Slide 1

Radical Modernism

Slide 2

Dan Friedman: Radical Modernism by Dan Friedman, with essays by Jeffrey Dean, Steven Holt and Alessandro Mendini We live in an increasingly changing world, the result is that we have become so dizzy that we have lost a sense of the roots and the new possibility of our modernity Radical modernism is presented[] as a reaffirmation of the idealistic roots of our modernity, adjusted to include more of our diverse culture, and fantasy design is still inspirational when it evokes the spirit of idealism and radical cultural change that was fostered by early modernism

Slide 3

Modernism Modernism in design and architecture emerged in the aftermath of the First World War and the Russian Revolution a period when the artistic avant-garde dreamed of a new world free of conflict, greed and social inequality. It was not a style but a loose collection of ideas. Coined by Fieldman, the term Radical Modernism was to avoid the philosophical constraints of orthodox modernism and the jargon and anarchy of post-modernism. His interpretation of Modernism puts emphasis on ritual, fantasy, diversity, spirituality, humanism, and ecology. Culture is of the essence. Throughout the book he emphasises the responsibility of designers to avoid overspecialisation and to see their work as an important creative aspect of a larger cultural context. Modernist magazine advertisements of the mid 20th century

Slide 4

Modernism and Graphic Design Modernism especially changed the thinking process for communications, graphic design and typography, the style of design shifted drastically from the prior 19th century approach. Before the concept of Modernism, graphic design and typography was 'overly decorated' and elaborate, every possible inch of a typical poster would be filled with imagery and type. Designers of the era of Modernism abided to strict, structured grid system with emphasis on negative space, just as important was the use of clean sans-serif type. The idea was to create strong graphics that were against commercialism, greed and cheapness. Typical typefaces used in the Modernism era include Franklin Gothic, Monotype Grotesque, Futura, and Helvetica Neue. Jan Tschichold designed this poster to promote the fundamental principles of Die Neue Typographie (The New Typography) Antique 19th Century Belgian Porcelain Trade or Business Card Advertising Lithographer French Print Shop Decorative Design Typography

Slide 5

Dutch De Stijl Dutch artist Theo van Doesburg practiced painting, architecture and poetry - he also influenced graphic design and is considered the 'ambassador' of the movement De Stijl. He described Modernism times as: "Art should not deal with the 'useful' or the 'nice', but with the 'spiritual' and the 'sublime'. The purest art forms do not cause the decorative change of some detail from life, but the inner metamorphosis of life, the revaluation of all values The Dutch De Stijl group was led by architect Theo van Doesburg, who favoured Universal harmony with no emotional overtones. The distinctive De Stjil look consisted of block primary hues, plus the use black and white. No curves allowed. The Dutch De Stijl advocated pure abstraction combined with block primary hues, along with black and white. Theo van Doesburg. Poster Dada Matine, 1923

Slide 6

Adolphe Mouron Cassandre Adolphe Mouron Cassandre (1901 1968) was an influential Ukrainian-French painter, commercial poster artist, and typeface designer. Serving a wide variety of clientele, during the 1930s, his creations for the Dubonnet wine company were among the first posters designed in a manner that allowed them to be seen by occupants in fast- moving vehicles. His posters are memorable for their innovative graphic solutions and their frequent denotations to such painters as Max Ernst and Pablo Picasso.

Slide 7

The posters of the WPA In stark contrast to the oppulence of Art Deco was the poverty generated by the Great Depression in the United States. Interestingly enough, some of the most beautiful graphic design work comes from the WPA, which was a work relief program that provided jobs and income to the unemployed during the Great Depression in the United States. It built many public buildings and roads, and as well operated a large arts project. Until it was closed down by Congress in 1943, it was the largest employer in the country--indeed, the largest employer in most states. Only unemployed people on relief were eligible for most of its jobs. The wages were the prevailing wages in the area, but workers could not work more than 20- 30 hours a week. Before 1940 there was no training involved to teach people new skills. The silkscreen posters of the WPA

Slide 8

The Polish Poster By the end of the 1950's Socialist realism had been dumped in Polish art. For the Polish poster artists in the early 1960's the realism that had once seemed adequate and the symbolism that had arisen out of the war no longer satisfactory. These artists used metaphoric imagery which demanded active participation from the reader. One of the "fathers" of this new generation was Henryk Tomaszewski (1914- ). The work of many of the younger artists of the Polish School (born in the 1920's and 1930's) varied in style from expressionistic to subdued. Gone were the happy clown motifs of many lesser artists. The work of the "second generation" Polish poster artists who "built" the Polish Poster School all had one thing in common: a distinctly personal gesture in one form or another. This characteristic is unique to the posters of Poland. Today's Polish poster art still has this characteristic. Their posters are still predominately made with brushes, pastels, and paints. One sees very little photography in these posters. To them the only valid expression of one's ideas is by human hand to paper. In a way this is what makes Polish Poster Art unique even today. Each poster is a genuine expression of the artist's feeling toward the subject, not just a catchy slogan or image. Franciszek Starowieyski (1930 - ). Posters from 1965 to 1990.

Slide 9

Swiss Style A new graphic design style emerged in Switzerland in the 1950s that would become the predominant graphic style in the world by the 70s. Because of its strong reliance on typographic elements, the new style came to be known as the International Typographic Style. The style was marked by the use of a mathematical grid to provide an overall orderly and unified structure; sans serif typefaces (especially Helvetica, introduced in 1957) in a flush left and ragged right format; and black and white photography in place of drawn illustration. The overall impression was simple and rational, tightly structured and serious, clear and objective, and harmonious.

Slide 10

Max Bill Swiss architect, sculptor, painter, industrial designer, graphic designer and writer. Bill is widely considered the single most decisive influence on Swiss graphic design beginning in the 1950s with his theoretical writing and progressive work. As an industrial designer, his work is characterised by a clarity of design and precise proportions. In his studio Bill first made pictures and sculptures intended as laboratory pieces, preparing the way for the design of utilitarian objects, sometimes even of buildings. As a designer and artist, Bill sought to create forms which visually represent the New Physics of the early 20th century. He sought to create objects so that the new science of form could be understood by the senses: that is as a concrete art. Thus Bill is not a rationalist, but rather a phenomenologist. One who understands embodiment as the ultimate expression of a concrete art. In this way he is not so much extending as re- interpreting Bauhaus theory.

Slide 11

Paul Rand (1914 1996) was a well-known American graphic designer, best known for his corporate logo designs. He designed many posters and corporate identities including the logos for IBM and ABC during the 1950s and 60s. Rands defining corporate identity was his IBM logo in 1956, which as Mark Favermann notes was not just an identity but a basic design philosophy that permeated corporate consciousness and public awareness. In A Designers Art Rand clearly demonstrates his appreciation for the underlying connections: From Impressionism to Pop Art, the commonplace and even the comic strip have become ingredients for the artists caldron. What Cezanne did with apples, Picasso with guitars, Leger with machines, Schwitters with rubbish, and Duchamp with urinals makes it clear that revelation does not depend upon grandiose concepts. The problem of the artist is to defamiliarize the ordinary.