Chapter 20: Corporate Identity and Visual Systems; Chapter 21: The Conceptual Image

In Chapter 20, the topic covered is corporate identity and visual systems. After World War II, there were many advances in the economy and there was prosperity because of technological development. There was a positive outlook on the future, and it was said: “Good design is good business”. Graphic design was used as a way to develop corporate identity for viewers. In the past, trademarks and symbols were used as identity systems, but during the 1950s, a design system was used in order to communicate. Adriano Olivetti was the son of Camillo Olivetti—president of AEG—and he had a good sense of organization when it came to graphic design. He hired Giovanni Pintori, who created simple, yet complex designs; simple shapes and abstraction were also used in order to present function and purpose. CBS (Columbia Broadcasting System) did not use a traditional corporate identity, like other companies used. Frank Stanton and William Golden were two who understood design, in the way that function needed to be carried out, and brought forth successful designs through creativity. Other designers during this time were Georg Olden and Lou Dorfsman. Olden was an African American who was cherished for his designs, which were comprised of symbols, signs and images. He also found a way to make the TV graphics more communicative. Dorfsman created clear, well-arranged graphics; no continuity was present between his layouts, imagery and typefaces. The intention of CBS was to carry out creativeness rather than a system of style, although, by the 1980s, their viewpoint changed and so did their graphics. There was a need for quickly-made, simple signage for travelers. The goal was to effectively communicate with simple, yet bold/interesting symbols/forms. When it came to the Olympics, it was important for the larger audience to be informed. Symbols had to be invented that would easily be understood by just about anyone. MTVs logo, which was introduced during the early 1980s, was continuously recreated, unlike other corporate identity logos. This made an impact on future logo designs, bringing forth more elements of color, texture and decoration.

Chapter 21 was on The Conceptual Image. After the war, a school of poster art opened, which was a union. New trends began to develop, with an interest in Surrealism and the metaphysical. Polish posters included many interesting elements, including, expression, communication, the spread of ideas, darkness, somberness, and surrealism. Tadeusz Trepkowski was a designer who focused on devastation by reducing the image and text to their simplest forms. Henry Tomaszewski carried out new emotions. Waldenar Sweizy created over 1,000 posters, incorporating perfection and the inspiration of folk art. In America, new processes were coming about for printing, paper, and photography. Milton Glaser was a type designer influenced by Art Nouveau, Victorian and Art Deco styles; he used unexpected form and started the Push Pin Studio—a studio where there was a creation of new ideas.

The most influential thing I learned about from chapter 20, how CBS cared more about using creativity while carrying out their designs rather than following a planned system of style, as other organizations/companies used. This brought forth an interest in designers to work for them because they were able to incorporate their own ideas and/or preferences. While looking at the CBS trademark on page 400 in Megg’s History of Graphic Design, it is seen that a layer of clouds are present among the simple shape of an eye and typography. I just looked up a contemporary trademark of CBS and noticed how the two designs compare/contrast. There is definitely more creativity/detail in the 1950s trademark than in the contemporary one. There are more words and clouds are present. In today’s CBS trademark, the letters “CBS” are largely present and positioned next to the same eye used in the old design.

What gave CBS the desire to use creativity for their trademark designs?

Chapter 18: The International Typographic Style; Chapter 19: The New York School

This chapter was on a Swiss design movement that had eventually become international because of its use of harmony and order. The designs were asymmetrical and organized by a grid; sans-serf typefaces were used, as it was known as being useful/legible/expressive during that time period. The goal of the movement was to spread information and achieve clarity. The attitude of the designs was important, and expressive/emotional designs were not accepted. Throughout the chapter, many interesting designers were mentioned who impacted and were influenced by the movement. Max Bill was a painter, architect, engineer, sculptor, and product/graphic designer. He used concepts of art concret, which incorporated exact/pure/mathematical elements into paintings, making them abstract. These same ideas have been applied to graphic design. Bill used order, organization, division, sequences, and contrast. Max Huber worked with Bill; Huber created bright, colorful designs and was able to maintain order within his complex solutions. New typefaces were invented by Adrian Frutiger and Edouard Hoffman; Frutiger invented Univers—having a variety of 21 different fonts— which Hoffman wanted to upgrade. Hoffman came up with a new font called Helvetica—used internationally. Hermann Zapf was a calligrapher and Renaissance typographer, and he created great letterforms. Three new typefaces he came up with include, Palatino, Melior, and Optima. He well understood the past and present typefaces and decided to compose new letterforms. The most influential Swiss designer was Muller-Brockmann. He used objective subjects; personal/emotional subjects were not used. Also, he used photographic images with the use of scale and camera angles to make the images look more like objects. His geometric forms were metamorphic. Rosmarie Tissi and Seigfried Odermatt worked with photographic images also; the images looked 3-dimensional. Eventually, new inventive forms were used by these two designers, bringing forth playfulness—a new addition to Swiss design.

In Chapter 19, immigrants from Europe were coming to America and introducing modern art. The Americans borrowed concepts from Europe, yet they also added their own ideas/approaches to their designs as new forms were made. These new ideas were bringing forth creativity. There was a desire to find new ways to grab the public’s attention. During this time (1940s), America found it important to present their ideas to express ideas and spread information. Originality was desired, along with personal expression. Many influential designers worked during this modern art period in America. Paul Rand was an American designer during this time; he was a promotional and editorial designer for popular magazines. As he worked, he changed visual form and used symbols for visual communication. Collages and montages were preferred by him as he integrated imagery, objects, ideas, and a variety of textures into single compositions. Bill Bernbach worked with the integration of the verbal and the visual. He also began to work more with trademarks and corporation design. In 1946, his book, Thoughts on Design, influenced many other designers; the book included over 80 of his designs. He also worked with symbols, as Rand did, and he understood their universal meanings. He was able to integrate these signs/symbols in his designs. Bernach liked to explore new ideas and show contrast between different elements, such as textures, forms, type, and color. Alvin Lustig was a designer who also enjoyed using symbols within his designs, which were contrasting and abstract. For Lustig, form = content; they were both one. Look magazine hired Lustig as the research director of visual design. Alex Steinbach was the art director of Columbia Records, so, in order to express music, he designed many interesting record covers with the use of shape and form. Saul Bass was a revolutionary designer who reduced his designs to using single dominant images. He was influenced by Rand’s balance of shape and asymmetry. He was the first to make a moving movie title, which was “The Man with the Golden Arm.” He used a cut paper look and also used organic forms/designs. Mike Salisbury redesigned the Rolling Stones magazine.

I found Max Huber’s work to be influential to me from chapter 18. After reading and seeing designs that were black and white, I saw his work and it jumped out at me. I love his use of color. And although his designs look jumbled and complex, they are still well balanced as the book mentioned. I like how there is balance between the rectangular forms and the colors throughout the composition of the yearbook cover on page 358.

With Muller-Brockmann’s “Der Film”, I did not quite understand how the rectangles were used throughout the space that was mentioned. How does it work? What were the dimensions of the rectangles?

Simply Lemonade: Ver Sacrum, Peter Behrens, Futurism

This is the Simply Lemonade label with a redesign influenced by the Vienna Secessionists. I drew a lemon in the center to relate with lemonde, as I did with the past designs. My concept behind the design was to create horizontal and vertical alignment with the words, add decoration, and create bold lines, just as the Vienna Secessionists did with Ver Sacrum designs. Vienna Secessionists used a lot of decorative/ornamental elements along the borers and within the backgrounds of their designs. They also use white space very well. Their text was hand-written (obviously mine is because it is a sketch); if I were to digitally create this image, I'd probably scan in hand-lettering. They used vertical and horizontal alignment. Along with this, color was added to the backgrounds.

This is the Simply Lemonade label recreate with the influence of Peter Behrens. He used a a grid system to create geometric, precise symmetry and alignment. I tried to create a design in the background of the lemon that was horizontally symmetrical. Also, I wanted the border to be symetrical. The horizontal lines (below and above the text) are vertically symmetrical. I tried creating text that Peter Behrens invented, which was shown in Megg's History of Graphic design in Chapter 12. Peter Behrens used all-caps with his text, so I also incorportated that element. He also used sharp angles and alignment. Rectilinear shapes were present in his designs.

This is the Simply Lemonade redesigned with the influenced of futurism. I wanted to create a design with forms composed of letters/words, just as the futurists carried out. The form is a cup with lemon juice gracefully free-falling into it from a half of a lemon, located in the top right hand corner. I do not feel that this image is as strong as I could have made it, but it does relate well with the work of the futurists.

Simply Lemonade: Victorian and Art Nouveau

(Label I redesigned)

I decided to use the Simply Lemonade label to recreate in the Victorian style. I wanted it to have a variety of fonts, so I found fonts used during that time period and incorporated them into the label. I also wanted to include a picture of a lemon to relate with lemonade, as I did in the label below. Also, I noticed that product names seemed to stand out more boldly than the rest of the text, so I used capitals for the brand name. Many arcs, curves and angles were present in designs during the Victorian era. There were a lot of patterns and ornament used, too, so I also tried to use simple patterns in the label. A simple border was drawn to make the design more uniform; many designs from the Victorian era had elaborate borders.

I decided to sketch a new design for the Simply Lemonade label in the style of Art Nouveau. I looked at a bunch of labels from Art Nouveau to get a better of how I wanted to design the label. I love the tiny stained-glass-looking squares from the style, so I wanted to incorporate it into my design. Since curves and floral designs were used with this style, I added some flowy-looking stems, leaves, and flowers. Two lemons are also present to relate with lemonade. I chose the type to relate well with the style, also. Around the entire design is a thin frame, which is seen around many of the Art Nouveau designs.

Chapter 17: The Modern Movement in America; American Kitsch

This was another chapter I enjoyed reading. I think the designs are becoming so much more interesting as the years progress. America originally rejected modern art. When it was first introduced, they did not accept the European designs because of the typography and graphics integrated in the posters. Americans were used to only seeing illustrations. New fonts were used, like Futura, Kabel, Caledonia, Electra, and Metro. Dadaist and Cubist elements were applied to the works of some interesting designers at this time, including William Addison Dwiggins and Lester Beall. Four other designers were known to have very coincidental circumstances. Erte, Dr. Mehemed Fehmy Agha, Alexey Brodovitch, and Alexander Liberman were all born in Europe, taught in France and helped with the development of modern art in America. Joseph Binder was interesting, for he use an airbrush technique and incorporates cubism and realism into his designs. The WPA was started, along with the WPA Federal Art Project—allowing artists to continue their careers. Many immigrants began coming to America, including: artists, designers, architects, scientists. Modern art was being dispersed throughout the world ever the Nazis caused the closing of the Bauhaus school. During the years of the war, specific posters were made. They were comprised of informational material and cartoons that looked unprofessional. Propaganda posters were also being made. Because of huge historical events, such as Hitler, Pearl Harbor and the world wars, many designers created powerful posters. John Atherton was one who created posters because of gossip/careless talk about the movement of the troops. Ben Shahn composed posters having to do with the cruelty of the Nazis; many people became aware of the brutality. Bayer, the designer mentioned in chapter sixteen with the Bauhaus school of design, was mentioned to have changed his style of design; he eventually made illustrations and type by hand-painting, instead of using photography.

After reading on American Kitsch, I realized how interesting it is that people have so many different views on it. It was said to be an art movement, a lifestyle, and a literature. While people find it to be tacky, it is also seen as being fun and a piece of artwork. I have never heard of the word ‘kitsch’ before, but I have seen the artwork. I have porcelain snowman at my house that my mom bought years ago. I’ve always looked at it and thought how gaudy it looked with the bright colors and the bulkiness; yet I always enjoyed putting it out for decoration. It was weird that I felt disgusted and excited about it all at once, and after reading the different responses people have on kitsch, it’s kind of funny how that happens.

The most interesting thing I learned from this chapter was how designers were incorporating Cubism and Dadaism into their work. Joseph Binder’s coffee poster was interesting, for you could definitely see elements of cubism. There is a woman standing, and her figure is comprised of defined shapes. You can see how geometric and abstract-like the forms are throughout the poster. I think it is so cool how past modern movements are incorporated into later movements—even up until now. New ideas are mixed with the original ideas, bringing forth interesting ideas and designs.

Why did the Nazis want to close down the Bauhaus school?
What makes kitsch so tacky, yet pleasant? I cannot figure it out.

Art Deco

During the time of Postcubist Pictorial Modernism, images were man-made, machinery was accepted, and the Allies won World War I. Edward McKnight Kauffer was an artist who incorporated cubism in his work. He made many posters, including underground posters. At first, he focused on making landscapes the destination point for the travelers; he eventually moved on to Art Deco. Art Deco came between the two world wars and got its name from a major design exhibition. It was influenced by many art movements, including: Cubism, Bauhaus, Vienna Succession, De Stijl, and Suprematism. Zigzags and decorative geometry were a part of the Art Deco work. Aesthetics were seen in architecture, design of products, and graphics. Decoration was desired. Jean Carlu was committed to helping his France community; he taught himself how to draw with his left hand, after he lost his right arm in an accident, so that he could present powerful messages through posters. He found that angles and lines represented tension and alertness, and curves represented comfort, relaxation and ease. He combined text with imagery and created intriguing posters of the American war effort. A.M. Cassandre was a designer who also incorporated Cubism into his work; simple planes of color and 2-dimensional shapes, words and images were used. He found that meanings were more powerful with the use of geometric forms—figures, shapes, shadows, silhouettes. Cassandre invented a new typeface for Art Deco, called Bifur. Paul Colin was interesting, for he created his posters by placing forms/figures in the center of the posters and overlapped images giving off a cool effect of colorful bands. Austin Cooper created posters for the Underground Railroad by using warm and cool colors, which communicated well with the viewers. He also took fragments of interesting places and events in Paris and collaged them as compositions. Joseph Binder used natural shapes/figures and used two basic colors—the second color creating the shadows. Abram Games composed emotional posters during the time of war; in one of the, a soldier was shown along with text questioning, “If he should fall, is your blood there to save him?” Many of these ideas were flowing in and out of Germany during this time, as the designers were influenced by Cubism and French advertisements. Printing became much easier as the technology was advancing.

The most interesting thing I learned from this chapter was how Austin Cooper created posters and conveyed meaning through the use of warm and cool colors. I think it is so amazing how color can hold emotion and have great effects. One of his posters is comprised of cool colors, trying to convince people to ride the train because of it being cooler below the ground. It definitely would have grabbed my attention on a hot day. Another poster was the exact opposite, yet having the same effect. The colors were warm, trying to convince people to come down to the underground railroad—out of the cold. Again, I would have been convinced. The posters hold expressions with the use of color.

Did Jean Carlu ever have a passion to help his community before he got injured in the trolley accident?

Chapter 15: A New Language of Form

At the turn of the century, many new changes were developing. Designers, architects and product designers began to focus more on geometric form; form and space were elements being created within their work. The main focus during this time, around the end of World War I, was on form and function. There became a rejection for art taking a political/social role; art was meant to create forms in time and space. Suprematism was a new painting style where form and color were a main focus. Russians were influenced by cubism and futurism, so they came up with the name, cubo-futurism, and used typography and designs in their work.

The most interesting thing I learned was how Kasimir Malevich created artwork with the focus on colors and shapes, without basing the work on values, emotions and pictorial representation. One of his compositions is just a white background with a large black square. Honestly, it doesn’t bring forth any excitement when I see it. As I look at it, it looks like there is depth, as if there is a big hole leading to nowhere—like outer space. I know that if many others were to see it, they may get something out of it, like a certain feeling or story that goes along with it. At the same time, many may see the piece and think nothing of it because it is so simple and plain. I think I like his work because my attention is grabbed much easier when I see less complex designs/art.

What is a leftist artist?