-The Influence of Modern Art -Pictorial Modernism Graphic design in the first half of the twentieth century -A New Language of form -The Bauhaus &The New Typography -The Modern Movement in America

1. The Influence of Modern Art

2. The Influence of Modern Art
• The first decades of the 20th were a time of social, political
and culture upheaval.
• The visual art and design series of creative revolutions
that questioned long-held vales, as well as the role of art
and design in society.
• form, color, and space, subject all focused around social
protest and deeply personal emotional states.
• Cubism, Dada, surrealism, De Stijl, constructivism and
expressionism all directly influenced the language and
form of visual communications in graphic design.

3. Cubism
Analytical cubism:
• Between (1910-1912).
• Practiced by Picasso and Braque, the analyzed the
planes of the subject matter, often from several points
of view to construct a painting composed of rhythmic
geometric planes.
• Simple, dark colours, overlapping layers,
monochromatic colours.
• The real subject is shapes, colours, textures and
values.

4. Synthetic cubism
• Between (1912-1920)
• Energetic, brighter colours, textures.
• Use coloured paper, newspapers.

5. Cubism
• Elements of ancient Iberian and African tribal art,
sculpture, geometric planes, fabric and masks
influenced the Cubist artists.

6. Cubism
pablo picasso
• most notable of the cubist artist.
• painter, sculptor, printmaker,
ceramicist and stage designer.
• Figures abstracted into geometric
planes and classical norms for the
human face are broken.

7. Cubism
Georges Braque
• a close associate of Picasso, Braque contributed
much to the cubist movement.
• used the styles of Impressionism, introduced
paper collage into the artists work, creating
texture and adding text that enhanced the visual
form and reinforce the meaning or message of
artwork.

8. Cubism
Fernand Léger
• born on February 4, 1881, in Argentan,
France.
• took the geometric design aesthetic of the
cubists a step farther by abstracting forms
even more and assembling compositions of
brightly colored geometric planes

9. Futurism Movement
• Italian poet, Filippo Marinetti.
• A revolutionary movement to test their ideas
and forms against the new realities of
scientific and industrial society.

10. Futurism Artist:
• Futurism launched by the Italian
poet.
• Produced explosive and emotionally
charged poetry that defied correct
syntax grammar.
• Noise and speed, two dominant
condition were expressed in futurist
poetry.
Filippo Marinetti

11. Fernand Léger
• 1919
• Whirlwind tour of re-
creation of earth after the
fall of man is illustrated
by a pinwheel of lettering
spelling.
Artwork

12. Dada movement
• Claimed to be anti-art and had a strong
negative and destructive element.
• Artists and writers were concerned with
shock, protest, and nonsense.

13. Hugo Ball
• (1886-1927) opened the
Cabaret Voltaire in Zurich,
Switzerland.
• Poet who wrote karawane,
dada poem in 1917.
DADA

14. John Heartfield
• Born on June 19, in 1891, Berlin,
Germany.
• German designer adopted this
english name against German
militarism
• Founding member of Dadaist
movement.
• Used harsh photomontages to
create posters.
DADA

15. Artwork:
Adolf the Superman

16. Political Art Poster Appeared
• It was a 1931 AIZ cover, a
1932 poster.
• Dove symbol of peace.

17. Cover for AIZ, a cerman news magazine,
1921-1933

18. Kurt Schwitters
• Born: June 20, 1887, Hanover, Germany.
• Greated a nonpolitical offshoot of Dada that
he named Merz.
• From 1923 on he worked as a commercial
artist.
• Kurt Schwitters died in Ambleside
(Westmorland) on 8 January 1948.

19. An Anna Blume
• 1919.
• Originally published in
Herwarth Walden's Der
Sturm magazine.
Artwork

20. Surrealism Movement
• Paris 1924
• Poet Andre , founder of Surrealism.
• Apollinaire had used the expression "surreal
drama" in reviewing a play in 1977.

21. André Breton
• born on February 18, 1896, in
Tinchebray, France.
• founder of the Surrealist movement.

22. Salvadore Dali
Surrealism Artsit:
• Born: May 11, 1904, Figueres,
Spain
• Most associated with the
surrealist movement.
• Known for his weird and
outlandish subject matter
• Influenced by the Renaissance
masters.

23. The Persistence of Memory 1931
• 1931
• one of his most recognizable
works.
• Described, “hand painted
dream photographs.”
• The persistence of Memory
is Dali’s interpretation of
Einstein’s theory that time is
relative.

24. Soft Construction with Boiled Beans
(Premonition of Civil War)
• Painted 1936.
• represent the horrors of
the Spanish Civil War.

25. Max Ernst
• Born: April 2, 1891, Brühl,
Germany.
• Use photography and
illustration in his art.
• Create strange
juxtapositions of image.
Surrealism Artsit:

26. Ubu Imperator
Painted 1923

27. Expressionism
• The tendency to depict not objective reality
but subjective emotions and personal
responses to subjects and events.
• Emerging as an organized movement in
Germany before world War I.
• Woodcuts, lithographs, and posters were
important media for many expressionists.

28. Line and color were often pronounced: color and
value contrasts were intensified. Tactile
properties were achieved through thick paint,
loose brushworrk, and bold contour drawing.

29. Pictorial Modernism

30. • If the European poster of the twentieth century was in many ways a continuation
of the 1890s poster, its course was nevertheless strongly affected in the second
decade of the century by new modern-art movements and the communications
needs a world war.
• Influenced by cubism and constructivism.
• Cognizant of the need to maintained a pictorial reference if their posters were to
communicate persuasively with the general public.
Overview

31. • Flat-colour design school that emerged in Germany early in the twentieth
century is called Plakatstil (Poster Style).
• 1898 – fifteen-year old Lucian Bernhard (1883-1972) attended the Munich
Glaspalast Exhibition of Interior Decoration and was overwhelmed by
what he saw.
• Bernhard – A privotal designer. His work might be considered the logical
conclusion of the turn-of-the-century poster movement.
• Walls, ceilings, and even furniture traded drabness for a wonder land of
brilliant color.
Plakatstil

32. • A German graphic designer, type designer,
professor, interior designer, and artist
during the first half of the twentieth
century.
- He was born in Stuttgart, Germany,
on March 15, 1883, as Emil Kahn to a
Jewish family, but changed his name
to his more commonly known as
pseudonym in 1905.
Lucian Bernhard

33. • His first name is often spelled Lucien.

34. • German graphic designer, lithographer and
commercial artist known for his contribution to
the Sachplakat movement created by Lucian
Bernhard.
• Work at the prestigious Hollerbaum und Schmidt
art of printing company along with Edmund Edel,
Hans Lindenstadt, Julius Klinger, Julius Gipkens,
Paul Scheurich and Karl Schulpig make him one of
the most important representatives of German
poster art between 1906 and 1918.
Hans Rudi Erdt (1883-1918)

35. • He has also been recognized for his innovative
use of typography in posters.

36. • An Austrian Painter, draftsman, illustrator,
commercial graphic artist, typographer and
writer.
• Studied at the Technologisches
Gewerbemuseum. In Vienna.
Julius Klinger

37. • Born in Dornbach near Vienna.
• 1895 – His first employment with the Vienna
fashion magazine Wiener Mode. He made
acquaintance with Koloman Moser, who later
would be his teacher: Moser recommended
him to the Meggendorfer-Blatter.
• 1896 – He saw him moving to Munich where
he worked as an illustrator for the
Meggendorfer-Blatter and others.
Artwork

38. • 1897 to 1902 – He was a collaborator to the
eponymous Jugendstill magazine Die Jugend.

39. • Switzerland – a land with three principal languages, poster
designs was affected by German, French, and Italian cultures.
• 1908 – poster of Zermatt, Emil Cardinaux (1877-1936) created
the first Sach plakat Swiss poster, sharing many characteristics
with the Plakatstil in Germany.
• Even after modern production procedures
such as offset printing began to be used in
most poster production, traditional
lithographic crafts were retained in what was
known as Basel realism.
Switzerland and the Sach
Plakat

40. • Born in November 11, 1877 in Bern.
• Died in the same city on October 2, 1936, is a Swiss painter, specializing in
the advertising.
• Although he was born in Bern, along with his family, the village of Vaud
Palezieux.
• After completing his studies in his hometown, he moved to Munich in
1898 where he became a student at the academy.
• He then travelled in several European countries with frequent returns to
his homeland, before settling permanently in Bern in 1911.
Emil Cardinaux

41. • In the early twentieth century, he created his
first poster “modern” representing the
Matterhorn and specializes in creating
advertising posters or political.

42. • His first teacher in Basel was Burkard Mangold
who heavily influenced his style.
• He learnt at the Kunstgewerbeschule in Basel and
created his first Object Poster in 1922.
• Studied the modern graphic style in Munich and
became heavily influenced by Ludwig Hohlwein
or the Purist style of the great Swiss architect and
designer Le Corbusier.
• He had a passion to design project posters in
airbrush technique and printed in lithographic
technique.
Niklaus Stoecklin (1896-
1982)

43. • Desired to express the perfection of the
Machine Age through a precise visual
language, his knowledge of the airbrush
technique – which at that time was a
substitute for the up and coming photographic
style for advertising consumer goods in the
‘30s and ‘40s.

44. • Ludwig Hohlwein (1874-1949) – a leading Plakatstil designer, began his
career as a graphic illustrator with work commissioned by Jugend
magazine as early as 1904.
• First half of the century – Hohlwein’s graphic art evolved with changing
social conditions.
• The Beggarstaffs were his initial inspiration, and in the years before World
War 1 Hohlwein took great delight in reducing his images to flat shapes.
• Hohlwein applied a rich range of texture and decorative pattern to his
image.
The maverick from Munich

45. • In the posters that he designed during World
War 1, Hohlwein began to combine his simple,
powerful shapes with more naturallistic
imagery.

46. • Born in 27 July 1874 in Wiesbaden and died in 15 September 1949 in
Berchtesgaden.
• He was a German poster artist.
• He was trained and practiced as an architect until 1906, when he switch to
poster design.
• His adaptations of photographic images was based on a deep and intuitive
understanding of his graphical principles.
• His creative use of colour and architectural compositions dispels any
suggestions that he uses photos as a substitute for creative design.
Lugwig Hohlwein

47. • Most drastically important phase was before the World War 2 in the years 1912-
1925.
• A large variety of his best posters dates of the period.
• Developed his own distinct style with sharply defined form, bright colours and a
good portion by humour.
• 1925 – Already designed 3000 different advertisements.
Artwork

48. A New Language of form

49. Russian supremation and
constructivism
• Russian artists were using cubism and
futurism influences in their designs.
• Rejected the idea of “art for art’s sake”
• WW1 were subject of much artwork.

50. Suprematism
• Artwork consisted of basic forms, pure colours.
• Founded by Kasimir Malevich (1878–1935).
Constructivism
based on industrial design, visual
communications and serving the communist
society.

51. El Lissitzky
• November 23, 1890
• best portrayed the
constructivist ideal.
• photomontage,
printmaking, graphic
design, and painting.

52. Beat the whites with the Red Wedge
• Painted 1919.
• Space is dynamically
divided into white and
black areas.
Artwork

53. BOOK COVER DESIGN
El Lissitzky
• Exhibition poster,
1929
• Stark, powerful,
showing equal
positioning of female
and male faces.

54. Kasimir Malevich
• Russian painter and art
theoretician.
• Painting style of basic forms and
pure color , called “suprematis”.
• Created an elemental geometric
abstraction .

55. suprematist composition
• In 1915
• construction of concrete
element of colour and
shape.
Artwork

56. Alexander Rodchenko
• Russian artist,
Experimented with
typography, photography
and montage.
• Known for his photography
and use of heavy sans serif
hand-drawing lettering.

57. constructivist poster style
• Used a variety of material,
like wood, nylon, tin etc. to
glue together .
• Layout had diagonal force
with typography.

58. De Stijl
• an Influential movement in art, architecture, and
design founded in 1917 in the Netherlands.
• its name from a magazine
• Sought universal laws of balance and harmony.
• reduced elements to primary colours and
eliminated curved or diagonal lines.

59. Piet Mondrian
• Born: March 7,
1872, Amersfoort, Netherlands
• Eliminated all representational
elements and moved toward a
pure.

60. Theo Van Doesburg
• Born: August 30, 1883,
Utrecht, Netherlands
• Founder of the De Stijl
movement.
• Like modrian reduced visual
imagery to basic shapes and
colors.

61. • In 1922
• Type is asymmetrically
balanced.
• De Stijl is combined with
the letter N and B.
Cover for De Stijl

62. bart van der leck
• Born: November 26, 1876, Utrecht,
Netherlands.
• painter, designer, and ceramacist.

63. Exhibition poster
• Shown an open composition
of visual horizontal and
implied vertical lines.
• Primary colours.

64. Henryk Berlwei
• Born: October 20, 1894, Warsaw,
Poland.
• Putos Chocolates brochure, 1925.
• Copywiter aleksander wat colsely
collaborated with Berlewi to
integrate text and form.

65. The Bauhaus
&
The New Typography
Chapter 16

66. • BAUHAUS is a movement
• Walter Gropius, a German architect was named the
director of a new design school ultimately named the
Bauhaus on April 12, 1919.
• Purpose is to unite art and technology to form a new
world order.
• Gropius sought a new unity of art and technology by
collaborating with a generation of artists with a similar
philosophy.
• First exhibition in 1923 -
"art and technology:a New Unity!"

67. • After World War 1, yet Germany gov
disliked Bauhaus.
• Change in politics and financial
pressure , school force closing in 1925
• School shifted to Dessau & funds provided
to build new a new school, and force to
close again and moved to berlin and
force to close again by nazi. Last the
bauhaus school moved to Chicago until
now.

68. • Bauhaus principles:
• FORM FOLLOWS FUNCTION
• ORNAMENT IS A CRIME
• LESS IS MORE
• UNITY OF THE ARTS & CRAFTS
• DESIGN FOR THE FUTURE

69. Joost Schmidt 1923

70. Swinging , 1925, Oil on board
Wassily Kandinsky
(Russian, 1866-1944)
- Pioneer of pure abstraction
- experiments seeking out the expressivity of
the basic shape, line, colour, patterns
composition, rhythm

71. Funkturm (radio tower)
Berlin, 1926
Laszlo Moholy-Nagy (Hungarian, 1895-1946)
-Use of new technology
-Experimenting with the possibilities of ne
technology, i.e can photography create
abstractions ?

72. ‘Everyone is equal before the
machine.
I can use it, so can you.’
Laci and Lucia, 1925

73. Hands and Paintbrush 1926

74. Marcel Breuer
(American, born
Hungary, 1902–
1981)
"Wassily" chair, 1925 Nesting Tables
(model B9). 1925-26

75. Bauhaus journal (1928)
Herbert Bayer (Austrian, 1900-
1985)
Herbert Bayer turned into a teacher at the Bauhaus in
the typography and visual communication offices

76. Sans-serif fonts were used nearly exclusively by Bayer
1925 experimental universal typeface

77. Bayer also designed a font named
after the school, Bauhaus.

78. Jan Tschichold
he was a solid pioneer in the "new
typography," He argue that type should be set
in motion rather than “at rest” on a horizontal
plane.

79. The essence of the new typography was clarity, not
just beauty; its objective was to develop form from
the functions of the text.

80. The Modern
Movement
in America
Chapter 17

81. • Modern European design did not turn
into a critical impact until well into the
1930s.
• American typographers after Jan
Tschichold’s Typography insert
recognizing the functionality of his new
ideas.
• Futura and Kabel

82. untitled, 1936
Walker Evans
Atlanta
photograph
contrasting decaying
homes and
Depression-era movie
posters documents a
chasm between
reality and graphic
fantasy

83. Lester Beall
Rural Electrification
Administration, c. 1937
advantages of power
were introduced through
signs reasonable to
uneducated and
semiliterate audiences.

84. Rural Electrification
Administration, c. 1937

86. Lester Beall grabbed onto tschichold
ideas and made its way to America, many designer start to do that also.
Tschichold's new typography
and joined it with the Dadaism

87. Joseph Binder
New York
World’s Fair, 1939
America’s embrace of
modernism, technology,
and global power
Austrian-born designer whose
impact penetrated Europe and
the United States.

88. recruiting poster for the
U. S. Navy, c. 1954

89. dvertisement for CCA,1943
Herbert Matter

90. Herbert Matter

91. Herbert Matter
Photographed many of
the layouts for the
Knoll Furniture
company in the 1950s
Alexey Brodovitch
white space
with crisp type on clear
open pages.
Director of Harper’s
Bazaar from 1934-1958

92. Alexey Brodovitch
Russian designer who immigrated to Paris
after WWI

93. cover for Portfolio,
1951
screen tints deliver the
dream that translucent
rectangles of adre'd
blue-dim have been
put on the stencil
logo slicing down the
back cover

94. A large portion immigrants who brought European outline
ideas to
the United States equipped with ability, thoughts and a
solid faith in
plan as a significant human action that could add to the
change of human correspondence and the human
condition.
The American exprience was significantly improved by their
nearness.
• Lester Beall
• Erté
• Alexey Brodovitch
• Herbert Bayer
• Herbert Matter
• Richard Avedon
• Irving Penn

95. Intel
• the computer chip maker.
• called the new version of its Pentium
processor
• launched in May 1997 the Pentium II.
design samples

96. CLOCKING THE FOURS
• This classic clock face shows the
attraction of this theory. With the
thick descending strokes and thin
ascenders used in this 19th century
French enamel face, the IIII and the
VIII do balance each other well. But
there are problems with this
explanation. Although the IIII
balances the VIII, the V does not
balance the VII, nor the I the XI.

97. cases for the copyright date
• films, television programmes, and videos.
• example MCMLXXXVI
• BBC site, MMV.

98. THANK YOU