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

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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
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