MASSIMO VIGNELLI x OFFSET 2009

OFFSET 2009

I'm choosing to focus on Massimo Vignelli for now a little bit because he's a designer who adopted the Swiss style of design which obviously originated in Switzerland but had a profound effect across Europe - and took it to America in the heyday of his career and created iconic American design. Which is another design scene I want to investigate, in terms of the intentions and culture creating the recognisable style.

He's also quite an outspoken designer, and perhaps critic of the computer when it comes to design and hopefully he touches upon the effects of the computer on design, and by touching on the effects of the computer maybe side effects of globalisation such as internet, collaboration, inspiration, typography, style etc.

I looked into Vignelli a fair bit but not as much as I would have liked last year, I'm going to start with his presentation at Offset design festival, 2009 _




Notes
+
Quotes
-

"I see graphic design as the organisation of information that is semantically correct, sytnactically consistent, and pragmatically understandable. I like it to be visually powerful, intellectually elegant, and above all timeless."

Synatictically consistent - every detail should be coherent.


"It can be the most beautiful thing in the world, but if people do not get it. You're wasting you're time."


Intellectually elegant.



started in 1955



Studied architecture in Venice. Started working at architects at 16. Working on whole spectrum of design, multidisciplinary! Similar to Swiss design schools and extensions of Bauhaus.


Interior, architect, graphic design.

"Keep subtracting, keep taking things out until you get the essence of things."

similar to semiotics, universal language - possible intention of Swiss with mass immigration and language/culture diversity? 


Contrast between function and decoration. How can the two things live together?




Collaborates particularly on interior and product design with wife Laila.




Focus group saying no, yet took it back to Italy and it's been on market for 25 years. Realised American market research isn't the right way

"You don't have to ask people what they want, you have to ask people what they need. That's what you have to find out with research. If you ask people what they want, they don't know yet."

The difference between designers and market researchers is that researchers look through the rear window, designers look through the windshield.

Marketing invented to prevent your back. A fear of failure.



Went America with fellowship. Went back to Milan from 60 to 65. Set up own agency.

"For several years before the type Helvetica came about. We were cutting letters in order to get less kerning... Finally the greatest thing that happened was Helvetica had no shoulder so we didn't have to cut no letters. Ever since that day we have been using Helvetica in great quantity, of course."

Large type, immediate catch attention from far away, small type when you get close and want to find out more. Not as immediately important.

"If you can't find it, design it."

Started Unimark in 65. Based in Chicago. Milano, New York.


Moved into US as going back and forth too much. 



At that time design was a rather young profession, people didn't have that much trust in it. So we used to wear a white smock like a hospital. Immediately they gave much more respect to me!





1966. Assignment to redesign New York subway




The basic system still holds even after a lot of changes since then.




Designed stuff for Knoll International. furniture company. Designed all graphics, brochures, stationerys, catalogues for 15 years.



AmericanAirlines




Looking at the layout instead of reading the content.




Full spreads, full images nothing can go wrong.



The sequence is important.

Scale is intangible, size is measurable, tangible. Scale is important not size.

Columns is not a grid. Introduced the notion of a grid to the newspaper, every element becames modulae. Speeding up the preparation with modules and structure. The Herald + European Journal.




Effortlessly switching between graphic and product.


Important with plastic to keep consistent width and design.




Not considering the cup with a cut at the top, coffee flows at the top. In America, people fill to the brim, didn't consider that! unlike "civilised" countries in europe


Design - "That's all design is, trapping the light and reflecting the light. Making the edge sharp or round. Making the light act in a different way."


Calendars that tell you what day it is, from far. And some calendars where you have to tell the calendar, what day it is. the flipbook style


In New York you walk on the street, nobody speaks the same language.

Diversity. Interaction + Excitement



Interested in design. To create language that other people follow.

Design is not art in my mind. Art is not design. 

The more design is art, the further it goes from design


Design serves a purpose - to make your life easier and for you to take away from it what you need - art is more of a personal self-expression, less of consumer experience



Finding a balance between identity and diversity.


Loves to do books

"In plates, we set the table at the beginning of the dinner. Everything is nice and clean, then while we eat the whole thing becomes like a trashcan. At the end of the meal...all those things left over. You make a clean pile of dirty dishes. That is design"

Design of plates allows to pile up with enough recess to almost act like a sort of Tiffin pile of boxes.

"Cross fertilisation between the other. It's not true that if you're a graphic designer you can't design furniture. Design is one, you can do it."

Talking about the 'bodoni table' because of the thick stems and slim serifs



Same height but different diameter glasses eradicate muddled up heights and forms.





A Few Basic Typefaces Exhibition

"In the new computer age the proliferation of typefaces and type manipulations represents a new level of visual pollution threatening our culture. Out of thousands of typefaces, all we need are a few basic ones, and trash the rest, So come and see A Few Basic Typefaces."

Computer gave everyone a platform to design, became less specialised, you didn't need all the equipment and pre-determined intention. Globalisation also plays a part in this

"Now everybody can do type. The computer has brought out the most beautiful typography ever, but at the same time the worst ever."

"Publishing is dead. Books are going to change completely."

Future of books and design in global and digitised world?








/----

Q: Is there a Vignelli 'look'?
A: God forbid, god forbid, it would be a negation of what we stand for. We don't want to have a look. I think when we have a design it's because our design is too weak, we are not interested in personal style, or any style per se as has been classified. We are interested in raising the standards of design acceptance." Vignelli, 1981.

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Notes on Helvetica

Helvetica is a movie by Gary Hustwit exploring the birth of Helvetica and it's influence across Europe and the world, this was a bit of a no-brainer to watch as it was designed by Max Miedinger in 1957, at the height of Swiss modernism and their objective and highly typographic visual style, at this stage perhaps completely discarding photography - with designers such as Muller-Brockmann going full typographic


It also touches upon the influence of Helvetica on American graphic design which on its surface again seemed to be very consumerist driven with celebrated design often being branding and advertising - Helvetica and it's symbolism of Swiss design had a profound effect on advertising which in turn affects American culture.

It's interesting to find out the intentions of Helvetica as a piece of design.

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"It's like air, it's like gravity"

"It's ubiquitous. Let's eat crap because it's on the corner." - Spiekerman

* designer has an enormous social responsibility

VIGNELLI

Fight against the ugliness. Visual disease. We try to cure it.

The distance between letters. *Typography is really white. Space between letters. 

It's like music, the space between the notes makes the music.

AmericanAirlines

*I use no more than 3 typefaces

*Type shouldn't be expressive. "Dog" doesn't have to look like a dog

Had to be MODERN

* 1950's. Development of Graphic Design. Post-war period. Idealism. European designers in particular felt Graphic Design is a part of rebuilding and reconstructing society. Similar to the Constructivists and El Lissitsky. Period of early experiments. 

*Social Responsibility

Karl Gernster

Emergence of Swiss Style of design

Helvetica emerges in 1957.

WIM CROUWEL

"I love modernism."

*"I don't like using different typefaces"

It should be clear, readable and understandable.

Invented a grid. "Within the grid, I play in it." - 

I need to use this for atleast one of the applications of Euro design to Japanese design

* "A tool of creating order."

Computers speed up work. The design isn't better, but quicker.

*In 1960's most design was in 2-3 layers. Unlike today

Sketches widely, close to finished. Typefaces are very important, almost the biggest decision about the design.

'Neutral' typefaces. Which don't scream attention but effortlessly do the job

"Neutralism was a word we loved."

Harry Carter - Typographer

* Most type designers would start with a lowercase h. Tells you width, curvature, height, ascender height, nature of serif or sans-serif. Then an o as this is rounded to contrast against straight sided h. Then a lowercase p as it's a mixture of straight and round. From here so much DNA. b, d, q and many other type forms can be made.

HELVETICA

Horizontal terminals

"Die Neue Haas Grotesk" original name

Max Miedlinger. Typographer who designed Helvetica in 1957

Haas Type Foundry - Helvetica was born here.

Edward Hofmann

The letters. Counters. Letters fit snugly and pefectly in the surrounding space. Negative space is clearly very important, more so than the letterforms maybe.

Means "The Swiss Typeface" in Swiss.

The feeling of turning script and over cluttered 50's ad design to Helvetica felt like an "Icy glass of cold water". Changed ad design in the 1950's.

Periods and full stops, bold, short taglines replaced paintings, portraits and exclamation marks.

From...

To...

Neutral and reliable. IRS tax forms in Helvetica. People want it to look efficient, but also human with curves.

Typeface invites open interpretation

"Gotham Typeface" uses for Tribeca Film Festival

ERIK SPIEKERMAN

*A real typeface comes from handwriting. There's a rhythm to it.

Helvetica has no rhythm.

Swiss ideology = Make every letter look the same. That's an army not people

NEVILLE BRODY

Fitting in, doing the job instead of standing out.

* Safety. Peace of mind. Social responsibility.

The typeface of socialism, maybe more so than capitalism?

Post-modernism.

A reaction to conformity. The dull blanket of sameness. A need for change. Vietnam war - Helvetica?

Wanted to get away from the horrible slickness of itself. Produce something with vitality and character.

SAGMEISTER

I was always very bored looking at type.

Started to do our own type, Hand lettering. Lou Reed poster.

DAVID CARSON

"I never learnt what I wasn't supposed to do. So I just did what I felt like."

* Just because something's legible doesn't mean it's communicating the right thing.

Modernism used a lot of cut outs and bold imagery, when used against contrasting colours and bold large type, efficient and clever use of space.

Logical. Unfussy. Stripped down.

EXPERIMENTAL JETSET

* We don't like humanistic typefaces. They have too much expression.

* One pt size if possible

* "Helvetica bold in one size for a flyer. It looks good."

More good young type designers than at any point in history. Late 20's early 30's.

Colour palettes of clues, reds, whites and blacks. Heavy use of negative space and grid, obviously.

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Swiss Modernism - Origins + Growth

Notes + 
Quotes +
Analysis




- - - - - - - - - - - - - - -

Developed in Switzerland in the 50's

Emphasises cleanliness, objectivity and readability. Highly typographic

Apparent hallmarks of the style are asymmetric layouts, heavy use of a grid, sans-serif typefaces such as Akzidenz Grotesk.

Flush left, ragged right text.


Swiss style sometimes referred to as the International Typographic style. maybe implying it's influence across Europe, and possibly the world.

"A sober and undramatic look at the current situation reveals very little direction in graphic design. Confusion surrounds the criteria for judging design quality; the eye is wearied by lack of content, aesthetically veiled. Mannerism and eclecticism are the driving forces behind the imagers, and their design repertory is determined by new technologies." [Müller, L; p6]

"So-called Swiss design is as much "Muller-Brockmann" as it is any other single personage. It is as much a matter of discipline as a matter of style. And though it is not as much in evidence today as it was when Müller-Brockmann switched from being an illustrator to a practicing graphic designer, (with emphasis on typographic rather than pictorial solutions)." - Paul Rand, Thoughts on Design 1947

Ernst Keller + Alfred Willimann - The driving force behind training in graphic design in Switzerland and taught a course Muller-Brockmann attended. Focused on arts and crafts, rather than simply design - similar to the Bauhaus.


MB (Muller-Brockmann) attended the Zurich school from 1932 to 1934 

Williman taught typography class set up by Hans Finler in 1932 and had close ties with the Bauhaus
Emphasis on typography. Do many schools in Switzerland still focus on typography as much? Ask + Question.


Zurich School of Arts and Crafts / Now known as Zurich Museum and School of Design.
Research into the Zurich school and what specific teaching and training helped play a part in the swiss design revolution and nationally recognised style.






MB became a member of the SWISS WERKBUND n 1937. 

In 1939 MB joined up with newly established ASSOCIATION OF SWISS GRAPHIC DESIGNERS

Right around the outbreak of WWII - did these collectives remain during/after the war?


SWISS WERKBUND - "An association of architects and designers from a variety of fields, formed to foster design that serves both aesthetic and social ends."





1930s - great deal of confusion and social, political and culturual issues and contradictions at hand in Swiss history.

"The 30s, the period that saw MB's training as a graphic artist and the start of his professional career, were a decade of contradictions in Swiss history. There were irreconcilable attitudes towards political, social and cultural issues. 

Conservative reliances on hierarchical structures and traditional, time-honoured values was confronted with a politically moderate opposition interested in constructive modernism. The new minority actively pursued innovatory trends in architecture, art and commercial graphic design." Müller, L; p12

 Political and social factors being at odds with a new wave of Swiss rebellion and forward thinking - basically modernity. 

Stale culture motivating for a minorty to pursue innovation. What were these old backwards values, what was Switzerland like in the 30s onwards and what was it dealing with?

"The decade of the 30s was the cradle of Swiss Graphic Design, which was to make an international impact in the 50s" Müller, L; p12 

1930s to 1950s a critical part of the revolution in Swiss graphic design. Maybe linked to war and economy - change in society and needs? Move from subjectivity to objectivity




Max Bill  - Anton Stankowski


Max Bill a Bauhaus student from 1927 to 1929, favoured interdisciplinary work. 1931 poster for an exhibition of prehistoric rock paintings in South Africa became an early artifact of Swiss poster design. 

Folkwangschule in Essen. Max Burchartz. 

Anton Stankowski 1936

"Stankowski attracted attention with his designs for Max Dalang's advertising agency in Zurich. He introduced the technique of typo-photo-montage, new to Zurich, and dynamized the design surface with diagonally placed lines of type." Müller, L page 13

Stankowski, 1958

Anton Stankowski pioneered Constructive Graphic Art. Illustrating processes rather than objects, creating abstract and emotive shapes. German Born moves to Zurich in 1929. Developed his groundbreaking typo-photo style at Max Dalang's advertising studio.



Hans Neuburg came into contact with CONSTRUCTIVE graphic design through stankowski and promoted functional graphic design for industry in the 30s. 

Neuburg launched and edited the magazine "Industriewerbund" (industrial advertising) in 1933.



Swiss design movement gained momentum with more influx of German immigrants joining the new movement, Max Dalang being instrumental.


Anti-Fascist resistance from 1936 onwards. 

Political scene in Switzerland and Germany in the 30s. Did the German immigrants play a substantial role as 1936 was at the height of the Nazi fascist regime, did they escape to Switzerland and merge this with Switzerlands functional design momentum?

"More photographers and graphic artists joined the new movement, including Richard Paul Lohse, who also worked for Max Dalang in the 20s. Logse was politically committed and involved in anti-fascist resistance from 1936 onwards" Müller, L p13

Photography established itself over illustration, as an expression of technology and objectivity maybe? Less ambigious and ephemeral than an illustration.



> Look into Typographic Laws derived from Jan Tschichold's "elementary typography" TYPOGRAFISCHE MITTEILUNGEN, OCTOBER 1925

Tschichold's idea of assymetric surface harmony - where did this stem from? the unique societal factors?


 "OBJECTIVE PHOTOGRAPHY quickly established itself among young designers as an alternative to illustrative representation." Müller, L page 14

"Akzidenz-Grotesk proved to be the appropriate type, effectively enhanced by geometrical elements... The aim was visual unity of typography and image." Müller, L page 14

A STEP BACKWARDS ...


Switzerland were relatively unscathed during the Second World War but the design revolution involving designers such as Max Bill and Paul Lohse came to a stand-still after 1936 and moved into a phase of isolation.


Economic crisis of 1929

"The intellectual and spritual defense of our country" launched by Swiss Government to counteract the thread of fascism.

The National Swiss Fair 1939, showing off Swiss industry but in a more regressed and illustrative form of modernism in terms of painting, art, architecture.

Travel size poster depicted by Aloïs Carigiet, a famous painter and poster designer, for the Swiss National Fair 1939 in Zürich.

This 1939 Fair was an occasion for the Swiss Nation to confirm its patriotic unity before the second world war."

If you compare this 1939 poster to this 1936 poster for Contemporary lectures in Swiss painting and Sculpture by Max Bill, you can see how much of a backwards and traditional step Swiss design chose to present - mainly because of the threat of fascism and patriotism.

>>>


Abstract forms and forward thinking geometric shapes in design replaced by patriotic and media which hadn't changed in 1000 years.

Max Bill
Exhibition Poster
"Contemporary issues in Swiss Painting and Sculpture"
1936

"In painting and sculpture this meant a return to a classical aesthetic that was accessible to the people. Commercial graphic design was exploited to serve similar ends. The campaign for moral rearmament culminated in the 1939 national fair in Zurich, known as the "landi", in whichi llustrative and representational work dominated."

"The exhibition united conservative and modern designers in a distinctive Landi style of realism posing as modernism in a combination of design and folklore, clad in local wood and stone."




Exhibition design being a focal point of designers such as MB in the 40s. Often being drafted in army, leaving little time for commisions until 1945.





War effecting designers interpretations of design and its power - their responsibility.

"Experience in the war years led MB to the belief that graphic design - if it was to inform and enlighten without being manipulative - had to be based on objective criteria." Müller, L page 17

Muller-Brockmann concert posters in the mid 50's a much more objective and less illustrative work from his style in the late 40s and early 50s

 

Around 1945 a shared outlook developed between designers and activists of the pre-war period.

In Zurich, the magazine abstract/konkret was founded in connection with the Allianz - the group of  artists later known as the Zürcher Konkrete" was formed including Max Bill, Richard Paul Lohse.

The Zürcher Konkrete led to the constructive graphic design that took hold in the 50s.

"The movement gathered momentum with the collaboration of people like Carlo Vivarelli, Siegfried Odermatt, Carl Graf, Gottfried Honegger/Warja Lavater, Fridolin Müller and Max Huber" Müller, L page 27

**

In a long-standing argument with Jan Tschichold over 'preferable' layouts Max Bill ended up creating an important discussion on design with his exhibition "Die guter Form (Good Design)" which examined the fundamentals of industrial design which like Dieter Rams later principles can be applied to all design, especially the modernist and functionalist approach developing in Switzerland.

"Die Guter Form (Good Design)... examined the fundamentals of industrial design. Bill argued that an object used "....daily and all the time, from a pin to an interior décor [should be designed] in the spirit of a beauty developed from function, and that through this beauty it fulfills a function of its own," Müller, L page 28

The graphic design and emphasis on modernity and a professional outlook finally began to affect Swiss industry and businesses.

"Max Bill, with his interdisciplinary achievements and theoretical expertise, was ideal for the role of architect and first dean of the newly established Institute of Design in Ulm, Germany. The intention was to found a school that would carry on the tradition of the Bauhaus. Ulm was a centre of the new design in the 50s, with many Swiss connections." Müller, L page 28 

Swiss design being a natural successor to German design and craft? In particular Bauhaus which was closed by the Nazi's in 1933. Along with the influx of German immigrants it made sense. War completely affecting Swiss, even though they didn't take part. Swiss + German design being close pretty much overlapping.

>Look into if Swiss modernism of this period was a visual progression of the work produced in Bauhaus 

Armin Hofmann played a hugely pivotal part in the refinement and development of what we signify as the classic Swiss style of design.



Zurich was the center of Constructive graphic design until mid 40s. After 1946 support came from Basel, with Armin Hoffman a student of the famous Ernst Keller teaching graphic design at the Trade School in Basel.

Hugely influential on the new graduates and new generation of designers in Switzerland. What did they teach exactly? How did it differ to other countries at the same time and does it differ to now, if it even exists?


The Trade School in Basel

"His approach to design and his teaching methods, complemented by Emil Ruder's course in the basics of typography, made an almost immediate impact on the work of the first graduates in the late 40s." Muller, L page 29

 "The Basel school under Hofmann still allowed students to explore forms and examine the effects of these forms, including the organic-abstract design that characterize Armin Hofmann's own posters. The Basel school and its more austere Zurich counterpart contributed equally to the imag of Swiss Graphic Design in the 50s and 60s." page 29

The early Basel group of designers include icons of Swiss design such as Max Schmid, Karl Gerstner, Nelly Rudin, Gerrard Ifert and Igildo Biesele.





The number of automobiles in Switzerland doubles from 1947 to 1952. These issues were addressed in design with campaigns such as the accident barometer designed by MB in 1952, enhancing awareness of traffic dangers.





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Sources

http://en.wikipedia.org/wiki/International_Typographic_Style


Muller, L (1995) 'Josef-Müller-Brockmann Pioneer of Swiss Graphic Design', Lars Müller Publishers, Switzerland

http://en.wikipedia.org/wiki/Anton_Stankowski

http://www.moma.org/collection/object.php?object_id=8453

http://www.galerie123.com/en/original-vintage-poster/5114/zuerich-swiss-national-exhibition-1939

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Design Research - Ambrose

Title: Basics Graphic Design 02: Design Research: Investigation for Successful Creative Solutions

Author: Ambrose, G. Leonard, N
Publisher: Ava Publishing
Year: 2012


Some notes and quotes from Design Research by Gavin Ambrose. Reading this allowed me to find out a little bit about productive rresearch and also about how closely related society and graphic design affect each other, one of the underlying themes in my research project. 

Very helpful to read as it really opened up ideas for process based research I can undertake such as emulating the design process before computer just like someone like Muller-Brockman did and comparing to now when tackling a project.

---------------------------------------------------



Notes
-



1. Basics of research
2. Understanding context
3. Planning your work
4. Conducting research
5. Using your findings
6. Presenting your findings



------------------

1. Basics of research

"Best research happens when you put yourself in the place of your audience by interacting with this group and familiarising yourself with the context of your project as thoroughly as possible." - p10

The problem fully understood. The best solution offered.


Stats + Facts = Library



Look at what has already been created in the are you're researching and thinking about producing work for.



Primary - New work/research generated by you.

Secondary - Investigation into ideas already done by others.

Tertiary - Summarisation or review of a body of secondary research.



Research should be hand-in-hand with the design process.

"Research is formalised curiosity. It is poking and prying with a purpose." - Zora Neale Hurston - p18

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2. UNDERSTANDING CONTENT

"Any change in society can greatly alter how a piece of design is understood, as the audience brings with them a different set of experiences and cultural connotations." - p39 

Social role of a designer. First Things First Manifesto



Design + Context

"Understanding what has come before will help you to see where you are now, and where culture and design might go next. To get a broad overview of design history you should investigate the cultural and historical events that shaped it." - p50

Relates to investigating Swiss and American design movements and unique sensibilities post WWII and what cultural and societal factors played in to it - to truly get a better understanding.

"Modernism - Continued the revolt against the art world that the avant-garde and impressionists began. Modernists sought to re-shape and improve their surroundings and create new works. A lot of design created at this time sought to highlight the materials used." - p51

Society > Design
Society < Design

"Post-modernism - Reaction to modernism and rejected many of its ideas. Post-modernism is not a particular style, as such, rather an overall idea.. The way of thinking rejects the strict rational and superficial processes employed in modernism." - p51

4. CONDUCTING RESEARCH


1. Approach audience members.
2. Participant + Non-participant observations
3. Questionnaires - design considerations and influences?
4. Surveys - Process before and after computer, stereotypes and interpretations of European and American modernism
5. Interview - Similar questions as survey. Target different demographics of designer
6. Fieldwork - Research where your work will be exposed.
7. Trend-spotting - A form of field based research that aims to identify trends that are about to emerge. > Similar to research into possible global style of graphic design
8. Crowdsourcing - Asking specific crowds with tasks + questions



TRENDSPOTTING

Trends within Graphic Design

Observe and talk to people who are deemed to have an interesting or innovative personal style

Quiz about origins and influences on their design style and education - compare different answers to different nationalities and generations of designer to compare and contrast ethics, intentions and opinions on design in regards to nationality and design sensibility.

Relates to personal style, pattern, colour and material, can be easily applied to graphic design as all areas of art and design feed into and inform one another

Find patterns




PROCESS BASED RESEARCH

Different processes - post-war technology process, cost-wise compare to current technology

Undertake same process as Swiss european designers post WWII and compare to the same process now

Any intangible and unavoidable differences in technology and process contribute to recognisable design styles?

Always ask yourself how has it been made?

Look into exemplary Swiss and American design such as Muller-Brockmann, Vignelli, Crouwel, Karl Gerstner, Paul Rand, LuBalin, George Lois, Milton Glaser etc.

Read More

Damn Good Advice - George Lois

This is another book which again is quite a broad book on the concept of advertising in American culture and it's importance wrapped around useful facts everyone should read - it posed a few questions and lines of enquiry for me especially in regards to, on the surface, how advertising and brand orientated, celebrated American graphic design is. Compared to a more european aesthetic, for example a Swiss poster for an exhibition by Josef Muller-Brockman. It'll be interesting to find out why clients of famous work was different post-WWII, with research into the dawn consumerism and a product driven society.


Below are notes which although some may be unrelated on the surface, most I feel paint a good picture of the American graphic design and communication scene from the 50's onwards and allowed me to gain a better understanding of American culture and client needs from George Louis, one of the grandfathers and icons of American advertising in the 60s onwards.


              = Quote

              = Comment/Analysis


-
Notes






Social impact on design and social responsibility of communicators in America post 'Nam. and relevant to post-WWII/ 'Cultural Provocateur'.

"My experience as a young G.I. fighting in an army committing genocide on an Asian culture led me, indeed forced me when I came home to live a life as a graphic communicator determined to awaken, to disturb, to protest, to instigate, to provoke."


"At every opportunity I have attempted to speak truth to power - to fight the "authorities", unjust courts, police harassment, the consistent loss of our civil liberties, a government that benefits the wealthy at the expense of the poor and powerless, and America's unending wars - by creating graphic imagery and organising battles against ethics, religious and racial injustice, always standing against a conservative indoctrinated and racist society, and playing a conscious role...as a cultural provocateur."

Provoking and triggering culture.




Understanding culture + Changing culture

"Great graphic and verbal communication depends on understanding and adapting to the culture, anticipating the culture, criticising changes in the culture and helping to change the culture." - p16

Idea of graphic design being a representation of the culture, an adaption of the culture and also vice versa the importance of graphic design in changing and criticising the culture - all these factors can be research into in terms of factors and intentions in regards to Swiss and American graphic design post WWII.




Consumerism and selling

"We live in a timid age when students and young professionals are "taught" to believe that a commercial or an ad should not be seen or experienced as an ad... People enjoy being sold products." - p20

Fighting visual disease. Professionalism and social responsibility of a designer in America. Less self-expressionistic than now? 

Similar to Massimo Vignelli

"If you're a creative in any business, think of yourself as a doctor giving a patient medicine that will save his life. I'm dead serious." - p41.

* The Advertising Creative Revolution of the 50's *




Importance of historical studies and inspiration for progressive design - as mentioned in Dem Lec.

"The secret of all effective advertising is not the creation of new and tricky words and pictures, but one of putting familiar words and pictures into new relationships." - p77




David Ogilvy - The Man in the Hathaway Shirt - classic example of selling a lifestyle and consumerist graphic communication in America.

"The Man in the Hathaway Shirt stiffly but elegantly posing, ad after ad, wearing an overly crisp Hathaway shirt and an eye popping, aristocratic eye-patch, and ordained with the name Baron Wrangell (some sort of English wit, I gathered).


similar to modern advertising for clothing and bicicyles etc, buying into the lifestyle more than the product itself. Todays society looking backwards more than ever? In terms of lifestyle and a rejection of technology

Who are classic graphic designers in terms of traditional graphic design for print? Not just advertising and corporate branding (all for selling a service, instead of an experience)





SOCIAL IMPORTANCE + POWER OF VISUAL COMMUNICATION

"This ad was the opening salvo in waging a Guerrila war to free the innocent 'Hurricane". I visited Ruben Carter in Trenton State Prison to tell him what I was planning. A few days later, I ran it in the news section of the New York Times. Within a week I enlisted 82 dinstinguished citizens...with Muhammad li as the chairman.  

The ad kept millions of people in America from swallowing their toast that morning as they were reading the Times." - p85

Society, commentary and design as one

"I came to the realisation in my late teens that an hour spent each morning reading The New York Times kept me informed on, and inspired by the zeitgeist of the times."

"Radio, television and the internet can't come close to the visceral, informative, investigative and analytical power of the worlds great newspapers."

 Power of print!


Enquire: The graphic design and advertising scene in America post WWII and during the Vietnam war, did it change or continue on its path? Why did it change, did it change to a more consumerist society. Broadly how did psychoanalysis play a part in it.

What overall cultural and societal factors played a part in my understanding of the American graphic design modernist style of the 50s onwards.

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