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The New York School
Graphic Design History
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• The New York School was born from an excitement about European modernism and fueled by economic and technological expansion; it became a dominant force in graphic design from the 1940s unBl the 1970s and beyond.
• IniBally, Modern design in America was imported by talented European immigrants seeking to escape poliBcal totalitarianism. They provided Americans with a firsthand introduc7on to the European avant‐garde.
• American modern design was less formal and more intuiBve than the European modern design.
• New York City served as a cultural incubator in the middle of the 20th Century. It nurtured crea7vity, and its prevailing climate a>racted individuals of great talent and enabled them to realize their poten7al.
• In this highly compe77ve society, novelty of technique and originality of concept were much prized. Designers sought to solve communicaBon problems as well as express their own personal views & styles.
• Emphasis was on the expression of ideas and an open, direct presentaBon of informaBon
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Paul Rand Cover for DirecBon magazine December, 1940
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Paul Rand Cover for DirecBon magazine December, 1940
• American Designer, Paul Rand (1914 – 96) iniBated the American approach to modern design. He had a thorough knowledge of the modern movements, and was par7cularly interested in ar7sts Paul Klee and Kandinsky, along with Cubism
• His work was oWen playful, visually dynamic, with unexpected elements and symbolism.
• Started as a promoBonal and editorial designer for several magazines, including Esquire
• Cover of Direc7on magazine combines several collage elements. A Christmas package wrapped with barbed wire was a grim reminder of the spread of global war.
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Paul Rand Cover of Thoughts on Design 1946
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Paul Rand Cover of Thoughts on Design 1946
• Paul Rand’s Thoughts of Design book from 1946 was illustrated with over 80 examples of his work
• His book discusses the value of ordinary, universally understood signs and symbols as tools for translaBng ideas into visual communcaBons
• Visual contrast marked his work. He took
many risks in exploring unproven ideas in his work.
• His book inspired a generaBon of designers
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Paul Rand Monograph Cover 1953
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Paul Rand Monograph Cover 1953
• Paul Rand defined design as the integraBon of form and funcBon for effecBve communicaBon
• He believed the role of the designer was to upgrade rather than serve the least common denominator of public taste
• During his early career, he made forays into the vocabulary of modern art but never parted from an immediate accessibility of the image
• In this book cover, he uses an exuberance of shape and whimsical images
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Paul Rand IBM logos
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Paul Rand IBM logos
• Rand iniBally worked at the Weintraub adverBsing agency, but then became an independent designer
• As an independent designer, he focused on trademark and corporate design
• Paul Rand’s original logo design in 1956 was solid black, the outline and 8 and 13 stripe versions were added later
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Paul Rand Eye Bee M 1981
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Paul Rand Eye Bee M 1981
• Rand designed this version of the logo for a poster for the presenta7on of the Golden circle award, and in‐house IBM occasion
• Logo uses the Rebus Principle (pictures and symbols used to represent words or parts of words) – also used in Ancient Egypt
• The design was temporarily banned in the company as it was felt that it would encourage IBM staff designers to take liber7es with the IBM logo
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Alvin Lus7g Cover for A Season in Hell 1945
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Alvin Lus7g Cover for A Season in Hell 1945
• Alvin LusBg (1915 – 55) whose life was cut short by illness incorporated his subjecBve vision and private symbols into graphic design
• Commissioned by New DirecBons publishers in New York to create a series of book covers
• LusBg’s methodology involved searching for symbols to capture the essence of the contents and treaBng form and content as one
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Alvin Lus7g Cover for Anatomy for Interior Designers 1948
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Alvin Lus7g Cover for Anatomy for Interior Designers 1948
• LusBg believed in the importance of painBng for design and design educaBon
(the illustra7on on the cover was painted) • LusBg, along with Joseph Albers (who once
taught at the Bauhaus) developed the graduate design program at Yale University
• He considered the use of private symbols in design as a way to create original work
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Bradbury Thompson Spread from Westvaco InspiraBons 210 1958
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Bradbury Thompson Spread from Westvaco InspiraBons 210 1958
• Bradbury Thompson (1911 – 95) emerged as one of the most influenBal graphic designers in postwar America
• First worked for prinBng firms
• His designs for Westvaco InspiraBons, four‐color publicaBons (CMYK) demonstraBng prinBng papers, con7nued from 1939 – 1961
• Thorough knowledge of prinBng and typesehng, combined with an adventurous spirit of experimentaBon
• He used leierpress plates of art and illustraBon borrowed from adverBsing agencies and museums
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Bradbury Thompson educaBon stamp 1980
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Bradbury Thompson educaBon stamp 1980
• During the 1960s and 70s, Thompson turned increasingly to a classical approach for his book and editorial format design. Readability, formal harmony, and sensiBve use of Old Style typefaces marked his work
• Designed for periodicals, Smithsonian and ARTnews, as well as US postage stamps
• Stamp incorporates a painBng by Josef Albers, enBtled Glow into this stamp promoBng lifelong educaBon in the US (Albers was a Bauhaus teacher / painter / color theorist who later moved to the US)
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Saul Bass Film Btles for Man with the Golden Arm 1955
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Saul Bass Film Btles for Man with the Golden Arm 1955
• Saul Bass (1919‐96) brought the sensibiliBes of the New York school to Los Angeles, California in 1950
• Saul Bass commonly reduced his designs to a single dominant image
• While his images are reduced to a minimal statement, they lack the exacBtude of measurement or construcBon that could make them rigid
• The 7tles for this film were highly innovaBve and he became the acknowledged master of the film 7tle
• Accompanied by staccato jazz music, white bars appear, move, fade out, and reappear in different configuraBons
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Saul Bass Poster for Exodus 1960
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Saul Bass Poster for Exodus 1960
• Poster includes a pictograph of arms reaching upward and struggling for a rifle, conveying the violence and strife connected with the birth of the na7on of Israel
• This symbol was used in a comprehensive publicity program, including in newspaper, magazine, and trade adver7sement posters, film 7tles, and even sta7onary, shipping labels, and other printed ma>er
• The simplicity and directness of Bass’s work enables the viewer to interpret the content immediately
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Cipe Pineles Covers for Seventeen 1949
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Cipe Pineles Covers for Seventeen 1949
• Cipe Pineles (1908 – 1991) was an Austrian‐born graphic designer and art director who made her career in New York
• She worked for several magazines, including Seventeen, Charm, and Mademoiselles
• She became the first female member of the New York Art Director’s Club and was later inducted into their Hall of Fame
• Cipe Pineles also taught publicaBon design at Parsons School of Design in New York
• Her magazine covers incorporated unconvenBonal imagery and innovaBve composiBons
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Henry Wolf Cover for Harper’s Bazaar 1959
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Henry Wolf Cover for Harper’s Bazaar 1959
• Henry Wolf (1925 – 2005), born in Austria, became the art director of Esquire and Harper’s Bazaar, two of the best designed magazines in the US at that Bme
• His vision of the magazine cover was a simple image conveying a visual idea
• The sophisBcaBon and invenBveness of
the photography commissioned by Harper’s Bazaar while Wolf was art director were monumental achievements
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Gene Federico (art director) Ad for Woman’s Day magazine 1953
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Gene Federico (art director) Ad for Woman’s Day magazine 1953
• FiguraBve typography was introduced by New York graphic designers in the 1950s and 60s
• Gene Federico (1919 – 1999) was one of the first graphic designers to delight in using leierforms as images
• Leierforms became objects / objects became le>erforms
• Double‐page adverBsement for Woman’s Day magazine in New Yorker magazine
• The perfect round “O’s” of Futura typeface form bicycle wheels
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Herb Lubalin Type specimen for Avant Garde 1969
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Herb Lubalin Type specimen for Avant Garde 1969
• Herb Lubalin (1918 – 81) is hailed as a typographic genius of his 7me
• Major thrusts of American graphic design – including the visual / verbal concept orientaBon and the trend toward figuraBve typography came together in Lubalin’s work
• Lubalin used phototypography, the sefng of type by exposing nega7ves to photographic paper and he cut apart his type proofs with a razor to reassemble them
• In his hands, type was compressed unBl leiers joined in ligatures (a character consis7ng of two or more le>ers) and enlarged to unexpected sizes
• Avant Garde was Lubalin’s periodical of published visual essays, ficBon, and reportage dealing with contemporary themes
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George Lois (designer) + Carl Fischer (photographer) Cover for Esquire 1968
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George Lois (designer) + Carl Fischer (photographer) Cover of Esquire 1969
For the May 1969 cover of Esquire, Andy Warhol is shown drowning in one of his best known images ‐ a Campbell’s soup can ‐ to illustrate the cover story “The final decline and total collapse of the American avant‐garde”
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George Lois (designer) + Carl Fischer (photographer) Cover for Esquire 1968
• Esquire hired George Lois (b. 1931), the “enfant terrible”
of American mass communicaBons to develop effecBve covers to airact more men to buy the magazine again (In 1962, the magazine was in serious trouble as it was losing its younger audience to Playboy)
• Lois designed over 92 Esquire covers with photographer Carl Fischer and recaptured the magazine’s audience. They created covers that challenged, shocked, and provoked the audience
• Lois believed the cover should make a statement capable of capturing the reader with a spirited comment on a major arBcle. Lois’s strength was that he understood and responded to the people and events of this era
• On this cover, Muhammad Ali, the boxer is posed as St. SebasBan, the martyr who was condemned by Roman emperor Diocle7an and shot by archers.
• Lois and Fisher removed the background in most of their covers to focus on the subject
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+ more from New York
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Lou Dorfsman (designer) + Andy Warhol (illustrator) Program ad for CBS radio 1951
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Lou Dorfsman (designer) + Andy Warhol (illustrator) Program ad for CBS radio 1951
• Lou Dorfsman (1918 – 2008) became art director for CBS radio (Columbia Broadcas7ng System of New York) in 1946.
• He combined conceptual clarity with a straighporward and provocaBve visual presentaBon
• Typography and image were arranged in well‐ordered relaBonships using blank space as a design element
• He did not advocate using the same typefaces, spa7al layouts, or same types of imagery in the designs for CBS, rather, he used a variety of high quality soluBons in his design work
• This adver7sement incorporates an illustraBon by Andy Warhol when he was sBll working in “commercial art”
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William Golden (designer) + Ben Shahn (illustrator) Trade ad for CBS Television 1957
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William Golden (designer) + Ben Shahn (illustrator) Trade ad for CBS Television 1957
• CBS commissioned several fine arBsts, including Ben Shahn, to create illustraBons for their them
• The climate of creaBve freedom
encouraged them to accept these commissions and resulted in a high level of arBstry compared to typical newspaper and trade publicaBon adverBsements of the period
• The arBcle “Big Push” is about how Americans will purchase more than in any other summer in history and recommends television adverBsing during the big push
• Shahn’s drawing adds an ambience of quality and disBncBon to the commercial message
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Massimo Vignelli, New York Subway Map, 1972
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Massimo Vignelli, New York Subway Map, 1972
• Massimo Vignelli (1931 – 2014) was born in Italy, but moved to New York in 1966 to form the Unimark InternaBonal NY branch. He and his wife later formed Vignelli Associates.
• Vignelli’s New York Subway Map was
not based on geographic locaBons, rather used a series of straight lines
• Map only used from 1972 – 1979
because of public’s nega7ve percep7on
• The map is considered to be a classic modern design and is in the collecBon of the Museum of Modern Art in NYC
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Massimo Vignelli, Knoll InternaBonal Poster, 1967
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Massimo Vignelli, Knoll InternaBonal Poster, 1967
• Knoll is a modern furniture design company created in 1938 (sBll operaBng today). The company’s philosophy is based on the Bauhaus idea that “furniture should complement architectural space, not compete with it”.
• In 1967, Massimo Vignelli was hired by Knoll to create new graphics for all their communicaBon needs, including sta7onary, business cards, tags, boxes, brochures, ads
• Vignelli described his work for Knoll
as the most exciBng and rewarding of his professional career
• Vignelli also designed two pieces of furniture for Knoll.
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Massimo Vignelli, United Colors of Beneion branding, 1996
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EvoluBon of the Beneion trademark since 1965 when the company was founded by the Bene>on family in Italy. The second to last design is by Massimo Vignelli and the last design is the slightly redesigned version by Pentagram in 2011.
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Massimo Vignelli, United Colors of Beneion branding, 1996
• In 1996, Beneion’s idenBty was redefined by Massimo Vignelli who created a comprehensive visual brand idenBty and refined the brand signature.
• The company’s retail ac7vi7es were centralized under the single name, “United Colors of Beneion,” wriien flush leW in white Gill Sans on a green rectangle. An iden7cal paper tag (and an iden7cal woven label) went on every piece of merchandise.
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Milton Glaser I (Heart) New York logo 1977
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Milton Glaser I (Heart) New York logo 1977
• Milton Glaser (b. 1929) is a highly innovaBve and socially responsible graphic designers from New York who has made a huge impact
• In 1977, he created the I Love New York logo (pro bono) as part of an adverBsing campaign to promote tourism in New York City
• InnovaBve pop icon that has become a symbol for New York City recognized around the world and adapted to many other ci7es. White t‐shirts with the logo on the front helped to make the design widely recognized.
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Milton Glaser I Love NY More Than Ever 2001
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Milton Glaser I Love NY More Than Ever 2001
• Milton Glaser created this modified version of I (Heart) NY in response to the 9/11 terrorist aiacks on the World Trade Center in New York
• The black dot in the heart signifies the approximate locaBon of where the aiacks occurred in lower Manhaian.
• Glaser included this logo on a poster which was sold to raise money for charity that helped the vicBms of 9/11
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Milton Glaser Bob Dylan Poster 1967
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Milton Glaser Bob Dylan Poster 1967
• Milton Glaser’s concert posters and record‐album designs manifest the ability to combine his personal vision with the essence of its content.
• Nearly 6 million copies of this poster of the popular folk‐rock singer Bob Dylan were produced for inclusion in one of his best‐selling record albums
• In the 1960s, Glaser created images using flat shapes formed by think, black‐ink contour lines, adding color by applying adhesive colored films. This drawing style echoed the simple iconography of comic books, the curvilinear drawing of Art Nouveau, the flat color of Japanese prints and Ma7sse cutouts, and the dynamic of pop art.
• This poster has become a graphic icon in the collec7ve American experience.
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Seymour Chwast Judy Garland poster 1960
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Seymour Chwast Judy Garland poster 1960
• Glaser and Chwast were partners who set up
Push Pin Studio (now Pushpin Group) in New York, a highly influen7al design firm known for their individual and innova7ve illustra7ve styles.
• Chwast’s work is highly personal, yet communicates on a universal level. He frequently uses the technique of line drawings overlaid with adhesive color films.
• Both Chwast and Glaser created a number of novelty display typefaces. Here Chwast uses his own typeface, Blimp for the Btle.
• This poster adverBsing a Judy Garland concert at Lincoln Center in New York, expresses the resonance of her singing.
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Peter Max “Love” Poster 1970
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Peter Max “Love” Poster 1970
• New York designer, Peter Max (b. 1937) created work that combined elements of Art Nouveau with Psychedelic art.
• One of his most famous images, the 1970 “Love” graphic perfectly encapsulates the era
• In his finest work, Peter Max experimented with images and various prinBng techniques.
• His posters and merchandise, from mugs and T‐shirts to clocks, offered a more palatable version of psychedelic art and found a mass audience among young people across America