The New York School

As I have already tackled in the previous blog, when Europeans moved to America in order to escape political totalitarianism, they brought along the avant-garde style with them.  Americans were influenced by these worked and added to their principles creating a new approach to American design.  This new approach was less formal when it comes to organizing space.  Perhaps the most influential American Designers that worked during that time were Paul Rand and Saul Bass.

Paul Rand

Saul Bass

Paul Rand Cover for Direction
Magazine

Paul Rand was one of the first graphic designers that utilized this American approach to modern design.  Rand was very much influenced by Klee, Kandinsky the cubists, as well as Moholy Nagy’s book ‘The New Vision’. His work was very clear, legible and without excessive decoration which reflected the modern Tschichold legacy. Furthermore, Rand disregarded traditional narrative illustrator and substituted symmetrical layouts with asymmetrical ones. A genius in finding new and innovative ways in order to make use of different visual forms such as space; shape, value, colour, line. He is also known as the designer of lyrical beauty. His works were mostly logos and trade mark. In the direction magazine cover, Rand put across an image of a Christmas gift enfolded with barbed wire with a small card at the side with the words ‘Merry Christmas’ written on itby hand which contrasts greatly with the mechanical stencil lettering of the logo. Contrasting the white in the background, there are dots in red which may represent splattered blood.  Rand was well aware of the power of symbols and signs and so he utilized them in his work in order to visually put across a message to the viewers. In this cover he is reminding the viewers of the spread of global war. The colors used reflect the influence of constructivism – red. It is a very interesting and intelligent design. Paul Rand has inspired many contemporary designers including Henry Steiner which was also his student. 

Left: Original EF logo by Paul Rand
Right: New logo by Henry Steiner (2007)

Saul Bass brought the principles of the New York School to Los Angeles. Paul Rand`s work very much influenced Saul Bass especially the use of shape and asymmetrical layouts, however, Bass used a single dominant image set in space. In his work, Bass often cut out irregular shapes with a scissors or painted with a brush. Letterforms were freely drawn which was combined with handwriting and typography.   Saul Bass`s title sequences and promotional pieces for films are perhaps the most well known works produced. The first design that combined media graphics and print for film was for ‘The Man with the Golden arm’.  The movie was about drug addiction which is represented as bold pictorial arm which is forming a rectangle. There is a great use of flat block of colours. This poster was very innovative at that time and it is still interesting to see today. The title sequence was also very innovative. After a white bar moves across the screen three more bars follow. When all four are in centre part of the screen, typography with the names of the performance appears. Had it not been for Saul Bass, title sequences would have not been as they are today. Bass also produced corporate Identity logos for companies such as the United airlines, Quaker Oats and Warner communications.

The man with the golden arm
movie poster

The man with the golden arm title sequence

Greenday 'American Idiot
album cover (2004)

Bass has inspired many other contemporary artists including Chris Bilheimer, the person who had created the album cover for ‘American Idiot’ by Greenday. When one looks at the cover one can immediately notice Saul Bass`s influence. In addition he has also inspired people like Leo Burnett that has created works for a blood donation campaign in the same style as Bass.

Work By Leo Burnett

Work by Leo Burnett

I have found these works quite astonishing and captivating. I also found it facilitating the extent to which these artist still influence others today. I very much like the flatness in Saul Bass`s work and how he plays around with geometrical shapes. I also loved the way these artist use space.
References:

Philip B. Meggs, 2011. Meggs' History of Graphic Design. 5 Edition. Wiley.

Moving to America

Alexander Liberman , Vogue Cover 1945.

Throughout the 1920s and 1930s graphic design in America was still very much intact with traditional illustrations so much so, that when European graphic designers started to migrate to America, there was commotion and people started to protest.  These new principles were not accepted until the late 1930s when they were slowly being introduced and seen in editorial designs, book covers as well as commercial graphics. The artists that brought these new ideas and the ideas themselves contributed greatly to the development of graphic design within America. Among these artist there were the Russian-born artists Erte, Dr Mehemed Fehmy Agha , Alexey Brodovitch and Alexander Liberman. These artists worked mainly on editorial design for fashion magazines.

Erte is well known for his work with Harper`s Bazaar magazine. After becoming a well-known illustrator and set designer in Paris, he went to work for the magazine. His style was quite art deco along with stylized drawings which are influenced from synthetic cubism, exotic ornaments and sophistication of high fashion. Erte is actually sometimes called ‘Father of Art Deco’. Furthermore, his cover art reflect greatly his love for colour and glamour. Erte not only designed covers but he also did fashion designs and set designs for theater.

Harper's Bazaar magazine
by Erte.

Erte`s shoe design for
Delman`s shoes/

Dr Mehemed Fehmy Agha  Vogue
cover

Whist Dr Mehemed Fehmy Agha was an art director for Vogue`s magazine, he introduced new principles that are still used to date such as bleed photography, double page spreads, machine set sans-serif typography, the use of white space as well as asymmetrical layouts. Furthermore Fehmy Agha removed the use of italic type. He also worked with vanity fair were his works reflected influences form European modernism.  He created a very energetic and lively spread by using the spread as if it was a canvas. The way he used simplified type, the use of margins , the placement of images and white space all helped in order to create a very intriguing and at that time innovative design. It is because of the way he designed magazines during that time and his avant- garde style that we have magazines as we know them today, especially the use of a double page spread.

Dr Mehemed Fehmy Agha Vanity Fair
spread

Vogue Double page Spread.

Alexey Brodovitch`s Bazaar magazine
cover.

Alexey Brodovitch on the other hand was the art director of Harper`s bazaar. Brodovitch was also very much fascinated with white space. Furthermore in his works, he utilized sharp typography on clear, open pages changing the way to approach editorial design.Megg`s in his book states that Brodovitch looked for a ‘musical feeling’ through the flow of text and images. Contrast was an important tool in his works along with the movement in each spread. He also revolutionized the way we crop, expand and combine the images in a spread. Brodovitch`s work very much influenced American magazine designs as well as artists that came afterwards such as Henry wolf and Otto Storch.

Alexey Brodovitch Magazine Spread

Otto Storch Magazine Spread

Bazaar spread 2013

I personally find these works extremely interesting especially the magazine spread by Alexey Brodovitch. I found it very intriguing the way the text reflects the image. I have also found it very interesting the way Storch plays with the white space and how he placed the text.
References:

Philip B. Meggs, 2011. Meggs' History of Graphic Design. 5 Edition. Wiley.

The Erté Years - 1915-36 - 140 Years of Bazaar - Harper's BAZAAR Magazine. 2014. The Erté Years - 1915-36 - 140 Years of Bazaar - Harper's BAZAAR Magazine. [ONLINE] Available at:http://www.harpersbazaar.com/culture/features/bazaar-140-0307. [Accessed 29 November 2014].

First Art Director - Mehemed Fehmy Agha | Magazine Designing. 2014. First Art Director - Mehemed Fehmy Agha | Magazine Designing. [ONLINE] Available at: http://www.magazinedesigning.com/mehemed-fehmy-agha-first-art-director/. [Accessed 29 November 2014].

The Art Directors Who Came From Europe. 2014. The Art Directors Who Came From Europe. [ONLINE] Available at:http://www.designhistory.org/Advertising_pages/ArtDirector.html. [Accessed 29 November 2014].

Jan Tschichold

Jan Tschichold

Jan Tschichold was a German typographic advisor, author and typeface designer that was a very important figure in the development of typography.  Tschichold was interested in calligraphy at an early age; he studied at the Leipzig Academy, and eventually worked as a traditional calligrapher with Insel Verlag. After attending a Bauhaus exhibition, he was impressed by the new concepts of the Bauhaus and the Russian constructivists and started implementing them in his work becoming a pioneer of the new typography – die neue Typographie.

Elementare Typographie

Tschichold demonstrated and explained asymmetrical typography to designers, printers and typesetters by writing a twenty four page insert named ‘Elementare typographie’in a magazine. Printed in red and black – the colours of the constructivists, it featured an article explaining the avant-garde approach to design. German printing at that time still made use of symmetrical layouts and medieval blackletter. Tschichold on the other hand used a functional and economical approach, sans serif typography as well as asymmetrical layouts. He condemned typefaces which were not sans serif and brought forward a fundamental concept – functionality was to be the most important aspect of the New Typography.  Unnecessary decoration and symmetrical compositions were to be discarded. He stated “Asymmetry is the rhythmic expression of functional design.” Furthermore, he made use of angles and diagonals along with Bauhaus typography in order to produce a unique signature look.

The Pelican History of Art cover

by Tshichold

Tschichold created a brochure for the book which advocates this new radical typography.   It however was not as functional since the modern movement looked for spirituality and beauty in the materials used. Dynamic forces should become visible in every design made for typography ought to be in motion and not stationary. Therefore, he made use of uneven lines of different lengths along with headlines in the left margin. White space was used as part of the design. Photography was favoured over illustrations due to its objectivity and accuracy. In 1933 the Nazis arrested Tschichold and his wife as he was accused of “Cultural Bolshevik” and using “un-German” typography.  After he was released, he left to Switzerland. He started rejecting the new typography in favour of Roman, Egyptian as well as script styles. In his opinion, graphic designers should use a humanistic approach that reflects the accomplishments and understanding of old master typographers.

'The tragedy of King

Lear' cover 1949

Jan Tschichold has also redesigned most of the penguin books using his new approach of design. His designs had a realistic look that worked very well with the content of the books. In addition they were also very balanced, consistent and legible. One of the many books he designed was Shakespeare’s ‘The tragedy of king Lear'.As previously mentioned, this composition is very symmetrical and conventional, it is well balanced as well as very legible. It is also enclosed within a solid black frame and it is stylized in design. This style contrasts greatly the new typography he used to used when he was still in Germany.  

References:

Philip B. Meggs, 2011. Meggs' History of Graphic Design. 5 Edition. Wiley.

Steven Heller, 2012. 100 Ideas that Changed Graphic Design. 3.3.2012 Edition. Laurence King Publishing.

Jan Tschichold : Design Is History. 2014. Jan Tschichold : Design Is History. [ONLINE] Available at: http://www.designishistory.com/1920/jan-tschichold/. [Accessed 02 November 2014].

The Bauhaus

Bauhaus School designed by Gropius in Dessau 

The Bauhaus (The building house) was founded by the Walter Gropius, a German architect, in 1919. Gropius wanted to create designs for the world. Bauhaus revolutionised the way art and design were taught, and was a major influence on all aspects of art and design. It also influenced various artists and art movements. Gropius asked artists such as Wassily Kandinsky and Paul Klee in order to come teach in his school. The Bauhaus objective was to use machinery and other aspects of the material world, in order to create something beautiful and artistic. This art was to be functional, clean and clear. There was an elimination of unnecessary ornaments; they striped the design to its minimal form whilst creating harmony between craftsmanship and mass production. The importance was on clarity, rationality and utilitarian simplicity, whilst their posters made use of a well divided grid. They were very much interested in the relationship between form and function. They tried to look at things differently in order to create something innovative an exciting. The Bauhaus were very much influenced by der blaue reiter in aspects such as form, colour and space as well as Kandinsky’s spiritual principles of colours. In addition, the Bauhaus were also influenced by the works of de stijil, especially typography.

Laszlo Moholy-Nagy cover for Broom (1923)

When Laszlo Moholy-Nagy entered the school, he brought in new techniques along including photomontage, the photogram as well as other visual aspects that could be incorporated such as kinetic motion, light and transparency. He also contributed greatly to the development of typography which was to be organized, justified and functional – Legibility was the most important thing. If one looks at Moholy-Nagy`s cover for Broom (1923) we can see an innovative design. The influences of cubism and Lissitzky can be seen clearly. He uses strong verticals and horizontals as well as sans serif typography of different sizes. The composition is avant-garde, it is fresh and dynamic. It is not decorative but clear and direct which leaves an impact on the viewer. Furthermore, he uses limited yet bold colours.

Kandinsky`s Sixtieth birthday exhibition poster
by Herbert Bayer

Herbert Bayer, Moholy-Nagy`s student, then took over the typography and advertising workshop. He very much followed the

principles of de stijil and constructivists. He was responsible for creating a new letterhead for the Bauhaus. He created a universal typeface based on geometry. It made use of clear, simple and rational sans serif fonts whilst getting rid of capitals, claiming that they are incompatible in design. Furthermore, he started using ragged right and flush left typesetting. In addition, he experimented with different contrasting type sizes and weights which created a sense of hierarchy capturing the attention of the viewers. Bayer used open and dynamic compositions, implied grids, shifted axis as well as colours influenced by the constructivists; red and black, as can be clearly seen in the exhibition poster made for Kandinsky’s sixtieth birthday exhibition.

Bayer`s Typography

The Bauhaus was active for fourteen years, under three different directors and in three different locations within Germany. The Nazis however, pressured the Bauhaus and so, in 1933 it eventually closed down with several of its students and teachers immigrating to other countries such as America and Switzerland. Even though it was open for a short period, it made a great impact on art and design throughout the world, and designs created by the Bauhaus can still be seen and are still popular today.

References:

Philip B. Meggs, 2011. Meggs' History of Graphic Design. 5 Edition. Wiley.

Steven Heller, 2012. 100 Ideas that Changed Graphic Design. 3.3.2012 Edition. Laurence King Publishing.

Bauhaus documentary (1) - YouTube. 2014. Bauhaus documentary (1) - YouTube. [ONLINE] Available at: http://youtu.be/wZOqTFtEHAw. [Accessed 01 November 2014].

The Bauhaus, 1919–1933 | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art. 2014. The Bauhaus, 1919–1933 | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art. [ONLINE] Available at: http://www.metmuseum.org/toah/hd/bauh/hd_bauh.htm. [Accessed 01 November 2014].

Bauhaus-Archiv. 2014. Bauhaus-Archiv. [ONLINE] Available at: http://www.bauhaus.de/en/. [Accessed 01 November 2014].

Photomontage

Photomontage is produced by manipulating two or more images from separate sources and combine negatives and positives in order to create a new image. Although this type of art started around world war one by the Dadaists, the use of photo manipulation was already being introduced in the 19^th century when photography was invented.

Dadists rejected the widespread attitude of patriotism and sacrifice. They could not tolerate the horrors of war, society`s faith in technological development and how text and images could be manipulated in such a way that innocent people were persuaded to believe lies and act irrationally. Artists rebelled with their art, and people like John Heartfield used photomontage to do so.  Heartfield`s work used this type of art in order to directly attack the Nazi party using symbols or quotes

directly taken from the Nazi`s. An instance of this, is his
work ‘Millions stand behind me’ which was a phrase used by Hitler himself. Hitler wanted to state that he has the support of the public, however Heartfield used the

'Millions stand behind me' John Heartfield

same slogan in order to criticize his reliance on wealthy contributors in order to achieve electoral success. Furthermore it communicates to the viewer that politics runs on money. In his work, the artist eliminated any extra details that could have been a hindrance to the message, which makes the poster even more effective and powerful. Moreover, he uses limited colours, sans serif typography and dynamic diagonals. Heartfield`s aim was therefore to raise public consciousness and promote social change. Contrary to Heartfield, artists such as El Lissitzky and Aleksandr Rodchenko made the use of photomontage in order to emphasize and promote commitment to Communist plans and accomplishments.

'Cut with the kitchen knife through the last

Weimar beer-belly Cultural Epoch in Germany'

Another important person who used photomontage was Hannah Hoch. Hoch first used photomontage in order to attack the failings of the Weimar republic in Germany. Later on however, her work focused more on gender inequality. She was very much inspired from the collages of the cubist Pablo Picasso and Dadaist Kurt Schwitters. Perhaps the most popular work by Hoch is ‘Cut with the Kitchen Knife through the Last Weimar Beer- Belly Cultural Epoch in Germany’. This photomontage is a heavily populated poster which features various political figures, photos of machines as well as typography taken from newspapers, magazines etc. Hoch makes use of both serif and san serif typography whilst the composition is

organized into sections. The kitchen knife represents the stereotypical ideas of women in society. Pictures of women also feature in this photomontage, whilst on the right hand lower corner the artist put a map of the countries where women had achieved the right the vote. Next the map, Hoch put a self portrait as a signature.  Other photomontages by Hoch include ‘portly German politicians in their swimsuits floundering against a backdrop of fine embroidery’ and 'Flucht' (Flight).

Photomontage is still sometimes used in political or satirical contexts among others however, artists today use Photoshop which facilitates and quickens the process. Contemporary artists such Adrian Brannan, Peter Kennard and Yutaka Inagawa use this kind of art in their work.

Adrian Brannan

Yutaka Inagawa

           

                    

Peter Kennard

       

Reference:

Hannah Höch | Artworks, Artist Biography | Artsy. 2014. Hannah Höch | Artworks, Artist Biography | Artsy. [ONLINE] Available at:https://artsy.net/artist/hannah-hoch. [Accessed 25 October 2014].

A Short History of Photo-montage I: 1822-1945 | Disphotic. 2014. A Short History of Photo-montage I: 1822-1945 | Disphotic. [ONLINE] Available at:http://www.disphotic.lewisbush.com/2011/01/21/a-short-history-of-photomontage-i-1822-1945/. [Accessed 25 October 2014].

John Heartfield: The Meaning of the Hitler Salute. 2014. John Heartfield: The Meaning of the Hitler Salute. [ONLINE] Available at:https://suite.io/zuzana-minarikova/40p82tk. [Accessed 25 October 2014].

A Short History of Photo-montage I: 1822-1945 | Disphotic. 2014. A Short History of Photo-montage I: 1822-1945 | Disphotic. [ONLINE] Available at:http://www.disphotic.lewisbush.com/2011/01/21/a-short-history-of-photomontage-i-1822-1945/. [Accessed 25 October 2014].

MoMA | The Collection | Photomontage. 2014. MoMA | The Collection | Photomontage. [ONLINE] Available at:http://www.moma.org/collection/theme.php?theme_id=10158. [Accessed 25 October 2014].

MoMA | Hannah Höch. Cut with the Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany (Schnitt mit dem Küchenmesser durch die letzte Weimarer Bierbauchkulturepoche Deutschlands)]. 1919-1920. 2014. MoMA | Hannah Höch. Cut with the Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany (Schnitt mit dem Küchenmesser durch die letzte Weimarer Bierbauchkulturepoche Deutschlands)]. 1919-1920. [ONLINE] Available at:http://www.moma.org/explore/multimedia/audios/29/704. [Accessed 25 October 2014].

MAT 200A 2011. 2014. MAT 200A 2011. [ONLINE] Available at:http://cargocollective.com/mat200a/Photomontage-A-Collection. [Accessed 25 October 2014].

Steven Heller, 2012. 100 Ideas that Changed Graphic Design. 3.3.2012 Edition. Laurence King Publishing.

Philip B. Meggs, 2011. Meggs' History of Graphic Design. 5 Edition. Wiley.

The New Art

William Morris

Towards the late nineteenth century, critics and artists were extremely displeased about the great decline of craftsmanship due to the effects of industrial revolution. They despised the imitations of ornaments created by the machines. John Ruskin along with William Morris wanted to restructure the arts and crafts movement. Their aim was to replace cheap mass production with handiwork. Although they did not succeed in their mission, Ruskin and Morris managed to inform the public about the problems that industrial mass-production had raised. They desperately hoped for a ‘new art’ “based on a new feeling for design", as stated by E.H Gombrich   in his book ‘the story of art’.

'Peacock Skirt' by Abrey Beardsley

The term ‘Art Nouveau’, came from the salon de l` Art Nouveau, a gallery in Paris run by art dealer Samuel Bing. This gallery was an important site, an international meeting place where many young artists were introduced. Art Nouveau was a style of art that looked at natural organic forms. Common motifs included peacocks, flowers and human figures amongst others. The use of flat colours, chromatic contrasts and new lithographic techniques were also quite evident in works produced in this manner. It was not only traditional art that was influenced by this style but all aspects of art and design including architecture, graphics as well as product design.

Japanese Prints

On the other hand, art nouveau was influenced by various things including Japanese prints, the arts and crafts movements, Celtic art as well as William Blake`s book illustration. Other inspirations include the post impressionist artists Vincent Van Gogh and Paul Gauguin, modern architecture, abstract art and also surrealism. Perhaps the most influential aspect however, was Asian art. The East and West influenced each other’s style of art when these countries started trading. Asian art influenced the western art in aspects such as subject matter, use of space, flat colours, simplification of forms, as well as the use of decorative patterns. All of these aspects, helped to revive graphic design during the last decade of the nineteenth century. This influence is clearly seen when one compares the Japanese print with Aubrey Beardsley's 'peacock skirt'. The flatness, black lines, along with the stylized patterns on the drapery and figures themselves are all common traits found between these two illustrations.

A new law was introduced in 1881, which removed several censorship bans on press. This new law also stated that posters could be hung anywhere except on churches, at polls, or places where official announcements were hung. This helped greatly the poster industry, creating a new value for the applied art. In 1866, Jules Cheret, an important graphic artist at the time, opened a printing firm where he produced chromolithography (colour lithography), a system which used three stones to produce colour. Due to this, Cheret is now known as the father of modern poster. His posters made use of refined designs expressing energy and movement, the idealized female figure and luminous colours. The subject matter was mostly of the Parisian nightlife and activities in cafes and theatres in Paris. The provocative female figure occurred in many of his posters, so much that they were nicknamed ‘Cherettes’. Artists that influenced Cheret include Watteau, Fragonard and Turner. 

Jules Cheret`s Poster

Jules Cheret`s Poster

Jules Cheret`s Poster

References :

The Peacock Skirt; A Portfolio of Aubrey Beardsley's drawings illustrating 'Salome' by Oscar Wilde | Beardsley, Aubrey Vincent | V&A Search the Collections. 2014. The Peacock Skirt; A Portfolio of Aubrey Beardsley's drawings illustrating 'Salome' by Oscar Wilde | Beardsley, Aubrey Vincent | V&A Search the Collections. [ONLINE] Available at:http://collections.vam.ac.uk/item/O140256/the-peacock-skirt-a-portfolio-print-beardsley-aubrey-vincent/. [Accessed 13 October 2014].

Jules Cheret: French Poster Designer, Lithographer. 2014. Jules Cheret: French Poster Designer, Lithographer. [ONLINE] Available at:http://www.visual-arts-cork.com/famous-artists/jules-cheret.htm. [Accessed 13 October 2014].

History of Art: Modern Style - Art Nouveau . 2014. History of Art: Modern Style - Art Nouveau . [ONLINE] Available at: http://www.all-art.org/history530-3.html. [Accessed 13 October 2014].

Philip B. Meggs, 2011. Meggs' History of Graphic Design. 5 Edition. Wiley.

E.H. Gombrich, 1995. The Story of Art. 16 Edition. Phaidon Press.