Essay Referral

Jan Tschichold was a modernist typographer as well as a teacher and writer during the twentieth century. Jan Tschichold developed a new way to solve the daily difficulties in design. He did this by making it easier for printers, typesetters and designers to understand. Most of his new designs he created took place at the Bauhaus School and became contemporary designs. He created his book ‘Die Neue Typographie’ by incorporating “the new design concept of the Bauhaus and the Russian constructivists. (Fig 16-25)

”Die Neue Typographie”

His interest in traditional graphical concepts, calligraphy and different methods of creative design quickly lead him to practice ‘the new typographic style’. One of his designs was called “Elementaire Typographie”. The aim of his issue was to create a new approach in typography away from “Medieval textura and symmetrical layout”. Tschicholds designs aimed at sending a message towards his audience without the use of decorative conventions, grids or layouts, instead he used “flush to the left margin, with uneven lengths”. The new typography consisted of different range types such as the in the font sans serif. This wide variety of typography gave designers the ability to create modern images. Tschichold believed in the simplicity of design and wanted this new typography to be clear rather than beautiful. He aimed to create his designs by the use of text. Books, job printing and advertisements began to use this new typographic style. Jan Tschichold’s innovation allowed typography to create expression and visual communication by its clear and simple means. He also revived ‘classical typography’ and by doing so brought life to book design. His new typography innovation left a memorable impact on graphic design. 

“Elementaire Typographie” – Jan Tschichold

Another graphic designer who has a great influence in the world of graphic design is Paul Rand.

Rand began his studies in New York at Pratt Institute. He became famous after he designed his corporate logo designs including IBM, UPS, NEXT and Enron. He used his knowledge and what he learnt through modernism and mastered it in modern design. His work on corporate logos, style and creativity changed rules of graphic design. His design are kept simple and the message is easily conveyed. The main characteristic of his works was corporate design & brand identity. To Rand a logo was of more importance than a painting as it is seen and noticed by many people everywhere. Just like Jan Tschichold, Rand’s works also consisted of clarity and simplicity making use of little text, only using sans serif font and letting the minimal text be the visual. He drew attention from his audience with his use of collages, photography and original typefaces. Unlike Jan Tschichold who makes use of black and white as mentioned above, Rands book designs consist of colour aswell as shapes and images. Paul Rands logos and trademarks are still in use and seen everywhere today such as ABC, Westing House, NEXT, IBM, UPS and many more.

Paul Rand Corporate Logos

References

Paul Rand - iconofgraphics.com. 2014. Paul Rand - iconofgraphics.com. [ONLINE] Available at: <http://www.iconofgraphics.com/Paul-Rand/.>.

Jan Tschichold & The New Typography – inkling.com – Megg’s History of Graphic Design. [ONLINE] Available at: https://www.inkling.com/read/history-of-graphic-design-philip-meggs-5th/chapter-16/jan-tschichold-and-the-new. > [Accessed 10th March 2014]

Paula Scher

Paula Scher began working as a designer and art director in the music industry. In 1984 Paula Scher and Terry Koppel her business partner started an advertising firm Koppel & Scher design. Together they wrote a typographical book called Great Beginnings which showed how type can be used in an 'emotive and energetic way'.
Swatch was on of their famous design. Paula Scher was insipired by the posters of Herbert Matter - Swiss designer. His photography portrayed originality and creativity in the 1950's. These iconic pieces of design were re-edited by Koppel & Scher and became the famous Swatch Print ad. Hoever this became a debate as to if a designer could edit someone else's work and till today people still question this contraversy. 1991 saw some hard times for Koppel & Scher and they decided to take seperate roads. Scher soon joined a legendary design studio in New York office of Pentagram. There she worked with Alan Fletcher another famous graphic designer who she became a partner with and still holds today.
Paula has designed posters for the Public theatre in New York since 1994. The use of vibrant typography is her trademark in design.
In 2001 she was awarded a prestigious AIGA medal which by most designers is believed to be the Oscar of the design world.

Bibliography

Anon., n.d. Design History: Paula Scher. [Online]
Available at: http://be-artsy.blogspot.com/p/paula-scher.html
[Accessed 25 December 2013].

Industrial Revolution

The Industrial Revolution began in England between 1760 and 1840. This Era saw a change in the economy and society. This change was brought about by energy which converted the agricultural society to an industrial one. Before  the steam engine the first source of energy was produced by animals and human power. By the end of the 19th century the energy increased by far due to the power of steam.
In the last 30 years of the century engines that worked with electricity and gasoline increased production. Factories were developing manufacturing new materials like iron and steel. Cities began to expand quickly and hundreds of people seeked work in factories. Politicians were no longer influenced by aristocrats but drew their attention towards capitalist manufactures, merchants and labourors.

Landowners were replaced by  capitalist who invested in machines which produced mass production thus creating a change in industry. Costs were lowered, merchandise was cheaper more available and more abundant.

Graphics soon began to play a main part in the marketing of this industry. Although many workers were employed by these factories, wages were many times miserable working hours were long and living conditions were horrendous. They often suffered shutdowns and loss of jobs due to economic panics or depressions.
Though this new industry brought along hardships with it, it saw the growth of middle class. Further more the industrial age began to influence materialism amongst people and human values were losing their priority. Hoever equality among humans empowered public education and literacy amongst the working class. Graphic communications increased in its importance. Unit costs were decreased in technology and printed production increased. This availability and demand brought about the era of the mass communication.

References:

Stearns, Peter N. (1998). The Industrial Revolution in World History. Westview Press

Lazar Lissitzky

Lazar Markovich Lissitzky was a Russian artist who was an important figure of the Russian avant-garde. Besides an artist he was also a designer, photgrapher and typographer and architect. Together with his mentor Kazimir Malevich, El Lissitzky as he was more known helped to develop suprematism. They also designed a big number of exhibition desiplays and works regarding propoganda for the Soviet Union.

Bauhuas and constructivist movements were immensly inspired by his work.
El Lissitzky liked to experiment with technique and style. By doing this he created stylitic devices that dominated graphic design in the 20th century.

When he first started painting he developed a style where he made use of abstract geometric shapes. He called these shapes 'prouns' and they were developed in a 3-dimensional space. These frequently consisted of various perspectives which contrasted with the notion of suprematist theories which emphasized the simplicity in shapes and the use of just 2D space.

In 1920 he spent time in Germany where became a cultural representative of Russia. Although he was diagnosed with pulmonary tuberculosis Lissitzky never stopped working. He continued with his mission, producing propaganda posters, books, buildings and exhibitions. Lissitzky remained head of exhibitions however unfortunately he was overcome by his tuberculosis and died in 1941.

1919 propaganda poster "Beat the Whites with the Red Wedge".

Bibliography 

Design Is History. [ONLINE] Available at: http://www.designishistory.com/1920/el-lissitzky/.

Saul Bass

Graphic designer and film maker Saul Bass was mainly well known for the film posters and title sequences he designed. Bass worked for some of the greatest film makers in Holly wood such as Alfred Hitchcock, Billy Wilder, Martin Scorsese and Otto Preminger for whom he created the title sequence "the man with the golden arm " in 1955 whcih made him famous. Bass also invented a new type of kinetic typograph and some of the most iconic logosd for corporate companies in North America such as AT 4T "bell" logo in 1969 and "globe", "jetstream" for continental Airlines and "tulip" for United Airlines.

At the end of his 40 year career James L Brookes and Martin Scorsese urged Bass to return to 'main title design'

Before he became a film make Bass was an excellent graphic designer. He was in 1920 in the Bronx, New York and as a child was very creative always drawing. He studied at the Arts Students League in New York. In Brooklyn College he was tutured by Gyorgy Kepes a hungarian designer who introduced Bass to Moholy's Bauhaus style and Russian Constructivism. He then worked as an apprentice with Manhattan design films and later became a freelance graphic designer. In 1950 he opened his own studio in Los Angeles and worked mainly  in advertising until he was asked to design a  poster by Preminger for his 1954 movie Carmen Jones. The result inpressed Preminger and this led him to ask Bass to create the film's title sequence.

Bass was elicited other commisions for titles after his success of his design Carmen Jones however it was Premingers next project "The Man with the Golden Arm" that made Bass "the doyen of the film title design".

During the next ten years he used his talent to create an animated mini movie "Around the World in 80 days" as well as a tearful eye for Premingers 1958 Bonjour Tristesse. Bass talent in design was described by Martin Scorsese as 'an emblematic image, instantly recognisable and immediately tied to the film'. Bass and his second wife Elaine created excellent titles for other directions. After directing a series of short films in 1968, 'why man creates' which were Oscar winning he went on to dirct Phase IV but when this was a flop he returned to commercial graphic design. Saul Bass was a cinema legend whom young film directors dreamed to work with.

Bass’ poster designs for The Man with the Golden Arm (1955) and Vertigo (1958)

Bibliography

Bigman, A., 2012. Saul Bass: the man who changed graphic design. [Online]
Available at: http://99designs.com/designer-blog/2012/06/12/saul-bass-graphic-designer-of-a-century/

Punk

Many teenagers that were part of the punk era were born during the psychedelic era when young generations were already expressing a way of life by living a "care free life". Originating during these radical changes punks became rebellious groups. They enjoyed listening to hard core music, wore fierce clothing and experimented with confrontational art.

Punk artists created collages which were bold, savage, brutal, relentless for several funtions such as music concerts or magazine covers etc. Art works showed images that were ripped off to create a torn effect. Typography was written by hand and words used were rebellious.

The aim behind these art works was to portray a shocking image of society and its culture thus showing their capability to shift traditional art. Dadaists were an influence on the punks. However Punks used Dadaists collages and used their collage techniques to change the images into a savagely manner.

A distinctive art work which depicts the Punks as rebels of their time was created by Jamie Reid for the album 'God Save the Queen' by the Sex Pistols.
Punk fans produced a fazine magazine which however was short lived. Titles and headlines were just written down and the style used was cut and paste. This deisgn gave the magazine an extra charm of punk rock. The product was done in black and white with the illustration of raw photographs from gigs, placed on a white background. Some text was added usually using a typewriter and stuck on as a note.
The Punk era brought along sarcastic humour and visual language which caused an aareness of a modern wave in culture.

Sex Pistols - Jamie Reid

Bibliography 

Poynor, R., 2012. The Art of Punk and Punk Aesthetics. [Online]
Available at: http://observatory.designobserver.com/feature/the-art-of-punk-and-the-punk-aesthetic/36708/

Graphics

Graphics comes from the Greek word graphikos. This production of visual statements can be seen on surfaces or walls as well as canvas, pottery, computer screens, paper, stone or landscape.
Geometric designs, signs, logos, graphs, drawings etc and everything that presents creation is comprised in graphics. It is a profession of many artistic jobs which include combining text, pictures, advertising and website. It therefore comprises the whole history of art. It dates back to earlier than 30,000 BC when hundreds of graphic designs of animals where drawn by the primitive people in the Chauvet Cave, in the south of France, as well as designs of the primitive hunters in the Bhimbetke rock shelters in India in 7,000 BC, in Australia the Aboriginal Rock Art.
The history of graphics is very long and these rock and cave paintings in various parts of the world are a living proof. A combination of this history with the history of writing are the bed rock of Graphic Art.
Graphics has benn used broadly in religious books including Bibles that were designed in monastries in Britain.
These designs generally included minute figures as well as spiralling and interloacking patterns. These designs became part of the ancient graphic tradition. Following the 6th century they were used to decorate and illuminate gospels.

Graphic designs can also be found in the Islamic holy book, the Quran. An angled alphabet called kuffi was used by these writers using golden paper and black ink to produce these designs. It was the 8th century when these writings first appeared and in the 10th century they reached their pinnacle. Years later the book was further beutified by adding decorative margins, pages and more graphic techniques. Another alphabet was later invented in the 12th century. It was called the Naskh alphabet and was made up of curves instead of angled lines.

William Morris was a producer of several graphic designs. He formed part of a group called the Pre-Raphaelites together with artists like Burne-Jones and Dante Gabriel Rossetti. Together these artists created ideas which became a great influence on modern graphic design.

Bibliography

apherelosiazzacthomu, n.d. History of Graphic Design. [Online]
Available at: http://www.timetoast.com/timelines/53704.

Modernism

Modernism arose in Western society in the beginning of the 20th centuries and the late 19th. It is known to be a philosphical movement int he arts, a movement which rejected "the certainty of Enlightment thinking'. Religious belief was also denied by many modernists. Development of contemporary industrial societies and the accelearted expansion of cities where circumstances that carved modernism.

Artists began to experiment with more articulate and striking colour, pushing aside traditional materials and introducing new techniques and mediums. They wanted their art to be more challenging and not as realistic in depicting the world. Photography was one of these inventions which introduced a modern way to represent and reinterpret the world. In the Museum of Modern Art  one can view collections of art produced after 1880. In this era 'avant-garde' artists proceeded with their art and moved it towards new and modern directions.
Modernism artists disapproved of the traditional forms of art, architecture and literature. They felt that these daily activities in life were becoming outdated in the modern world which was emergin through economy and industry.

Self-consciousness is a particular feature of Modernism. These artists experimented with the use of technique to create a painting, a poem or even a building. "Modernism explicitly rejected the ideaology of realism. They used work that was done in the past and incorporated, rewrote, revised or recapitulated it. Critics sometimes describe Modernism as a 'socially progressive trend of thought' that guarantees the potential of the human race "to create, improve and reshape", the world we live in by experimenting witht heir thoughts and innovative ideas as well as scientific knowledge and technology.

Looking at it from this point of view Modernism aroused encouragment in artists to re-examin all aspects that exist. Their aim was to find whatever was 'holding back' progress and replace it with innovative ideas to reach the same destination.



References:

Gombrich, E. H. 1958. The Story of Art. London: Phaidon.

Helvetica

The Helvetica typeface which has been around for the last fifteen years has become one of the most universal typefaces widly - used all over the world, especially due to its classic typography. Although modernism was critisized and described by many, Helvetica seemed to have endured all criticism associated with the era, and deemed itself irreplaceable. When comparing the timeless, classic typeface to other fonts, Helvetica's success seems to override all others.

Originally, Helvetica was called Neue Hass Grotesk, dating back to 1960. As this was not the most attractive name the typeface was renamed "Helvetica" which is the Latin meaning for 'Swiss'.
Max Miedinger together with Edward Hoffman were the two designers responsible for this renowned typography which began to develop and advance in 1957.
Progress on the Helvetica typeface began at the Type Foundry in Muchenstein , Switzerland where the developer aimed at creating a new vitalized design but one that was neutral with no underlying meaning in its form and most importantly a classic typeface that could widely be used on a variety of signage.

Helvetica became a worldwide sensation as it seemed to possess all the right elements necessary to revitalize peoples minds in the design industry. During this period of time advertisement was lasking clarity as a lot of the typography was extravagant and overwhelming for consumers. Due to its characteristics of simplicity and clarity, Helvetica evidently distinguished itself from all other fonts evolving into a Modernist success. Its clean form allowed it to be broody amonst a wide selection of settings. A number of designers were challenged to believe that the content of a product should speak for itself without having to be driven and enhanced greatly by the design. Helvetica typeface proved exactly this. An appropriate example is the CocaCola advert where Helvetica typeface was used in the marketing campaign in the 1950s. The message they wanted to convey was a simple one: 'Coke its the real thing'.It was a simple but srtriking message allowing the product to do the thing by using typography.
Helvetica became a design tool allowing designers to add on essential element to their work. They wanted to prove to the client's 'less is more' when it comes to logos. They believed that those who embrace this typeface can truly achieve success. It however began to lose its popularity in the 1980's when postmodern design began.

Bibliography

PERKS, M., 2007. Tracing the History of Helvetica. [Online]
Available at: http://www.spiked-online.com/newsite/article/4123#.Un_NA_mbP20
[Accessed 10 November 2013].

Piet Mondrian

Painter Piet Mondrian (1872-1944) was one of De Stijl artists who 'sought universal laws of balance and harmony'. His paintings are an influence of the movements philosophy but by 1911 Mondrian abandoned the traditional landscape and started to paint in a symbolic style which expressed the 'forces of nature'. It was fellow painter Van Gogh that influenced him to do this. This very soon made him aware of cubist paintings and in 1912 he went to live in Paris where he began to imply 'the vocabulary of cubism' in his work. In the years that followed Mondrian rid his art from all typical elements and changed cubism by implying a pure a geometric abstraction. In 1914 the war broke out and Mondrian remained where he was in Holland throughout the war.

Mondrians thinking was also influenced by M.H.J Schoenmakers a philosopher whose definition of the horizontal and the vertical are the 'two fundamental opposites shaping our world'. It was this philosopher that named red, yellow and blue the three Principal colours. Mondrian soon began to compose abstract paintings which where designed from horizontal and vertical lines. He believed that true reality in visual art 'is attained through dynamic movement in equilibrium establish through the balance of unequal but equivalent oppositions. The clarification of equilibrism through plastic art is of great importance for humanity. It is the task of art to express a clear vision of reality'.

Mondrian created a body of paintings portraying 'incomparable spiritual and formal quality'. The an symmetrical balance in his compositions brought out complete harmony.(Fig 15-41).
Like Theo Van Doesburg, Piet Mondrian shared the same abstract ideas. They both wanted to create art without meaning. However they wished to imply order. They together composed compositions inspiring one another.

In several of his paintings Mondrian applies multiple features where the usage of straight lines, bold colours, black and white, sharp edges and right angles are clearly identified marking his work.

Mondrian an Abstract Art 1977

References:

Sweet, L., 2008. Mondrian Madness: In Furniture, Shoes, Home Decor & More.. [Online] 

Available at: http://ifitshipitshere.blogspot.com/2008/08/mondrian-madness-in-furniture-shoes.html

bleasby, l. m., 2013. Piet Mondrian Theosophy - Theosophical Society - Neoplasticism. [Online] 

Available at: http://wafglobal.ning.com/group/arthistory/forum/topics/piet-mondrian-theosophy-theosophical-society-neoplasticism

De Stijl

De Stijl which means the style in Dutch began in 1917 in the Netherlands. The movement was made up of architects, designers and multiple artists many of which implied abstract ideas and thus moved away from old forms and philosophy. It consisted of some well known followers such as Piet Mondrian, Theo Van Doesburg, painter, writer and critic and Gerit Reitveld architect.
Simplicity and abstraction was what the movement sought out to propose. Their aim was to express an 'Utopian idea of harmony and order.' To obtain this the artists reduced elements and used geometric forms and primary colours.
De Stijl is also a publication which was published by Van Doesburg. The book discusses group theories and contains important and meaningful work of graphic design.
De Stijl artists made use of visual vocabulary and sought to express "the mathematical structure of the universe and the universal harmony of nature". Their wish was to express the 'general consciousness of their age.' The movement believed that the destruction of war would destroy and out date the era they lived in allowing a new era where science, technology and political development would emerge carrying with it a new age of objectivity and collectivism. Followers of De Stijl believed that beauty came out from the perfection of their purified work. They went about this by eliminating naturalistic representation, external values and subjective expression. Their work was to contain universal harmony a state they aim to spread throughout the universe. Two important influences implied by De Stijl are Cubism and Constructivism. These influences abled the movement to distinguish its style from the rest. These styles, A construction of multiple shapes, bright colours and multiple straight lines were implied in their work to create this style.
Many book covers implied these characteristics which feature graphical designs. De Stijl was a very influential movement which continues to inspire others to apply such characteristics to their work and design. One well known brand that has applied these modernistic principal to their product is Nike. Furniture brands have also applied these principals.

Bibliography

Anon., n.d. De Stijl. [Online]
Available at: http://www.allbuyart.com/art-movement-Destijl.asp

Jirousek, C., 1995. De Stijl. [Online]
Available at: http://char.txa.cornell.edu/art/decart/destijl/decstijl.htm

Psychedelia

In the 1960's an art style named Psychedelia was born. This style was distinguished through swirl designs, intense colour, abstract art, curvilinear calligraphy and use of drugs.
It was a time when Rock posters portrayed and encourages the use of certain drugs and sensory deprivation.
The psychedelic movement where influenced by fashion style, art, literature and philosophy and the way people spoke. Culture music were also effected by the development of the movement in this era.

Traditional cultural ad politics and materialism were questioned by youths. Through these changes youths were encouraged to grow ad emerge, seeking democracy in their society which freed them from discrimination.

Through these changes that occurred within the social culture and mentality became an inspiration to fashion and music industry as well as allowing artists and graphic designers to sprout and produce a unique creation of art.

Psychedelic art and design lasted a few years but its influence still remains and a new breed of artists draws in fresh exciting ways motivated by the classical work of the genre. Unlike the music psychedelic art occupied the counter culture never being welcomed by the art community of the day. John Huford a psychedelic artist in the 1960's recalls to 'It was frowned upon by the art establishment, in much the same way as freestyle graffiti was in 1980s'.
Artists that encapsulated 1960's psychedelia where Hurford, Gerald Scarfe, Alan Aldridge and Barney.

John Hurford  - Psychedelic Art

Bibliography

Meta, 2011. Psychedelic 60s. [Online]
Available at: http://visualartsdepartment.wordpress.com/psychedelic-60s/

Jan Tschchold

Jan Tschchold was a modernist typographer as well as a teacher and writer. He became well known and part of history when he showed and presented his typography book called ' Die Neue Typographie'.
Tshchold was against decorative conventions, rules for grids and layouts, spacing, proportion and composition.
By exposing himself to various methods he left many in astonishment by challenging traditional graphical concepts. He created and twisted different methods of arrangement. He became a modernist typographer and was a delight to many other artists.
By making use of his different methods and techniques it enabled others in their creative design and work such as brochures and magazine leaflets. Through theoretical discussions of typography Tschchold created styles which were applied in the design industry. After his success Tschchold began to design and illustrate several different layouts and typefaces. These designs gave him international recognition till today. A few of his work created in 1987 involve traditional typeface called Sabon.
During the emergent of the Swiss style symmetry, ornament and drawn illustration where replaced with plain sans serif typography and photographs. As printing became industrialized designers were allowed to become more experimental and produce more productive words. The New Typography is still of great importance to designers and art historians as it enables them to continue in their visual evolvement and communication throughout the twentieth century.

Bibliography

Dan, 2009. ESSENTIAL MANIFESTO: THE NEW TYPOGRAPHY, JAN TSCHICHOLD. [Online]
Available at: http://www.artintheage.com/essential-manifesto-the-new-typography-jan-tschichold/

Typography

Typography is an art performed by typesetters and typo graphics. Other professions who use this technique include compositions, graphic designers, art directors, comic book artists and graffiti artists. This technique of arranging type also arranges Type design and modifies type glyphs by using a variety of illustration techniques. Typography was considered a specialized occupation right up to t he digital age. However a new generation of visual designers and buy users emerged when digitization was founded.

A glyph is a particular mark on a written medium gives sense to what is written. A grapheme is made up of one or more glyphs. A typeface is usually made up of letters of the alphabet, numerals and punctuation marks. It was also consist of ideograms and symbols and may also include mathematical or map-making symbols.

Font is often confused with the term typeface. Before desktop publishing the two terms were more differed. A font can be a specific member of a type family such as roman, boldface, or italic type. A type face has an appearance or style from a family or related set of fonts.

Graphic designers assemble images together using typography ad motion graphics they create images and design. They also  create the graphics for published or electronic media, advertising and brochures.
They are also involved in the wed design illustration and typesetting of the job. It is of importance that once can access and be memorable.

References:

Kacee918, 2011. The Swiss Style. [Online] 
Available at: http://swissgraphicdesign.blogspot.com/2011/04/swiss-style.html

Alexander Rodchenko

Alexander Rodchenko was  a Russian artist, famous founder of constructivism who took a decision and acted upon an evolvement of a new movement. He joined forces with his wife Vanvera Slepanova, Karl Loganson, Konstantin Medunetski, Aleksei Gan and the Stenberg brothers and together they called themselves 'The Wolfgana Group of Constructivism'

Rodchenko experimented in several fields including paintings, sculptures, drawings, photo montage, collage. He also tried out photography, architectural projects and graphics on covers of magazines, posters and advertising ad well as fashion. He implied constructivism in several fields.
He constructed his first art work by creating simple shapes and forms and by applying primary colours. This experimental phase developed into an evolution where the combination of other multiple colours and shapes occurred which defined constructivism.
Rodchenko soon began to be influenced by architectural design. He began to create several abstractions by using a ruler and a compass. Through his work linerasim was able to be shaped further developing creation in 3D artworks.

By playing with these dynamics Rodchenko was able to create a 'static balance to constructivism'.
Rodchenko was also involved in a group of constructivism which created art with an intention to serve the social industry and cultural development, Rodchenko created designed film posters, magazines and book covers through photo montages and photography. By using geometric designs and simple elements and colour he produced propaganda poster. His typography was of a clear composition which allowed the viewer to understand the information that was published. 

Vladimir Tatlin described Rodchenko as 'an artist who created for years without and recognition and worked until death with great zeal and simple pure taste, for an unknown future'. This made Rodchenko a revolutionary artist.

Bibliography

ALI, S., 2010. Alexander Rodchenko and the Russian Constructivism. [Online] 

Available at: http://saharali.blogspot.com/2010/02/alexander-rodchenko-and-russian_5590.html

Constructivism

Constructivism started in Russia in 1919. This movement was artistic and architectural philosophy. Constructivist in the 1920, brought about new architecture, graphic design, films and photography. They paved the way for new design styles and man production techniques. These were aiding Russia to turn from a society of agriculture to an industrial one. Constructivist believed that all art and design was a tool for politics. 'Russia was their convas' a gigantic art project on a gigantic scale. World War 1 allowed several movements to flourish particularly constructivism. It is considered as on of the most important movements that has been created as it has created a turning point in history. Through many combinations the movement evolved and grew and further developed other developments such as Russian Supermatism, Italian futurism and Cubism and the Bauhaus school of Germany.

Constructivism soared its measures of abstraction by using basic shapes and non emotional experimental ideas. By applying this geometrical approach it was allowed to become modern and straight forward.

The idea of 'art for art's sake' was not welcomed by constructivism. These artists believed that art must have a reason to provide the communist party during the Russian Revolution.

Constructivism poster during the war

Bibliography

ALI, S., 2010. Alexander Rodchenko and the Russian Constructivism. [Online] 

Available at: http://saharali.blogspot.com/2010/02/alexander-rodchenko-and-russian_5590.html

Futurism

In the beginning of the 20th century in Italy an artistic and social movement originated. It was called Futurism and emphasized themes that were linked with the modern concept of the future. These themes included speed, youth and violence and technology. Other objects were the car, the aeroplane and industry in cities. Although other movements in Russia and England were involved it was mainly an Italian invention.
Several mediums of art were tackled by these Futurists such as sculpture, ceramics painting, graphic design and interior design. Also theatre, film, fashion, music and literature were some of the many that were practiced by these artists.
Some of these main artists were Boccioni, Carlo Carra, Gino Severini and Giacomo Balla. It was the Italian poet Filippo Marinetti that established futurism as a revolutionary movement after the publication of his manifesto of Futurism, He believed that all artists following this movement should test their ideas against the realities.
The manifesto spoke about the thirst for speed and modern life.
"We affirm that the world's magnificence has been enriched by a new beauty; the beauty of speed."
These artists challenged correct syntax and grammar and began a typographic revolution against classical tradition. This new design excluded harmony as it went against "the leaps and bursts of style ruining through the page."
The typography was "new and painterly" and they called it prole in liberta or 'words in freedom'.
Two conditions that were dominantly expressed in futurist poetry were noise and speed.

Marinetti encouraged poets to free themselves from being slaves to grammar and feel to express themselves more freely. He wrote "a man who has witnessed an explosion does not stop to connect his sentences grammatically but hurls shrieks and words his listeners,
This futurist expensive typography began to be practiced by poets. It was called pattern poetry, Often objects or religious symbols were used. Other patterns as varying word space or omitting capitalization or punctuation marks to emphasize were used to enforce auditory effects. In "Alice's Adventures in Wonderland" by Lewis Caroll 'pictorial shape' and 'descending tyre sizes were used to build a mouse's tail as part of the mouse's tale.

Filippo Marinetti

References:

Coen, Ester (1988). Umberto Boccioni New York: The Metropolitan Museum of Art.

David Carson - Grunge

David Carson an American graphic designer and art director as well as surfer is mostly well known for his modern designs in magazines and experimental typography he uses.
He applied most of the typographic and layout which gave him popularity in the magazine Ray Gun where he was the art director. He is also the so called Godfather of Grunge. This typography style was ubiquitous. He applied a simple method and twofold gospels "you don't have to know the rules before breaking them, and never mistake legibility for communication".
Carson used a particular technique which included ripping, shredding and redoing letter. This technique became nerve touching.
Type design was messy then. Words were chaotic and letters blurred. Thick and heavy textures were used and posters for concerts where like splattered in paint and band names scratched out. This style of typography was the grunge.
Like many of the best things of the 90's the grunge typography was discontented by many. It arrived as a backlash just like how punk music came in. As Carlos Segura, a Chicago based graphic designer put it "It was almost like a societal complaint".
Segura witnessed closely the explosion of the grunge. Designers like Segura felt that everything was getting too clean and that David Carson's design was easy to follow so everyone started to do that 'David Carson look'. The loo was refreshing for some time because it was innovative and new.

Carson used tactics that made his typography easy to be applied by technology.
The popularity of the grunge typography clashed with the famous Macintosh which in 1984 changed the field of graphic design and typography.
Designing art by hand a 'painful craft of precision and consistency' no longer became the only method. Another option was born. Designers felt freed. They now only had to use their imagination and put it on screen. Young typographers in the 90s were fuelled with new software and ideas which they experimented with. They pushed aside rule based fonts which designers before them produced.

Ray Gun magazine - David Carson

Carlos Segura

Bibliography

Neli, 2013. David Carson - The father of Grung. [Online]
Available at: http://nvtodorova.wordpress.com/2013/10/16/david-carson-the-father-of-grunge/

Post Impressionism

Post-impressionism is the term used to describe the development of French art since Manet. It was a British artist and art centric Roger Fry who invented this term whilst he was organizing an exhibition Manet and the post impressionists in 1910. post Impressionists went beyond limitations. Vivid colours continues to be used and paint was applied in thick layers, and "real life subject matter". However geometric forms were mostly emphasized to change the meaning of expression and to random colour mainly unnatural.
Post Impressionists were not impressed by the lack of detail and unimportant subjects that Impressionists portrayed in their paintings. Pointillism was created by Georges Seurat who used tiny dots of colour systematically to create art. In order to "make the  Impressionism something solid and durable like the art of the museums" Paul Cezanne was one artist who tried to restore a form of "order and structure to painting". This aim was attained by converting objects to their simple shape however allowing the use of the exclusive combined colours of Impressionism

Camille Picasso, an Impressionist investigated Pointillism after he was dissatisfied by what he described as romantic Impressionism. He referred to Pointillism as "scientific Impressionism" . After experimenting with Neo-Impressionist ideas He returned to Impressionism in the last tn years of his life.

Artist Vincent Van Gogh conveyed his feelings and state of mind by using vibrant and colourful swirls of brush strokes. Even though Pot Impressionists artists often had exhibitions where their works were combined and shown together these artists disagreed on a 'cohesive movement'. The 1890s and early 20th century saw young painters work in completely different regions around the world and in many different styles and categories such as Fauvism and Cubism.

References:

Voorhies, James. "Post-Impressionism". In Heilbrunn Timeline of Art History. New York: The

 Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/poim/hd_poim.htm 

The Evolution of Art Nouveau To Art Deco

Art Nouveau is a refined style created from the combination of Egyptian style and floral Japanese prints.

Art Nouveau started out with a floral definition however in the 1920's Art Deco was created by a group of rebellions and Art Nouveau was soon eliminated by the introduction of bold, geometric linear shape designs. This style was less decorative but very stylish. Its influence was brought by the modern art movement and the film industry.

Art Deco is made up of several characteristics the main ones being futurism, cubism, constructivism and neoclassicism. All these encouraged the growth of abstractism, helping several modern artists such as Hoffman and Frank Lloyd Wright.

In 1909 machinery was progressing vastly. The Futuristic movement were longing for a modern lifestyle and were influenced by the expression of speed and movement.

Simplicity was the message they wanted to portray in their composition and they worked to show this by creating composition of order and harmony. Typography therefore evolved and through these arrangements new forms and designs were created. Although most of their new font typefaces were linear and lacked sense they somehow still portrayed a sense of expression.
Unberto Soccioni, Carlo Carra, Giacomo Balla and Gino Severini are artists who were inspired by cubism and speed.
This inspiration led these artists to implement certain characteristics in their modern design art works allowing them to portray lines of force, repeat motifs and the addition of typographic elements.

Carlo Carra - Funeral of the Anarchist Galli

Carlo Carra's works of art expenses the amount of tension that was occurring during his era. The chaotic scene portrays several bodies in abstract movement, anarchists clashing and police with black flags in the air.

As technology and art continues to evolve striving for a modern lifestyle a movement called Dada was created. Their aim was to destroy art and attack it through their own meaningless form of art. The exploration of objects was enabled by subverting images to collages and photo montage thus creating a whole modern style.

Bibliography

ink, F., 2009. Futurism at Tate Modern. [Online]
Available at: http://fugitiveink.wordpress.com/2009/09/29/futurism-at-tate-modern/

S., A. A., n.d. Berliner Plakat. [Online]
Available at: http://www.pinterest.com/ariefadityawan/berliner-plakat/