Homework #7

Travel Poster Artists

 During the break between World Wars in Europe, graphics began to focus more on the world and its image. These posters became iconic for the time period and was the most enduring trend of the 20th century graphic design. Movements such as cubism, played an important role in these geometric poster’s designs. Travel posters offered a brief freedom from the political turmoil that surrounded society during this time. 

      A. M. Cassandre was an artist who exemplified the ideal travel poster of the time.  Though born in Ukraine, he moved with his family to Paris at a young age. Growing up he studied art and became a full time graphic designer by the age of twenty two. Many of his designs were bold and simple. His works all create a sense of two-dimensionality from the use of broad planes of color. Cassandre was very much inspired by cubism and surrealism. He was also well known for his impressive typography, and designed his own typefaces. His posters offered many a sense of visual freedom from the visual clutter that could be found in many designs during the time.

      Edward McKnight Kauffer, was another travel poster artist of the 1920’s. Kauffer was born in Montana in 1890. During his time at the University of Utah, his professor became aware of his work, and sponsored him and paid to send him to Paris to study. As a result of this, Edward took on his professor’s last name as his own middle name, McKnight. Later in his career, he traveled to London to escape the war. Kauffer became best known for his London Underground and London Transport posters. These posters each had a different style, ranging from abstract influences, futurism, cubism and even impressionist influences like Japanese woodcuts. He was an artist that never allowed a certain movement to restrain his designs.

Cassandre, Kauffer and Cooper were just a few of the countless travel poster artists of the time. I have found that these artists capture my attention the most because of the simplicity and geometry that they used. Each artist had their own individual design style, and had the ability to capture the viewer and allow freedom to surround them with their art. I find that there are not many artists that are capable of this, maybe that is why I appreciate and respect their designs so much

 Cassandre 1927

Cassandre 1931

Cassandre 1930

Kauffer 1924

 Kauffer 1916

Kauffer 1933

Cooper 1928

Cooper 1924

Cooper 1935

Homework #6

Dada

The Dada art movement originally sought out to be anti-art. It began with the carnage of World War I, and the shock and protest that surrounded the war. The Dada writers and artists saw the horrors that the war had brought, and saw a new side of religion and moral codes. These artists thought that if they could reject tradition, they could experience true freedom.

        The movement started off as a literary movement, after poet Hugo Ball. Yet as time progressed, Marcel Duchamp, a French painter, joined and soon Dada spiraled into an art movement. To Duchamp, Dada represented how art and life could be so randomly selected, and he brought this idea of true freedom into his works. To Dadaists, they did not want to create art, but instead mock it. Many felt that society had become too sensitive to art, and life.  There were however, many artistic works that were meaningful and influenced graphic design. Some Dada artists, even created the technique of manipulating photographic images to create something else. Artists like Raoul Hausmann and Hannah Hoch were most known for these works.

          Dada artist Kurt Schwitters, from Germany, was most well known for his nonpolitical offshoot of Dada that he named Merz. These images were collages from printed ephemera and other random materials. Though, he was rejected from the movement since these images were simply nailed together. Schwitters began to focus on typography. One of his most well known works, included typographic forms being depicted as characters. Kurt and many other Dadaists, wanted to use their artistic activities to draw the public’s eye to the political problems during the time. Many hoped their art would promote social change and raise the public's consciousness.

          John Heartfield, was another Berlin Dadaist, that sought to use his art as a propaganda weapon. His main targets were the Weimar Republic and the Nazi party. He would attack their organizations in books, magazines and even posters. Heartfield would work with photographs and manipulate the image in many of his works. Eventually he had to flee Germany, yet he still continued his propaganda from Prague. Heartfield even produced photomontages protesting the Vietnam War.

          Dada was a revolutionary art movement. It began during a time of protest against the destruction of war, and continued past World War I. The movement’s sense of anarchy and freedom brought a new breath to art and writing. Though Dada died off by the end of 1922, artists like Schwitters and Heartfield produced amazing works that still exemplified the movement. ­­­­

Hannah Hoch collage, 1919

John Heartfield collage, 1920

Marcel Duchamp 1917

Homework #5

Adolfo Hohenstein and Alphonse Mucha

            During the late 1800’s to the early 1900’s, graphic art was changing. Most graphic arts were now focused on Art Nouveau. These designs included natural forms and structures. With the use of curved lines, the viewer could see the influence from plants and flowers. Graphic artists Adolfo Hohenstein and Alphonse Mucha were few of the many artists that made incredible contributions to this art form.

            Adolfo Hohenstein was a German painter, illustrator and advertiser born in 1854.  His many poster illustrations and advertisements made him stand out as the father of Italian poster art and Italian Art Nouveau. His use of bright colors and curvilinear lines, have a way of drawing the viewer in to his art. Interestingly enough, Hohenstein actually started his career off as a costume designer in Italy.  In his many poster designs, one can see his attention to detail for the clothing he drew. He died in 1928, yet left behind a legacy with his amazing designs. Many artists looked up to his Art Nouveau work.

            Artist Alphonse Mucha was born in Czechoslovakia in 1860. He was best known for his Art Nouveau paintings and decorative art. Mucha produced many paintings, illustrations, advertisements and even postcards during is life. Many of his artworks featured young women in flowing robes, encased in flowers. Mucha usually used pale pastel colors in these detailed designs. He even spent many years of his life working on twenty huge paintings. These paintings showed the story of the Czech and Slavic people. Once Mucha died in 1939, his art style was considered outdated. Yet in the 1960’s many of his pieces came back in style.

           Both Mucha and Hohenstein brought very different art to the Art Nouveau style. While Mucha focused on women and whimsical designs, Hohenstein preferred detailed story-like designs. Both men changed the way art was viewed during this time and left behind incredible designs for future generations.

 Alphonse Mucha 1902

 Alphonse Mucha 1899

Alphonse Mucha 1860

          

 Adolfo Hohenstein 1900

 Adolfo Hohenstein 1900

Adolfo Hohenstein 1927

Homework #4

The Genesis of Twentieth- Century Design

            As the nineteenth century came to a close, the twentieth century brought a new life to the past Victorian designs.  Art nouveau changed the idea that designs from this period should be copies of other forms from the past or from nature. The art nouveau designs addressed many social, economic and cultural changes during the turn of the century.

            Artist Frank Lloyd Wright was an American architect who began using organic designs in many of his building designs, while inspiring many artists around the world.  Other artists like Charles Rennie Mackintosh also made notable contributions to art nouveau. Mackintosh focused more on the design of objects and interiors. Yet, he focused on tall and thin rectangular shapes in his works.

            The Vienna Secession began after a clash between tradition and the new ideas movement in France. This was a countermovement to the floral art nouveau designs that flourished across Europe. The Vienna Secession focused more on flat shapes, greater simplicity in designs and included a hint of geometry. Yet the art form deteriorated after 1910.

            Peter Behrens made many contributions to the typographic reform of the 19^th century. He was highly interested in the sans-serif designs in typography and created many different typefaces. He used geometric forms and used grids that began with geometric patterns as the basic structure. Behrens helped play an important role in the creation of high-quality design in manufactured goods and architecture. Behrens designed industrial products as well, and became known as the first industrial designer.

            These simplistic designs had an impact on the design of the London Underground railway system. With sans-serif typography and simple designs, the sign stood out against all the urban clutter. The design was so successful, that it is still used today.

            The change of design from the late nineteenth and early twentieth century broke the mold of art nouveau and sparked new design directions that focused on personal and social needs. These designs brought a new functionality to graphic design.

                                                                 Mackintosh 1902

                                                                   Behrens 1910

Behrens 1907

Palm Springs Art Museum (extra credit)

This week, I was able to visit the Palm Springs Art Museum. It was great to be able to go through the museum and look at the many different works of art displayed. I found a few sculptures and paintings that really caught my attention. One of my favorites, was a graphic that was an underwater scene. The piece looked like it was a man fighting a shark, but I found the use of graphics and typography intriguing. It always inspires me as an artist, to see other artists work. I feel that seeing other art designs and forms also has a relation to graphic art and design. 

Homework #3

Arts and Crafts Movement

            In England, during the nineteenth century, the Arts and Crafts movement had the momentum to revive the increasing decline in book production.  William Morris and John Ruskin were both influential to the revival of the movement.  The works produced during this time were mainly two-dimensional patterns. This was a time where craftsmanship was honored, rather than mass-produced goods. 

The movement went beyond book design, and could be found in buildings, woodblocks, prints and household objects. In later years, Morris focused on graphic design and typography. He created the Kelmscott press and focused on recapturing the detail of hand-printing, handmade paper and hand cut woodblocks. Morris designed hundreds of woodblocks and all were intricately designed with initials, boarders, frames, and title pages. Morris demonstrated that this art form could bring an appreciation for art to the working class.

Even after the death of Morris, his presence could be found in book designs and typography throughout the world.  In the Netherlands, artists wanted to revive printing and the traditional standards of the art form. Many did not view the Industrial Revolution as a good thing, since it allowed for mass production.  Artists like Sjoerd H. de Roos, saw that a successful typeface was the foundation of a great book design. Artists like Nypels, Stols, and Krimpen, were focused on high quality designs with legible typography.

The Arts and crafts movements spread to America, where designers were still influenced by William Morris. The American Type Founders Company, held a massive library containing past typographic designs. This was instrumental in reviving past designs.

This movement sparked an appreciation for craftsmanship rather than the mass production the Industrial Revolution had brought.  William Morris proved to be an influential leader in the Arts and crafts designs and inspired hundreds of artists. Graphic design stretched beyond book designs and typography, into prints and even household items.

William Morris woodblock design 1886

William Morris typefaces. Late 1800's

De Roos typeface and design 1907

Homework #2

German Illustrated Book

            During the fifteenth century, printing was spreading rapidly through Europe. Millions of books, newspapers, and advertisements were being printed, thanks to the availability of printing. Not only did printing lower book prices, it also played an important role in the unification of language, spelling and grammar.

            Woodblock prints were now being used in Germany to illustrate typographic books. There was now a demand for woodblock illustrations in printing. As time woodblock printing progressed, artists like Gunther Zainer, added more detail to these illustrations, such as texture and tonal ranges. 

            In the late 1400’s Nuremberg, Germany had become the center of printing. With famed printer Anton Koberger working and operating 24 printers along with 100 craftsmen, two hundred books were produced.  These illustrations drew much attention and prosperity for the illustrator. Now books could rely upon a visual communication with the reader. This helped bridge the gap of the inability to read and write to literacy for the everyday man in Europe.

            By the early 1500’s, printing had developed into a much more refined art. Cast metal blocks now had the gestural freedom of a pen, and had sweeping calligraphic flourishes. The new elegance of these prints and typography attracted royalty and other important figures during this period. Printing had developed into a necessity for all.

         During the beginning years of printing, Germany proved its artists and prints to be world-renowned. The development of printing and illustrations helped develop a universal language and promoted the everyday man to learn to read and write. This helped push graphic design to new heights not yet discovered.

Early 15th Century woodblock image. Artist unknown 

                                               First illustrated Bible. Gunther Zanier. 1475

Illustrated book. 1539. Artist unknown