by Mario

Des

ign History Journal

Telle

s

orianVi

ctorian

Vict

ChromolithographyNaturalistic renderingsDecorative typeLots of ornamentEphemera

Louis PrangKrebs Lithographing Co. Joseph Morse

Arts & C

rafts

Stylized natural forms leaves, flowersHorror vacui crowding of designelements in the fieldHistoricism use of past styles, especially medieval figuresPrivate press movement books

Arts Arthur H. MackmurdoWilliam MorrisBruce Rogers

o EU

kiy

Wood cutsFloating objects in a floating worldSense that we are frozen in timeJapanese themes such as geisha girls/kabuki theatre/nature: result of isolationism

KatsushikaHoku- saiAndo HiroshigeHokusai Gashiki

Art N ouve

au

Wood cutsFloating objects in a floating worldSense that we are frozen in timeJapanese themes such as geisha girls/kabuki theatre/nature: result of isolationism

Stylized natural forms flowers, birdsWhiplash curve bimorphic lines, curvilinearExotic females removed from contemporary time and place

KatsushikaHoku- saiAndo HiroshigeHokusai Gashiki

Eugène GrassetAubrey BeardsleyJan Toorop

SecessionVi

enna

Elongated figures and typographyTall, thin compositionsHand-drawn, stylized type

Robert ThorneRobert BesleyVincent Figgens

SecessionElongated figures and typographyTall, thin compositionsHand-drawn, stylized type

Cub is

m

Monochromatic palette analytical cubismFaceting of surfacesGeometric shapesSimultaneity the subject is viewed from several angles at once, the subject remains stationary and the viewer moves

Pablo PicassoGeorges BraqueJean Metzinger

Futurism Po

etry

Free typographyOnomatopoeia use of words whose sounds suggests a sense/emotionSimultaneityIn graphic works, letters suggest sounds from different sources heard at onceIn figurative works, the viewer remains stationary and the subject moves, the subject is represented in multiple positions at once

Filippo MarinettiArdengo SofficiLewis Carroll

Futurism

Wor

ks

Graphic

Geometric patternsOnomatopoeia use of words whose sounds suggests a sense/emotionMachine aesthetic , automatons, or elements suggesting industry

Hugo BallMarcel Duchamplfred Stieglitz

daD

a

Ready made materialsPhotomontageAbsurdity, humor & social criticism

Hannah HochKurt SchwittersJohn Heart Field

Expre ssio

nism

Bold contour drawingWoodcutsDeep sense of social crisisEmpathy for the poorThick paintExaggerated distorted color,drawing and proportions

Franz Kafka’sWassily KandinskyHenri Matisse

alismSu

rre

Dream imageryPersonal symbolismIllogical juxtapositions of elements

George GroszGiorgio de ChiricoMax Ernst

Photograp

hy

Concern for point, line, plane, shape and textureMultiple exposures, pure form and distortionSolarization and experimental techniquesPlakatstil also known as Pictorial ModernismDominant stylized imageFlat background colorName of product

Francis BruguièreAlvin Langdon CoburnMan Ray

astilPl

akFlat background colorDominant stylized imageName of product

James Pryde William NicholsonDudley Hardy

Flat background colorDominant stylized imageName of product

Art Dec

o

Zig-zag lineGeometric shapesMachine aesthetic streamline, converging linesEclecticism, international motifs Assyrian, American Indian, Greek

A. M. CassandreJean Carlu Paul Colin

Supr

emat

ism

SUPREMATISMNon-representationalPure colorsBasic geometric shapesLettering looks Soviet influencedOften uses red and black on beige colored background

Vladimir Burliuklja ZdanevichKasimir Malevich

ConstructivismCONSTRUCTIVISMGeometric shapesAsymmetryDiagonal linesLettering looks Soviet influencedOften uses red and black on abeige colored background

De Stijl

AsymmetryPrimary colors with neutrals black, white and grayPerpendicular lines

Piet MondrianThéo van Doesburg Lasz- lo Moholy-Nagy

ConstructivismCONSTRUCTIVISMGeometric shapesAsymmetryDiagonal linesLettering looks Soviet influencedOften uses red and black on abeige colored background

hausTh

e Bau

Sans serif asymmetrical type-New TypographyDeliver message and communicateFunction not decorationPurity, clarity, simplicityNew approaches to photography Extreme scale contrasts/bird’s eye/worm’s eye Montage

Oscar SchlemmerJoost SchmidtHerbert Bayer

The nTy

pogr

aphy

Asymmetrical, flush left ragged rightPriority assigned to text based on weight and sizePurpose of communication is to function not decorateType used in simple form without embellishmentRules should be used for emphasis

Jan TschicholdEric GillPaul Renner ew

Movent in AmericaM

oder

nBauhaus influence American contentWPA typography for social programs

George SalterLester BeallRomain de Tirtoff

Movent in AmericaBauhaus influence American contentWPA typography for social programs

The Int’l. Ty

pogr

aphi

c St

yleAsymmetry

Flush left/ragged right layoutsSans serif letters with bold words for emphasisReductive, objectivity, no superfluous decorationGrid systems

Jacqueline S. CaseyArnold SaksDietmar Winkler

SchoolN

ew Y Uniquely American approach with origins in

European modernismPlayful, visually dynamic and unexpectedAnalyze communications content-reduce tosymbolic essenceUse of shape

Paul RandAlvin LustigBradbury Thompson

ork

Uniquely American approach with origins inEuropean modernismPlayful, visually dynamic and unexpectedAnalyze communications content-reduce tosymbolic essenceUse of shape

Corp. ID & V

isua

l Sym

bols

Logotypes and identitiesPictograph signage for Olympics and transportation

William GoldenGeorg OldenLou Dorfsman

ImageC

once

p

Narrative information communicated with ideas and conceptsFamiliar in an unfamiliar settingScale changes, substitution, visual puns and play

Lou DanzigerHerbert LeupinNames of artists

etual

Image

Dig R

evol

utio

nComputer generated imageryInternet, interactive design and the worldwide web

Erik AdigardJohn MaedaAaron Koblin ita

l

dernPo

stm

o DECONSTRUCTIONBroke with international typographic style communicationsIntuitiveCommunicated emotional qualities with expressive typographyLayering/overlappingUses computers to generate layouts and typography

Michael VanderbylMichael Croninhannon Terry

Design

Postm oder

nNEW WAVEStair stepped rulesSome evidence of grid underlying organizationLayering, overlapping simultaneityRetro/VernacularEclectic modernist European design of first half of centuryDisrespect for proper rules of typography placed in new waysKinky mannered type of 20s/30s

Paula ScherLouise FiliCarin GoldbergDesign

Des

ign

graphyB

iblio

All content was resourced from:Meggs, Philip B.Meggs’ history of graphic design / Philip B. Meggs, Alston W. Purvis. -- 5th ed.

All images were imported into Photoshop through a PDF version of the book.

1. Victorian & Arts and Crafts : page’s,165, 167, 169, 178, 194, 182

2. Ukiyo E & Art Nouveau : page’s, 197, 198, 199, 203, 212

3. Vienna Secession & Cubism : page’s, 238, 239, 241, 257, 258

4. Futurism Poetry & Futurism Graphic Works : page’s, 262, 264

5. Dada & Expressionism : page’s, 265, 272, 273

6. Surrealism & Photography and the Modern Movement : page’s, 270, 271, 274

7. Plakatstil & Art Deco : page’s, 291, 292, 277

8. Suprematism/Constructivism & De Stijl : page’s, 302, 320, 321, 289, 315, 316, 314

9. Bauhaus & the New Typography : page’s, 334, 328, 329, 356

10. Modern Movement in America & International Typographic Style : page’s, 388, 389

11. New York School & Corporate ID & Visual symbols : page’s, 391, 394, 416, 418, 422

12. Conceptual Image & Digital Revolution : page’s, 554, 441, 443, 442

13. Postmodern Design : page’s, 560, 562, 565, 568, 569

All content was resourced from:Meggs, Philip B.Meggs’ history of graphic design / Philip B. Meggs, Alston W. Purvis. -- 5th ed.

All images were imported into Photoshop through a PDF version of the book.

1. Victorian & Arts and Crafts : page’s,165, 167, 169, 178, 194, 182

2. Ukiyo E & Art Nouveau : page’s, 197, 198, 199, 203, 212

3. Vienna Secession & Cubism : page’s, 238, 239, 241, 257, 258

4. Futurism Poetry & Futurism Graphic Works : page’s, 262, 264

5. Dada & Expressionism : page’s, 265, 272, 273

6. Surrealism & Photography and the Modern Movement : page’s, 270, 271, 274

7. Plakatstil & Art Deco : page’s, 291, 292, 277

8. Suprematism/Constructivism & De Stijl : page’s, 302, 320, 321, 289, 315, 316, 314

9. Bauhaus & the New Typography : page’s, 334, 328, 329, 356

10. Modern Movement in America & International Typographic Style : page’s, 388, 389

11. New York School & Corporate ID & Visual symbols : page’s, 391, 394, 416, 418, 422

12. Conceptual Image & Digital Revolution : page’s, 554, 441, 443, 442

13. Postmodern Design : page’s, 560, 562, 565, 568, 569

grap

hyBiblio

Des

ign History JournalD

esign History Journal