History of Graphic Design

The History of Graphic Design / Paul Shaw School of Visual Arts AHD 2127G Spring 2015

There is one research project (term paper) for the class. It will emphasize research, writing and analytical ability.

Compare and contrast the design(s) of one of the paired sets of items (magazines, corporate identities, packaging, etc.) on the attached list. Identify the designers responsible for the work and when it was created. Then look for what the items have in common or in opposition. Discuss not only the aesthetic aspect of the designs, but also the intended audiences and, if relevant, the thinking involved. Design your paper as a booklet that is readable as well as aesthetically pleasing.

RequIRemenTS • text should be a minimum of 1500 words in length. • you must include a minimum of ten (10) images. • you must use at least two print sources (excluding the meggs/Purvis textbook). • booklet should be 8.5x11 inches (either vertical or horizontal) in size. It should be comprised of folded signatures and either sewn or staple bound. There is no limit on the number of pages but it must be a multiple of four. • include a separate cover sheet with your name, email address, telephone number, course title and course number, and title of your project.

The images should not be pixelated and, when appropriate, they should be in color. They must be large enough to adequately see whatever characteristics are relevant to your analysis. All images should be labeled with the name of the designer, a title or description, client (if applicable) and a date of production.

You may use the Internet and the meggs/Purvis textbook, but you must also include at least two other sources taken from books or periodicals. Your Internet sources should be identified by name, website address, section of the site and the date you visited it. Your print sources should include complete title (of articles and journal/magazines as well as books), author(s), and publishing information (location, publisher, date).

Sources for information, as well as any direct quotations in the paper, must be cited. You do not have to use footnotes, but may instead put a shortened reference to the source (eg. meggs in place of A History of Graphic Design by Philip B. meggs) at the relevant point in the text. The form you choose may depend on the design of your project. If you are using specific words from a source you must put them in quotation marks. Otherwise, I will assume you are engaging in plagiarism and will assign an F to your project.

ReSeaRcH PRojecT

The project will be graded in three stages (for a total of 250 pts.). Topic / Due january 27 A single sentence is sufficient. 10 pts.

Synopsis / Due February 17 This is a one page summary of what you have discovered about your topic with a list of the sources you have consulted at that time. 25 pts.

Draft (Dummy) / Due april 7 This is a partial version of your project—draft of the text plus dummy of your booklet design—to show the progress you have made. 50 pts.

Final / Due april 28 This is the completed project with all images and sources; and fully designed. 165 pts. Presentation and execution 10 pts. Organization 10 pts. Writing 20 pts. Facts 30 pts. Analysis 30 pts. Images 20 pts. Sources 15 pts. Design 30 pts.

You will be penalized 10 pts. for each stage of the project that is late.

GRaDinG anD ScHeDule

Magazines Fortune (1929–1941) vs. Vanity Fair (1913–1936) Life (1936–1972) vs. Harper’s Bazaar (1934–1958) Portfolio (1949–1951) vs. Flair (1950–1951) u&lc (1974–1987) vs. emigre (1988–2001; nos. 10–60) Rolling Stone (1987–2001) vs. Raygun (1992–1995) The new Yorker (1925–1972) vs. WigWag (1988–1991) or new York (1968–1976) The Fleuron (1923–1930) vs. Typographica (1960–1967; new series) Life (1905–1927) vs. Spy (1986–1990) Westvaco Inspirations (1939–1962) vs. Push Pin Graphic (1955–1975) Ver Sacrum (1898–1903) vs. Jugend (1896–1914) die neue linie (1929–1943) vs. Twen (1959–1970) Avant Garde (1968–1971) vs. Wet (1976–1981) The Yellow Book (1894–1897) vs. The Chap-Book (1894–1898) Oz (1963–1973) vs. east Village Other (1965–1972) Dada (1917-1921) vs. AIZ (1930–1938) Dot Zero (1966–1968) vs. Octavo (1986–1990) Wendingen (1918–1932) vs. Casabella (1933–1953) esquire (1962–1972) vs. Colors (1991–1995)

album covers Clef/norgran/Verve Records (1950-1959) v. Blue note Records (1951–1967) Riverside Records (1954–1962) vs. eCm Records (1969–1999) Columbia Records (1940–1971 jazz) vs. Columbia Records (1962–1984 rock) Factory Records (1978–1992) vs. Sub Pop Records (1986–1996) Beatles album covers (1963–1970) vs. Rolling Stones album covers (1964–1972) 4AD Records (1980–1992) vs. Def Jam Records (1984–1998) madonna album covers (1984–2007) vs. Lady Gaga album covers (2008–2014) Pink Floyd album covers (1967–1986) vs. Led Zeppelin album covers (1969–1976) Jefferson Airplane album covers (1966–1969) vs. The Doors album covers (1967–1971) Folkways Records (1948–1986) vs. nonesuch Records (1985–1997)

Posters Jan Tschichold for Phoebus Palast cinema (1927–1928) vs. Josef müller-Brockmann for Zurich Tonhalle concerts (1950–1975) Ludwig Hohlwein World War I posters (1914–1918) vs. Abram Games World War II posters (1940–1945) Vienna Secession exhibition posters (1898–1905) vs. Wim Crouwel for the Stedelijk Van Ab- bemuseum (eindhoven) (1956–1962) niklaus Troxler for the Willisau Jazz Festival (1975–2009) vs. Paula Scher for the Public Theatre (1994–2014) Cassandre posters for railway companies vs. e. mcKnight Kauffer for the London under- ground (1920–1932) Yusaku Kamekura posters for the 1964 Tokyo Olympics vs. Otl Aicher posters for the 1972 munich Olympics e. mcKnight Kauffer posters for American Airlines (1947–1953) vs. Chermayeff & Geismar posters for Pan Am Airlines (1971–1972) or vs. Dan Reisinger posters for el Al Israel Airlines (1970s) milton Glaser for the Visual Arts Gallery (1960s) vs. Gunter Rambow for S. Fischer Verlag (1970s) PKZ clothing posters (1908–1938) vs. Lucian Bernhard for manoli (1910–1923) Posters for the Soviet Five-Year Plans (1928–1941) vs. Lester Beall for Rural electrification Administration (1937–1941) Franco Grignani posters for Alfieri & Lacroix (1958–1970) vs. Rosmarie Tissi posters for Anton Schob Printers (early 1980s)

SuGGeSTeD ToPicS

Book jackets Alvin Lustig for new Directions (1947–1954) vs. Paul Rand for Knopf / Vintage (1956– 1962) George Salter for Knopf (1959–1967) vs. michael Harvey for The Bodley Head Germano Facetti for Penguin Classics (1960–1973) vs. milton Glaser for Signet Classics (1967) Paul Rand for the Bollingen Foundation (Pantheon) (1956–1964) vs. Louise Fili for Pan- theon folktales series (1987–1989) Rudolph de Harak for mcGraw-Hill (1960s) vs. Jacqueline Casey for mIT Press (1960s) Berthold Wolpe for Faber & Faber (1941–1975) vs. elaine Lustig Cohen for meridian Books (1955–1961)

Packaging Camel cigarettes vs. Gitanes cigarettes

corporate identity and logos AeG (Allgemeine elektricitäts-Gesellschaft) by Peter Behrens vs. new York edison by Fred G. Cooper Coca Cola vs. Pepsi-Cola nKF (nederlandse Kabel-Fabriek) vs. CCA (Container Corporation of America) IBm vs. Apple Knoll vs. Herman miller

Typefaces sans serif morris Fuller Benton (Alternate Gothic, Franklin Gothic, news Gothic, Lighthtline Gothic, monotone Gothic) vs. Adrian Frutiger (univers, Frutiger, Vectora, Avenir)

Aldo novarese (Recta, eurostile, microgramma, ITC mixage) vs. erik Spiekermann (Berliner Grotesk, ITC Officina Sans, FF meta, FF unit, FF Info)

serif Frederic W. Goudy (Kennerley, Forum, Hadriano, Goudy Oldstyle, Deepdene, Californian) vs. Jan van Krimpen (Lutetia, Romulus, Romanée, Haarlemmer, Spectrum)

Hermann Zapf (Palatino, michelangelo, Sistina, Aldus, Hunt Roman, Comenius, marconi, ITC Zapf International, ITC Zapf Book) vs. Robert Slimbach (Adobe Garamond, minion, Adobe Jenson, Kepler, Warnock, Brioso, Arno)

Aldo novarese (Augustea, egizio, ITC Fenice, ITC novarese, ITC Symbol) vs. ed Benguiat (ITC Tiffany, ITC Souvenir, ITC Benguiat, ITC Barcelona)

Gerard unger (Demos, Argo, Hollander, Swift, Capitolium) vs. matthew Carter (ITC Gal- liard, mantinia, Charter, miller, Big Caslon, Big Figgins, Big moore)

advertising T.m. Cleland for General motors (Cadillac) (1927–1928) vs. Doyle Dane Bernbach for Volk- swagen (1960–1972) Cassandre for Dubonnet (1932–1935) vs. Paul Rand for Dubonnet (1943–1954) Paul Rand for Coronet Brandy (1945–1948) vs. Charles Loupot for St. Raphael (1936– 1959) Herbert matter for Knoll (1946–1966) vs. memphis milano furniture (1981–1987) neville Brody for nike (1988)

Books The Gutenberg Bible (1455) vs. The Doves Press Bible (1903–1905) The elements of euclid (1847) by Oliver Byrne vs. Junior High School mathematics (1917– 1918) by T.m. Cleland Alice’s Adventures in Wonderland (1865) by John Tenniel vs. The Circus of Dr. Lao (1982) by Claire van Vliet The Kelmscott Chaucer (1896) vs.moby Dick (1931) by Rockwell Kent un Coup de Des (1897/1914) by Stéphane mallarmé vs. For the Voice (1923) by Vladimir mayakovsky and el Lissitzky The Time machine (1930) by W.A. Dwiggins The Four Gospels (1931) by eric Gill vs. moby Dick (1979) by Barry moser The World Geographic Atlas (1953) by Herbert Bayer vs. The Whole earth Catalog (1968) by Stewart Brand Schiff nach europa (1957) by markus Kutter vs. The medium Is the massage (1967) by marshall mcLuhan and quentin Fiore The Bald Soprano (1964) by massin vs. French Fries (1984) by Warren Lehrer The Telephone Book (1989) by Richard eckersley vs. I Want to Spend the Rest of my Life, everywhere, with everyone, One to One, Always, Forever (2003) by Jonathan Barnbrook