Thesis 2

Neville Brody pushed the boundaries of visual communications in various areas of media--including newspaper design, album art, typography, and corporate identity design--through his challenging, creative, and experimental work.

Thesis

Neville Brody provides a forerunning example of how innovative typefaces can be incorporated and combined into designs, creating a bridge between typography and graphic design.

Chapter 20

World War II brought about many technological advances. People began to consume more and more and art became the means of making this occur. "good design is good business", was the motto for the graphic design community during the 1950s. Design became a way to convince customers of the reliability and quality of an object.

Even though visual symbols had been used for identification for centuries, the visual identification system of the 1950s took the ideas of the past even farther than simple trademarks and symbols. This began with designers putting their personal mark on the works they developed for clients. This started with Behrens at AEG with Olivetti Corporation.

The Columbia Broadcasting Stystem, otherwise known as CBS in New York City became a forerunner for the corporate identity system. This was mostly due to the president, Frank Stanton who realized that art and design had serious potential when it came to their business. He came up with the idea for a single typeface and overall design to be used in all aspects of the company.

The US government eventually began th Federal Design Improvement Program in the 1970s. This was due to the realization that design is an important tool for achieving goals. It was organized by the Architectural and Environmental Arts Program. All areas of federal design was upgraded due to this program.

Most Interesting:

What I found most interesting of this chapter was how the MTV logo was manipulated in Pat Gorman and Frank Olinsky's logo. It was called the "puzzle" logo and was assembled, dismantled, melted, shattered, but still was identified by the audience.

After Class 4/12

We talked about New York School and how important it was to the development of graphic design in society. Magazine covers became very important as well as movie posters. America also used, in 1965, for the first time, someone who wasn't caucasian in their advertising. It was for a Jewish rye bread. This period of design was interesting because there were many social issues going on including the Vietnam war and women's rights.

Question:

UW GB found a cheaper way to print, which can save up to $10000 in ink costs every year.

http://www.therepublic.com/view/story/cba5cc6c175649998718d2915ab005f8/WI-ODD--Cheaper_E-mail_Font/

What are some other things that people interested in typography can do to change society, such as this? We looked at highway signs and now this, but what are some other examples?

New York School

The New York School of advertising reached it's height in the 60's. It started by European immigrants in the 1940's. When it came to America, artists introduced their originality. It was a little looser and free-flowing. New York was a "cultural incubator" due to the amount of people that came through, when immigrating, therefore there was a surge of different cultures. One of the pioneers of NY School was Paul Rand. He was an editorial designer who was influenced by visual forms and universal signs. He attempted to upgrade taste and designed a poster for the AIGA. Alvin Lustig also was a pioneer and was a graphic design that moved between interior design, graphic design and architecture. He was an advocate for symbols.

The Yale School of Art sponsored the first ever graphic design program at a creditable university. They hied Alvin Eisenman to direct the program. They mad a lot of major graphic designers come in and give seminars and teach classes.

Editorial design was an important part of the 1940's. But very few magazines were actually designed well. Cipe Pineles was a major artists for various magazines such as Glamour and Seventeen. Experiments began with large-format publication, by using two-ages for large images with large type. Despite these changes there was still a need for new editorial design.

Designers moved into a movement of typographic expressionism. They began to use different display fonts to illustrate an idea with scratched torn and bent display fonts, moving away from legibility.

New York School was inspired by city life, abstract expressionism, Surrealism, and Jazz. It occured after World War II in which artists were interested in European avantgarde and modernism. New York School began to inspire a lot of the Pop Art movement.

After Class 4/9

First we went over our questions and talked about different graphic designs schools.

We then talked about Modernism of the United States. Overall America was really changing due to war and the economy and design was less flat and more texturized with a 3d appearance. We also saw the presentation of International Typographic Style which is also called Swiss Style which allowed for faster communication and increased global trade. It had a mathematically constructed grid.

Question:

I'm going to the exhibit Street Seen in Milwaukee. What style would that fall into? Or is photography totally seperate?

Chapter 18

In the 1950's a new movement emerged in Switzerland and Germany. It has been called Swiss deign but also The International Typographic Movement. Critics complained that it was based on a formula with results in the same solution. Others said that its purity gave designers means to achieve a perfect form.

The International Typographic Movement showed how the visual unity of design is achieved by asymmetrical organization of design elements on a mathematical grid. Sans Serif types were used in flush left ragged right alignment and the visual elements were clear and factual.

Various grids and also sans serif type were used because it reflected the spirt of the age, and of the 1950's.

There were plenty of new Swiss sans-serif typefaces, including the Univers font created by Adrian Frutiger. Edouard Hoffman created Helvetica and Hermann Zapf developed Palatino.

Emil Ruder taught his student that legibility and readability are primary concerns.

Josef Muller-Brockman was the leader of the movement. He sought to show an objective and impersonal communication to the audience.