Although talented European immigrants who had fled totalitarianism in Europe
introduced modern design in America during the 1940s, an original American
approach to modernist design gained international prominence in the 1950s and continued as a dominant f
ideas
Just as Paris had been receptive to new ideas and images during the late
nineteenth and early twentieth centuries, ____________ assumed that role
during the middle of the twentieth century.
New York City
More than any other designer, ____________ initiated the American approach to modern design. He had an ability to manipulate visual form (i.e., shape, color, space, line, and value), and to skillfully analyze communications content, reducing it to a symbo
Paul Rand
_____________ emerged as one of the most influential graphic designers in
postwar America. His designs for
Westvaco Inspirations, four-color publications demonstrating printing papers, made a significant impact. A thorough knowledge of printing and typese
Bradbury Thompson
____________ brought the sensibilities of the New York School to Los Angeles
in 1950. He frequently reduced his graphic designs to a single dominant image, often centered in the space. The simplicity and directness of his work allowed the viewer to interp
Saul Bass
During the 1940s, only a moderate number of American magazines were
designed well. These included
Fortune, Harper's Bazaar, and Vogue. An art director's assistant at Vogue during the 1930s, ____________ made a major
contribution to editorial design during
Cipe Pineles
The initial contribution of Brownjohn, Chermayeff, and Geismar to American
graphic design sprang from a strong aesthetic background and an understanding of the major ideas of European modern art, which had been reinforced by their contacts with architect-
corporate identity
Many of the pioneers of the New York School were either guest lecturers or
served on the faculty of _____________'s graphic design program under the
direction of Alvin Eisenman and later Sheila de Bretteville, the current director.
This program has contri
Yale University
Over the course of the 1950s, a revolution in editorial design occurred, and editorial design experienced one of its greatest eras. In 1953, ____________
was named the art director of
McCall's magazine and in 1958 was given a free hand to upgrade the grap
Otto Storch
In 1953, Vienna-born ________________ became the art director of
Esquire, and in 1958 he became art director of Harper's Bazaar. He sought to make the magazines he designed visually beautiful. He experimented with typography, making it large enough to fil
Henry Wolf
During the 1960s in America, a new, smaller-format breed of periodicals
emerged and thrived by addressing the interests of specialized audiences. The
new editorial climate, with more emphasis on content, longer articles, and less opportunity for lavish vi
Ramparts
The 1940s were a lackluster decade for advertising. On June 1, 1949, a new
advertising agency opened its doors at 350 Madison Avenue in New York City.
For each campaign, this agency developed strategy surrounding any important advantage, useful difference
Doyle Dane Bernbach
In the 1950s and 1960s, a playful direction called ____________ emerged
among New York graphic designers. Letterforms became objects; objects
became letterforms. Gene Federico was one of the first graphic designers who
delighted in using letterforms as im
figurative typography
Hailed as the typographic genius of his time (1918-1981), ____________'s
achievements included advertising and editorial design, trademark and typeface
design, posters, and packaging. He abandoned traditional typographic rules and practice and looked at t
Herb Lubalin
The setting of type by exposing negatives of alphabet characters to
photographic paper dawned in 1925 with the public announcement of the
Thothmic photographic composing machine invented by E. K. Hunter and
J. R. C. August of London. A keyboard produced a
Phototypography
The Bernbach approach�word and image fused into a conceptual
expression of an idea so that they become completely interdependent�
evolved during the 1950s and 1960s by Bill Bernbach at the New York
advertising agency Doyle Dane Bernbach.
Visual/verbal syntax
A playful direction taken by New York graphic designers during the 1950s
and 1960s spearheaded by Gene Frederico, which took many forms.
Letterforms sometimes became images, such as the wheels in the Frederico's ad for Woman's Day. Sometimes, the visual p
Figurative typography
A brief, visual typographic form in which concept and visual form are
merged into a oneness.
Typogram