history of graphic design

Graphic Design is creative and strategic problem-

solving for defined communication needs, delivered

through visual media.

THE INDUSTRIAL REVOLUTION

James Watt's

improvements to the

steam engine, and

its subsequent

application to

manufacturing in the

late 18th and early

19th century,

resulted in a major

societal shift.


The End of Punchcutting 1884

Benton Pantograph

Steam powered presses increased the

quantity of impressions by 500%. In 1814

The London Times, the first to use the new

press, decimated its printing staff by

replacing them with the new press capable

of printing 1,100 sheets per hour.

The most important technical development in

typography since Gutenberg


The most important technical development in

typography since Gutenberg

Linn Boyd Benton invented a

pantographic engraving machine for

type design, which was capable not

only of scaling a single font design

pattern to a variety of sizes, but could

also condense, extend, and slant the

design (mathematically, these are

cases of affine transformation, which

is the fundamental geometric

operation of most systems of digital

typography today, including

PostScript)

Benton Pantograph

Designers React Against the Industrial Age

Great Exhibition of the Works

of Industry of All Nations, 1851

Showcase for modern

industrial technology and

design displayed their

achievements in four

categories: Raw Materials,

Machinery, Manufacturers and

Fine Arts.

Critics found the work created

by industrialized methods to

be sloppy and poorly

designed, full of unnecessary

ornaments that did not

enhance the product.

The Grammar of Ornament, 1856

Owen Jones, 1809 – 1874

was an architect who became

passionate about the superiority

of non-European ornament

after touring Turkey, Egypt,

Sicily and Spain in 1831.

The book includes 20 sections of

illustrated motifs and Jones's 37

Propositions on what makes

good design. “Modern, scientific

and devoid of deliberate

historicism, operating by

principles to create an ornament

for every kind of decoration.”

Greek ornament style



Assyrian and Persian ornament

style

Arabian ornament style

Chinese ornament style

The Arts and Crafts Movement

1. The movement influenced British decorative arts, architecture, cabinet making and crafts. 2. Its best-known practitioners were: William Morris, Charles Robert Ashbee, T. J. Cobden Sanderson, Walter Crane, Phoebe Anna Traquair, Charles Rennie Mackintosh, Christopher Dresser, Edwin Lutyens 3. The Arts and Crafts movement was part of the major English aesthetic movement of the last years of the 19th century. 4. The Arts and Crafts Movement… a search for authentic and meaningful styles… and reaction to "soulless" machine-made production aided by the Industrial Revolution.


The Arts and Crafts Movement was an international design

movement that reacted against mass production, both the low

quality of design and the demeaning conditions under which

products were produced. The movement began in England in the

late 1800s, and spread to the United States in the early decades

of the 20th century.

The Arts and Crafts Movement idealistically tried to rejoin art

and industry together but the economies of scale worked

against their goal of bringing good design to the masses. In

the graphic arts field small private presses, forming under a

model created by William Morris, reawakened fine printing

and revivals of classic typefaces.

John Ruskin (1819–1900)

an author, poet and art critic

Ruskin’s theorized that the Industrial

Revolution's division of labor induced

monotony and was the main cause of

the unhappiness of the poor. He

looked backward to an idealized

medieval period as a paradigm of the

union of art and labor in service to society.



Kelmscott Press - The Nature of

Gothic by John Ruskin (first page)


William Morris (1834–1896)

Morris and his Pre-Raphaelite associates deeply believed that beautiful objects

would improve individual lives adversely affected by the harsh industrial world.

Morris is widely credited as the founder of

the Arts and Crafts Movement.

Morris originally trained for the clergy but

his admiration for Ruskin and the Pre-

Raphaelites led him to pursue a career as

an artist and craftsman.

A true Renaissance man, Morris was an

author, artist, poet, publisher, socialist and

public speaker.

William Morris - Pimpernel, 1876

wallpaper sample-block print on

paper.



Morris, Peacock and Dragon Fabric 1878

Charles Rennie Mackintosh

(1869-1928)



Frank Lloyd Wright, American

architect, 1867-1959

Side Chair About 1903, Oak and

Leather

The Beginning of the Private Press


Morris and Company, 1875

He gathered his imagery from nature and used natural and

traditional methods, for example using natural vegetable dye for

printing on material and printing wallpaper and textiles with wood

blocks.

The Kelmscott Press, 1891

During the final phase of his life Morris combined his love for

medieval literature with his craftsman workshop ethic into the

Kelmscott press, the first and most famous of the private press

movement. In seven years hand-operated press published 53 books

in 18,000 copies.

Kelmscott books re-awakened the lost ideals of book design

and inspired higher standards of production at a time when the

printed page was at its poorest.



The Vale Press, 1900

Doves Press, 1900

Golden Cockerel Press, 1920 (including Eric Gill)

Nonesuch Press, 1922

The Cranach Press, 1913

The Village Press, 1903–1939 - Frederic Goudy

Morris inspired numerous fine presses in England starting with

Charles Ricketts' Vale Press, followed by Essex House Press, the

Doves Press, Lucien and Esther Pissarro's Eragny Press. The

movement spread internationally through Europe and the United

States.



Doves Press

Gill quote

Frederic Goudy caricature by Cyril Lowe

POSTERS


Broadsides

Broadsides were meant to be read from a

distance and therefore required large type

Broadsides are used to issue public decrees,

governmental notifications and a host of

commercial and private announcements.

POSTERS


Wooden Type Lithographic Posters

Alphonse Mucha

Jugendstil in Germany

Modern (Модерн) in Russia

Secession in Austria

Stile Liberty in Italy

Modernism in Spain

Alphonse Mucha

Aubrey Beardsley His life was a brief one. Born in 1872, he achieved fame early, but was dead by age twenty five. His drawings were not mere illustrations, but formed an integral part of the English Aesthetic Movement and are best understood in this context.

Sagrada Familia nave roof detail

Antoni Gaudi 1852 - 1926

Born in Reus (Baix Camp, Catalonia) on June 25, 1852 Gaudí was the greatest

figure of the Art Nouveau movement in Catalonia known as "Modernism". His

works are famous all over the world.

Almost his entire professional activity took place in Barcelona, where the greater

part of his work is found.

Influenced by Violet-Le-Duc and Ruskin, he was one of the main architects of

Art Nouveau, where he is normally classified. However, as other big genius, it is

very difficult to classify him, and some opinions classify Gaudí into other artistic

tendencies.

Casa Batllo

Casa Batllo by Antoni Gaudi

Casa Batllo roof top detail

POSTERS

POSTERS

Francis Edgar

POSTERS

Italian Futurism

1909–1944

Shortly before WWI, Filippo Tommaso

Marinetti, the originator and chief

proponent for Futurism, wrote the first

Futurist Manifesto declaring the end of

art of the past and the beginning of the

art of the future (le Futurisme). He

exported his new aesthetic that

endorsed speed, violence,

industrialization, and dynamism from

Italy to the rest of Europe through

lectures and publication of his Futurist

Manifesto.

MANIFESTO OF FUTURISM

1.We want to sing the love of danger, the habit of energy and rashness.

2.The essential elements of our poetry will be courage, audacity and revolt.

3.Literature has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt

movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the

blow with the fist.

4.We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A

racing automobile with its bonnet adorned with great tubes like serpents with explosive breath ... a roaring

motor car which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace.

5.We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its

orbit.

6.The poet must spend himself with warmth, glamour and prodigality to increase the enthusiastic fervor of

the primordial elements.

7.Beauty exists only in struggle. There is no masterpiece that has not an aggressive character. Poetry

must be a violent assault on the forces of the unknown, to force them to bow before man.

8.We are on the extreme promontory of the centuries! What is the use of looking behind at the moment

when we must open the mysterious shutters of the impossible? Time and Space died yesterday. We are

already living in the absolute, since we have already created eternal, omnipresent speed.

9.We want to glorify war — the only cure for the world — militarism, patriotism, the destructive gesture of

the anarchists, the beautiful ideas which kill, and contempt for woman.

10.We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian

cowardice.

11.We will sing of the great crowds agitated by work, pleasure and revolt; the multi-colored and polyphonic

surf of revolutions in modern capitals: the nocturnal vibration of the arsenals and the workshops beneath

their violent electric moons: the gluttonous railway stations devouring smoking serpents; factories

suspended from the clouds by the thread of their smoke; bridges with the leap of gymnasts flung across

the diabolic cutlery of sunny rivers: adventurous steamers sniffing the horizon; great-breasted locomotives,

puffing on the rails like enormous steel horses with long tubes for bridle, and the gliding flight of

aeroplanes whose propeller sounds like the flapping of a flag and the applause of enthusiastic crowds.

Umberto Boccioni, 'Elasticity

Futurists love speed, youth,

technology, power,

violence… They hate anything

about past and traditions of all

kinds.

Carra: “Free-Word” Painting (Patriotic

Celebration) 1914

Futurism influenced many other

twentieth century art movements,

including Art Deco,

Constructivism, Surrealism and

Dada.

Severini: The Boulevard 1910

Boccioni: Unique Forms of Continuity in

Space 1913

MoMA book from 1961

Filippo Marinetti - A Tumultuous Assembly, 1919

Futurist typography…

Fortunato Depero

Fortunato Depero (1892 - 1960)

was an Italian futurist painter,

writer, sculptor and graphic

designer.

Fo

rtu

nato

Dep

ero

, D

inam

o f

utu

rista

,

1933

Fortunato Depero

Men with Moustaches

1917

Fortunato Depero

Constructivism was an artistic and architectural movement that

originated in Russia from 1919 onward which rejected the idea of "art for

art's sake" in favour of art as a practice directed towards social purposes.

Constructivism as an active force lasted until around 1934, having a great

deal of effect on developments in the art of the Weimar Republic and

elsewhere, before being replaced by Socialist Realism. Its motifs have

sporadically reappeared in other art movements since.

Names to remember:

Alexander Rodchenko (1891-1956)

El Lissitzky (1890-1941)

Kazimir Malevich (1879 – 1935)

Wassily Wassilyevich Kandinsky (1866 -1944)

Rodchenko-plane red

Rodchenko & Mayakovsky –Nipple

An advertising construction

In 1921, Soviet Union reintroduced a limited

state capitalism into the Soviet economy. The

poet-artist Vladimir Mayakovsky and

Rodchenko worked together and called

themselves "advertising constructors".

Together they designed eye-catching images

featuring bright colours, geometric shapes, and

bold lettering. The lettering of most of these

designs was intended to create a reaction, and

function on emotional and substantive levels –

most were designed for the state-run

department store Mosselprom in Moscow, for

pacifiers, cooking oil, beer and other quotidian

products, with Mayakovsky claiming that his

'nowhere else but Mosselprom' verse was one

of the best he ever wrote.

Kazimir Malevich

(1879 -1935) was a Russian painter

and art theoretician, born in Ukraine of

ethnic Polish parents. He was a

pioneer of geometric abstract art and

the originator of the Avant-garde

Suprematist movement.

Most of his paintings are limited to

geometric shapes and a narrow

range of colors, but the pinnacle

of his Suprematism was his White

on White series. He claimed to

have reached the summit of

abstract art by denying objective

representation.

Black Square, 1913)

What he wanted was a non-objective

representation, ``the supremacy of pure

feeling.''

Kazimir Malevich

.

El Lissitzky - An Example of Russian

Futurism/Constructivism

Philip Morris Wants you to SMOKE! By Joel Nilsen

Philip Morris Wants you to SMOKE!

By Joel Nilsen

De Stijl - ("The Style“), also known as

neoplasticism, was a Dutch artistic

movement founded in 1917. In a narrower

sense, the term De Stijl is used to refer to

a body of work from 1917 to 1931 founded

in the Netherlands. De Stijl is also the

name of a journal that was published by

the Dutch painter, designer, writer, and

critic Theo van Doesburg (1883–1931),

propagating the group's theories.

Geometric art and design

Mondrian's aesthetic

theory of Neo-Plasticism

was aimed at scaling

down the formal

components of art - only

primary colors and

straight lines.

Piet Mondrian

– composition, 1921

Founder members of the

group were eager to develop a

new aesthetic consciousness

and an objective art based on

clear principles. Their work

and research extended to the

fine arts, city and town

planning, the applied arts and

philosophy.

Gerrit Thomas Rietveld

- chair

"The pure plastic vision

should build a new society,

in the same way that in art

it has built a new

plasticism."

"The new plastic art...can

only be based on the

abstraction of all form and

color, i.e. the straight line

and the clearly defined

primary color".

Piet Mondrian in

‘De Stijl Magazine’

Inspired by the geometric art and typography of the Dutch De Stijl Movement, 1917-1931.

typeface P22 De Stijl Designers: Theo Van Doesburg and Richard Kegler

This is a page from De Stijl magazine

The front cover of the first issue of de

Stijl magazine

Piet Mondrian

abstract evolution

of an apple tree

Colin Mahoney -work inspired

by De Stijl

Work inspired by De Stijl

Counter-Composition V, 1924

by Theo van Doesburg

De Stijl Vector

One of the best-known progressive institutions

for the teaching of art and design in the twentieth

century. The school operated between World War

I and World War II.

Founded in 1919 in the city of Weimar by

architect Walter Gropius. The school moved two

times, first to Dessau in 1925, and then to Berlin

in 1932. There the National Socialist party, led by

Adolf Hitler, closed it definitively in 1933.

The Bauhaus was the first model of the

modern art school.

The Bauhaus curriculum combined

theoretic education and practical training

in the educational workshops. It drew

inspiration from the ideals of the

revolutionary art movements and design

experiments of the early 20th century.

A woodcut (shown right) depicted the

idealized vision of Walter Gropius, a

"cathedral" of design.

"Students at the Bauhaus took a

six-month preliminary course that

involved painting and elementary

experiments with form, before

graduating to three years of

workshop training by two masters:

one artist, one craftsman. They

studied architecture in theory and

in practice, working on the actual

construction of buildings. The

creative scope of the curriculum

attracted an extraordinary galaxy

of teaching staff. Among the stars

were Paul Klee, Wassily

Kandinsky, Oskar Schlemmer,

the painter and mystic Johannes

Itten, László Moholy-Nagy,

Josef Albers and Marcel Breuer.

Bauhaus students were in day-to-

day contact with some of the most

important practicing artists and

designers of the time.

From the left: Josef Albers, Hinnerk Scheper, Georg Muche, László Moholy-Nagy,

Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Vassily Kandinsky,

Paul Klee, Lyonel Feininger, Gunta Stölzl and Oskar Schlemmer.

Over seventy years after its foundation in

Weimar, the Bauhaus has become a

concept all over the world. The respect

which it commands is associated above all

with the design it pioneered, one which we

now describe as “Bauhaus style”.

The teaching strategies developed were

adopted internationally into the

curriculum of art and design institutes.

…Walter Gropius, saw the

necessity to develop new

teaching methods and was

convinced that the base for any

art was to be found in

handcraft: "the school will

gradually turn into a workshop".

Indeed, artists and craftsmen

directed classes and

production together at the

Bauhaus in Weimar. This was

intended to remove any

distinction between fine arts

and applied arts.

Bauhaus catalog cover designed by

Herbert Bayer.

Many of the women who came to the Bauhaus chose the weaving section purposefully for a later profession. In addition, the council of masters preferred sending women to the weaving workshop in order to "avoid unnecessary experiments" and be able to reserve the few other workshop places allegedly more suited to men.

For Johannes Itten and

Lothar Schreyer, calligraphy

was essentially an artistic

means of expression.

Typography at the Bauhaus

was closely connected to

corporate identity and to the

development of an

unmistakable image for the

school.

Joost Schmidt -poster, 1923

“why have 2 alphabets when one will do? why write capitals if

we cannot speak capitals?”

Bauhaus Weimar

1919-1923

László Moholy-

Nagy, title page for

exhibition catalog

“Staatliches

Bauhaus Weimar

1919-1923”

Joost Schmidt, advertising for Bauhaus produced chessboard, 1923

Kandinsky Post Card C1923

in Bauhaus

Bauhaus Stamp 3

German stamp commemorating Bauhaus

teacher and artist Moholy-Nagy.

Herbert Bayer

Bayer was appointed by Gropius to

direct the new "Druck und

Reklame" (printing & advertising)

workshop to open in the new

Dessau location.

In 1925, Gropius commissioned

Bayer to design a typeface for all

Bauhaus communiqués. He took

advantage of his views of modern

typography to create an "idealist

typeface." The result was

"universal" - a simple geometric

sans-serif font.

In Bayer's philosophy for type design, not only were serifs unnecessary, he

felt there was no need for an upper and lower case for each letter. Part of his

rationale for promoting this concept was to simplify typesetting and typewriter

keyboard layout.The Bauhaus set forth elementary principles of typographic

communication, which were the beginnings of a style termed "The New

Typography."

1. Typography is shaped by functional requirements.

2. The aim of typographic layout is communication (for which it is the graphic

medium). Communication must appear in the shortest, simplest, most

penetrating form.

3. For typography to serve social ends, its ingredients need internal

organization - (ordered content) as well as external organization (the

typographic material properly related)

Johannes Itten

Itten was a master color theorist whose

teachings and books on color and design

are still used today.

"Johannes Itten was one of the first people

to define and identify strategies for

successful color combinations. Through his

research he devised seven methodologies

for coordinating colors utilizing the hue's

contrasting properties. These contrasts

add other variations with respect to the

intensity of the respective hues; i.e.

contrasts may be obtained due to light,

moderate, or dark value."

The contrast of saturation

The contrast is formed by the juxtaposition of light and dark

values and their relative saturation.

The contrast of light and dark

The contrast is formed by the juxtaposition of light and

dark values. This could be a monochromatic composition.

The contrast of extension

Also known as the Contrast of Proportion. The contrast is formed

by assigning proportional field sizes in relation to the visual

weight of a color.

The contrast is formed by the juxtaposition of hues

considered 'warm' or 'cool.'

The contrast of warm and cool

The contrast is formed by the juxtaposition of color

wheel or perceptual opposites.

The contrast of complements

The contrast is formed when the boundaries between colors

perceptually vibrate. Some interesting illusions are

accomplished with this contrast.

Simultaneous contrast

The contrast is formed by the juxtaposition of

different hues. The greater the distance

between hues on a color wheel, the greater

the contrast.

The contrast of hue

Vassily Kandinsky

Bauhaus Inspired

Dada - Collage

Johannes Baader, collage

Theo van Doesburg and Kurt Schwitters, "Kleine Dada Soirée“ (Small Dada Evening), 1922

Dad

a -

Even

ing

of

the b

eard

ed

heart

Ilya Z

danevic

h, “S

oirée d

u C

oeur

à B

arb

e”,

1923

ADVERTASING

The Home of Advertising

In 1729 Benjamin Franklin published

the Pennsylvania Gazette in

Philadelphia with pages of "new

advertisements." By 1784 The

Pennsylvania Packet & Daily

Advertiser, America's first successful

daily newspaper, starts in

Philadelphia.

Many publications banned advertising

while others limited the space to one

column width. However by 1870

there were over 5,000 newspapers

in circulation which carried advertising

and the demand for advertising

services was rapidly growing.

ADVERTASING

Newspaper Advertising Agents

Early advertising agents were essentially

resellers of newspaper space.

The strategy of early advertising was to

convince the buyer of the quality of the

product. A flattering illustration of the

product, numerous descriptions praising its

virtues or testimonials from prominent

citizens were commonly used. Later

product claims gave way to elaborate

stories of purchases that rewarded the

buyer with success, popularity or romance.

ADVERTASING

Early Philadelphia Agencies

Volney Palmer opened the first

advertising agency in Philadelphia

in 1841 and is possibly the first

person to use the term "advertising

agency.“

In 1869, 21 year old Francis

Wayland Ayer opens a firm

named after his father, N. W. Ayer.

By 1877 it acquired the remains of

the original Volney Palmer agency

and therefore laid claim to the

"oldest advertising firm in the US.“

N.W. Ayer & Son introduced the

open contract, a practice which

would alter the history of

advertising forever.

ADVERTASING

Earnest Elmo Calkins's Business Triangle

from The Art of Modern Advertising, 1905.

Calkins made the link between advertising

and the consumer, retailer and

manufacturer."The mediums have been

analyzed and classified; the goods

manufactured, wrapped and named with a

better idea of the purchaser's habits and

needs, the consumers located and studied;

their purchasing power tabulated; their

shopping habits determined."

ADVERTASING

"Come to the point, and don't draw

attention to the advertisement instead

of to the goods." — Earnest Elmo

Calkins

These two pieces of advice might surprise

some, given that Calkins was one of the

first advertisers to increase the quality of

the art department at his agency. However,

Calkins knew what many communicators

have been forgetting in the last few

decades.

ADVERTASING

American Graphic Design

was born out of two new factors. As the twentieth

century got underway, an explosion of new

reproductive technologies stimulated

specialization, separating conception and form-

giving from the technical production activities of

typesetting and printing.

Simultaneously the United States received its first

European modernist emigrés, the migration

reached it height in the 1930's. These men

understood design as a balanced process

involving the powerful multiple modes of seeing

and reading, and sends the possibility of theory

and methods as guiding the creative

process—the first rudimentarily seeds of

professionalism. These designers, including

Bayer, Sutnar, Burtin, Maholy-Nagy and

Matter.

The American Art Director Comes from Europe

ADVERTASING

Dr. Mehemed Fehmy Agha

American Vogue

Born to Turkish parents in the Ukraine in

1896, Agha left behind the Russian

revolution to find work as a designer in

Europe. He came to the US in 1929 after

being recruited from German Vogue in

Berlin by Condé Nast. Nast made Agha the

art director for Condé Nast Publications.

ADVERTASING

Agha introduced the use of double

page spreads ("rather than a

sequence of single pages"),

Constructivist compositions,

bleeds, and the use of famous

illustrators and photographers in

advertising.

ADVERTASING

Cipe Pineles

(American)

As a young woman she worked under Dr.

Agha at Vogue but later became "The first

autonomous woman art director of a mass-

market American publication (Seventeen.)"

Alexey Brodovitch

Philadelphia + Bazaar Magazine

Philadelphia gave birth to the first of

Brodovitch's revolutionary design

laboratories, whose flame of inspiration

was carried to other cities and was to

illuminate new pathways of personal vision

in the decades to come.

ADVERTASING

Portfolio (1950 -1951)

Portfolio was a general arts and culture

magazine published in Cincinnati by Zebra

Press. Co-edited by Alexey Brodovitch and

Frank Zachary and under the art direction

of Brodovitch, Portfolio is often called the

quintessential arts magazine as well as

Brodovitch's best work. Portfolio contained

the work of pioneering photographers,

many of whom were students of Brodovitch

and features many articles on influential

artists and designers.

http://design.rit.edu/periodicals/portfolio.html

ADVERTASING

Herbert Bayer

Bringing the Bauhaus Ideals to the US*

Paul Rand

Born Peretz Rosenbaum in Brooklyn, New

York in 1914, Paul Rand is considered one

of the most influential designers in

American History.

ADVERTASING

Lester Beall

A self-taught designer, Beall was one of the

first American's whose work was shown in

the influential German magazine,

Gebrauchsgraphik.

Bradbury Thompson

Bradbury Thompson's mark is impeccable

taste applied with great elegance—an

elegance of simplicity, wit, and vast

learning—and an intimate knowledge of

the process of printing, always with style,

with informed taste.

ADVERTASING

Louis Danziger

His design exemplifies the diversity of

Modernism and his teaching promotes the

diversity of design. He has significantly

affected many design genres—advertising,

corporate work, books and catalog design,

and exhibitions—and influenced the

hundreds of students who attended his

classes.

Leo Burnett

Chicago

Leo Burnett could certainly be considered

a master of symbols, his Marlboro Man,

Pillsbury Doughboy and the Jolly Green

Giant are all iconic symbols from his career

that started in 1935.

ADVERTASING

William Bernbach

New York

At the start of his career in the late 1930's

Bill Bernbach partnered with modernist art

director Paul Rand who greatly influenced

Bernbach's ideas about ad layout. Later in

his Volkswagen headline that urged the

public to "Think Small," the Bernbach's

concepts had a trademark simplicity that

permeated both the copy and visual

elements.

Gene Federico

New York

Pioneered the idea of visual puns in

advertising by blending copy and image.

ADVERTASING

Otto Storch

New York; a graduate of Pratt, also studied

at NYU, the Art Students League and "the

school of hard knocks." evening classes

with Alexey Brodovitch

Otto Storch became an art director for

whom idea, copy, art and typography were

inseparable.

The End

For additional information on history of graphic design please visit:

www.deisgnhistory.org

history of graphic design

Documents

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crafts movement john

international design

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