Due LAST Thursday, Oct. 13: Take Home Quiz #1 (15 pts) (turn in late for partial credit)
link is to both a PDF and Word.doc – you can handwrite answers or type them out in Microsoft Word.
Assignments for this coming week:
Week 9 Reading: Meggs’ History of Graphic Design, Chapters 14 & 15
Chapter 14: Pictorial Modernism
If the European poster of the first half of the twentieth century was in many ways a continuation of the 1890s poster, its course was nevertheless strongly affected in the second decade of the century by new modern-art movements and the communication needs of world war. Although influenced by cubism and constructivism, poster designers were cognizant of the need to maintain a pictorial reference if their posters were to com- municate persuasively with the general public; they walked a tightrope between the desire for expressive and symbolic images on the one hand and concern for the total visual organization of the picture plane on the other. This dialogue between communicative imagery and design form generates the excitement and energy of pictorial graphics influenced by modern art.
Chapter 15: A New Language of Form
During the postwar years, when Edward McKnight Kauffer and A. M. Cassandre were applying synthetic cubism’s planes to the poster in England and France, a formal typographic approach to graphic design emerged in Holland and Russia, where artists saw clearly the implications of cubism. Visual art could move beyond the threshold of pictorial imagery into the invention of pure form. Ideas about form and composing space from the new painting and sculpture were quickly applied to problems of design. It would be a mistake, however, to say that modern design is a stepchild of the fine arts. As discussed in chapter 12, Frank Lloyd Wright, the Glasgow group, the Vienna Secession, Adolf Loos, and Peter Behrens were all moving a heartbeat ahead of modern painting in their consciousness of plastic volume and geometric form at the turn of the century. A spirit of innovation was present in art and design, and new ideas were in abundance. By the end of World War I, graphic designers, architects, and product designers were energetically challenging prevailing notions about form and function.