Monday, April 25, 16
During the 1970s, the relevance of Modernism is challenged. Designers emerged who weren’t afraid to reference historical movements within their design work. Monday, April 25, 16
“Postmodern” graphic design is brought about by: • Swiss designers who broke away from the Traditional International Style • New Wave Typography (Wolfgang Weingart) • The 1980s “look” from the Memphis Group in Milan • The San Francisco “group” (The Michaels) and most of all... • The arrival of the MacIntosh in the late 80s! Monday, April 25, 16
Monday, April 25, 16
Monday, April 25, 16
Rosemarie Tissi ad for Lutz & Company 1964 Monday, April 25, 16
Seigfried Odermatt ad for Union Wall Safes 1968 Monday, April 25, 16
Rosemarie Tissi ad for Englersatz AG 1980 Monday, April 25, 16
Rosemarie Tissi ad for Englersatz AG 1980 Monday, April 25, 16
Bruno Monguzzi poster for an exhibition of The Photogram in 20th Century Art 1990 Monday, April 25, 16
In the 60s, designers like Tissi were expanding the boundaries of the International Style without rebelling against it. That would change in the 70s with an approach that would be known as New Wave Typography Monday, April 25, 16
Wolfgang Weingart portion of German typesetter’s exam, 1963 Monday, April 25, 16
Weingart was able to break the typographic rules masterfully, because he knew them and understood them. He believed in the “Gutenberg approach,” in that students should understand printing processes as well as design principles Monday, April 25, 16
Wolfgang Weingart taught at the Basel School of Design and breathed new spirit into the typography of order and neatness set by the Swiss masters of the International Style. Monday, April 25, 16
Wolfgang Weingart experimental text setting, 1969 Monday, April 25, 16
Wolfgang Weingart typographic experiments, 1971 Monday, April 25, 16
Wolfgang Weingart announcement from typographic magazine, 1974 Monday, April 25, 16
Wolfgang Weingart, exhibition posters, 1977, 1982 Monday, April 25, 16
Wolfgang Weingart exhibition poster 1982 Monday, April 25, 16
• https://www.youtube.com/watch? v=WA5CYRrd8qo#t=16 Monday, April 25, 16
Dan Friedman typographic magazine cover 1971 Monday, April 25, 16
Dan Friedman, another student of Weingart’s, taught at Yale and gave his students extensive typographic exercises. Monday, April 25, 16
Dan Friedman (instructor) Rosalie Hanson (student) typographic permutations, 1970 Monday, April 25, 16
Dan Friedman Bonwit Teller gift packaging proposal 1977 Monday, April 25, 16
April Greiman, who studied with Weingart in Switzerland, opened a studio in Los Angeles in the early 70s. Monday, April 25, 16
April Greiman masthead for Luxe magazine 1978 Monday, April 25, 16
April Greiman China Club advertisement 1980 Monday, April 25, 16
April Greiman poster for California Institute of the Arts 1979 Monday, April 25, 16
Willi Kunz pages from 12 typographic interpretations 1975 Monday, April 25, 16
Willi Kunz, photography exhibition poster, 1978 Monday, April 25, 16
Willi Kunz Typographic workshop poster 1974 Monday, April 25, 16
Christoph Radl and Valentina Grego Memphis logo designs early 1980s Monday, April 25, 16
The Memphis aesthetic was about bright color, exaggerated geometric forms and references to classical culture. Their work set the tone for a decade of highly decorative design. Monday, April 25, 16
Wm. Longhauser, poster for Michael Graves exhibit, 1983 Monday, April 25, 16
The San Francisco style or “The Michaels” of the early 80s: Michael Vanderbyl Michael Cronin Michael Manwaring Monday, April 25, 16
Michael Vanderbyl California Public Radio poster 1979 Monday, April 25, 16
Michael Vanderbyl promotional mailer for Simpson Paper company, 1985 Monday, April 25, 16
Michael Vanderbyl cover for HBF Furniture catalog 1985 Monday, April 25, 16
Michael Vanderbyl postmodern architecture poster 1984 Monday, April 25, 16
Michael Manwaring retail display poster for Santa Cruz 1984 Monday, April 25, 16
Michael Manwaring brochure cover for Barr Exhibits 1984 Monday, April 25, 16
Michael Cronin and Shannon Terry Beethoven Festival poster 1983 Monday, April 25, 16
• http://bcove.me/wph9pu9j Monday, April 25, 16
Retro (or backward-looking) design revisited historical design from the era between the two world wars. Vernacular design is a reference to earlier commonplace graphic forms like baseball cards, old-time packaging or naive illustration styles. Monday, April 25, 16
Paula Scher poster for Swatch Watches 1985 Monday, April 25, 16
Herbert Matter, Swiss Tourism poster Monday, April 25, 16
Paula Scher poster for CBS Records 1979 Monday, April 25, 16
Paula Scher, “Great Beginnings” spread from Koppel & Scher brochure, 1984 Monday, April 25, 16
Paula Scher poster for MTV’s Free Your Mind campaign 1994 Monday, April 25, 16
• https://vimeo.com/18839878 Monday, April 25, 16
Paula Scher, Louise Fili and Carin Goldberg initiated the Retro Style in New York City. Monday, April 25, 16
Louise Fili book cover for The Lover 1985 Monday, April 25, 16
Carin Goldberg and Frank Metz book cover for The Sonnets to Orpheus 1987 Monday, April 25, 16
Daniel Pelavin and Judith Loeser cover for The Notebooks of Malte Laurids Brigge 1985 Monday, April 25, 16
Inspired by this Gustav Klimt poster Monday, April 25, 16
Charles S. Anderson Marine Midland Automotive Financing Division trademark 1985 Monday, April 25, 16
A hugely successful design firm in Minneapolis, Duffy Design Group was inspired by old clip art from the 20s, 30s and 40s. Monday, April 25, 16
Joe Duffy and Charles S. Anderson identity program for line of Chaps/ Ralph Lauren clothing 1987 Monday, April 25, 16
Charles S. Anderson (designer and illustrator) and Lynne Schulte (illustrator) packaging for Classico Pasta Sauce 1985 Monday, April 25, 16
Charles S. Anderson Design Co. watches & packaging 1992 Monday, April 25, 16
Charles S. Anderson Design Co. cover for CSA Archive Catalog of Stock Art 1995 Monday, April 25, 16
Neville Brody record album cover design for Parliament 1985 Monday, April 25, 16
Neville Brody, contents page logos from The Face , nos. 49, 52 & 55, 1984. the word contents deconstructed into changing icon Monday, April 25, 16
Neville Brody reused a graphic design element from one of his earlier designs in a story about Andy Warhol. Monday, April 25, 16
Neville Brody, spread from The Face , no. 59, 1985 Monday, April 25, 16
Monday, April 25, 16
• https://vimeo.com/32207784 Monday, April 25, 16
This era of design saw the beginning of the computer-assisted graphic design age. Working with historical forms would be changed forever by the greatest visual communication technology since Gutenberg’s moveable type and printing press. Monday, April 25, 16
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