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

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

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