Design in the 60`s and 70`s

Design in the 60’s and 70’s
Setting the 1960’s
PART 2
Posters
European Visual Poets
Corporate Identity
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Many of the artists were self taught
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Clients were rock and roll concerts and dance promoters - Bill Graham most well known
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Reflected in some artists’ work - Peter Max
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Involved wide experimentation with techniques of color, photography
and concept
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Eventually moved more into the ‘campus’ environment due to largely pedestrian appeal
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60s was time of social activism
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Posters more used in home than on street
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Emerged out of Haight-Ashbury section of San Francisco
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Drug-related posters called Psychedelic Posters
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Looked back to Victorian decoration, Art Noveau and to “Pop Art” pop culture
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Wes Wilson
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Swirling letterforms harks back to Art Noveau
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Audience decoded rather than read the letterforms
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Art Noveau
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Peter Max
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Parents fled Nazi Germany. Lived in China and Israel before US
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Studied at Art Student League in NY
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Germany
European Visual Poets Movement 1960’s-1990’s
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Approach to graphic design based on manipulation of images through collage, montage,
photographic and photomechanical techniques.
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Rejection of conservative, traditional and expected
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Design process was not about form and arrangements but invention of unexpected images
that conveyed ideas or emotions
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Gunther Kieser - Germany
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Willy Fleckhouse - Twen magazine
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Gunter Rambow - Germany
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Gerhard Lienemeyer
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Michael van de Sand
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Gunther Kieser
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Gunther Kieser
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Gunther Kieser
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Gunther Kieser
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Gunther Kieser
Gunther Kieser
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Gunter Rambow - Germany
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Manipulation of photography
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Everyday objects manipulated, combined or dislocated, then presented as documentary.
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Books are presented as symbolic objets referring to their ability to communicate
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Gunter Rambow
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Gunter Rambow
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Gunter Rambow
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Gunter Rambow
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Gunter Rambow
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Gunter Rambow
Gunter Rambow
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Gunter Rambow
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Gunter Rambow
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Robert Massin - France
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Combined pictorial imagery with expressive, manipulated text
Gunter Rambow
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Grapus studio - France
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Pierre Bernard, François Miehe and Gerard Paris-Clavel
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Used readily understood symbols
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Variety of ‘hand’ applications such as graffiti
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Corporate identity
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Large American corporations began industrial expansion and realized the advantage
of a unified and distinct image for their developing products and services.
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Not only logos but the widespread adoption of corporate identity guidelines and
standards for implementing the design program.
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The International Style and the emerging visual identity movement combined in the
development of systematic design programs with the intention of unifying all
aspects of a company.
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Lester Beall 1960
Otl Aicher 1962
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Corporate identity
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Unimark founded 1965 by group including Ralph Eckerstrom (Container
Corporation of America),
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Massimo Vignelli. Rejected individualistic design. Believed that design
should be a basic structure that once set up could be implemented by others.
Basic tool was grid basic and type face was Helvetica.
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Clients included Ford Moters, JCPenny, Memorex, Panasonic, Steelcase,
Xerox, Knoll furniture
Otl Aicher 1972
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Corporate identity
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Transportation signage – many competing systems of pictographic signage were
developed for airports and other transportation facilities.
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1974 the US Department of Transportation commissioned AIGA
to develop a set of 34 symbols for transportation facilities.
Overseen by committee of top design professionals –
they looked at existing symbols and evaluated them. Retained some, redesigned
some, dropped some and added some to achieve a clear system that could be used
world wide. Designed with a visual consistency of line weight shape and form by
Cook and Shanosky.
Unimark 1966-70’s
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Corporate identity
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Federal Design Improvement Program (1974) reflected awareness that design
could help achieve objectives. Initiative to make federal communications more
consistent, easier to read, more economical to produce, more up to date.
Standardization of format sizes, typography, grid systems, paper specifications left
designers with more time and budget to use creatively.
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Corporate identity
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Unigrid system for National Park Service developed by
Vignelli Associates with Park Service Publications office in 1977
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