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GRAPHIC DESIGN - ART DIRECTION - ILLUSTRATIONINFORMATION GRAPHICS - CORPORATE IDENTITYPUBLISHING CONSULTANCY- TRAINING
SARAH-JANE LEAVEYPORTFOLIO
PORTFOLIO 2
white|wash is an independent arts, design, fashion and culture magazine built around a team of four women; Julie Uusinarkaus (ex Editor-in -chief of Finnfashion and Pap magazines), Heidi Marika (Creative Director on white|wash and Stylist on Finnfashion), Mikaela Katro (Dep Editor on white|wash and writer/photographer on Finnfashion) and myself (ex-Associate AD Finnfashion).
We share a common love of Finnish design and have an extensive network of contacts in the fields of fine art, fashion, media, product design, entertainment and culture.
white|wash magazineART DIRECTOR, ILLUSTRATOR
PORTFOLIO 3
Editorial Design
PORTFOLIO 4
Finnfashion, based in Helsinki, was a quar-terly English language magazine dedicated to promoting Finnish design talent, from Minna Parikka, Paola Suhonen (Ivana Hel-sinki) and Hanna Sarén to Daniel Palillo and Marjut Uotila (Dusty). Finnfashion show-cased the best of our locally produced foot-wear, womens wear, mens wear, textiles, jewelry and accessories.
Finnfashion was distributed international-ly through specialist boutiques in Sweden, USA and France.
FinnFashion magazineASSOCIATE ART DIRECTOR
PORTFOLIO 5
I have produced illustrations ranging from simplistic vector renderings to more paint-erly artistic works for various clients.
a) The Vikings in Swiss International style. Personal Project as teaching material (2012).
b) Client: TaiChi about Town, Budhokwai, Fulham. Illustration for a brochure promoting TaiChi courses at the centre. (2012).
c -e) Degree project: Little Red Riding Hood illustrated editorial. Winner of ‘Public’s Choice Award. (2013)
Illustration:ART DIRECTOR, GRAPHIC DESIGNER
b)
c)
d)
e)
a)
PORTFOLIO 6
a) Sketch for Commissoned Portrait (2010)
b) Personal Work. (2016).
c) Degree Illustration project: Lenore from ‘The Raven’ by Edgar Allen Poe (2013).
d) Personal work. 'Candy Killer' from a diptych of drawings called 'Personal vices' (2012)
Illustration:ART DIRECTOR, GRAPHIC DESIGNER
a)
b)
c)
d)
PORTFOLIO 7
a) Client: twig. Illustration for Valentine’s Day and Mother’s day advertisement in Vanilla Magazine. (2013).
b) Personal Work: One of four seasons (2012).
c) Personal Work (2010)
d) Detail from ‘The Factory Boys’ (2010).
Illustration:ART DIRECTOR, GRAPHIC DESIGNER
c)
d)b)
a)
PORTFOLIO 8
This information graphic was produced as a teaching aid for students attending the Visualisation skills module, part of the International Design Degree program at KYAMK in 2014.
The timeline served two purposes; it was a demonstration of the process involved in creating a visual representation of a set of complex data over time, and an educa-tional piece, as it introducted the students to the key art & design movements of the period 1860 – 1918, which have influenced the development of graphic design.
The final piece measured 420mm x 1000mm.
From Arts & Crafts to ModernismGRAPHIC DESIGNER
©Sarah-Jane Leavey 2014 . Sources: Meggs’ History of Graphc design, Meggs, P. & Purvis, A. (4ed.) Wiley & Sons, USA 2006. Graphic design Timeline, Heller, S. & Pettit, E., Allworth Press, USA 2000. http://www.vam.ac.uk/page/a/arts-and-cra�s/, http://en.wikipedia.org/wiki/Arts_and_Cra�s_movement, http://en.wikipedia.org/wiki/Japonism, http://www.vam.ac.uk/content/articles/s/style-guide-influence-of-japan/, http://en.wikipedia.org/wiki/Art_Nouveau, http://en.wikipedia.org/wiki/Wiener_Werkstätte, http://en.wikipedia.org/wiki/Deutscher_Werkbund, http://www.goethe.de/kue/arc/dos/dos/sls/sku/en2356119.htm
THE TRIGGERS BEHIND THE ARTS & CRAFT MOVEMENT
REACTION AGAINSTTHE GREAT EXHIBTIO
N 1851
POOR QU
ALIT
Y MASS PRODUCTION
INDUSTRIAL REVOLUTIONGOTHIC REVIV
ALIS
M
INSPIRATION FROM
PRE-RAPHAELITE BROTHERHOODW
ORKS
OF
WILL
IAM MORRIS
RAISE OF M
ARXIST THINKINGWORKS OF JOHN
RUSK
IN
FROM ARTS & CRAFTS TO EARLY MODERNISM
STYLE GUIDESArts & CraftsArts and Cra�s style developed in the 1860s as a reaction against the growing industrialisation of Victorian Britain. Those involved believed in the equality of all the arts and the importance and pleasure of work. The appearance of the style resulted from the principles involved in the making of the objects. By the end of the century such ideals had a�ected the design and manufacture of all the decorative arts in Britain.
CharacteristicsThe vernacular of British countryside lifeArtisan belief in truth to materials & authentic designSimple forms & natural motifs
JaponismeJaponisme is the French name for the influence of Japanese art, fashion and aethestics on Western culture from the early 1860’s until the turn of the century. Artists and cra�smen began replicating the images, subjects and style of newly imported Japanese Ukiyo-e woodblock prints and household goods and furniture. Noteable artists such as Degas, Manet, Monet, Van Gogh, Toulouse-Lautrec and Whistler were all collectors of Ukiyo-e woodblock prints.
Characteristics Circular designs influenced by Japanese ‘Mon’Geometric forms & asymmetric compositionNatural motifs: ChrysanthemumsBlack keylines & strong flat colour
BeggarstaffJames Pryde and William Nicholson were brothers-in-law, who started the advertising agency ‘J. & W. Beggarsta�’ in 1894. They created only 22 known poster designs and 6 other graphic works. Although intended for publication, many of these designs were never published. The Posters were unique artistically using simple cut-out forms totally unlike Art Nouveau, but they were not a commercial success. However the Beggarsta� designs went on to have a huge influence on later designers in the 1920’s and 1960’s.
CharacteristicsCollage technique & paper-cut letteringStencillingSilhouettesFlat Colour
Art NouveauArt Nouveau was a movement in the visual arts popular from the early 1890s up to the First World War. It was heavily influenced by the Arts & Cra�s movement, however it did not share the utopian socialist politics. It is viewed by some as the first self-conscious attempt to create a modern design lifestyle. Its influence can be found in painting, architecture, sculpture, jewellery, metalwork, glass and ceramics.
CharacteristicsWhiplash curves & asymmetrical compositionThe female form, sexualised contentOrganic motifs: seaweed, grasses, flowers, insects Simplified abstract shapesBlack outlinesHand lettering influenced by organic forms
JugendstilJugendstil is the term used to describe Art Nouveau in Germany, the Netherlands, Nordic countries and the Baltic States. The style was named a�er ‘Die Jugend’ magazine, which was first published in Munich in 1896. Jugendstil started purely in the form of two-dimensional graphic arts, focusing on typography and graphic design. The key publications that championed the style were Die Jugend, Simplicissimus and Pan. Jugendstil is more robust and arguably more graphic in its use of form than Southern European Art Nouveau.
CharacteristicsHard lines & sinuous curvesClassical and romantic motifs The SwanHand drawn typography sympathetic to illustration
The Vienna Secession was founded on 3 April 1897 by artists Gustav Klimt, Koloman Moser, Josef Ho�mann, Joseph Maria Olbrich, Alfred Roller, and others. Unlike related movements, there is not one style that unites the work of all the artists who were part of the group. The Secessionist graphic style was showcased in their magazine Ver Sacrum (Sacred Spring), which featured highly decorative works and proved to be a major influence on the illustration and typography of 1960’s psychedelic graphic art. The Vienna Secession had strong ties with the Glasgow School and Charles Rennie Macintosh.
CharacteristicsAnti-historicism: anti-gothic, anti neo-baroqueSymmetry and repetition Geometric design and floral-inspired decorative motifsSquares, grids and checkerboard patternsAncient classical motifs: Athena and OwlsFlat visual planes, strong colours, and linear outlines.
Wienner werksä�eThe Wiener Werkstätte was founded in 1903 by Koloman Moser and Josef Ho�mann, both of whom had been key members of the Vienna secession. The primary goal of the company was to bring good design and cra� into all areas of life within the fields of ceramics, fashion, silver, furniture, and the graphic arts. Embraced geometric symmetry over surface ornament. Popularised the postcard as a collectable.
CharacteristicsArchitectural principles of designSquares, grids and checkerboard patternsFlat visual planes, strong colours, and linear outlines.Post 1909 style changes:Mycenaen & folk styles, jagged woodcut marks,Byzantine whirls, and fragmented mosaic work.
PlakatstilPlakatstil (Poster Style) is characterised by use of a reductive, flat-color design style developed in Germany circa 1905. The first acknowledged work in this style was created by Lucian Bernhard for a poster design contest sponsored by Priester matches. Bernard’s poster succeeded in moving graphic design further into the use of simplification through reduction, resulting in the modern visual language of shape and sign.
CharacteristicsFlat background colorLarge, simple imageProduct nameUse of modal perception (negative space) in designBlocky heavy or ultra typefaces o�en with keylines
DEUTSCHE WERKBUNDFounded in 1907, the Deutscher Werkbund (German Association of Cra�smen) was an association of 12 artists, architects, designers, and industrialists. The Werkbund was an important influence on the development of modern architecture and industrial design, and particularly in the later creation of the Bauhaus. Founders included architect Joseph Maria Olbrich and Josef Ho�man, both ex-members of the Vienna Secession, Peter Behrens, the designer of the first Corporate Identity for AEG, Finnish architect Eliel Saarinen and Mies Van der Rohe.
CharacteristicsStandardisation of measurement and designCra�smanship in mass productionThe idea of Corporate identity and visual branding.
ĄestheticismAestheticism was an approach to life based on the philosophy of 'art for art's sake'. It emphasised the importance of art above everything else and the pleasure to be found in beautiful things. Aestheticism was a complex mixture of a number of styles. Classical and Japanese art were particular inspirations. It was fashionable from 1870 to 1900.
CharacteristicsPeacock feather & bird motifsSunflowers & Ginkgo leavesBlue and white ceramicsStrong colour and ebonizing (black & gilt)Aesthetic dress – flowing uncorseted gowns
until 1938
1860
1861
1862
1863
1864
1865
1866
1867
1868
1869
1870
1871
1872
1873
1874
1875
1876
1877
1878
1879
1880
1881
1882
1883
1884
1885
1886
1887
1888
1889
1890
1891
1892
1893
1894
1895
1896
1897
1898
1899
1900
1901
1902
1903
1904
1905
1906
1907
1908
1909
1910
1911
1912
1913
1914
1915
1916
1917
1918
Arts & Cra�s
Aestheticism
Art Nouveau
Beggarsta�
Vienna Secession
Deutsche Werkbund
Wiener Werkstätte
Jugendstil
Plakatstil
Japonisme
ARTHUR L. LIBERTY OPENS STORE SELLING GOODS IMPORTED FROM THE EAST. COMMISSIONS DESIGNS FROM MORRIS, DRESSER & GODWIN.
WILLIAM MORRIS FOUNDS MORRIS, MARSHALL, FAULKENER & Co.
WILLIAM MORRIS MAKES HIS FIRST PUBLICLECTURES ON DESIGN
WILLIAM MORRIS CREATES THE ‘SNAKESHEAD’ PRINTED TEXTILE.
WILLIAM MORRIS ESTABLISHESTHE KELMSCOTT PRESS.
SIEGFRIED BING ESTABLISHESMAISON DE L'ART NOUVEAU IN PARIS
ADOLFO HOHENSTEIN FATHER OF ITALIAN POSTER DESIGNBECOMES DIRECTOR OF GUILIO RICORDI PUBLISHERS
ADOLFO HOHENSTEIN TOSCA POSTER
BEGGARSTAFFDON QUIXOTE POSTER
HENRI DE TOULOUSE-LAUTREC CREATES THE MOULIN ROUGE POSTER FEATURING LA GOULUE
MUCHA GISMONDA POSTERTOORPP DELFT SALAD OIL POSTER
EMMANUEL ORAZI LA MAISON MODERNE POSTERMASSIAS GLADIATOR CYCLES POSTER
LEOPOLDO METLICOVITZ ITALIANCALZATURIFICIO DI VARESE POSTER
FRANZ GRIESSLER AUSTRIACOTTAGE BAR POSTER
ALPONSE MUCHA JOB CIGARETTE PAPERS POSTER
ALPHONSE MUCHA CREATED 138 ILLUSTRATIONS FOR THE BOOK ‘L'ILSÉE, PRINCESSE DE TRIPOLI’ IN ONLY 3 MONTHS
HENRI VAN DE VELDE TROPON FOOD CONCENTRATE POSTER PRIVAT LIVEMONT RAJAH COFFEE POSTER
ELBERT HUBBARD ESTABLISHESROYCROFTERS MOVEMENT IN USA.
ELBERT HUBBARD PUBLISHES ‘LITTLE JOURNEYS TO THE HOMES OF ENGLISH AUTHORS’.
PETER BEHRENS COLLABORATES ON DESIGNING ‘PAN’ MAGAZINE.
VERS SACRUM THE VIENNA SECESSION MAGAZINE IS FIRST PUBLISHED.
ALFRED ROLLER CREATES HAND DRAWN RECTANGULAR LETTERING POPULAR WITH 60’s PSYCHADELIC DESIGNERS.
KOLOMON MOSER CREATES 13TH VIENNA SECESSION POSTER EXHIBITING CLEAR INFLUENCE OF C.R. MACKINTOSH.
THE VIENNA SECESSION WAS A COUNTER MOVEMENT TO FLORAL ART NOUVEAU & GREATLY INFLUENCED BY THE GLASGOW FOUR.
JUGEND (MUNICH) & PAN (BERLIN) MAGAZINES ARE FIRST PUBLISHED.
HENRY VAN DE VELDE BELGIAN ARCHITECT SETS UP THE SCHOOL OF ARTS & CRAFTS IN WEIMAR, PREDECESSOR TO THE STAATLICHE BAUHAUS.
SIMPLICISSIMUS MAGAZINEIS FIRST PUBLISHED.
MUNICH SECESSION ESTABLISHES GERMAN ART NOUVEAU MOVEMENT.
HANS CHRISTIANSEN JUGEND MAGAZINE ISSUE 42: SWANS.
AKSELI GALLEN-KALLELA BIL-BOL POSTER
ALPONSE MUCHA WIENER CHIC COVER
LUCIEN BERNHARD WINS THE PRIESTER MATCHES POSTER COMPETITION.
LUCIEN BERNARD STILLER SHOES POSTER.
LUCIEN BERNARD BOSCH SPARK PLUG POSTER.
LUCIEN BERNARD ADLER TYPEWRITER POSTERS.
HANS RUDI ERDT DESIGNS THE OPEL AUTOMOBILES POSTER.
HANS RUDI ERDT DESIGNS THE PROBLEM CIGARETTES POSTER.
LUDWIG HOHLWEIN DESIGNS HERMAN SCHERRER TAILORING POSTER
HANS RUDI ERDT DESIGNS THE ‘U BOOTE HERAUS!’ POSTER.
LUDWIG HOHLWEIN COMMISSIONED BY JUGEND MAGAZINE FOR ILLUSTRATIONS.
LUCIEN BERNHARD DESIGNS THE MANOLI CIGARETTES LOGO.
F.T. MARINETTI PUBLISHES HIS‘MANIFESTO OF FUTURISM’
DER STURM - THE STORM EXPRESSIONIST ART JOURNAL FOUNDED
ALFRED LEETE DESIGNS LORD KITCHNER ‘YOUR COUNTRY NEEDS YOU’ POSTER
JAMES MONTGOMERY FLAG CREATES THE UNCLE SAM ‘ I WANT YOU’ POSTER BASED ON LEETE’S ‘YOUR COUNTRY NEEDS YOU’.
EDWARD JOHNSTON DESIGNS RAILWAY TYPE FOR THE LONDON UNDERGROUND.
EDWARD JOHNSTON REDESIGNS THE LONDON UNDERGROUND SYMBOL.
DE STIJL MOVEMENT AND JOURNAL BEGIN IN THE NETHERLANDS.
WENDINGEN MAGAZINE IS FOUNDED IN AMSTERDAM.E. MCKNIGHT KAUFFER DAILY HERALD POSTER
BART VAN DE LECK BATAVIER LINE POSTER
JEAN COCTEAU DESIGNS POSTERS FOR DIAGHILEV’S BALLET RUSSE
LÉON BAKST & VALENTINE GROSSSCHEHERAZADE PROGRAM BALLET RUSSE
DAS PLAKAT JOURNAL FOUNDED IN BERLIN
BERTHOLD TYPE FOUNDRY LAUNCH BLOCK TYPE,BASED ON BERNHARD’S POSTER LETTERING.
LUDWIG HOHLWEIN PKZ MENSWEAR POSTERSCOMBINE BEGGARSTAFF & PLAKATSTIL INFLUENCES.
LUDWIG HOHLWEIN RED CROSSFUNDRAISING POSTERS.
MARCELLO DUDOVICH MELE & CO POSTERS ITALY
LUDWIG HOHLWEIN KAFFE HAG POSTER.
LUDWIG HOHLWEIN AUDI & MUNICH ZOO POSTERS.
MUNICH SECESSION FIRST EXHIBITION HELDIN BERLIN AT ULAP.
OTTO ECKMANN’S ECKMANNSCHRIFT IS RELEASED BY THE KLINGSPOR FOUNDRY.
PETER BEHRENS BEGINS HIS WORK AT AEG CREATING THE FIRST CORPORATE IDENTITY.
WILLIAM MORRIS CREATES THE ‘GOLDEN’ TYPEFACEBASED ON NICOLAS JENSEN’S 15TH CENTURY DESIGNS.
AMERICAN TYPE FOUNDERS SOCIETY ESTABLISHED WITH MORRIS BENTON AS HEAD OF R&D
CHRISTOPHER DRESSER CREATES KETTLES & TOAST RACKS INFLUENCED BY JAPANESE DESIGN
J. M. WHISTLER CREATES THE PEACOCK ROOM
AUBREY BEARDSLEY COMMISSIONED TO ILLUSTRATE LE MORTE D'ARTHUR BY THOMAS MALORY & AE THE YELLOW BOOK
CHARLES RENNIE MACKINTOSH & THE GLASGOW SCHOOL EXHIBIT AT THE 8TH VIENNA SECESSION SHOW.
C.R MACKINTOSH COMPLETES WORK ON WILLOW TEA ROOMS GLASGOW.
HENRY VAN DE VELDE ECCE HOMO BY NIETZSCHE
BERTHOLD LÖFFLER KUNSTSCHAU POSTER
THE FOUR ( ALSO KNOWN AS THE GLASGOW OR SPOOK SCHOOL) EXHIBIT AT THE ARTS & CRAFTS EXHIBITION IN LONDON.
EDWARD WILLIAM GODWIN DESIGNS HIS FIRSTANGLO-JAPANESE STYLE SIDEBOARD c.1867-1870
JULES CHÉRET OPENS HIS OWN PRINTING FIRM IN PARIS.LATER A KEY FIGURE IN ART NOUVEAU & POSTER DESIGN.
JULES CHÉRET FATHER OF MODERN MULTI-PANEL POSTERS CREATES NEW STYLE WITH ‘ORPHÉE AUX ENFERS’ POSTER.
EUGÉNE GRASSET COMBINES MEDIEVAL REVIVALWITH JAPANESE WOODBLOCK STYLE
EUGÉNE GRASSET RECEIVES FIRST POSTER COMMISSION
WILL BRADLEY CREATES CHAPBOOK & INLAND PRINTER POSTERS
EUGÉNE GRASSET IS COMMISSIONED TO DESIGN THE COVER OF HARPER’S MAGAZINE. HE DOES THIS AGAIN IN 1891 & 1892.
‘ART FOR ART’S SAKE’ ARTISTS & DESIGNERSMCNEILL WHISTLER, A.BEARDSLEY, C.DRESSER
JAMES TISSOT PAINTS ‘LA JAPONAISE AU BAIN’
JAMES MCNEILL WHISTLER BEGINS PAINTING‘THE PRINCESS FROM THE LAND OF PORCELAIN’
INTERNATIONAL EXHIBITION LONDON KEY MOMENT IN INTRODUCTION OF JAPANESE ART TO WEST
FIRST ACKNOWLEDGED ART NOUVEAU WORKARTHUR MACKMURDO’S WREN’S CITY OF CHURCHES
THE CENTURY GUILD IS FOUNDED BY ARCHITECT A. H. MACKMURDO & OTHERS, COMBINING ARTS & CRAFTS WITH JAPANESE INFLUENCE.
THE CENTURY GUILD IS DISBANDED.
THE CENTURY GUILD HOBBY HORSE CLOSES. KELMSCOTT PRESS THE STORY OF THE GLITTERING PLAIN
THE CENTURY GUILD HOBBY HORSE IS FIRST PUBLISHED. DEDICATED TO REFLECTING THE ARTS & CRAFTS AESTHETIC IN GRAPHIC DESIGN . CREATED BY SELWYN IMAGE & HERBERT HORNE.
until 1943
until 1932EARLYMODERN
DOVES PRESS PUBLISHES ‘DOVES PRESS BIBLE’. INITIAL CAPS DESIGNED BY EDWARD JOHNSON
JAPONISME ARTS & CRAFTS
HOBBY HORSE 1884
ROYCROFTES
PRE
SS 18
95
KELM
SCOT
T PRESS 1894
THE P
EACO
CK ROOM 1876
LE MORT D’ARTUR 1893
GODW
IN S
IDEBOARD 1867
DRESSER TEA POT 1878
AESTHETICISM
ART NOUVEAU
WRE
N’S
CHU
RCHES 1883
GISMONDA 1894
THE FOUR 1896
BEGGARSTAFF
JUGENDSTIL
KASSAMA 1898
CHAP B
OOK
18
95
HARPER’S ADVERT 1895
DON QUI
XOTE
18
95
JUGE
ND
MAG
AZINE 1895
JUNGEND 42 1899
BIL-BOL POSTER 1907
WIENE
R CH
IC 19
06
VIENNA SECESSION
VER S
ACRU
M MAGAZINE 1898
13 TH SECESSION 1902
ROLLER LETT
ERIN
G 19
02
PLAKATSTIL
PRIE
STER
MATCHES 1905
PKZ MENSWEAR 1908
U BOOTE H
ERAU
S 19
15
EARLY MODERN
DE ST
URM
MAGAZINE 1905
BALLET RUSSE 1911
LONDON UNDERGR
OUN
D 19
18
NOTABLE EXAMPLES IN EACH MOVEMENT
ON THE SHOULDERS OF GIANTSFrom the foundations set by these movements came: The Bauhaus & Tschichold’s Die Neue Typographie; El Lissitsky, Laslo Moholy-Nagy & Alexey Brodovitch’s new editorial compositional landscape; the International Typographic style &development of the Grid as a foundation of all graphic design; the rise of corporate identity and the use of visual symbols in branding and advertising.
©Sarah-Jane Leavey 2014 . Sources: Meggs’ History of Graphc design, Meggs, P. & Purvis, A. (4ed.) Wiley & Sons, USA 2006. Graphic design Timeline, Heller, S. & Pettit, E., Allworth Press, USA 2000. http://www.vam.ac.uk/page/a/arts-and-cra�s/, http://en.wikipedia.org/wiki/Arts_and_Cra�s_movement, http://en.wikipedia.org/wiki/Japonism, http://www.vam.ac.uk/content/articles/s/style-guide-influence-of-japan/, http://en.wikipedia.org/wiki/Art_Nouveau, http://en.wikipedia.org/wiki/Wiener_Werkstätte, http://en.wikipedia.org/wiki/Deutscher_Werkbund, http://www.goethe.de/kue/arc/dos/dos/sls/sku/en2356119.htm
THE TRIGGERS BEHIND THE ARTS & CRAFT MOVEMENT
REACTION AGAINSTTHE GREAT EXHIBTIO
N 1851
POOR QU
ALIT
Y MASS PRODUCTION
INDUSTRIAL REVOLUTIONGOTHIC REVIV
ALIS
M
INSPIRATION FROM
PRE-RAPHAELITE BROTHERHOODW
ORKS
OF
WILL
IAM MORRIS
RAISE OF M
ARXIST THINKINGWORKS OF JOHN
RUSK
IN
FROM ARTS & CRAFTS TO EARLY MODERNISM
STYLE GUIDESArts & CraftsArts and Cra�s style developed in the 1860s as a reaction against the growing industrialisation of Victorian Britain. Those involved believed in the equality of all the arts and the importance and pleasure of work. The appearance of the style resulted from the principles involved in the making of the objects. By the end of the century such ideals had a�ected the design and manufacture of all the decorative arts in Britain.
CharacteristicsThe vernacular of British countryside lifeArtisan belief in truth to materials & authentic designSimple forms & natural motifs
JaponismeJaponisme is the French name for the influence of Japanese art, fashion and aethestics on Western culture from the early 1860’s until the turn of the century. Artists and cra�smen began replicating the images, subjects and style of newly imported Japanese Ukiyo-e woodblock prints and household goods and furniture. Noteable artists such as Degas, Manet, Monet, Van Gogh, Toulouse-Lautrec and Whistler were all collectors of Ukiyo-e woodblock prints.
Characteristics Circular designs influenced by Japanese ‘Mon’Geometric forms & asymmetric compositionNatural motifs: ChrysanthemumsBlack keylines & strong flat colour
BeggarstaffJames Pryde and William Nicholson were brothers-in-law, who started the advertising agency ‘J. & W. Beggarsta�’ in 1894. They created only 22 known poster designs and 6 other graphic works. Although intended for publication, many of these designs were never published. The Posters were unique artistically using simple cut-out forms totally unlike Art Nouveau, but they were not a commercial success. However the Beggarsta� designs went on to have a huge influence on later designers in the 1920’s and 1960’s.
CharacteristicsCollage technique & paper-cut letteringStencillingSilhouettesFlat Colour
Art NouveauArt Nouveau was a movement in the visual arts popular from the early 1890s up to the First World War. It was heavily influenced by the Arts & Cra�s movement, however it did not share the utopian socialist politics. It is viewed by some as the first self-conscious attempt to create a modern design lifestyle. Its influence can be found in painting, architecture, sculpture, jewellery, metalwork, glass and ceramics.
CharacteristicsWhiplash curves & asymmetrical compositionThe female form, sexualised contentOrganic motifs: seaweed, grasses, flowers, insects Simplified abstract shapesBlack outlinesHand lettering influenced by organic forms
JugendstilJugendstil is the term used to describe Art Nouveau in Germany, the Netherlands, Nordic countries and the Baltic States. The style was named a�er ‘Die Jugend’ magazine, which was first published in Munich in 1896. Jugendstil started purely in the form of two-dimensional graphic arts, focusing on typography and graphic design. The key publications that championed the style were Die Jugend, Simplicissimus and Pan. Jugendstil is more robust and arguably more graphic in its use of form than Southern European Art Nouveau.
CharacteristicsHard lines & sinuous curvesClassical and romantic motifs The SwanHand drawn typography sympathetic to illustration
The Vienna Secession was founded on 3 April 1897 by artists Gustav Klimt, Koloman Moser, Josef Ho�mann, Joseph Maria Olbrich, Alfred Roller, and others. Unlike related movements, there is not one style that unites the work of all the artists who were part of the group. The Secessionist graphic style was showcased in their magazine Ver Sacrum (Sacred Spring), which featured highly decorative works and proved to be a major influence on the illustration and typography of 1960’s psychedelic graphic art. The Vienna Secession had strong ties with the Glasgow School and Charles Rennie Macintosh.
CharacteristicsAnti-historicism: anti-gothic, anti neo-baroqueSymmetry and repetition Geometric design and floral-inspired decorative motifsSquares, grids and checkerboard patternsAncient classical motifs: Athena and OwlsFlat visual planes, strong colours, and linear outlines.
Wienner werksä�eThe Wiener Werkstätte was founded in 1903 by Koloman Moser and Josef Ho�mann, both of whom had been key members of the Vienna secession. The primary goal of the company was to bring good design and cra� into all areas of life within the fields of ceramics, fashion, silver, furniture, and the graphic arts. Embraced geometric symmetry over surface ornament. Popularised the postcard as a collectable.
CharacteristicsArchitectural principles of designSquares, grids and checkerboard patternsFlat visual planes, strong colours, and linear outlines.Post 1909 style changes:Mycenaen & folk styles, jagged woodcut marks,Byzantine whirls, and fragmented mosaic work.
PlakatstilPlakatstil (Poster Style) is characterised by use of a reductive, flat-color design style developed in Germany circa 1905. The first acknowledged work in this style was created by Lucian Bernhard for a poster design contest sponsored by Priester matches. Bernard’s poster succeeded in moving graphic design further into the use of simplification through reduction, resulting in the modern visual language of shape and sign.
CharacteristicsFlat background colorLarge, simple imageProduct nameUse of modal perception (negative space) in designBlocky heavy or ultra typefaces o�en with keylines
DEUTSCHE WERKBUNDFounded in 1907, the Deutscher Werkbund (German Association of Cra�smen) was an association of 12 artists, architects, designers, and industrialists. The Werkbund was an important influence on the development of modern architecture and industrial design, and particularly in the later creation of the Bauhaus. Founders included architect Joseph Maria Olbrich and Josef Ho�man, both ex-members of the Vienna Secession, Peter Behrens, the designer of the first Corporate Identity for AEG, Finnish architect Eliel Saarinen and Mies Van der Rohe.
CharacteristicsStandardisation of measurement and designCra�smanship in mass productionThe idea of Corporate identity and visual branding.
ĄestheticismAestheticism was an approach to life based on the philosophy of 'art for art's sake'. It emphasised the importance of art above everything else and the pleasure to be found in beautiful things. Aestheticism was a complex mixture of a number of styles. Classical and Japanese art were particular inspirations. It was fashionable from 1870 to 1900.
CharacteristicsPeacock feather & bird motifsSunflowers & Ginkgo leavesBlue and white ceramicsStrong colour and ebonizing (black & gilt)Aesthetic dress – flowing uncorseted gowns
until 1938
1860
1861
1862
1863
1864
1865
1866
1867
1868
1869
1870
1871
1872
1873
1874
1875
1876
1877
1878
1879
1880
1881
1882
1883
1884
1885
1886
1887
1888
1889
1890
1891
1892
1893
1894
1895
1896
1897
1898
1899
1900
1901
1902
1903
1904
1905
1906
1907
1908
1909
1910
1911
1912
1913
1914
1915
1916
1917
1918
Arts & Cra�s
Aestheticism
Art Nouveau
Beggarsta�
Vienna Secession
Deutsche Werkbund
Wiener Werkstätte
Jugendstil
Plakatstil
Japonisme
ARTHUR L. LIBERTY OPENS STORE SELLING GOODS IMPORTED FROM THE EAST. COMMISSIONS DESIGNS FROM MORRIS, DRESSER & GODWIN.
WILLIAM MORRIS FOUNDS MORRIS, MARSHALL, FAULKENER & Co.
WILLIAM MORRIS MAKES HIS FIRST PUBLICLECTURES ON DESIGN
WILLIAM MORRIS CREATES THE ‘SNAKESHEAD’ PRINTED TEXTILE.
WILLIAM MORRIS ESTABLISHESTHE KELMSCOTT PRESS.
SIEGFRIED BING ESTABLISHESMAISON DE L'ART NOUVEAU IN PARIS
ADOLFO HOHENSTEIN FATHER OF ITALIAN POSTER DESIGNBECOMES DIRECTOR OF GUILIO RICORDI PUBLISHERS
ADOLFO HOHENSTEIN TOSCA POSTER
BEGGARSTAFFDON QUIXOTE POSTER
HENRI DE TOULOUSE-LAUTREC CREATES THE MOULIN ROUGE POSTER FEATURING LA GOULUE
MUCHA GISMONDA POSTERTOORPP DELFT SALAD OIL POSTER
EMMANUEL ORAZI LA MAISON MODERNE POSTERMASSIAS GLADIATOR CYCLES POSTER
LEOPOLDO METLICOVITZ ITALIANCALZATURIFICIO DI VARESE POSTER
FRANZ GRIESSLER AUSTRIACOTTAGE BAR POSTER
ALPONSE MUCHA JOB CIGARETTE PAPERS POSTER
ALPHONSE MUCHA CREATED 138 ILLUSTRATIONS FOR THE BOOK ‘L'ILSÉE, PRINCESSE DE TRIPOLI’ IN ONLY 3 MONTHS
HENRI VAN DE VELDE TROPON FOOD CONCENTRATE POSTER PRIVAT LIVEMONT RAJAH COFFEE POSTER
ELBERT HUBBARD ESTABLISHESROYCROFTERS MOVEMENT IN USA.
ELBERT HUBBARD PUBLISHES ‘LITTLE JOURNEYS TO THE HOMES OF ENGLISH AUTHORS’.
PETER BEHRENS COLLABORATES ON DESIGNING ‘PAN’ MAGAZINE.
VERS SACRUM THE VIENNA SECESSION MAGAZINE IS FIRST PUBLISHED.
ALFRED ROLLER CREATES HAND DRAWN RECTANGULAR LETTERING POPULAR WITH 60’s PSYCHADELIC DESIGNERS.
KOLOMON MOSER CREATES 13TH VIENNA SECESSION POSTER EXHIBITING CLEAR INFLUENCE OF C.R. MACKINTOSH.
THE VIENNA SECESSION WAS A COUNTER MOVEMENT TO FLORAL ART NOUVEAU & GREATLY INFLUENCED BY THE GLASGOW FOUR.
JUGEND (MUNICH) & PAN (BERLIN) MAGAZINES ARE FIRST PUBLISHED.
HENRY VAN DE VELDE BELGIAN ARCHITECT SETS UP THE SCHOOL OF ARTS & CRAFTS IN WEIMAR, PREDECESSOR TO THE STAATLICHE BAUHAUS.
SIMPLICISSIMUS MAGAZINEIS FIRST PUBLISHED.
MUNICH SECESSION ESTABLISHES GERMAN ART NOUVEAU MOVEMENT.
HANS CHRISTIANSEN JUGEND MAGAZINE ISSUE 42: SWANS.
AKSELI GALLEN-KALLELA BIL-BOL POSTER
ALPONSE MUCHA WIENER CHIC COVER
LUCIEN BERNHARD WINS THE PRIESTER MATCHES POSTER COMPETITION.
LUCIEN BERNARD STILLER SHOES POSTER.
LUCIEN BERNARD BOSCH SPARK PLUG POSTER.
LUCIEN BERNARD ADLER TYPEWRITER POSTERS.
HANS RUDI ERDT DESIGNS THE OPEL AUTOMOBILES POSTER.
HANS RUDI ERDT DESIGNS THE PROBLEM CIGARETTES POSTER.
LUDWIG HOHLWEIN DESIGNS HERMAN SCHERRER TAILORING POSTER
HANS RUDI ERDT DESIGNS THE ‘U BOOTE HERAUS!’ POSTER.
LUDWIG HOHLWEIN COMMISSIONED BY JUGEND MAGAZINE FOR ILLUSTRATIONS.
LUCIEN BERNHARD DESIGNS THE MANOLI CIGARETTES LOGO.
F.T. MARINETTI PUBLISHES HIS‘MANIFESTO OF FUTURISM’
DER STURM - THE STORM EXPRESSIONIST ART JOURNAL FOUNDED
ALFRED LEETE DESIGNS LORD KITCHNER ‘YOUR COUNTRY NEEDS YOU’ POSTER
JAMES MONTGOMERY FLAG CREATES THE UNCLE SAM ‘ I WANT YOU’ POSTER BASED ON LEETE’S ‘YOUR COUNTRY NEEDS YOU’.
EDWARD JOHNSTON DESIGNS RAILWAY TYPE FOR THE LONDON UNDERGROUND.
EDWARD JOHNSTON REDESIGNS THE LONDON UNDERGROUND SYMBOL.
DE STIJL MOVEMENT AND JOURNAL BEGIN IN THE NETHERLANDS.
WENDINGEN MAGAZINE IS FOUNDED IN AMSTERDAM.E. MCKNIGHT KAUFFER DAILY HERALD POSTER
BART VAN DE LECK BATAVIER LINE POSTER
JEAN COCTEAU DESIGNS POSTERS FOR DIAGHILEV’S BALLET RUSSE
LÉON BAKST & VALENTINE GROSSSCHEHERAZADE PROGRAM BALLET RUSSE
DAS PLAKAT JOURNAL FOUNDED IN BERLIN
BERTHOLD TYPE FOUNDRY LAUNCH BLOCK TYPE,BASED ON BERNHARD’S POSTER LETTERING.
LUDWIG HOHLWEIN PKZ MENSWEAR POSTERSCOMBINE BEGGARSTAFF & PLAKATSTIL INFLUENCES.
LUDWIG HOHLWEIN RED CROSSFUNDRAISING POSTERS.
MARCELLO DUDOVICH MELE & CO POSTERS ITALY
LUDWIG HOHLWEIN KAFFE HAG POSTER.
LUDWIG HOHLWEIN AUDI & MUNICH ZOO POSTERS.
MUNICH SECESSION FIRST EXHIBITION HELDIN BERLIN AT ULAP.
OTTO ECKMANN’S ECKMANNSCHRIFT IS RELEASED BY THE KLINGSPOR FOUNDRY.
PETER BEHRENS BEGINS HIS WORK AT AEG CREATING THE FIRST CORPORATE IDENTITY.
WILLIAM MORRIS CREATES THE ‘GOLDEN’ TYPEFACEBASED ON NICOLAS JENSEN’S 15TH CENTURY DESIGNS.
AMERICAN TYPE FOUNDERS SOCIETY ESTABLISHED WITH MORRIS BENTON AS HEAD OF R&D
CHRISTOPHER DRESSER CREATES KETTLES & TOAST RACKS INFLUENCED BY JAPANESE DESIGN
J. M. WHISTLER CREATES THE PEACOCK ROOM
AUBREY BEARDSLEY COMMISSIONED TO ILLUSTRATE LE MORTE D'ARTHUR BY THOMAS MALORY & AE THE YELLOW BOOK
CHARLES RENNIE MACKINTOSH & THE GLASGOW SCHOOL EXHIBIT AT THE 8TH VIENNA SECESSION SHOW.
C.R MACKINTOSH COMPLETES WORK ON WILLOW TEA ROOMS GLASGOW.
HENRY VAN DE VELDE ECCE HOMO BY NIETZSCHE
BERTHOLD LÖFFLER KUNSTSCHAU POSTER
THE FOUR ( ALSO KNOWN AS THE GLASGOW OR SPOOK SCHOOL) EXHIBIT AT THE ARTS & CRAFTS EXHIBITION IN LONDON.
EDWARD WILLIAM GODWIN DESIGNS HIS FIRSTANGLO-JAPANESE STYLE SIDEBOARD c.1867-1870
JULES CHÉRET OPENS HIS OWN PRINTING FIRM IN PARIS.LATER A KEY FIGURE IN ART NOUVEAU & POSTER DESIGN.
JULES CHÉRET FATHER OF MODERN MULTI-PANEL POSTERS CREATES NEW STYLE WITH ‘ORPHÉE AUX ENFERS’ POSTER.
EUGÉNE GRASSET COMBINES MEDIEVAL REVIVALWITH JAPANESE WOODBLOCK STYLE
EUGÉNE GRASSET RECEIVES FIRST POSTER COMMISSION
WILL BRADLEY CREATES CHAPBOOK & INLAND PRINTER POSTERS
EUGÉNE GRASSET IS COMMISSIONED TO DESIGN THE COVER OF HARPER’S MAGAZINE. HE DOES THIS AGAIN IN 1891 & 1892.
‘ART FOR ART’S SAKE’ ARTISTS & DESIGNERSMCNEILL WHISTLER, A.BEARDSLEY, C.DRESSER
JAMES TISSOT PAINTS ‘LA JAPONAISE AU BAIN’
JAMES MCNEILL WHISTLER BEGINS PAINTING‘THE PRINCESS FROM THE LAND OF PORCELAIN’
INTERNATIONAL EXHIBITION LONDON KEY MOMENT IN INTRODUCTION OF JAPANESE ART TO WEST
FIRST ACKNOWLEDGED ART NOUVEAU WORKARTHUR MACKMURDO’S WREN’S CITY OF CHURCHES
THE CENTURY GUILD IS FOUNDED BY ARCHITECT A. H. MACKMURDO & OTHERS, COMBINING ARTS & CRAFTS WITH JAPANESE INFLUENCE.
THE CENTURY GUILD IS DISBANDED.
THE CENTURY GUILD HOBBY HORSE CLOSES. KELMSCOTT PRESS THE STORY OF THE GLITTERING PLAIN
THE CENTURY GUILD HOBBY HORSE IS FIRST PUBLISHED. DEDICATED TO REFLECTING THE ARTS & CRAFTS AESTHETIC IN GRAPHIC DESIGN . CREATED BY SELWYN IMAGE & HERBERT HORNE.
until 1943
until 1932EARLYMODERN
DOVES PRESS PUBLISHES ‘DOVES PRESS BIBLE’. INITIAL CAPS DESIGNED BY EDWARD JOHNSON
JAPONISME ARTS & CRAFTS
HOBBY HORSE 1884
ROYCROFTES
PRE
SS 18
95
KELM
SCOT
T PRESS 1894
THE P
EACO
CK ROOM 1876
LE MORT D’ARTUR 1893
GODW
IN S
IDEBOARD 1867
DRESSER TEA POT 1878
AESTHETICISM
ART NOUVEAU
WRE
N’S
CHU
RCHES 1883
GISMONDA 1894
THE FOUR 1896
BEGGARSTAFF
JUGENDSTIL
KASSAMA 1898
CHAP B
OOK
18
95
HARPER’S ADVERT 1895
DON QUI
XOTE
18
95
JUGE
ND
MAG
AZINE 1895
JUNGEND 42 1899
BIL-BOL POSTER 1907
WIENE
R CH
IC 19
06
VIENNA SECESSION
VER S
ACRU
M MAGAZINE 1898
13 TH SECESSION 1902
ROLLER LETT
ERIN
G 19
02
PLAKATSTIL
PRIE
STER
MATCHES 1905
PKZ MENSWEAR 1908
U BOOTE H
ERAU
S 19
15
EARLY MODERN
DE ST
URM
MAGAZINE 1905
BALLET RUSSE 1911
LONDON UNDERGR
OUN
D 19
18
NOTABLE EXAMPLES IN EACH MOVEMENT
ON THE SHOULDERS OF GIANTSFrom the foundations set by these movements came: The Bauhaus & Tschichold’s Die Neue Typographie; El Lissitsky, Laslo Moholy-Nagy & Alexey Brodovitch’s new editorial compositional landscape; the International Typographic style &development of the Grid as a foundation of all graphic design; the rise of corporate identity and the use of visual symbols in branding and advertising.
PORTFOLIO 9
The twig brand was developed by myself and Vas Zayarskiy, a student on the Inter-national Degree in Design at KYAMK in 2011.
Post the brand identity being approved, I was responsible for implementing all the required print collateral; posters, signage, packaging solutions & advertising, while Vas dealt with the company’s digital pres-ence, building the twig website.
Post launch in 2012 twig continues to be the dominant brand in its local market and has garnered favourable responses from trade press and other design agencies.
http://twigflowers.co.uk
twig, Michael Pooley FlowersART DIRECTOR, GRAPHIC DESIGNER
®
Sarah-Jane LeaveyHakuntie 10-12 A 33, 45610 Koria, Finland.
T. +358 400 801 965Skype. Sarah-Jane.LeaveyE. sarahjane.leavey@gmail.comW. http://sarah-janeleavey.com
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