Jan Tschichold
Kristen Bennett
Southern Illinois University Edwardsville
Abstract
Graphic Design has evolved over the years from an early form of printmaking, to the 21st century method of using programs such as Photoshop, Illustrator, Indesign, and more. Graphic Design has been used in marketing and advertisement, logos and branding, web design, motion graphics, etc. Graphic Designers from the 1920s and 30s have a unique style where shapes, sans serifs, and photos are utilized in a design. This paper will focus on how Jan Tschichold has been a prominent Graphic Designer in typography as well as how he has influenced packaging design from the 1920s and forward. The discourse of this paper will also reflect how I,
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This influenced him to create Bauhaus design concepts and include Russian constructivists in his work (Meggs & Purvis, 2016). While being raised in Germany, Tschichold was able to work under Paul Renner, the designer of the typeface Futura. When the rise of the Nazi party took place in Germany in 1933, Tschichold and his wife were arrested. Tschichold was faulted with being a “cultural Bolshevik” for creating typography that went against the German culture. He was released six weeks later (Meggs & Purvis, 2016). The Nazis confiscated much of Tschichold’s work before he was able to flee to Switzerland with his wife and four-year-old son (Flask, …show more content…
The soul of the new typography style was not solely focused on beauty, yet circled around clarity. The goal of the new typography was to foster form from the function of the text (Meggs & Purvis, 2016). Jan Tschichold’s practice of design became the embodiment for the new approach in books, job printing, advertisements, and posters. He showcased his style of asymmetrical typography to printers, typesetters, and designers (Meggs & Purvis, 2016) and truly influenced the Graphic Design world through his style of
Concordia University, in response to an assignment proposed by Nathalie Dumont’s Dart 280 class. I devoted a month of work to this project in February of 2014. The assignment was called Helvetica No More in which we were asked to create a poster for Rainer Erich Scheichelbauer’s typographic talk at the Design Lecture Series at Concordia University. The lecture was on the overuse of the typeface Helvetica and how design is meant to be created to explore new ideas. The poster that I produced illustrates breaking the norm of
By being educated at a young age in literacy, I included it in my pottery and also working for newspaper companies strengthened my form of expression. Working in the South Carolina Republican and then later on The Edgefield Hive as a typesetter, it was a good experience helping my literacy skills but I didn’t feel fully indulged. I did it because I had to but also to learn. By understand typography, I was able to understand the science of the anatomy of type. They taught me the use of size, spacing, and placement of typography in order to show hierarchy, direction and attraction. I became to understanding that type is a collective of shapes and strokes. Master Abner 's newspaper did not get a lot of publicity and hit a crisis, which led him to cease publication of the newspapers. Master Abner then moved to Columbia, South Carolina, in 1832. He decided to leave me back in Edgefield and...
After working with Sports Illustrated and realizing they had a habit of late-night editorial changes, Hoeffler had the original intention to supply enough widths in the Knockout family so that art directors could work independently of their editors. This organizagtion by width is one of modernism’s greatest gifts to typogrophy.
In this research Landor they uncovered the truth about people disliking the word “Federal” because of its association with local government and the word “Express” as being too common and overused. Landor’s idea to shortened the name by joining the two words as FedEx since some business and individual patrons already shortening the name to FedEx. Many might already know, mostly graphic designers and logo makers, but FedEx’ logotype has an Easter egg, it is discreetly placed between the E and x. Lindon’s creative idea is to utilize the negative space between the “E” and “x”, to play with the figure and ground relationship, and that space is an arrow (Fig. 3). In an interview, Lindon detailed that he manipulated font types using two different font face, Univers and Futura, and increased x-heights on some of the characters to achieve the regular looking arrow, which is a representation of the companies attack on delivering the packages, speed and
Paul Rand is the designer I will be talking about in these next few paragraphs. I chose Paul Rand for a couple of reasons. Before this semester, Paul Rand`s name has never been brought to my attention. Paul Rand`s name was first brought to my attention in my publication class. During that class we talk about Rand`s work and the designs he has created. Some of the most famous logos we see each and every day, I never knew they were his designs. Another reason why Paul Rand`s is intriguing to me personally is his techniques and approaches in how he creates his works. Rand was a take it or leave it type of guy. He showed his best designs
One is illustrated by the aesthetic differences between two typefaces that are included in most computers: Arial and Helvetica. Arial’s ubiquity is not due to its beauty. In fact, it is more than a copy of Helvetica (). Mark Simonson, an American graphic designer, produced an analysis of the two, which shows how much more refined Helvetica’s detailing is than Arial’s. The tail of the ‘a’ is gently curved in Helvetica, as is the first connection of the bowl to the stem, but not in Arial. Similarly, the top of the ‘t’ and the ends of the strokes in the ‘C’ and ‘S’ are perfectly horizontal in the former, but slightly angled in the latter. He also noted that the stem of Helvetica is more complex in the structure than those in Arial. The distinguishing details are so tiny that you can only see them if you scrutinize magnified versions of each character as Simonson did. Only a handful of the millions of people who use either typeface will ever look closely enough to notice them. Yet it is these subtleties that constitute Helvetica a finer example of design than Arial for professionals. Functionally the two fonts are roughly equal, as both are admirable clear and easy to read, but aesthetically Helvetica is superior and considered to be Super
This paper will argue that the industrial revolution allowed for the proliferation of fonts in the 19th century for two main reasons. First, there was an unprecedented need for new and eye-catching lettering to grab the attention of consumers a new variety of choices on the market. Secondly, the creation of new fonts was more affordable than ever due to the advancements in technology during the industrial revolution.
Graphic designer and typographer Stefan Sagmeister has always had a unique way of viewing the world, therefore has created designs that are both inventive and controversial. He is an Austrian designer, who works in New York but draws his design inspiration while traveling all over the world. While a sense of humor consistently appears in his designs as a frequent motif, Sagmeister is nonetheless very serious about his work. He has created projects in the most diverse and extreme of ways as a form of expression. This report will analyse three of Stefan’s most influential designs, including the motives and messages behind each piece.
Born in Haag, Austria, in 1900, Herbert Bayer grew up in the period of the fast changing environment and technologically revolutionary years. After serving in the Austrian Army, he started studying architecture under Professor Schmidthammer in Linz, but in 1921, he enrolled as a student at the Bauhaus in Weimar, where he studied mural painting with Wassily Kandinsky. Bayer was later appointed by Walter Gropius to head the first printing and advertising workshop in Dessau. “Under Bayer’s charge, the newly installed workshop developed into a professional studio for graphic design and commercial art. The study of the communicative potential of letterforms and typographic layout was part of a basic curriculum in the mechanics of visual education. Such innovations as the elimination of capital letters, and the replacement of the archaic Gothic alphabet used in German printing by a modern “cosmopolitan” font, and the concept of composition based on strong geometrical elements and expressive values of colors, testify to a move away from individually handcrafted and traditionally shaped goods towards objects meeting functional requirements suitabl...
At the beginning of the nineteenth century, political discomfort had spread over France, and posters became the dominant aspect of visual philosophy in Paris. (MiR appraisal Inc. (2011) Father of the modern poster: Jules Cheret) Posters were an expression of economic, social and cultural life, competing for entertainment audiences and goods consumers (Jeremy Howard (1996), Art Nouveau: The myth, the modern and the national, Manchester University press, The Art poster From Graphic art to design 1890 to 1914). Furthermore, poster design was an outlet for the innovative energies of gifted artists (David Raizman (2003), History of Modern design, Art Nouveau and Cheret, Lawrence King, London, P.56). This was apparent because of the progression and transformation of technology, such as colour lithography.
Technology and social change have long been vital in the evolution of graphic design and its importance in the society. In particular was the Industrial Revolution between 1760 and 1840, which brought about the transformation from agrarian to industrialized societies across Europe and America. Mass production was made possible by new technologies; availability and variety of goods increased and cost of manufacturing decreased, accompanied by the higher standard of living for many people. A consequence of mass production on graphic design was that it led to the demise of the unity between design and production. Craftsmen were replaced by modern technologies, sacrificing artistry for speed and cheaper production.
Many do not consider where images they see daily come from. A person can see thousands of different designs in their daily lives; these designs vary on where they are placed. A design on a shirt, an image on a billboard, or even the cover of a magazine all share something in common with one another. These items all had once been on the computer screen or on a piece of paper, designed by an artist known as a graphic designer. Graphic design is a steadily growing occupation in this day as the media has a need for original and creative designs on things like packaging or the covers of magazines. This occupation has grown over the years but still shares the basic components it once started with. Despite these tremendous amounts of growth,
Strunk, William and White, E.B. The Elements of Style: Fourth Edition Boston: Allyn & Bacon, 2000, 1979.
There were two main art schools in Switzerland that produced artist who would establish Swiss design style. These two schools were he Zurich School of Arts and Krafts and the Basel School of Design. Armin Hofmann taught at the Basel School of Design in 1947. As a designer, Hofmann liked visuals that were simple and structured. A lot of his work can fit into grids and his typography of choice is almost any sans-serif font. Hofmann’s main forms of print work are posters as visual communication. Colors used in his posters are monochromatic meaning, black, white, or gray. Geometric shapes and abstract visual forms are two other stylistic techniques that Hofmann used. Typography is a huge part of graphic design and Hofmann can be largely credited with the creation of new typography styles. The International Typography style is what Hofmann’s work is considered to be part of; Sans-serif fonts were his choice typography style and specifically the Helvetica font style came out of the Swiss art movement. Hofmann’s Basel Theatre Poster created in 1959 is a piece of work that really captures the Swiss or International Typography style. It is black and white in color and only uses san serif fonts. All elements are laid out organized in a grid form. There is a photograph used in this poster and it is designed to be abstract to the viewer, lacking visual detail and only simple forms and shapes. Another famous poster of Hofmann’s
...an, K. S. (2000) How Packaging Shapes Brand Identities, Boxboard Containers International. (pp. 18, 19)