Rochester Institute of Technology
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6-29-2013
Design Genealogy
Casey Kelly
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Recommended Citation
Design
Genealogy
Design Genealogy: We are all connected.
A Thesis submitted to the
Faculty of the
College of Imaging Arts and Sciences
in candidacy for the degree of
Master of Fine Arts in Graphic Design
Casey Kelly
Rochester Institute of Technology
School of Design, Graphic Design
Rochester, NY
The design of history is the history of design.
Approval of Thesis
Nancy A. Ciolek
Associate Professor, Graphic Design
Signature of Chief Advisor Date
Lorrie Frear
Associate Professor, Graphic Design
Signature of Associate Advisor Date
Bruce Ian Meader
Associate Professor, Graphic Design
Signature of Associate Advisor Date
x x x
Chief Advisor
Associate Advisor
Associate Advisor
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Abstract
Design Genealogy: We are all connected.
Casey Kelly
The importance of understanding and sharing graphic design history is
under-appreciated. A few observations were taken into consideration regarding
the sharing of design history information. Formats include content that
is often text-dense and overwhelming. While great design history resources
do exist, there is opportunity to develop a method for sharing design history
that addresses these observations.
The Design Genealogy thesis project provides opportunity for the discovery
of connections among designers and their work through a memorable,
fun, and engaging learning experience. Its flexible format attempts
to provoke inspiration, foster investigation, strengthen the retention
of information, and encourage an eagerness to learn, share, and create.
Research and surveys were conducted to understand existing resources
as well as opinions regarding learning and sharing design history information.
A strategy for new sharing formats was developed after understanding gaps
among studied resources. Also, barriers regarding the sharing of design
history were recognized that were addressed during the content development
and design execution of the project.
Final applications include a printed set of portfolios, quote cards,
and design work cards. Also included is the layout of a home and landing
page for a website. Interaction is illustrated in a short movie clip. Twelve
designers were strategically selected and researched for inclusion in the first
“set” of design portfolios, entitled Design Leaders. This project is both flexible
and scalable where additional sets and content can be created in the future.
The printed application doubles as a teaching, studying, and learning tool.
The printed application also serves as inspirational artwork, where quote
cards and design cards can be traded, collected, or displayed in a variety
of spaces and formats including studios, home, classrooms, libraries, or offices.
The digital application acts as an interactive supplement to the printed
application. Consistent in look and feel with the printed solution, the digital
application considers digital space and interaction by offering pop-up
definitions, connections, and links to related content both on
the website and externally.
Usability testing was conducted, which netted extremely positive results
regarding the application and its objective to serve as a fun, memorable,
inspirational, and engaging learning tool.
Blog caseyakelly.blogspot.com
Posts regarding Design Genealogy can be found
September 2012 – May 2013
Twitter @caseyakelly
Keywords
graphic design, design history, theory, history, teaching, art, education,
interaction, career, visual communication, learning, sharing, connections,
people, print, digital, application, website, quotes, cards, trading cards
Table of Contents
Approval of Thesis
Abstract
Copyright and Permissions
1.0 Introduction 1
1.1 Situation Analysis 3
1.2 Problem Statement 4
1.3 Thesis Statement 4
1.4 Target Audience 5
2.0 Research 8
2.1 Review of Literature 10
2.2 Research, Discourse, and Dialogue on Design History 19
2.3 Design History Survey Analysis 21
2.4 Selection of Designers 22
3.0 Process 25
3.1 Thesis Parameters 25
3.2 Design Considerations 27
3.3 Design Concept and Ideation 29
3.4 Typography and Color Choice 43
3.5 Identity 46
4.0 Applications 49
4.1 Final Print Application 49
4.2 Final Digital Application 76
4.3 Usability Testing 82
4.4 Conclusion and Future Considerations 84
Section 1 x
Section 2
Section 3
Appendix 86
A1 Original Thesis Proposal 87
A2 Bibliography for Thesis 149
A3 Bibliography for Application Research and Content 150
A4 Blank Design History Survey 158
A5 Design History Survey Results 160
A6 Process for Selection of Designers 174
A7 Correspondence 182
A8 Blog Documentation 188
A9 Ideation and Application Iterations 216
A10 Process Imagery 238
A11 Usability Testing 248
A12 Acknowledgements 263
1
Section 1
1.0 Introduction
1.1 Situation Analysis
1.2 Problem Statement
1.3 Thesis Statement
1.4 Target Audience
2
1.0 Introduction
As technology and history continue to evolve, it is important to keep
the delivery of design history fresh and engaging by developing new methods
and vehicles for dissemination that inspire, educate, and leave a lasting
and memorable impact. This concern raises the question about the best
methods and formats for sharing graphic design history.
Design history is currently presented in many formats including written text,
archival experiences, museum exhibitions, and digital imagery archives
(Section 2.1, Review of Literature lists resources explored for this thesis).
Developing an application that allows users to discover relationships and
influences among designers and history has potential to serve as another
tool in our kit for understanding and sharing the past by visually associating
designers with relationships, careers, and their place in history.
Design Genealogy has potential to be of interest to both designers
and the general public. Those who interact with Design Genealogy acquire
an appreciation for design history through designers and styles that interest
them; thus provoking inspiration and motivation for further learning and discovery.
3
1.1
Situation Analysis
Whether articulating choices for a layout to a client or justifying individual
design styles and ideologies, it is a designer’s responsibility to establish
rationale for design processes and decisions. Massimo Vignelli emphasized
the importance of design history in his statement, “We cannot perform our
profession without a profound knowledge of history and design.” A paramount
foundation that allows for growth and development as a graphic designer
is the process of discovering and analyzing influences, and relationships among
designers, design movements, and history as a cohesive whole.
The more we understand about our past as designers, the greater a foundation
we can build to make good design and foster growth. Design history acts
as a mentor for us. We can learn from our masters’ mistakes and their
triumphs. Understanding historical influences and designer’s stories, provides
a humanistic approach to discovering design history. Discovering connections
between real people — in this case, influential designers— creates opportunity
for a memorable emotional tie to design history. Connections provide a platform
to satisfy curiosity, a vehicle to discover design mentors, influences, movements
to love, hate, praise, follow, or rebel against. This in turn fuels a passion for
understanding design history that allows for the development of process,
personal growth, and knowledge.
Traditionally, design history has been documented and shared in numerous
formats including textbooks, articles, image banks, digital, or physical archives.
While there are many resources for sharing design history information, at times,
it can be overwhelming. Philip Meggs’, History of Graphic Design1, successfully
and thoroughly documents graphic design history in a chronological format.
However, there is a large amount of information which to some, may present
information in an overwhelming manner. This book is required for many college
1 Meggs, Philip B. Meggs' History of Graphic Design. Hoboken, NJ: John Wiley & Sons,
2012. Print.
4
design history survey classes. An iPhone app2 to complement Meggs’ book
has been recently developed. Flashcards of imagery were designed that
are related to the text that keeps users engaged with the printed book.
Several other schools of thought for sharing design history have been published.
These thoughts include relating information to social, political, gender
movements, design styles, geographical locations, emphasis toward certain
movements, imagery, and the development of visual timelines.
1.2
Problem Statement
How do we increase appreciation for and understanding of the rich connections
and innovations that have emerged throughout design history?
Can we modify the delivery and experience associated with learning design
history to create a greater impact? Can it be made more memorable and fun?
How can it foster engagement, promote design inspiration, and fuel desire
to create good design?
1.3
Thesis Statement
Design Genealogy provides opportunity for the discovery of
connections among designers and their work through a memorable,
fun, and engaging learning experience. Its flexible format attempts
to provoke inspiration, foster investigation, strengthen the retention
of information, encourage an eagerness to learn, share, and create.
2 Wiley Publishing. 14 Nov 2011. Meggs' History of Graphic Design, Fifth Edition
Flashcards. Available at itunes.apple.com.
5
1.4
Target Audience
Each audience presents different challenges for design, approach, and capturing
interest as noted below.
Design Educator, Critic, Curator, or Historian
Age Range 20s –70s
This person is interested or involved in the design profession. He or she is
concerned with design integrity where he or she often shares and discusses
design information. A high amount of respect is held for the past. Extremely
knowledgeable and experienced in the design field, this person is interested
in the arts, culture, and current events. He or she is opinionated and well-versed
when discussing design history. A laptop or desktop computer are most likely
used at work each day.
Design Professional
Age Range 20s– 70s
This person could have a college degree or be a self-taught designer with
a career relating to creative work such as graphic design, industrial design,
architectual design, or interior design. He or she is involved in advertising,
may find interest in niche design movements, discovering design heroes and
new inspirations. This person enjoys art, music, culture, often reads blogs,
online articles, magazines, publications for inspiration and insight on design.
He or she has a keen awareness of surroundings, as well as paying attention
to detail when decorating workplace office and home. Often curious to discover
more about design history, this person might not have time to read a long book
because he or she is usually very busy with work, friends, and raising a family.
Finding time for design inspiration and heavy reading might be difficult.
This person is technically savvy and usually interested in new technology.
6 Student of Design
Age Range 15–23
Attending college or finishing high school, this person is interested in fine arts
and design. He or she is most likely interested in visual communication,
the fine arts, or art history related studies. His or her interests often involve
current issues, cultures, and trends. This person spends a significant amount
of time on social media platforms, using new technology, and is comfortable
with computers. He or she is enthusiastic for learning design history, but has
a short attention span and is probably not interested enough to read entire
history books to learn about the subject. Quick and nimble with navigation,
digital applications for web, multimedia, gaming, tablet, and smartphone
interfaces, this person might view older forms of information sharing as
outdated or boring.
Design Enthusiast
Age Range 20s– 60s
The design enthusiast has a sense of style and interest in culture and fashion.
Visiting museums and reading about culture and history is a hobby of the design
enthusiast. He or she often travels along with finding interest in learning about
surroundings and environments. This person might own or collect artwork, with
having an intuition for understanding good design and art when s/he sees it
despite a lack of training. He or she might work in advertising or marketing with
exposure to designers and creatives on a regular basis. Sensitivity to design may
be inherent for the design enthusiast. This person probably owns a smartphone
and may own a reader or tablet for use on weekends or when traveling.
7
Section 2
2.0 Research
2.1 Review of Literature
2.2 Research, Discourse, and Dialogue on Design History
2.3 Design History Survey Analysis
2.4 Selection of Designers
8
2.0 Research
A thorough investigation of existing graphic design history resources was
conducted in order to better understand how graphic design history has been
documented, shared, and noting any barriers or issues that may exist.
Printed publications, books, and innovative approaches for sharing history were
analyzed and noted, providing a somewhat subjective interpretation of where
gaps might lay in areas illustrated below. Please see thesis proposal (Appendix
A1, Original Thesis Proposal) for a more in-depth analysis of observations.
Traditional (linear, text-dense) Print
Traditional
Comparing Vehicle and Format Among Sources Studied
Digital Innovative
x
x x
x
x
x x
x
x x
x x
x x x
x x
Innovative (unique format) x
x x
x x
x
x x
9
Based upon observations, vehicles for sharing design history are generally
delivered in chronological, text-dense formats. It appears though, that there
are opportunities for new ways to share design history. A few good examples
to note are Phaidon Design Archive, Heller’s Anatomy of Design, and
100 Ideas That Changed Graphic Design books. It appears that there
are more print than digital design documentations at this point in time.
It is evident that many of the resources that already exist are nearly
comprehensive. When it comes to navigation, most applications take
a linear approach sharing content. It might appear overwhelming
for the user at first glance. While some digital design history resources
(shown above in magenta) were well done (aiga.org for example),
several often presented information in an overwhelming manner that
had confusing navigation and interaction.
Easy to Navigate and Digest Simple or
Minimal Information
Hard to Navigate or Confusing
x x
x x
x x x
x
x x x
x
x
x x
Comparing Information and Ease of Navigation Among Sources Studied
x x
x
x
x
x
x
x x x
Complex or A Lot of Information
10
Observations were taken into consideration during the ideation phase,
where the final applications make an attempt to fill noted gaps by:
1 featuring condensed, important and digestible information.
2 providing an easy-to-navigate experience for both print and digital applications.
3 developing a new format that serves as a complement or alternate
to a traditional, chronological book format.
2.1
Review of Literature
Seminal graphic design history resources were used to better understand design
history and to aid in selection of featured designers for the project.
Cramsie, Patrick. The Story of Graphic Design: From the Invention
of Writing to the Birth of Digital Design. New York: Abrams, 2010.
ISBN 978-0-8109-7292-6
Overview This book presents graphic design history through the lens
of styles stemming from the very beginning to present-day digital expressionism.
Issues regarding personal bias and sharing through storytelling are raised
in Denise Gonzales Crisp’s review of the book. In book reviews, it was noted
that although Cramsie focuses on showing through ”style innovators”,
he may have missed critical people and influences.
Eskilson, Stephen. Graphic Design: A New History. New Haven:
Yale University Press, 2007.
ISBN 978-0-300-12011-0
Overview This publication covers design in the 1900s and relates it to social
movements, politics, military, nationalism, and gender. The author presents
graphic design history as it has been driven by world history. Some say
it includes mistakes and bias. It was developed for graphic designers as
a reference to understand how world history impacts design movements,
styles, and events.
Design History
11 Graphic Design Archive. GDA at RIT. RIT, 2012. Web. 25 Sept. 2012.
<library.rit.edu/gda>.
Overview An online overview of American graphic designers featured in
the RIT Cary Graphic Design Archive primarily focused from 1920s to 1950s.
Graphic Design History: An Interactive Timeline. Graphic Design History:
An Interactive Timeline. N.p., n.d. Web. 08 Oct. 2012. <http://gdhit.org/>.
Overview This interactive website allows readers to discover design history.
It is an open source program where anyone can add to the content.
It is presented in a Timeline format. Users can choose categories, events,
or keywords to search the database.
Graphic Design History Timeline. Graphic Design History Timeline.
N.p., n.d. Web. 08 Oct. 2012. <http://gdh.2rsolutions.cz/>.
Overview This is a website that takes readers through history in a temporal
manner. It features artists, movements, and events with a timeline at
the bottom of the page.
Palacio, Bryony, and Armin Vit. Graphic Design, Referenced: A Visual
Guide to the Language, Applications, and History of Graphic Design.
Beverly, Mass.: Rockport Publishers, 2009
ISBN 1-592534473
Overview This book provides over 2000 images and emphasizes
a cultural and social approach to design history. It acts as an overview
or foundation to a more in-depth survey of history, and emphasizes culture over
chronology. There is an explicit timeline in front of book. It is divided into four
categories: Principles (of design, of kind, of production), Knowledge (on paper,
online, in halls, in classrooms), Representatives (of design, of letterforms,
of writing, of designers), Practice (on walls, on shelves, on newsstands,
on identity, on letterforms).
12 Heller, Steven, and Elinor Pettit. Graphic Design Time Line: A Century
of Design Milestones. New York: Allworth Press, 2000.
ISBN 1-58115-064-4
Overview Covering from pre-1900 through 2000, this book presents design
history in an organized bulleted list with overarching topics. The introduction talks
about how a timeline is condensed information in a rich format. Presenting
design history as a timeline is another tool for understanding and retaining
design history information. Heller categorizes information by date with topics
for each including: graphic arts, advertising, architecture, births and deaths,
consumables, arts and culture, typography, industrial design, technology,
politics, business, and acts of God.
Heller, Steven, and Véronique Vienne. 100 Ideas That Changed Graphic
Design. London: Laurence King, 2012.
ISBN 13:978-1-85669-794-1
Overview This book is filled with design categories that impacted the field.
It could serve as a starting point or inspiration for different topics to present
design history in a visual way. It also features and mentions several impactful
designers and design works. A few interesting topics to note are: Manifestos,
Graphic Design Magazines, Corporate Identity, Pictograms, The Grid,
Underground Comics, Record Album Covers, and Designers’ Websites.
It was designed for graphic designers, design enthusiasts and those
interested in design as a whole.
Hollis, Richard. Graphic Design: A Concise History. Rev. and expanded ed.
New York: Thames & Hudson, 2002.
ISBN 978-0500203477
Overview This book provides a broad overview of design history in a shortened
format, touching upon key styles, designers, and topics that greatly impacted
or influenced in the history of design.
13 Meggs, Philip B. Meggs’ History of Graphic Design. 4th ed. Hoboken, NJ:
John Wiley & Sons, 2012. Print.
ISBN 9780470168738 e-book: 9781118017746
Overview This book is the standard and most comprehensive survey of graphic
design history. Developed for educational purposes and as a go-to reference
for graphic design history. It will come in handy for understanding overarching
design history and discovering design movements, designers and connections.
The following resources were studied to better understand what already exists
in regard to current design history applications and methods for disseminating
information. Also noted, when studying these resources, are the factors that
made them unique and impactful.
AIGA | the Professional Association for Design. AIGA | the Professional
Association for Design. N.p., n.d. Web. 08 Oct. 2012.
<http://www.aiga.org/>.
Overview Online documentation of graphic design archive from juried AIGA
works over the years. For designers and advertising. Over 20,000 works,
about 300 new works added each year.
Dickerman, Leah. “Inventing Abstraction.” MoMA. http://www.moma.
org/interactives/exhibitions/2012/inventingabstraction/ (accessed April 1,
2013).
Overview A beautiful interactive website that demonstrates connections
among abstract artists.
Dimatteo, Kristina. ”50 Most Influential Designers in America.” Fast
Company. Co Design, n.d. Web. 29 Oct. 2012. <http://www.fastcompany.
com/design/2011/50-most-influential-designers-in-america>.
Overview User can click on names/images of famous designers and learn
a snippet of information about them.
Design History
Applications
14 “Discovering Design.” Herman Miller. http://www2.hermanmiller.com/
discoveringdesign/ (accessed January 21, 2013).
Overview A fantastic interactive tool to help discover and understand industrial
design, designers, and connections among them.
“Display.” Display. http://www.thisisdisplay.org/ (accessed April 1, 2013).
Overview A curated website sharing Modernist design history artifacts.
“Google Knowledge Graph.” Google. http://www.google.com/
insidesearch/features/search/knowledge.html (accessed April 1, 2013).
Overview Demonstrates an intuitive search function where it recommends
or suggests other topics that are relevant to the search.
Heller, Steven, and Mirko Ilić. The Anatomy of Design: Uncovering the
Influences and Inspirations in Modern Graphic Design. Gloucester, Mass.:
Rockport, 2007.
ISBN 978-1592532124
Overview This book takes current designs and ‘dissects’ them, showing
inspirations and designs from the past that may have influenced or been
inspiration for the outcome of the design featured.
Terragni, Emilia. The Phaidon Archive of Graphic Design. London: Phaidon
Press Limited, 2012.
ISBN 9780714865591
Overview This beautiful archive features 500+ loose pages of designs in a box.
It can be assorted in different ways and dug through for information and
inspiration. Scalable and comes in a heavy-duty box with handle. Page sizes
are 12 3/8 inches by 9 7/8 inches. Rather large format. Expensive, $250 retail.
Volpe, Pasquale, and Dario Russo. “az project.” az project.
http://az-project.org/en/ (accessed January 2, 2013).
Overview A website featuring biographies on selected designers and images
of their work for viewing.
15 ”Welcome to ARTstor.” N.p., n.d. Web. 31 Oct. 2012. <http://www.artstor.
org/index.shtml>.
Overview Extensive collection of artwork images that can be downloaded
for use with membership to the site.
Wiley Publishing. “Meggs’ History of Graphic Design, Fifth Edition
Flashcards.” iTunes.
https://itunes.apple.com/us/app/meggs-history-graphic-design/id476018481?mt=8 (accessed January 21, 2013).
Overview This app is compatible with iPhone, iPad and iPod touch. It is currently
$3.99 in the iTunes store. Reviews say that it is mostly an image matching
game where titles and limited images are used. It appears that there is room
for improvement based on user feedback.
The following resources were studied to better understand information sharing,
interaction, and how it can be applied to sharing design history information
to make it engaging and compelling.
Avola, Greg, and Jon Raasch. Smashing Mobile Web Development: Going
Mobile with HTML5, CSS3, and Javascript. West Sussex, UK: John Wiley
& Sons Inc., 2013.
ISBN 1118348168
Overview An insightful book regarding mobile design, code, layout,
and interaction.
Lipton, Ronnie. Information Graphics and Visual Clues. Gloucester, MA:
Rockport, 2002. Print.
ISBN 1-56496-864-2
Overview Features many successful system and visual executions for
campaigns. It is written for other designers and those interested in what
makes successful design solutions. This will help for inspiration and reference
when developing and executing design solutions for visually documenting
design history.
Technical
Resources
and Information
Organization
Resources
16 San, Martin Macarena. Diagraphics. New York: Harper Design, 2011. Print.
ISBN 978-0-06-197014-6
Overview Features 40 well-executed information graphics by international
designers, this book will serve as reference for most effective executions
of complex information graphics. It is sorted into: maps, sketches, diagrams,
and graphs. This book serves as a design inspiration tool to better understand
what makes an effective information graphic.
Tufte, Edward R. The Visual Display of Quantitative Information. Cheshire,
Conn. (Box 430, Cheshire 06410): Graphics, 1983. Print.
Overview Examples of good information design, and bad information design.
Rationale for why charts are bad.
Tufte, Edward R. Visual Explanations: Images and Quantities, Evidence
and Narrative. Cheshire, CT: Graphics, 1997. Print. Cheshire, Conn. (Box
430, Cheshire 06410): Graphics, 1983. Print.
Overview Shows different design strategies, how to display information
and data in a clear, understandable manner.
“What Are Relational Databases?” How Stuff Works. http://www.
howstuffworks.com/question599.htm (accessed May 7, 2013).
Overview Insight on how relational databases work to understand how it could
be used to allow for the functionality of a digital interactive infographic.
Wurman, Richard Saul., and Peter Bradford. Information Architects.
Zurich: Graphis Corporation, 1996. Print.
ISBN 3-85709-458-3
Overview Information and diagrams that show and explain. 100 examples
of good information design. Book dissects designs to address thought process.
17
The following resources were investigated to provide insight regarding rationale
for or against the importance of graphic design history. They were also
researched to have a better understanding of design history issues, barriers,
curriculum, sharing, and learning methods.
Armin. ”Making History of Writing About It?” Web Blog post. Under
Consideration. N.p., 19 Dec. 2008. Web. 8 Oct. 2012. <http://www.
underconsideration.com/speakup/archives/005595.html>.
Overview Raises issues for sharing design history. Legitimate design history
books (Meggs) portrayed images flipped and reflected. It is impossible
to share graphic design history with complete accuracy.
”Design and Its Audiences.” AIGA. AIGA, 30 June 2004. Web. 8 Oct. 2012.
<”Meggs’ History of Graphic Design, Fifth Edition Flashcards.” App Store.
Wiley Publishing, 11 Nov. 2011. Web. 08 Oct. 2012. .>.
Overview Questions what audience design history is focused towards.
Traditionally and Meggs’ approach was to share history for those in graphic
design curricula. Students of other disciplines at educational institutions rarely
or never partake in design history courses because they are full and only
required for design majors. They may be less interested in a history course
that addresses formal design ideologies. It discusses missed opportunities
for teaching graphic design history and potential audiences. Also raised
is the question: ”What method of teaching history makes public”,
”What design is and what the designer does so as to create an environment
where liberally educated audiences are fully capable of appreciating the deep
significance of graphic design as a cultural, social, and political activity?”
Opinions and
Discourse
Regarding
Design History
18 Golec, Michael J. ”The History of Graphic Design and Its Audiences.”
AIGA. N.p., 30 June 2004. Web. 17 Sept. 2012. <http://www.aiga.org/
thehistory-of-graphic-design-and-its-audiences/>.
Overview States that there is no one ‘correct’ way to display design history
because an audience has not completely been defined. Quote from Meggs
about importance of design history. Discussion in comments on sharing graphic
design to the public and how it could effect design profession.
Heller, Steven, and Georgette Ballance. Graphic Design History. New York:
Allworth, 2001. Print.
ISBN 1-59115-094-6
Overview This book addresses the identity of graphic design history. It features
essays by writers and historians that help to map out graphic design history
in our culture. This book was written for graphic design educators and those in
design programs. It might help to understand different executions for showing
graphic design history.
Heller, Steven. “What is Useful History?.” UnderConsideration LLC. http://
www.underconsideration.com/speakup/archives/001724.html (accessed
May 12, 2013).
Overview Attempts to raise discussion about the importance and relevance
of design history to designers and to consumers.
Triggs, T. ”Designing Graphic Design History.” Journal of Design History
22.4 (2009): 325-40. Print.
Overview Discusses different approaches to presenting graphic design history
and attempts to validate its importance through quotes from design historians.
Little magazines are discussed.
19
2.2
Research, Discourse, and Dialogue on Design History
The argument regarding the importance of graphic design history is widely
debated. On one hand, as a design professional, it is important to have a grasp
of graphic design history and its context to inform practice and ideologies.
Some argue that designers need not worry about knowing the history
of graphic design, and there is not a high level of interest on the topic outside
the realm of the creative industry.
Design history is shared through a range of depths and various methods,
often through printed publications, blogs, and in college classrooms.
Appreciation and sharing the subject often depends on the value of design
history relating to personal desire or its importance at a particular academic
institution. Steven Heller, a well-respected historian and critic stated that
“history starts as a fundamental need to chronicle and understand context”.
He goes on to describe that there is a need for trained professionals and
historians who can provide interesting information and solid discourse on
the topic. Also needed are engaging classes and courses dedicated to sharing
and preserving design history.1 This is all very important because a professional
in his or her field —regardless of what field it is—should have an understanding
of the foundations and developments that have led to contemporary practices
and context. It is an advantage does not hurt to have the ability to share
knowledge regarding design theories and history when validating a concept
to co-worker or clients. Value and appreciation for professional design work
is established as a designer is able develop relationships. This begins with being
informed and clearly articulating intelligent design choices, which often includes
being able to speak to design history and theory as it relates to the task or
solution at hand.
1 Heller, Steven. “What is Useful History?.” UnderConsideration LLC. http://www. underconsideration.com/speakup/archives/001724.html (accessed May 12, 2013).
20
Graphic design history is impacted by our world as it relates to social, economic,
and political events. Understanding design history not only allows a designer
to gain insight on design styles, practices, and products, but provides a
well-rounded understanding of world history and culture. History allows
for the development of a designer’s process, methods, and ideologies based
upon his or her understanding and interpretation of history. Philip Meggs,
known for his seminal design history book, Meggs’ History of Graphic Design
History, stated in an interview that “...the purpose of teaching design history
is to strengthen the studio education and professional practice.”2 This statement
further supports the view that knowledge of the past helps to inform and enrich,
thus fostering professional development and legitimacy.
The early ninteen-eighties brought about increased interest in preserving
graphic design history, especially for preserving fine art and Modernism during
the emergence of graphic design as a commercial profession. Books and
publications were created, but interest in the subject did not resonate as well
as industrial design and architectural publications. Interest for design history has
a niche market, primarily consisting of design students and professionals.2
Efforts to preserve history brought about symposiums, archives, and
publications, among others. In his essay, Designing Graphic Design History,
Teal Triggs provides discussion regarding design history publications and
the challenges that lay within. He noted that narratives sharing history
“range from the chronological and biographical to the visual and contextual.”
One format to mention are ‘object books’. These publications are ultimately
monographs and self-promotion materials. While these books are inspiring
and display beautiful visual information, they are often focused on one designer
and his or her individual style and achievements. A very limited audience would
purchase and find interest these particular publications.
2 Golec, Michael J. ”The History of Graphic Design and Its Audiences.”
AIGA. N.p., 30 June 2004. Web. 17 Sept. 2012. <http://www.aiga.org/thehistory-of-graphic-design-and-its-audiences/>.
21
Although different design history formats have been produced, according
to Steven Heller we are still in search for a way “to find pegs on which
to hang design history so that it is relevant beyond the design ghetto.”3
The challenge remains to discover additional solutions for sharing graphic
design history. A solution should certainly foster inspiration, understanding,
and growth among design professionals, but if it has the ability to resonate
beyond insiders of the design profession it could provide a new understanding
and appreciation for the creative industry.
2.3
Design History Survey Analysis
A few significant findings were taken from the design history survey
administered and noted in Appendix A4, Blank Design History Survey.
Full responses can be viewed in Appendix A5, Design History Survey Results.
Section 2.4, Selection of Designers includes a list of the top ten most
commonly mentioned designers from the survey, which helped in selecting
designers for inclusion in the application. A comprehensive list and tally
of designers noted by survey participants is listed in Appendix A6,
Process for Selection of Designers.
3 Triggs, T. ”Designing Graphic Design History.” Journal of Design History 22.4 (2009): 325-40. Print.
22
2.4
Selection of Designers
A selection of designers to be included in the first set of Design Genealogy
cards has been made via the following framework in an attempt to reduce bias
and select designers from a breadth of movements, ideologies, areas of focus,
and time periods.
Several design history sources were chosen and (further information can
be found in Section 2.1, Review of Literature). Designers were selected
from different movements based upon survey results, the number of times
they appear in resources, and their noted prominence or importance in
documentations. Selections focus on a breadth of designers and movements,
but it should be noted that many relevant and important designers were not
included in the first set of the Design Genealogy project due to time constraints
and considerations for scalability and additional sets in the future. It is realized
that this thesis project falls short to featuring a comprehensive set of designers,
but if successful, additional sets and content could be developed in the future.
A detailed process for the selection of designers can be found in Appendix A6,
Process for Selection of Designers.
23 Design History Survey conducted November 2012
Additional information regarding this survey can be found in Section 2.4,
Selection of Designers and Appendix A5, Design History Survey Results.
Top 10 Designers Noted in Survey Number of Times Noted
Massimo and Lella Vignelli 19
Saul Bass 16
Paul Rand
Paula Scher 13
Milton Glaser 12
Stefan Sagmeister 9
Charles and Ray Eames 7
Jessica Hische 6
Jonathan Ive
Michael Bierut 5
Based on survey results and an effort to include designers from different time
periods, genders, and backgrounds, a final list of twelve designers was chosen
for the first set, entitled Design Genealogy: Design Leaders.
Saul Bass Milton Glaser
Herbert Bayer Herb Lubalin
Alexey Brodovitch Paul Rand
Lucian Bernhard Stefan Sagmeister
David Carson Paula Scher
Louise Fili Massimo Vignelli
Final Selection
of Designers Survey
24
Section 3
3.0 Process
3.1 Thesis Parameters
3.2 Design Considerations
3.3 Design Concept and Ideation
3.4 Typography and Color Choice
3.5 Identity
25
3.0 Process
Building a thesis related to the history of graphic design seemed to be a natural
fit and great opportunity to pursue given the resources that Rochester Institute
of Technology (RIT) offers to its students. The Cary Graphic Design Archive1
and Vignelli Center for Design Studies2 allow for the viewing of primary source
material and process documents. Considering all of the rich resources and
applications for sharing design history that already exist, it was important
to develop a product that serves as a new inspirational learning tool that provides
resources for further investigation if desired by the user.
Several books, articles, and thoughts were gathered and analyzed in order
to start the development of a project that sets itself apart from what
already exists. Surveys were conducted, along with sketches, ideation,
and conversations with advisors, students, professionals, and colleagues
along the way.
The development and process of the Design Genealogy thesis project is further
described and illustrated in the following sections.
3.1
Thesis Parameters
After research, discussion, and feedback, a print application and a prototype
for a digital application were created. The applications were designed to have
a consistent look and similar objective.
1 Visit Library.RIT.edu/GDA for more information.
2 Visit VignelliCenter.RIT.edu for more information.
26
The Google Knowledge graph3 served as inspiration for sharing content.
It takes an approach to information sharing that is user friendly and attempts
to suggest other resources and insights based upon user keyword search online.
The suggestion of information related to the user’s interests allows for a more
enriching experience and possibly a longer attention span when interacting
with the product.
After a format was considered, research and information was gathered on each
of the designers who were chosen for the thesis (as noted in Appendix A6,
Process for Selection of Designers).
Topics that were researched and collected include:
1 information about what designer was most known for
2 influences (both culturally and stylistically)
3 geographical locations
4 interesting tidbits and anecdotes
5 key artworks or designs (which can always be added to)
6 training
7 people with whom they were connected to in some way
8 quotes
After each designer was studied, information was used for content development
that served to help illustrate careers of featured designers and to demonstrate
the connections among them. Section 3.3, Design Concept and Ideation
illustrates ideation and sketches for the project.
3 www.google.com/insidesearch/features/search/knowledge.html
27
3.2
Design Considerations
Design Genealogy attempts to set itself apart through a unique design
solution. Its execution is engaging and interactive, where the user drives
what content and information he or she wants to read and explore.
Content is presented in a concise format, allowing the opportunity for users
to pursue further investigation through noted resources, if desired. The design
does not attempt to be comprehensive, but a platform to provide information
in an organized, simple, legible, clear, and inspirational manner. It serves
to showcase history in a different lens than traditional history documentations.
This is achieved through a non-linear format that showcases each designer’s
work and life through a consistent structure among developed portfolios
and cards. The printed application has been developed as something that can
be easily held, shared, or interacted with, but is also beautiful enough to post,
hang, or display in an office, a classroom, or an interior space. The digital
application offers links, pop-ups, hovers, and information bits for keywords
and connections.
Sets of twelve cards allow for the release of additional sets that can address
a range of design topics and disciplines. A flexible framework that can be easily,
scaled and adjusted was necessary for both print and digital applications.
Function
• To serve as a learning tool, inspiration, and art.
• Small size, portability and ‘flash card’ feel.
• Square format to display different size design and artwork.
• Easy to organize, pull cards out to mix and match, or study with.
28 Content
• Designer name and photo at top, large typography.
• Description about what designer is most known for.
• Design cards that feature work that can be displayed or framed.
• Provides a visual understanding of designer’s style, focus, and inspiration.
• Use of color to denote different topics and information on a career infographic.
• Features tidbits of information, anecdotes and trivia to help tell the story.
• Explore section provides books and references for viewer to gather more
information about designer.
• Quote cards can be displayed and framed.
• Additional portfolio for each set lists all designers in the set as well
as a colophon that provides credits and information.
Layout
• Flexible but consistent format among cards and website.
• Clean, legible typography that allows designer’s work to stand out.
• Minimal use of color; use to help to navigate and understand information
about featured designer.
Scalability
• The introductory set of cards, Design Leaders (created for this thesis project)
features a thoughtfully selected mashing of well-known designers.
• Sets of 12 cards.
• There is much opportunity to sell sets in categories including dates, movements,
trends, or interesting categories such as Typographic Aficionados,
The Best of Euro Designers, Design USA, Hippie Designers, Web Wizards,
Pro Postmodernists, Do Good Designers, Bad Ass Designers, Young Guns,
Rule Breakers, Modernist Masters, etc.
• This format could be scaled and applied to different professions and
areas of focus.
29
3.3
Design Concept and Ideation
Inspiration
After researching several books, publications, and digital resources, inspirations
were gathered and analyzed to help understand how to achieve a successful
printed and digital application that sets itself apart from what has been done
in the past. The following pages list different attributes that were especially
effective and impactful across various applications and publications.
30 AZ Project
AZ-Project.org/en
1 Features quote, bio, imagery on each designer. Traditional bio layout,
follows almost a print publication format.
2 Downloadable PDFs and keyword search are a pleasing touch.
3 Design is precise and clean, consistent, easy navigation.
4 A–Z listing and navigation can easily be added to and updated.
10 az-project.org
INDEX
- Vanity Fair, Cover, November 1932 - Vanity Fair, Cover, June 1934 - Vanity Fair, Cover, March 1935 - Vanity Fair, Cover, December 1934 - Vanity Fair, Cover, September 1934 - Vanity Fair, Cover, July 1933 - Vanity Fair, Cover, January 1935
9 az-project.org
The temple of Constructivism is full of treasures, and for this reason it is recommended to designers in search of inspiration.
Mehemed Fehmy Agha
Nicknamed “Dr.Agha” for his all-embracing culture, he tests the innovations of the European modernist design to renovate, as an art director, important American magazines. After having attended the Emperor Peter the Great Polytechnic Institute and the Academy of Fine Arts in Kiev, he leaves Russia to study languages at the INALCO (Institut National des Langues et Civilisa-tions Orientales) in Paris. In the second half of the 1920s he lives in Berlin, he comes into contact with Condé Nast who, impressed by his work, offers him the post of art director for the magazine “Vogue”. He moves to New York in 1929, where his work is much appreciated and he is asked to oversee even “Vanity Fair” and “House & Garden” as art director. In 1935, he becomes the president of the Art Directors Club in New York, while in 1939 the entire August issue of the magazine “PM” is dedicated to him. In 1943, once his collaboration with Nast has come to an end, he works for various companies, department stores and publishers as a freelancer. From 1953 to 1955 he is the president of AIGA (American Institute of Graphic Arts).
What makes Agha one of the most innovative art directors is his modern, original and elegant approach in the design of front pages and the general layout of the magazines. According to Agha, it is of fundamental importance during the editorial process to take care of both the article and its layout simultaneously, so that the text, which could be sharp and witty, should not be be transmitted by a monotonous and ordinary layout. The consequent use of photography and the collaboration with the most influential artists of the time make the magazine “Vanity Fair” famous, enriching it with new sub-jects, which space out from art to politics to social issues, and make it much more than just an ephemeral fashion magazine. A great example is the cover of the November issue of 1932 which displays a satirical, Cubism-like illustra-tion drawn by the political cartoonist Paolo Garretto against the impending Nazi totalitarianism. In the picture the German leader takes on the shape of the symbol of National Socialism with an extra saucy touch: the four arms of the swastika coincide with Hitler’s limbs ending with hands and feet; his left INDEX finger points to the right side of the page, inviting the observer to follow him or, in this case, to start reading the magazine.
MEHEMED FEHMY AGHA Mykolaïv, 1896 Pennsylvania, 1978
INDEX
1. Aa. Vv., Art & Publicité, 1890-1990 (catalogue), Centre George Pompidou, Paris 1990, pp. 68, 320, 321-324, 329. 2. Baroni, D., Il manuale del design grafico, Longanesi, Milan 1999, pp. 229, 231. 3. Baroni, D., Vitta, M., Storia del design grafico, Longanesi,
Milan 2003, pp. 153, 169, 170. 4. Grazioli, E., Arte e pubblicità, Mondadori, Milan 2001, p. 106. 5. Heller, S., Ilic, M., Icons of Graphic Design, Thames & Hudson, London 2001, pp. 98, 99. 6. Hollis, R., Graphic Design. A Concise History, Thames & Hudson, London 1994, pp. 97-99, 101. 7. Jubert, R., Typography and Graphic Design. From Antiquity to the Present, Flammarion, Paris 2006
(2005), pp. 9, 266-269, 275, 312. 8. Livingston, A., Livingston, I., Graphic Design and Designers, Thames & Hudson, London 1992, p. 12. 9. Meggs, P. B., A History of Graphic Design, Wiley, New York 1998 (1992), pp. 302, 303, 346. 10. Raimes, J., Bhaskaran, L., Retro Graphics Cookbook.
Recreate 100 Years of Graphic Design, Ilex, Lewes 2007, p. 86.
2 3 4 1
31 Herman Miller: Discover Design
http://www2.hermanmiller.com/discoveringdesign/#
1 Upon hover, red lines appear that connect designers, products, and stories.
2 Interactive links include ‘view slide show’, ‘film clips’, ‘audio files’, and
‘external links’. They all lend to different methods for learning about the designer.
3 An ‘also see’ section has thumbnails of any designers, products, and stories
that were connected by a red line to featured content on main page.
1
3 2
32 Google Knowledge Graph
http://www.google.com/insidesearch/features/search/knowledge.html
1 Search is simple.
2 You can ‘explore your search’ to find related connections.
3 Relevant data is collected and related objects are listed in the knowledge
graph. This exposes the user to more information and content related
and relevant to the search.
4 It allows for the connection of information and objects.
1
2
3
4
33 Eames House of Cards
image source:
http://www.dwr.com/product/eames-house-of-cards.do#.UP4HuqGOhF8
1 Cards have slits that inspire play and allow users to build unique geometric
designs with different images.
This is Display
http://www.thisisdisplay.org/
1 This mid-century curated collection is a suitable site
to research and understand design work from that time.
1
1
34 Phaidon Archive of Graphic Design
1 Has several information bits at top of sheets, which allow for ease of organization
including ID, designer, date, client, category, title, and category.
2 Image of featured design on back of sheet.
3 Writeup about design and its importance and place in history.
1
3 2
35 Secret Lives of Great Artists
1 Comes across as playful and fun.
2 Interesting tidbits and artist ‘specs’ are featured.
3 Designer quote.
3 2 1
36 MoMA Inventing Abstraction 1910–1925
http://www.moma.org/interactives/exhibitions/2012/inventingabstraction/
1 Interactive grid connects relationships among artists.
2 Artist information includes name, birthplace, worked, interests, short bio, works.
3 Inspired by Cubism and Abstract Art diagram.
1
2
3
37 Layout Version One: The File Folder
Based on research, ideation, and sketching, layouts for the print application were
developed. Feedback was then gathered from mentors and peers to improve
upon a printed format that takes the following into consideration:
interaction and play
‘fun’ factor
ability to display for inspiration
use as a tool to find more information
The following pages identify feedback gathered during version one development.
More notes and process are in Appendix A9, Ideation and Application Iterations.
+ next to a comment denotes positive feedback, or strength of application.
– next to a comment denotes that it needs improvement or reconsideration.
Lucian Bernhard 1883–1972
Good to know
Learn more
Lucian Bernhard was on his own at a young age. To make ends-meet, he entered a poster contest in 1905 for Priester. Th e poster was reduced to feature an illustration of two large matches that sat below the product name set in bold lettering. Th is type of simplifi cation was unheard of, and initially rejected.One judge pulled Bernhard’s work from the trash and deemed it genius. Th is was the beginning of the Sachplakat or Plakatstil style (object poster). In his lifetime, Bernhard designed over 35 typefaces, including Bernhard Gothic in 1929.
aiga.org/medalist-lucianbernhard/ az-project.org/en/designers/lucian-bernhard-2/
+ Name at top of card, and ‘known for’ section.
+ Learn more section with additional resources.
– Featured artwork is nice, but too many pieces on one page.
– Career information is boring or confusing. Reconsider organization.
+ Quote by designer.
– File folder format is okay, but how can it be more engaging and interactive?
“You see with your eyes, not your brain. What you do with your hands should express the physical process and should never be mechanical.”
Hollerbaum & Schmidt
1.1.1.1
Berlin, Germany New York, NY, USA Stuttgart, GermanyMunich, Germany
Connections c = child w = worked with f = friend m = married to
Location
Infl uences
Study, work, focus
f Fritz Eichenberg
Self-taught Munich Art Academy Army Corporal
Bernhard Gothic
typeface 1929 Amoco poster a month
Radio City Music Hall Westinghouse
Marlboro Shirts Theater Guild ExLax
Cat’s Paw logo 1947 Antiqua typeface 1913
Berlin School of Arts & Crafts Professor of poster art Deutsche Werkstätten für Handwerkskunst Art Director
w Paul Poiret
Roy Latham
Priester matches poster 1905
◆
Das ist der Weg zum Frieden (That is the Way to Peace) war poster 1917
◆ Osram lightbulbs poster 1916
◆
Bosch sparkplugs poster 1914
◆
Painting Sculpture
Graphic Design Furniture Design
Type Design Architecture
Illustration Interior Design
Contempora company Ernst Growald
William Nicholson
World War I James Pryde
w Rockwell Kent
w Bruno Paul w Erich Mendelson
c Karl Barnhard c Manfred Barnhard c Ruth Barnhard
f Aaron Burns f Cipe Pineles
European Art Nouveau Beggerstaff Brothers
Henri Toulouse-Lautrec Jules Chéret Alfonse Mucha
1883 • 1972
Key Signifi cant work/clients
◆ Featured
Das Plakat
magazine 1910
w Hans Sachs
American Type Founders Company
NYU and Art Students League Professor
Learn more Six Chapters in Graphic Design by Phillip B. Meggs
Saul Bass: A Life in Film & Design by Jennifer Bass & Pat Kirkham
New York, NY, USA
Los Angeles, CA, USA born
1920 1930
teenager
1940
twenties
1950
1960
1970
1980
died
1996
Connections c = child w = worked with f = friend m = married to
Signifi cant work
◆ Featured
Study, work, focus Location
Infl uences
others Film Titles Director Saul Bass & Associates Bland Thompson Agency Brooklyn College Buchanan and Company Art Director Art Students League Art College of Manhattan Warner Bros Assistant
Corporate ID
Howard Tafton
Gyögry Kepes
Plakatstil
Los Angeles Olympic Game posters 1984
◆
Girl Scouts logo 1978
◆
United Way logo 1973
◆
Anatomy of A Murder
fi lm title 1959
◆
Vertigo
fi lm title 1958
w Alfred Hitchcock ◆
Exodus
fi lm title, poster 1960
Psycho
fi lm title 1960
Why Man Creates
short fi lm 1968
Minolta logo 1980 Kleenex logo 1980 AT&T logo 1984 Academy Awards posters 1991–1996
Bell telephone logo 1969 Quaker Oats logo 1971
One, Two, Three
poster 1962
West Side Story
fi lm title, poster 1961
Man with the Golden Arm
fi lm title, poster 1955
w Harold Adler ◆
Carmen Jones
fi lm title 1946
w Otto Preminger
1.1.1.1 Key
Bauhaus European Modernism Constructivism New York School
38 Layout Version Two: The File Folder Deluxe
Feedback from version one was taken into consideration in which a revised
layout was created that addressed issues from layout one. Additional analysis
can be found in Appendix A9, Ideation and Application Iterations.
+ Separate cards for artwork and quotes makes them easier to display.
+ Color-coded sections make navigation easier.
– File folder format should be reconsidered. Reconsider its function.
– Infographic on career could still use work to make more engaging.
– Is there a way to link anecdotes with something to better tell a story?
Lucian Bernhard entered a poster contest in 1905 for Priester. Th e poster was reduced to feature an illustration of two large matches which sat below the Priester product name set in bold lettering. Simplifi cation to this extent was new in poster design. Bernhard’s poster was was initially rejected by judges and subsequently thrown in the trash. A sales manager ad Hollerbaum & Schmidt by the name of Ernst Growald pulled the poster out of the trash and declared it genius. Winning the contest marked the beginning of a prolifi c career for Bernhard.
Th e Priester matches poster marked the beginning of the Sachplakat or Plakatstil style, which literally means “object poster”. Th is style has infl uenced design through our current time. Even today we oft en see designs that are reduced to feature an item or object accompanied by only its name. Minimal imagery and fl at color are also indicators of reference to the Plakatstil style.
Sachplakat or Plakatstil
Lucian Bernhard
Priester Matches Poster 1905
Lucian Bernhard
1883–1972
Learn More 100 Ideas That Changed Graphic Design by Steven Heller and Veronique Vienne
AZProject.org/en
Designer as Author: Paul Rand Lecture Series by Steven Heller Graphic Desgin: A New History by Stephen F. Eskilson Graphic Design History by Steven Heller & Georgette Ballance Graphic Design Referenced by Bryony Gomez-Palacio and Armin Vit Graphic Design A Concise History by Richard Hollis Graphic Design TimeLine by Steven Heller and Elinor Pettit
Meggs’ History of Graphic Design by Philip B. Meggs & Alston W. Purvis
The Story of Graphic Design by Patrick Cramsie
quote
inspiration
trivia
marriage family location
design work career/ education/ clients quote inspiration trivia
marriage family location
design work career/ education/ clients quote inspiration trivia
marriage family location
design work career/ education/ clients quote inspiration trivia
marriage family location
design work career/ education/ clients quote inspiration trivia
marriage family location
design work career/ education/ clients quote inspiration trivia
marriage family location
design work career/ education/ clients quote inspiration trivia
marriage family location
design work career/ education/ clients quote inspiration trivia
marriage family location
design work career/ education/ clients quote inspiration trivia
marriage family location
design work career/ education/ clients Lucian Bernhard Personal Life 1883–1972 Second Marriage Unknown Name 1911 First Marriage Unknown Name Dates Unknown Lived Family Karl Studio Assistant Manfred Studio Assistant Married Children Germany United States Stuttgart Munich Berlin New York Ruth Photographer Leah Margaret
Aft er being inspired by an Art Nouveau Interior Decoration exhibition in Munich, he returned “drunk with color”. Bernhard decided to paint the interior of his parent’s home while they were gone. Upon their return, Bernhard was compared to a criminal and left home at the age of fi ft een.
Bernhard’s birth name is thought to be Emil Kahn.
In his lifetime, he designed over 35 typefaces including Bernhard Gothic. He hated drawing straight lines, so many of his typefaces are curved.
Bernhard worked primarily in painting and sculpture aft er 1930.
He was draft ed into the army and had his suit custom tailored which looked like an offi cer’s suit although he wasn’t an offi cer. Th is deceptive move allowed him access to places and services he wouldn’t have had otherwise.
Lucian Bernhard
Anecdotes 1883–1972
On His Own
Real Name Type Designer Fine Artist Enlisted Trademarks Package Design Lucian Bernhard Career 1883–1972
European Art Nouveau
Henri Toulouse-Lautrec Jules Chéret Alfonse Mucha Beggerstaff Brothers William Nicholson James Pyrde
World War II
Great Depression
NYU and Art Students League Professor American Type Founders Company Contempora Army Corporal Deutsche Werkstätten für Handwerkskunst Art Director Berlin School of Arts & Crafts Professor of poster art
Fritz Rosen
Hollerbaum & Schmidt
Bosch Sparkplugs Adler Typewriter Manoli Cigarettes Henkell Champagne
REM Cough Syrup Amoco Gas Radio City Music Hall Marlboro Shirts Theater Guild Westinghouse Cat’s Paw Rockwell Kent Erich Mendelson Bruno Paul Paul Poiret Painting Sculpture Aaron Burns
Fritz Eichenberg Cipe Pineles
People Client Career Infl uenceFocus
Self Taught Started his own studio
Ernst Growald
Roy Latham Joe Katz Ted Sandler Dr Hans Sachs
Friends of the Poster Club
Das Plakat Plakatstil Illustration Graphic Design War Posters Textile Design Interior Design Architecture Furniture Design Typeface Design
“You see with your eyes, not your brain. What you do with your hands should express the physical process and should never be mechanical.”
BERN
HARD
39 Layout Version Three: The Portfolio
Feedback from version two was taken into consideration and a revised layout
was created. Additional notes can be found in Appendix A9, Ideation and
Application Iterations.
+ A portfolio format displays biographical information that holds loose cards.
+ Loose cards are tucked in pocket of portfolio and can be pulled for display.
– Pursue further exploration with color. Perhaps outer shell is a fill color and
inner is white.
Final Print Application
The final printed components can be found in Section 4.1, Final Print Application.
inside left inside center inside right
6.25“ 6.0625“
6.375“
4.25“
2“
2“
