Lecture 3/3/10

• Dutch Masters of the new typography
• The Dutch Modernism-the printing arts perform as an expressive tool. The technology of commercial reproduction become tools of creativity
• Paul Shoetema-typography and photography integrated in a total structure using overprinting
• Products promoted became icons, their own manufactured shapes serving as the basis of a system of visual forms.
• Hendrick N Werkman- "druksels"; represented a new look at methods inspired by modernism and "art of construction"
• Piet Zwart- used collage techniques with parts from the typecase; ordered word rules and symbols and manipulated to find the design; DADA inspired, masterful control;the diagonal unifies diverse graphic elements through common movements while defying formula; found balance between the playful and the functional
• style, more than substance, supplied the content of this campaign
• designers applied reductive compositional principles of Plakastil with synthetic Cubism inventions and the purity of De Stijl
• A.M. Cassandre and Edward Kauffer
• Art Deco Moderne
• tourism and entertainment industries flourish, exploiting new degrees of mobility and leisure in a growing middle-class
• design of the 1920's and 1930's become a common source of stylistic fantasies crucial to the growth of consumer culture
• Dubbonet
• E. McNight Kauffer- application of cubist ideas; best known for his London Underground posters in the 30's
• Joseph Binder-highly and styled naturalism based on geometric cones, spheres, and cubes, then stylized through Synthetic Cubism
• Schulz-Neudamn - cinema poster 1926
• WWII- European modernism had clearly proved it could raise arms; Germany was cultural hub
• Ludwig Hohlwien
• Abraham Games, Jean Carlu, Herbert Bayer
• Herbert Matter

I really enjoyed tonight's lecture. I forget how design can be found in places where I would not think about looking. War posters are not the place I would look to study graphic design but when I think about it now, it makes perfect sense that these posters be studied. No industry wants to attract more people at once than the war industry. It is no surprise then that the designers of these posters would not only deeply study their demographic, but they would design it in such a way that would impact their audience.

I have always loved the 30s and the design from that time. I really appreciate the way that they integrated typography, photography, illustration to create war propaganda, travel ads and other propaganda. In such a tumultuous time in history with the wars and the crash on the market in '29, it is great to see that design was still able to flourish....even though sometimes designers used this enviornment to manipulate their audience.