Chapter : Historical Timeline (1893-present)

1
Chapter Historical Timeline (1893-present)
2
1890s Art Movements and Artists/Designers (1 of
2)

• Arts and Crafts Movement proponents continued to
  disseminate information about design.
• European art was deeply affected by an influx of
  Japanese prints.
• American artists and designers were influenced by
  European trends and movements.
• The Art Nouveau movement influenced all the
  visual arts, from design through architecture.
• Toulouse-Lautrec embraced the poster.

3
1890s Art Movements and Artists/Designers (2 of
2)

• Companies hired Art Nouveau artists, such as
  Alphonse Mucha, to create posters to advertise
  their products.
• American advertising agency, N.W. Ayer Son,
  opened a design department to design their own
  ads.
• Ethel Reed -- an American woman became a noted
  graphic designer and illustrator.

4
1890s Technology

• Advances in printing technology in both Europe
  and American
• In France, color lithography significantly
  advanced by Jules Cheret, allowed for great color
  and nuance in poster reproduction.
• Advances in lithography helped give rise to the
  poster as a visual communications vehicle.

5
1890s Key Dates

• 1870s-1890s (last decades of the nineteenth
  century) Art and Crafts movement
• 1890 Art Nouveau movement begins
• 1891 La Goulue Toulouse-Lautrecs first
  poster
• 1893 Coca-Cola registered as a trademark
• 1897 Vienna Secession formed
• 1898 Advertising agency N.W. Ayer created the
  slogan, "Lest you forget, we say it yet, Uneeda
  Biscuit," to launch the first prepackaged
  biscuit, Uneeda, produced by the National Biscuit
  Co. (today, a company called Nabisco).

6
1900s Fine Art (1 of 2)

• Two groups of German painters form art
  philosophies.
• Die Brücke (The Bridge), with Ernst Ludwig
  Kirchner as a leading proponent
• Der Blaue Reiter (The Blue Rider) with Russian
  artist Wassily Kandinsky, a leading member
• Kandinsky is credited with the first
  non-objective painting and was a great influence
  on modern art.
• In France, major artists Henri Matisse and Pablo
  Picasso (b. Spain) create rippling, everlasting
  effects in all the visual arts.

7
1900s Fine Art (2 of 2)

• A very noteworthy influence (to this day), on
  typography was the Italian Futurists challenge
  to grammatical and typographic conventions.
• They saw typography as a way to redouble the
  force of expressive words.
• Dadaists used type and image as expressive visual
  elements.
• Artists such as Kurt Schwitters in his Merz
  magazine, used the idea of randomness as a
  guiding principle.

8
1900s Design (1 of 2)

• Milestones in graphic design history occurred.
• Principles of grid composition were taught in
  Germany.
• Birth of pictorial modernism
• The work of architect/designer Peter Behrens is
  watershed, exemplifying the relationship between
  design and industry.
• He sought a modern visual language to express
  the age of mass production.
• In 1907, Peter Behrens designed what might be
  thought of as the first corporate identity for
  AEG, a German electrical manufacturing
  corporation.

9
1900s Design (2 of 2)

• In 1919, Gropius founded the Weimar Bauhaus in
  Germany.
• The Weimar Bauhaus very influential design
  school laid the foundation for much of modern
  thinking about architecture and design.

10
1900s Key Dates (1 of 2)

• 1901-1905 Picassos Blue period
• 1905 Lucien Bernhard designs the Priester match
  poster
• 1905 Salon dAutomne, Paris, important French
  art exhibit
• 1907 - Peter Behrens corporate identity for AEG
• 1909-1914 Pablo Picasso and George Braque, the
  period of Analytical Cubism
• 1909 Futurist Manifesto proclaims enthusiasm
  for speed, war, and the machine age

11
1900s Key Dates (2 of 2)

• 1910-1914 Die Brücke (The Bridge) flourishes in
  Berlin
• 1910 Kandinsky and Der Blaue Reiter (The Blue
  Rider)
• 1910 Analytical Cubism
• 1913 Synthetic Cubism
• 1916 Dada founded
• 1919-1933 Bauhaus founded in Weimar, 1919,
  under the direction of architect Walter Gropius.
• Staff included Paul Klee, Johannes Itten, Vasily
  Kandinsky, Laszlo Moholy-Nagy.

12
1920s Fine Art (1 of 2)

• Fine art movements
• Cubism, Futurism, De Stijl, Constructivism, Dada,
  Surrealism
• Greatly affected design and advertising
• Picassos work continued to have a powerful
  effect on the visual arts.
• The popular geometric style of the 1920s was Art
  Deco.
• Significantly manifested in all the visual arts

13
1920s Fine Art (2 of 2)

• In 1921, a group of Russian artists led by
  Constructivists Vladimir Tatlin and Alexander
  Rodchenko rejected art for arts sake, to
  pursue the duty of artist as citizen.
• Constructivists viewed visual communications,
  industrial design, and the applied arts as
  mediums that could best serve their ideals and
  ideas for society.

14
1920s Design (1 of 2)

• Many graphic designers absorbed artistic
  movements creating a popular visual aesthetic.
• A.M. Cassandre, who was a renowned poster
  designer, created a visual language clearly
  influenced by Cubism, and brought it to the
  greater public via poster design.
• Cassandres success in both typeface design and
  poster design, established him as a purveyor of
  style.

15
1920s Design (2 of 2)

• Also greatly influenced by Cubism, Futurism and
  Art Deco movements, American graphic designer E.
  McKnight Kauffer created a body of work that,
  included 141 posters for the London Underground,
  as well as others for major corporations.
• American advertising reflected designers great
  interest in Modernism and European art ideas as
  well.
• Charles Coiner for the N. W. Ayer agency
  reflected an avant-garde influence.
• In an attempt to visually express their dynamic
  modern age, both artists and designers are highly
  concerned with the relationship between form and
  function.

16
1920s Key Dates (1 of 3)

• 1922 Aleksei Gans brochure on Constructivist
  ideology Konstruktivizm
• 1922. E. McKnight Kauffer poster for London
  Underground
• 1922 Piet Mondrian mature Composition
• 1923 Herbert Bayer cover design for Bauhaus
  catalog
• 1924 El Lissitzy poster for the Pelikan
  corporation

17
1920s Key Dates (2 of 3)

• 1924 Andre Bretons Manifesto of Surrealism
• 1924 Charles Coiner joins N.W.Ayers art
  department
• 1926 Fritz Langs film Metroplis
• 1927 Paul Renner designs Futura typeface
• 1927 A. M. Cassandre railway poster

18
1920s Key Dates (3 of 3)

• 1928 Dr. Mehemed Fehmy Agha is made art
  director at Vogue magazine.
• 1928 Jan Tschichold advocates new ideas about
  typography in his book Die Neue Typographie
• William H. Bradley, American, designed a series
  of covers for the Chap Book (influenced by the
  British Arts and Crafts movement and art)

19
1930s Design (1 of 3)

• At the end of the 1920s, the modern movement hit
  America.
• Pioneering visual ideas in the United States were
  American-born designers such as
• Lester Beall
• William Goldin
• Alvin Lustig
• Paul Rand
• BradburyThompson

20
1930s Design (2 of 3)

• Pioneering visual ideas in the United States were
  émigrés such as
• Mehemed Fehmy Agha (Russian-born, emigrated in
  1928)
• Alexey Brodovitch (Russian-born, emigrated in
  1930)
• Will Burtin (German-born, emigrated in 1938)
• Leo Lionni (Dutch-born, emigrated in 1939)
• Herbert Matter (Swiss-born, moved to New York in
  1936)
• Sutnar Ladislav (Czech-born, traveled to U.S. in
  1939 and stayed)

21
1930s Design (3 of 3)

• Many fled the Nazis and immigrated to America,
  including esteemed Bauhaus members
• Mies van der Rohe
• Josef Albers
• Laszlo Moholy-Nagy
• Walter Gropius.

22
Paul Rand A Seminal American Designer

• Paul Rand, started in 1935, as the art director
  of Esquire and Apparel Arts magazines.
• Rand also designed covers for Direction, a
  cultural journal, from 1938 until 1945.
• Rands influence holds to this day.
• Rand was greatly influenced by the European
  avant-garde thinkers and designers, though he
  established his own indelible point of view and
  visual vocabulary.

23
1930s Key Dates (1 of 2)

• 1934 Herbert Matter designs Swiss travel
  posters.
• 1934 Alexey Brodovitch is art director at
  Harpers Bazaar.

Magazine spreadDesigner Alexey Brodovitch
24
1930s Key Dates (2 of 2)

• 1935 WPA hires designers to work for the
  project.
• 1937 Lester Beall designs Rural Electrification
  Administration poster.
• 1937 Picassos Guernica painting portrays the
  devastation of the Spanish Civil War.
• 1939 Bradbury Thompson designs first Westvaco
  Inspirations.
• 1939 Leo Lionni becomes art director at N.W.
  Ayer.

25
1940s Fine Art and Design (1 of 2)

• In the U.S., during 1940s and 1950s, Abstract
  Expressionism is the primary artistic movement
  (overshadowing any representational artists),
  with leading artists such as
• Jackson Pollack
• Willem de Kooning
• Franz Kline
• Mark Rothko

26
1940s Fine Art and Design (2 of 2)

• In the post World War II years, New York City
  became the art capital of the world.
• In Italy, Olivetti corporation hired Giovanni
  Pintori, who contributed enormously to Italian
  design.
• Pintoris vision, drawing on Futurist visual
  forms, manifested itself in corporate identity
  design and advertising.

27
1940s Design and War (1 of 3)

• In 1939, World War II began.
• Many artists and designers were called into
  active duty
• Others used their great talents to create posters
  to disseminate public information, support the
  war effort, pump up morale, and create anti-Nazi
  vehicles, including
• Ben Shahn
• E. McKnight Kauffer
• Joseph Binder
• Abram Games
• In England, The British Ministry of Information
  recruited available pre-eminent designers to this
  cause.

28
1940s Design and War (2 of 3)

• Many designers embraced Surrealism using
  photomontage and bold typography to create war
  posters, including German graphic artist John
  Heartfield, whose strong anti-war work satirized
  the Nazi party.

29
1940s Design and War (3 of 3)

• What would eventually become the Advertising
  Council, a public service advertising
  organization, began in 1942 as the War
  Advertising Council, which was organized to help
  prepare voluntary advertising campaigns for
  wartime efforts.

PSAThe Advertising Council
30
1940s Key Dates

• 1940s Paul Rand designs Directions covers.
• 1946 Lou Dorfsman joins CBS.
• 1947 Armin Hofmann begins teaching graphic
  design at the Basel School of Design.
• 1947 Giovanni Pintori is hired by Olivetti.
• 1949 Doyle Dane Bernbach opens.
• 1949 Cipe Pineles cover for Seventeen.

31
1950s (1 of 4)

• The International Typographic Style, or Swiss
  design, plays a pivotal role in design with an
  emphasis on clear communication and grid
  construction, with Max Bill and Ernst Keller as
  major proponents.
• In 1959, the movement became a unified
  international one disseminating ideas in a
  journal, New Graphic Design.
• The editors included Josef Muller-Brockmann,
  Richard P. Lohse, Carlo L. Vivarelli and Hans
  Neuburg.

32
1950s (2 of 4)

• Important work created in America by seminal
  designers such as
• Paul Rand
• William Goldin
• Lou Dorfsman
• Saul Bass
• Bradbury Thompson
• George Tscherny
• Ivan Chermayeff
• Tom Geismar
• Cipe Pineless
• Otto Storch
• Henry Wolf

33
1950s (3 of 4)

• Saul Bass movie titles and film promotions set
  new standards for motion graphics and promotional
  design.

34
1950s (4 of 4)
Magazine spreadDesigner Bradbury Thompson
35
1950s Corporate Identity (1 of 2)

• Corporate (visual) identity becomes gospel at
  corporations with in-house designers such as
• William Goldin and Lou Dorfsman at CBS
• Giovanni Pintori at Olivetti

36
1950s Corporate Identity (2 of 2)

• Corporations begin to rely on designers to create
  visual identities that would differentiate them
  within a competitive marketplace.
• Designers, such as Paul Rand created visual
  identities for IBM, Westinghouse, and ABC.

37
1950s Advertising

• Doyle Dane Bernbach (DDB) rocked the advertising
  world.
• DDBs Volkswagen campaign began the creative
  revolution in advertising.
• DDB teamed art directors and copywriters to
  generate creative ideas to drive their
  advertising.
• DDB didnt use a hard sell it set a new
  standard that winked at the consumer with greater
  respect.

38
1950s Key Dates (1 of 2)

• 1949 Hermann Zapf designs Palatino typeface.
• 1955 Jackson Pollacks creates Autumn Rhythm.
• 1950 William Goldin designs the CBS symbol.
• 1955 Roy Kuhlman designs Grove Press paperback
  covers.
• 1955 Rudy deHarak opens his New York studio.

39
1950s Key Dates (2 of 2)

• 1955 Fogleman defines corporate identity.
• 1954 Adrian Frutiger creates a family 21
  sans-serif fonts named Univers.
• 1954 Push Pin Studios is formed.
• 1955 Saul Bass designs Man with the Golden Arm
  film graphics.
• 1950s Henryk Tomaszewski creates Cryk.

40
1960s Corporate Identity

• Corporate identity design grows in importance,
  work by
• Lester Beall for International Paper Company
• Chermayeff Geismar for Mobil, The Chase
  Manhattan Bank
• Saul Bass for ATT, Continental Airlines, and the
  Girl Scouts
• Massimo Vignelli and the Unimark office for Knoll

41
1960s Changes in Design (1 of 3)

• The poster was extremely popular with great work
  from
• Gunter Rambow, in Germany
• Wes Wilson, in California
• Victor Moscosco in California
• George Lois designs covers for Esquire magazine
• Milton Glaser

PosterDesigner Milton Glaser
42
1960s Changes in Design (2 of 3)

• Pop Art movement
• A movement drawing upon imagery from popular
  culture, with leading artists Andy Warhol, Roy
  Lichtenstein, and Robert Indiana
• Challenged the conventions of Modernist thinking
• Push Pin in New York and Haight Ashbury/San
  Francisco music scene designers rocked
  Modernisms structural boat.

43
1960s Changes in Design (3 of 3)

• Wolfgang Weingart was at the forefront of those
  slowly challenging Modernisms core.
• American graphic designers, including the Push
  Pin Studios, Saul Bass, and Herb Lubalin
  redefined American graphic design.

44
1960s Advertising

• Doyle Dane Bernbach (DDB) continued to be the
  force behind creative advertising.
• Employed at DDB were some of the most brilliantly
  creative art directors and writers of the
  twentieth century.
• Bob Gage
• Helmut Krone
• George Lois
• Mary Wells Lawrence
• Phyllis K. Robinson
• Julian Koenig
• Some of these creatives left DDB to open their
  own creative agencies, such as
• George Lois Julian Koenig (together)
• Mary Wells Lawrence

45
1960s Key Dates (1 of 2)

• 1960 John Berg becomes art director at CBS
  records.
• 1960 Lester Beall designs International Paper
  logo.
• 1961 Edouard Hoffman and Max Miedinger design
  Helvetica typeface.
• 1962 Herb Lubalin designs Eros magazine.
• 1962 Carl Ally opens Allly Gargano.
• 1963 The Pepsi Generation ad

46
1960s Key Dates (2 of 2)

• 1964 First Things First manifesto signed by
  22 signatories.
• 1965 Andy Warhols Campbells Soup
• 1967 Jay Chiat opens Chiat/Day.
• 1968 Herb Lubalin designs Avante Garde
  magazine.
• 1969 George Lois composited Esquire cover of
  Andy Warhol drowning in an oversized can of
  Campbell's soup.

47
1970s Design as Differentiator

• It became clear to clients that design and
  advertising was going to distinguish their parity
  goods and services in a highly competitive
  international marketplace.

Identity Design firm Vignelli Associates
48
1970s New Thinking (1 of 2)

• Some critics see the 1970s as the end of
  Modernism and the beginning of Postmoderism
  thinking, especially in the typographic
  directions taken by designers such as
• Wolfgang Weingart
• April Greiman
• Willi Kunz
• Dan Friedman

49
1970s New Thinking (2 of 2)

• Some designers saw the Modernist style as
  corporate and reacted with alternative creative
  thinking.
• Subversive posters emanating from the French
  design collective GRAPUS in California, April
  Greiman was experimenting with type, hybrid
  imagery, and mixing media.
• A growing response to the perceived objectivity
  of Modernism with highly individual, personal
  aesthetics grew around the world.

50
1970s Key Dates (1 of 2)

• 1970 GRAPUS studio, a French design collective,
  is formed by Pierre Bernard, Francois Miehe, and
  Gerard Paris-Clavel.
• 1970 Raymond Loewy designs the U.S. Mail eagle
  symbol.
• 1970 Shigeo Fukuda designs graphics for Expo
  70.
• 1971 Saul Bass designs the United Way logo.

51
1970s Key Dates (2 of 2)

• 1974 Paula Scher designs covers for CBS
  records.
• 1975 Milton Glaser designs I LOVE NY symbol.
• 1978 Louise Fili becomes art director of
  Pantheon Books.
• 1978 Pentagram opens their New York office.
• 1979 MCo founded by Tibor Kalman with Carol
  Bokuniewicz and Liz Trovato.

52
1980s Technology (1 of 2)

• In 1984, Apple computers introduced the Macintosh
  computer, which provided graphic designers with
  the most significant tool since the pencil.
• The digital revolution enabled designers to have
  more creative control.
• Design/layout their own type
• Become their own compositors
• Easily manipulate imagery (as opposed to using
  handcrafted photomontage)
• Imitate visual effects such as airbrushing

53
1980s Technology (2 of 2)

• Easily make changes to layout and color
• Generate type without a typesetter
• Substitute hand-lettered comps with digitally
  produced finished-looking comps

Poster Designer April Greiman
54
1980s Design (1 of 3)

• Termed the Postmodern (or Late Modernist) period,
  the 1980s and 1990s were an eclectic and diverse
  time.
• Designers experimented with new technology.
• The political and social climate provided a
  fertile environment for provocatively creative
  designers and thinkers, such as Tibor Kalman,
  founder of MCo.

55
1980s Design (2 of 3)

• In California, Rudy VanderLans (trained in the
  Netherlands) and Zuzana Licko (b. Czechoslovakia)
  collaborated to create experimental typography in
  Émigré.

Magazine spread, Émigré Designer Rudy
Vanderlans
56
1980s Design (3 of 3)

• David Carson designed Beach Culture magazine and
  his typographic methodology will eventually
  divide designers into camp divisions about
  typographic design philosophy.
• In England, Neville Brody, art director of The
  Face magazine, challenged both editorial design
  and typographic design conventions.

57
1980s Advertising (1 of 3)

• In England, advertising agency Bartle Bogle
  Hegarty (BBH) created sexy campaigns for Levis
  and Haagen-Dazs.
• In New York, George Lois ad campaign concept I
  want my MTV transforms entertainment.
• Chiat/Day created one of the great moments in TV
  advertising with its 1984 spot for Apple
  Macinstosh.

58
1980s Advertising (2 of 3)

• Advertising agencies outside of the usual ad
  hubs, made indelible marks, making cities such as
  Minneapolis and Dallas the homes of creative
  advertising.

59
1980s Advertising (3 of 3)
Ad Agency Doyle Dane Bernbach
60
1980s Key Dates (1 of 2)

• 1981 MTV logo (art director Fred Seibert,
  designers Frank Olinsky, Pat Gorman, and Patti
  Rogof /Manhattan Design)
• 1982 George Lois I want my MTV"
• 1983 R/Greenberg Associates film title sequence
  The Dead Zone
• 1984 Apple Macintosh TV spot 1984 by
  Chiat/Day Agency directed by Ridley Scott
• 1984 Rolling Stone Perception/Reality
  campaign by Fallon McElligott and Rice/Minneapolis

61
1980s Key Dates (2 of 2)

• 1985 BBH, London, revitalizes Levis brand
• 1986 Neville Brody designs Typeface Six for The
  Face
• 1988 Motel 6 Well Leave a Light on for You,
  The Richards Group, Dallas
• 1988 David Carson designs Beach Culture
  magazine
• 1989 Jonathan Hoefler and Tobias Frere-Jones
  create type foundry

62
1990s Technology (1 of 2)

• As the century came to a close, the technological
  boom continued to deeply affect all the visual
  arts.
• In 1990, Adobe released Photoshop, imaging
  software, providing a tool that enabled
  individual designers to manipulate imagery
  effectively, inexpensively, and rapidly.
• The web would become the home to every brand
  worldwide as well as set new design challenges.

63
1990s Technology (2 of 2)

• Designers would be forced to work closely with IT
  professionals to launch their visual designs.
• Design and technology are at aesthetic crossroads
  that are reconciled in various ways with
  interesting effects on popular visual culture.

64
1990s Design Community Issues

• There are hot debates on consumerism, typographic
  design form/function questions.
• Green issues are arguments that even become
  known outside the design community.
• Besides creating design to earn a living, some
  designers are tackling social and political
  issues with their independently conceived,
  created, and produced posters.
• Design itself takes on new respect in museums and
  in media coverage.

65
1990s Design and Advertising (1 of 4)

• Irony becomes a truly pervasive postmodern
  approach to all visual communications.
• Unusual combinations of form and color
  juxtapositions mark the work of many.

Poster Design firm Sagmesiter Inc.
66
1990s Design and Advertising (2 of 4)

• Historical stylistic references allow visual
  communicators to hold fast to the end of the
  century.
• Corporations continue to count on branding and
  visual communications to distinguish their brands
  across borders.

67
1990s Design and Advertising (3 of 4)

• No longer belonging to the marginalized artist,
  post-modernism is co-opted by major brands
  seeking to align themselves with hipsters and be
  perceived as trendsetters.

68
1990s Design and Advertising (4 of 4)
Poster Design firm Morla Design
69
1990s Key Dates (1 of 3)

• 1990 Fabien Baron redesigns Interview magazine.
• 1991 Paula Scher joined Pentagram, New York.
• 1993 David Carson designs Ray Gun magazine.
• 1993 Sagmeister Inc. is founded by Stefan
  Sagmeister in New York.

70
1990s Key Dates (2 of 3)

• 1994 Got Milk? ad campaign by Goodby,
  Silverstein Partners, San Francisco for the
  California Fluid Milk Processor Advisory Board

71
1990s Key Dates (3 of 3)

• 1995 Razorfish web design studio is founded
• 1996 "Mixing Messages Graphic Design in
  Contemporary Culture" at the Cooper-Hewitt
  National Design Museum
• 2000 Steven Brower redesigns Print magazine.
• 2000 Émigré magazine (and other magazines)
  publishes First Things Manifesto 2000

72
2000 Advertising

• Unconventional advertising formats and solutions
  are redefining advertising, with agencies leading
  the way.
• Crispin Porter Bogusky / Miami
• Diabolical Liberties / London
• KesselsKramer / Amsterdam
• Strawberryfrog / Amsterdam

Campaign Agency Strawberryfrog
73
2000 Post-9/11 (1 of 2)

• The convergence of technology in the visual arts
  has helped redefine what graphic design is, but
  not what it is not.
• Visual communications is an ever-evolving
  discipline that can solve innumerable
  communications problems.

Poster Designer Milton Glaser
74
2000 Post-9/11 (2 of 2)

• Post 9/11, visual communicators are finding more
  and more that, as Paula Scher said, design
  matters.
• Whether it is to
• Disseminate information to the public
• Enhance understanding of editorial content
• Design better election ballots
• Design posters to get out the vote
• Communicate across cultures
• Create public service campaigns to raise
  awareness
• There are creative professionals who are
  constantly challenging us to think and reevaluate.