Friday, March 29, 2013

it's your turn

Roman Cieslewicz, Katastrofa, 1961

Saturday, March 23, 2013

it's your turn

Rodchenko's photomontage of Mayakovsky (1923)

Thursday, March 21, 2013

Gertrude Stein reading!

Digital advertising is 20!

Re-imagining advertising:

Jan van Krimpen

Above, Jan van Krimpen's pages from Deirdre and the Sons of Usnach, by Roland Holst, Paladiun Series, 1920. Van Krimpen received an art education at the academy of art at The Hague. An early interest in poetry led him in 1917 to publish the poetic works of his friends in a series for which he designed the format. He received a commission from the Dutch post office to draw the lettering for a special commemorative stamp to be printed by the prominent firm of Enschedé in 1923. The success of the design led Enschedé to invite him to design a new typeface for the firm.

The typeface he produced, Lutetia (the Roman name for Paris), was the official lettering for an exhibition of Dutch art in Paris in 1927, and its reception led to his lifelong association with the firm. In addition to Lutetia, van Krimpen's well-known faces include Antigone Greek (1927), Romanée (1928), Romulus (1931), Cancelleresca Bastarda (1935), and Spectrum (1943).

His types became well known in the United States through the Limited Editions Club and in England through the Nonesuch Press.

Friday, March 1, 2013

if you have any questions about the midterm

Aida, 1915 by Marcelo Dudovich
post them here.

at the suggestion of a diligent student as to whether you should know the full name of an artist, my answer was: "of course." writing "morris" instead of "william morris" doesn't make any sense (there are thousands of morrises in england). sure, there are household names like gutenberg or picasso, but that isn't generally the norm.