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Graphic Design - Coggle Diagram
Graphic Design
Avant Garde and Origins of Modernism 1914 to 1920
Futurism and Italy
French Poet Malarme broke typographic conventions. He used white space for his pages and treated two pages as one page.
Movement by Marinetti was developed for battling on the typographic front before WW1
Marinetti first book published called: "Parole in libertà"
Joined many smart writers and painters with avant-garde standpoints
Conflicting tendencies on futurism and Modernism
Munari inspired by Marinetti's works and designs
Futurism created the precedent for the Dadaists' typographical innovations in Germany and lent its name of futurism to experimentalism in Russia, leading to the revolution of 1917 in Russia.
Soviet Russia
Years following 1917 revolution, graphic design developed, with film, as a mass medium.
First few years in Revolution, posters boosed, showing visual slogans, illustrating allegories. The posters demonstrated the new resources of photogeap
First poster was the political illustration
Linocut was used to produce posters, with the addition of color to the black print by hand.
Constructivists wanted to demolish the division between art and labour. Mechanical production of images through photography is what they wanted.
Industrial reproduction by the printing press also suited their aim
Wanted to get rid of the traditions of art and bring constructivist technician
Graphic design in Soviet Russia included the emphasis on rectangularity and on white space as part of the design, use of san-serif typefaces and photography rather than illustration.
Germany
Graphic design emerged after First World War, where Germany experienced inflation and political chaos.
In the east, influenced by communism and constructivism in Soviet Russia. To the west, the doctrine enthusiasms of the Dutch De Stijl artists.
Artistic movements were Expressionism and Dada. Aggressive illustration produced by Expressionism. Dada used words and images in the revolution.
Also followed constructivism, also used machine made photograph instead of hand drawn illustrations
The change from Expressionsim towards Functionalism, and from handcraft to machine production, can be traced in the changing graphic design at the Bauhaus.
Did an analysis on the alphabet
Dexel, an art historian, designed illuminated street signs with sans-serif letters
His principles established the style of International Modernism
The typographic ocmpositions made were more Expressionistic than part of the modern movement.
National Tendencies until 1940
Switzerland
Used symbolism in their posters, such as in the Vienna Secession exhibition in 1904 poster
Advertising products of Swiss engineering.. Brough together the avant grade influences
Max Bill, a graphic designer's most significant achievement was his design for the Swiss pavilion.
France
Centre of cultural life and fashion.
After WW1, it remained image of modernity
Art Deco
was the dominant style of France between WW1 and 2. It existed alongside straightforward illustrations and more informal lettering. It adopted geometry
During 1930s, Art Deco was moderne, a style that had connections with the machine aesthetic of the avant-garde and to the appeal of the motor car.
Included projects showing mutual dependence of the designer, client and public. the relationship of the artist and patron had been transformed into a professional and commercial partnership.
Britain
Avant Garde developments were illustrated and discussed by Tschichold,
The text pages were heavy grotesque type, size and arrangement reflecting importance of words. They were part of a wider reform
The Art and Crafts movement ideologies was opposite of what Whistler, a British artist, aesthetic was. He put more ink on page, with less space between words and lines.
The Designer and The art director
US in the 1930s
Reproduction and layout of their advertising became the responsibility of an "art director". Art direction preceded profession of graphic design.
US looked to Europe for modern culture and sophistication. US used avant-garde in their advertising.
Developed typographical craftsmanship where their techniques were those of graphic design.
War and Propaganda 1920s to 1945
Graphic design was an essential part in political life by the time war was declared in 1939.
Walls were filled with posters and banners also appeared. Heroic images of party members, include symbols, uniforms, and banners.
Figures of Hitler, Mussolini and Stalin showed the power and ideology of Nazi Germany, Fascist Italy, and Soviet Russia.
Photography became a useful medium in propaganda.
Spanish Civil War of 1936-7 saw huge range of powerful Republican designs with simple lettering, where photography was the important innovation. Photography was a more effective graphic means of protest at atrocities than the illustrations used in WW1.
Included symbolism to express their messages
The use of three-dimensional realism increased the shock of the dramatic juxtapositions
US 1945 - 1960
Art directors established graphic design in advertising and magazines.
Changes in print technology affected designer's relationship with the industrial process. it allowed for greater control, and new materials allowed designers to add more tone to the design.
Engravings were used by Bradbury Thomspon. He echoed Bauhaus for his designs.
Variants of Modernism in Europe
Switzerland and Neue Graphik
Modernism became a crusade in the years after WW1
By emphasising Graphic Design, which was connected with printing, Katsumie seems to have been making a distinction connected with reproduction.
Images produced by photography while commercial art employed the hand-drawn illustration
Used informational Design, a typographical graphical language and discipline before the arrival of photo-settings and computer graphics.
France
Painted posters flourished, painting and theatre design became famous.
Italy and Milanese style
Futurism in the 1930s provided the continuing avant-garde in Italy. Boggeri was responsible for avant-garde's development.
Created an advertising leaflet that allowed the reader more time to take in the message that is portrayed.
Use of graphic methods and manipulation of space. Developed new forms.
Used juxtapositions of 'war' and 'peace' where a photograph of smoking guns was turned into factory chimneys.
Psychedelia, Protest, New Techniques
The late 1960s
New waves: Electronic Technology
The 1970s and 1980s