Lester Beal, Fortune Magazine, poster, 1947
Dear class, there is plenty to discuss: forms of Dada collage, Bauhaus, our side of World War Two, Information Design, the difference between Propaganda and advertising, Kula Robbins' Jenny on the job, Herb Lubalin, Fortune Magazine, and the development of Logos. Logo stars include Giusti, Chesmayer & Geismar, Paul Rand, Saul Bass, Alvin Lustig, etc. And, of course, Graphic design does JAZZ & Shigeo Fukuda.
I include the following, which I didn't mention:
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Container Corporation of America's contribution to graphic design was founded in 1926 and manufactured corrugated boxes. I believe that these artists were influenced by Picasso's collage and Surrealism. John Massey (1940s) incorporates Picasso’s collage style into his graphic design. Picasso used paper cutouts and assemblage He integrated three-dimensional components into his collages, blurring the line between collage and sculpture and forming a one-of-a-kind combination. Words and letters were another element in Picasso's collages in which Massey drew inspiration.
Mathew Leibowitz (1943) incorporates surrealism into his design by having a human hand reach for a graphic checker piece. Surrealism is often used to challenge the viewers' perspective of reality and Leibowitz is demonstrating that in his graphic art. This design contains an irrational scenario or situations that cannot be logically explained such as the hand taking a checker out of a box that was essentially not real. The design is thought-provoking and challenges the subconscious mind of the viewer.
I was curious about the Hannes Meyer Manifesto. Meyer was a Swiss architect of the Bauhaus school of art and design. He had a significant impact on the institution and he emphasized the social responsibilities of architecture and design, advocating for a more functional approach to design that focused on the needs of society as a whole. In his manifesto, he mentions that “our activities are determined by society, and the scope of our tasks is set by society”, emphasizing the role of architecture and design in serving the needs of society and his tenure helped shape the school’s legacy as a pioneering institution in modern design. Meyer implemented changes that emphasized practical training, collaboration between different workshops, and a focus on affordable, mass-produced design that could benefit the working class. He also mentions all the requirements to be considered when building a house, like sex life, sleeping habits, cooking, heating, hygiene, among others.
Saul Bass and Chermayeff & Geismar captivated me with their profound influence on logo evolution. I was struck by Saul Bass's innovative approach during the mid-20th century, where he emphasized simplicity, symbolism, and visual storytelling in logo design. His logos for AT&T and United Airlines, in particular, fascinated me with their timeless elegance and ability to convey complex ideas with clarity. Bass's philosophy of minimalism and conceptual thinking deeply resonated with me, inspiring me to explore these principles in my own design journey.
Similarly, I was intrigued by the bold and experimental style of Chermayeff & Geismar, founded by Ivan Chermayeff and Tom Geismar. Their logos, such as those for NBC and Chase Bank, captivated me with their use of geometric forms, vibrant colors, and clever symbolism. What fascinated me the most was their deep understanding of brand psychology and their commitment to pushing the boundaries of traditional design conventions. Through their work, I discovered the transformative power of graphic design in shaping brand identities and leaving a lasting impact on the field.
George Giusti’s influence on graphic design was remarkable; some could say his designs led to the creation of the logo in graphic design. Giusti was born and raised in Milan, Italy, where he pursued his studies in graphic design. This led to his move to Switzerland, where he started his own design studio. He eventually moved to the United States in his early thirties, where he designed his own home. His designs were rather contemporary in style, reflecting a level of futurism in all of his graphics. One of his most remarkable bodies of work comes from his partnership with “Fortune” magazine. These pieces contain highly saturated colors and extremely smooth geometries. Not only was he an amazing graphic designer, he was also extremely talented with sculpting and architecture. He has an extremely high level of sophistication to his pieces, which, in my opinion, show his love and passion for architecture.
The 1917 Russian Revolution transformed politics, economics, and especially culture. New ideas in art and design began to take shape and spread throughout Europe as a result. Graphic Design for the USSR was a vital tool for communicating its ideals and messages to the people. Characteristics in the design works of the Russian Revolution included minimalist color, abstraction and geometry, "Agitrop", and constructivist typography.
When we think of Soviet art the colors that come to mind are red white and black. Red, a bold primary color, was considered the color of the proletariat, associated with the working class ever since the French Revolution. These three colors would be used on posters due to the expensive cost of colored ink and its limited availability. Abstraction was taking place in Russia led by the radical Suprematists who thought to have found the very essence of art through abstracted form and color. Their ideals bled into the fabric of soviet design, introducing a formalist combination of pure geometry.
"Agitprop", the intentional promulgation of ideas otherwise known as propaganda was birthed in Russia. The symbolic abstraction from the suprematists became its foundation and vehicle.
Constructivist typography became a defining element in the new Soviet aesthetic. Masters of form such as El Lissitzky, Solomon Talingater, Alexander Rodchenko, and Gustav Klucis combined serif and sans serif poster typefaces to build word monuments. This avant-garde style was left in favor of socialist realism once Stalin came to power but became the seed planted for Modernism to come sometime after.
I first learned about Norman Rockwell in my Art History class in junior year in high school. Today I'm going to talk about Save Freedom of Speech. I was lucky enough to have a teacher that explained the details of that painting on a professional level. Yesterday in class the Professor elaborated a bit more on those details. The theme that separates American propaganda between other countries' propaganda is patriotism and nationalism. What I learned in that Art history class in high school was that Norman Rockwell's Freedom of speech painting is a perfect example of instilling patriotism and not nationalism into a populus. The painting shows a citizen voicing his opinion in a town hall. He is gripping the chair in front of him and he is mid speech. Everyone is listening intently. Norman Rockwell has glorified American freedom of speech while not attacking other countries or implying that this value should be pushed on to other countries. This is instilling patriotism. An example of nationalistic propaganda would be one where the artist is sending a message that the home country should spread their culture to other countries whether they like it or not.
I found the art of logos to be particularly interesting, specifically in regard to the production of this artwork in the age of mechanical reproduction. Logos are most often seen or recognized by the public when the logo represents a company that provides a service or good, and as such, must be easily and effectively reproduced. However, there often remains a sense of lack in the reproduction of artwork, in which the artwork is not subject to a unique presence in time and space; not only changes in physical condition due to change in ownership or environmental factors, but also shifts in the way it is experienced due to changes in sociopolitical climate. Despite this, logos often transcend this idea that artwork cannot be effectively reproduced, with their original existence being solely for the purpose of reproduction and advertisement, and their design continuously evolving based on changes in social climate and aesthetics preferences. The company, consumers, and location simultaneously become the artists and viewers which shape the artwork, despite its creation being rooted in mechanical reproduction.
I wanted to discuss my personal feelings on what I believe the difference is between propaganda and advertising. In short, my personal opinion is that not much is different. In fact, as technology has progressed and social media has become the new preferred medium to advertise on, I believe the lines between propaganda and advertising has blurred immensely. Despite modern day advertisements having to place disclaimers in videos or short form content in order for the consumer to know that the product being discussed is a paid sponsorship, reality and “reality tv” have become so interchangeable that one might not even notice the very obvious methods of persuasion being used right in front of our faces. What would need to be done in order to properly distinguish genuine advertising from propaganda is having the objective behind the advertisement be placed front in center so that the audience perceiving the add can choose whether or not they wish to opt out of viewing and engaging.
- zieli ennisacevedo
I wanted to talk about how during World War II, propaganda had a profound impact on people, motivating them to take action and support the war effort. The graphic design used in propaganda was especially effective, as it employed striking imagery and compelling messages to stir emotions and spur individuals to action. Propaganda posters, for instance, were prominently displayed in public spaces, featuring bold graphics and catchy slogans that promoted patriotism, duty, and sacrifice. These posters often portrayed the enemy in a negative light and framed the war as a battle between good and evil, appealing to people's sense of national pride and identity. One of the main ways propaganda influenced people during the war was by encouraging them to contribute in various ways. Posters urged individuals to buy war bonds, ration food and resources, or join the military or civilian defense forces. These messages made people feel that their actions were crucial to the war effort and could make a difference. Propaganda also helped shape public opinion and perceptions of the war. By controlling the information that was disseminated, governments could maintain morale, justify their actions, and vilify the enemy. This was particularly important in countries where support for the war was not universal, as propaganda helped sway opinion and build consensus. Overall, World War II propaganda was a potent tool for rallying support and influencing attitudes. Its graphic design elements captured people's attention and conveyed messages that were persuasive and memorable, shaping the way individuals thought and acted during the war.
-Zac Cronin
I enjoyed looking at the graphic designs by Japanese artist Shigeo Fukuda. I thought his quote about how art is 30 percent dignity, 20 percent beauty, and 50 percent absurdity was inspiring and smart. Culturally, I thought it was interesting because I know many Japanese artists are focused purely on an aesthetic or visual aspect of their work. I was drawn to Fukunda’s work because the combination of dignity, authenticity and absurdity adds uniqueness. He also keeps you guessing; the intuition and emotion in his pieces are unexpected, and as a viewer, this kept me more engaged. Fukuda is also able to synthesize complex ideas and present them simplistically. There is an element of wit in his work that I admire. For example, in his anti-war posters, he includes a bullet firing backwards into the barrel of a gun. The design is precise and the symbols are simple, but it makes you think. He is definitely one of my favorite designers we have looked at this semester.
-Benjamin Rosen-Cappellazzo
Alberto Vargas was the artist behind the 'Varga girl.' I found the attention to detail and mystery of the original pinups between the 1930s-1940s very alluring. Vargas' risqué art reflected the new culture of burlesque and the golden age of print media. He capitalized on the popularity of glamor and sex appeal at the time. Vargas worked for Esquire magazine which was enjoyed by many World War II soldiers. However, he ended up leaving Esquire because he had difficulty meeting the demands of his contract with them. At the beginning of the 1960s, Vargas was hired by Hugh Hefner for Playboy Magazine. This was when Vargas' pinup girl illustrations showed a shift. Esquire had a sense of subtlety within the sex appeal whereas Playboy Magazine, much like contemporary pornography, appealed to the viewers' carnal desires. The pinups embraced the motifs of sex and lust as Hefner wanted. The original pinups were also made with the technique of airbrushing whereas later on he used watercolor, which may have also changed the look of his artworks.
I find logos very interesting. Every aspect of a logo is incredibly thought out. For example, the color is chosen to evoke certain emotions. For example, red evokes love or power. Orange: trust and playfulness, Yellow: happiness and cheerfulness, Green: peace and nature, Blue: tranquility and intelligence, and Purple: wisdom and creativity. There are often hidden symbols in logos, such as the UPS symbol, which has an arrow that is revealed through the spacing of the letters. Also, the letter P in Pinterist is a board Pin. The Tour de France logo has a hidden cyclist. The B and R in Baskin Robbins makes a 31, referring to their 31 flavors. In the NBC logo, the noticeable peacock stands for pride and color. People often don’t realize these things until they really take a look. These successful brands think of every small detail. These brands use their logos to show what they are really about. Like, amazon has an arrow going from A to Z, showing that they get from point A to Z with a smile (because it looks like a smiley face.)
I love the Fortune and New Yorker magazine covers. As long as these magazines have been produced, each cover is a different piece of art of different meaning, style and significance to culture. Some of these covers, such as Fortune Magazine February 1935, really stick with me due to each unique detail. This cover is a cloudy, dark day of blues and purples, with a large thunder cloud looming overhead, blowing wind at a wind turbine. The use of line creates a lot of movement and rhythm within this cover. Each magazine have a new and unique cover makes each ones debut exciting, to see how much care and effort went into each issue. Something I love about Fortune magazine covers is that they are collected, admired, and cherished in frames on the walls of its readers.
I've been focusing on Paul Rand's design lately and I wanted to talk about his impact on graphic design. In his early career working at Esquire, Rand developed a distinct style characterized by minimalist aesthetics and a clever use of visual space and typography, which was different from the then-prevailing norms that heavily favored textual content. He integrated type and image into cohesive units that communicated more effectively, thus setting a precedent for contemporary graphic design. Rand's methodology in presenting his logos—through detailed booklets explaining the design process and rationale—exemplified his holistic approach to design as an integral business function, rather than just an artistic endeavor. His contributions to corporate identity have left a lasting imprint. His logos for major corporations like IBM, ABC, and UPS are celebrated for their visionary simplicity and enduring relevance, proving that effective design does not necessitate complexity. His philosophy that a logo need not depict the business's function but rather create a unique identity through abstract representation was ahead of its time and remains influential.
I was extremely captivated by the Montreal Jazz Festival Poster by Shigeo Fukuda from 1985 as the bright colors and loud symbols within the painting drew me in. Shigeo Fukuda was a very respected Japanese graphic designer who had impressive poster making skills and was highly known internationally for his remarkable work. Fukuda was actually inducted into the Art Directors Hall of Fame in New York City, which demonstrates how deeply recognized he was for his art. Shigeo Fukuda had an emphasis on minimalist Swiss style graphic design that had a magical way of producing compelling images through simplicity. In the Montreal Jazz Poster, it is evident that the shapes and lines are all simple, however, hold so much weight and energy because of how detailed they are. I am taken back by his usage of such simple symbols that anyone can honestly create, being all put together so perfectly to create such a powerful poster, causes audiences to WANT to attend this festival. Fukuda's work has inspired me to dive into the art of symbols and implement it into marketing for my future companies.
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