Jonathan Hoefler

Jonathan Hoefler is an American Typeface designer, born August 22, 1970. He was educated at the Rhode Island School of design and founded The Hoefler Type Foundry in 1989 in New York. In 1999 Hoefler began working with a type designer by the name of Tobias Frere-Jones, and their company adopted the name Hoefler & Frere-Jones. However, after about 11 years of partnership, they decided to split.

Hoefler’s original designed typefaces were debut in print magazines such as Rolling Stone Magazine, Harper’s Bazaar, The New York Times Magazine, Sports Illustrated, Esquire to name a few. It is said that Hoefler’s best-known work is of course the Hoefler Text family of typefaces, which he originally designed for Apple Computers but have now been appearing as part of the Macintosh operating system. Hoefler has also designed the current word mark of The Church of Jesus Christ of Latter-Day Saints.

Hoefler was named one of the forty most influential designers in America by I.D. magazine, in 1995.He was also presented with the Association Typographique Internationale (ATypI) most prestigious award, the Prix Charles Peignot for outstanding contributions to type design in 2002. Hoefler is defined  as A modern classic as the typeface came about when digital typography was just at its early beginnings.

HOEFLER’S WORK:

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https://en.wikipedia.org/wiki/Jonathan_Hoefler

http://www.typography.com/fonts/hoefler-text/overview/

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DECONSTRUKTIVISM

 

Deconsructivism began to develop in the late twentieth century, being a continuation of post-modern architecture. Designers disturbed the ordinary space and basic characteristics of traditional buildings such as the body or shape of the building and frame construction. Modifications such as curving , waving or breaking walls is done. By doing this, buildings are seen as stimulating unpredictability and controlled chaos.

Deconstructivist architecture is characterised by surface manipulation, fragmentation, and non-rectilinear shapes which distort and dislocate architectural conventions concerning structure and envelope. It deliberately juxtaposes elements that appear to contradict each other in order to challenge traditional ideas of harmony and continuity. In short, deconstructivism challenges almost all traditional styles of building design.

Elements of deconstructivist architecture are seen throughout graphic design. The idea of using distortion and fragmented forms to create designs is one that is used across the board. This movement has left a mark on graphic design where we still see usage of this “controlled chaos” to create something striking and balanced.

ARCHITECTURE:

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References:

http://www.visual-arts-cork.com/architecture/deconstructivism.htm

 

 

DE STIJL

 

Die Stijl was founded in 1917. The artists most recognized with the movement were the painters Theo van Doesburg, who was also a writer and a critic, and Piet Mondrian, along with the architect Gerrit Reitveld. The movement proposed ultimate simplicity and abstraction through which they could express.

The Netherlands-based De Stijl movement embraced an abstract and simplistic aesthetic centred around basic visual elements such as geometric forms and primary colors. The harmony and order was established through a reduction of elements to pure geometric forms and primary colors. The movement was partially a reaction against the Art deco period. The reduced quality of De Stijl art was envisioned by its creators as a universal visual language appropriate for the modern era. De Stijl artists applied their style to a host of media in the fine and applied arts and beyond. The idea was to create both a fusion of form and function, thereby making De Stijl in effect the ultimate style.

To this end, De Stijl artists turned their attention not only to fine art media such as painting and sculpture, but virtually all other art forms as well, including industrial design, typography, even literature and music. De Stijl’s influence was perhaps felt most noticeably in the realm of architecture, helping give rise to the International Style of the 1920s and 1930s.

Die Stijl was also the name of a publication discussing the groups theories which was published by van Doesburg. The publication Die Stijl represents the most significant work of graphic design from the movement, but the ideas of reduction of form and color are major influences on the development of graphic design as well. Modern day graphic designers take similar approach of “less is more” when coming up with designs, utilizing simpler forms and primary/simple colour palettes to convey an idea.

PIONEER’S WORK:

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References:

http://www.theartstory.org/movement-de-stijl.htmhttp://www.designishistory.com/1920/de-stijl/

POP ART

Pop art is an movement that emerged in the mid-1950s in Britain and the late 1950s in the United States. Pop art presented a challenge to traditions of fine art by including imagery from popular culture such as advertising and news. In pop art, material is sometimes visually removed from its known context and is isolated  and/or combined with unrelated material. Pop art employs aspects of mass culture, such as advertising and comic books

One of its aims is to use images of popular, and not elitist, culture in art. It is also associated with the artists’ use of mechanical means of reproduction or rendering techniques. By creating paintings or sculptures of mass culture objects and media stars, the Pop art movement aimed to blur the boundaries between “high” art and “low” culture. The concept that there is no hierarchy of culture and that art may borrow from any source has been one of the most influential characteristics of Pop art.

Pioneers of the pop art movement include American pop artists Andy Warhol and Roy Lichtenstein, Jasper Johns, and James Rosenquist and Eduardo Paolozzi and Richard Hamilton in Britain. These pioneers all had different approaches to pop art for example; Roy Lichtenstein’s style was base on the comic strip. However, they have collectively changed and influenced the entire art scene as they left behind new and innovative ways of art making that can be implemented across the board.

PIONEER WORKS:

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References:

https://www.moma.org/learn/moma_learning/themes/pop-arthttp://www.artyfactory.com/art_appreciation/art_movements/pop_art.htmhttps://en.wikipedia.org/wiki/Pop_art

 

CLAUDE GARAMOND

Claude Garamond was Born in Paris, France in 1490, Garamond started his career out as an apprentice for the Parisian punch-cutter and printer, Antoine Augereau in 1510 .  In the 16th century that Garamond and his peers found that the typography industry was something of interest. .Many of the printers during that time period were able to master all or most of the artistic and technical skills of book production from type design to bookbinding. Claude Garamond was first to specialize in type design, punch cutting, and type-founding in Paris as a service to many famous publishers.

In 1545 Garamond became his own publisher, featuring his own types including a new italic. His first book published was Pia et religiosa Meditatio of David Chambellan. As publisher, Claude Garamond relied on his creativity harnessed by reasoned discipline to produce superbly well crafted products. He modelled his book publishing style after the classic works of the Venetian printers who catered to the absolute elites of high society. He admired and emulated the works of Aldus Manutius. Garamond insisted on clarity in design, generous page margins, quality composition, paper and printing , which was always accentuated with superb binding.

Garamond is famous for his series of Garamond typefaces which  is a family of old-style serif typefaces . Most Garamond fonts have become renowned for their excellent readability, elegance, and character.

Because of the soundness of Garamond’s designs his typefaces have historical staying power, and they are likely to remain the day-to-day tools of professional typographers, as long as western civilization survives. Reading a well set Garamond text page is almost effortless, a fact that has been well known to book designers for over 450 years.

Claude Garamond’s contribution to typography was vast, a true renaissance man. Creating perfection in the type that he crafted his life will live on through his contribution to typography.

Some of Garamond’s typefaces include:

• Adobe Garamond
• Stempel Garamond
• EB Garamond
• Sabon Next
• ITC Garamond

GARAMOND’S WORK:

INSPIRED WORK:

Garamond type specimen

References:

Biography on Claude Garamondhttp://www.pointlessart.com/education/loyalist/typeTalk/garamond/biography.html

http://garamond.org/

PAUL RAND

Paul Rand was an important graphic designer and art director in the twentieth century. He was the pioneer of iconic corporate logo designs for major firms, including IBM, ABC, Morningstar, Inc., NeXT Computer, Yale University and Enron. He was an avid practitioner of Swiss Style of graphic designing in American advertising industry.

Rand, initially named Peretz Rosenbaum, was born on August 15, 1914, in Brooklyn, New York, Since a very early age, he had shown an interest in painting and designing . Paul attended night classes at the Pratt Institute from 1929 to 1932 and attended several other art schools such as The New School for Design, the Art Students League and Yale University in Connecticut. Although Rand received extensive training in the arts, Rand developed his graphic sense through self-education largely, as he voraciously read the European magazines, discovering the works of Cassandre and László Moholy-Nagy.

Paul rand was greatly responsible for defining visual culture in America as he radically transformed advertising. Rand earned his ultimate success by designing corporate logos. Paul Rand became a house hold name for logo designing in corporate industry. In 1956, IBM became one of the companies that truly defined rand’s identity and put him on the map. He revised the IBM logo design in 1960 and yet again in 1972 with the famous stripes pattern. Other evidence of Rand’s graphic genius is seen in NeXT Computer corporate identity project, ABC, UPS AND ERON.

I believe rand is of the most successful, influential and revolutionary graphic designers of all time. He has mastered the technique of simplicity in design as he manages to make striking and effective designs by using the most basic components and strategically arranging them with a modern approach. With the purpose that graphic design serves, it calls for design to be recognizable and easily understood which I think rand has done expertly by making these iconic brands who they are today.

Steve Jobs admired Rand’s graphic creativity and called him “the greatest living graphic designer.”

Paul Rand said, “Visual communications of any kind, whether persuasive or informative, from billboards to birth announcements, should be seen as the embodiment of form and function: the integration of the beautiful and the useful.” It’s not only about how it looks, or how it works, but about how it looks and works together.

RAND’S WORK:

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INSPIRED WORK:

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References:

Paul Rand – http://www.famousgraphicdesigners.org/paul-rand

Paul Rand, the Visionary Who Showed Us That Design Matters – http://www.wired.com/2015/04/paul-rand-visionary-showed-us-design-matters/

The Influence of Paul Rand’s Thoughts on Design – http://justcreative.com/2014/08/15/the-influence-of-paul-rands-thoughts-on-design/

 

PAUL RENNER

 

Paul Renner was a well known German graphic designer, type designer and typographer in the 20^th century. He was also known for being an eminent author, painter and teacher. Renner was born on August 9^th, 1878 in Wernigerode, Germany.

Renner received his formal education from a secondary school, Gymnasium. After nine years of learning Greek and Latin, Renner opted to study arts at several different academies. In his early years Renner studied architecture and painting in Berlin, Munich and Karlsruhe, and then later worked as a painter in Munich. In 1926, he accepted the position of the head at the Printing Trade School in Münich. Later he established and became director of the Master School for Germany’s Printers.

Some of Renners values were influenced by prominent scholarly figures and theoreticians, such as Nietzsche, Goethe, Kant and Schiller. He began writing from 1908 onwards and produced a lot of work on design and typography.

He supported the Bauhaus movement and was equally fascinated by the functionalist strain in modernism. Therefore, according Renner’s work is seen as a bridge between nineteenth and twentieth century tradition.

He is best known for designing the Futura typeface which became the milestone creation of twentieth century and influenced the modern typeface designs. To date modern typographers still use this typeface frequently, which is evidence of its longevity. Other typefaces by Renner include, Futura (1928), Plak (1928), Futura Black (1929), Futura licht (1932), Futura Schlagzeile (1932), Ballade (1937), Renner Antiqua (1939), Steile Futura (1954).

Futura and its family have become an extremely popular typeface for many corporate logos, commercial products, films and advertisements for years. Regardless, Futura remains one of the most used sans-serif fonts today with no signs of stopping anytime soon.

RENNER’S WORK:

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References:

Font Designer – Paul Renner: http://www.linotype.com/762/paul-renner.html

Paul Renner: http://www.famousgraphicdesigners.org/paul-renner