Jens Miiller Julius Wiedemann (Ed.) XONMBE AME) ps Il Mid | te Digitalizado com CamScannerKG 4 AVASIAL MOTOR Introduetion by Jens Muller ‘The roadside billboard advertising an event, the hotel booking app, ‘the news magazine bought atthe kiosk, the arrivals and departures boards atthe airport, the traffic signs on the treeway—or even this bookare but afew specific ‘examples of the counties milions of things that have had o be created. They allbelong in the world of graphic design which forthe past 150 years or so has hada dramatic impact onthe way our word looks. Ofcourse, methods of com- ‘munication had been around long before this, for instance, we ony have to think ‘of Johannes Gutenberg and the printing revolution he started in the 16th century, however the customized marketing of products and services only came into being with the industrialzaton of graphic design. The British design historian ‘David Jury has explored these excting developments in great depth, and in his ‘essay on pp. 25-28 he traces the origins ofthe profession from amodern-day perspective ‘The transition tothe digital age once again increased the importance of visual eommuniation The words of business. science, culture, and polties ‘could not function without professionally erated design solutions, and the ‘same is true of the pubic sector. Ove the past 100 years, the range of available media formats has expanded considerably and an even greater leap forward ‘came with the breakthrough of digital media in the 1990s. Even so, the basics remained largely unchanged, whether the work ofa graphic designer was to create an advertisement, such asa billboard, oa distinguishing mark, such 22 ‘logo, Other works might give directions asin a signposting system, or provide Information, as with a infographic, or again arrange texts and llustations in proper order, suchas for a magazine layout. Digitalizado com CamScannerSEUSS Ene Basie TUNCLONS OF OTSPIN Gesign Have Not chang years th aril desgnsthemsehesate matte of constant deveognene alteration. The reason for this may simply be that, unlike a piece of archi ae ‘many graphic works are designed to be used with a relatively short times Ute fashion graphic designs constaty and instinctively redefining in sins eases wat eee uptothemnute and what Onthe oe and nny ted msc osu Sy cf be peaing zeigest whch tn dslston of arate pop eat. and ely One te hi ot oraphe design's toa sgniicant extent, malded by s politcal developments, cure, frame sel, 80M outmoded sae a rue influences of a nd though, the look cca, economia ‘An example af this canbe sen nthe apparently uninsp theeaty 880m whch can ony ed esos rom be corecty eategorted f seen in lth Second Word Wa: The same spies n dfetent naj oo eee = to-earth com Sie ‘or the experimental graphics of the hippie con Nese are inextricably linked to the place, time. and /curcumstances vw Mey neces antie ecg carlton meen dengan Saaasay ees wi bea mar ecu of atenion thick Each cade of different ventable cans images which in fom: ‘memory than the events themse'ves The ilustrated eactons o bfferent anges. The mages them and design-hstore own of | wsual tends and counter-tre | changes mn graph des.gn o the book canbe interpreted fom atleast two ies canbeconedered om pon “en sn th ay bereate cn dees ee nds, recognize devel tclang coments that ead, identity the de: onus Serongtancaan aniclsusedm the proce ot MAS ssrecate the wrvonty ot none ren eet tach pee wokeansest abe een ar store don ‘momentous events in human econ han hon Ctrl pote ron ict ‘ogi! landmarks are desc | cecum a: Src onde rteredtom many Odin ee paral wed pc | Iustory of the recent past = Ths book nudes tater | oun ante” been consaned tance senior ag seve ‘experts in the field The fa opamarsoannan nl to hat anard-anning gon a yD Stand eames poser "a4 grave design Se of he pests ene manna raed nce na whch read serve rowsen Phat perenee ne a comet rn et 8 sl econ and rg dan ach ae tent an foray tbe artnet has. em the | complex demands made on "ts practtoner} that accoe ‘Abow alt public attention is most ten drawn to graph design when indwidal designers produce remarkable creations that stand out rom tho est. This frat volume, whch covers the years betweon 1890 and 1950, Introduces around 60 ofthese extraordinary people tom al around the world vw have made a particular impact across the various decades. Asis the case ‘uth many other disciplines, certain ground uleshave been established over lume, and these affect indivdal designers as wo as single works or groups of ‘works It would have been all toa ey t tel the history of design, based solely ‘n conic images, bt though an intensive analysis of histone publications and ‘working with the cooperation of several international practitioners ithas been possible to bring together a multitude of lesser-known work to give the reader ‘much broader aporecaton. Despite the abundance of ilstations though, ‘each one selected sno more tan a snipet-yet large enough all the same to ‘xerpliy particular styles and show how they have developed. “The wesldnide spread of graphic trends, whether passing crazes or lasting developments. is a phenomenon he iterature onthe subject has 30 fa faled o tackle ll t0 ote, the history of design has been epproached inthe ‘same way ste history of aesthetics and weated as purely a histor of syle ‘wth specie pereds beng stung together, sual according to geographic location, Those adootng this approsch have generally omitted to mention that ‘many developments indesign have spread fam thi place of origin tothe four comers ofthe Earth There is plenty of endence to show tat one effect of this ‘which seme logical inthe age of potalo webites design blogs, and socal ‘media, was already being felt in he ey days of graphic design wth Bauhaus ‘sraphes berg found n China, and Art Deco peters in Japan. By taking exam- Bes rom cferent parts ofthe word and clsstying ther ehvonologicall, this book provides an impressive cvervaw of visual developments which tan- ‘cand iteration boundaries Complex developments such a these were nat ay loge or con~ ‘stent and sometimes caused conflicting eas to appear smultaneousy, One sample is the chanologial paral between coo, understated avant-garde ‘rapes n red and black and multicolored Art Deco with ts uxuious and opi Tent wal voeabulary~this typeof opposing development also reached ahigh Bort in the 19208, Tne after ime ndvdual designers emerged wth completely ‘ew ways of working and inthe process changed the ver sprit ofthe age. ‘Some designs, for example, modem minimalist logs, proved tobe 0 timeless that ts hard to gauge nretiospent exact when they were creted. Even £0, ‘part froma few exceptons every ape has aleok alts own, determined by technologie! possbities az wal at by the Wends use o ol photographic Imagery. and typography prevalent at thetime if we compare works using, ‘dar mous, ths constantly changing aesthetic becomes particularly leat. For students of achtetue, music. and nema, a knowledge ofthe past ean estentl and tlevant part of thw education. Alter als impor | toto know hat already enst and how new works ean be bated on that. | However looking back tough design history sa lengthy business. and in | fact was not uti the eary 970s that design history beoks began to appear ‘ach undertook a comprehensive examination of graphic work. 8 the 1980s, nwerities were beginning testaish the ft design history departments ‘nd degtee courses. In proesson whare novation has always counted most ‘Crsnateworthy that or many years krowlege othe pas was dsmased ae omeahatwetvant Digitalizado com CamScannerthe ans Various aspects. At the same time, it would have been illogical tory {he history of design upto anyother point than the present. For volume 2 Invited about 160 design studios from around the glabe— trons One-Person busi. SESE to international organizations with large design teams Submit they best and most relevant projects from recent years, an S3tng decision wiichen Cor they are today, and even in countries without am tad ‘Hos and single desioners are busy creating huge number of, top-quality works, nnings af design history. graphic designers approaches. Even now, the. From the very be have taken decidedly different Drofession embraces a 3s came an era of experiment. scene, where new visual | scent appeared in far ess radical and far nore dacentnal ths book examines werks created forge Took lust 35 muchas solutans intended vo target gy 3 sub-cultures ackdrop of the British punk s ‘mainstream culture i audiences in ctferent oe Gat the commercial and euturally matvated fede of applica- toe segs has time and again served aca diving ae Giving a face oneal 2nd Social isues and playing a vale that shea be undervalued, Digitalizado com CamScanner1890-1899, major successes but the minor advangs the enable inventions to make a breakth, C88 thay and change whole industries overnight’ it was in the case of lithography, wie So breaking planographic printing proces invented in Germany by Alois Senefeg,. 4799, which proved to be a cheap ang fu in means of duplicating images etcheg a stone plates. During the 1880s, the Fron printer and designer Jules Chéretgisgy. thatit was technically possible to progyc'™! tltiolored posters in only afew prin instead of having to use a single printing each tone. These seemingly insigniticany advances led to the development ofcoly, posters in which the two design element, text and image—could be interwoven int, a coherent whole. Today's graphic design industry regards that discovery as its “big bang” moment, and it was in 1890s Parig that the modern artistic poster first came into being. It fitted perfectly into anew vigua, 1e that saw not only the first magazines illustrated with photographic reproductions put also the new medium of film. Im Bereich der Technik sind es oft nicht die ‘ganz groen Wire, sondern kleine Weiter. entwicklungen, die Erfindungen zum Durch- bruch verhelfen und in kirzester Zeit ganze Branchen verdndern. So auch im Falle der Lithografie em bereits 1799 von Alois Senefelder in Deutschland entwickelten neuartigen Flachdruckverfahren. Auf Stein- platten gezeichnete Motive konnten damit kostengiinstig und schnell vervielfatigt werden. Fiir jede verwendete Farbe war je- doch eine eigene Steinplatte natig. Im Laufe der 1880er-Jahre entdeckte der franzésische Drucker und Gestalter Jules Chéret eine technische Méglichkeit, vielfarbige Plakate mit nur wenigen Druckgéingen herzustellen. Diese scheinbar marginale Weiterentwick- lung fithrte zum Durchbruch farbiger Plakate, bei denen Schrift und Bild als untrennbare Gestaltungselemente ineinander verwoben waren. Heute gilt dieser Moment als eine Art Urknall des Grafikdesigns. Ausgehend von Paris, entstand in den 1890er-Jahren das ‘moderne Bildplakat. Es passte perfekt in ein neues Bildzeitalter, das in weiterer Folge nicht nur erste Zeitschriften mit reprodu- zierten Fotografien hervorbrachte, sondern ‘auch das neue Medium Film. Digitalizado com CamScanner aWith the advent of a period of social and ‘economic change, anew class of consumer began to emerge in several countries, namely the working class. In conjunction with this development innovative posters with eye catching imagery-initially regarded as being “too modern’ by the conventional brand industry—slowly became established as the foremost advertising medium. Targeted poster campaigns were now able to reach ‘amass audience, especially in the rapidly expanding major cities. However, industry as a whole increasingly recognized the fur~ ther possibilities offered by professionally produced graphic design, and at the turn of the century it was economically successful Germany that led the way in the advance- ment of this area, For the first time corporate identity began to appear across different types of media, whilst the systematic use of the Sachplakat, or “object poster,” which had the advantage of transmitting information clearly and directly through minimalist design, also o1 jated in Germany at this period. Durch die gesellschaftlich-wirtschaftlichen Verdnderungen der Zeit stiegen in vielen Landern die Arbeiter zu einer neuen Kon- ‘sumentenschicht auf, Neuartige Plakate in expressiver Bildsprache, die bei der konventionellen Markenindustrie zunachst noch als zu modern gegolten hatte, setzten sich auch hier langsam als wicl Werbemedium durch. Vor allem in den wachsenden GroSstadten konnte man nun mit gezieltem Plakataushang die Massen erreichen, Die Industrie erkannte jedoch zunehmend die weiteren Méglichkeiten, Jie eine professionelle visuelle Gestaltung fiir sie bereithielt. Vor allem das wirtschaft- lich erfolgreiche Deutschland war Anfang des Jahrhunderts federfihrend in der Weiter- ‘entwicklung des modernen Grafikdesigns, Hier wurde erstmals gezielt mit medienii greifenden Firmenidentitaten gearbeitet. ‘Auch das sogenannte Sachplakat, bei dem ie kommunikativen Vorteile einer aufs Minimum reduzierten Gestaltung systema- tisch genutzt wurden, hat seinen Ursprung im damaligen Deutschland. ss 2 Digitalizado com CamScannerToes 4910sithad become Amattercteg, | y 6 to hire design and ag, a py the ang ompanie cialis and in many countries hq. ise became properly recogn),. ed as seen in the founding oj prof aasociations and joUrnaLB, During yt ae of tho First World War araphic deg yomsthe obvious and Most EXPressive chk for the numerous Propaganda posters nye tor py the various Warring COUNtries, Athy out time, avant-garde MOVEMENts of ify, cent persuasions were appearing in countrig, etross Europe and in Russia, whose lea fights eagerly pushed the boundaries of and design. New forms of expression took fold which would have a lasting impact on the development of the visual asin the fg, Towing decades. rir Unternehmen wurde es zunehmend selbstverstandlich, Fachleute flr Gestaltung tind Werbung zu engagieren. In den 1910er. Jahron professionalisierte sich die Branche invielen Lindern, Berufsverbande und Fachzeitschriften entstanden. Wahrend des Erston Weltkriegs zeigt sich die selbstv stindliche Durchsetzung von Grafikdesign als visuelles Kommunikationsmittel in den zahlreichen Propagandaplakaten der unter- schiedlichen Kriegsteilnehmer besonders rucksvoll. Gleichzeitig entwickelten in einigen europaischen Landern und in Russland erste Avantgardebewegungen verschiedener Auspragungen. Deren Prota- gonisten bewegten sich tells nahtlos an der Grenze von Kunst und Design. Neue ‘Ausdrucksformen etablierten sich, die die visuelle Entwicklung des folgenden Jahr- zehnts nachhaltig beeinflussen sollten. - a Digitalizado com CamScanner 1The 1920s were marked, especially in Cen- tral Europe, by the parallel influences of commercially operated creative industries and artistically motivated avant-garde ‘movements. Each side had different inte tions behind its drive to explore new kinds of graphic work. Photography, for example, found its way nto the realm of graphics as a ew means of expression, and at the same time the multi-disciplinary Bauhaus became one of the principal modernist stye-setters, with an influence which extended globally. In France, the new visual language of Art Deco t00k shape, and, widely used both commer- cially and artistically, it was soon adopted as 4n international standard. Set in the positive economic climate that emerged following the horrors of the First World War, the 19203 were a golden age which produced several masterpieces in art, literature, and cinema. But at the end of the decade, the fateful Stock Market Crash of October 1929 fore- shadowed the darkening days of the 1930s. Die 1920er-Jahre waren vor allem in Mittel- europa vor Nebeneinander der wirtschaftlich arbeitenden Kreativbranche und der kiinst- lerisch motivierten Avantgarde bestimmt. Beide trieben aus unterschiedlicher Motivation Visuelle Entwicklungen voran. Die Fotografie hielt als neues Ausdrucksmittel Einzug in den Bereich der Grafik. Das Bauhaus wurde zur stilprigenden Schule der Moderne mit globalem Einfluss. In Frankreich entwickelte sich mit dem Art déco eine neue Bildsprache, gleichermaBen kommerziell wie kiinst- lerisch Einsatz fand und bald international adaptiert wurde. Verbunden mit einer posi- tiven globalen Wirtschaftslage, entwickelte +h nach den Schrecken des Ersten Welt- kriegs ein oft als .goldenes Zeitalter” be- zeichnetes Jahrzehnt, das auch in Kunst, Literatur und Film zahlreiche Meisterwerke hervorbrachte. Mit einem folgenreichen Bérsencrash im Oktober 1929 wurde jedoch noch im ablaufenden Jahrzehnt die diistere Zeit der 1930er-Jahre eingeleitet.‘atthe start of the 1990s the Great Depressi", any had fit the United States spread 26/022 the world, and as mass unemployment De | ro ty a major problem for Wastern society jeized power ing Germany. ol. Atthe same hips took hold in sult that this i of artistic Fascist regimes 3 inseveral European countries, includi where Nazism gained cont time, authoritarian dictators communist Russia, with the rest ‘was not a good time for the spiri Jnnovation or creativity. Censorship and rate-imposed design policies often proved to be a barrier to progress in these field» and indeed the decade can be seen as a” ‘example of the correlation betw itand visual cul: eloquent socio-political developmen ture. generally emigrated ‘and with the outbreak of war in Eu! York City became the new powerhouse for ‘Many creatives and those in the arts to the United States: rope, New design and advertising, ISA, machte sich Anfang ‘Ausgehend von den U e Wirtschalts: der 1930er-Jahre eine globa krise breit. Massenarbeitslosigkeit wurde zum groBen Problem westlicher Gesellschat ten. In verschiedenen europaischen Landern kamen in der Folge faschistische Regierungen an die Macht, darunter auch die National sozialisten in Deutschland. Gleichzeitig setz te das kommunistische Russland mit aller Macht ein diktatorisches System durch. Es waren keine guten Zeiten fur Innovations: . Zensur und staatliche geist und Kreativi jen behinderten vielfach Gestaltungsdokt die visuelle Fortentwicklung. Die Korrelation von politisch-gesellschaftlicher Entwicklung und visueller Kultur zeiate sich am Beispiel dieses Jahrzehnts besonders eindrucks voll. Ein graBerer Teil der Kunstbranche und zahlreiche Kreative emigrierten in die USA. Wahrend in Europa der Zweite Weltkrieg begann, entwickelte sich New York City zum neuen impulsgebenden Zentrum fur | Desian und Werbung,fof the decade w the first h orld Wat, with mi JW i heir lives or oth indirectly affected by), smade their in ties. The war oF Tpepect of life butaleo left on graphic d during the Firs jesign, where 1 World War, visu! ned as animportant «ine t cation function eco . var in 19as the recovering e 4 the of the diff industry Gnadvertising, and it 2s large, ries restored ent cou! tive toits role asa driving jorge particularly a the Unites egan to be ‘States that global visual treng The many fashion and life. lite set. ines published in New York backdrop for new American although at first illus be style ma vided the jesign, and pr graphic d 1 was the domina covers, which suffered from t form used for poste tion and magazine At eiencies in color reproduction technology photography was f of the moment. fast becoming the stylist device 0 cite Weltkrieg bestimmte die e Der Zw hts, Millionen von Mer Halfte dieses Jahrzel on ihr Leben und waren direkt schen verlore ior indirekt von den Kriegshandlungen od betroffen, Die Kriegsjahre beeinflussten \iche Bereiche des Lebens und hinterlieBe co auch im Grafikdesign ihre Spuren. Mehr och als im Ersten Weltkrieg fungierte die ichtiges Mitte Mit demEn visuelle Kommunikation als W Beeinflussung der Masse ides Zweiten Weltkriegs 1945 wurde in de meisten Landern die wiedererstarkende W schaft erneut zum Treiber der Kreativbran visuelle Trends, Als Buhne fur die neue ame ikanische Grafik boten sich unter anderem Jie zahireichen in New York publizierten Mode- und Lifestylemagazine an. Au durch fehlende technische Farbreproduktion auf Plakaten oder ten zunachst noch die Illustration domin begann sich die Fo! Stilmittel durchzusetzen, Vor allem in den USA entstanden nun globale aglichkeiten de aro pormeatad {ithe 1950s many eountrlon wer by a tromondous apirit of progress and op inifam, even though the Gold War carried the ¥ real throat of a new international con fq ocletios flict, twas, that tolovision mediuny, while more and mo above all, In wastorn 80 ablishod olf as a nna poople could itomobile, ace got off t art, Thoro was also a feel: Inv of visual now afford to buy thelr own Actho same timo, the space an auspicious ing of solf-confidence in tho communication, where many now ‘emorgod: in the United States, the styles tivo advertising scene which had grown uP now developed a new, playful approach to typography, while in Switzerland the knock on effect of the avant-garde of times lod to layouts which employed minimalist imagery and lettering, signaling the start of the modern era of graphic design. In Poland, {new generation of young designers made its presence felt with a novel kind of quasi: Exprossionist posters, and alongside these charismatic and better-known pioneers of International fame, other countries, as yet unobtrusive in the world of graphic design, began to develop their own design culture in step with the modern age. Die 1950er-Jahre waren in vielen Lindern von ungehourem Fortschrittsgoist und Optimis: ‘mus goprigt, auch wenn der Kalte Krieg sich als neuer internationaler Konflikt abzeichnete. Vor allem in westlichen Gesellschaften setzte sich das Fernsehen als Massenmedium durch, immer mehr Menschen konnten sich ein eigenes Auto leisten. Gleichzeitig begann ein viel versprechender Wettlauf ins All. Auch » Bereich der visuellen Kommunikation herrschte Aufbruchsstimmung, zahireiche neue Tendenzen entstanden. Die innovative US-Werbeszene entwickelte einen neuen spielerischen Umgang mit Typogratie. In der Schweiz manifestierten sich, in Fortsetzung der friiheren Avantgarde, grafisch wie typo: grafisch reduzierte Arbeiten, diese leiteten nicht weniger als die Moderne im Grafikde: sign ein. In Polen trat eine junge Gestalter generation mit neuartigen, teils expressio nistischen Plakaten erstmals in Erscheinung, Neben diesen Vorreitern mit internationaler Strahlkraft entwickelte sich auch in bistang im Grafiksektor unauffalligen Landern eine zeitgemiife Designkultur,