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

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.