The New York School - ANM102 History of Graphic · PDF fileCHAPTER 19: THE NEW YORK SCHOOL William Pickering, title page for the Book of Common Prayer, 1844. THE NEW YORK SCHOOL •European

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The New York School

C H A P T E R 1 9

CHAPTER 19: THE NEW YORK SCHOOL

William Pickering, title page for the Book of Common Prayer, 1844.

T H E N E W Y O R K S C H O O L

• European designers, escaping the political climate, immigrated to the United States and became major influences in the American design movement.

• European design was fairly theoretical and structured, where American design was pragmatic, intuitive and less formal in its approach to organizing space.

• New York was the center of the movement in the 1940s.

• Emphasis was placed on the expression of ideas and an open, direct presentation of information.

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L O G O D E S I G N

Paul Rand

• Began his career as a promotional and editorial designer for Apparel Arts, Esquire, Ken, Coronet, and Glass Packer.

• Collaborated with copywriter Bill Bernbach becoming the prototype for art/copy teams working together.

• Created many of the most recognizable logos seen today.

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P O S T E R D E S I G N

Paul Rand

• style often reflected entertaining puns and wordplay

• played with contrasts: red against green, organic against geometric, cut or torn edges against sharp forms, and textural pattern against white

• http://www.paul-rand.com/site/posters/

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

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



P U B L I C AT I O N

Paul Rand

• Created this cover for Direction magazine, 1940

• red dots are symbolically are interpreted as holiday decorations or blood drops

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P U B L I C AT I O N

Alvin Lustig

• graphic designer, architect, and interior designer

• became the visual design research director at Look Magazine

• heavily involved with design education and in 1951 helped develop a graduate graphic design program at Yale University

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L AY O U T

Bradbury Thompson

• one of the most influential designers of postwar America

• had a thorough knowledge of printing and typesetting and experimented with both with great success

• turned to classic approach to book and editorial design focusing on readability, formality, and Old Style typefaces.

• Worked for Smithsonian and ARTnews

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F I L M A N D L O G O D E S I G N

Saul Bass

• opened a studio in Los Angeles in the 1950s

• greatly influenced by Paul Rand

• decorative letterforms are combined with typography or handwriting

• often used irregular forms drawn with a brush or cut from paper

• like Rand, designed some well known logos

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F I L M P R O M O T I O N

Saul Bass

• became the acknowledged master of film titles.

• his work has inspired many contemporary designs both in print and in the film industry

• http://www.youtube.com/watch?v=z25t-PQDn5A&feature=related

http://www.youtube.com/watch?v=rD6dDzUTJJ0&NR=1

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http://www.youtube.com/watch?v=z25t-PQDn5A&feature=related










L O G O D E S I G N

Ivan Chermayeff

• began his career as a record album designer who coined the phrase "problem solving” in relation to design

• known for his logo designs and whimsical collages

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P O S T E R

Ivan Chermayeff

• Between the Wars, 1977

• interwar years are represented by Churchill’s hat between two helmets

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L AY O U T

Robert Brownjohn

• New York designer

• best known for motion picture title sequences

• worked for Columbia Records designing jackets (Rolling Stones)

• founding partner of Brownjohn, Chermayeff and Geisman Agency, just known as Chermayeff & Geisman today

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A D A G E N C I E S

Tom Geismar

• co-founder of Brownjohn, Chermayeff and Geismar

• designer of major corporate identities along with Chermayeff

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A D A G E N C I E S

Doyle Dane Bernbach

• founded in 1949 by James Edwin Doyle, Maxwell Dane, and Bill Bernbach

• one of the largest internationally known advertising agencies today

• considered to be the original “Mad Men”

• created some of the most iconic layouts of the century

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M A G A Z I N E

Otto Storch

• notable magazine art director for McCalls

• revolutionized the visual organization of magazine page layout

• known for merging photography and words into a dynamic visual idea

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M A G A Z I N E

Mike Salisbury

• pages from West, late 1960s

• here the art director became a visual historian, researching and selecting old Levi’s advertisements and products for a pictorial essay

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M A G A Z I N E

George Lois

• prolific New York graphic designer

• worked for several major clients: MTV, Lean Cuisine, Jiffy Lube, ESPN...

• designed over 30 covers for Esquire Magazine

• http://www.georgelois.com/index.html

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http://www.georgelois.com/index.html

http://www.georgelois.com/index.html



T Y P O G R A P H Y

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Herb Lubalin

• American graphic designer

• graduate of Cooper Union

• created two well-known publications, Avant Garde and Upper & Lower Case

• designed Avant Garde font

• turned typography into an art form and a powerful communicative element



T Y P O G R A P H Y

Herb Lubalin

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L O G O

Herb Lubalin

• proposed New York City logo, 1966

• Isometric perspective creates a dynamic tension between two- and three-dimensionality while implying the city’s high-rise architecture

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T Y P O G R A P H Y

Herb Lubalin

• Ice Capades logo, 1967

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M A G A Z I N E

Herb Lubalin

• pages from Eros, 1962

• Lubalin overlapped and touched letterforms, compressed the space between words, and squeezed words and images into a rectangle

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K E Y P E O P L E

• Paul Rand

• Bill Bernbach

• Alvin Lustig

• Bradbury Thompson

• Saul Bass

• George Tscherny

• Robert Brownjohn

• Ivan Chermayeff

• Thomas H. Geismar

• Norman Ives

• Leo Lionni

• Alexander Liberman

• Cipe Pineles

• Otto Storch

• Henry Wolf

• Peter Palazzo

• Dugald Stermer

• Bea Feitler

• Michael Salisbury

• Doyle Dane Bernbach Agency

• Bob GAge

• Phyllis Robinson

• Alcorn

• Gene Frederico

• Rondthaler

• Herb Lubalin

• George Lois

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K E Y T E R M S

Brownjohn, Chermayeff, and GeismarThe initial contribution of these three to American graphic design sprang from a strong aesthetic background and an understanding of the major ideas of European modern art. A communicative immediacy, a strong sense of form, and a vitality and freshness characterized their work in the early months of the partnership. Images and symbols were combined with a surreal sense of dislocation to convey the essence of the subject on book jackets and posters. A fine sense of both typography and art history enabled them to solve problems through inventive and symbolic manipulation of forms and imagery. Solutions grew out of the needs of the client and the limitations of the problem at hand.

Visual/verbal syntaxword and image fused into a conceptual expression of an idea so that they become completely interdependent, the Bernbach approach evolved during the 1950s and 1960s by Bill Bernbach at the New York advertising agency Doyle Dane Bernbach.

“The new advertising,”In new, small boutique advertising agencies emphasis was placed on creativity rather than on full marketing services. An attempt was made to create more honest, literate, and tasteful appeals to the market audience.

Figurative typographya playful direction taken by New York graphic designers during the 1950s and 1960s. This approach, spearheaded by Gene Frederico took many forms: letterforms became images, such as the wheels in the Frederico’s ad for Woman’s Day, or the visual properties of words themselves, or their organization in space, were used to express an idea, such as in Don Egensteiner’s “Tonnage” advertisement, in which the visual form of the word takes on a connotative meaning.

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K E Y T E R M S

Phototypographythe setting of type by exposing negatives of alphabet characters to photographic paper dawned in 1925 with the public announcement of the Thothmic photographic composing machine invented by E. K. Hunter and J. R. C. August of London. A keyboard produced a punched tape to control a long, opaque master film with transparent letterforms. As a given letter moved in position in front of a lens, it was exposed to photographic paper by a beam of light.

Typogrambrief, visual typographic form in which concept and visual form are merged into a oneness.

International Typeface Corporation (ITC)established by Aaron Burns, thirty-four fully developed type families and about sixty additional display faces were designed and licensed during its first decade. Its fonts had large x-heights and short ascenders and descenders; these became the prevailing characteristics of fonts designed during the 1970s and early the 1980s.

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Documents

The New York School - ANM102 History of Graphic · PDF fileCHAPTER 19: THE NEW YORK SCHOOL William Pickering, title page for the Book of Common Prayer, 1844. THE NEW YORK SCHOOL •European