History of 100 years of graphicdesign Introduction El Lissitky’s theoretical work is significantto the art history of graphic design because he shows professional designpractices throughout his work. For example, he expresses a special compositioncontrast between elements, asymmetrical balanced, relationship of form tonegative space, use of Sean-serif type bold, and geometric shapes of black andred.
He was very good at using color in basic shapes to make strong politicalstatements. The Russian Avant Garde artists combined architecture and three-dimensionalspace with the traditional and abstract two-dimensional imagery. El Lissitzkycreated his series of architectonic figures after seeing a production ofVictory Over the Sun. El Lissitzky design “The Three-Dimensional Design of theElectro-Mechanical Show “Victory over the Sun”” was published inHanover in 1923.
It is a three-dimension design and used ten color lithographsto show the main character. This “victory” drawings imply the geometricalchoreographies of constructivist for the coming age. The movements of figuresare suggested by using shifting axes, multiple perspectives and directionalsignifiers. Lissitzky’s lyrical sense of humor is not withstanding whilstdealing with the tensions between pure abstraction, narration andrepresentation.
HerbertMatter who was born in Switzerland in 1907. He was an essential member ofmodern designers, who was known for his excellent printing techniques andphotography. He was master of using photomontage, color and typography in anexpressive manner, transcending the boundaries between arts and designs. Hisadvanced techniques in graphic designs and photography become a part of hisvisual narrative. Herbert Matter’s eight-pagebrochure for the printing company Gebruder Fretz AG is a striking andinnovative piece of design that contributed greatly to Graphic Design and itsstep forward within technology to get it where it is today in modern times.
Itprovides a source-book of print examples, which demonstrate how recent advancesin offset lithography and gravure allowed complex arrangements of graphic andpictorial elements, ideas that had not been elaborated before. Back in the day, certain compositions of imagery and text hadbeen impracticable with letterpress printing. Now photographic images could bemasked, framed and arranged in new ways?—?even combined with textual and othergraphic characteristics. Upcoming print technology at the time recognized thepower of the image, as well as the possibilities of the fresh visual languagethat emerged later in the 1920s and 30s, in which the spatial organization ofelements provided structure and dynamism. This synthesis of qualities reflectedMatter’s own broad range of experiences: a photographer, painter and filmmakeras well as a graphic designer. where the textis placed, rather than the layout being dominated by columns of the text (thenorm at the time). We progress through the printing processes via a sequence ofblack-and-white images that winds its way through the brochure, leading the eyeto blocks of text. In addition to skewed frames, some images are rotated sothat they no longer align with the vertical or horizontal axis, and many aremasked or dropped out of their background.
A number are also displayed asvignettes, which fade out into the white of the page, and black-and-whitephotographs or line drawings occasionally over-print monochrome images,producing a layered effect. Rather than just an exercise in hollow virtuosity,such interventions reveal the connections that could be made between images.the man with the golden arm 1955 movie poster.Thecover of the book sports a detail of the design Saul Bass did for the OttoPreminger movie ‘The man with the golden arm (1955).
When Bass worked for filmstudios he offered them a package: main and credit titles, a symbol ortrademark, a screen trailer, posters (half sheets, one sheet, three sheet, sixsheet, twenty-four sheet), an insert, lobby cards, a window card, trade ads andmagazine ads. Saul Bass created identities for movies. A brand. Onesingle designer who was responsible for the look and feel of the entiremarketing campaign of a film. Today it’s different.
Various companies are hiredfor the design of posters, trailer and commercials. The industry has become sofragmented that the amount of movies with a recognizable identity is decreasingeach year.Theimages on this page show how the initial design changed according to the shapeand sizes of the items it was printed on. The first image is Bass’ initialdesign, before it was ‘diluted’ by the studio. It was screen printed during the1980s. Rich or generous people can buy me a copy here.
The last poster is the version that was used for there-release of the movie in 1960. The design also appeared on the and (three different versions). I don’t own a copyof the press book, which makes it impossible to tell if this collection ofmovie marketing material is complete. Wim CrouwelNew Alphabet1967 The New Alphabet is an abstract typeface and is characterized by thevertical/horizontal lines and 45 or 90 degree angles on the corners. Letters were distinguished by small variations in the vertical lines andunderstrokes. The x-height of the letters equals the width, so thistypeface can be used in grid systems of varying sizes which meant it can beprinted clearly regardless of the size of the screen. When the typefacewas first presented, it was criticized for being too abstract, but Crouwel maintainsthat it was only created as a theory and to show that designers have to pushthe boundaries into the future and not just let history dictate their work.
David Carson is a prominent contemporary graphic designerand art director. His unconventional and experimental graphic stylerevolutionized the graphic designing scene in America during 1990s. He was theart director of the magazine Ray Gun, in which he introduced theinnovative typographies and distinct layouts. He is claimed to be the godfatherof ‘grunge typography’ which he employed perpetually in his magazine issues.Ray Gun 1980While the contents of itspages were not related to graphic design, Ray Gun magazine proved to be anexploration of typography, layout and visual storytelling that would shift theapproach of many graphic designers. The magazine was founded in 1992 and led bythe work of David Carson, who served as its art director for the first three years ofits career, which lasted 7 years and over 70 issues.
Carson’s style of typographic experimentation influenced thedevelopment of the deconstruction style of design and a whole new generation ofdesigners. The experiments by Carson and other Ray Gun designers were chaotic,abstract and distinctive, but sometimes illegible. The magazine’s radicalsubject matter often related to music and pop culture icons and the magazinebecame a reliable source for the prediction of up-and-coming stars.