Week 2 National Visions within a Global Dialogue - A History of ...
Week 2 National Visions within a Global Dialogue - A History of ... Week 2 National Visions within a Global Dialogue - A History of ...
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).
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A HISTORY OFGRAPHIC DESIGNincreasing public awareness <strong>of</strong> 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 <strong>of</strong> 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 <strong>of</strong> 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 <strong>of</strong>banknotes 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 <strong>of</strong> Fine Arts in China and at the Hochschule für Grafik undBuchkunst in Leipzig, Germany. He is one <strong>of</strong> the earliest practitioners <strong>of</strong> modern graphic design in China and an influentialleader and teacher. He has inspired a generation <strong>of</strong> Chinese graphic designers by emphasizing the significance<strong>of</strong> traditional Chinese arts painting, and calligraphy as well as the principles <strong>of</strong> 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 <strong>of</strong> Leipzig for “rendering outstanding, exemplary services tothe advancement <strong>of</strong> book arts” (Fig. 23-121).Min Wang, page 521, the dean <strong>of</strong> the School <strong>of</strong> Design at the Central Academy <strong>of</strong> Fine Arts (CAFA) in Beijing, is a leaderin the Chinese embrace <strong>of</strong> Western design movements, in both education and practice. Educated at Zhejiang Academy<strong>of</strong> 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 <strong>of</strong> China’s most influential book designers and illustrators. His designs emphasizethe book as an interactive three-dimensional object and his use <strong>of</strong> 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 <strong>of</strong> texture and meanings focused on what he describes as the “fivesenses” <strong>of</strong> 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 <strong>of</strong> Arts he remained in Berlin, wherehe opened Hesign Studio. With their remarkable blend <strong>of</strong> type and photography, his posters retain the majesty andserenity <strong>of</strong> traditional Chinese landscape painting (Figs. 23-127 and 23-128).Hua Jiang (b. 1973), page 523, a member <strong>of</strong> the design faculty at the Central Academy <strong>of</strong> Fine Arts (CAFA), he exploresmodern Chinese typography (Meishuzi) and its development, basic structure, history, and calligraphic tradition. Thisresearch forms the basis <strong>of</strong> 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 <strong>of</strong> Academy <strong>of</strong> 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 pr<strong>of</strong>essor at the Nanjing Arts Institute, Cao presents ancient Chinese themes and richcultural symbolism in her work. Her designs incorporate smoothly and inseparably collaged layers <strong>of</strong> repetitive handdrawings,musical notes, Western typography, Chinese calligraphy, and photographs (Fig. 23-131).Xu Wang (b. 1955), page 523, founder <strong>of</strong> WX Design in Guangzhou, Wang’s expressive designs reflect the grace andbeauty <strong>of</strong> traditional Chinese calligraphy and brush painting. He has edited and designed over eighty design books andmagazines, including Design Exchange and numerous volumes <strong>of</strong> the book series Graphic Designers’ Design Life (Fig.23-132).
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