Sketchbook Fall 2015

Using 3 flat black squares or rectangles to communicate and express the meaning of each of the following 4 words—Bold, Stress, Tranquil and Kinetic.

Using only 3 black squares or rectangles may seem to be a rather limited palette for expressing such diverse words, but consider how these forms can be expanded into a more comprehensive visual language by utilizing the various principles of design—unity/variety, emphasis/hierarchy, rhythm/repetition, scale/proportion, and balance.

1PROJECT:Form and CommunicationShape

BOLD STRESS

TRANQUIL KINETIC

Project 1:

Form and communication

BOLDMindmap

Big, thick, daring, heroic, fearless, courageous, adventurous, aggressive, forceful, strong, self-standing, purposeful

Project 1:


BOLDSketches

Project 1:


BOLDBOLD

BOLDComputer Sketches

Project 1:


BOLDFinal

Project 1:


Accent, weight, force, significance, importance, urgency, pressure, uncomfortable, tension

STRESSMindmap

Project 1:


STRESSSketches

Project 1:


STRESSComputer Sketches

Project 1:


STRESSFinal

Project 1:


Calm, easy, even, gentle, mild, restful, easygoing, soft, smooth, undisturbed

TRANQUILMindmap

Project 1:


TRANQUILSketches

Project 1:


TRANQUILForm and communication

TRANQUILMindmap

Project 1:


Moving, active, dynamic, powerful, driving, animated, aggressive, lively

KINETICMindmap

Project 1:


KINETICSketches

Project 1:


KINETICComputer Sketches

Project 1:


KINETICFinal

Project 1:


Using only lines, communicate and express the meaning of each of the follow-ing words— Spontaneity, Conformity, Contrast, Divergent, Graceful, Playful, Tension and Aggressive.

Using only lines may seem to be a rather limited palette for expressing such diverse words, but consider how these forms can be expanded into a more comprehensive visual language by utilizing the various prin¬ciples of design—unity/variety, hierarchy/emphasis, rhythm/repetition, scale/proportion, negative space and balance.

2PROJECT:Exploration of Line, Movement, and Visual Language

Project 2:

Exploration of Line, Movement, and Visual Language

Project 2:


TENSION PLAYFUL

CONTRAST AGGRESSIVE

Project 2:


Comparison, contradiction, disagreement, distinction, divergence, diversity, opposition, variation, differentiation, incompatibility, contraposition, inverse

CONTRASTMindmap

Project 1:


CONTRASTSketches

Project 1:


CONTRASTComputer Sketches

Project 1:


CONTRASTFinal

Project 1:


Funny, fun-loving, spirited, coical, cheerful, flirtatious, joking, lighthearted, lively, mischievous, joyful, merry, prankish

PLAYFULMindmap

Project 1:


PLAYFULSketches

Project 1:


PLAYFULComputer sketches

Project 1:


PLAYFULFinal

Project 1:


Destrucctive, intrusive, theatening, antipathetic, attacking, disruptive, disturbing, offensive

AGGRESSIVEMindmap

Project 1:


AGGRESSIVESketches

Project 1:


AGGRESSIVEComputer sketches

Project 1:


AGGRESSIVEFinal

Project 1:


Tightness, pressure, strain, stress, balance, constriction, force, rigidity, stiffness, straining, tenseness, tensity

TENSIONMindmap

Project 1:


TENSIONSketches

Project 1:


TENSIONComputer sketches

Project 1:


TENSIONFinal

Project 1:


Beautiful, elegant, smooth, symmetrical, aesthetic, artistic, controlled, curvaceous, pleasing, easy, flowing, harmonious

GRACEFULMindmap

Project 1:


GRACEFULSketches

Project 1:


Different, atypical, cnflicting, diverse, various, abnormal, disagreeing, oppo-site, unialike, separate, unequal, unsimilar, untypical, unnatural

DIVERGENTMindmap

Project 1:


DIVERGENTSketches

Project 1:


Improvisation, impulse, energy, activity, drive, wildness, freedom, inclination, tendency, will, inspiration

SPONTANEITYMindmap

Project 1:


SPONTANEITYSketches

Project 1:


Obedience, conventionality, willingness, naturalization, agreement, acquiescence, asent, observance, orthodoxy, habituation, accommodation, adaptation

CONFORMITYMindmap

Project 1:


CONFORMITYSketches

Project 1:


Symbols and indexes are surrogate images. They stand-in and express meaning indirectly. Through signs, the graphic designer can communicate desires, fears, anxieties, moods, sensations, feelings and intuitions—all of these are subjective and emotional yet capable of being graphically equated by—line, shape, color, texture, image and form. The meaning is recogniz-able to those who have had similar experiences or those who are willing to make associations and decode the signs.

3PROJECT:Images, Juxtaposition, and Connotative Meaning

Project 3:Images, Juxtaposition, and Connotative Meaning

My journey is about the process of quitting smoking. The three stages that I want to show are: 1) Desire; 2) Struggle; 3) Freedom. Originally, my journey was more negative, as I wanted to show the last stage as “starting smoking again.” But during the design process, the whole concept was changed to have a more positive and inspiring outcome.

So my journey is about quitting smoking. The first card shows “Desire” – reaching out for a better, cleaner, and healthier life. The process of quitting is not easy, and in my opinion, it takes a very strong person to make this deci-sion. Therefore, the first stage is crucial. You have to have motivation, inspiration, and desire, which will stick with you throughout the whole journey, until the end.

The second card is about the actual process, and the struggle that you have to go through in order to get to the last stage. It is about fighting with yourself and being stron-ger than your own weaknesses. Only after this fight, you can proceed to the next stage: freedom.

Originally, the last card and the word “freedom” were about having another cigarette again. After all the strug-gling you had to go through in order to achieve something, you go back to the beginning, and have to start all over again. But you still feel the freedom of having a cigarette.

My new concept was about a more positive outcome, and the word “freedom” in my journey now represents a successful escape from the addiction. The last card is about achieving that healthy lifestyle that is free of addiction.







ADDICTIONthe journey of quitting



STAGE 1:

DESIRE.

The most important part of the process of quitting is probably making that decision. There are lots of reasons why I should stop. It smells bad, it is bad for my health, my boy-friend does not like it when I smoke, and my parents are disappointed. There are lots of reasons. But there are also lots of reasons why I do not want to quit.

It was hard to find strength and focus on the bad things that smoking gave me instead of all the good things. And after that deci-sion was made, I was on my own. Even if my friends would say they appreciated my deci-sion, they would not be very helpful. None of them would be quitting too, so they would still casually go for a cigarette every once in a while. Of course, there is nothing better than going for a smoke break with your friends during a party, or on a class break. That is when all the social magic happens. But what happens if I don’t go?

Nothing would really happen. Except I would not be there, and I would so want to be a part of that. I am really tempted to go and have a cigarette with them every time, and I just cannot resist. At first I just go and have a con-versation while everyone is smoking. I don’t smoke myself; it feels great and looks impres-sive to everyone. I feel strong, like if there is nothing in this world I cannot do. I feel like I am becoming a better and healthier person.

STAGE 2:

FRUSTRATION.

But after a while I begin to miss it. Not only I would miss having fun conversations with friends over a cigarette, but also having those moments of relaxation on my own. I think to myself: “it’s been a hard day, a busy week, a stressful period in my life. I deserve to have one cigarette; after all, it will not make any difference.” But it will.

The minute I pick up that cigarette, all the ef-forts become useless. After this one cigarette comes another one, and almost like I’ve never tried to quit. This habit just sticks around. I am frustrated with myself. The ambitious and strong person who made the decision to quit is gone, and once again I am enjoying the smoke. I keep promising to myself that I am going to quit some other time soon; I will quit tomorrow; this is my last cigarette. But it will all repeat itself.

On the other hand, that first cigarette after a long break feels like heaven. The joy that I get will be the reason I will not stop after one cigarette. And I will not think about quitting again for a while, focusing on the positive things that smoking brings me, instead of the negative. Even though my dreams are break-ing and all the efforts I’ve put into it were vain, I feel great watching the smoke come out of my lungs on a lonely night.

The problem is that every time, I have to start again. And it is frustraiting.

STAGE 3:

FREEDOM.

The best part of the whole process is the feel-ing of freedom and satisfaction at the end. It is when smoking is not controlling your life any more, and you feel like a stronger person, who went through it all, and made it till the end.

Even though quitting smoking is an ongoing life-time process, and you have to keep trying all the time, there is something so pleasing about the fact that you made it for so long without a cigarette. Now, you don’t even think about it when someone offers you a cigarette. It is simply a habbit - not smoking. Being healthy. Being strong.

Once you’ve been through this process, the feeling of freedom doesn’t get away. It is like getting out of such a long imprisonment, after being held back for so long. You are now a new person: healthy, free, and strong.

i quit Even though smoking has been a part of my life for almost six years now, I have made a decision to start a

new chapter in my life. It was not an easy decision, and of course, not an easy process. To be honest, this is not the first time I am trying, and this is not the first time that I am failing to quit.

CARD 1Image Search


CARD 1Collage By Hand







CARD 1Computer Study




CARD 1Final Design

CARD 2Image Search













CARD 2Final Design

CARD 3Image Search













CARD 3Final Design

Card 1: Quitting Smoking

Making a decision, looking for a better, healthier life

Card 2: The process

Struggling throughout the process of quitting

Card 3: Freedom

The end of the process; feeling cleaner, healthier, a free of addition

FINAL DESIGNSImages, Juxtaposition, and Connotative Meaning

This typesetting exercise explores basic the typographic conventions of: align-ment, line spacing and rags using the same copy for easy comparison.

Visual hierarchy is important for all typographic messages. Presenting informa-tion in a logical and beautiful way, helping the viewer to navigate the content.

A classic exercise is to work with a basic chunk of information and explore numerous simple variations, using just one type family. The parts of typo-graphic hierarchy can be signaled with one or more cures: line breaks, posi-tion, typestyle, type size, rules, etc.

BPROJECT:Typography and Hierarchy

Project B:

Typography and Hierarchy

1 size, 1 weight

National Design Triennial

Why Design Now?

Designers around the world are answering this question by creating products, prototypes, buildings, landscapes, messages, and more that address social and environmental challenges.

May 12, 2019 - January 9, 2020

Cooper-Hewitt, National Design Museum New York, NY


Why Design Now?

May 12, 2019 - January 9, 2020



Project B:


1 size, 1 weight


Why Design Now?

May 12, 2019 - January 9, 2020




Why Design Now?

May 12, 2019 - January 9, 2020


Designers around the world are answering this question by creating products, prototypes,

buildings, landscapes, messages, and more that address social and environmental challenges.

Project B:


1 size, 1 weight


WHY DESIGN NOW?

May 12, 2019 - January 9, 2020

National Design Museum Cooper-Hewitt, New York, NY

Designers around the world

are answering this question

by creating products,

prototypes, buildings,

landscapes, messages, and

more that address social and

environmental challenges.


WHY DESIGN NOW?

May 12, 2019 - January 9, 2020


Designers around the world are answering

this question by creating products, prototypes,

buildings, landscapes, messages, and more that

address social and environmental challenges.

Project B:


1 size, 1 weight


WHY DESIGN NOW?

May 12, 2019 - January 9, 2020







WHY DESIGN NOW?

May 12, 2019 - January 9, 2020


Designers around the world are answering this

question by creating products, prototypes, buildings,

landscapes, messages, and more that address social

and environmental challenges.

Project B:


2 sizes, 1 weight

National Design TriennialWHY DESIGN NOW?

May 12, 2019 - January 9, 2020


Designers around the world are answering this

question by creating products, prototypes, buildings,

landscapes, messages, and more that address social

and environmental challenges.


Why Design Now?

May 12, 2019 - January 9, 2020



Project B:


2 sizes, 1 weight

National Design TriennialWhy Design Now?

May 12, 2019 - January 9, 2020




May 12, 2019 - January 9, 2020






Project B:


2 sizes, 1 weight


May 12, 2019 - January 9, 2020







Why Design Now?

May 12, 2019 - January 9, 2020






Project B:


2 sizes, 1 weight


May 12, 2019 - January 9, 2020







May 12, 2019 - January 9, 2020



are answering this question by

creating products, prototypes,

buildings, landscapes, messages,

and more that address social and


Project B:


2 sizes, 2 weights


May 12, 2019 - January 9, 2020









May 12, 2019 - January 9, 2020








Project B:


2 sizes, 2 weights


Why Design Now?

May 12, 2019 - January 9, 2020







Why Design Now?

May 12, 2019 - January 9, 2020






Project B:


2 sizes, 2 weights


Why Design Now?

May 12, 2019 - January 9, 2020







May 12, 2019 - January 9, 2020



Project B:


2 sizes, 2 weights


May 12, 2019 - January 9, 2020


Designers around the world are answering this question by creating products, prototypes,

buildings, landscapes, messages, and more that address social and environmental challenges.


Why Design Now?

May 12, 2019 - January 9, 2020






Project B:


2 sizes, 2 weights, red line


Why Design Now?

May 12, 2019 - January 9, 2020







Why Design Now?

May 12, 2019 - January 9, 2020






Project B:




Why Design Now?

May 12, 2019 - January 9, 2020







Why Design Now?

May 12, 2019 - January 9, 2020






Project B:




May 12, 2019 - January 9, 2020




May 12, 2019 - January 9, 2020



Project B:




Why Design Now?

May 12, 2019 - January 9, 2020







Why Design Now?

May 12, 2019 - January 9, 2020






Designers get their inspiration from many sources: nature, music, fine arts, dance, color, photography, books, films and other sources of research. This assignment called for the selection of three designers, typographers, photographers or architects who have, developed their field, and continue to inspire. Their profiles, including samples of the their work are presented.

4PROJECT:Design Influences Grid Layout Study

Project 4:

Design Influences

PAUL RAND

New York, magazine coers, symbols, essential, influential, american graphic design, modern, european avant-garde, visual culture, transformation, advertising, business, big cororations, branding, logos, IBM, value of identity, consistency

Project 4:

Design Influences

PAUL RAND

Project 4:

Design Influences

PAUL RAND

Paul Rand was born in Brooklyn in 1914, studied art at Pratt Institute in Manhattan, and practiced drawing constantly. Soon after one of his first jobs at Apparel Arts magazine, he started doing magazine covers. His ability to manipulate visual form and his skillful analysis of communications content, reducing it to a symbolic es-sence without making it dull, allowed him to become widely influential while still in his twenties.

Paul Rand was a pioneering figure in American graphic design. More than any other designer, he initiated the American approach to modern design, drawing on the ideas of European avant-garde art movements and synthesizing them to produce his own unique graphic language. More than any other designer, Paul Rand was responsible for defining visual culture in America after the World War II, transforming advertising, and convincing nation’s biggest corporations that good design was also good business.

Paul Rand’s philosophy argued that visual language should integrate form and function. While working at IBM, he designed packaging, worked on showrooms, and on interiors for the company’s offices. But his most enduring contribution to IBM came in 1962, when he designed the logo, which is still used today. The horizontal stripes of the IBM logo

solved two problems. They visually unified the letters, and had an effect of making the company name feel lighter and less monolithic.

Rand’s work for the Westinghouse, UPS, ABC and other big corporations helped show the business value of identity systems and consistent branding. He completely refashioned the advertising industry in New York and introduced the concept of branding and logo recognition.

Rand’s influence is still seen today, in the idea that design is an important part of a business plan, and that design is not something you add on but is part and parcel of your business.

“Design is the method of putting form and content together. Design, just as art, has multiple definitions; there is no single definition. Design can be art. Design can be aesthetics. Design is so simple, that’s why it is so complicated.”

Sources:

http://www.architectmagazine.com/

http://www.mcny.org/

http://www.paul-rand.com/

http://www.wired.com/

Megg’s History of Graphic Design pg. 391 – 392

Project 4:

Design Influences

YUSAKU KAMEKURA

Project 4:

Design Influences

Tokyo Olympics, pioneer of Japanese graphic design, modern, culture, society, art, Japanese reputation, social significance of graphic design, logos, posters, layouts, colors, traditions, geometric forms, term “corporate identity graphics”, “visual excellence”, black backgrounds and sence of tranquility, powerful, clear-cut design, abstract forms, planes, lines, photography, vibrant colors

YUSAKU KAMEKURA

Project 4:

Design Influences

YUSAKU KAMEKURA

Yusaku Kamekura’s designs included a wide diversity of projects such as logos, packages, books, and page layout, but some of his most memorable achievements were in posters.

Kamekura’s best-known work was the logo and poster designs for the 1964 Tokyo Olympics. The 1965 Summer Games were the first use of comprehensive identity program, setting a standard for all the subsequent games. Yusaky Kamekura was a graphic designer, working together with Masaru Katzumie (art director) on this remarkable project. Their focus was to use internationally standardized signage system based on their concern of the social significance of graphic design.

The Tokyo Olympics symbol is a powerful, concise design, while the posters capture the dynamism of athletes. It also incorporated photos, and it was the first time that a photograph was used in an Olympics poster.

Before working on this project, Kamekura was apprenticed to an architect and then worked as an art director for several Japanese cultural magazines from 1937 until 1948. During the postwar recovery period Kamekura emerged as an influential design leader who earned the name “Boss” in Japanese design circles. Under his leadership, Japanese

designers dispelled the widely held belief that visual communication must be hand-drawn.

Kamekura’s work is characterized by his technical discipline, a thorough understanding of printing techniques, and careful construction of visual elements. The logo and posters he created for the Tokyo Olympics in 1964 received international acclaim and established Japan as a center of creative design.

Yusaku is credited with inventing the term “corporate identity graphics” to describe the “visual excellence” he sought to promote. In 1978 he became chairman of the newly founded Japan Graphic Designers Association, which publishes lavishly illustrated books on the work of Japanese graphic designers. For his exhibition “The Universe of Curved and Straight Lines: Designs by Yusaku Kamekura” he received the 25th Mainichi Arts Award in 1983. A successful teacher, lecturer and writer, he has won many awards for his designs, both in Japan and abroad, and his work is in many public collections.

Sources:

Megg’s History of Graphic Design pg. 428-429; 487.

http://www.designishistory.com/

http://www.designers-books.com/

Project 4:

Design Influences

ALEXEY BRODOVITCH

Project 4:

Design Influences

Russian, graphic, photographer, designer, teacher, immigrant, French-educatied, fashion magazines, Harper’s Bazaar, art direction, covers, spread layout, editorial design, typefaces, portfolio magazine, experimental photography, assymmetry, balance, cropping, color, vibrant, scale, movement, ballet, blurred photographs, layout

ALEXEY BRODOVITCH

Project 4:

Design Influences

ALEXEY BRODOVITCH

Alexey Brodovitch was born in a wealthy aristocratic family, but after fighting in the czar’s cavalry during World War I, Brodovitch fled to Paris as an exile from the October Revolution, where he found himself poor and workless. Living in Montparnasse, Brodovitch was surrounded by Russian artists, which lead to his wish to become a painter. He got a job as a painter of stage sets in Diaghilev’s Ballets Russes, which approach to design inspired him to move towards commercial arts, and influenced him in his ideas on the lack of boundaries between different arts.

Brodovitch established himself as a leading contemporary designer in France, before heading to the United States in 1930, where he was invited to work as an art director at Harper’s Bazaar, and remained there from 1934 until 1958.

With his affinity for white space and sharp type on clear, open pages, Brodovitch rethought the approach to editorial design. He created a rhythmic environment on the magazine spreads, which were energized by the art and photography he commissioned from major European artists. He also taught designers how to use photography. Brodovitch used cropping, enlargement, and juxtaposition of images with an intuitive judgment, and saw contrast as a dominant tool in editorial design,

paying close attention to the graphic movement throughout the spreads.

Alexey Brodovitch spent total of 15 years working for Harper’s Bazaar magazine, and his style that combined elegantly set typography with experimental trends in photography became widely popular in the 1940s ad 50s and helped to keep the magazine at the forefront of its field in a swiftly changing world.

Brodovitch also helped to direct a short-lived, but influential, American art and design publication titled “Portfolio”. At the height of his powers, Brodovitch gave this publication a seldom-matched elegance and visual flow through pacing, the cropping of images, and use of color and texture. Brodovitch also created a book titled “Ballet”, which included photographs that were controversial due to their use of motion blur. Nearly every project that Brodovitch worked on was met with success and left a log-lasting impression.

Sources:

Megg’s History of Graphic Design, pg 353, 355

http://www.designishistory.com/

http://www.iconofgraphics.com/

CREATIVE LAYOUT STUDY

Project 4:Design Influences

ALEXEYBRODOVITCH

Alexey Brodovitch was born in a

wealthy aristocratic family, but

after fighting in the czar’s cavalry

during World War I, Brodovitch

fled to Paris as an exile from the

October Revolution, where he found

himself poor and workless. Living

in Montparnasse, Brodovitch was

surrounded by Russian artists, which

lead to his wish to become a painter.

He got a job as a painter of stage

sets in Diaghilev’s Ballets Russes,

which approach to design inspired

him to move towards commercial

arts, and influenced him in his ideas

on the lack of boundaries between

different arts.

Brodovitch established himself as

a leading contemporary designer in

France, before heading to the United

States in 1930, where he was invited

to work as an art director at Harper’s

Bazaar, and remained there from

1934 until 1958.

With his affinity for white space and

sharp type on clear, open pages,

Brodovitch rethought the approach

to editorial design. He created a

rhythmic environment on the magazine

spreads, which were energized

by the art and photography he

commissioned from major European

artists. He also taught designers

how to use photography. Brodovitch

used cropping, enlargement, and

juxtaposition of images with an

intuitive judgment, and saw contrast

as a dominant tool in editorial design,

paying close attention to the graphic

movement throughout the spreads.

Alexey Brodovitch spent total of 15

years working for Harper’s Bazaar

magazine, and his style that combined

elegantly set typography with

experimental trends in photography

became widely popular in the 1940s

ad 50s and helped to keep the

magazine at the forefront of its field

in a swiftly changing world.

Brodovitch also helped to direct a

short-lived, but influential, American

art and design publication titled

“Portfolio”. At the height of his powers,

Brodovitch gave this publication a

seldom-matched elegance and visual

flow through pacing, the cropping

of images, and use of color and

texture. Brodovitch also created a

book titled “Ballet”, which included

photographs that were controversial

due to their use of motion blur. Nearly

every project that Brodovitch worked

on was met with success and left a

log-lasting impression.

ALEXEYBRODOVITCH

Alexey Brodovitch was born in a wealthy aristocratic family, but after fighting in the czar’s cavalry during World War I, Brodovitch f led to Paris as an exile from the October Revolution, where he found himself poor and workless. Living in Montparnasse, Brodovitch was surrounded by Russian artists, which lead to his wish to become a painter. He got a job as a painter of stage sets in Diaghilev’s Ballets Russes, which approach to design inspired him to move towards commercial arts, and inf luenced him in his ideas on the lack of boundaries between different arts.

Brodovitch established himself as a leading contemporary designer in France, before heading to the United States in 1930, where he was invited to work as an art director at Harper’s

Bazaar, and remained there from 1934 until 1958.

With his affinity for white space and sharp type on clear, open pages, Brodovitch rethought the approach to editorial design. He created a rhythmic environment on the magazine spreads, which were energized by the art and photography he commissioned from major European artists. He also taught designers how to use photography. Brodovitch used cropping, enlargement, and juxtaposition of images with an intuitive judgment, and saw contrast as a dominant tool in editorial design, paying close attention to the graphic movement throughout the spreads.Alexey Brodovitch spent total of 15 years working for Harper’s Bazaar magazine, and his style that combined elegantly set typography

with experimental trends in photography became widely popular in the 1940s ad 50s and helped to keep the magazine at the forefront of its field in a swiftly changing world.

Brodovitch also helped to direct a short-lived, but inf luential, American art and design publication titled “Portfolio”. At the height of his powers, Brodovitch gave this publication a seldom-matched elegance and visual f low through pacing, the cropping of images, and use of color and texture. Brodovitch also created a book titled “Ballet”, which included photographs that were controversial due to their use of motion blur. Nearly every project that Brodovitch worked on was met with success and left a log-lasting impression.

(1898-1971)

One of the most inf luential Russian-bor n, French-educated immig rants working in editorial design for fashion magazines, who brought European moder nism to American g raphic design.

ALEXEYBRODOVITCH(1898-1971)


Alexey Brodovitch was born in a wealthy aristocratic family, but af ter f ighting in the czar’s cava lry during World War I, Brodovitch f led to Paris as an exile from the October Revolution, where he found himself poor and workless. Living in Montparnasse, Brodovitch was surrounded by Russian artists, which lead to his wish to become a painter. He got a job as a painter of stage sets in Diaghilev’s Ballets Russes, which approach to design inspired him to move towards commercia l arts, and inf luenced him in his ideas on the lack of boundaries between dif ferent arts.


With his af f inity for white space and sharp type on clear, open pages, Brodovitch rethought the approach to editoria l design. He created a rhythmic environment on the magazine spreads, which were energized by the art and photography he commissioned from major European artists. He a lso taught

designers how to use photography. Brodovitch used cropping, enlargement, and juxtaposition of images with an intuitive judgment, and saw contrast as a dominant tool in editoria l design, paying close attention to the graphic movement throughout the spreads.A lexey Brodovitch spent tota l of 15 years working for Harper’s Bazaar magazine, and his style that combined elegantly set typography with experimenta l trends in photography became widely popular in the 1940s ad 50s and helped to keep the magazine at the forefront of its f ield in a swif t ly changing world.

Brodovitch a lso helped to direct a short-lived, but inf luentia l, American art and design publication tit led “Portfolio”. At the height of his powers, Brodovitch gave this publication a seldom-matched elegance and visual f low through pacing, the cropping of images, and use of color and texture. Brodovitch a lso created a book tit led “Ballet”, which included photographs that were controversia l due to their use of motion blur. Nearly every project that Brodovitch worked on was met with success and lef t a log-lasting impression.





With his affinity for white space and sharp type on clear, open pages, Brodovitch rethought the approach to editorial design. He created a rhythmic environment on the magazine spreads, which were energized by the art and photography he commissioned from major European artists. He also taught designers how to use photography. Brodovitch used cropping, enlargement, and juxtaposition of images with an intuitive judgment, and saw contrast as a dominant tool in editorial design, paying close attention to the graphic movement throughout the spreads.








Alexey Brodovitch spent total of 15 years working for Harper’s Bazaar magazine, and his style that combined elegantly set typography with experimental trends in photography became widely popular in the 1940s ad 50s and

helped to keep the magazine at the forefront of its field in a swiftly changing world.Brodovitch also helped to direct a short-lived, but influential, American art and design publication titled “Portfolio”. At the height of his powers, Brodovitch gave this publication a seldom-matched elegance and visual flow through pacing, the cropping of images, and use of color and texture. Brodovitch also created a book titled “Ballet”, which included photographs that were controversial due to their use of motion blur. Nearly every project that Brodovitch worked on was met with success and left a log-lasting impression.

Alexey BrodovitchAlexey Brodovitch (1898-1971)

was one of the most influential

Russian-born, French-educated

immigrants working in editorial

design for fashion magazines, who

brought European modernism to

American graphic design.


Brodovitch established himself as a leading contemporary designer in France, before heading to the United States in 1930, where he was invited to work as an art director at

Harper’s Bazaar, and remained there from 1934 until 1958. With his affinity for white space and sharp type on clear, open pages, Brodovitch rethought the approach to editorial design. He created a rhythmic environment on the magazine spreads, which were energized by the art and photography he commissioned from major European artists. He also taught designers how to use photography. Brodovitch used cropping, enlargement, and juxtaposition of images with an intuitive judgment, and saw contrast as a dominant tool in editorial design, paying close attention to the graphic movement throughout the spreads.

Alexey Brodovitch spent total of 15 years working for Harper’s Bazaar magazine, and his style that combined elegantly set typography with experimental

trends in photography became widely popular in the 1940s ad 50s and helped to keep the magazine at the forefront of its field in a swiftly changing world.Brodovitch also helped to direct a short-lived, but influential, American art and design publication titled “Portfolio”. At the height of his powers, Brodovitch gave this publication a seldom-matched elegance and visual flow through pacing, the cropping of images, and use of color and texture. Brodovitch also created a book titled “Ballet”, which included photographs that were controversial due to their use of motion blur. Nearly every project that Brodovitch worked on was met with success and left a log-lasting impression.

Alexey Brodovitch

Alexey Brodovitch (1898-1971)

was one of the most influential Russian-born, French-educated

immigrants working in editorial design for fashion magazines,

who brought European modernism to American graphic design.



With his affinity for white space and sharp type on clear, open pages, Brodovitch rethought the approach to editorial design. He created a rhythmic environment on the magazine spreads, which were energized by the art and photography he commissioned from major European artists. He also taught designers

how to use photography. Brodovitch used cropping, enlargement, and juxtaposition of images with an intuitive judgment, and saw contrast as a dominant tool in editorial design, paying close attention to the graphic movement throughout the spreads.



Alexey Brodovitch


was one of the most influential Russian-born, French-educated

immigrants working in editorial design for fashion magazines,


Alexey Brodovitch was born in a wealthy aristocratic family,

but after fighting in the czar’s cavalry during World War I, Brodovitch fled to Paris as an exile from the October Revolution, where he found himself poor and workless. Living in Montparnasse, Brodovitch was surrounded by Russian artists, which lead to his wish to become a painter. He got a job as a painter of stage sets in Diaghilev’s Ballets Russes, which approach to design inspired him to move towards commercial arts, and influenced him in his ideas on the lack of boundaries between different arts.



Alexey Brodovitch spent total of 15 years working for Harper’s Bazaar magazine, and his style that combined

elegantly set typography with experimental trends in photography became widely popular in the 1940s ad 50s and helped to keep the magazine at the forefront of its field in a swiftly changing world.


Alexey BrodovitchAlexey Brodovitch

(1898-1971) was one of the

most influential Russian-born,

French-educated immigrants

working in editorial design

for fashion magazines, who

brought European modernism

to American graphic design.



Alexey Brodovitch was born in

a wealthy aristocratic family, but

after fighting in the czar’s cavalry

during World War I, Brodovitch

fled to Paris as an exile from the

October Revolution, where he found

himself poor and workless. Living

in Montparnasse, Brodovitch was

surrounded by Russian artists, which

lead to his wish to become a painter.

He got a job as a painter of stage

sets in Diaghilev’s Ballets Russes,

which approach to design inspired

him to move towards commercial

arts, and influenced him in his ideas

on the lack of boundaries between

different arts.

Brodovitch established himself as a

leading contemporary designer in

France, before heading to the United

States in 1930, where he was invited

to work as an art director at Harper’s

Bazaar, and remained there from

1934 until 1958.

With his affinity for white space

and sharp type on clear, open pages,

Brodovitch rethought the approach to

editorial design. He created a rhythmic

environment on the magazine spreads,

which were energized by the art and

photography he commissioned from

major European artists. He also taught

designers how to use photography.

Brodovitch used cropping,

enlargement, and juxtaposition of

images with an intuitive judgment,

and saw contrast as a dominant tool in

editorial design, paying close attention

to the graphic movement throughout

the spreads.

Alexey Brodovitch spent total of 15

years working for Harper’s Bazaar

magazine, and his style that combined

elegantly set typography with

experimental trends in photography

became widely popular in the 1940s

ad 50s and helped to keep the

magazine at the forefront of its field in

a swiftly changing world.

Brodovitch also helped to direct

a short-lived, but influential,

American art and design publication

titled “Portfolio”. At the height of

his powers, Brodovitch gave this

publication a seldom-matched

elegance and visual flow through

pacing, the cropping of images, and

use of color and texture. Brodovitch

also created a book titled “Ballet”,

which included photographs that

were controversial due to their use

of motion blur. Nearly every project

that Brodovitch worked on was met

with success and left a log-lasting

impression.


was one of the most inf luential Russian-born, French-educated

immigrants working in editorial design for fashion magazines ,


ALEXEYBRODOVITCHAlexey Brodovitch (1898-1971) was one of the most influential Russian-born, French-educated immigrants working in editorial design for fashion magazines, who brought European modernism to American graphic design.

Alexey Brodovitch was born in a wealthy

aristocratic family, but after fighting in the czar’s

cavalry during World War I, Brodovitch fled to

Paris as an exile from the October Revolution,

where he found himself poor and workless. Living

in Montparnasse, Brodovitch was surrounded by

Russian artists, which lead to his wish to become

a painter. He got a job as a painter of stage sets

in Diaghilev’s Ballets Russes, which approach to

design inspired him to move towards commercial

arts, and influenced him in his ideas on the lack

of boundaries between different arts.

Brodovitch established himself as a leading

contemporary designer in France, before heading

to the United States in 1930, where he was invited

to work as an art director at Harper’s Bazaar, and

remained there from 1934 until 1958.

With his affinity for white space and sharp type

on clear, open pages, Brodovitch rethought

the approach to editorial design. He created a

rhythmic environment on the magazine spreads,

which were energized by the art and photography

he commissioned from major European artists.

He also taught designers how to use photography.

Brodovitch used cropping, enlargement, and

juxtaposition of images with an intuitive judgment,

and saw contrast as a dominant tool in editorial

design, paying close attention to the graphic

movement throughout the spreads.

Alexey Brodovitch spent total of 15 years working

for Harper’s Bazaar magazine, and his style

that combined elegantly set typography with

experimental trends in photography became

widely popular in the 1940s ad 50s and helped to

keep the magazine at the forefront of its field in

a swiftly changing world.

Brodovitch also helped to direct a short-lived, but

influential, American art and design publication

titled “Portfolio”. At the height of his powers,

Brodovitch gave this publication a seldom-

matched elegance and visual flow through pacing,

the cropping of images, and use of color and

texture. Brodovitch also created a book titled

“Ballet”, which included photographs that were

controversial due to their use of motion blur.

Nearly every project that Brodovitch worked

on was met with success and left a log-lasting

impression.

Alexey Brodovitch was born in a wealthy aristocratic family, but

af ter f ighting in the czar’s cava lry during World War I, Brodovitch f led to Paris as an exile from the October Revolution, where he found himself poor and workless. Living in Montparnasse, Brodovitch was surrounded by Russian artists, which lead to his wish to become a painter. He got a job as a painter of stage sets in Diaghilev’s Ballets Russes, which approach to design inspired him to move towards commercia l arts, and inf luenced him in his ideas on the lack of boundaries between dif ferent arts.


With his af f inity for white space and sharp type on clear, open pages, Brodovitch rethought the approach to editoria l design. He created a rhythmic environment on the magazine spreads, which were energized by the art and photography he commissioned from major European artists. He a lso

taught designers how to use photography. Brodovitch used cropping, enlargement, and juxtaposition of images with an intuitive judgment, and saw contrast as a dominant tool in editoria l design, paying close attention to the graphic movement throughout the spreads.

A lexey Brodovitch spent tota l of 15 years working for Harper’s Bazaar magazine, and his style that combined elegantly set typography with experimenta l trends in photography became widely popular in the 1940s ad 50s and helped to keep the magazine at the forefront of its f ield in a swif t ly changing world.

Brodovitch a lso helped to direct a short-lived, but inf luentia l, American art and design publication tit led “Portfolio”. At the height of his powers, Brodovitch gave this publication a seldom-matched elegance and visual f low through pacing, the cropping of images, and use of color and texture. Brodovitch a lso created a book tit led “Ballet”, which included photographs that were controversia l due to their use of motion blur. Nearly every project that Brodovitch worked on was met with success and lef t a log-lasting

Spread from the February 1955 issue of Bazaar, Photographer: R ichard Avedon

Spread from the 1936 issue of Bazaar, Photographer: Hoyningen-Huene


O ne o f t he mo s t i n fl ue nt i a l R u s s i a n - b or n , F r e nc h - e duc a t e d i m m i g r a nt s wor k i n g i n e d i t o r i a l d e s i g n fo r f a s h ion m a g a z i ne s , w ho br ou g ht E u r o p e a n mo d er n i s m t o A mer i c a n g r a ph i c d e s i g n .























ALEXEYBRODOVITCH

(1898-1971)


Alexey Brodovi tch was born in a weal thy ar is tocrat ic family, but

af ter f ight ing in the czar ’s cavalr y dur ing World War I , Brodovi tch f led to Par is as an exi le f rom the October Revolut ion, where he found himsel f poor and work less. L iv ing in Montparnasse, Brodovi tch was surrounded by Russian ar t is ts, which lead to his wish to become a painter. He got a job as a painter of s tage sets in Diaghi lev ’s Bal lets Russes, which approach to design inspired him to move towards commercia l ar ts, and inf luenced him in his ideas on the lack of boundar ies between di f ferent ar ts.

Brodovi tch establ ished himsel f as a leading contemporary designer in France, before heading to the Uni ted S tates in 1930, where he was inv i ted to work as an ar t director at Harper ’s Bazaar, and remained there f rom 1934 unt i l 1958.

Wi th his af f in i t y for whi te space and sharp t ype on clear, open pages, Brodovi tch rethought the approach to edi tor ia l design. He created a rhy thmic environment on the magazine spreads, which were energized by the ar t and photography he commissioned f rom major European

ar t is ts. He also taught designers how to use photography. Brodovi tch used cropping, enlargement, and jux taposi t ion of images wi th an intui t ive judgment, and saw contrast as a dominant tool in edi tor ia l design, paying close at tent ion to the graphic movement throughout the spreads.

A lexey Brodovi tch spent tota l of 15 years work ing for Harper ’s Bazaar magazine, and his st y le that combined elegant ly set t ypography wi th exper imental t rends in photography became widely popular in the 1940s ad 50s and helped to keep the magazine at the foref ront of i ts f ie ld in a swi f t ly changing wor ld.

Brodovi tch a lso helped to direct a shor t- l ived, but inf luent ia l , American ar t and design publ icat ion t i t led “Por t fo l io”. At the height of h is powers, Brodovi tch gave this publ icat ion a seldom-matched elegance and v isual f low through pacing, the cropping of images, and use of color and tex ture. Brodovi tch a lso created a book t i t led “Bal let ”, which included photographs that were controversia l due to their use of mot ion blur. Near ly every project that Brodovi tch worked on was met wi th success and lef t a log- last ing impression.

Spread f rom the 1955 issue of Bazaar, Photographer: R ichard Avedon

Spread f rom the 1936 issue of Bazaar, Photographer: Hoyningen- Huene

ALEXEYBRODOVITCH

(1898-1971)

One of the most influent ia l Russ ian -born, French - educated immigrants work ing in edi to r ia l des ign fo r fashion magazines, who brought European modern ism to Amer ican graphic des ign.





designers how to use photography. Brodovitch used cropping, enlargement, and juxtaposition of images with an intuitive judgment, and saw contrast as a dominant tool in editoria l design, paying close attention to the graphic movement throughout the spreads.



Spread from the 1955 issue of Bazaar, Photographer: R ichard Avedon


ALEXEYBRODOVITCH

(1898-1971)











ALEXEYBRODOVITCH

(1898-1971)













ALEXEYBRODOVITCH

(1898-1971)




Brodovitch established himself as a leading contemporary designer in France, before heading to the United States in 1930, where he was invited to work as an art director at Harper’s

Bazaar, and remained there from 1934 until 1958.

With his af f inity for white space and sharp type on clear, open pages, Brodovitch rethought the approach to editoria l design. He created a rhythmic environment on the magazine spreads, which were energized by the art and photography he commissioned from major European artists. He a lso taught designers

how to use photography. Brodovitch used cropping, enlargement, and juxtaposition of images with an intuitive judgment, and saw contrast as a dominant tool in editoria l design, paying close attention to the graphic movement throughout the spreads.

A lexey Brodovitch spent tota l of 15 years

working for Harper’s Bazaar magazine, and his style that combined elegantly set typography with experimenta l trends in photography became widely popular in the 1940s ad 50s and helped to keep the magazine at the forefront of its f ield in a swif t ly changing world.








Alexey Brodovitch was born in a wealthy aristocratic family, but af ter f ighting in the czar’s cava lry

during World War I, Brodovitch f led to Paris as an exile from the October Revolution, where he found himself poor and workless. Living in Montparnasse, Brodovitch was surrounded by Russian artists, which lead to his wish to become a painter. He got a job as a painter of stage sets in Diaghilev’s Ballets Russes, which approach to design inspired him to move towards commercia l arts, and inf luenced him in his ideas on the lack of boundaries between dif ferent arts.


With his af f inity for white space and sharp type on clear, open pages, Brodovitch rethought the approach to editoria l design. He created a rhythmic environment on the magazine spreads, which were energized by the art and photography he commissioned from major European artists. He a lso taught designers








ALEXEY BRODOVITCH(1898-1971)


Alexey Brodovitch was born in a wealthy aristocratic family, but af ter f ighting

in the czar’s cava lry during World War I, Brodovitch f led to Paris as an exile from the October Revolution, where he found himself poor and workless. Living in Montparnasse, Brodovitch was surrounded by Russian artists, which lead to his wish to become a painter. He got a job as a painter of stage sets in Diaghilev’s Ballets Russes, which approach to design inspired him to move towards commercia l arts, and inf luenced him in his ideas on the lack of boundaries between dif ferent arts.



designers













One of the most influent ia l Russ ian-born, French-educated immigrants work ing in ed i tor ia l des ign for fash ion magazines, who brought European modern ism to Amer ican graphic des ign.

A lexey Brodovi tch was born in a weal thy ar is tocrat ic family, but



Wi th his af f in i t y for whi te space and sharp t ype on clear, open pages, Brodovi tch rethought the approach to edi tor ia l design. He created a rhy thmic environment on the magazine spreads, which were energized by the ar t and photography he commissioned f rom major European ar t is ts. He also taught

designers how to use photography. Brodovi tch used cropping, enlargement, and jux taposi t ion of images wi th an intui t ive judgment, and saw contrast as a dominant tool in edi tor ia l design, paying close at tent ion to the graphic movement throughout the spreads.


Brodovi tch a lso helped to direct a shor t- l ived, but inf luent ia l , American ar t and design publ icat ion t i t led “Por t fo l io”. At the height of h is powers, Brodovi tch gave this publ icat ion a seldom-matched elegance and v isual f low through pacing, the cropping of images, and use of color and tex ture. Brodovi tch a lso created a book t i t led “Bal let ”, which included photographs that were controversia l due to their use of mot ion blur. Near ly every project that Brodovi tch worked on was met wi th success and lef t a log- last ing

Spread f rom the 1955 issue of Bazaar, Photographer: Richard Avedon

Spread f rom the 1936 issue of Bazaar, Photographer: Hoyningen-Huene

ALEXEY BRODOVITCH











ALEXEY BRODOVITCH












ALEXEY BRODOVITCH


Alexey Brodovitch was born in a wealthy aristocratic family, but after fighting

in the czar’s cavalry during World War I, Brodovitch fled to Paris as an exile from the October Revolution, where he found himself poor and workless. Living in Montparnasse, Brodovitch was surrounded by Russian artists, which lead to his wish to become a painter. He got a job as a painter of stage sets in Diaghilev’s Ballets Russes, which approach to design inspired him to move towards commercial arts, and influenced him in his ideas on the lack of boundaries between different arts.


With his affinity for white space and sharp type on clear, open pages, Brodovitch rethought the approach to editorial design. He created a rhythmic environment on the magazine spreads, which were energized by the art and photography he commissioned from major European artists. He also

taught designers how to use photography. Brodovitch used cropping, enlargement, and juxtaposition of images with an intuitive judgment, and saw contrast as a dominant tool in editorial design, paying close attention to the graphic movement throughout the spreads.








after f ighting in the czar’s cavalry during World War I, Brodovitch f led to Paris as an exile from the October Revolution, where he found himself poor and workless. Living in Montparnasse, Brodovitch was surrounded by Russian artists, which lead to his wish to become a painter. He got a job as a painter of stage sets in Diaghilev’s Ballets Russes, which approach to design inspired him to move towards commercia l arts, and inf luenced him in his ideas on the lack of boundaries between dif ferent arts.




A lexey Brodovitch spent tota l of 15 years working for Harper’s Bazaar magazine, and his style that combined elegantly set typography with experimental trends in photography became widely popular in the 1940s ad 50s and helped to keep the magazine at the forefront of its f ield in a swift ly changing world.





O ne o f t he mos t i n fluent i a l Ru s s i a n - b or n , Fr ench - educ a t ed i m m i g r a nt s work i ng i n ed i tor i a l de s i g n for f a s h ion m a g a z i ne s , who brought Eu ropea n mo der n i s m to A mer ic a n g r aph ic de s i g n .



PAUL RAND

Paul Rand was born in Brooklyn in 1914, studied art at Pratt Institute

in Manhattan, and practiced drawing constantly. Soon after one of his f irst jobs at Apparel Arts magazine, he started doing magazine covers. His ability to manipulate visual form and his skil lful analysis of communications content, reducing it to a symbolic essence without making it dull, a l lowed him to become widely inf luentia l while sti l l in his twenties.

Paul Rand was a pioneering f igure in American graphic design. More than any other designer, he initiated the American approach to modern design, drawing on the ideas of European avant-garde art movements and synthesizing them to produce his own unique graphic language. More than any other designer, Paul Rand was responsible for def ining visual culture in America after the World War II, transforming advertising, and convincing nation’s biggest corporations that good design was a lso good business.

Paul Rand’s philosophy argued that visual language should integrate form and function. While working at IBM, he designed packaging, worked on showrooms, and on interiors for the

company’s off ices. But his most enduring contribution to IBM came in 1962, when he designed the logo, which is sti l l used today. The horizontal stripes of the IBM logo solved two problems. They visually unif ied the letters, and had an ef fect of making the company name feel lighter and less monolithic.

Rand’s work for the Westinghouse, UPS, ABC and other big corporations helped show the business va lue of identity systems and consistent branding. He completely refashioned the advertising industry in New York and introduced the concept of branding and logo recognition.

Rand’s inf luence is sti l l seen today, in the idea that design is an important part of a business plan, and that design is not something you add on but is part and parcel of your business.

“Design is the method of putting form and content together. Design, just as art, has multiple def initions; there is no single def inition. Design can be art. Design can be aesthetics. Design is so simple, that’s why it is so complicated.”

American Broadcasting Corporation 1962, Westinghouse 1959,

YALE University Press 1985

International Business Machines (IBM) 1972

Consolidated Cigar Corporation 1959, Atlas Crankshaft Corporation 1964,

Ford Motor Company (unused) 1966

(1914-1996)

R a nd’s mos t w ide l y k now n cont r ibut ion to g r aph ic de s i g n a re h i s cor por a t e ident i t i e s , m a ny o f wh ich a re s t i l l i n u s e . I BM , A B C , Cu m m i n s E ng i ne , Wes t i nghou se , a nd U P S , a mong m a ny ot her s , owe t he i r g r aph ic a l her i t a ge to h i m.



YUSAKUKAMEKURA(1915-1997)

O ne o f t he p ioneer s o f Japa ne se g r aph ic de s i g n who w a s a t t he for e f ront i n promot i ng g r aph ic de s i g n a s a n e s s ent i a l f a c tor o f moder n soc ie t y, c u l t u re a nd a r t , a nd whose a ch ievement s he lped to e s t ab l i s h t he r eput a t ion o f Japa ne se g r aph ic de s i g n i nt er n a t ion a l l y.

His designs included a wide diversity of projects such as logos, packages,

books, and page layout, but some of his most memorable achievements were in posters.

Kamekura’s best-known work was the logo and poster designs for the 1964 Tokyo Olympics. The 1965 Summer Games were the f irst use of comprehensive identity program, setting a standard for a l l the subsequent games. Yusaky Kamekura was a graphic designer, working together with Masaru Katzumie (art director) on this remarkable project. Their focus was to use internationally standardized signage system based on their concern of the socia l signif icance of graphic design.

The Tokyo Olympics symbol is a powerful, concise design, while the posters capture the dynamism of athletes. It a lso incorporated photos, and it was

the f irst time that a photograph was used in an Olympics poster.

Before working on this project, Kamekura was apprenticed to an architect and then worked as an art director for severa l Japanese cultura l magazines from 1937 until 1948. During the postwar recovery period Kamekura emerged as an inf luentia l design leader who earned the name “Boss” in Japanese design circles. Under his leadership, Japanese designers dispelled the widely held belief that visual communication must be hand-drawn.

Kamekura’s work is characterized by his technical discipline, a thorough understanding of printing techniques, and careful construction of visual elements. The logo and posters he created for the Tokyo Olympics in 1964 received international acclaim and established Japan as a center of creative design.


ALEXEY BRODOVITCHOne of the most influential Russian-born, French-educated immigrants working in editorial design for fashion magazines, who brought European modernism to American graphic design.

Alexey Brodovitch was born in a

wealthy aristocratic family, but after fighting

in the czar’s cavalry during World War I,

Brodovitch fled to Paris as an exile from the

October Revolution, where he found himself

poor and workless. Living in Montparnasse,

Brodovitch was surrounded by Russian

artists, which lead to his wish to become

a painter. He got a job as a painter of stage

sets in Diaghilev’s Ballets Russes, which

approach to design inspired him to move

towards commercial arts, and influenced

him in his ideas on the lack of boundaries

between different arts.

Brodovitch established himself as a leading

contemporary designer in France, before

heading to the United States in 1930, where

he was invited to work as an art director at

Harper’s Bazaar, and remained there from

1934 until 1958.

With his affinity for white space and sharp

type on clear, open pages, Brodovitch

rethought the approach to editorial design.

He created a rhythmic environment on the

magazine spreads, which were energized by

the art and photography he commissioned

from major European artists. He also

taught designers how to use photography.

Brodovitch used cropping, enlargement,

and juxtaposition of images with an

intuitive judgment, and saw contrast as a

dominant tool in editorial design, paying

close attention to the graphic movement

throughout the spreads.

Alexey Brodovitch spent total of 15 years

working for Harper’s Bazaar magazine,

and his style that combined elegantly set

typography with experimental trends in

photography became widely popular in

the 1940s ad 50s and helped to keep the

magazine at the forefront of its field in a

swiftly changing world.

Brodovitch also helped to direct a short-

lived, but influential, American art and

design publication titled “Portfolio”. At

the height of his powers, Brodovitch

gave this publication a seldom-matched

elegance and visual flow through pacing,

the cropping of images, and use of color

and texture. Brodovitch also created a book

titled “Ballet”, which included photographs

that were controversial due to their use

of motion blur. Nearly every project that

Brodovitch worked on was met with

success and left a log-lasting impression.

On this page:

Harper’s Bazaar magazine cover, June 1950Photographer: Anthony LukeAr t director: Alexey Brodovitch

PAUL RANDRand’s most widely known contribution to graphic design are his corporate identities, many of which are still in use. IBM, ABC, Cummins Engine, Westinghouse, and UPS, among many others, owe their graphical heritage to him.

Paul Rand was born in Brooklyn in

1914, studied art at Pratt Institute in Man-

hattan, and practiced drawing constantly.

Soon after one of his first jobs at Apparel

Arts magazine, he started doing magazine

covers. His ability to manipulate visual

form and his skillful analysis of communi-

cations content, reducing it to a symbolic

essence without making it dull, allowed

him to become widely influential while still

in his twenties.

Paul Rand was a pioneering figure in

American graphic design. More than any

other designer, he initiated the American

approach to modern design, drawing on

the ideas of European avant-garde art

movements and synthesizing them to

produce his own unique graphic language.

More than any other designer, Paul

Rand was responsible for defining visual

culture in America after the World War II,

transforming advertising, and convincing

nation’s biggest corporations that good

design was also good business.

Paul Rand’s philosophy argued that

visual language should integrate form

and function. While working at IBM,

he designed packaging, worked on

showrooms, and on interiors for the

company’s offices. But his most enduring

contribution to IBM came in 1962, when

he designed the logo, which is still used

today. The horizontal stripes of the IBM

logo solved two problems. They visually

unified the letters, and had an effect of

making the company name feel lighter and

less monolithic.

Rand’s work for the Westinghouse, UPS,

ABC and other big corporations helped

show the business value of identity

systems and consistent branding. He

completely refashioned the advertising

industry in New York and introduced the

concept of branding and logo recognition.

Rand’s influence is still seen today, in the

idea that design is an important part of

a business plan, and that design is not

something you add on but is part and

parcel of your business.

“Design is the method of putting form

and content together. Design, just as art,

has multiple definitions; there is no single

definition. Design can be art. Design can

be aesthetics. Design is so simple, that’s

why it is so complicated.”

On this page:

Logos for: American Broadcast ing Corporat ion; YALE Univers i ty Press; West inghouse; Columbus, Ind iana Convent ion and Vis i tors BureauPaul Rand

YUSAKUKAMEKURAOne of the pioneers of Japanese graphic design who was at the forefront in promoting graphic design as an essential factor of modern society, culture and art, and whose achievements helped to establish the reputation of Japanese graphic design internationally.

Yusaku Kamekura’s designs in-

cluded a wide diversity of projects such as

logos, packages, books, and page layout,

but some of his most memorable achieve-

ments were in posters.

Kamekura’s best-known work was the

logo and poster designs for the 1964 To-

kyo Olympics. The 1965 Summer Games

were the first use of comprehensive

identity program, setting a standard for all

the subsequent games. Yusaky Kamekura

was a graphic designer, working together

with Masaru Katzumie (art director) on this

remarkable project. Their focus was to use

internationally standardized signage sys-

tem based on their concern of the social

significance of graphic design.

The Tokyo Olympics symbol is a powerful,

concise design, while the posters capture

the dynamism of athletes. It also incorpo-

rated photos, and it was the first time that

a photograph was used in an Olympics

poster.

Before working on this project, Kamekura

was apprenticed to an architect and then

worked as an art director for several Jap-

anese cultural magazines from 1937 until

1948. During the postwar recovery period

Kamekura emerged as an influential design

leader who earned the name “Boss” in

Japanese design circles. Under his lead-

ership, Japanese designers dispelled the

widely held belief that visual communica-

tion must be hand-drawn.

Kamekura’s work is characterized by his

technical discipline, a thorough under-

standing of printing techniques, and care-

ful construction of visual elements. The

logo and posters he created for the Tokyo

Olympics in 1964 received international

acclaim and established Japan as a center

of creative design.

Yusaku is credited with inventing the term

“corporate identity graphics” to describe

the “visual excellence” he sought to pro-

mote. In 1978 he became chairman of the

newly founded Japan Graphic Designers

Association, which publishes lavishly

illustrated books on the work of Japanese

graphic designers. For his exhibition “The

Universe of Curved and Straight Lines:

Designs by Yusaku Kamekura” he received

the 25th Mainichi Arts Award in 1983. A

successful teacher, lecturer and writer,

he has won many awards for his designs,

both in Japan and abroad, and his work is

in many public collections.

On this page:

Elec tora l Management 1965Yusaku Kamekura

Design practice is a system that exists within multiple other systems: culture, business, production, distribution and consumption to name a few. A concept map can help one to analyze, gain understanding and communicate, some of the larger systems of any given content.

5PROJECT:Research Concept Map: Analysis, Understanding and Systems

Project 5:Research Concept Map

1733

1848

1889

1965

1925

1980

1986

1994

Today

1900s

WILLIAM KENTInvention of the first stroller

It was pushed by a dog, goat, or a small pony, and was not affordable for an everyday parent

WILLIAM RICHARDSONReversible carriage

Richardson came up with moving wheels, which led to greater maneu-verability, and the reversible baby basket, which could face both ways

OWEN MACLARENEasy transportation

Maclaren came up with aluminium frame that would allow the stroller to be folded up compactly.

BABY JOGGERDouble stroller for twins

AFTER WWIMore safety in mind

Larger wheels, brakes, deeper prams, lower frames

PHIL BAECHERFirst baby jogger

Baecher replaced the wheels with his bicycle tires for jogging with his child

BUGABOOContinues with its innovations

Spacious and easily accesible luggage options, car seat compatible, reversible seat, reclinable seat, extendable sun canopy, one piece foldable and self-standing, height-adjustable handlebar, rotating carry handle, independent seat and bassinet, compact fold

CHARLES BURTONHandles

The first stroller to be pushed by people versus animals.

HISTORY OF BABY STROLLERS

BABY BOOMWWI - WWII

During the postwar years, there was a major increase in population, which created a demand for more efficient baby products

BUGABOO STROLLERMax Barenbrug comes up with his 1st Bugaboo stroller

A stroller that you can take with you anywhere you go - riding a bike, on the street, jogging, or even in the mountains


1733

1848

1889

1965

1925

1980

1986

1994

Today

1900s

WILLIAM KENTInvention of the first stroller

It was pushed by a dog, goat, or a small pony, and was not affordable for an everyday parent

WILLIAM RICHARDSONReversible carriage

Richardson came up with moving wheels, which led to greater maneu-verability, and the reversible baby basket, which could face both ways

OWEN MACLARENEasy transportation

Maclaren came up with aluminium frame that would allow the stroller to be folded up compactly.

BABY JOGGERDouble stroller for twins

AFTER WWIMore safety in mind

Larger wheels, brakes, deeper prams, lower frames

PHIL BAECHERFirst baby jogger

Baecher replaced the wheels with his bicycle tires for jogging with his child

BUGABOOContinues with its innovations

Spacious and easily accesible luggage options, car seat compatible, reversible seat, reclinable seat, extendable sun canopy, one piece foldable and self-standing, height-adjustable handlebar, rotating carry handle, independent seat and bassinet, compact fold

CHARLES BURTONHandles

The first stroller to be pushed by people versus animals.

HISTORY OF BABY STROLLERS

BABY BOOMWWI - WWII

During the postwar years, there was a major increase in population, which created a demand for more efficient baby products

BUGABOO STROLLERMax Barenbrug comes up with his 1st Bugaboo stroller

A stroller that you can take with you anywhere you go - riding a bike, on the street, jogging, or even in the mountains



Bab

y Str

olle

r

Will

iam

Ken

tQ

uee

n V

icto

ria

Inve

ntion

of th

e 1st

str

olle

rin

1733

Inve

nts

han

dle

s fo

r th

e st

rolle

r

Str

olle

rs c

an b

e puch

ed b

y peo

ple

Gre

ater

m

aneu

vera

bili

ty a

nd

com

fort

for

the

use

r

Adva

nce

s in

te

chnol

ogy

Mor

e busi

nes

ses

are

open

ing

Low

er c

ost

Nee

d for

mor

e in

nov

atio

n

Pare

nts

can

tak

e th

eir

child

ev

eryw

her

e th

ey g

o

Pare

nts

tak

e th

eir

child

ren

for

mor

e an

d longer

wal

ks

Thes

e in

nov

atio

ns

enco

ura

ge

par

ents

to

be

more

act

ive

Pare

nts

do m

ore

sport

s,

and a

re m

ore

hea

lthy

Str

olle

rs a

re

mor

e av

aila

ble

for

m

iddle

cla

ss

Mor

e jo

bs

are

crea

ted

Mor

e fu

nct

ional

ity

of t

he

stro

llers

Mor

e ch

oice

s

Eve

ryon

e has

one

Fash

ion

A m

ajor

incr

ease

in

pop

ula

tion

cre

ates

a

dem

and for

mor

e ef

fici

ent

bab

y pro

duct

sAn idea

that

par

ents

can

tak

e th

eir

child

ren w

ith

them

when

goi

ng

for

a ru

n

Incr

edib

le funct

ions;

al

l te

rrai

n s

trolle

rsStr

olle

rs c

an b

e fo

lded

up e

asily

, m

akin

g it

easy

to

stor

e an

d c

arry

Peop

le d

on’t h

ave

to c

arry

thei

r bab

ies

anym

ore,

whic

h e

ases

th

e burd

en o

f bea

ring

the

veig

ht

of a

child

Buys

3 c

arriag

es

in 1

840s

Maj

or incr

ease

in

pop

ula

rity

Indep

enden

tly

mov

ing w

hee

ls

and r

ever

sible

ca

rria

ge

Cre

atio

n o

f an

“um

bre

lla”

stro

ller

“Bab

y Boo

m”

(Pos

t-w

ar y

ears

)Fi

rst

Bab

y Jo

gger

“Bugab

oo”

stro

llers

Char

les

Burt

onW

illia

m R

ichar

dso

nO

wen

Mac

lare

nPh

il Bae

cher

Max

Bar

enbru

g


Pro

ject

5:

Res

earc

h C

on

cep

t M

ap, S

emi-

Fin

al

BABY STROLLERS

OWEN MACLAREN PHIL BAECHER MAX BARENBRUGAn Aeronautical engineer who

designed a compact friendly, light-weight, aluminium framed collaps-ible buggy. This invention revolu-

tionized the lifestyle of parents and forever changed baby transport.

A newspaper journalist who want-ed the opportunity to spend time with his then infant son without giving up his favorite pastime:

running. He designed the first three wheeled stroller with features

more conducive for running and Baby Jogger was born.

The inventer of the stroller that you can take with you anywhere

you go - riding a bike, on the street, jogging, or even in the

mountains. Bugaboo stroller, an international sensation now sold in 50 countries, with a retail price

upward of $600 each.

1733 1848 1889 1925William Kent invents the first baby stroller for the Duke of

Devonshire. The first stroller was pushed by animals like dogs,

ponies, and goats.

Charles Burton adds handles to a stroller. The

strollers are no longer pushed by animals.

The modern stroller is born with William Richardson’s

patent, changing the histo-ry of transportation.

Baby Boom - the major increase in population during the post-war

years - created a demand for more eficient baby products.

NONSEDISCIIS SUS.Atiorem con coreseque etus es re discias dicatistem eos asimpor ecabore ptatatem.

Ugiam quosandiam do-luptatem dipit eat odita

quature mporesto ma audia

NONSENIM VOLO comniae porum atibus mag-nien dustia volorumquo con pliqui rem is voluptatent offi-caeserum ut fugit quidigentis re repta simusti non explabo rporum untio. Itatis excea do-

LESSED QUIBUSDAE eicabore consenis aturio. Et

aceruptate verrorendis sequi-andit etur ant etur, consequi

blabore, apit vent volorios etur? Os ut venisi nihil et

faciunt autes et faccum ex-

Pro

ject

5:

Res

earc

h C

on

cep

t M

ap, S

emi-

Fin

al

BABY STROLLERS

OWEN MACLAREN PHIL BAECHER MAX BARENBRUGAn Aeronautical engineer who

designed a compact friendly, light-weight, aluminium framed collaps-ible buggy. This invention revolu-

tionized the lifestyle of parents and forever changed baby transport.

A newspaper journalist who want-ed the opportunity to spend time with his then infant son without giving up his favorite pastime:

running. He designed the first three wheeled stroller with features

more conducive for running and Baby Jogger was born.

The inventer of the stroller that you can take with you anywhere

you go - riding a bike, on the street, jogging, or even in the

mountains. Bugaboo stroller, an international sensation now sold in 50 countries, with a retail price

upward of $600 each.

1733 1848 1889 1925William Kent invents the first baby stroller for the Duke of

Devonshire. The first stroller was pushed by animals like dogs,

ponies, and goats.

Charles Burton adds handles to a stroller. The

strollers are no longer pushed by animals.

The modern stroller is born with William Richardson’s

patent, changing the histo-ry of transportation.

Baby Boom - the major increase in population during the post-war

years - created a demand for more eficient baby products.

NONSEDISCIIS SUS.Atiorem con coreseque etus es re discias dicatistem eos asimpor ecabore ptatatem.

Ugiam quosandiam do-luptatem dipit eat odita

quature mporesto ma audia

NONSENIM VOLO comniae porum atibus mag-nien dustia volorumquo con pliqui rem is voluptatent offi-caeserum ut fugit quidigentis re repta simusti non explabo rporum untio. Itatis excea do-

LESSED QUIBUSDAE eicabore consenis aturio. Et

aceruptate verrorendis sequi-andit etur ant etur, consequi

blabore, apit vent volorios etur? Os ut venisi nihil et

faciunt autes et faccum ex-

Pro

ject

5:

Res

earc

h C

on

cep

t M

ap, F

inal

BABY STROLLERS

OWEN MACLAREN PHIL BAECHER MAX BARENBRUGAn Aeronautical engineer who designed a compact friendly, light-weight, aluminium framed collaps-ible buggy. This invention revolu-tionized the lifestyle of parents and forever changed baby transport.

A newspaper journalist who want-ed the opportunity to spend time with his then infant son without giving up his favorite pastime: running. He designed the first three wheeled stroller with features more conducive for running, and Baby Jogger was born.

The inventor of the stroller that you can take with you anywhere you go - riding a bike, on the street, jogging, or even in the mountains. Bugaboo stroller, an international sensation now sold in 50 countries, with a retail price upward of $600 each.

1733 1848 1889 1925 1965 1986 1994William Kent invents the first baby stroll-er for the Duke of Devonshire. The first stroller was pushed by animals like dogs, ponies, and goats.

Charles Burton adds handles to a stroller. The strollers are no longer pushed by animals.

The modern stroller is born with William Richardson’s patent, changing the history of transportation.

Baby Boom - the

major increase in

population during

the post-war years

- created a demand

for more eficient

baby products.

Owen Maclaren

invents the umbrella

stroller, that could be

folded up completely.

The first Baby Jogger

is invented by Phil

Baecher. He replaced

the wheels of the

stroller with byclicle

wheels to be able to

jog with his baby.

Max Barenbrug comes

up with the first all-ter-

rain stroller - a stroller

that you can take with

you anywhere you go.

THE FIRST STROLLEREven though people were looking for ways to avoid carrying their children, the first stroller was made for the purpose of entertainment rather than trans-portation, when the Duke of Devonshire in England asked a landscape architect, William Kent, to make something that would amuse his children. The first stroller was designed in a shell-shape, and had a harness intended to be pulled by a goat, dog, or miniature horse. It was a luxury item that only the wealthiest parents could afford.

BABY BOOMDuring the post-war years, there was a major increase in population. It was a very important moment in the history of baby strollers. It created a demand for more efficient baby products. The strollers were now made with more safety in mind, had larger wheels, brakes, deeper prams, and lower frames. There were also more advances in technolo-gy during that time, due to the industrial revolution; therefore, the cost of the strollers was cut, and they became available for the middle class parents.

IMPACTEver since the beginning of humanity, it was a tradition to carry your baby next to your body. But the creation of the stroller changed the way people spend time with their children: they can now take them out more often, and further away; therefore, spending more time with them. Due to the ongoing innovations, there is now a stroller for every kind of parent. Some people are still sceptical about this product, but those who chose this method of baby transportation, enjoy their family time more than it was ever possible before.

Through the structure of visual form a graphic designer can provide comprehension and engagement of content. A graphic designer can provide a new experience to the viewer, challenging the conventions of communication expectations. The graphic designer can expand the realm of experience and make the content more meaningful. In turn the relationship of content and form becomes unique and valuable through its authenticity.

6PROJECT:Historical Journey: Communicating an Experience

Project 6:Historical Journey







MAKE IT HAPPENThe snow-capped mountains and the purple glow of the sunset. The crystal watered lakes and the sight of countless stars in the sky. Green leaves and flow-ers, and the waves of blue seas. The smiles on your faces and your baby’s first laugh.

It’s the simple things that really make a difference.

Pro

ject

6:

His

tori

cal J

ou

rney

, Sem

i-Fi

nal

Pro

ject

6:

His

tori

cal J

ou

rney

, Sem

i-Fi

nal

Pro

ject

6:

His

tori

cal J

ou

rney

, Fin

al

Documents

Sketchbook Fall 2015