by Mario
Des
ign History Journal
Telle
s
orianVi
ctorian
Vict
ChromolithographyNaturalistic renderingsDecorative typeLots of ornamentEphemera
Louis PrangKrebs Lithographing Co. Joseph Morse
Arts & C
rafts
Stylized natural forms leaves, flowersHorror vacui crowding of designelements in the fieldHistoricism use of past styles, especially medieval figuresPrivate press movement books
Arts Arthur H. MackmurdoWilliam MorrisBruce Rogers
o EU
kiy
Wood cutsFloating objects in a floating worldSense that we are frozen in timeJapanese themes such as geisha girls/kabuki theatre/nature: result of isolationism
KatsushikaHoku- saiAndo HiroshigeHokusai Gashiki
Art N ouve
au
Wood cutsFloating objects in a floating worldSense that we are frozen in timeJapanese themes such as geisha girls/kabuki theatre/nature: result of isolationism
Stylized natural forms flowers, birdsWhiplash curve bimorphic lines, curvilinearExotic females removed from contemporary time and place
KatsushikaHoku- saiAndo HiroshigeHokusai Gashiki
Eugène GrassetAubrey BeardsleyJan Toorop
SecessionVi
enna
Elongated figures and typographyTall, thin compositionsHand-drawn, stylized type
Robert ThorneRobert BesleyVincent Figgens
SecessionElongated figures and typographyTall, thin compositionsHand-drawn, stylized type
Cub is
m
Monochromatic palette analytical cubismFaceting of surfacesGeometric shapesSimultaneity the subject is viewed from several angles at once, the subject remains stationary and the viewer moves
Pablo PicassoGeorges BraqueJean Metzinger
Futurism Po
etry
Free typographyOnomatopoeia use of words whose sounds suggests a sense/emotionSimultaneityIn graphic works, letters suggest sounds from different sources heard at onceIn figurative works, the viewer remains stationary and the subject moves, the subject is represented in multiple positions at once
Filippo MarinettiArdengo SofficiLewis Carroll
Futurism
Wor
ks
Graphic
Geometric patternsOnomatopoeia use of words whose sounds suggests a sense/emotionMachine aesthetic , automatons, or elements suggesting industry
Hugo BallMarcel Duchamplfred Stieglitz
daD
a
Ready made materialsPhotomontageAbsurdity, humor & social criticism
Hannah HochKurt SchwittersJohn Heart Field
Expre ssio
nism
Bold contour drawingWoodcutsDeep sense of social crisisEmpathy for the poorThick paintExaggerated distorted color,drawing and proportions
Franz Kafka’sWassily KandinskyHenri Matisse
alismSu
rre
Dream imageryPersonal symbolismIllogical juxtapositions of elements
George GroszGiorgio de ChiricoMax Ernst
Photograp
hy
Concern for point, line, plane, shape and textureMultiple exposures, pure form and distortionSolarization and experimental techniquesPlakatstil also known as Pictorial ModernismDominant stylized imageFlat background colorName of product
Francis BruguièreAlvin Langdon CoburnMan Ray
astilPl
akFlat background colorDominant stylized imageName of product
James Pryde William NicholsonDudley Hardy
Flat background colorDominant stylized imageName of product
Art Dec
o
Zig-zag lineGeometric shapesMachine aesthetic streamline, converging linesEclecticism, international motifs Assyrian, American Indian, Greek
A. M. CassandreJean Carlu Paul Colin
Supr
emat
ism
SUPREMATISMNon-representationalPure colorsBasic geometric shapesLettering looks Soviet influencedOften uses red and black on beige colored background
Vladimir Burliuklja ZdanevichKasimir Malevich
ConstructivismCONSTRUCTIVISMGeometric shapesAsymmetryDiagonal linesLettering looks Soviet influencedOften uses red and black on abeige colored background
De Stijl
AsymmetryPrimary colors with neutrals black, white and grayPerpendicular lines
Piet MondrianThéo van Doesburg Lasz- lo Moholy-Nagy
ConstructivismCONSTRUCTIVISMGeometric shapesAsymmetryDiagonal linesLettering looks Soviet influencedOften uses red and black on abeige colored background
hausTh
e Bau
Sans serif asymmetrical type-New TypographyDeliver message and communicateFunction not decorationPurity, clarity, simplicityNew approaches to photography Extreme scale contrasts/bird’s eye/worm’s eye Montage
Oscar SchlemmerJoost SchmidtHerbert Bayer
The nTy
pogr
aphy
Asymmetrical, flush left ragged rightPriority assigned to text based on weight and sizePurpose of communication is to function not decorateType used in simple form without embellishmentRules should be used for emphasis
Jan TschicholdEric GillPaul Renner ew
Movent in AmericaM
oder
nBauhaus influence American contentWPA typography for social programs
George SalterLester BeallRomain de Tirtoff
Movent in AmericaBauhaus influence American contentWPA typography for social programs
The Int’l. Ty
pogr
aphi
c St
yleAsymmetry
Flush left/ragged right layoutsSans serif letters with bold words for emphasisReductive, objectivity, no superfluous decorationGrid systems
Jacqueline S. CaseyArnold SaksDietmar Winkler
SchoolN
ew Y Uniquely American approach with origins in
European modernismPlayful, visually dynamic and unexpectedAnalyze communications content-reduce tosymbolic essenceUse of shape
Paul RandAlvin LustigBradbury Thompson
ork
Uniquely American approach with origins inEuropean modernismPlayful, visually dynamic and unexpectedAnalyze communications content-reduce tosymbolic essenceUse of shape
Corp. ID & V
isua
l Sym
bols
Logotypes and identitiesPictograph signage for Olympics and transportation
William GoldenGeorg OldenLou Dorfsman
ImageC
once
p
Narrative information communicated with ideas and conceptsFamiliar in an unfamiliar settingScale changes, substitution, visual puns and play
Lou DanzigerHerbert LeupinNames of artists
etual
Image
Dig R
evol
utio
nComputer generated imageryInternet, interactive design and the worldwide web
Erik AdigardJohn MaedaAaron Koblin ita
l
dernPo
stm
o DECONSTRUCTIONBroke with international typographic style communicationsIntuitiveCommunicated emotional qualities with expressive typographyLayering/overlappingUses computers to generate layouts and typography
Michael VanderbylMichael Croninhannon Terry
Design
Postm oder
nNEW WAVEStair stepped rulesSome evidence of grid underlying organizationLayering, overlapping simultaneityRetro/VernacularEclectic modernist European design of first half of centuryDisrespect for proper rules of typography placed in new waysKinky mannered type of 20s/30s
Paula ScherLouise FiliCarin GoldbergDesign
Des
ign
graphyB
iblio
All content was resourced from:Meggs, Philip B.Meggs’ history of graphic design / Philip B. Meggs, Alston W. Purvis. -- 5th ed.
All images were imported into Photoshop through a PDF version of the book.
1. Victorian & Arts and Crafts : page’s,165, 167, 169, 178, 194, 182
2. Ukiyo E & Art Nouveau : page’s, 197, 198, 199, 203, 212
3. Vienna Secession & Cubism : page’s, 238, 239, 241, 257, 258
4. Futurism Poetry & Futurism Graphic Works : page’s, 262, 264
5. Dada & Expressionism : page’s, 265, 272, 273
6. Surrealism & Photography and the Modern Movement : page’s, 270, 271, 274
7. Plakatstil & Art Deco : page’s, 291, 292, 277
8. Suprematism/Constructivism & De Stijl : page’s, 302, 320, 321, 289, 315, 316, 314
9. Bauhaus & the New Typography : page’s, 334, 328, 329, 356
10. Modern Movement in America & International Typographic Style : page’s, 388, 389
11. New York School & Corporate ID & Visual symbols : page’s, 391, 394, 416, 418, 422
12. Conceptual Image & Digital Revolution : page’s, 554, 441, 443, 442
13. Postmodern Design : page’s, 560, 562, 565, 568, 569
All content was resourced from:Meggs, Philip B.Meggs’ history of graphic design / Philip B. Meggs, Alston W. Purvis. -- 5th ed.
All images were imported into Photoshop through a PDF version of the book.
1. Victorian & Arts and Crafts : page’s,165, 167, 169, 178, 194, 182
2. Ukiyo E & Art Nouveau : page’s, 197, 198, 199, 203, 212
3. Vienna Secession & Cubism : page’s, 238, 239, 241, 257, 258
4. Futurism Poetry & Futurism Graphic Works : page’s, 262, 264
5. Dada & Expressionism : page’s, 265, 272, 273
6. Surrealism & Photography and the Modern Movement : page’s, 270, 271, 274
7. Plakatstil & Art Deco : page’s, 291, 292, 277
8. Suprematism/Constructivism & De Stijl : page’s, 302, 320, 321, 289, 315, 316, 314
9. Bauhaus & the New Typography : page’s, 334, 328, 329, 356
10. Modern Movement in America & International Typographic Style : page’s, 388, 389
11. New York School & Corporate ID & Visual symbols : page’s, 391, 394, 416, 418, 422
12. Conceptual Image & Digital Revolution : page’s, 554, 441, 443, 442
13. Postmodern Design : page’s, 560, 562, 565, 568, 569
grap
hyBiblio
Des
ign History JournalD
esign History Journal
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