitulation,
Ultimately, De Stijl's continuing fame is largely the result of the revision and parody.
enduring achievement of its best-known member and true mod-
ern master, Piet Mondrian.
Gerrit Rietveld - The Rietveld Schröder House (1924) Wim Crouwel - Preisträger der stankows-
ki-stiftung (1991)
Joseph Müller-Brockmann - Zürich Town Hall Siegfried Odermatt - union poster (1980)
Poster (1955)
Joseph Müller-Brockmann (1962)
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
19 ...... Advertising
DISCIPLINES
20 ...... Motion Design
21 ...... Illustration
14 15
Web / Interactive Design Brand Design
http://www.alexandrerochet.com/about
Web design is the process of creating websites. It entails several Brand Identity is the combined message transmitted via the brand
aspects including, webpage layout, content production, and name, logo, style and visuals. Brand design is essentially ‘how’ a
graphic design. While web design is useful, it falls into a larger cat- business wants to be perceived by customers and the general
egory of interactive design. Interactive design is design based off public. It is through such design that a brand strives to commu-
of user-oriented studies that focuses primarily on communication nicate clearly with the target audience. Identity and brand image
of media through the collaborative processes between the user differ; identity being the goal of broadcasting a strong message
and technology. to the consumer populace while brand image is the summary Nike_Nike_1978
opinion formed within the marketplace.
http://www.femmefatale.paris/en/contact Starbucks - Lippincott and Starbucks Global
Creative Team (2011)
Poilu Paintbrushes - Simon Laliberté Stop the Violence - Terremoto Propaganda (2012) Stop the Violence - Terremoto Propaganda (2012)
Festina Waterproof Watches - Ralf Schroder
Nike Air - Scholz & Friends Muscle Surprise - Wieden & Kennedy (2009)
The discipline of package design focuses on producing a container Advertising design refers to the creation and organization of visual
that will get noticed. By skillfully teaming colorful graphics, a unique artwork used in advertisements for products and services. The
shape, or any other eye-arresting method, the package designer designs used in advertising are created by graphic designers, and
is a key played in any company’s marketing effort. Customers are advertising agencies as well as the advertising departments of
drawn, more than anything to products that look good. Something corporations employ these professionals to create and execute
Trident Gum - Hani Douaji
that is well designed and interesting is bound to attract more poten- brochures, direct mail, web ads, and print ads. The difference
tial customers that a product that is poor designed and looks bland. 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.
Nike Air Zoon Elite 8 - Ryan Dunn (2016) ARIEL AMBROSIA - Oriol Puig (Trizz) (2013)
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 Illustration is a decoration, interpretation or visual explanation of
design principles but in a filmmaking or video production context a text, concept or process, designed for integration in published
through the use of animation or filmic techniques. Examples include media, such as posters, flyers, magazines, books, teaching mate-
kinetic typography and graphics used in film and television opening rials, animations, videogames, and films. Illustration covers a wide
title sequences. Furthermore, motion graphics can also extend to range of mediums and techniques including drawing, painting,
business as logos are often animated and are applied to motion printmaking, collage, montage, etc. Illustration utilizes visuals to Where the Wild Things are - Maurice Sendak (1963)
graphics. Motion graphics are kinetic visuals. push further meaning or purpose. Nike Store - Gabriel Moreno (2011)
National Center for Civil and Human Rights Off the Wall - Z-A Studio
Exhibit Design - David Rockwell
Papercut - Studiospass
Queens Metropolitan Campus - Paula Scher Alessi Juicy Salif - Phillipe Starck (1990) Braun TP1 - Dieter Rams (1959) Dyson cyclone vacuum - James Dyson (1991)
Exhibit/exhibition design is the process of developing an exhibit Industrial design is a process of design applied to products that Hasselblad 500C Camera (1957)
from a concept through to a physical, three-dimensional exhibition. are to be manufactured through techniques of mass production.
it is a continually evolving field, drawing on innovative, creative Its key characteristic is that design is separated from manufacture:
and practical solutions to the challenge of developing communica- the creative act of determining and dining a product’s form and
tive environments to represent a narrative in a three-dimensional features takes place in advance of the physical act of making a
space. exhibition designers utilize a wide range of technologies and product, which consists purely of repeated, often automated, repli-
First Papers of Surrealism - Marcel Duchamp (1942) techniques to develop experiences that will resonate with diverse cation. This distinguishes industrial design from craft-based design
audiences, enable these targeted audiences to access the messages, where the form of the product is determined by the product’s cre-
stories and objects of an exhibit. ator at the time of its creation.
24 25
La Jetée Blind Studio
La Jetée is a 1962 French science fiction directed by Chris Marker. Blind Studio is a small motion studio consist of 14 member. They
This film is constructed entirely by still photos with one footage. worked with many big clients such as Microsoft, Sony, Audi, Etc.
It tells the story of a post-nuclear war experiment of time travel. On our visit, Chris Do, CEO of Blind Studio, answered few ques-
With the series of still images, the film communicates a story tions regarding to how designers work. He gave us few tips on
through mood and the setting of the images. Background music how to work with clients and his life lessons. First was to prioritize
also helps setting the mood and flow of the story. This film is cru- and analyzing. We as designers are given with many tasks and
cial to graphic designers since we communicate through images. if we do not prioritize, we often get lost in the process. That is
Although La Jetée only consists of still images, the way the still why Chris emphasized designers’ process of working is the most
images were composed was also aesthetically pleasing. Each important area when working with client. Second was to listen and
images were composed to communicate certain mood or story. 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.
26 Reviews Reviews 27
http://www.theartstory.org/movement-futurism.htm http://www.theartstory.org/movement-dada.htm
http://www.designishistory.com/1850/futurism/
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.
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 Modern Contemporary
32 ...... Alexander Rodchenko 46 ...... Bradbury Thompson 56 ...... Wolfgang Weingart
DESIGNER
33 ...... Filippo Marinetti 47 ...... Saul Bass 57 ...... Tadanori Yokoo
34 ...... John Heartfield 48 ...... Max Bill 58 ...... Henryk Tomaszewski
35 ...... Hannah Höch 49 ...... Josef Müller-Brockmann 59 ...... Grapus
36 ...... Gerrit Rietveld 50 ...... Wim Crouwel 60 ...... April Greiman
37 ...... Theo van Doesburg 51 ...... Armin Hofmann 61 ...... Neville Brody
38 ...... Kurt Schwitters 52 ...... Seymour Chwast 62 ...... Hard Werken
39 ...... H.N. Werkman 53 ...... Milton Glaser 63 ...... Studio Dumbar
40 ...... Johannes Itten 54 ...... Herb Lubalin 64 ...... Tibor Kalman / M&Co
41 ...... Lazlo Maholy-Nagy 55 ...... Massimo Vignelli 65 ...... Paula Scher
42 ...... El Lissitzky 66 ...... Paul Sahre
43 ...... Herbert Bayer 67 ...... Stefan Sagmeister
44 ...... Piet Zwart 68 ...... Ed Fella
45 ...... Jan Tschichold 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
30 31
Alexander Rodchenko Filippo Tommaso Marinetti
Dobrolet (1923)
Alexander Rodchenko is perhaps to book covers. His life's work was The most important Italian avant- to celebrate the arrival of the First
the most important avant-garde a ceaseless experiment with an garde art movement of the 20th World War. By its end the group was
artist to have put his art in the extraordinary array of media, from century, Futurism celebrated largely spent as an important avant-
service of political revolution. In painting and sculpture to graphic advanced technology and urban garde, making Futurism the only
this regard, his career is a model of design and photography. modernity. Committed to the new, twentieth century avant-garde to
the clash between modern art and its members wished to destroy older have embraced far right politics.
radical politics. He emerged as a forms of culture and to demonstrate
fairly conventional painter and his the beauty of modern life - the
commitment to the Russian Rev- beauty of the machine, speed, vio-
olution subsequently encouraged lence and change. Nevertheless,
him to abandon first painting and they were interested in embracing
then fine art in its entirety, and to popular media and new technol-
instead put his skills in the service ogies to communicate their ideas.
of industry and the state, designing Their enthusiasm for modernity and
everything from advertisements the machine ultimately led them
32 Pioneer Pioneer 33
http://www.theartstory.org/artist-rodchenko-alexander.htm http://www.theartstory.org/movement-futurism.htm
John Heartfield Hannah Höch
John Heartfield is credited as the photographs and magazine articles. Höch was not only a rare female projects evidenced a well-developed
founder of modern photomontage. His montages conveyed moral, not practicing prominently in the arts early example of "appropriation" as
His stunning political art became literal, truths. in the early part of the twentieth an artistic technique.
famous on both sides of the Atlan- century - near unique as a female
tic as courageous effective artistic active in the Dada movement that
weapons that revealed, satirized, coalesced in her time - she also con-
and opposed the worldwide threat sciously promoted the idea of women
of fascism and The Nazi Party. From working creatively more generally in
his early work as fledgling painter to society. She explicitly addressed in
his embrace of Dada to the anti-fas- her pioneering artwork in the form
cist montages that made him a Nazi of photomontage the issue of gender
target, Heartfield’s life and work was and the figure of woman in modern
a profile in courage. Its ammunition society. Her transformation of the
was his imagination, scissors, glue visual elements of others by integrat-
pots, retoucher paint, and stacks of 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 Theo van Doesburg
Gerrit Rietveld Jr side chair (1955)
Dancers (1916)
Gerrit Thomas Rietveld was a Dutch forms, planes, and lines, and for Theo Van Doesburg was one of the geometric abstraction and De Stijl,
architect and furniture designer its use of primary colours. His founders and leading theorists of published journals, and organized
notable for his application of the mass-produced houses at Utrecht De Stijl along with Piet Mondrian. many exhibitions of works by De
tenets of the de Stijl movement. He were closely related in style. It advocated a simplified, geomet- Stijl artists and related movements.
was an apprentice in his father’s ric, and reductive aesthetic in the
cabinetmaking business from 1899 visual arts and argued that painting,
to 1906 and later studied architec- design, and architecture should
ture in Utrecht. At about the same be fully integrated. Van Doesburg
time he created his famous red-and- created numerous abstract paint-
blue armchair, which, in its emphasis ings and designed buildings, room
on geometry and in its use of pri- decorations, stained glass, furniture,
mary colours, was a realization of de and household items that exem-
Stijl principles.His masterpiece is the plified De Stijl's aesthetic theories
Schroeder House in Utrecht, remark- and his personal ideas. He wrote
able for its interplay of right-angle numerous essays and treatises on
36 Pioneer Pioneer 37
https://www.britannica.com/biography/Gerrit-Thomas-Rietveld http://www.theartstory.org/artist-van-doesburg-theo.htm
Kurt Schwitters H.N. Werkman
Das Undbild (1919) Merz Picture 32 A. The Cherry Picture (1921) Hot Printing (1935-36)
Merz 11 - Typo Reklame (1924)
Diploma Groote Internationale Tentoonstelling Op
Bakkerijgebied (1925)
Directly affected by the depressed with other avant-garde artists, would Dutch designer and printmaker tell the story of a maverick designer
state of Germany following World start with one object to which oth- Hendrik Werkman is best known for and typographer whose graphic
War I, Kurt Schwitters began to ers were added, growing to great his innovative printing techniques vision was playful, bold, experimen-
collect garbage from the streets proportions that forced the viewer and avant-garde typography.Werk- tal, and unwaveringly optimistic.
and incorporate it directly into his to actually experience, rather than man founded his own printmaking
art work. He actively produced simply view, the art. shop in 1908. Werkman also devel-
artistic journals, illustrated works, oped a printmaking process he
and advertisements, as well as called “hot printing,” a technique
founding his own Merz journal. He incorporating found materials that
wrote poems and musical works added repeated design elements
that played with letters, lacing them directly onto the paper—all without
together in unusual combinations the use of a printing press. Although
in the hope of encouraging his much of his work was destroyed
audience to find their own mean- at the time of his execution, the
ings. These works, collaborations remarkable examples that remain
38 Pioneer Pioneer 39
http://www.theartstory.org/artist-schwitters-kurt.htm http://yalebooks.com/book/9780300102901/h-n-werkman
Johannes Itten Laszlo Moholy-Nagy
Before joining the Bauhaus Itten react with each other and how they Lazlo Maholy-Nagy was an Ameri- arts. Maholy-Nagy developed the
headed his own art school in Vienna. affect us physically and psycholog- can painter, photographer, educator belief that artists should adopt new
At the Bauhaus he designed an ically. He made Pantone and Color and artist born in Hungary 1895. technologies and their potential in
innovative introductory course: he Me Beautiful possible. Moholy-Nagy is arguably one of order to find answers to humanity’s
let students explore form, color, the greatest influences on post- needs. When Walter Gropius invited
rhythm and contrast. Itten’s princi- war art education in the United him to Bauhaus, in Dessau, Ger-
ples were of tremendous influence States. A modernist and a restless many, he took over the school's cru-
not only on art education, but also experimentalist from the outset, cial preliminary course, and gave it
on Kandinsky and Klee.Feeling blue? the Hungarian-born artist was a more practical, experimental, and
Seeing red? Swiss color theorist shaped by Dadaism, Suprema- technological bent.
Johannes Itten (1888-1967) would tism, Constructivism, and debates
understand. He helped explain what about photography. He was highly
colors do and how they do it. He influenced by constructivism and a
assigned colors qualities like “warm” strong advocate of the integration
and “cool” to describe how they of technology and industry into the
40 Pioneer Pioneer 41
http://the-artists.org/artist/johannes-itten http://moholy-nagy.org/biography/
El Lissitsky Herbert Bayer
Lazar Markovich Lissitzky, most have been an influence on graphic Born in Austria-Hungary 1900, Her- and advertising were many. He is
commonly known as El Lissitzky, was designers since. Though many of his bert Bayer was an American graphic one of the most recognized design-
born in the Russian Empire 1890. He pieces consist of rudimentary shapes designer, painter, photographer, ers to come from the Bauhaus insti-
was an important figure of the Rus- and limited color, Lissitzky’s pieces sculptor, art director, environmental tution and his theories of design are
sian avant-garde, helping develop were still able to make a strong state- and interior designer, and architect, still taught in many schools today.
suprematism with his mentor, Kazimir ment for political change and other who was widely recognized as the
Malevich, and designing numerous progressive ideology. last living member of the Bauhaus.
exhibition displays and propaganda Bayer was both student and even-
works for the Soviet Union. Lissitzky’s tually teacher at the Bauhaus. He
development of suprematist was spent time teaching at the Bauhaus,
influential in the development of the working as an Art Director for the
Bauhaus and the Constructivist art Container Corporation and as an
movements. His style and experimen- architect in both Germany and
tation with production techniques America. His contributions to the
developed in the 1920s and 30s fields of graphic design, typography
42 Pioneer Pioneer 43
http://www.designishistory.com/1920/el-lissitzky/ http://www.designishistory.com/1920/herbert-bayer/
Piet Zwart Jan Tschichold
Dutch photographer, typogra- was arrested by German soldier in Jan Tschichold was born in Leipzig the use of all typefaces except
pher, industrial designer and critic 1942 but was eventually released. Germany, 1902. Tschichold con- for sans-serif types. He advocated
Piet Zwart was born 28 may 1885 Zwart’s contribution to the design verted to Modernist design prin- standardized sizes of paper and set
in Zaandijk, the Netherlands. A world boast a wide range as his ciples in 1923 after visiting the first forth guidelines for establishing a
pioneer of modern typography, excellent use of color, typography, Weimar Bauhaus exhibition. Tsch- typographic hierarchy when using
designer Piet Zwart was influenced composition and photography are ichold became a prominent advo- type in design.
by Constructivism and De Stijl. Zwart reminiscent of design from the Bauhaus. cate for modernist design: first with
attended the National School of an influential 1925 magazine supple-
Applied Arts, in Amsterdam from ment; then a 1927 personal exhibi-
1902 to 1907. He spent most of his tion; then with his most noted work
career moonlighting as an architect Die neue Typographie. When Tsch-
and photographer, as well as a ichold wrote Die Neue Typographie
designer and for several years he he set forth rules for standardization
was very successful. However his of practices relating to modern type
success would be short lived as he usage. Tschichold testified against
44 Pioneer Pioneer 45
http://www.iconofgraphics.com/piet-zwart/ http://www.designishistory.com/1920/jan-tschichold/
Bradbury Thompson Saul Bass
Magic House of Printing (1947)
Born in Kansas 1911 and receiving an the publication of The Washburn Saul Bass was born on May 8, 1920, Preminger, and more. He became
education from Washburn University, College Bible, the most innovative in the Bronx, New York, United well-known in the film industry
Bradbury Thompson was considered reassessment of Bible typography States, to Eastern European Jewish after creating the title sequence for
to be a “giant” within the realm of since Gutenberg's own edition immigrant parents. He began his Otto Preminger’s The Man with the
20th-century graphic designers. His appeared in 1455. Another signifi- time in Hollywood in the 1940s, Golden Arm in 1955.
career was recognized by many cant point in his career, in the field designing print advertisements for
American design organizations, as of typography, was his publication films including Champion (1949),
he masterfully practiced printing of Alphabet 26, which was labeled Death of a Salesman (1951) and The
production, directed the Mademoi- as a monoalphabet. Moon Is Blue (1953). Overtime, Bass
selle magazine, designed books, we become popular through the
pushed the conventional boundaries design of movie title sequences.
of typography, and taught design During his 40-year career Bass
at Yale University. Arguably one of worked for some of Hollywood’s
Thompson’s greatest accomplish- greatest filmmakers, including Alfred
ments, Thompson contributed to Hitchcock, Stanley Kubrick, Otto
46 Modern Modern 47
http://www.designishistory.com/1960/bradbury-thompson/ http://www.artofthetitle.com/designer/saul-bass/
Max Bill Josef Müller-Brockmann
Max Bill was Swiss architect, painter, where he was the head of the archi- Josef Müller-Brockmann was a Swiss Productions. Furthermore, Brock-
graphic designer, typeface designer, tecture and product design depart- graphic designer and teacher born mann published several books that
and an industrial designer. Bill stud- ments during the 1950s. Bill is widely in 1914 Switzerland. Like many of would give insight to his practice and
ied art and design in the Bauhaus considered the single most decisive the Swiss International Style design- philosophy, becoming an excellent
at Dessau under the instruction influence on Swiss graphic design ers, Joseph Müller-Brockmann was resource for young graphic designers.
of many teachers. His instructors beginning in the 1950s with his the- influenced by the ideas of several
included Wassily Kandinsky, Paul oretical writing and progressive work. different design and art movements
Klee, Oskar Schlemmer from 1927- including Constructivism, De Stijl,
1929. Bill was known for founding Suprematism and the Bauhaus. His
the Concrete Art Movement as well fame skyrocketed and his name is
as his interpretation of Constructivist commonly recognized when men-
ideology, bringing studied geom- tioning Swiss International Style.
etry and mathematics in his artistic Brockmann’s most decisive work
practices. He was later a co-founder consists of poster advertisements
of the Ulm School of Arts and Crafts, for the Zurich Town Hall Theater
48 Modern Modern 49
http://www.artnet.com/artists/max-bill/ 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
52 Modern Modern 53
http://www.designishistory.com/1960/seymour-chwast/ http://www.designishistory.com/1960/milton-glaser/
Herb Lubalin Massimo Vignelli
Mother & Child (1965)
Most people recognize the name and the principal of Herb Lubalin, Massimo Vignelli has designed iden- ter or unnecessary material.
Herb Lubalin in association with Inc it was hard to escape the reach tities for international corporations
the typeface Avant Garde. And he of Herb during the 1960s and 70s. including American Airlines (which is
was the typographer and designer the only airline to have not changed
behind its creation, after the success their identity in the past 50 years),
of Avant Garde Magazine and its Bloomingdales and Knoll. He favors
typographic logo. But, his career a clarity in design and is a huge fan
spanned a much wider scope than of using Helvetica, which can be
that. One of the pAeople behind seen in much of his work. His work
the culture-shocking magazines covers nearly every field of design
Avant-Garde, Eros and Fact, he was including advertising, identity, pack-
a constant boundary breaker on aging, product, industrial, interior
both a visual and social level. Part and architectural design. An avid
of the founding team of the Inter- fan of modernism, his work is always
national Typeface Corporation (ITC) very clear and concise with no clut-
54 Modern Modern 55
http://www.designishistory.com/1960/herb-lubalin/ http://www.designishistory.com/1960/massimo-vignelli/
Wolfgang Weingart Tadanori Yokoo
Kunstkredit (1979) “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)
Weingart was most influential as a students led to a new generation Traversing the world between art ers was held in Japan, the 40,000
teacher and a design philosopher. of designers that approached most and design, Tadanori Yokoo's work people that crowded the exhibition
He began teaching at the Basel design in an entirely different manner has a very personal nature and often during its thirteen-day event were a
School of Design, where he was than traditional Swiss typography. reflects his own interests. He began testament to his popularity.
appointed an instructor of typogra- working as a designer during the late
phy by Armin Hofmann in 1963. He 1960's and his work often resembles
taught a new approach to typog- a collage style that was quite the
raphy that influenced the develop- opposite of the modernist movement.
ment of New Wave, Deconstruction Interested in mysticism, psychedelia
and much of graphic design in and the Indian culture his work is
the 1990s. While he would contest often associated with the 1960s pop
that what he taught was also Swiss culture. He has repeated several
Typography, since it developed nat- motifs throughout his work including
urally out of Switzerland, the style the rising sun and waterfalls. In 1998
of typography that came from his a large scale exhibition of his post-
56 Contemporary Contemporary 57
http://www.designishistory.com/1960/wolfgang-weingart/ http://www.designishistory.com/1960/tadanori-yokoo/
Henryk Tomaszewski Grapus
The strength of his graphic works commenting on events that would The group was founded in France in to the plebeian immediacy of post-
lies in a simple and intelligent trans- otherwise have gone unnoticed, and 1970 by Pierre Bernard. The group's ers, leaflets and bumper stickers.
lation of messages and symbols their allusions and understatements members were all members of the Among its recurring elements of
from literary, theatrical, film, music invite a creative reception. Communist party, and the group style are the use of handwritten text,
and social themes into a visual lan- maintained an explicit political, the use of an extensive symbolic
guage. Tomaszewski, whose debut social and cultural engagement. vocabulary and the convergence
took place in the second half of the They at first rejected assignments of diverse techniques, a technique
1930s, brought to the Polish poster with commercial and government known as “detournement, the rerout-
the vigour of youth, a freedom clients, instead working with exper- ing of a message through acts of
in shaping the picture, and a rich imental theatre groups, progressive visual vandalism.”
imagination. His works are unique town councils, the Communist Party
for their simplicity, intellectual preci- itself, the Communist trade union
sion, extraordinary sense of humour CGT, educational causes, and social
and easy, laconic drawing. They con- institutions. Grapus wore its Marxist
vey general and profound truths by heritage proudly, remaining devoted
58 Contemporary Contemporary 59
http://culture.pl/en/artist/henryk-tomaszewski 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)
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 Studio Dumbar
Hard Werken was the partnership solutions. Hard Werken created In 1977 Gert Dumbar established Stu- Royal College of Art in London, the
of Rotterdam graphic designers artistic freedom with all visual and dio Dumbar. With his team at Studio university at Bandung, Indonesia and
founded in 1978. The eponymous typographic options which became Dumbar he completed numerous the Hochschule der Bildenden Kün-
magazine was characterized by internationally effect. extensive corporate identity pro- ste Saar in Saarbrücken, Germany).
experiments with typography, grams for many major national and
photography and illustration and international clients including: the
established itself at the forefront Dutch Postal and Telecom Services
of developments in graphic design. (PTT), the ANWB (Dutch Automobile
Hard Werken was essentially more Association), the Dutch Railways,
of a collaborative group of indepen- the Dutch Police, the Danish Post
dent designers than a formal busi- (together with Kontrapunkt a/s,
ness. Hard Work put the traditional Denmark) and the Czech Telecom.
values of the functional design, Since 1980 he has periodically taught
modernism and the Swiss School and lectured at various universities
at the side replacing with quirky around the globe (among them the
62 Contemporary Contemporary 63
http://www.historygraphicdesign.com/the-age-of-information/national-visions-within-a-global-dialogue/521-hard-werken-design http://www.historygraphicdesign.com/the-age-of-information/national-visions-within-a-global-dialogue/523-gert-dumbar
Tibor Kalman / M&Co Paula Scher
Colors (1993)
Notorious (1992) '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 Stefan Sagmeister
Aizone
Paul Sahre has been called one of graphic design at the School of Born in Austria in 1962, Stefan about his personal success.
the most influential graphic design- Visual Arts for the past 13 years. Sagmeister first started working
ers of his generation and has oper- professionally in the field for Leo
ated his own independent practice Burnett, in their Hong Kong office
since 1997. He is a frequent visual in 1991. After a short stint there he
contributor to The New York Times, began working with Tibor Kalman at
authored books, redesigned two of his studio M&Co. It wasn't long after
Canada’s largest magazines, built that that Tibor announced he was
and destroyed a life-sized monster closing the doors on M&Co, in 1993,
truck hearse for the band They and Sagmeister formed Sagmeister,
Might Be Giants and appeared in a Inc. Thoroughly convinced that the
90’s Winona Rider film. reflection process was important
in his continued creativity he has
Paul received his BFA and MFA from toured the design circuit giving
Kent State University and has taught many lectures and presentations
66 Contemporary Contemporary 67
http://paulsahre.com/about http://www.designishistory.com/2000/sagmeister/
Ed Fella David Carson
Ed Fella spent 30 years as a com- the Museum of Modern Art in New Ingrained within the surfing subcul- his design style, characterized by
mercial artist in Detroit. During York. His style of personal, whimsical ture of southern California, Carson "dirty" type which adheres to none
that time he experimented with and extremely detailed typography started experimenting with graphic of the standard practices of typog-
typography and gave lectures to has influenced the development of design during the mid 1980s. His raphy and is often illegible, with the
students at the Cranbrook Academy much of modern typography. interest in the world of surfing gave widest audience.
of Art. In 1987 he began teaching him the opportunities to experiment
design at the California Institute with design, working on several
of the Arts. His spare time has different publications related to the
been devoted to his own personal profession. Transworld Skateboard-
experimentation, which, for the ing, Beach Culture, How Magazine
most part, he self-publishes. His and RayGun were among the
has been awarded an honorary primary publications on which he
doctorate from CCS in Detroit, the worked. However, it was RayGun
AIGA medal and has been accepted where he gained perhaps the most
into the permanent collection of recognition and was able to share
68 Contemporary Contemporary 69
http://www.designishistory.com/1980/ed-fella/ http://www.designishistory.com/1980/david-carson/
Karel Martens Mevis & van Deursen
Untitled (1958)
IDEA magazine, 308 (2005)
Untitled (1963)
Untitled (1992)
Trained at the Arnhem School of Art traditional letterpress design work. Graphic designers Armand Mevis ment at the Gerrit Rietveld Academy,
and Industrial Arts, Karel Martens He has also acted as a visiting pro- and Linda van Deursen live and while Mevis is a design critic at the
began work as a book designer fessor at Yale University since 1997. work in Amsterdam, where they Werkplaats Typografie, Arnhem.
for presses like the Socialistiese began their collaboration after
Uitgeverij Nijmegen for whom he graduating from the Gerrit Rietveld
designed book covers between 1975 Academy in 1986. Mevis & Van
and 1981. Starting in 1977 he began Deursen have been influential in
teaching at ArtEZ College of Art in the development of contemporary
Arnhem while producing, during the Dutch design and are known for
following three decades, designs their intelligent and innovative work
for the Dutch government including for cultural clients. Their work has
coins, postage stamps and telephone been shown in museums and edu-
cards. In 1996 he published a cele- cational institutions throughout the
brated book entitled Printed Matter, United States. Van Deursen serves as
containing pages of his digital and head of the Graphic Design Depart-
70 Contemporary Contemporary 71
https://collection.cooperhewitt.org/people/18064377/bio#ch http://www.walkerart.org/calendar/2006/armand-mevis-and-linda-van-deursen-mevis-van-
Erik Spiekermann Experimental Jetset
Berliner Grotesk (1979)
Meta (1991) Loose Lips Build Ships poster created for The
Wolfsonian (2008)
Erik Spiekermann, studied History designer to be elected into the Hall Experimental Jetset is a small, inde- their graduation. While their influ-
of Art and English in Berlin. He is an of Fame by the European Design pendent, Amsterdam-based graphic ences are wide-ranging and varied,
author, information architect, type Awards for Communication Design. design studio, founded in 1997 by their aesthetic is closely related to
designer and author of books and (and still consisting of) Marieke that of the Modernist movement.
articles on type and typography. Stolk, Erwin Brinkers and Danny van
He was the founder of MetaDe- den Dungen. Focusing on printed
sign, Germany’s largest design firm matter and site-specific installations,
with offices in Berlin, London and and describing their methodology
San Francisco. He is responsible as “turning language into objects”,
for corporate design programs for Experimental Jetset have worked on
Audi, Skoda, Volkswagen, Lexus, projects for a wide variety of insti-
Heidelberg Printing, Bosch and tutes. All three members are gradu-
way-finding projects like Berlin ates of the Gerrit Rietveld Academy,
Transit, Düsseldorf Airport and many located in Amsterdam, and have
others. In May 2007 he was the first been collaborating since right after
72 Contemporary Contemporary 73
https://www.fontfont.com/designers/erik-spiekermann http://www.experimentaljetset.nl/misc/about
http://www.designishistory.com/2000/experimental-jetset/
M/M Richard Niessen
Founded in 1992 by Michael Balenciaga, Louis Vuitton and Calvin Richard Niessen graduated from the self-initiated projects (such as
Amzalag and Mathias Augustyniak. Klein. Their work in art ranges from the Gerrit Rietveld Academy in 1996. "JACK", "1:1:1", "Based on Bas Oudt")
They’ve worked together as graphic commissions for museums such He’s worked on a body of work that lead to experiments with presenta-
designers and art directors on as Centre Georges Pompidou and he calls ‘Typographic Masonry’ ever tion forms and collaborations with
fashion and art projects mostly for Palais de Tokyo, to collaborations since. This syncretic approach to other designers and artists.
longstanding clients and collab- with artists like Philippe Parreno and graphic design, with a predilection
orators such as fashion designers Pierre Hughe. for printwork, creates a coherent
Yohji Yamamoto and Martine Sit- formal language exclusively to the
bon, and the photographers Craig project at hand. Richard works for
McDean, Inez van Lamsweerde and various clients including artists like
Vinoodh Matadin. After starting out Jennifer Tee and Ad de Jong, exhibi-
with music projects, M/M became tion spaces as Cobra Museum and
involved with Yamamoto and Sit- Tijdelijk Museum and organizations
bon in 1995 and have since worked like the Stimuleringsfonds and
for other fashion houses including Rijksgebouwendienst. In addition,
74 Contemporary Contemporary 75
http://design.designmuseum.org/design/m-m http://www.richard-niessen.nl/info/about/
Geoff McFetridge Antoine + Manuel
A Test For Emotional Intelligence (2016) A Poem Looks Like What It Says (2015)
Geoff McFetridge’s stylized paint- from simple geometric shapes and Antoine Audiau and Manuel Warosz work in furniture design, illustration,
ings of figures and hands in pat- flat two-dimensional planes of color, started working together in 1993 painting, and photography, showing
terned formations have their roots so that they resemble advertisements, as graphic designers at their firm, the true scope of their multidisci-
in the synergy between his fine signs, maps, and other designed ele- Antoine+Manuel. Their work encom- plinary approach.
arts practice and prolific career as ments from the urban environment. passed their shared knowledge of
a graphic designer. Working in a culture and Audiau’s knowledge of
simple palette of grays, blues, whites, fashion design. Their works have
and pinks, he places his subjects spanned a wide range of projects
in humorous and everyday scenar- over the years, including designing
ios. “Design language, which has a corporate identities for brands like
relationship with abstraction, is very Christian Lacroix.
accessible to me. My paintings are
as much rooted in logos as they They have also worked on theaters
are in art history.” Beginning with and museums, like LaComedie and
drawings, he composes his paintings Collection Lambert, and have done
76 Contemporary Contemporary 77
https://www.artsy.net/artist/geoff-mcfetridge Source - http://www.cmog.org/glasslab/designers/antoine-audiau-and-manuel-warosz
Graphic The Basel School of Design
The Basel School of Design and its students have influenced the
Design
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
79 ...... The Basel School Of Design 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
80 ...... California Institute of the Arts
School
level School of Design (Schule für Gestaltung Basel).
Organizations
90 ...... BP&O
Blogs
91 ...... Eye
91 ...... Idea
92 ...... Grafik
92 ...... Graphis
92 ...... Print
93 ...... Emigre
88 89
AIGA Google Design
http://www.aiga.org/about/ https://design.google.com/about/
https://en.wikipedia.org/wiki/Design_Observer http://www.eyemagazine.com/about
https://www.patreon.com/bpando http://www.idea-mag.com/en/about/
https://en.wikipedia.org/wiki/Grafik_(magazine) http://www.commarts.com/aboutus
http://www.graphis.com/about/ http://www.emigre.com/AboutEmigre.php
https://en.wikipedia.org/wiki/Print_(magazine)
http://www.printmag.com/about-us/ https://en.wikipedia.org/wiki/Dot_Dot_Dot_(magazine)
94 95
Personal Design Atlas
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)
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)
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)
KoeperherFurth - Picknick am Wegesrand (2016) Marcel Häusler Grafik - One Poster a Day (2014) Marcel Häusler Grafik - One Poster a Day (2014)
122 123
Closure
This Gestalt law states that learners The eye differentiates an object
"tend to continue shapes beyond their form its surrounding area. a form,
ending points". silhouette, or shape is naturrally
perceived as figure (object), while
The edge of one shape will continue the surrounding area is perceived as
into the space and meet up with other ground (background).
shapes or the edge of the picture plane.
Balancing figure and ground can
make the perceived image more
clear. Using unusual figure/ground
relationships can add interest and
sublety to an image.
Hierarchy Visual hierarchy refers to the Contrast Contrast refers to the arrangement
arrangement or presentation of of opposite elements (light vs. dark
(noun) elements in a way that implies (noun) colors, rough vs. smooth textures,
a system or organization in which importance. In other words, visual the state of being strikingly large vs. small shapes, etc.) in a
people or groups are ranked one hierarchy influences the order in different from something else, piece so as to create visual interest,
above the other according to status which the human eye perceives typically something in juxtaposition excitement and drama.
or authority. what it sees. This order is created by or close association.
the visual contrast between forms in
a field of perception.
(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
Scale Scale and proportion in art are both Texture Texture refers to the surface quality
concerned with size. Scale refers in a work of art. We associate
(noun) to the size of an object (a whole) (noun) textures with the way that things
the relative size or extent of something. in relationship to another object the feel, appearance, or consistency look or feel. Everything has some
(another whole). of a surface or a substance. type of texture. We describe things
as being rough, smooth, silky, shiny,
fuzzy and so on.
Weight Physical weight is a measure of Form Form is very similar to the element
the force that gravity exerts on an of design shape. The difference is
(noun) object, but two-dimensional objects (noun) that the term is form is used in art
the amount or quantity of heaviness (such as elements on a web page) the visible shape or configuration work that has three dimensions
or mass; amount a thing weighs. don't have mass and, therefore, of something. instead of two as shapes. The three
don't have any physical weight. dimensions are length, width and
Visual weight is a measure of the depth. Two types of forms are
force that an element exerts to geometric and organic forms.
attract the eye.
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.
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
Still Image
Smooth
Typography
Rounded Sans Serif - Logo
Sans Serif
Connotation
Metaphor Americanization
Capitalism
Restriction Materialism
Pun Communication
Rich people eatting KFC in Dubai Mall
Damn
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.
Term
144 ...... Transitional 148 ...... Bracket 151 ...... Point
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
142 143
Didone / Modern
Type Terms
(late 18th century)
Similar to stress, thicks and thins The term ‘Stress’ pertains to what
refer to the way weight is carried/ are sometimes called the ‘Thick-
dispersed throughout the letterform. Thin’ transitions on opposite sides
The angle, direction, and pressure the rounded or circular portion of
of a pen or brush can produce the font that encloses the counter,
seemingly endless models of thick known as a bowl. Stresses/thicks
and thin in calligraphy and lettering. and thins are utilized to mimic the
human touch in early type usage.
Serif Stroke
The bracket is a curved or wedge- The capital letters of the alphabet are
like connection between the stem uppercase glyphs. Uppercase letters
and serif of some fonts. Not all are normally used at the beginning
serifs are bracketed serifs. of sentences and as the first letter of
Brackets can have different shapes proper names.
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.
Italic Ascenders
The part of the lowercase letter that Complete assembly of all the
falls below the body of the letter, as characters (uppercase and
in g, j, p, q, and y. 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.
Counter-space Point
X-height Pica
Kerning
Letter Spacing