ELLICE: Anything Imaginable is Possible...

Surrealism was an art movement originated in the late 1910's and early '20s as a literary movement that experimented with a new mode of expression called automatic writing (automatism). It sought to release the unbridled imagination of the subconscious. This style of art became an international intellectual and political movement.
Art was traditionally restricted by reason and societal limitations. Surrealism was a new art movement set out to produce surprising, unexpected imagery.
Surrealism is often described as the most influential of all twentieth-century art movements. Its poetic sensibility and way of perceiving reality is so pervasive that we take it for granted now.

Dream journals were a popular way for Surrealist artists to record there dreams and ideas only to later produce them in artistic form.
Design techniques included collage, automatism, and a strong fascination with the human body.
It can be said that the art movement of Surrealism happened in a purely unconscious state where anything was possible; it exposed the liberating power of the unconscious mind. Surrealist artists could step into an individual universe without rules of logic. They began to convey complex themes in poetic, often abstract ways.

It’s obvious to say that Surrealism has had a strong impact on art and design through the decades releasing a level of art where anything imaginable is possible.

http://www.metmuseum.org/toah/hd/surr/hd_surr.htm

ELLICE: "Die Neue Typography" (1920- 30's)

Jan Tschichold was the son of a provincial sign-writer, and was trained in calligraphy. This artisan background and calligraphic training set him apart from almost all other noted typographers of the time. Most other artists and designers had predominantly trained in architecture or fine arts.

Tschichold's artisan background may help explain why he never worked with handmade papers and custom fonts as many typographers did. Instead he preferred to use stock fonts and placed more emphasis on arrangement than on artistry. Tschichold believed that the cure for typography lay in abandoning the rules, adopting symmetrical setting, and the exclusive use of sans serif typefaces with no relation at all to handwriting.

An announcement for Tschichold's book Die neue Typographie (1928; “The New Typography”) explains and illustrates his own philosophy. He promoted functional design elements that use the most direct means possible. He favoured non-centered design (e.g., on title pages), and included many other Modernist design rules. His book presented clear explanations of the effective use of emphasized contrast of type sizes, widths, and weights. He explained that making use of the white spaces and intervals as design elements were necessary to separate and organize typographic content and page structure.

His rules of typography were just as passionately adopted by some as they were rejected by others. The fist positive effect came a few years later when the lavish ornaments and outdated typefaces disappeared and centered typesetting began to be abandoned. Basically Tschichold set out to teach other designers that
“We no longer read quietly line by line, but glance quickly over the whole, and only if our interest is awakened do we study it in detail.”

BranDON Sullivan Post 5: 1970's

Matthew Carter works in the idustry of typographic design, and type face design

Carter's career in letter making has witnessed the transition from physical metal type to digital type.
Matthew Carter is the son of Harry Carter, a printing historian to Oxford University Press. Being the sone of Harry Carter, Matthew was able to gain important insight about typography, especially the classical Roman letterform. In fact, many of Matthew’s typefaces are recreations of 16th century designs.
In 1981, Carter and his colleague Mike Parker created Bitstream Inc. This digital type foundry is currently one of the largest suppliers of type.

Matthew Carter focuses on improving many typefaces' readability. He designs specifically for Apple and Microsoft computers. Georgia and Verdana are two fonts that have been created primarily for viewing on computer monitors. Carter has designed type for magazines such as Time, The Washington Post, The New York Times, the Boston Globe, Wired, and Newsweek.

Matthew Carter has won numerous awards for his significant contributions to typography and design, including an honoris causa Doctorate of Humane Letters from the Art Institute of Boston, an AIGA medal in 1995, and the 2005 SOTA Typography Award. A retrospective of his work, "Typographically Speaking, The Art of Matthew Carter," was exhibited at the University of Maryland, Baltimore County in December 2002.

Jess- Matthew Carter

Matthew Carter was born in Britain in 1937 he is a typeface designer. He currently lives in Cambridge, Massachusetts in the Untied States of America. His career om letter making has witnessed the transition from phusical metal to type design to digital type.

At the age of 19, Carter spent a year studying in Holland where he learned from Jan van Krimpen’s assistant Raedisch. Raedisch taught Carter the art of punch cutting at the Joh. Enschedé type foundry. By 1961 Carter was able to use the skills he acquired to cut his own version of the semi-bold typeface Dante.

Carter eventually returned to London where he became a freelancer as well as the typographic consultant to Crosfield Electronics, distributors of Photon phototypesetting machines. Carter designed many typefaces for Mergenthaler Linotype as well. Under Linotype, Carter produced well known typefaces such as the 100-year replacement typeface for Bell Telephone Company.
Two years later, Carter moved to New York to work for Linotype, and for nearly two decades he helped build one of the industry’s largest and richest libraries of fonts

He has in recent years designed Verdana and Georgia for Microsoft; these fonts are tuned to be extremely legible even at very small sizes on the screen.





Urls:
http://en.wikipedia.org/wiki/Matthew_Carter
http://www.fonts.com/AboutFonts/DesignerProfiles/MatthewCarter.htm

Genevieve 1960

Victor Mocoso was one of the most revered artists for 60s psychedelic rock and roll posters which in the ‘Summer of Love’, 1967 he became internationally known for these that also advertised venues regularly visited by famous musicians. These posters were brightly coloured and boldly patterned and often included a depiction of the advertised music artist or band. Many of the patterns and motifs were inspired by the early nineteenth century art movement, Art Nouveau (for Mocosco particularly Will Bradley, American 1900, and Granville, French 1840). The bright, vibrant colours used were a result of the influence of psychedelic drugs on the music industry during this period. He made 3- 4 posters a week for bands of the likes of Jerry Garcia, The Doors and The Beetles.

Within a year of his international acclaim for his psychedelic rock posters, Victor Mocosco was invited by Robert Crumb, a man who, “dropped acid and saw a new way of drawing comics--one that used the cute, familiar style of the Sunday funnies to mask subversive and sometimes frighteningly perverse messages and insights, many of them quite profound,” to become a part of Zap Comix production of which he played an important part in and once again received international attention for. Zap Comix were groundbreaking uncensored alternative underground commix (spelt ‘comix’ to differentiate them from popular ‘comics’) that reflected the social and political concerns of the 1960s such as mind altering drugs, sexual revolutions and satirised the establishment. The comix were printed on news print and were therefore cheap and widely available. They were sold at ‘head shops’ which also sold psychedelic posters and drug paraphernalia yet because drug paraphernalia was outlawed in America in the 1970s, the underground comix movement is considered to have ended by the 80s, despite the fact artists still produced them. Victor Mocoso still produces these and his posters to this day as well as album covers and t-shirt designs.

POST 5: 1970s

Punk, mark perry, 'sniffin' glue',i- D, jamie reid- suburban press, saatchi and saatchi, helmut newton, beogram 4000 turntable bang and olufson, totem stereo ,sony walkman, sony trinitron tv, valentine portable typewriter, 'vanity fair', 'cosmopolitan',andy warhol's 'sticky fingers', roger dean's 'yes' covers, hipgnosis, the clash 'london calling', kit kat, reginald mount, verner panton textiles, polaroid sx-70, apple 11c computer, bell centennial font 1978, matthew carter, swiss posters and typography and many others are the icons of the 1970s. make a 200wd post with images and urls.

jo 60s rob brownlow

Jo: 1960 Graphic Designer ROBERT BROWNJOHN

Robert Brownjohn was an American Graphic Designer, born in New Jersey 1925. His artistic flair was noticed and he won a scholarship to train under Laslo Moholy Nagay, Bahaus founder (Institute of Design – Chicago)

He was a successful graphic designer in New York during the 1950’s, including works for The American Crafts Museum, Columbia Records and Pepsi-cola. Robert also designed the American Jazz Annual 1956 for American Jazz Festival in Newport and the US Pavilion for the 1958 Brussels World’s Fair.

Robert, and business partners Ivan Chermayeff and Tom Geismar formed the advertising agency BCG in 1957. Robert’s drug problem caught up with him and he not only left the company in 1960; he also moved to London with his wife and child and infused the British graphic industry with a fresh approach towards the movement of the 60s with a modernist approach.

Robert worked for other advertising agencies for a while. His creative flair led to the formation of a film company with producer David Cammell and director Hugh Hudson. The transition to film seemed natural. Once again the influence of his protégé Maholy Nagay and in simplistic form, used light juxapositions of typography and image designed the opening titles for the James Bond movie “From Russia With Love” in 1963 and “Goldfinger” in 1964. He also designed the “Obsession and Fantasy” poster for the Robert Fraser Gallery of London. This provocative poster uses the breast of a woman and font to spell the word obsession, using the nipples for the letter o.
In 1965 the company begins work on a series of cinema commercials for the Midland Bank called ‘Money Talks’. Robert also creates the titles for the Hugh Hudson film ‘The tortoise and the Hare’ commissioned by Pirelli Tyres.

Another well-known piece of Robert’s work is the Rolling Stones 1968 record album ‘Let it Bleed’. This is also the year Robert begins his short acting career. 1969 saw “Cammell, Hudson & Brownjohn” disbanded and Robert joined partnership with Japanese-American director, David Nagata and “Nagata & Brownjohn” was formed. It was also during this year he designed the ‘pea ?’ poster for the American Peace Movement and was his last piece of work as he died of a heart attack at the young age of 45.

Bibliography:

www.designmuseum.org