CHAPTER 5 | Revolutions in Design

WHO:

Theo van Doesburg, Piet Mondrain, Bart Van der Leck, Gerrit Rietveld, Alexander Apsit, Boris Zworykin, Dmitri Moor, Kasimir Malevich, Vladimir Tatlin, Marc Chagall, El Lissitzky, Alexander Rodchenko, Vladimir Mayakovsky, Gustav Klutsis, Georgii Stenberg, Vladimir Stenberg, 

WHAT:

De Stijl, Constructivism, Typography, Journal Design, Architecture, Posters, 

WHEN:

Post WW1

WHERE:

Russia, the Netherlands, Germany.

HOW:

Geometric Abstraction, Logo Type, Woodcut, letterpress

POV:

 De Stijl "The Style" embraced impersonal, universal principals. Admiration for the modern machine drove a style full of geometric abstraction and Machine Aesthetic. De Stijl artists sought a a universal harmony. Influenced by cubism. 

STYLE SUBHEAD:

Constructivism

CHAPTER ONE | 19th Century

WHO:

William Morris, Alois Senefelder, Andreas Bauer, Honore Daumeir, Louis Jacques Mande Dagueere, William Henry Fox Talbot, Winslow Homer, Maturin Murray Ballou, George Cruikshank, Mary Georgiana, Owen Jones, Louis Quinze, Augustus Pugin, Joseph Paxton, Mathew Digby Wyatt, Henrey Mathew, Morris Fuller Benton. 

WHAT:

The Industrial Revolution,  Bill Posters, Photography, Newspapers, Advertising, The Arts & Crafts Movement. The beginning of type-setting. Justified Collumns, Books, 

WHEN:

1800's

WHERE:

Europe & the US

HOW:

Letterpress, Lithography, Chromolithography, Halftone Screen Process. Photography, 

POV:

A shift from mainly rural agricultural society  to a more urban society based in factories, and the mass production of goods.  

STYLE SUBHEAD:

The Arts & Crafts Movement, 

DESIGN PHILOSOPHY

Brief

Mood Board

CHAPTER 9 | Postmodernism, The Return of Expression

WHO:

 Jan Van Toorn, Wes Wilson, Rick Griffin, Richard Neville, Martin Sharp, Tony Lane, Jon Goodchild, Virginia Clive-Smith, Peter Blake, Richard Hamilton,  Paula Scher, Andy Worhal, Steven Heller, Jamie Reid, Herb Lubalin, Ed Benguiat, Robert Venturi, Wolfgang Weingart, Dan Friedman, April Greiman, Seymour Chwast, Reynold Ruffins, Edward Sorel, Milton Glacier, 

WHAT:

Magazines, Rock Posters & Album Packaging

WHEN:

1960's - Present Day

WHERE:

Britain, America Specifically, but also throughout Europe. 

HOW:

Photography, Illustration, Lithography, Photomontage

POV:

A rejection of "modern"  ideas that a single style or concept should dominate a field. The practice of multiple design strategies.  Believed that meaning is culturally constructed and and in  a constant state of flux. 

STYLE SUBHEAD:

Expression through experimentation. 

CHAPTER 8 | The Triumph of the International Style

WHO:

Max Bill, Theo Ballmer, JanTschichold, Richard Paul Lohse, Anton Stankowski, Eduard Hoffmann (Haas Foundry), Max Meidinger, Remy Peignot, Josef Muller-Brokerman, Richard Paul Lohse, Armin Hofmann, Emil Ruder, Karl Gerstner, Markus Kutter, Nelly Ruden, Otl Aicher, Inge Scholl, Anton Stankowski, Otto Neurath, Gerd Arntz, Wim Crouwel, Stanley Morison, Herbert Spencer, Alan Fletcher, Alvin Lustig, Saul Bass, Paul Rand.

WHAT:

Logos, set visual themes for companies, Helvetica, Univers, Magazines (for example, Neue Grafik), Times New Roman,  American Abstraction Styles, 

WHEN:

Post WW2-Present

WHERE:

From Switzerland through Europe & the United States. 

HOW:

Phototypesetting, left justifications, modular grids, asymmetry, use of positive & negative space, san-serif typefaces, Penguin book covers, posters, 

Many Swiss designers discouraged mixing typeface styles. 

POV:

The development of corporate identity and commercial communication, 

This style was the same style that Nazi Germany tried to suppress, so it seemed a perfect fit for anti-nazi documents and many other designs in the post WW2 era. 

STYLE SUBHEAD:

Swiss Style, International Typographic Style

CHAPTER 7 OUTLINE | WW2 & American Modernism

WHO:

T.M. Cleland, Margaret Bourke-White, Joseph Binder, Will Burtin, Mehemed Agha, Cipe Pineles,  Alexey Brodovitch, Cassandre, Lucian Bernhard, Lester Beall, Alfred Barr, John Heartfield, Howard Miller, Normal Rockwell,

WHAT:

The American Magazine, notably, Fortune & Vanity Fair;  The federal Art Project, Architecture, Ads, Pulp Magazines, War/Propaganda Posters,

WHEN:

1920 - WW2

WHERE:

America, Germany, Britain, Russia,

HOW:

Using grids as basis for layouts, full bleeds, screen printing, photomontage, typesetting, serif & san serif fonts. 

STYLE SUBHEAD:

Art Deco, Modernest & New Typography in America.
.

CHAPTER 6 OUTLINE | The Bauhaus & New Typography

WHO:
Raoul Haussmann, Robert Weine, Fritz Lange, Walter Gropius, Paul Renner, Johanne Itten, Joseph Albers

WHAT:
Film, Poster, Architecture, Magazine, Book, Pamphlet, San-Serif type faces, such as Universal & Futura.

WHEN:

Post WW1 - Approximately 1920-30

WHERE

Germany, Austria, Eastern Europe

HOW:
Photomontage, typesetting, hand drawn typography, typo-photo, simplified geometric forms & type.

WHY:
To simplify, mechanize, art. Create a new movement in Graphic Design aimed at clarity more than beauty.

POV:

Influenced by the Bauhaus, Dadaism, Utopian Ideals, and Russian 

Constructivism.