American Advertising During the 1940s Americans borrowed freely - - PowerPoint PPT Presentation

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American Advertising During the 1940s Americans borrowed freely - - PowerPoint PPT Presentation

Aug 20, 2023 159 likes •684 views

American Advertising During the 1940s Americans borrowed freely from European designers and ultimately became a dominant force in graphic design, lasting well into the 1970s. &WOMEN Paul Rand &WOMEN Paul Rand Bill Bernbach Bill

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American Advertising During the 1940s Americans borrowed freely from European designers and ultimately became a dominant force in graphic design, lasting well into the 1970s.

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&WOMEN

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&WOMEN

Paul Rand

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Paul Rand Bill Bernbach

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Alvin Lustig Bill Bernbach

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Alvin Lustig Bradbury Thompson

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Bradbury Thompson Saul Bass

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Saul Bass Herb Lubalin

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Herb Lubalin Thomas Geismar

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Thomas Geismar Ivan Chermayeff

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Cipe Pineles Ivan Chermayeff

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Cipe Pineles Bea Feitler

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Paul Rand Visually dynamic symbolism packs an emotional wallop in this 1940 magazine cover design. CONCEPT: A Christmas package wrapped with barbed wire is a grim reminder of global war.

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Paul Rand Children’s book design, 1957 CONCEPT: Simplified relationships between words and pictures.

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Paul Rand 1946 retail advertising design CONCEPT: A logo, photograph and artwork are combined to create a playfully unified theme.

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Paul Rand 1946 retail advertising design CONCEPT: A logo, photograph and artwork are combined to create a playfully unified theme.

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Paul Rand Logo designs are global trademarks reduced to their essence.

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Paul Rand Poster design CONCEPT: Make modern art (and the MOMA) as much a part of your everyday life as eating dinner.

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Paul Rand Catalog cover design CONCEPT: It’s the Winter Quarter, in LA.

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Alvin Lustig Demonstrated an early genius for design with book designs that played

  • n powerful imagery

full of symbolism. CONCEPT: Human spirit and brutal circumstances are symbolized in T. Williams’ plays.

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Alvin Lustig 1951 album cover for Vivaldi’s Gloria. CONCEPT: Letters move up and down like musical notes on a backdrop of harlequin triangles.

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Bradbury Thompson He designed publications for Westvaco to showcase their printing papers. CONCEPT: Images and geometrics create visual movement.

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Bradbury Thompson 4-color process plates appear in the letterforms. CONCEPT: Futuristic typography is used to depict the Civil War.

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Saul Bass Bass brought modernistic design with him to Los Angeles with powerful symbolic images that worked to unify a promotional campaign across all media. CONCEPT: The arm symbolizes the main character’s struggle with heroin addiction.

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Cipe Pineles Assistant art director for Vogue who went on to become art director at Glamour, then Charm and Seventeen magazines. CONCEPT: Elegant style for women who work.

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Cipe Pineles She eventually became the first woman admitted to membership in the New York Art Directors Club. CONCEPT: Unconventional, this mirrored illusion adds graphic vitality.

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Bea Feitler She worked for Harper’s Bazaar, Vogue, Ms. Magazine, Rolling Stone and Vanity

  • Fair. Feitler took

unprecedented risks such as this typography-only cover design. CONCEPT: Day-Glo typography and re-wording a holiday sentiment show joyous equality.

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Bea Feitler She hired acclaimed photographer Annie Lebovitz for this iconic Rolling Stone magazine cover. CONCEPT: Take risks and make something amazing.

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Thomas H. Geismar One of three young designers who formed the New York design firm of Brownjohn, Chermayoff and Geismar in 1957. CONCEPT: The atomic blast forms a visual metaphor for the human brain.

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Ivan Chermayeff Son of distinguished architect-teacher Serge Chermayeff, Ivan was gifted at solving visual problems with inventive and symbolic imagery. CONCEPT: A new way to rebrand America (self-promotion).

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Ivan Chermayeff The firm Chermayeff & Geismar was a major player in corporate identity and branding.

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Otto Storch The McCall’s magazine art director heralded major revolution in editorial design .

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Otto Storch Storch combined typography tightly locked into the photographic images.

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Henry Wolf As art director for Esquire and later Harper’s Bazaar, Wolf’s vision of the magazine cover was an exquisitely simple image conveying a visual idea.

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Smaller, more specialized periodicals The demise of large-format magazines was the result of television’s popularity, escalating postal rates, paper shortages and higher printing costs.

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Magazines such as Rolling Stone redefined their format, even reaching beyond music and entertainment topics, such as this ground-breaking report on AIDs in 1985.

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Doyle Dane Bernbach This New York agency was known for its “creative teams” pairing writers with art directors to build strong conceptual ideas for its clients. CONCEPT: Think small – as in all the great things a small car can be: fuel efficient and affordable.

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Here’s a few better known ad campaigns

  • f the 20th

Century.

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Herb Lubalin A typographic genius who abandoned traditional typographic rules and created words and images in combination as “typograms.” CONCEPT: One word says it all.

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Herb Lubalin Along with typographer Aaron Burns, Lubalin established the International Typeface Corporation (ITC) to develop and license the work of type designers.

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Herb Lubalin He designed the post- modern type ITC Avant Garde.

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George Lois As a young art director with Doyle Dane Bernbach, Lois had a reputation for provocative ads.

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George Lois As a young art director with Doyle Dane Bernbach, Lois had a reputation for provocative ads.

“CREATIVITY CAN SOLVE ALMOST ANY PROBLEM. THE CREATIVE ACT, THE DEFEAT OF HABIT BY ORIGINALITY, OVERCOMES EVERYTHING.”

—GEORGE LOIS

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George Lois As a young art director with Doyle Dane Bernbach, Lois had a reputation for provocative ads.

“CREATIVITY CAN SOLVE ALMOST ANY PROBLEM. THE CREATIVE ACT, THE DEFEAT OF HABIT BY ORIGINALITY, OVERCOMES EVERYTHING.”

—GEORGE LOIS

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George Lois As a young art director with Doyle Dane Bernbach, Lois had a reputation for provocative ads.

“CREATIVITY CAN SOLVE ALMOST ANY PROBLEM. THE CREATIVE ACT, THE DEFEAT OF HABIT BY ORIGINALITY, OVERCOMES EVERYTHING.”

—GEORGE LOIS

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George Lois He threatened to jump off the 3rd-floor ledge

  • f Goodman’s

Company office demanding that his poster got approval.

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George Lois But he’s best known for his visually jarring magazine covers for Esquire magazine.

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George Lois Muhammad Ali, already controversial for converting to Islam and changing his name from Cassius Clay, had resisted the draft and become a target

  • f ridicule from

the public, the government and his sport.

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George Lois The portrayal borrows from the renaissance images of Saint Sebastian who was martyred for his Christian beliefs.

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George Lois Lois’ ability to persuade people to participate in photographs resulted in powerful images.

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George Lois Lois revived the magazine’s flagging sales with his striking covers, but he vowed he’d quit if the editors ever turned down an idea.