Thursday, December 16, 2010
I chose graphic designer Bradbury Thompson because I really like his layering of color, how the simplicity of his graphic images make his work so visually interesting. In the pieces that I posted in older blogs, I really like how many different colors he’s able to create by combining the cmyk color system.
“Bradbury Thompson : the art of graphic design” by Bradbury Thompson
“Nine Pioneers in American graphic design” by R. Roger Remington
“Inspirations for graphic design” by Bradbury Thompson
Bradbury Thompson’s formidable career as a graphic designer spans more than fifty years. Hes designed more than ninty stamps marking him the most prolific of american stamp designers. Thompson didnt limit himself to the traditional fine arts in looking for visual inspiration. He has explored and expanded the relationship of type with photography, with primtive and folk art, and even with the evanescent patterns of the performing arts and children’s play. Hes adapted the fine arts to his own use in innovative ways:exploring new combinations of type and image in Westvaco Inspirations: reusing period engravings to illustrate classic american books: illustrationg with old master paintings King James Bible.
He designed over fifty issues of Westvaco Inspirations for Printers, a periodical published by the Westvaco Corporation between 1925, and 1962 as a showcase for its printing papers, with thompson’s direction it became one of the leading avant-grarde publivations in the field, its influence reacing from San Franciso to Milan.
The principles Thompson developed in his work for inspirations and art news were later refined and restated in the books he dsigned in the sixties and seventies- particulary the celebrated Washburn College Bible of 1979.
When Bradbury Thompson began teaching at Yale in 1956, it was really a continuation of the teaching he had been doing by example since 1939. like all designers, he depends on intuition as well as principle, but intuition by definition is innate and cannot be taught. It has been Thimpson’s seach for principles and his generosity in sharing his discoveries that make both his teaching and his work as a designer so remarkable.
I chose suprematist Malevich because I love how he is able to imply depth and dimension through his simple rational, rectangular shapes. I love his warm color palette and wanted to create a drop cap that would imply the same geometric, mechanical usage of line and shape that is so apparent in his paintings.
“Kazimir Malevich and the art of geometry” by John MIlner
“Kazimir Malevich” by Charlotte Douglas
“Kazimir Malevich” by Alison Hilton
The Russian painter Kasimir Malevich (1878-1935) founded suprematism and is credited with having painted the first geometric, totally nonrepresentational picture.By 1913 he had so transformed his material that recognizable imagery had disappeared, though inferences of light, bulk, and atmosphere had not. Later that year he carried abstraction to its ultimate limit: he painted a black rectangle on a white ground. This, the first suprematist work, according to the artist, expressed "the supremacy of pure feeling in creative art."
Around 1913, Malevich confined himself to arrangements of geometric shapes with the goal of suggesting such sensations to the beholder as flight, wireless telegraphy, and magnetic attraction. In 1918 he painted a series of white-on-white suprematist compositions. The following year he had a retrospective exhibition in Moscow and also took over the directorship of the School of Art in Vitebsk, which he renamed the College of New Art.
In 1929 Malevich had a retrospective exhibition at the Tretyakov Gallery in Moscow. During the last years of his life he painted fewer pictures, and those he did were portraits, mostly of his family and friends. He died of cancer in Leningrad and was buried in a coffin that he himself had decorated with suprematist motifs.
I chose typographer Jan Tschichold simply because I just am in love with his work. I think his usage of typography and collaboration with photography is exciting and streamlined in its beauty. I am attracted to his use of the grid to layout his compositions and wanted to imply his past compositions using the first letter of his first and last name.
“Jan Tschichold: master typographer: his life, work and legacy” by Cees W. de Jong
“Jan Tschichold: posters of the avantgarde” by Martijn f. Le Coultre
“Jan Tschichold: typographer and type designer”
“Jan Tschichold: typographer” by Ruari McLean
Jan Tschichold was an important 20th-century German graphic designer who also gave a major impetus to the Swiss school. Jan Tschichold attended the "Akademie for Grafische Künste and Buchgewerbe "in Leipzig from 1919 until 1921. In 1923 Jan Tschichold visited the Bauhaus exhibition in Weimar. Influenced by the new Bauhaus typography, Jan Tschichold began to use serifless typefaces and designed simplified layouts.
In a special 1925 issue of "typographische mitteilungen" entitled "elementare typographie", Jan Tschichold introduced in the form of theses the most important approaches to the new typography design. From 1923 Jan Tschichold freelanced as a commercial graphic artist; his clientele included Insel Verlag publishers.
From 1926 until 1933, Jan Tschichold taught typography at Paul Renners Master Classes for Book Printers in Munich. In 1933 Jan Tschichold emigrated to Switzerland, where he worked for several publishers in Basel and taught at the School for the Applied Arts. In 1946 Jan Tschichold went to London, where he was art director at Penguin Books until 1949. In 1950 he returned to Switzerland. Between 1955 and 1967 Jan Tschichold worked as a design consultant for the Basel pharmaceutical company Hoffmann-La Roche.