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Copy of Publication Design Influences 1940-50's
Transcript of Copy of Publication Design Influences 1940-50's
E. Mcknight Kauffer
In 1936 Rand was hired as a freelance-designer
to produce layouts for “Apparel Arts”, a men’s fashion magazine.
He worked at Conde Nast Publications as an Editorial director from 1962-1994.
He gained the trust of his editors and they gave him a long leash. Rand earned a full-time job and an offer to become art-director for the Esquire magazine.
Three years at Esquire was just about enough for Rand, so when Weintraub asked him to join him as chief art-director at his new agency, he accepted the job.
Rand was not an art-director in the traditional sense, he developed the ideas and most of the artwork himself.
He was a Russian-American magazine editor, publisher, painter, photogrpaher, and sculptor.
In his ads, as well as in his book cover design he combined shapes, colors and objects. Rand used found objects, cut papers and minimal typography.
His designs were often seen as modernist, because of his use of typography. In Thoughts on Design Rand would explain that “the real difference between modernism and traditional design lies in the way an image is placed on a sheet of paper.”
Paul Rand influenced not only publication
design, he linked European art with American
commerical art. He broke traditions, and
because of that, he pushed the boundaries of design.
American Graphic and
Edward McKnight Kauffer was an influential American-born artist noted for his avant garde graphic design and poster art, especially in England.
He moved to London at the start of the World War, and was briefly associated with Robert Bevan's Cumberland Market Group. He may be best known his poster designs for multiple British clients.
He also illustrated books and book covers and later he also became interested in textiles, interior design and theatrical design.
After moving back to New York he was approached to do a series of posters for American Airlines in 1947. It remained his primary client until his death in 1954.
Alexey Brodovitch was a photographer, teacher and designer well known for his work with the magazine Harper's Bazaar.
He spent his early life in and out of the military before spending time in Paris, which is where he began his career in the graphic arts. His first major success came after winning a poster competition for a local theater.
He spent a total of 15 years working for the magazine and provided art direction for much of its content, until he left due to declining health.
His style of combining elegantly set typography with new and experimental trends in photography became widely popular.
He also helped to direct a short-lived, but influential, American art and design publication titled Portfolio. It unfortunately went under as it's profit could not outweigh cost of production.
Nearly every project that Brodovitch worked on was met with success and he left a lasting impression on every one of his colleages, students and co-workers.
Herbert Matter was a master of using photomontage, color and typography in an expressive manner. His design work often favored a heavy use of photography.
His most recognizable works are the posters he created for the Swiss Tourist Office, but his photography work for Harper's Bazaar, under the direction of Brodovitch, is equally impressive.
He began teaching photography and design at Yale in 1952. He continued to teach and work until he died in 1984.
He began designing for books in 1937.
He was the Director of Visual Research for Look Magazine.
He designed for magazines such as Fortune, New Directions, and Girl Scouts of America
Worked for Vogue magazine as assistant art director. He later became the magazine's art director in 1943.
Very diverse Art background from print to movie titles
He designed many movie titles- over 30
His "Cut-paper" style is one of the most recognizable styles during the 50's and 60's
Attended Washburn College, graduating in 1934. After a brief period as a designer at Capper Publications, where he thoroughly learned every aspect of printing production, Thompson moved to New York in 1938.
He worked as art director at the Rogers-Kellogg-Stillson printing firm
"The art of typography, like architecture, is concerned with beauty and utility in contemporary terms... the typographic designer must present the arts and sciences of past centuries as well as those of today... And although he works with the graphics of past centuries, he must create in the spirit of his own time, showing in his designs an essential understanding rather than a labored copying of past masters." (from Westvaco Inspirations 206, 1956).
As the designer of more than 60 issues (1939-62) of Westvaco Inspirations, a promotional magazine published by the Westvaco Paper Corporation, he reached many thousands of typographers, print buyers, and students.
Another triumph came with the publication of The Washburn College Bible, the most monumental and innovative reassessment of bible typography since Gutenberg's own edition appeared in 1455.
Another significant point in his career, in the field of typography, was his publication of Alphabet 26, which was labeled as a monoalphabet. It contained only 26 unique characters and case was established by size only rather than entirely new characters
Bradbury Thompson not only
innovated publication design,
he influenced the very basis
of what is most important in
graphic design, typography.
Source: RIT Graphic Design Archive