- Research
1930s
During the 1930′s , the vast majority of modern design works in America and Europe proudly displayed the Art Deco or commercial modern, style. The economy and industry had a massive impact on graphic design where the designer had to meat his client needs and attract the consumer. Magazines such as Fortune, Bazar and Life where rich with advertisements. The 1930′s where also know for there use of fashion photography. For example in 1939 Cipe Pineless designed a cover for vogue which used a colored photograph and blending it with text, she also created dramatic contrast between form and texture that created more sophisticated relationship between text and image.
1930′s Graphic Designners:
- Alexey Brodovitch
- Bradbury Thompson
- Cipe pineles
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1060′s
The 60′s was all about visual communication and it was slightly more distance from advertising activities. Graphic designers where mostly focusing on understanding the problem and find a solution. ymbolism where highly used, and i t was very colorful. The 60′s was all about posters and sending a message with symbols.
1960′s Graphic Designers:
- Nataha Kroll
-Herberts Spencer
-Colin Forbes
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Bauhaus
At the end of World War I, Walter Gropius created an institute for experiments and education of German architecture, industrial art, and handicraft which he named “Das Staatliches Bauhaus.” The Bauhaus’s ideologies projected a move towards the integration of art and technology for the benefit of both. The school also set out to create a “consulting art center for industry and the trades.”(1) The Bauhaus combined the role of artisan and craftsman and applied it to everything from architecture to typography.
The intention with Bauhaus was to develop creative minds for architecture and industry and influence students so that they would be able to produce artistically, technically and practically balanced utensils. The institute included workshops for making models of type houses, different kinds of utensils, and departments of advertising art, stage planning, photography, and typography. The neoplastic and constructive movements of art steered the form lines of the Bauhaus. Teachers such as Kandinsky and Klee were masters of modern art. The Bauhaus idealogy was spread by periodicals and a notable book series called Bauhausb¸cher. (2)
Developments in areas from Expressionism towards functionalism and from handicraft towards design for machine production, can be traced in the changing graphic design produced at the Bauhaus. Rules became the typical stereotype of what was popularly identified as ‘Bauhaus style typography and design’. San-serif types and strong horizontal and vertical rules were typical of Bauhaus style design, but were part of a much more radical reform which examined the elements of graphic design and the role each played in the transmitting of information. At the Bauhaus, a basic education in the mechanics of visual communication began with the study of letterforms and typographic layout. The Bauhaus set forth elementary principles of typographic communication, which were the begginings a style termed “The New Typography”, that started with:
1. Typography is shaped by functional requirements.
2. The aim of typographic layout is communication (for which it is the graphic medium). Communication must appear in the shortest, simplest, most penetrating form.
3. For typography to serve social ends, its ingredients need internal organization – (ordered content) as well as external organization (the typographic material properly related). (8)
- http://web.utk.edu/~art/faculty/kennedy/bauhaus/bauhaus.html
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