Week 2 National Visions within a Global Dialogue - A History of ...

A HISTORY OFGRAPHIC DESIGNChapter 23 – National Visions within a Global DialogueSUMMARYChapter 23 describes distinct national styles in graphicdesign that have emerged since the 1960s, examiningdesign from the United Kingdom, Asia, the Netherlands,the Iberian Peninsula, the Americas, and the MiddleEast. Each of these countries and regions has developeda unique stance because of the strong approaches ofparticular designers and studios. Due to developmentsin graphic arts technology and the expansion of graphicdesign education, their influence spread to other parts ofthe world, resulting in an international culture that embracedthe fine arts, performing arts, and design. Duringthe 1980s and 1990s, advanced electronic and computertechnology created a cultural climate that impacted theprocesses and appearance of graphic design.Postwar graphic design in the United Kingdom, 483In the United Kingdom, Herbert Spencer and the designfirm Pentagram are noted for their contributions to theinternational dialogue in graphic design. Spencer helpedto renew graphic design after World War II through hiswritings, teaching, and practice. As editor and designerof the journal Typographica and author of Pioneers ofModern Typography, Spencer informed the postwar generationabout the accomplishments of earlier twentiethcenturydesigners.This chapter’s discussion of the design partnership Pentagramfocuses on the firm’s formative years. Pentagrambegan in London in 1962 as Fletcher, Forbes, Gill andbecame Crosby, Fletcher, Forbes in 1965 after Gill leftand architect Theo Crosby became a partner. As additionalpartners joined the firm, the name was changed toPentagram. By 1996, however, Pentagram had expandedto seventeen partners, well beyond the number ofpartners implied by its name, and had broadened itsinternational presence to include 148 employees inLondon, Hong Kong, and in the American cities of NewYork, San Francisco, and Austin, Texas. The essence tothe Pentagram approach to graphic design, especiallyin the early years, can be summarized by its thoroughevaluation and understanding of the communicationsproblem and the context in which the solution would appear,combined with British humor, and a willingness toexperiment. Pentagram’s design solutions ranged fromgeometric forms for corporate identity, such as the markfor the 1966 Zinc Development Association Die CastingConference that communicates the essence of the castingprocess, to the 1968 logo for an exclusive boutiquethat uniquely expresses the name Flora through the useof five different historical designs from the Renaissance.Recent British graphic design, page 483In London, emerging design studios offer different approachesto visual problem solving and find inspirationin eclectic fine art, ephemeral pop culture, and traditionalgraphic design. Among the London-based designers anddesign firms included in the chapter are Vaughan Oliver,noted for his series of record covers and promotionalprint collateral for a variety of clients; Michael Johnson,whose work is recognized as witty and clever and incorporateswordplay and visual puns; Why Not Associates,an experimental and multidisciplinary London-basedfirm whose work includes postage stamps, corporateidentity, environmental design, television titles, and motiongraphics; Pentagram, which continues its interdisciplinarydesign practice with a number of new members;Vince Frost, whose collaboration with illustrators,photographers, and writers is exemplified by the literarymagazine Zembla a fusion of writing, photography,illustration, and expressive typography; and SiobhanKeaney, known for her non-mainstream approach andcarefully structured, yet seemingly spontaneous work.The rise of Japanese design, 485After World War II, Japan’s rise from defeat to becomea leader in technology and manufacturing paralleledits emergence as a major center for graphic creativity.Graphic designers in Japan sought to maintain nationaltraditions while incorporating international influences.For example, the systematic organization and theoreticalfoundation of European constructivism, a major resourcefor the Japanese design movement, was curbed by theJapanese inclination toward intuitive problem solving,centered compositions, and the simple forms of themon, traditional family crests.The Japanese designers who are introduced in Chapter23 include Ryuichi Yamashiro, Yusaku Kamekura,Masuda Tadashi, Kazumasa Nagai, Ikko Tanaka, TakenobuIgarashi, Tadanori Yokoo, Shigeo Fukuda, Koichi Sato,and Takenobu Igarashi. Among the contributions of the

A HISTORY OFGRAPHIC DESIGNJapanese designers, Kamekura brought professionalismto graphic design in Japan by way of his own work,as well as through his leadership in founding the JapanAdvertising Club and, in 1960, with the establishmentof the Japan Design Center. As managing director ofthe center, he brought graphic designers and industrytogether. Kamekura’s work is characterized by discipline,a thorough understanding of printing techniques, geometriccomplexity, and awareness of the InternationalTypographic Style, as seen in his poster design for the1970 Osaka World Exposition.In 1958, Tadashi founded the Masuda Tadashi DesignInstitute and combined his interest in photographicillustration with his interest in the collaborative team approach,resulting in new ways of seeing and unexpectedsolutions. The work is characterized by the effectiveuse of photography and color for communication anda structure of fine, ruled lines that contain typographicinformation, as shown in the 1964 Brain magazine coverdesign.Nagai, in his 1984 poster for a Paris exhibition of worksby twelve Japanese graphic designers, explores thepotential of line and geometric form in which linear elementscombine with scale and color to create a strongsense of space. While Nagai focuses on line as a basicdesign element, Tanaka, who opened the Tanaka DesignStudio in 1963, focuses more on plane and shape. InTanaka’s 1981 “Nihon Buyo” No direct translation availablebut the “nihon buyo” is a traditional Japanese typeof dance poster for the Asian Performing Arts Institute,a traditional theatrical character is presented in Tanaka’svisual language of plane and shape, supported by a geometricgrid structure and vibrant, contrasting colors.After graduating from Tama University in 1968, Igarashiearned a degree at the University of California, LosAngeles. When he returned to Japan, he opened IgarashiStudio in 1970 after he found Japanese companies unreceptiveto hiring a designer who had spent time abroad.Igarashi is best known for what he calls architecturalalphabets, letterforms drawn on isometric grids, whichhave been used in print, signage, and as three-dimensionalsculpture.Yokoo’s work was influenced less by constructivism andmore by the lack of structure and expressive vitality ofDada. He was fascinated with mass media, pop art, andcomic books, and their influence found their way into thevisual language of his work. The three examples shownin Chapter 23 chronicle the evolution of his work fromthe mid-1960s into the 1970s, when his work grew moreuninhibited and he experimented with a range of printingtechniques, and into the 1970s and 1980s, when hemoved toward unexpected and even mystical images.Fukuda’s work is characterized by the contradictionsof Dada and surrealism. He communicates in a visuallanguage of simple graphic forms, as in the 1975 poster“Victory 1945,” commemorating the thirtieth anniversaryof the ending of World War II. In this poster, a shell turnsback toward the gun, signifying the folly of war. Fukudaalso uses optical illusion, as in the 1975 exhibition posterfor Keio department store, and visual puns, as in theplayful teacups he designed in 1975.Sato opened his own studio in 1970, two years aftergraduating from Tokyo University of Art and Music.Metaphysical forms, gradation and glowing color, andcontrast through opposites, such as light and dark,organic and mechanical, and traditional and futuristic,characterize his work. He writes haikus and understandsnonverbal communication in the tradition of ZenBuddhism, which teaches the use of all five senses inreceiving communication. In his 1984 concert poster“Eclipse Music ’84,” yellow and blue calligraphy vibrateagainst the red ground as an expression of the energy ofthe music.Design in the Netherlands, 492The postwar years in the Netherlands were a time of rebuildingthe economy and restoring prewar cultural andsocial life. A prevailing atmosphere of individuality andfreedom of expression created a climate of innovation inHolland. As Dutch design evolved, two primary directionsemerged. The first leaned toward modern design,a pragmatic constructivism that built on the Dutch traditionsof the first half of the twentieth century, includingthe influence of the De Stijl movement, Piet Zwart, andPaul Schuitema, as well as influences from Switzerland.The Dutch designers discussed in Chapter 23 whofollowed this approach to graphic design include WimCrouwel, Frisco Kramer, Benno Wissing, Pieter Brattinga,and R. D. E. Oxenaar. The other tendency in graphicdesign that was prevalent during this period was a vigorousexpressionism, which pushed beyond the traditionalvalues of harmony, unity, and order toward individualmeaning and subjective expression. The designers inChapter 23 who represent this approach are Jan vanToorn; Anthon Beeke; Ghislain (Gielijn) Dapnis Escher;Gert Dumbar, Bob van Dijk, Dennis Koot, and Studio

A HISTORY OFGRAPHIC DESIGNDumbar; Henk Elenga, Garard Hadders, Tom van der Haspel,Helen Howard and Rick Vermeulen of Hard WerkenDesign; Frank Beekers, Lies Ros, and Rob Schröder ofWild Plakken. Contemporary designers also discussedin this chapter include Irma Boom, and Marieke Stolk,Erwin Brinkers, and Danny van den Dungen of ExperimentalJetset.The impetus toward functional design in Holland beganin January 1963 when a group including graphic designerCrouwel, product designer Kramer, and graphic andarchitectural designer Wissing formed a large, multidisciplinaryfirm called Total Design (TD), so named becausethey sought a total image for their clients through integratedgraphics, architecture, and products. Kramer leftTD in 1967 and Wissing in 1972. Crouwel was instrumentalin establishing the philosophy and direction of TD andremained its guiding force until 1981, when he becamea full-time professor. To Crouwel, the designer was anobjective problem solver who developed solutionsthrough research and analysis, by simplifying the message,and selecting the appropriate means of conveyingit clearly to an audience. Simplicity of communication isachieved in Crouwel’s 1976 postage stamp design for theNetherlands Postage and Telecommunications Service(PTT). A team approach was followed with a senior designerheading the team. During this period, TD designedmuseum exhibitions with related graphics, book design,signage, and environments, and developed trademarksand visual-identity programs, such as the ingenious solutionfor Furness Holding and its subsidiaries, for whichthe same graphic shape is combined in different ways tocreate diversity within unity. TD, which now operates asTotal Identity, continues to be a major force in Europeandesign, with offices in six cities.Brattinga worked at his father’s printing firm, De Jong& Co., near Amsterdam, where he established a smallgallery and presented exhibitions of advanced art andgraphic design. He designed the posters for these exhibitionsbased on a grid of fifteen squares. The poster hedesigned for the1960 exhibition “De Man Achter dueVormgeving van de PTT” (“The Man Behind the Designfor the Dutch Postal Service”), included in this chapter,uses translucency to communicate the concept of behindin the title. Brattinga edited a journal, Kwadraatblad(Quadrate), which was published by De Jong & Co. andprovided designers with a forum to experiment with theprint medium. He also designed posters and publicationsfor the Krüller-Müller Museum in Otterlo.Dutch cultural institutions and government agenciesare also patrons of graphic design and each has its ownvisual-identity program. The Netherlands Postage andTelecommunications Service (PTT) emphasized aestheticexcellence in all areas—from telephone booths andbuildings to postage stamps—as early as 1919, whenJean Françiois van Royen became general secretaryof the PTT board. Around 1966, the Aesthetic DesignDepartment of the PTT moved away from decorative andpictorial approaches to more contemporary directions.In 1976, Oxenaar, who was selected by the NederlandseBank in 1965 to design Dutch paper currency, was appointedthe aesthetic advisor to the PTT.The Provo youth movement, which emerged in theNetherlands in the 1960s, rejected social conformity andemphasized individual freedom, providing fertile groundfor new expressionism in graphic design. This tendencyin Dutch graphic design increased during the 1970s and1980s and manifested itself in the work of late twentiethcenturydesigners including Anton Beeke, and thegroups Studio Dumbar, Hard Werken, and Wild Plakken.Jan van Toorn’s work has inspired many expressionistdesigners, and he has explored means of organizinginformation to influence the view and to transmit socialvalues. His memorable designs of calendars, museumcatalogs, and posters are often assembled of intentionallyprovocative images and idiosyncratic font choicesin unfinished montages rather than seamless compositions.His philosophy of “dialogic design” presents acritical challenge to the viewer to participate in the perceptionprocess and examine the meaning and motivesof visual messages.Anthon Beeke’s participation in Fluxus, a 1960s neo-Dadaist movement that explored conceptual andperformance art, happenings, experimental poetry, andlanguage art, inspired him to seek unconventional solutionsto visual communications problems. His work oftenincorporated photographic depictions of the humanfigure, unrestrained typography, and erotic overtones,as in the 1979 theatre poster for Leonce and Lena. Beekedefined design as a search for underlying truth.Studio Dumbar, originally located in The Hague and thenRotterdam, was founded in 1977 by Gert Dumbar. StudioDumbar projects range from experimental graphics for

A HISTORY OFGRAPHIC DESIGNsented, including illustration, painting and assemblage,photography, montage, and the purely typographic. Techniquesrange from traditional, digital, and a combinationof the two.The conceptual book cover, page 509Charles I. (Chip) Kidd of Alfred A. Knopf engages readerswith elusive, visual puns on his book jackets, such as his1998 solution for Turn of the Century, on which he useda mirror image to depict the subject. Katsumi Asaba,founder of Katsumi Asaba Design Office, combinescontemporary graphic design with ancient writing systems,as demonstrated on the book jacket for Spy Sorge,which incorporates a surviving pictographic script calledDongba (Tompa). Paprika, founded by Joanne Lefebvreand Louis Gagnon, achieve a sense of unity in the jacketdesigns for Les Allusifs, a Montreal-based publisher.Illustrated by Alain Pilon, the jackets are intellectuallychallenging and stand apart from those of larger andmore commercially aggressive concerns.Design in Spain, Portugal, and Latin America, page 509Spain and PortugalSpain and Portugal share analogous and at times parallelheritages, which have only recently been critically examinedin the context of design. From the 1930s through the1970s, both countries were, to a large extent, cut off fromthe rest of Europe through repressive governments,political turmoil, and financial misfortune; Europeanmodernism and Russian constructivism had little influencedduring this era. Design from both countries sharesimilar aesthetic qualities: tranquil, charming, and colorful.It suggests the Iberian culture, including opulentlytextured architecture, local arts and crafts, and modernistart including the work of Gaudi, Picasso, Miró, Joséde Almada Negreiros, and Amadeo de Souza. In Spain,these qualities are reflected in the design work of EmilioGil, author and designer of the book Pioneers of SpanishGraphic Design; Pablo Martín, whose work, while globalin scope, reflects the Spanish design heritage—brightwith color, cheerful, and witty; the prolific Manuel Estrada,who strives for a balance between reflection, feeling,and intuition in his design; Isidro Ferrer, whose sculptural,whimsical, and humorous book covers reflect hisbackground and studies in drama; and Pep Carrio, whointegrates his work as an illustrator and plastic artist intodesign as it is applied to brand images, corporate communicationsand, most notably, exhibitions and culturalactivities. In Portugal, the Iberian aesthetic is reflected inthe work of Sebastião Rodrigues, generally consideredthe father of Portuguese design; Henrique Cayette, artdirector of Egoísta magazine; João Machado, whoseposters are typified by exuberant colors and a playfularrangement of geometric elements; and the design firmAlva, who is involved in the promotion of cultural eventsand organizations in historic Lisbon, among other designactivities.Latin AmericaThe Mexican design movement draws on European andpre-Columbian cultures as sources of inspiration. Mexicandesigner Félix Beltrán was born in Havana, Cuba,where he designed social and political posters about theCuban Revolution, indigenous art, public safety, and thenew economy before moving to Mexico. He works as aprinciple designer at Beltrán-Asociados Studio, wherehis work follows the traditions of the international style.Luis Almeida works primarily as an editorial designerin Mexico City. His work is direct and confrontational,as seen in his 2004 “Quixote” and “Cervantes XXI”posters. German Montalvo’s poster celebrating the poetJosé Gorostiza is in the Polish conceptual poster tradition,as is the work of Gabriela Rodriguez, who designsfor political, social, and cultural causes, and AlejandroMagallanes, who uses collage and freehand drawingwith wit and intellectual prowess as in his 2002 poster“Reflexiones en torno al libro” (Reflections on the Book).Brazilian designer, Rico Lins, and the Argentinian designer,Rubén Fontana, have been at the vanguard of SouthAmerican design for decades. Lins, highly acclaimedfor his pioneering work in graphic design, has exhibitedinternationally, including solo museums at the CentrePompidou in Paris and the Museum of Modern Art inNew York. Fontana, head of the innovative design firmFontana Diseño, has been highly influential in increasingpublic awareness of graphic design throughout Argentina;he introduced the first typography course at theUniversidad de Buenos Aires and for twenty years wasthe publisher of the magazine TipoGráfica.A new aesthetic of modern Chinese graphic design, page519Since 1980, China has embraced international commerceand the resulting confluence of intellectual, economic,social, and political forces have modernized the country.In parallel, a dramatic change has occurred in Chinesedesign education programs, which have begun toemphasize modern Western design movements overfive-thousand-year-old Chinese artistic and calligraphic

A HISTORY OFGRAPHIC DESIGNconditions. Design education and practice has becomean extraordinarily rich field, with a unique visual languagefor the rapidly growing environment of cross-culturaldialogue and collaboration, which advances China’sobjective of becoming a leader in the design industry.Henry Steiner and Bingnan Yu, pioneers of contemporaryChinese graphic design, embrace modern designand continue to inspire a younger generation of graphicdesign. Steiner is among the earliest Western-trainedmodern designers, having studied at Hunter College inNew York and later at Yale University. Practicing in HongKong, his work has had significant influence in the PacificRim. Bingnan Yu first studied art at the LuXun Academyof Fine Arts in China and continued his educationat the Hochschule für Grafik und Buchkunst in Leipzig,Germany. As a teacher, he emphasizes the significance oftraditional Chinese arts, painting, and calligraphy as wellas the principles of both his Eastern and Western designeducation.Min Wang is leader in the Chinese embrace of Westerndesign movements, in both education and practice. Educatedat Zhejiang Academy of Fine Arts, he later studiedwith Alvin Eisenman and Paul Rand at Yale University.At Yale, he developed a strong cross-cultural perspectivethat would prove a prescient design strategy uponhis return to China. His ability to fuse East and West isclearly evident in his work, and most notably, in the 2008Beijing Olympic Games graphics program, for which heserved as design director.Jingren Lu is one of China’s most influential book designersand illustrators. His designs emphasize the bookas an interactive three-dimensional object and his useof unique materials, elegant bindings, and incised covertreatments draws on China’s rich esthetic traditionsand expressively joins them with postmodern Westerndesign.Among the new generation of Chinese graphic designerswho embody a developing contemporary aestheticare Jiaping He, whose posters are a remarkable blend oftype and photography and retain the majesty and serenityof traditional Chinese landscape painting; Hua Jiang,who explores modern Chinese typography (Meishuzi)and its development, basic structure, history, and calligraphictradition; Jian Zhao, a book designer and formerstudent of Jingren Lu, who frequently blends Chinese illustrationswith typography; Fang Cao, whose work presentsancient Chinese themes and rich cultural symbolismthrough complex layering of repetitive hand-drawings,musical notes, Western typography, Chinese calligraphy,and photographs; Xu Wang, whose expressive designsreflect the grace and beauty of traditional Chinese brushpainting; Tommy Li, whose work combines a decidedlypostmodern visual emphasis, including layered, textured,and deconstructed digital elements, with elementsfrom his Chinese artistic heritage; and Stanley Wong,whose designs juxtapose Chinese esthetics and modernvisual language to emphasize social messages that frequentlycall attention to interpersonal human relations.Graphic design in the former Portuguese colony of Macaudisplays both Iberian and Chinese influences. UngVai Meng, a native of Macau, was educated in Portugaland China. His work often combines skillful yet expressionisticuse of the pen, infusing his posters with asense of freedom, lightness, and jubilance. Victor HugoMarreiros, also a native of Macau, studied in Portugal.In 1998 he began Victor Hugo Design where his workcontinues to maintain a link between his Portuguese andChinese design heritage.In the decades since 1980, China has undergone a revolutionin its design education and professional designpractices to become an active participant in the moderndesign dialogue shared with many cultures worldwide.Accelerating economic and social development isproducing a wealth of creativity in China and is offeringChinese designers great opportunities to advance crossculturaldialogue and meet the country’s stated goal ofbecoming a creative world leader in design.South Korea, page 527Significant designers practicing in South Korea includeAhn Sang-Soo and Kum-jun Park. In the early 1980s, AhnSang-Soo designed a succession of experimental lettersbased on older Korean typefaces. This series was the firstto deviate from the rigidity of Hangul typography. In hisposters and publications, he incorporates letters as freeand playful elements. Also highly experimental, is thework of Kum-jun Park. He often blurs the boundary betweentypography and painting, as evident in the pagesof his Five Years Recycling Calendar.The Middle East, page 527As is the case with China, designers in the Middle Eastare embracing modern Western design while preservingtheir own rich visual and artistic heritages. In Israel, thedesigner David Tartakover specializes in visual communi-

A HISTORY OFGRAPHIC DESIGNcations on Israeli cultural themes. In Iran, graphic designhas developed an increasingly idiosyncratic flavor,demonstrating the influence of both traditional Persianart and European modernism. In the late 1960s, MortezaMomayez, universally considered the father of Iraniangraphic design, left Tehran to study in Paris. There, hewas exposed to the work of his European contemporariesand was deeply inspired by the Swiss school ofinternational typography and the Polish poster movement.Momayez did not seek to copy their work. Rather,he sought to develop his own style, drawing from Iran’sdistinctive visual culture. By combining Iran’s centuriesoldtraditions in illustration and calligraphy with newapproaches to working with typography and image, hecreated something new and uniquely Iranian. Even afterhis death, Momayez continues to inspire new generationsof Iranian designers.Majid Abbasi, who was as student of Momayez, hasalso stylistically broken away from—but not abandoned—traditionalapproaches to Persian illustrationand calligraphy Rather, he embraces these traditions andrecombines them with other approaches to visual communication,such as Western-style photography.The expressive posters of Reza Abedini reflect both histraining in graphic design and later his education as apainter. Often combining Farsi with English or French,his posters radiate a graceful elegance.The work of Saed Meshki is painterly, yet every compositionis made of individually scanned and digitally manipulatedelements. His book covers—ethereal, tactile,and organic—possess an aesthetic strikingly differentthan that of Western design traditions.A voice from Africa, page 529Chaz Maviyane-Davies believes that design is a powerfultool for social change. In his Human Rights series ofposters, metaphorical, cross-cultural images demonstratethe power of design to communicate with confidenceand dignity.KEY TERMS (IN ORDER OF APPEARANCE; THE FIRST PAGE NUMBER OF THEIR APPEARANCE IS LISTED)Global village, page 482, a term made popular by author Marshall McLuhan in reference to the shrinking human communitythat resulted from the rapid development of electronic and computer technology.Pluralistic, page 482, having multiple aspects or themes existing at the same time.Pentagram, page 483, Originally named Crosby, Fletcher, Forbes, this design firm changed its name when additionalpartners were added. Intelligence and a talent for developing design solutions that suited the needs of the client werethe hallmarks of their design. Thorough evaluation of the communications problem and the specific nature of the environmentalconditions under which the design was to appear combined with British wit and a willingness to try theunexpected summarizes the essence of their approach (Figs. 23-1 through 23-4, 23-8, and 23-9).Why Not Associates, page 484, an experimental and multidisciplinary London-based firm whose work includes postagestamps, corporate identity, environmental design, television titles, and motion graphics (Fig. 23-7).Mon, page 487, a traditional family symbol or crest in use for thousands of years in Japan, these simplified designs offlowers, birds, animals, plants, and household objects were contained in a circle and applied to belongings and clothing.Total Design, page 493, formed by graphic designer Wim Crouwel, product designer Frisco Kramer, and architectural designerBenno Wissing. They sought a “total image” for clients through integrated graphics, architecture, and products.Now Total Identity, it continues to be a major force in European design, with offices in six cities and over fifty professionalson staff (Figs. 23-34 through 23-36).House style, page 494, the visual-identity program for a government agency in the Netherlands.Fluxus, page 497, a 1960s neo-Dadaist movement that explored conceptual and performance art, happenings, experimentalpoetry, and language art.

A HISTORY OFGRAPHIC DESIGNHard Werken Design, page 495, In 1978, a group of Rotterdam designers launched a new monthly magazine titled HardWerken (Hard Working); two years later they formed this design group, which was more an informal association than astructured business. The group included Henk Elenga (b. 1947), Gerard Hadders (b. 1954), Tom van der Haspel (b. 1953),Helen Howard, and Rick Vermeulen (b. 1950). Rejecting all styles and theories, its members sought solutions from theirsubjective interpretation of the problem. Their openness to any conceivable typographic or image possibility resultedin surprising and original results (Figs. 23-51and 23-52).Wild Plakken, page 495, The collaborative group formed by Frank Beekers (b. 1952), Lies Ros (b. 1952), and Rob Schröder(b. 1950) in 1977, it had a definite social and political mission. The name can be translated as “Wild Pasting” or “UnauthorizedBill-Posting.” The group accepts or rejects commissions based on the client’s ideological viewpoint; its membersbelieve a designer should match his or her beliefs to the content of his or her graphic designs (Figs. 23-53 through23-55).Staged photography, page 497, a technique developed by Gert Dumbar when he was a student at London’s Royal Academyof Art during the 1960s, it consists of still lifes and environments incorporating found material and papier-mâchéfigures and objects sculpted or assembled for the project.Closed texts, page 499, clear, straightforward images that can only be interpreted in one specific, carefully controlledway.Open texts, page 499, images that could be interpreted in a variety of ways due to their surrealistic approach.Experimental Jetset, page 501, Dutch design firm founded in 1997 by Marieke Stolk (b. 1967), Erwin Brinkers (b. 1973),and Danny van den Dungen (b. 1971). They consider modernism as their “mother tongue” and consistently attempt toblend the Dutch modernist heritage of the 1970s with the international post-punk tendencies of the 1980s (Figs. 23-57and 23-58).Paprika, page 509, Montreal-based design studio founded by Joanne Lefebvre and Louis Gagnon in 1991 (Fig. 23-86).Alva, page 515, a multidisciplinary design studio based in Lisbon, consisting of three principal designers: Ricardo Matos(b. 1974), Valdemar Lamego (B. 1975), and Diogo Pontes (b. 1977). In addition to a wide range of projects and practice areas,they are involved in the promotion of cultural events and organizations in historic Lisbon (Figs. 23-105 and 23-106).Meishuzi, page 523, modern Chinese typographyHangul typography, page 527, a Korean alphabet created in the mid-fifteenth century.KEY PEOPLE AND THEIR MAJOR CONTRIBUTIONS (IN ORDER OF APPEARANCE; THE FIRST PAGE NUMBER OF THEIRAPPEARANCE IS LISTED)Herbert Spencer (1922–2002), page 483, became an important voice in renewing British graphic design after World WarII through his writing, teaching, and graphic design practice. As editor and designer of the journal Typographica andauthor of Pioneers of Modem Typography, an influential 1969 book that informed the postwar generation about the accomplishmentsof earlier twentieth-century designers, Spencer helped encourage the worldwide dialogue.Alan Fletcher (b. 1931), Colin Forbes (b. 1928), and Bob Gill (1931), page 483, the three original partners of Pentagram,which was called Fletcher, Forbes, Gill when it was established in 1962.Theo Crosby (1925–1994), page 483, when Bob Gill left Fletcher, Forbes, Gill, architect Theo Crosby joined the firm in1965 as a partner; the company name changed to Fletcher, Forbes, Crosby, and they added exhibition design, historicconservation, and industrial design to the services they offered.Vaughan Oliver (b. 1957), page 484, collaborated with Ivo Watts-Russell, founder of the 4AD Records label, creating aremarkable series of record covers and promotional print collateral for well-known musical groups such as the Cocteau

A HISTORY OFGRAPHIC DESIGNTwins, This Mortal Coil, the Pixies, Bush, and Lush. He committed himself to high standards, bold exploration, and theimaginative use of found imagery (Fig. 23-5).Michael Johnson (b. 1964), page 484, got his start at the brand consultancy Wolff Olins in the 1980s. His work is bothwitty and clever, using wordplay and strong visual puns as a communication strategy (Fig. 23-6).Vince Frost (b. 1964), page 485, solves graphic design problems through a close collaboration with photographers, illustrators,and writers. This association is exemplified in the design and editing of the literary magazine Zembla. Representinga new era in magazine design, Zembla’s fusion of writing, photography, illustration, and expressive typographychallenges all previous mores (Fig. 23-10).Siobhan Keaney (b. 1959), page 485, creates work that is both independent and experimental. She is known for her nonmainstreamapproach and carefully structured, yet seemingly spontaneous work (Fig. 23-11).Ryuichi Yamashiro (b. 1920), page 487, The tree-planting poster by this Japanese designer demonstrates just how successfullynational traditions can be maintained while incorporating international influences, as Eastern calligraphy andspatial concerns unite with a Western communications concept (Fig. 23-12).Yusaku Kamekura (1915–1997), page 487, Under his leadership, Japanese graphic designers dispelled the widely heldbelief that visual communications must be hand-drawn, and the notion of applied arts’ inferiority to fine art fadedas Japanese designers established their professional status. He charted the course of this new Japanese movementthrough the vitality and strength of his creative work, his leadership in founding the Japan Advertising Art Club to bringprofessionalism and focus to the new discipline, and the establishment, in 1960, of the Japan Design Center. The logoand posters he created for the 1964 Olympics in Tokyo received international acclaim and established Japan as a centerof creative design (Figs. 23-14 through 23-16).Masuda Tadashi (b. 1922), page 487, His growing involvement in the use of photographic illustration to solve graphicdesign problems, combined with his interest in collaborative and team design, culminated in the establishment of theMasuda Tadashi Design Institute in 1958. Through his collaborative team approach, unexpected solutions and new waysof seeing things emerged (Fig. 23-17).Kazumasa Nagai (b. 1929), page 489, a sculpture major at the Tokyo University of Fine Arts and Music, who turned tographic design after graduating in 1951. His oeuvre might be considered ongoing research into linear form and theproperties of line as a graphic medium for spatial modulation. His poster for “Tradition et Nouvelles Techniques” (Traditionaland New Techniques) creates a universe of geometric forms evoking planets and energy forces moving in space(Fig. 23-18).Ikko Tanaka (1930–2002), page 489, used plane and shape as the nucleus for his work. During the 1950s, he assimilatedmany of the Bauhaus design traditions, and then opened Tanaka Design Studio in 1963. Two underlying visual conceptsin much of his work are grid structure and vibrant planes of color that explore warm/cool contrast, close-valued color,and analogous color ranges. Traditional Japanese motifs, including landscape, Kanze Noh theater, calligraphy, masks,and woodblock prints, are reinvented in a modernist design idiom (Figs. 23-19 and 23-20).Takenobu Igarashi (b. 1944), page 489, After graduating from Tama University in 1968, he earned a graduate degree fromthe University of California, Los Angeles. Upon returning to Japan, he opened his own design office in 1970. Much ofhis studio’s work is in trademark, corporate identity, environmental, and product design. By 1976, his experiments withalphabets drawn on isometric grids were attracting clients and international recognition. He calls his three-dimensionalalphabetic sculptures architectural alphabets (Figs. 23-21 through 23-24).Tadanori Yokoo (b. 1936), page 489, His work replaces the order and logic of constructivism with the restless vitality ofDada and a fascination with mass media, popular art, and comic books. His “Sixth International Biennial Exhibition ofPrints in Tokyo” poster combines a variety of techniques showing the range of his uninhibited design vocabulary (Figs.23-25 through 23-27).Shigeo Fukuda (b. 1932), page 490, His designs are disarmingly simple—as readable and immediate as a one-panel cartoon—yetthey engage the viewer with their unexpected violations of spatial logic and universal order. His irresistible

A HISTORY OFGRAPHIC DESIGNdirectness is seen in “Victory 1945,” awarded first prize in an international competition for a poster commemorating thethirtieth anniversary of the end of World War II. Playfulness and humor abound in his work (Figs. 23-28 through 23-30).Koichi Sato (b. 1944), page 491, His painting of a white tray—which he tilted so the blue-colored water filling it graduatedtoward one end—became an important inspiration for his evolution. Sato’s design balances opposites: traditional/futuristic, organic/mechanical, East/West, light/dark. He also writes haiku poetry; His graphic designs share the multiplelevels of meaning and expression of deep emotion found in this traditional form. Auras and glowing luminosity arefound in his work, bringing a metaphysical poetry to the printed page (Figs. 23-31 and 23-32).Wim Crouwel (b. 1928), Frisco Kramer, Benno Wissing (b. 1923), page 493, In 1963, graphic designer Wim Crouwel, productdesigner Frisco Kramer, and architectural designer Benno Wissing formed Total Design (TD) a large multidisciplinarydesign firm in Amsterdam.Pieter Brattinga (b. 1931), page 494, worked at his father’s printing firm, De Jong & Co., near Amsterdam, where helearned all aspects of printing. He established a small gallery at De Jong & Co. and presented exhibitions of advancedart and graphic design. He designed the posters for these exhibitions based on a grid of fifteen squares. The poster hedesigned for the1960 exhibition “De Man Achter due Vormgeving van de PTT” (“The Man Behind the Design for theDutch Postal Service”) uses translucency to communicate the concept of behind. Brattinga edited a journal, Kwadraatblad(Quadrate), which was published by De Jong & Co. and provided designers with a forum to experiment with theprint medium. He also designed posters and publications for the Krüller-Müller Museum in Otterlo (Fig. 23-37).Jean François van Royen (1878–1942), page 494, became general secretary of the Netherlands Postage and TelecommunicationsService (PTT) board in 1919 and emphasized aesthetic excellence in all areas, from telephone booths andbuildings to postage stamps. He died in a concentration camp in 1942.R. D. E. Oxenaar (b. 1929), page 495, In 1965, Oxenaar was selected to design Dutch paper currency and in 1976, he wasappointed the aesthetic advisor to the Netherlands Postage and Telecommunications Service (PTT). Under his leadership,PTT achieved visual innovation (Fig. 23-39).Anthon Beeke (b. 1940), page 495, participated in Fluxus, which helped him seek unconventional solutions to visualcommunications assignments; he emerged as a provocateur pushing for maximum freedom of expression andthought. His posters often use photographic depictions of the human figure that are embellished with objects, fragmented,distorted, or altered to create jolting ambiguities, unexpected perceptual experiences, and shocking messages(Figs. 23-41 through 23-43).Jan van Toorn (b. 1922), page 495, explores means of organizing information to challenge the viewer to participate inthe perception process and examine the meaning and motives of visual messages. His memorable designs are oftenassembled of intentionally provocative images and idiosyncratic font choices in unfinished montages rather than seamlesscompositions (Fig. 23-40).Ghislain (Gielijn) Dapnis Escher (b. 1945), page 497, Through their simplicity and flat surfaces of color, his posters standout from the urban surroundings where they hang, and through their quiet dignity they attract attention on crowdedstreets (Figs. 23-44 through 23-46).Gert Dumbar (b. 1940), page 497, founded Studio Dumbar in 1977. Originally located in The Hague and then in Rotterdam,this studio has a comprehensive range, designing everything from experimental graphics for cultural clients tocorporate identity programs and literature. He developed a technique he called staged photography, consisting of stilllifes and environments incorporating found material and papier-mâché figures and objects sculpted or assembled forthe project. Illustration, photography, typography, and sculpture were integrated into a lively visual syntax (Figs. 23-47through 23-50).Irma Boom (b. 1969), page 501, specializes in making books. She sees them as sculptural objects, which can provide anadditional aspect to the text (Fig. 23-56).Helmut Brade (b. 1937), page 501, a German designer who remains faithful to the more traditional methods of graphicdesign. He works as a graphic and stage designer, his colorful and highly illustrative posters displaying wry humor ef-

A HISTORY OFGRAPHIC DESIGNfectively penetrating to the core of the subject depicted (Fig. 23-59).Gitte Kath (b. 1948), page 501, In addition to being a poster artist and textile designer, she is scenographer and directorat the Mill Theatre in Haderslev, Denmark. Her design process involves collecting material, photographing it, and thenintroducing paint and text, the latter often her own handwriting or enlarged typewritten letters (Fig. 23-60).Luba Lukova (b. 1960), page 502, Having received her artistic training in Bulgaria, this artist and designer has lived inthe United States since 1981. Employing radically contrasting images, her subtle and lucid statements often bluntlyconfront social and political issues such as war and environmental conservation (Figs. 23-61 and 23-62).Hideki Nakajima (b. 1961), page 502, Conceptualism, a typical attribute in Japanese graphic design, is plentiful in thecomplex designs of this Japanese designer. Laden with ambiguities, his elegant posters consist of highly abstractminimalistic and direct images of color and light. In “I Am Walking,” a large poster in nine sections, he subtly guides thereader through the text of a poem about walking in a forest (Fig. 23-63).Makoto Saito (b. 1952), page 502, Armed with a fecund imagination, he orchestrates an arcane symbolic content thatfollows no previous models. Serendipity plays a prominent role as he discovers his solutions during the creative process.His 1988 poster for Alpha Cubic Co., Ltd. consists of an intricately reconstructed face. With no text other than thename of the company, it proves to be both a quandary and source of intrigue for the onlooker (Figs. 23-64 and 23-65).Shin Matsunaga (b. 1940), page 503, presents commonplace objects as fresh, rich, and unexpected images. His 2002poster for the JAYDA Member’s Poster Exhibition uses the familiar rising sun theme as a central element (Fig. 23-66).Mitsuo Katsui (b. 1931), page 503, The application of layers of ethereal light is a recurring design device in posters bythis Tokyo graphic designer. As with Matsunaga, the familiar circular shape is used in his majestic 1998 poster, “En homageà Yusaku Kamekura,” a design fully worthy of its subject (Fig. 23-67).Stefan Sagmeister (b. 1962), page 503, received his first diploma in graphic design from the University of Applied Artsin Vienna, and while on a Fulbright scholarship he earned a master’s from the Pratt Institute in New York. In 1993 hefounded Sagmeister Inc. in New York. He has designed graphics and packaging for the Rolling Stones, David Byrne, LouReed, Aerosmith, and Pat Metheny, among other clients. His graphic design is consistently characterized by an uncompromisingand harsh directness. On a poster for a Lou Reed album, lyrics from one of Reed’s songs are handwrittenacross his face like graffiti (Fig. 23-68).Werner Jeker (b. 1944), page 503, works as a graphic designer in Chatillens and Lausanne, Switzerland, mainly for culturalinstitutions. In his poster “Saison,” a single image is endowed with a double meaning through a simple modification:a change in color (Fig. 23-69).Jean-Benoît Lévy (b. 1959), page 503, one of the few poster designers from the Basel School of Design who remainedin Basel. Combining figurative elements, frequently a face, with typography and natural or geometrical forms, his postersinvite reflection and contemplation. His designs witness the rigor of his Swiss training blended with a conceptualvision (Fig. 23-70).Rudi Meyer (b. 1943), page 505, A native of Basel, he studied with Armin Hofmann and Emil Ruder at the Basel School ofDesign. He has taught at the École Nationale Supérieure des Arts Décoratifs and as a graphic designer produces visualidentity programs, posters, logos, exhibitions, products, and cartography. As a teacher, he has inspired a generation ofgraphic designers by stressing the importance of basic design principles, typographic research, and the rich traditionof French poster design (Fig. 23-71).Niklaus Troxler (b. 1947), page 505, received formal training at the Art School of Lucerne from 1967 until 1971 andworked as an art director for Hollenstein Création in Paris before starting his own graphic design studio in Willisau,Switzerland in 1973. An avid jazz fan, he has created many posters for jazz concerts and festivals (Figs. 23-72 and 23-73).Karl Dominic Geissbuhler (b. 1932), page 505, completed his graphic art studies at the Kunsthochschule in Berlin. Duringhis long career, he has designed over two hundred posters for such clients as British Airways and the Zurich OperaHouse, where he has also created notable stage designs for seasonal festivals of music and theater (Fig. 23-74).

A HISTORY OFGRAPHIC DESIGNPaul (Pabrü) Brühwiler (b. 1939), page 506, began his graphic design studies in Luzern and in 1960 continued his educationin Paris. In 1963, he opened his own studio in Los Angeles where he collaborated periodically with Saul Pass.Brühwiler returned to Switzerland in 1973, working for clients such as the Swiss International Tourist Office, Swissair,Kunsthaus Museum, Museum Reitberg, and the Luzerner Theater (Figs. 23-75 and 23-76).Uwe Loesch (b. 1943), page 506, A native of Dresden, Germany, this designer provides the viewer with few clues to themeaning of his minimalist and arcane messages (Fig. 23-77).Holger Matthies (b. 1940), page 506, This graphic designer from Berlin and Hamburg delights in presenting ordinaryobjects and situations in unusual ways: tomatoes become sunglasses; a standing painted nude male advertises theexpertise of a printer; flaming matches become a man’s hair; and a circular saw blade is used as a palate (Fig. 23-78).Philippe Apeloig (1962), page 507, was educated at the École Nationale Supérieure des Arts Appliqués and the ÉcoleNationale Supérieure des Arts Décoratifs. He then worked as an intern for Total Design in Amsterdam. He began hisown studio and became the art director for Jardins des Modes, and then in 1997 he became a design consultant for theLouvre Museum, where he is currently the art director. His designs are dominated by an expressive and decisive use oftypography that not only provides information but also functions as a visual pun (Fig. 23-79).Annette Lenz (b. 1964), page 507, after studying design in Munich, Lenz moved to Paris in 1990 where she worked atthe cultural-political design group Grapus. Having launched her own studio in 1993, she works mainly in the social andcultural sector designing elegant works for public spaces. (Fig. 23-80).Keith Godard (b. 1938), page 507, graduated from London College of Printing in 1962 and from the Yale University Schoolof Art and Architecture MFA graphic design program in 1967. Since 1987 he has been the principal designer for Studio-Works and is involved with exhibition design, wayfinding, print design, public art, and information design. His recentwork could be described as “sculptural posters,” employing ambitious die cuts, stamping and folds which add a thirddimension to the traditionally two dimensional format (Figs. 23-81 and 23-82).Charles I. (Chip) Kidd (b. 1964), page 509, His designs for Alfred A. Knopf have helped to foment a revolution in bookjacket design. “By distancing the title from the image on the cover, [he] puts a very specific kind of pressure on readers:he asks them to bridge the gap between what they read and what they see” –Veronique Vienne in a monograph on hiswork. (Figs. 23-83 and 23-84).Katsumi Asaba (b. 1940), page 509, The founder of the Katsumi Asaba Design Office in 1975, one of his goals has been toforge a connection between contemporary graphic design and ancient writing systems, as demonstrated by the jacketfor the book Spy Sorge. In the late 1980s he transformed a surviving pictographic script, Dongba (Tompa), used by theNaxi tribe in China, into a personal design language titled “Katsumi Asaba’s Tompa Character Exhibition: The Last LivingPictographic Script on Earth.” (Fig. 23-85).Emilio Gil (b. 1949), page 511, A former student of Milton Glaser and Ed Benguiat at the School of Visual Arts in NewYork, Gil has been creative director of Tau Design in Madrid since its founding in 1980. Tau Design is one of the pioneeringgraphic design studios in Spain, specializing in visual communication and corporate identity programs. Gil alsowrote and the book Pioneers of Spanish Graphic Design, the leading publication on this subject. His design reflects theaesthetic and direct manual involvement of designers working in post-war Spain; handwork is celebrated while juxtaposedwith modern typographic design (Figs. 23-87 and 23-88).Pablo Martín (b. 1964), page 511, Before establishing his own studio in 1990, Martín worked for Eskenazi & Associadosand Vignelli Associates. In 1995 he founded Grafica, working mainly in the areas of editorial design and corporateidentity. While his work is global in scope, it reflects the Spanish graphic heritage, bright with color, cheerful, and witty(Fig. 23-89).Manuel Estrada (b. 1953), page 511, strives for a balance between reflection, feeling, and intuition, he works initiallywith words and drawings, developing and refining ideas before taking them to the computer. Estrada is currently chairof the Madrid Designers’ Association, which manages the Central de Diseño de Matadero in Madrid. He is a member ofthe Higher Council of Artistic Teaching and is executive chairman of the Advisory Council of the Ibero American DesignBiennial (Figs. 23-90 through 23-97).

A HISTORY OFGRAPHIC DESIGNIsidro Ferrer (b. 1963), page 513, initially studied drama in Paris. He began his work as a graphic design in Barcelona in1989 and formed his own studio in Huesca in 1996. His sculptural, whimsical, and humorous book covers often combinefound objects with simple graphic elements (Fig. 23-98).Pep Carrio (b. 1963), page 513, specializes in design as applied to brand images, corporate communications and, mostnotably, exhibitions and cultural activities. His posters for the Gran Teatre del Liceu, an opera house in Barcelona, integratehis work as a designer, illustrator, and plastic artist (Fig. 23-99).Sebastião Rodrigues (1929-1997), page 513, Generally considered the father of Portuguese graphic design, Rodrigues’searly designs reflect his research into the indigenous Portuguese popular culture. Beginning in the 1960s, he created theidentity for the Calouste Gulbenkian Foundation, a private Portuguese institution dedicated to the arts, charities, education,and science. In 1959, Rodrigues was awarded a grant from the foundation allowing him to travel for six monthsexploring and collecting popular graphic material from the northern part of Portugal to use in his design projects. From1959 to 1961, he was art director for the monthly magazine Almanaque (Figs. 23-100 and 23-101).Henrique Cayette (b. 1957), page 515, attended the College of Fine Arts in Lisbon and early in his career was inspiredby Sebastião Rodrigues. In 1990 he founded the Henrique Cayette Studio in Lisbon, where he has been working with alarge team on cultural, education, and scientific design; design for exhibitions, public spaces, and accessibility; illustrationand editorial production; and signage (Fig. 23-102).João Machado (b. 1942), page 515, in 1982, opened his own studio in Porto, concentrating on poster design, illustration,and packaging. His posters are typified by exuberant colors, a playful arrangement of geometric elements, and strongcontrasts between flat surfaces and textured patterns (Figs. 23-103 and 23-104).Félix Beltrán (b. 1938), page 517, A native of Havana, Cuba, he went to the United States in 1956 to study painting andgraphic design at the School of Visual Arts, the Art Students League, the American School of Art, and the Pratt Institute.In 1962, he returned to Cuba, where he designed a series of social and political posters about the Cuban Revolution,indigenous art, public safety, and the new economy. His graphic design follows the traditions of the international style(Fig. 23-107).Luis Almeida (b. 1946), page 517, His corporate identity designs include the Mexico City emblem as well as work forthe National Council for Culture and the Arts, Mexico. He works primarily as an editorial designer for the magazinesSaber-Ver and Artes de Mexico and the journals El Nacional and La Cronica. As demonstrated by his poster “CervantesXXI,” honoring the Spanish author Miguel de Cervantes, his designs are often direct and confrontational (Figs. 23-108and 23-109).German Montalvo (b. 1956), page 517, His designs for the Fondo de Cultura Economico, the National University ofMexico City, the National Institute of the Fine Arts, and the Centro Cultural Arte Contemporaneo have placed him in themainstream of Mexican graphic design. As indicated by his poster celebrating the poet José Gorostiza, he is clearly inthe Polish poster tradition (Fig. 23-110).Gabriela Rodriguez (b. 1956), page 517, studied graphic design at the Escuela de Diseño del Instituto Nacional de BellasArtes. As a graphic designer, she has worked on many children’s books, magazines, posters, and contemporary art catalogs.Her whimsical designs, like Montalvo’s, are inspired by Polish poster designers, such as Roman Cieslewicz. Mostrecently, Rodriguez is engaged in designing for political, social, and cultural causes in Mexico (Figs. 23-111 and 23-112).Alejandro Magallanes (b. 1971), page 517, The work of this independent graphic designer also has roots in the Polishconceptual realm. With overtones of surrealism, he employs collage and freehand drawing with wit and intellectualprowess (Figs. 23-113 and 23-114).Rico Lins (b. 1955), page 519, highly acclaimed in Brazil and worldwide for his pioneering work in graphic design. He hasexhibited internationally, including solo exhibitions at the Centre Pompidou in Paris and the Museum of Modern Art inNew York. He has taught at the School of Visual Arts in New York and Istituto Europeo di Design in São Paulo, where heis director of the graphic design master’s program. (Figs. 23-115 through 23-117).Rubén Fontana (b. 1942), page 519, head of the innovative design firm Fontana Diseño, has been highly influential in

A HISTORY OFGRAPHIC DESIGNincreasing public awareness of graphic design throughout Argentina. He introduced typography at the Universidad deBuenos Aires, where he taught until 1997. From 1987 until 2006 he directed the international event Bienal Letras Latinas,and for twenty years he was the publisher of the magazine TipoGráfica (Fig. 23-118).Henry Steiner (b. 1934), page 519, is among the earliest Western-trained modern designers, having studied at HunterCollege in New York and later at the Yale University School of Art, where he studied under Paul Rand. Practicing in HongKong, his work has had significant influence in the Pacific Rim. His notable designs include a long-lasting series ofbanknotes for Standard Chartered Bank. Each banknote is based on mythical Chinese animals, giving the denominationsan orderly arrangement and straightforward hierarchy (Fig. 23-120).Bingnan Yu (b. 1933), page 519, studied at the LuXun Academy of Fine Arts in China and at the Hochschule für Grafik undBuchkunst in Leipzig, Germany. He is one of the earliest practitioners of modern graphic design in China and an influentialleader and teacher. He has inspired a generation of Chinese graphic designers by emphasizing the significanceof traditional Chinese arts painting, and calligraphy as well as the principles of both his Eastern and Western designeducation. In 1992 Yu became the first ethnic Chinese person admitted to the Alliance Graphique Internationale (AGI)and in 1998 he received the Gutenberg Prize rom the city of Leipzig for “rendering outstanding, exemplary services tothe advancement of book arts” (Fig. 23-121).Min Wang, page 521, the dean of the School of Design at the Central Academy of Fine Arts (CAFA) in Beijing, is a leaderin the Chinese embrace of Western design movements, in both education and practice. Educated at Zhejiang Academyof Fine Arts, he later studied with Alvin Eisenman and Paul Rand at Yale University. In 1990 he joined Adobe System’sCreative Services Department and worked with Sumner Stone on a design team that developed Adobe’s first fontcatalog. His cross-cultural perspective and ability to fuse East and West is clearly evident in his font designs for Adobe,the work in his design partnership, Square Two design, and most notably, in the 2008 Beijing Olympic Games graphicsprogram, for which he served as design director (Figs. 23-122 through 23-124).Jingren Lu (b. 1947), page 521, is one of China’s most influential book designers and illustrators. His designs emphasizethe book as an interactive three-dimensional object and his use of unique materials, elegant bindings, and incised covertreatments draws on China’s rich esthetic traditions and expressively joins them with postmodern Western design. Inhis designs he succeeds in creating multiple levels of texture and meanings focused on what he describes as the “fivesenses” of reading a book: cover, design, binding, text design, layout, and editing (Figs 23-125 and 23-126).Jiaping He (b. 1973), page 523, After continuing his studies at the Berlin University of Arts he remained in Berlin, wherehe opened Hesign Studio. With their remarkable blend of type and photography, his posters retain the majesty andserenity of traditional Chinese landscape painting (Figs. 23-127 and 23-128).Hua Jiang (b. 1973), page 523, a member of the design faculty at the Central Academy of Fine Arts (CAFA), he exploresmodern Chinese typography (Meishuzi) and its development, basic structure, history, and calligraphic tradition. Thisresearch forms the basis of his unique working methodology, visual explorations, and creative approach toward hisrecent work (Fig. 23-129).Jian Zhao (b. 1966), page 523, studied at the Visual Communication Department of Academy of Arts and Design, TsinghuaUniversity, under his mentor Jingren Lu. Specializing in visual communication for several publishers, he frequentlyblends traditional Chinese illustrations with Chinese typography in his work; his designs for book covers express aharmonious refinement (Fig. 23-130).Fang Cao (b. 1956), page 523, A professor at the Nanjing Arts Institute, Cao presents ancient Chinese themes and richcultural symbolism in her work. Her designs incorporate smoothly and inseparably collaged layers of repetitive handdrawings,musical notes, Western typography, Chinese calligraphy, and photographs (Fig. 23-131).Xu Wang (b. 1955), page 523, founder of WX Design in Guangzhou, Wang’s expressive designs reflect the grace andbeauty of traditional Chinese calligraphy and brush painting. He has edited and designed over eighty design books andmagazines, including Design Exchange and numerous volumes of the book series Graphic Designers’ Design Life (Fig.23-132).

A HISTORY OFGRAPHIC DESIGNTommy Li (b. 1960), page 525, combines a decidedly Western and postmodern visual language emphasis with elementsof Chinese traditional arts. He incorporates layered, textured, and deconstructed digital designs in his work, particularlyin publication designs such as Vision Quest (Fig. 23-133).Stanley Wong (b. 1960), page 525, refers to himself as a “social worker of visual communications.” His designs juxtaposeChinese esthetics and modern visual language to emphasize social messages that frequently call attention tointerpersonal human relations. In 2005, his poster series on the “Spirit of Hong Kong” was one of two artworks fromHong Kong presented at the 51st Venice Biennale (Fig. 23-134).Ung Vai Meng (b. 1958), page 525, a native of Macau, was educated first in Portugal and later at the Academy of FineArt of Guangzhou, China. Displaying both Iberian and Chinese influences, his work combines skillful yet expressionisticuse of the pen, infusing his posters with a sense of freedom, lightness, and jubilance. He has also held important artand cultural posts in Macau, including designer for the Cultural Institute of Macau, director of the Macau Museum ofArt, and president of the Macau Cultural Affairs Bureau (Fig. 23-135).Victor Hugo Marreiros (b. 1960), page 525, also a native of Macau, studied painting and printmaking at eh Escola Superiorde Belas Artes do Porto in Portugal. He has assumed important roles in Macau’s contemporary design culture, includingart director of Macau television, art director of Revista de Cultura, the most important art publication in Macau,and head of the Graphic Department at the Cultural Institute of Macau. In 1998, Marreiros began Victor Hugo Designwhere his work continues to maintain a link between his Portuguese and Chinese design heritage (Fig. 23-136).Ahn Sang-Soo (b. 1952), page 526, designed a succession of experimental letters based on older Korean typefaces. Inhis poster and publication designs, he incorporates the letters as free and playful elements (Figs. 23-137 and 23-138).Kum-jun Park (b. 1963), page 527, founded the design studio 601bisang, where he serves as its president and creativedirector. Experimental and innovative, his work often blurs the border between typography and painting (Fig. 23-139).David Tartakover (b. 1944), page 527, This Israeli graphic designer studied at the Bezalel Academy of Art and Design inJerusalem before graduating from the London College of Printing in 1968. Since 1975, he has operated his own studioin Tel Aviv, specializing in visual communications on cultural themes (Fig. 23-140).Morteza Momayez (1936-2005), page 527, considered the father of Iranian graphic design, studied in Paris where hewas exposed to the work of his European contemporaries. He was deeply inspired by the Swiss school of internationaltypography and the Polish poster movement. Momayez also sought to develop his own style, drawing from Iran’sdistinctive visual culture. By combining Iran’s traditions in illustration and calligraphy with new approaches to workingwith typography and image, he created something new and uniquely Iranian. Momayez also did much to foster thepractice of graphic design and design education in Iran. He established the Iranian Graphic Designers Society (IGDS),brought together the country’s most talented designers, involved them in education, and inspired and engaged newgenerations of artists (Fig. 23-141).Majid Abbasi (b. 1965), page 527, a student of Momayez, earned a degree in visual communication from the Faculty ofFine Arts, University of Tehran. He is part of a generation of designers who emerged after Iran-Iraq War (1980-1988). In1989 he founded Did Graphics, one of the most prestigious studios in Iran. Like Momayez, Abbasi has embraced traditionalPersian illustration and calligraphy, but recombines them with other approaches to visual communication, suchas Western-style photography (Figs. 23-142 and 23-143).Reza Abedini (b. 1967), page 529,The typographic expressive posters of this Iranian graphic designer reflect both histraining in graphic design and his later education as a painter. As with his prize-winning poster for the film Rêves desable, his type and image frequently become one and the same (Figs. 23-144 and 23-145).Saed Meshki (b. 1952), page 529, specializing in book and publication design, Saed Meshki’s works ethereal and speakof a separate world. His book covers transport the viewer to a spirited place and time indicative of the poetry and storiescontained within. His work is painterly, yet every composition is made of individually scanned and digitally manipulatedelements. The incorporation of calligraphy produces an aesthetic strikingly different than that of Western traditions(Figs. 23-146 and 23-147).Chaz Maviyane-Davies (b. 1952), page 529, Called “the guerilla of graphic design,” he creates posters with richly metaphoricyet hopeful messages. From 1983 until January 2001, he had his own design studio in Harare, Zimbabwe, creatinghis Human Rights poster series, for which he has gained worldwide renown (Figs. 23-148 and 23-149).