Born in Russia, Alexey Brodovitch (1898-1971) is known foremost for his work as a graphic designer. His career started in Paris, then he decided to immigrate to the US in 1930, where he began to leave a significant influence on America graphic design and photography at the peak of his career as an art director of Harper’s Bazaar. The use of white space, asymmetrical layouts and dynamic imagery have made Brodovitch himself distinctive from other designers at the time, thus shifted the nature of magazine design into the next level. With the first poster “Bal Banal” in a competition, Brodovitch career as a graphic designer brought him many opportunities of various designers and agencies, as speaking of Harper’s Bazaar and Portfolio. Carmel Snow, an editor-in-chief of the Harper’s Bazaar once said when she offered him a job.
“I saw a fresh, new conception of layout technique that struck me like a revelation: pages that bled beautifully, cropped photographs, typography and design that were bold and arresting. Within ten minutes I had asked Brodovitch to have cocktails with me, and that evening I signed him to a provisional contract as art director” (iconofgraphic).
The collaboration between Brodovitch and Harper’s Bazaar turned out to revolutionize both fashion and magazine design. Brodovitch intensively used white space and double page spread. “Models in Parisian gowns and American sports clothes “floated” on the page, surrounded by white backgrounds, while headlines and type took on an ethereal presence” (AIGA). Such techniques fostered a sense of a fashionable life. Thus, by establishing the unique technique in the magazine layout for Harper’s Bazaar, Brodovitch has become an inspiration for not only his students, graphic designer...
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... For the Preface, the bold color of the image contrast with the white space around it helps to make it becomes more appealing to the viewers. In the project layouts, there is the photo of himself with a text “Harper’s Bazaar” in order to emphasize the important of his work as in the collaboration with the Harper’s Bazaar, where he has been recognized and been at the peek of his career. Last is the progress, which depicted a picture of a woman whose feet and clothes are presented like a “flow” in the double page spread. Through this project, I have learnt a lot from Brodovitch from how he applied all the techniques in the magazine layouts to how he inspired other designers and the students he had nurtured himself. Thus, I really enjoy doing the design and through this, I had a chance to know more about Brodovitch and apply his techniques in the real life design.
Throughout the vast history of visual art, new movements and revolutions have been born as a result of breaking past conventions. This idea of moving past traditional styles was done by many artists in the 1950s and 1960s, including those artists who participated in the many different abstract movements. These artists decided to abandon old-fashioned techniques and ideas such as those of classical Renaissance, Baroque, or even Impressionist art. One of these new conventions, as discussed by art historian Leo Steinberg in his essay, “The Flatbed Picture Plane,” is the concept of a flat and horizontal type of plane in a work that does not have a typical fore, middle, or background like that of the traditional art from classical periods previously mentioned. The flatbed picture plane that Steinberg refers to is similar to that of a table in which items can be placed on top of, yet they are merely objects and do not represent any space. In his article, Steinberg explains that the opposite of this flatbed plane is the
After working with Sports Illustrated and realizing they had a habit of late-night editorial changes, Hoeffler had the original intention to supply enough widths in the Knockout family so that art directors could work independently of their editors. This organizagtion by width is one of modernism’s greatest gifts to typogrophy.
In the 1940s, much was changing in the world due to the effects of World War II, specifically in the parts of Europe. Suffused with dictators and totalitarian governments the artists of the era wanted to escape the environment and embark upon a new journey and a fresh start. America during that time was a capitalist with a culturally and ethnically rich background in music, films and fashion. This was the best opportunity for the artists to visit America. Thus a group of artists with their modernistic approach, went to New York City and started a new wave known as the “The New York School”. To come up with originality, the American designers inspired by the European Avante Grante/Modernistic art, added new techniques and concepts which created a complete new direction in art and design that shifted the world’s attention.
April Grieman was born in New York City in 1948. She studied art in Switzerland at Basel School of Design. She then studied at the Kansas City Art Institute. After graduating, she moved back to New York City to work as a freelance artist until 1976. This same year, she moved to Los Angeles, California, where she opened “Made in Space, Inc.” This became a well-known graphic design studio. In 1980, April Greiman was among the very first graphic designers to fully realize the design potential in the Macintosh Apple computer. She also picked up on Quantel Painbox digital technology. She is one of the most influential graphic designers using the digital media. In 1982, Greiman became the head of the design department at the California Institute of the Arts. In the 1990’s, she wrote and published a book called “Hybrid Imagery: The Fusion of Technology and Graphic Design.” April Greiman has worked as a designer for the MAK Center for Arts and Architecture in Los Angeles. Since then, April continues to work today for companies such as Espirit, Benetton, Sears, and AOL/ Time- Warner, Microsoft, the US Postal Services, and the architects Frank O. Gehry, RoTo Architects, and others. April Greiman has received numerous awards and distinctions for her work.
Of all new advancements, the digital space arguably has the most outstanding effect on illustration, encroaching on our reality and the meaning of physical space within the field. As the digital space expands and further accommodates more aspects of the global illustrator’s life, we may come to a point (or are already at the point) where there is novelty in the restricted physical space; in a physical artwork, studio or gallery. It has changed the playing field and the rules of the game- knowledge and new innovations are developing rapidly, with a possibility of overtaking tradition through convenience. Not only has digital technology affected how illustration is received and displayed, but also how it is created- in the proliferation of digital
Robertson, Jean, and Craig McDaniel. Themes of Contemporary Art: Visual Art after 1980. New York:, Oxford UP, 2013.
Have you ever looked through a magazine and found it to be really interesting? That is because you are part of its target audience. You are part of a group of people that the magazine is trying to appeal to. There is a reason Sports Illustrated is more of a man’s magazine and Family Circle is more of a woman’s magazine. The people that run that magazine put certain things in those magazines to attract their audience. More commonly, men are interested in sports and anything to do with sports. In Sports Illustrated, the reader would find sports, and that is it. The reader would not find an article titled “How working women balance their careers and home lives.” An article such as that would be found in a magazine like Family Circle, as it is targeted more towards women who have a family. For the purpose of this audience visual analysis, I will be discussing the October 8th, 2012 issue of People magazine. Looking at this issue and reading through the magazine, it is evident that the publishers do have a target audience in mind. This visual analysis will discuss who its target audience is and how the reader can tell. Also, the essay will discuss how the magazine makes the advertisements relevant to its audience.
... middle of paper ... ... She supplements the article with drawings of Barry’s and Pugin’s, as well as letters that show their interactions with one another. Rather than write about the major conflicts between the two and trying to decide who the true designer was like many articles tend to do, Wedgwood instead focuses on the morphing of the design to include parts of both men’s creative minds.
Hodge, S., 2011. 33 Bauhaus. In: 50 art ideas. London: Quercus Publishing Plc, pp. 132-133.
Bass’s work in title sequences proved to be effective and memorable, bringing into light a new kind of kinetic typography. His work North by Northwest, Vertigo and Psycho really proved to be the winners.
Reed, Peter. "The Artist." Journal of the Fantastic in the Arts. Florida Altantic University, 1999. Web. 03 Mar. 2014.
Bright lights, flashes going off, beautiful and famous people everywhere, creative set designs, and everyone working to make the photo shoot perfect. This was the life of famous Richard Avedon. Avedon is one of the most successful photographers of the 20th Century. He is known for his fashion, advertising, exhibitions and book photographs that he has done.
Drucker tries to define the term and stats the difficulties: “It is a zone made at the space at the intersection of a number of different disciplines, fields, and ideas -- rather than at their limits. And rather than try to account causally for the development of the artist's book in the 20th century, I hope to make a case for the ways in which it is the 20th century art form par excellence”
Hegeman, J. (2008). The Thinking Behind Design. Master Thesis submitted to the school of design, Carngie Mellon University. Retrieved from: http://jamin.org/portfolio/thesis-paper/thinking-behind-design.pdf.
From the ‘classic’, ‘traditional’ designers like Macintosh who revolutionised and popularised the style of Art Nouveau and to this day still has an impact and influence on designers world wide whether it be on furniture, windows or clothes, to modern designers who have also revolutionised the ‘simplistic’ style making it take many forms from ‘drips’ to ‘giraffes’. For instance the Pepe Chair took the high backed chair and gave it a modern day simplistic twist. Who knows where our rears shall sit in years to come? Shall we be sitting on more simplistic designs than the ones I have used as examples in this investigation or pieces complex beyond the imagination. Who knows? We shall just have to wait and see where our bums shall lead us!