WEEKLY JOURNAL 7: November 12
Corporate Identities and International Style 1950’s - 1970’s
Designing the modern lifestyle
Modern style in graphic design
Consumer culture
The profession
Pop and Protest 1960’s - 1970’s
Pop culture and style
Self-conscious graphic design
Slick surfaces and high production values
Counterculture and alternative press
Revolutionary culture and protest
Changes in the profession
Critical vocabulary
In Module 8, ‘Late Modernism’, we experienced extreme rebellion of international graphic design artists, ‘less is more’ ‘sans serif type fonts’, photoplastics, the Bauhaus, the typophoto, typeface goes through major changes in design much like the Renaissance movements and earlier times. This weeks examples are of, “Armin Hofmanns’, Graphic Design Manual, many of which that can be found at http://devkick.com/blog/design-inspiration-european-graphic-design-from-1950-1970/*2, or at Swiss Miss, http://swissmiss.typepad.com/weblog/2006/10/armin_hofmann_d.html (If you are viewing this document online please find the missing images through links are provided in the bibliography.)
Corporate Identities and International Style1950’s - 1970’s & Pop and Protest 1960’s - 1950’s
Taken directly from Kent Manske’s lecture:
Some facts from the lecture on ‘Bauhaus & the New Typography’ include, “Walter Gropius was the director and architect of the Bauhaus. In 1923. In 1926-25 the Bauhaus school moved and was reorganized. László Moholy-Nagy in 1923, was influential in the evolution of Bauhaus instruction and philosophy. His passion for typography and photography inspired an interest in visual communications and led to important experiments in the unification of word and image.
The new typography and typeface design in the first half of the twentieth century: Jan Tschichold wrote a “Elementare Typographie,” published in 1928 he published his book, Die Neue Typographie (The New Typography), which rejected decoration in favor of rational design planned for concise communication. The new typography influenced type design, and a series of sans-serif typefaces were issued in the 1920s. Among the new sans-serif typefaces were Gill Sans designed by Eric Gill, who was influenced by Railway Type designed by his teacher and friend Edward Johnston. Paul Renner designed Futura, which became the most widely used sans-serif family. Rudolph Koch introduced Kabel, a popular geometric sans-serif. Important serif typefaces during this period included Gill’s Perpetua, an antique roman face inspired by the inscription on the Trajan column, and Times New Roman, which was introduced in 1931 by the British Monotype Corporation under the direction of Stanley Morison. The highly legible Times New Roman became one of the most widely used new typefaces of the twentieth century.
The Isotype (International System of Typographic Picture Education) movement, which began in the 1920s and continued into the 1940s, was established by Vienna sociologist Otto Neurath. The Isotype’s contributions to visual communications include conventions to formalize the use of pictorial language, including pictorial syntax and the design of simplified pictographs. Their impact includes research toward the development of universal visual language systems and the extensive use of pictographs in signage and information systems.
Henry C. Beck’s diagrammatic interpretation of the London Underground subway system (prototype for the modern map) replaced the geographic approach to mapping. It served as a model for other variations throughout the world and influenced the visual presentation of diagrams and networks.
During the Modern Movement, an important phase in the development of American graphic design resulted from the migration of many European cultural leaders who fled the rise of Nazism in Europe. They had a major impact on magazine design combining illustration and photography.” *1
Yes, we are still taking directly from Kent Manske’s in depth and very informative lecture. The third part of his lecture, to me, bears repeating in it’s entirety and especially because it will be posted as a blog. Yes, all the history of graphic design till now was very important to getting to where we are now, but this part of the lecture, period of time, and subject, is the very basis for communicative materials, such as magazines, posters, books brochures, etc..
“The International Typographic Style
Here we will focus on the design movement that emerged in Switzerland and Germany during the 1950s (which has been called Swiss design and, more appropriately, the International Typographic Style) and its impact on postwar American design. The roots of the International Typographic Style are to a large extent found in the curriculum advanced at the School of Design in Basel. The development of the curriculum at Basel has its basis in fundamental geometric exercises involving the cube and the line. This foundation, begun in the nineteenth century independent of de Stijl and the Bauhaus, was the basis for the 1908 formation of the school’s Vorkurs (foundation course) and remained relevant to the design program in the 1950s.
The characteristics of the International Typographic Style include asymmetrical organization of design elements on a mathematically constructed grid, objective photography and copy that present visual and verbal information in a clear and factual manner, and the use of sans-serif typography set flush left and ragged right. More important than visual appearance was the attitude the pioneers of this movement developed about their profession. They defined design as an important and socially useful activity, and the role of the designer as an objective conduit for spreading information between components of society. Personal expression and eccentric solutions were rejected in favor of a more universal and scientific approach to design problem solving.
Among the pioneers of the International Typographic Style were Ernst Keller, who believed the solution to a design problem should emerge from its content; Théo Ballmer, who applied de Stijl principles to graphic design by using a grid to construct visual forms, including letterforms; and Max Bill, who embraced the concepts of art concret, which called for a universal art of absolute clarity based on controlled arithmetical construction. Bill’s work was based on cohesive principles of visual organization, such as the linear division of space into harmonious parts; modular grids; arithmetic and geometric progressions, permutations, and sequences; and the equalization of contrasting and complementary relationships into an ordered whole. Max Huber’s tendency toward complexity offered a counterpoint to Bill’s purist approach. Huber created complex compositions by overlapping typography, graphic elements, and images, yet through balance and alignment and the use of transparent inks, which allowed the layers to show through, he maintained order in the midst of complexity.
In 1950, Bill became involved in developing the graphic design program at the Institute of Design in Ulm, Germany, which attempted to establish a center for research and training to address the design problems of the era. Otl Aicher, one of the Ulm co-founders, played an important role in establishing the graphic design program, and Anthony Froshaug set up the typography workshop. The Ulm Institute of Design included a study of semiotics, the philosophical theory of signs and symbols. The three branches of semiotics are semantics, the study of meaning of signs and symbols; syntactics, the study of how signs and symbols are connected and ordered into a structural whole; and pragmatics, the study of the relationship of signs and symbols to their users. The work of Anton Stankowski demonstrates how abstract visual form can be used to communicate complex information, such as invisible processes and physical forces. Before attempting a design solution, Stankowski researched the subject in order to understand the material to be presented, for only through understanding was he able to invent forms that became symbols of complex scientific and engineering concepts.
The International Typographic Style was exemplified by new sans-serif type families inspired by nineteenth-century Akzidenz Grotesk fonts. In 1954, Adrian Frutiger completed Univers, a cohesive, sans-serif type family that included twenty-one variations, from light extra-condensed to expanded extrabold, in a full range of sizes. Since the characters shared the same baseline, x-height, and ascender and descender lengths, they could be used together harmoniously. In the mid-1950s, Edouard Hoffman and Max Miedinger refined and upgraded the Akzidenz Grotesk fonts for the HAAS type foundry in Switzerland, releasing them as Neue Haas Grotesk. In 1961, when this design was produced in Germany by D. Stempel AG, the face was named Helvetica, the traditional Latin name for Switzerland. Meanwhile, Hermann Zapf, a German typeface designer, evolved the traditions of calligraphy and Renaissance typography with Palatino, a roman style with broad serifs, strong serifs, and elegant proportions somewhat reminiscent of Venetian faces; Melior, a modern style face with vertical stress and squared forms; and Optima, a thick-and-thin sans-serif typeface with tapered strokes. Zapf’s two editions of Manuale Typographicum, consisting of full-page typographic interpretations of quotes about the art of typography, were outstanding contributions to the art of the book.
Further development in the International Typographic Style occurred in Basel and Zurich, Switzerland. In Basel, the new movement was being forged by Emil Ruder and Armin Hofmann, and in Zurich by Richard P. Lohse, Hans Neuburg, Carlo L. Vivarelli, and especially Josef Müller-Brockmann. In 1947, Emil Ruder joined the faculty of the Allgemeine Gewerbeschule Basel (Basel School of Design) as the typography instructor. Ruder taught that legibility and readability are dominant concerns and that type loses its purpose if it loses its communicative meaning. He advocated sensitivity to negative space, systematic overall design, and the use of a grid to bring all elements into harmony with each other while allowing for variety. More than any other designer, Ruder realized the creative potential of Univers, and he and his students explored its possibilities through contrast, texture, and scale. Ruder’s methodology of typographic design and education was presented in his 1967 book, Typography: A Manual of Design. In 1947, Hofmann opened a design studio in collaboration with his wife Dorthea and that same year began teaching at the Basel School of Design. Together with Ruder, he developed an educational model linked to the educational principles of the Vorkurs established in 1908. Hofmann evolved a design philosophy based on the elemental graphic-form language of point, line, and plane, replacing traditional pictorial ideas with a modernist aesthetic. He sought a dynamic harmony in which all the parts of a design were unified, and saw a relationship between contrasting elements, such as light to dark, curved to straight, form to counterform, as the means of invigorating visual design, as shown in the “Giselle” poster. Here the organic, kinetic, and soft photographic image contrast with the geometric, static, and hard-edged typographic shapes. Hofmann applied deep aesthetic values and understanding of form to his teaching and designing. His 1965 book, Graphic Design Manual, presents his application of elemental design principles to graphic design. His work ranged from designing posters, advertisements, and trademarks, such as the Swiss National Exhibition and the Stadt Theater Basel, to environmental graphics, such as for the high school in Disentis, Switzerland, for which letters and abstract shapes were incised into molded concrete. Swiss design began to coalesce into a unified international movement when the trilingual journal New Graphic Design began publication in 1959. Under the direction of its editors, Zurich designers Carlo Vivarelli, Lohse, Müller-Brockmann, and Neuburg, its format and typography were a living expression of the order and refinement achieved by Swiss designers. Asymmetrical design, white space, and adherence to a four-column grid characterized the publication. Müller-Brockmann sought an absolute and universal form of graphic expression through objective and impersonal presentation. In his photographic posters, the image is treated as an objective symbol that gains impact through scale, such as in the 1954 Swiss “Auto Club” poster, and camera angle, as seen in the “weniger Lärm” (“less noise”) poster of 1960. His typographic posters achieved graphic power by successfully combining effective communication, expression of the content, and visual harmony. The poster for the exhibition entitled “der Film” (“The Film”), also from 1960, communicated the concept of film by overlapping the word Film in front of the word der, thus creating the typographic equivalent of the cinematic techniques of overlapping images and dissolving one image into another. In this same poster he achieves visual harmony by using the three-to-five ratio of the golden mean, considered by the ancients Greeks to be the most beautifully proportioned rectangle. In his posters for musical events, geometric form became a metaphor for the rhythm of the music itself.
Also in Zurich, Siegfried Odermatt, and later his partner Rosmarie Tissi, loosened the boundaries of the International Typographic Style and introduced elements of chance and intuitive visual organization into the vocabulary of graphic design. Odermatt, who was a self-taught designer, applied the International Typographic Style to the communications of business and industry. He used straightforward photography with drama and impact, and sought originality through the idea, or concept, not just through visual style. Tissi is known for her playful approach to graphic design. In 1968, she became an equal partner with Odermatt in the studio Odermatt & Tissi.
As internationalism grew after World War II, the new graphic design that had developed in Switzerland helped fulfill the needs for communicative clarity. Its fundamental concepts and methodology spread throughout the world. In America, the Swiss movement had a major impact on postwar design. Among the designers who embraced the International Typographic Style were Rudolph de Harak, Jacqueline S. Casey, Ralph Coburn, and Dietmar Winkler. De Harak began his career in 1946 in Los Angeles and then moved to New York in 1952, where he formed his own design studio. Feeling that communicative clarity and visual order were vital components of effective graphic design, he adapted attributes of the International Typographic Style, such as grid structures and asymmetry. In the early 1960s, he designed a series of 350 book jackets for McGraw-Hill Publishers, using a grid and uniform typographic system. This series influenced the nature of book jacket design in the United States. The International Typographic Style evolved in the work of Casey, the director of the Design Services Office at the Massachusetts Institute of Technology (MIT), which offered professional assistance on design publications and publicity materials to members of the university community. MIT was committed to the grid and sans-serif typography. Casey and her staff, Coburn and Winkler, were innovative in the use of designed letterforms, and manipulated words as vehicles to express content.
During the mid-1960s, the International Typographic Style and corporate design were linked.” * 1
Corporate Identities and International Style 1950’s - 1970’s
Designing the modern lifestyle
Modern style in graphic design
Consumer culture
The profession
Pop and Protest 1960’s - 1970’s
Pop culture and style
Self-conscious graphic design
Slick surfaces and high production values
Counterculture and alternative press
Revolutionary culture and protest
Changes in the profession
Critical vocabulary
In Module 8, ‘Late Modernism’, we experienced extreme rebellion of international graphic design artists, ‘less is more’ ‘sans serif type fonts’, photoplastics, the Bauhaus, the typophoto, typeface goes through major changes in design much like the Renaissance movements and earlier times. This weeks examples are of, “Armin Hofmanns’, Graphic Design Manual, many of which that can be found at http://devkick.com/blog/design-inspiration-european-graphic-design-from-1950-1970/*2, or at Swiss Miss, http://swissmiss.typepad.com/weblog/2006/10/armin_hofmann_d.html (If you are viewing this document online please find the missing images through links are provided in the bibliography.)
Corporate Identities and International Style1950’s - 1970’s & Pop and Protest 1960’s - 1950’s
Taken directly from Kent Manske’s lecture:
Some facts from the lecture on ‘Bauhaus & the New Typography’ include, “Walter Gropius was the director and architect of the Bauhaus. In 1923. In 1926-25 the Bauhaus school moved and was reorganized. László Moholy-Nagy in 1923, was influential in the evolution of Bauhaus instruction and philosophy. His passion for typography and photography inspired an interest in visual communications and led to important experiments in the unification of word and image.
The new typography and typeface design in the first half of the twentieth century: Jan Tschichold wrote a “Elementare Typographie,” published in 1928 he published his book, Die Neue Typographie (The New Typography), which rejected decoration in favor of rational design planned for concise communication. The new typography influenced type design, and a series of sans-serif typefaces were issued in the 1920s. Among the new sans-serif typefaces were Gill Sans designed by Eric Gill, who was influenced by Railway Type designed by his teacher and friend Edward Johnston. Paul Renner designed Futura, which became the most widely used sans-serif family. Rudolph Koch introduced Kabel, a popular geometric sans-serif. Important serif typefaces during this period included Gill’s Perpetua, an antique roman face inspired by the inscription on the Trajan column, and Times New Roman, which was introduced in 1931 by the British Monotype Corporation under the direction of Stanley Morison. The highly legible Times New Roman became one of the most widely used new typefaces of the twentieth century.
The Isotype (International System of Typographic Picture Education) movement, which began in the 1920s and continued into the 1940s, was established by Vienna sociologist Otto Neurath. The Isotype’s contributions to visual communications include conventions to formalize the use of pictorial language, including pictorial syntax and the design of simplified pictographs. Their impact includes research toward the development of universal visual language systems and the extensive use of pictographs in signage and information systems.
Henry C. Beck’s diagrammatic interpretation of the London Underground subway system (prototype for the modern map) replaced the geographic approach to mapping. It served as a model for other variations throughout the world and influenced the visual presentation of diagrams and networks.
During the Modern Movement, an important phase in the development of American graphic design resulted from the migration of many European cultural leaders who fled the rise of Nazism in Europe. They had a major impact on magazine design combining illustration and photography.” *1
Yes, we are still taking directly from Kent Manske’s in depth and very informative lecture. The third part of his lecture, to me, bears repeating in it’s entirety and especially because it will be posted as a blog. Yes, all the history of graphic design till now was very important to getting to where we are now, but this part of the lecture, period of time, and subject, is the very basis for communicative materials, such as magazines, posters, books brochures, etc..
“The International Typographic Style
Here we will focus on the design movement that emerged in Switzerland and Germany during the 1950s (which has been called Swiss design and, more appropriately, the International Typographic Style) and its impact on postwar American design. The roots of the International Typographic Style are to a large extent found in the curriculum advanced at the School of Design in Basel. The development of the curriculum at Basel has its basis in fundamental geometric exercises involving the cube and the line. This foundation, begun in the nineteenth century independent of de Stijl and the Bauhaus, was the basis for the 1908 formation of the school’s Vorkurs (foundation course) and remained relevant to the design program in the 1950s.
The characteristics of the International Typographic Style include asymmetrical organization of design elements on a mathematically constructed grid, objective photography and copy that present visual and verbal information in a clear and factual manner, and the use of sans-serif typography set flush left and ragged right. More important than visual appearance was the attitude the pioneers of this movement developed about their profession. They defined design as an important and socially useful activity, and the role of the designer as an objective conduit for spreading information between components of society. Personal expression and eccentric solutions were rejected in favor of a more universal and scientific approach to design problem solving.
Among the pioneers of the International Typographic Style were Ernst Keller, who believed the solution to a design problem should emerge from its content; Théo Ballmer, who applied de Stijl principles to graphic design by using a grid to construct visual forms, including letterforms; and Max Bill, who embraced the concepts of art concret, which called for a universal art of absolute clarity based on controlled arithmetical construction. Bill’s work was based on cohesive principles of visual organization, such as the linear division of space into harmonious parts; modular grids; arithmetic and geometric progressions, permutations, and sequences; and the equalization of contrasting and complementary relationships into an ordered whole. Max Huber’s tendency toward complexity offered a counterpoint to Bill’s purist approach. Huber created complex compositions by overlapping typography, graphic elements, and images, yet through balance and alignment and the use of transparent inks, which allowed the layers to show through, he maintained order in the midst of complexity.
In 1950, Bill became involved in developing the graphic design program at the Institute of Design in Ulm, Germany, which attempted to establish a center for research and training to address the design problems of the era. Otl Aicher, one of the Ulm co-founders, played an important role in establishing the graphic design program, and Anthony Froshaug set up the typography workshop. The Ulm Institute of Design included a study of semiotics, the philosophical theory of signs and symbols. The three branches of semiotics are semantics, the study of meaning of signs and symbols; syntactics, the study of how signs and symbols are connected and ordered into a structural whole; and pragmatics, the study of the relationship of signs and symbols to their users. The work of Anton Stankowski demonstrates how abstract visual form can be used to communicate complex information, such as invisible processes and physical forces. Before attempting a design solution, Stankowski researched the subject in order to understand the material to be presented, for only through understanding was he able to invent forms that became symbols of complex scientific and engineering concepts.
The International Typographic Style was exemplified by new sans-serif type families inspired by nineteenth-century Akzidenz Grotesk fonts. In 1954, Adrian Frutiger completed Univers, a cohesive, sans-serif type family that included twenty-one variations, from light extra-condensed to expanded extrabold, in a full range of sizes. Since the characters shared the same baseline, x-height, and ascender and descender lengths, they could be used together harmoniously. In the mid-1950s, Edouard Hoffman and Max Miedinger refined and upgraded the Akzidenz Grotesk fonts for the HAAS type foundry in Switzerland, releasing them as Neue Haas Grotesk. In 1961, when this design was produced in Germany by D. Stempel AG, the face was named Helvetica, the traditional Latin name for Switzerland. Meanwhile, Hermann Zapf, a German typeface designer, evolved the traditions of calligraphy and Renaissance typography with Palatino, a roman style with broad serifs, strong serifs, and elegant proportions somewhat reminiscent of Venetian faces; Melior, a modern style face with vertical stress and squared forms; and Optima, a thick-and-thin sans-serif typeface with tapered strokes. Zapf’s two editions of Manuale Typographicum, consisting of full-page typographic interpretations of quotes about the art of typography, were outstanding contributions to the art of the book.
Further development in the International Typographic Style occurred in Basel and Zurich, Switzerland. In Basel, the new movement was being forged by Emil Ruder and Armin Hofmann, and in Zurich by Richard P. Lohse, Hans Neuburg, Carlo L. Vivarelli, and especially Josef Müller-Brockmann. In 1947, Emil Ruder joined the faculty of the Allgemeine Gewerbeschule Basel (Basel School of Design) as the typography instructor. Ruder taught that legibility and readability are dominant concerns and that type loses its purpose if it loses its communicative meaning. He advocated sensitivity to negative space, systematic overall design, and the use of a grid to bring all elements into harmony with each other while allowing for variety. More than any other designer, Ruder realized the creative potential of Univers, and he and his students explored its possibilities through contrast, texture, and scale. Ruder’s methodology of typographic design and education was presented in his 1967 book, Typography: A Manual of Design. In 1947, Hofmann opened a design studio in collaboration with his wife Dorthea and that same year began teaching at the Basel School of Design. Together with Ruder, he developed an educational model linked to the educational principles of the Vorkurs established in 1908. Hofmann evolved a design philosophy based on the elemental graphic-form language of point, line, and plane, replacing traditional pictorial ideas with a modernist aesthetic. He sought a dynamic harmony in which all the parts of a design were unified, and saw a relationship between contrasting elements, such as light to dark, curved to straight, form to counterform, as the means of invigorating visual design, as shown in the “Giselle” poster. Here the organic, kinetic, and soft photographic image contrast with the geometric, static, and hard-edged typographic shapes. Hofmann applied deep aesthetic values and understanding of form to his teaching and designing. His 1965 book, Graphic Design Manual, presents his application of elemental design principles to graphic design. His work ranged from designing posters, advertisements, and trademarks, such as the Swiss National Exhibition and the Stadt Theater Basel, to environmental graphics, such as for the high school in Disentis, Switzerland, for which letters and abstract shapes were incised into molded concrete. Swiss design began to coalesce into a unified international movement when the trilingual journal New Graphic Design began publication in 1959. Under the direction of its editors, Zurich designers Carlo Vivarelli, Lohse, Müller-Brockmann, and Neuburg, its format and typography were a living expression of the order and refinement achieved by Swiss designers. Asymmetrical design, white space, and adherence to a four-column grid characterized the publication. Müller-Brockmann sought an absolute and universal form of graphic expression through objective and impersonal presentation. In his photographic posters, the image is treated as an objective symbol that gains impact through scale, such as in the 1954 Swiss “Auto Club” poster, and camera angle, as seen in the “weniger Lärm” (“less noise”) poster of 1960. His typographic posters achieved graphic power by successfully combining effective communication, expression of the content, and visual harmony. The poster for the exhibition entitled “der Film” (“The Film”), also from 1960, communicated the concept of film by overlapping the word Film in front of the word der, thus creating the typographic equivalent of the cinematic techniques of overlapping images and dissolving one image into another. In this same poster he achieves visual harmony by using the three-to-five ratio of the golden mean, considered by the ancients Greeks to be the most beautifully proportioned rectangle. In his posters for musical events, geometric form became a metaphor for the rhythm of the music itself.
Also in Zurich, Siegfried Odermatt, and later his partner Rosmarie Tissi, loosened the boundaries of the International Typographic Style and introduced elements of chance and intuitive visual organization into the vocabulary of graphic design. Odermatt, who was a self-taught designer, applied the International Typographic Style to the communications of business and industry. He used straightforward photography with drama and impact, and sought originality through the idea, or concept, not just through visual style. Tissi is known for her playful approach to graphic design. In 1968, she became an equal partner with Odermatt in the studio Odermatt & Tissi.
As internationalism grew after World War II, the new graphic design that had developed in Switzerland helped fulfill the needs for communicative clarity. Its fundamental concepts and methodology spread throughout the world. In America, the Swiss movement had a major impact on postwar design. Among the designers who embraced the International Typographic Style were Rudolph de Harak, Jacqueline S. Casey, Ralph Coburn, and Dietmar Winkler. De Harak began his career in 1946 in Los Angeles and then moved to New York in 1952, where he formed his own design studio. Feeling that communicative clarity and visual order were vital components of effective graphic design, he adapted attributes of the International Typographic Style, such as grid structures and asymmetry. In the early 1960s, he designed a series of 350 book jackets for McGraw-Hill Publishers, using a grid and uniform typographic system. This series influenced the nature of book jacket design in the United States. The International Typographic Style evolved in the work of Casey, the director of the Design Services Office at the Massachusetts Institute of Technology (MIT), which offered professional assistance on design publications and publicity materials to members of the university community. MIT was committed to the grid and sans-serif typography. Casey and her staff, Coburn and Winkler, were innovative in the use of designed letterforms, and manipulated words as vehicles to express content.
During the mid-1960s, the International Typographic Style and corporate design were linked.” * 1
A few words of my own words about the Pop and Protest of the 1960’s and 1970’s, which actually is a byproduct of the 50’s. Sometimes, almost looking like ransom notes the themes and techniques were taken from popular mass culture, such as advertising, comic books and mundane cultural objects. ‘Abstract Expressionism’, using popular as opposed to classical art. it was somewhat whimsical, sometimes ironic. And, it was one of the last minimal types of art, leading into Postmodernism.
Conclusion
Like I said in the beginning, we experienced extreme rebellion of international graphic design artists, ‘less is more’ ‘sans serif type fonts’, photoplastics, the Bauhaus, the typophoto, typeface goes through major changes in design much like the Renaissance movements and earlier times. I almost wish I could have been there for the experience, but I will surmise to say graphic designers of today have benefited from their innovative contributions. This week I didn’t get to experience first-hand Kent Manske’s enthusiastic lecture, but as we continue to approach the now, he keeps my interest ever growing. Finally, this weeks examples are of, “Armin Hofmanns’, Graphic Design Manual, many of which that can be found at http://devkick.com/blog/design-inspiration-european-graphic-design-from-1950-1970/*2, or at Swiss Miss, http://swissmiss.typepad.com/weblog/2006/10/armin_hofmann_d.html (If you are viewing this document online please find the missing images through links are provided in the bibliography.)
Bibliography
*1 All information, most everything written unless marked otherwise is all credited to the authors of ‘Graphic Design History, A Critical Guide’ and Professor Kent Manske.
*2 Devkick Web Development for Designers
http://devkick.com/blog/design-inspiration-european-graphic-design-from-1950-1970/
*3 Swiss Miss, Tina Roth Eisenberg. I am a ‘swiss designer gone NYC.
http://swissmiss.typepad.com/weblog/2006/10/armin_hofmann_d.html
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