Graphic Design is creative and strategic problemsolving for defined communication needs, delivered
through visual media.
James Watt's
improvements to the
steam engine, and
its subsequent
application to
manufacturing in the
late 18th and early
19th century,
resulted in a major
societal shift.
THE INDUSTRIAL REVOLUTION
Steam powered presses increased the
quantity of impressions by 500%. In 1814
The London Times, the first to use the new
press, decimated its printing staff by
replacing them with the new press capable
of printing 1,100 sheets per hour.
The End of Punchcutting 1884
The most important technical development in
typography since Gutenberg
THE INDUSTRIAL REVOLUTION
Benton Pantograph
Linn Boyd Benton invented a
pantographic engraving machine for
type design, which was capable not
only of scaling a single font design
pattern to a variety of sizes, but could
also condense, extend, and slant the
design (mathematically, these are
cases of affine transformation, which
is the fundamental geometric
operation of most systems of digital
typography today, including
PostScript)
Benton Pantograph
The most important technical development in
typography since Gutenberg
THE INDUSTRIAL REVOLUTION
Great Exhibition of the Works
of Industry of All Nations, 1851
Showcase for modern
industrial technology and
design displayed their
achievements in four
categories: Raw Materials,
Machinery, Manufacturers and
Fine Arts.
Critics found the work created
by industrialized methods to
be sloppy and poorly
designed, full of unnecessary
ornaments that did not
enhance the product.
Designers React Against
the Industrial Age
The Grammar of Ornament, 1856
Owen Jones, 1809 – 1874
was an architect who became
passionate about the superiority
of non-European ornament
after touring Turkey, Egypt,
Sicily and Spain in 1831.
The book includes 20 sections of
illustrated motifs and Jones's 37
Propositions on what makes
good design. “Modern, scientific
and devoid of deliberate
historicism, operating by
principles to create an ornament
for every kind of decoration.”
Greek ornament style
The Grammar of Ornament, 1856
Arabian ornament style
Chinese ornament style
Assyrian and Persian ornament
style
The Grammar of Ornament, 1856
1. The movement influenced British decorative arts,
architecture, cabinet making and crafts.
2. Its best-known practitioners were:
William Morris, Charles Robert Ashbee, T. J. Cobden
Sanderson, Walter Crane, Phoebe Anna Traquair, Charles
Rennie Mackintosh, Christopher Dresser, Edwin Lutyens
3. The Arts and Crafts movement was part of the major
English aesthetic movement of the last years of the 19th
century.
4. The Arts and Crafts Movement… a search for authentic
and meaningful styles… and reaction to "soulless"
machine-made production aided by the Industrial
Revolution.
The Arts and Crafts Movement
The Arts and Crafts Movement was an international design
movement that reacted against mass production, both the low
quality of design and the demeaning conditions under which
products were produced. The movement began in England in the
late 1800s, and spread to the United States in the early decades
of the 20th century.
The Arts and Crafts Movement idealistically tried to rejoin art
and industry together but the economies of scale worked
against their goal of bringing good design to the masses. In
the graphic arts field small private presses, forming under a
model created by William Morris, reawakened fine printing
and revivals of classic typefaces.
The Arts and Crafts Movement
John Ruskin (1819–1900)
an author, poet and art critic
Ruskin’s theorized that the Industrial
Revolution's division of labor induced
monotony and was the main cause of
the unhappiness of the poor. He
looked backward to an idealized
medieval period as a paradigm of the
union of art and labor in service to
society.
The Arts and Crafts Movement
Kelmscott Press - The Nature of
Gothic by John Ruskin (first page)
The Arts and Crafts Movement
William Morris (1834–1896)
Morris is widely credited as the founder of
the Arts and Crafts Movement.
Morris originally trained for the clergy but
his admiration for Ruskin and the PreRaphaelites led him to pursue a career as
an artist and craftsman.
A true Renaissance man, Morris was an
author, artist, poet, publisher, socialist and
public speaker.
Morris and his Pre-Raphaelite associates deeply believed that beautiful objects
would improve individual lives adversely affected by the harsh industrial world.
The Arts and Crafts Movement
William Morris - Pimpernel, 1876
wallpaper sample-block print on
paper.
The Arts and Crafts Movement
Morris, Peacock and Dragon Fabric 1878
The Arts and Crafts Movement
Charles Rennie Mackintosh
(1869-1928)
The Arts and Crafts Movement
Frank Lloyd Wright, American
architect, 1867-1959
Side Chair About 1903, Oak and
Leather
THE INDUSTRIAL REVOLUTION
The Beginning of the Private Press
Morris and Company, 1875
He gathered his imagery from nature and used natural and
traditional methods, for example using natural vegetable dye for
printing on material and printing wallpaper and textiles with wood
blocks.
The Kelmscott Press, 1891
During the final phase of his life Morris combined his love for
medieval literature with his craftsman workshop ethic into the
Kelmscott press, the first and most famous of the private press
movement. In seven years hand-operated press published 53 books
in 18,000 copies.
Kelmscott books re-awakened the lost ideals of book design
and inspired higher standards of production at a time when the
printed page was at its poorest.
The Arts and Crafts Movement
The Beginning of the Private Press
Morris inspired numerous fine presses in England starting with
Charles Ricketts' Vale Press, followed by Essex House Press, the
Doves Press, Lucien and Esther Pissarro's Eragny Press. The
movement spread internationally through Europe and the United
States.
The Vale Press, 1900
Doves Press, 1900
Golden Cockerel Press, 1920 (including Eric Gill)
Nonesuch Press, 1922
The Cranach Press, 1913
The Village Press, 1903–1939 - Frederic Goudy
The Arts and Crafts Movement
The Beginning of the Private Press
Gill quote
Doves Press
Frederic Goudy caricature by Cyril Lowe
The Arts and Crafts Movement
POSTERS
Broadsides
Broadsides are used to issue public decrees,
governmental notifications and a host of
commercial and private announcements.
Broadsides were meant to be read from a
distance and therefore required large type
The Arts and Crafts Movement
POSTERS
Wooden Type
Lithographic Posters
The Arts and Crafts Movement
Jugendstil in Germany
Modern (Модерн) in Russia
Secession in Austria
Stile Liberty in Italy
Modernism in Spain
Alphonse Mucha
Alphonse Mucha
Aubrey Beardsley
His life was a brief one.
Born in 1872, he achieved fame
early, but was dead by age
twenty five. His drawings were
not mere illustrations,
but formed an integral part of the
English Aesthetic Movement and
are best understood in this
context.
Sagrada Familia nave roof detail
Antoni Gaudi 1852 - 1926
Born in Reus (Baix Camp, Catalonia) on June 25, 1852 Gaudí was the greatest
figure of the Art Nouveau movement in Catalonia known as "Modernism". His
works are famous all over the world.
Almost his entire professional activity took place in Barcelona, where the greater
part of his work is found.
Influenced by Violet-Le-Duc and Ruskin, he was one of the main architects of
Art Nouveau, where he is normally classified. However, as other big genius, it is
very difficult to classify him, and some opinions classify Gaudí into other artistic
tendencies.
Casa Batllo
Casa Batllo by Antoni Gaudi
Casa Batllo roof top detail
Casa Batllo roof top detail
POSTERS
POSTERS
POSTERS
POSTERS
POSTERS
POSTERS
POSTERS
POSTERS
POSTERS
Francis Edgar
POSTERS
Italian Futurism
1909–1944
Shortly before WWI, Filippo Tommaso
Marinetti, the originator and chief
proponent for Futurism, wrote the first
Futurist Manifesto declaring the end of
art of the past and the beginning of the
art of the future (le Futurisme). He
exported his new aesthetic that
endorsed speed, violence,
industrialization, and dynamism from
Italy to the rest of Europe through
lectures and publication of his Futurist
Manifesto.
MANIFESTO OF FUTURISM
1.We want to sing the love of danger, the habit of energy and rashness.
2.The essential elements of our poetry will be courage, audacity and revolt.
3.Literature has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt
movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the
blow with the fist.
4.We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A
racing automobile with its bonnet adorned with great tubes like serpents with explosive breath ... a roaring
motor car which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace.
5.We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its
orbit.
6.The poet must spend himself with warmth, glamour and prodigality to increase the enthusiastic fervor of
the primordial elements.
7.Beauty exists only in struggle. There is no masterpiece that has not an aggressive character. Poetry
must be a violent assault on the forces of the unknown, to force them to bow before man.
8.We are on the extreme promontory of the centuries! What is the use of looking behind at the moment
when we must open the mysterious shutters of the impossible? Time and Space died yesterday. We are
already living in the absolute, since we have already created eternal, omnipresent speed.
9.We want to glorify war — the only cure for the world — militarism, patriotism, the destructive gesture of
the anarchists, the beautiful ideas which kill, and contempt for woman.
10.We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian
cowardice.
11.We will sing of the great crowds agitated by work, pleasure and revolt; the multi-colored and polyphonic
surf of revolutions in modern capitals: the nocturnal vibration of the arsenals and the workshops beneath
their violent electric moons: the gluttonous railway stations devouring smoking serpents; factories
suspended from the clouds by the thread of their smoke; bridges with the leap of gymnasts flung across
the diabolic cutlery of sunny rivers: adventurous steamers sniffing the horizon; great-breasted locomotives,
puffing on the rails like enormous steel horses with long tubes for bridle, and the gliding flight of
aeroplanes whose propeller sounds like the flapping of a flag and the applause of enthusiastic crowds.
Futurists love speed, youth,
technology, power,
violence… They hate anything
about past and traditions of all
kinds.
Umberto Boccioni, 'Elasticity
Futurism influenced many other
twentieth century art movements,
including Art Deco,
Constructivism, Surrealism and
Dada.
Carra: “Free-Word” Painting (Patriotic
Celebration) 1914
Boccioni: Unique Forms of Continuity in
Space 1913
Severini: The Boulevard 1910
MoMA book from 1961
Filippo Marinetti - A Tumultuous Assembly, 1919
Futurist typography…
Fortunato Depero (1892 - 1960)
was an Italian futurist painter,
writer, sculptor and graphic
designer.
Fortunato Depero
Fortunato Depero, Dinamo futurista,
1933
Fortunato Depero
Men with Moustaches
1917
Fortunato Depero
Fortunato Depero
Constructivism was an artistic and architectural movement that
originated in Russia from 1919 onward which rejected the idea of "art for
art's sake" in favour of art as a practice directed towards social purposes.
Constructivism as an active force lasted until around 1934, having a great
deal of effect on developments in the art of the Weimar Republic and
elsewhere, before being replaced by Socialist Realism. Its motifs have
sporadically reappeared in other art movements since.
Names to remember:
Alexander Rodchenko (1891-1956)
El Lissitzky (1890-1941)
Kazimir Malevich (1879 – 1935)
Wassily Wassilyevich Kandinsky (1866 -1944)
Rodchenko-plane red
An advertising construction
In 1921, Soviet Union reintroduced a limited
state capitalism into the Soviet economy. The
poet-artist Vladimir Mayakovsky and
Rodchenko worked together and called
themselves "advertising constructors".
Together they designed eye-catching images
featuring bright colours, geometric shapes, and
bold lettering. The lettering of most of these
designs was intended to create a reaction, and
function on emotional and substantive levels –
most were designed for the state-run
department store Mosselprom in Moscow, for
pacifiers, cooking oil, beer and other quotidian
products, with Mayakovsky claiming that his
'nowhere else but Mosselprom' verse was one
of the best he ever wrote.
Rodchenko & Mayakovsky –Nipple
Kazimir Malevich
(1879 -1935) was a Russian painter
and art theoretician, born in Ukraine of
ethnic Polish parents. He was a
pioneer of geometric abstract art and
the originator of the Avant-garde
Suprematist movement.
Most of his paintings are limited to
geometric shapes and a narrow
range of colors, but the pinnacle
of his Suprematism was his White
on White series. He claimed to
have reached the summit of
abstract art by denying objective
representation.
Kazimir Malevich
.
Black Square, 1913)
What he wanted was a non-objective
representation, ``the supremacy of pure
feeling.''
El Lissitzky - An Example of Russian
Futurism/Constructivism
Philip Morris Wants you to SMOKE!
By Joel Nilsen
Philip Morris Wants you to SMOKE!
By Joel Nilsen
De Stijl - ("The Style“), also known as
neoplasticism, was a Dutch artistic
movement founded in 1917. In a narrower
sense, the term De Stijl is used to refer to
a body of work from 1917 to 1931 founded
in the Netherlands. De Stijl is also the
name of a journal that was published by
the Dutch painter, designer, writer, and
critic Theo van Doesburg (1883–1931),
propagating the group's theories.
Geometric art and design
Mondrian's aesthetic
theory of Neo-Plasticism
was aimed at scaling
down the formal
components of art - only
primary colors and
straight lines.
Piet Mondrian
– composition, 1921
Founder members of the
group were eager to develop a
new aesthetic consciousness
and an objective art based on
clear principles. Their work
and research extended to the
fine arts, city and town
planning, the applied arts and
philosophy.
Gerrit Thomas Rietveld
- chair
"The pure plastic vision
should build a new society,
in the same way that in art
it has built a new
plasticism."
"The new plastic art...can
only be based on the
abstraction of all form and
color, i.e. the straight line
and the clearly defined
primary color".
Piet Mondrian in
‘De Stijl Magazine’
Inspired by the geometric art and typography of the Dutch De Stijl Movement, 1917-1931.
typeface P22 De Stijl
Designers: Theo Van Doesburg and Richard Kegler
This is a page from De Stijl magazine
The front cover of the first issue of de
Stijl magazine
Piet Mondrian
abstract evolution
of an apple tree
Colin Mahoney -work inspired
by De Stijl
Work inspired by De Stijl
Counter-Composition V, 1924
by Theo van Doesburg
De Stijl Vector
One of the best-known progressive institutions
for the teaching of art and design in the twentieth
century. The school operated between World War
I and World War II.
Founded in 1919 in the city of Weimar by
architect Walter Gropius. The school moved two
times, first to Dessau in 1925, and then to Berlin
in 1932. There the National Socialist party, led by
Adolf Hitler, closed it definitively in 1933.
The Bauhaus was the first model of the
modern art school.
The Bauhaus curriculum combined
theoretic education and practical training
in the educational workshops. It drew
inspiration from the ideals of the
revolutionary art movements and design
experiments of the early 20th century.
A woodcut (shown right) depicted the
idealized vision of Walter Gropius, a
"cathedral" of design.
"Students at the Bauhaus took a
six-month preliminary course that
involved painting and elementary
experiments with form, before
graduating to three years of
workshop training by two masters:
one artist, one craftsman. They
studied architecture in theory and
in practice, working on the actual
construction of buildings. The
creative scope of the curriculum
attracted an extraordinary galaxy
of teaching staff. Among the stars
were Paul Klee, Wassily
Kandinsky, Oskar Schlemmer,
the painter and mystic Johannes
Itten, László Moholy-Nagy,
Josef Albers and Marcel Breuer.
Bauhaus students were in day-today contact with some of the most
important practicing artists and
designers of the time.
From the left: Josef Albers, Hinnerk Scheper, Georg Muche, László Moholy-Nagy,
Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Vassily Kandinsky,
Paul Klee, Lyonel Feininger, Gunta Stölzl and Oskar Schlemmer.
Over seventy years after its foundation in
Weimar, the Bauhaus has become a
concept all over the world. The respect
which it commands is associated above all
with the design it pioneered, one which we
now describe as “Bauhaus style”.
The teaching strategies developed were
adopted internationally into the
curriculum of art and design institutes.
…Walter Gropius, saw the
necessity to develop new
teaching methods and was
convinced that the base for any
art was to be found in
handcraft: "the school will
gradually turn into a workshop".
Indeed, artists and craftsmen
directed classes and
production together at the
Bauhaus in Weimar. This was
intended to remove any
distinction between fine arts
and applied arts.
Bauhaus catalog cover designed by
Herbert Bayer.
Many of the women who came to
the Bauhaus chose the weaving
section purposefully for a later
profession. In addition, the council
of masters preferred sending
women to the weaving workshop
in order to "avoid unnecessary
experiments" and be able to
reserve the few other workshop
places allegedly more suited to
men.
For Johannes Itten and
Lothar Schreyer, calligraphy
was essentially an artistic
means of expression.
Typography at the Bauhaus
was closely connected to
corporate identity and to the
development of an
unmistakable image for the
school.
Joost Schmidt -poster, 1923
“why have 2 alphabets when one will do? why write capitals if
we cannot speak capitals?”
Bauhaus Weimar
1919-1923
László MoholyNagy, title page for
exhibition catalog
“Staatliches
Bauhaus Weimar
1919-1923”
Joost Schmidt, advertising for Bauhaus produced chessboard, 1923
Kandinsky Post Card C1923
in Bauhaus
Bauhaus Stamp 3
German stamp commemorating Bauhaus
teacher and artist Moholy-Nagy.
Herbert Bayer
Bayer was appointed by Gropius to
direct the new "Druck und
Reklame" (printing & advertising)
workshop to open in the new
Dessau location.
In 1925, Gropius commissioned
Bayer to design a typeface for all
Bauhaus communiqués. He took
advantage of his views of modern
typography to create an "idealist
typeface." The result was
"universal" - a simple geometric
sans-serif font.
In Bayer's philosophy for type design, not only were serifs unnecessary, he
felt there was no need for an upper and lower case for each letter. Part of his
rationale for promoting this concept was to simplify typesetting and typewriter
keyboard layout.The Bauhaus set forth elementary principles of typographic
communication, which were the beginnings of a style termed "The New
Typography."
1. Typography is shaped by functional requirements.
2. The aim of typographic layout is communication (for which it is the graphic
medium). Communication must appear in the shortest, simplest, most
penetrating form.
3. For typography to serve social ends, its ingredients need internal
organization - (ordered content) as well as external organization (the
typographic material properly related)
Johannes Itten
Itten was a master color theorist whose
teachings and books on color and design
are still used today.
"Johannes Itten was one of the first people
to define and identify strategies for
successful color combinations. Through his
research he devised seven methodologies
for coordinating colors utilizing the hue's
contrasting properties. These contrasts
add other variations with respect to the
intensity of the respective hues; i.e.
contrasts may be obtained due to light,
moderate, or dark value."
The contrast of saturation
The contrast is formed by the juxtaposition of light and dark
values and their relative saturation.
The contrast of light and dark
The contrast is formed by the juxtaposition of light and
dark values. This could be a monochromatic composition.
The contrast of extension
Also known as the Contrast of Proportion. The contrast is formed
by assigning proportional field sizes in relation to the visual
weight of a color.
The contrast of warm and cool
The contrast is formed by the juxtaposition of hues
considered 'warm' or 'cool.'
The contrast of complements
The contrast is formed by the juxtaposition of color
wheel or perceptual opposites.
Simultaneous contrast
The contrast is formed when the boundaries between colors
perceptually vibrate. Some interesting illusions are
accomplished with this contrast.
The contrast of hue
The contrast is formed by the juxtaposition of
different hues. The greater the distance
between hues on a color wheel, the greater
the contrast.
Vassily Kandinsky
Bauhaus Inspired
Bauhaus Inspired
Bauhaus Inspired
Bauhaus Inspired
Dada - Collage
Johannes Baader, collage
Theo van Doesburg and Kurt Schwitters, "Kleine Dada Soirée“ (Small Dada Evening), 1922
Dada - Evening of the bearded heart
Ilya Zdanevich, “Soirée du Coeur à Barbe”, 1923
The Home of Advertising
In 1729 Benjamin Franklin published
the Pennsylvania Gazette in
Philadelphia with pages of "new
advertisements." By 1784 The
Pennsylvania Packet & Daily
Advertiser, America's first successful
daily newspaper, starts in
Philadelphia.
Many publications banned advertising
while others limited the space to one
column width. However by 1870
there were over 5,000 newspapers
in circulation which carried advertising
and the demand for advertising
services was rapidly growing.
ADVERTASING
Newspaper Advertising Agents
Early advertising agents were essentially
resellers of newspaper space.
The strategy of early advertising was to
convince the buyer of the quality of the
product. A flattering illustration of the
product, numerous descriptions praising its
virtues or testimonials from prominent
citizens were commonly used. Later
product claims gave way to elaborate
stories of purchases that rewarded the
buyer with success, popularity or romance.
ADVERTASING
Early Philadelphia Agencies
Volney Palmer opened the first
advertising agency in Philadelphia
in 1841 and is possibly the first
person to use the term "advertising
agency.“
In 1869, 21 year old Francis
Wayland Ayer opens a firm
named after his father, N. W. Ayer.
By 1877 it acquired the remains of
the original Volney Palmer agency
and therefore laid claim to the
"oldest advertising firm in the US.“
N.W. Ayer & Son introduced the
open contract, a practice which
would alter the history of
advertising forever.
ADVERTASING
Earnest Elmo Calkins's Business Triangle
from The Art of Modern Advertising, 1905.
Calkins made the link between advertising
and the consumer, retailer and
manufacturer."The mediums have been
analyzed and classified; the goods
manufactured, wrapped and named with a
better idea of the purchaser's habits and
needs, the consumers located and studied;
their purchasing power tabulated; their
shopping habits determined."
ADVERTASING
"Come to the point, and don't draw
attention to the advertisement instead
of to the goods." — Earnest Elmo
Calkins
These two pieces of advice might surprise
some, given that Calkins was one of the
first advertisers to increase the quality of
the art department at his agency. However,
Calkins knew what many communicators
have been forgetting in the last few
decades.
ADVERTASING
The American Art Director Comes from Europe
American Graphic Design
was born out of two new factors. As the twentieth
century got underway, an explosion of new
reproductive technologies stimulated
specialization, separating conception and formgiving from the technical production activities of
typesetting and printing.
Simultaneously the United States received its first
European modernist emigrés, the migration
reached it height in the 1930's. These men
understood design as a balanced process
involving the powerful multiple modes of seeing
and reading, and sends the possibility of theory
and methods as guiding the creative
process—the first rudimentarily seeds of
professionalism. These designers, including
Bayer, Sutnar, Burtin, Maholy-Nagy and
Matter.
ADVERTASING
Dr. Mehemed Fehmy Agha
American Vogue
Born to Turkish parents in the Ukraine in
1896, Agha left behind the Russian
revolution to find work as a designer in
Europe. He came to the US in 1929 after
being recruited from German Vogue in
Berlin by Condé Nast. Nast made Agha the
art director for Condé Nast Publications.
ADVERTASING
Agha introduced the use of double
page spreads ("rather than a
sequence of single pages"),
Constructivist compositions,
bleeds, and the use of famous
illustrators and photographers in
advertising.
ADVERTASING
Cipe Pineles
(American)
As a young woman she worked under Dr.
Agha at Vogue but later became "The first
autonomous woman art director of a massmarket American publication (Seventeen.)"
Alexey Brodovitch
Philadelphia + Bazaar Magazine
Philadelphia gave birth to the first of
Brodovitch's revolutionary design
laboratories, whose flame of inspiration
was carried to other cities and was to
illuminate new pathways of personal vision
in the decades to come.
ADVERTASING
Portfolio (1950 -1951)
Portfolio was a general arts and culture
magazine published in Cincinnati by Zebra
Press. Co-edited by Alexey Brodovitch and
Frank Zachary and under the art direction
of Brodovitch, Portfolio is often called the
quintessential arts magazine as well as
Brodovitch's best work. Portfolio contained
the work of pioneering photographers,
many of whom were students of Brodovitch
and features many articles on influential
artists and designers.
ADVERTASING
Herbert Bayer
Bringing the Bauhaus Ideals to the US*
Paul Rand
Born Peretz Rosenbaum in Brooklyn, New
York in 1914, Paul Rand is considered one
of the most influential designers in
American History.
ADVERTASING
Lester Beall
A self-taught designer, Beall was one of the
first American's whose work was shown in
the influential German magazine,
Gebrauchsgraphik.
Bradbury Thompson
Bradbury Thompson's mark is impeccable
taste applied with great elegance—an
elegance of simplicity, wit, and vast
learning—and an intimate knowledge of
the process of printing, always with style,
with informed taste.
ADVERTASING
Louis Danziger
His design exemplifies the diversity of
Modernism and his teaching promotes the
diversity of design. He has significantly
affected many design genres—advertising,
corporate work, books and catalog design,
and exhibitions—and influenced the
hundreds of students who attended his
classes.
Leo Burnett
Chicago
Leo Burnett could certainly be considered
a master of symbols, his Marlboro Man,
Pillsbury Doughboy and the Jolly Green
Giant are all iconic symbols from his career
that started in 1935.
ADVERTASING
William Bernbach
New York
At the start of his career in the late 1930's
Bill Bernbach partnered with modernist art
director Paul Rand who greatly influenced
Bernbach's ideas about ad layout. Later in
his Volkswagen headline that urged the
public to "Think Small," the Bernbach's
concepts had a trademark simplicity that
permeated both the copy and visual
elements.
Gene Federico
New York
Pioneered the idea of visual puns in
advertising by blending copy and image.
ADVERTASING
Otto Storch
New York; a graduate of Pratt, also studied
at NYU, the Art Students League and "the
school of hard knocks." evening classes
with Alexey Brodovitch
Otto Storch became an art director for
whom idea, copy, art and typography were
inseparable.
ADVERTASING
The End
For additional information on history of graphic design please visit:
www.deisgnhistory.org