Topic: design history (47 texts)

Dieser Artikel basiert zum Teil auf meiner Forschung für die Ausstellung über das tschechische und slowakische Schriftdesign mit Schwerpunkt auf der Entwicklung der Typografie in den letzten zwanzig Jahren, die ich zusammen mit Alan Záruba 2004-2006 kuratierte. Die Ausstellung mit dem Titel 'Experiment And Typography' wurde erstmals 2004 an der International Biennale of Graphic Design in Brno gezeigt und zog später weiter nach Prag, Den Haag, Bratislava, Cieszyn, Ljubljana, Warschau und Budapest.

This article is partly based on the research for the exhibition on Czech and Slovak typeface design, that we co-curated with Alan Záruba in 2004-2006 focusing on the last twenty years of typography development. The exhibition entitled 'Experiment And Typography' was first presented at the Biennale of Graphic Design in Brno in 2004 and it later travelled to Prague, The Hague, Bratislava, Cieszyn, Ljubljana, Warsaw and Budapest.

Andy Crewdson discusses the origins of the Dutch designer’s recent family of types.

The first part of the introduction to Emily King’s doctoral thesis which focuses on typeface design in the United States, England and the Netherlands between 1987 and 1997.

Dan Reynolds reviews a travelling exhibit of Czech and Slovak type design from the past two decades, and compares this exhibit to the Fresh Fonts exhibit of Swiss design shown in Zurich until July 2004.

Two books are reviewed and compared: one, a Phaidon book by Steven Heller on the history of avant-garde publications from the early 20th century on, the other, a glossier Taschen book featuring the recent design work of some 100 studios. Read on as Stuart Bailey puts the two in a ring together and hands Heller a very large pair of gloves.

A critical review of the design book Restart, first appearing in Items first issue. Some very well-known designers#146; work is featured in this modern vs. post-modern, 175 page book from two London-based authors.

A review of the late Kalman’s monograph in context, with a brief background of Tibor’s influential design work and approach to its role in the consumer culture of the 80s and 90s.

A critical review of the design and content of a collection of some 20th century type and its applications.

An in depth account of Malcolm Quinn’s book about the swastika, which investigates in depth the history and function of the symbol, beginning with its earliest manifestations in cultures around the globe and even its pre-Nazi uses in western commerce, then focusing on its forever tarnishing appropriation by Hitler.

A brief rundown of the treatment of art by the Nazi state and the background of Hitler’s repressive cultural policies in this review of two books, one about the art of the Nazi state in general, and the other specifically about the show Degenerate Art which toured the Reich in an attempt to exterminate modern art.

This article by the designer of Scala and Seria is as much a typographic guide and history lesson as it is a personal account of his approach to type design.

Steven Heller discusses the history and current state of guerrilla, activist and political design from posters to attached image files.

The optimistic theory is put forth that institutions of power have been democratized by the “empowering effects of the media” and that real change can be effected by graphic designers who use their work to engage the public in meaningful dialogue.

A reduced and expanded exploration of Swiss design and culture across the 20th century.

An interesting analysis of the history, politics and context of graphic images which are composed of crowds of people: people as pixels!

A refreshingly positive response to (and call for?) more, and more thoughtful culture and design publications in a time when the phrase “who needs another design mag?” is common. Max Bruinsma also briefly details the evolution of Dutch and other non-mainstream/design publications.

An overview of the work of Cuban-born titling artist Pablo Ferro who broke ground with the titles for films like Dr. Strangelove and pioneered moving type for the screen.

A history of the little-known collaboration of Ladislav Sutnar and Knud Lönberg-Holm, who together were a modern design team which was ahead of its time in the realm of information information design.

About the German-born founder of the Bettmann Archives in New York which houses over 5 million cuts, drawings, images and pieces of ephemera, collected since the 1930's.

A history and analysis of the role played by this American precursor to the graphic design magazine, which sought to bring progressive commercial graphic and industrial arts into the mainstream.

In 1999, Print magazine talked to 20 American design heroes and had them look at work from their halcyon days. Designers from Art Chantry to Massimo Vignelli discuss a piece of early work as a foil for Print’s ‘Designers Under Thirty’ section.

Walter Benjamin’s ideas are explored (amongst other early 20th century avant-garde artists) in relation to the recent discussions around expanding the designer’s role from that of problem solver to one of author—and producer.

The point-form story of a German dentist named Hans Joseph Sachs and the magazine Das Plakat he founded on his love for posters. Responsible for the promulgation of early German advertising art abroad, his vast collection was confiscated by Goebbels for the Nazis’ collections and Sachs narrowly escaped the Holocaust. Steven Heller looks at the rise and fall of this significant early design periodical.

Wooden display types, Victorian chromolithography and the demise of Art Nouveau in the form of a poster for a German Match company in 1906...

An exploded view of the digital screen, informed by analyses of architecture, designers’ roles, avant-garde Dutch design from the De Stijl period and geometry.

An examination from 1996 of the history and concept of the designer as author, starting in the first decades of the 20th century.

A fascinatingly thorough investigation of the naming of typefaces. The naming of type as a window to history, conventions, the hermetic type world and cultural context, then and now.

The “epitome of a post-war Modernist”, Walter Herdeg, backbone of Graphis magazine, is appraised by Steven Heller.

A mid-90s account of the development and current state of Dutch design and type in the context of its cultural and political history.

A mid-90s appraisal of Dutch graphic design’s unique qualities, with an overview of various studios, designers and significant movements from the 20th century.

In the early 1990s Steven Heller takes on the word ugly as he sees it applied to graphic design and design education. En route, his views of art history, pop culture and recent design trends are considered in his essay about style and meaning in design.

A discussion about the role of design, museums and more in British and American culture.

The globalisation and homogenisation of design, legibility and communication and the history of Emigre magazine are discussed in this interview with its founder, Rudy VanderLans.

A discussion about the art and design ephemera collecting practices of Merrill Berman, who has amassed a vast portfolio of design history from the past century and more.

A history of visual design and arts pedagogy, the Bauhaus, semiotics and gestalt theories as they apply to modern graphic design education.

A survey of woman designers of books, magazines, activist campaigns, identities etc. across the 20th century.

Lars Muller is taken to task for his religious reverence for and faith in the omnipresent Helvetica, and the book he produced which is described as a sort of universalist, modernist gospel but several decades misplaced. What one might come away with from the book and review is the possibility that type preferences are simply individualistic... so what does it matter anyways?

Steven Heller laments the disappearance of refined modern design craftsmanship and organization, and provides some background to Sutnar’s work, upholding him as a pioneer of just this sort of waning craft.

A thorough look at the history and development of large type families across the 20th century.

Emily King’s contents (part two of ten) for her dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century.

Part four of ten of Emily King’s dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century.

Emily King’s introduction to her dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century.

Part three of ten of Emily King’s dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century. here she lays down the modernist roots of her work.

Part five of ten of Emily King’s dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century. Saul bass, Hitchcock, Clement Greenbrg, Tin Pan Alley and Hollywood: the American avant garde and kitsch...

Part seven of ten of Emily King's dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century. Bond titling sequences and the invasion of British design...

A theory-heavy, mid-1990s look at the concept of Deconstruction, looking at its origins in French post-structuralist discourse and then current use in the design world.