Discuss
the influence of cubism on the work of A. M. Cassandre and Joseph Binder. Locate and include links to specific examples of their work that aren’t found in Meggs’s A History of
Graphic Design and include examples of lettering and type design.
Amelia asked me to share a CD cover she discovered (top image) that is relevant to our blog discussion. It's an example of A.M. Cassandre influencing a contemporary design. In researching the album Amelia found I actually stumbled upon another one too (bottom image)! Both David Guetta album designs are derived from deconstructing type similar to Cassandre's 1929 "Bifur Typeface."
One can see the influence of Cubism in A.M. Cassandre’s work by the
ReplyDeleteway he uses “bold, simple designs [that emphasize] two-dimensionality
and are composed of broad, simplified planes of color (1)” to deliver
a succinct message. He relies on powerful areas color and geometry.
Since he used symbolic imagery of natural forms, his work was closely
related to synthetic cubism. He furthered the revolutionary ideas
found in Cubism and explored more shapes and interpenetrations of
form, working to achieve skillful execution in rendering (2). In his
1927 Nord Express poster (3), you can see the basic flat shapes
rendered to appear dimensional and create a train. His 1938 Bugatti
poster also depicts flat shapes layered on top of each other and a
horse that has been reduced as much as possible. The type is slanted
and adds a sense of motion.
Joseph Binder worked to reduce forms to flat geometrical shapes. His
use of proportion, light, and shadow created a sense of “naturalism”
in his work. Binder’s artwork is known for these reduced natural
images that transformed into spheres, cubes, and cones. He built on
the foundation of Cubism and focused on “color contrasts and the
psychological impact of colors (5).” In his World’s Fair poster (6),
his type, although at the bottom of the poster, experiments with
leading and uses the colors of the poster.
These artists were influenced by Cubism but integrated word and image,
often inventing letterforms (2). In Cassandre’s 1927 Nord Express (3),
you can see his typeface of reduced forms. They utilized the Cubist
elements of abstracting and breaking up objects as well as planes
intersecting at angles (1). The context of the time made them aware of
and supportive of machinery, which was reflected in their pieces.
(1) Megg’s History of Graphic Design
(2) http://www.adcglobal.org/archive/hof/1972/?id=296
(3) http://www.cassandre-france.com/posters/nord-express-1927-ref-20000.html
(4) http://www.cassandre-france.com/posters/bugatti-1935-ref-200023.html
(5) http://www.aiga.org/medalist-josephbinder/
(6) http://thevodkaparty.com/wp-content/uploads/2012/04/New-York-World’s-Fair-1939-Poster-by-Joseph-Binder.jpg
I like that you related the flat, geometric style of A.M. Cassandre's 1997 Nord Express poster to the geometric nature of cubism. Through our lectures and the textbook examples, I associated cubism more with exploring an object from multiple planes at the same time, so I didn't notice the geometric quality until you mentioned it. However, the 1997 Nord Express poster does use multiple dimensions of light and diagonal lines broken up by a sharp line (two top sections). I'm not exactly sure if that's supposed to be part of the train or not.
DeleteDana and Katie, The Nord Express poster is a brilliant example to discuss! Both the train and the letterforms demonstrate the cubist practice of breaking up objects, analyzing and reassembling them into new forms. I'm particularly drawn to the deconstructed type. Amazing how it retains legibility even after portions of the letters are removed.
DeleteThe examples you mentioned really show how involved the audience becomes in the artists' work. Its a great strategy to really get the audience to think about what is going on in the poster. By forcing them to basically fill in the missing areas, they are (knowingly or not) interacting with and understanding the work. Although this strategy may not alter their opinion on the actual message of the poster, it does force them to stop and think about that message which can have a major influence on some people.
DeleteThis comment has been removed by the author.
ReplyDeleteA.M. Cassandre and Joseph Binder took inspiration from cubism in a few ways. A.M. Cassandre’s Wagon-Bar (1932) drew from synthetic cubism by superimposing elements on top of one another like in a collage (1). Cassandre used simple geometric shapes to create iconic versions of wine and food; instead of using literal, more naturalistic renderings of these items, he represented them through shapes. For example, he used only a wheel of a train to represent it instead of a whole image of it.
DeleteJoseph Binder’s 1937 Fortune magazine cover uses rectangles at different dimensions to create a structure that represents rising buildings (2). His choice not to draw the buildings in one plane comes from analytical cubism, where artists typically painted the “planes of a subject studied from different [fractured] points” (3). He surrounds the structure with a “Christmas tree” made up of a triangle and start topper. The whole image symbolizes “the capitalistic heights that the holiday has become;” it’s a clever use of simple shapes to convey a deeper meaning (2).
Aside from the three typefaces mentioned in Meggs’s A History of Graphic Design, Cassandre also designed the typeface Exotic 350 (4). The uppercase letters are fairly standard and Roman, like Peignot, and some of the lowercase letters are smaller uppercase letters (5). There are more lowercase letters in Exotic 350; 7 of the letters are lowercase (4). It’s this mixing of uppercase and lowercase letters, and an unconventional lowercase “H” and “L” that represent the rebellious nature of Cassandre’s typographic work.
(1) http://www.tumblr.com/tagged/a.m.%20cassandre?before=37
(2) http://mydelineatedlife.blogspot.com/2009/12/megalith.html
(3) Class lecture/notes
(4) http://www.identifont.com/show?26U
(5) Megg’s A History of Graphic Design
Binder's Fortune cover is another really cool example of cubist ideals being applied to visual communication Katie.
DeleteWhat do you think of the placement of the tree and the masthead (the name of the magazine)? Is there too much visual tension between the star and the t and u in Fortune?
I didn't notice the tension before you mentioned it, but now it bothers me. It seems as if the topper is hiding behind the magazine name; it might have been better to have the star covering the magazine title like so many covers do today. Even with the star covering the letters, people would still be able to read Fortune without much of a problem.
DeleteMy eye went right to that intersection of elements. Some visual tension in a design is good but understand it also draws the eye to those areas. Ask yourself, "do I want the viewer's eye to stop here?" If yes, then keep it, if not, then perhaps the postion of those elements needs to be reconsidered!
DeleteI looked at the poster as well, and I agree with Katie. There is definitely too much tension there that it is somewhat distracting. I think she posed a good point for the star to be covering the letters. It made me think of certain magazines like InStyle—every cover has a different famous woman on it, and the title of the magazine falls into the background every time. Just look at the search https://www.google.com/search?hl=en&q=instyle+magazine+cover&bav=on.2,or.r_gc.r_pw.r_qf.&bvm=bv.41867550,d.dmQ&biw=1279&bih=607&um=1&ie=UTF-8&tbm=isch&source=og&sa=N&tab=wi&ei=D2sNUa_rLM-G0QG6qICoBw and you'll see exactly what I'm talking about. If the woman was in the background or if the title was simply above the picture it just wouldn't look right at all. There would either be tension, or it would be less aesthetically pleasing.
DeleteRight there with you Sam! The InStyle brand is recognized and understood even without seeing every single letter. Also note how important the main image becomes when placed infront of the text.
DeleteI like what you said about AM Cassandre using "iconic versions of wine and food; instead of using literal, more naturalistic renderings of these items." Synthetic cubism is more concerned with the essence of subject matter over the realistic rendering of it. Through looking at Cassandre's work this becomes very obvious.
DeleteBy the time A.M. Cassandre was starting his graphic design career, his style was evidently forming of what cubism evokes. He revitalized the French advertising art by instigating dramatic series of posters with his bold, simple designs. He emphasized two-dimensional images, which were complimented by broad, simplified planes of color. He also was fond of reducing his images, almost to silhouette forms. His designs became even more powerful as he played with his type and images. This interaction of type and image created an exceptional composition that heightened cubist style. (1) In his 1938 Grand Sport poster, his integration of text and image is beautifully complimenting each other. His image is reduced to a geometric form and the text contains the image, while giving it a sense of movement and balance. (2)
ReplyDeleteJoseph Binder also fancied the cubist movement while a student at the Vienna School of Applied Art. He used cubism as a feedback to create strong pictorial designs. Typically, he would reduced natural images to basic forms and shapes, and then uses two flat color shapes besides each other to signify the light and shadow sides of a subject. (1) He also had a strong belief in using a psychological impact of colors in his designs. Unlike Cassandre, his combination of text and image were not as playful. Seen in his 1931 poster, he forces the text to edges of the top and bottom of poster. (3) Personally, it looks like Binder preferred to create a more structured, sleek look to his designs rather than Cassandre’s playful and interactive designs.
(1) Megg’s History of Graphic Design
(2) http://img103.exs.cx/img103/6273/cassandregrandsport.jpg
(3) http://vangeva.com/joseph-binder/
Jessica, looking at both of your cited examples, I too get the sense there is more linear structure in Binder's example and more interaction of type and image in Cassandre's. Which of these do you feel uses type and image to communicate the message more effectively?
DeleteBinder's 1931 poster also draws from cubism by breaking up the imagery geometrically (the rectangular shapes in different colors). Although the subject is only seen from one plane, the poster does seem to explore creating an image of a woman through different colors and patterns.
DeleteYou can also see the influences of cubism in the Binder’s poster through its abstract imagery and use of bold colors. Although the woman is seen on one plane, the tilt of the pot she has on her shoulders does give it a bit of dimension.
Delete-Jasmine Berry
I'd say it's a pretty tough call considering both are pretty strong designs considering Binder uses vibrant colors that project the image from the background and Cassandre uses his interplay with text and image in a pretty clever way. However, Cassandre does force his audience to focus on both his type and image considering they're successfully integrated together. Though I do like Binder's poster design very much so, but i feel like his type gets lost on the tips of the page, where I just want to focus on the image of the woman only. Kudos to Cassandre.
DeleteI'm right there with you. The role the type and image play together in communicating the message is much more engaging in Cassandre's design. It is this union of type and image that brings more vitality to the message.
DeleteThe artist movement of cubism was representative of dimensional form, multiple viewpoints and often the reassemble of art in abstract form. Broken down into two stages, synthetic cubism, in which “foreign materials such as chair caning and wood veneer, are collaged to the surface of the canvas as 'synthetic' signs for depicted objects,” closely influenced both A. M. Cassandre and Joseph Binder (1).
ReplyDeleteCassandre used simple colors with two- dimensional designs that were bold and pictorial symbols (2). His ability to then integrate lettering with images can be seen in his “Nord Express,” in which features his own typeface, Acier Noir (3), and “Chemin De Fer Du Nord - Vitesse-Luxe-Confort” poster (4). In the second poster, the turner on the watch appears to move effortlessly between the lettering.
Like Cassandre, Binder used the influences of cubism with pictorial images by taking basic shapes and forms and using them side by side with light and shadow (2). Examples would be his March 1936 Home & Garden (5) and his United Air Lines poster (6). They both use basic shapes and forms like rectangles, squares and lines with naturalism of light and shadow. It is also noted that he used a lot of visual hierarchy in terms of size and contrast, drawing the viewer to what he wanted them see first in order to visually communicate messages.
(1) http://www.theartstory.org/movement-cubism.htm#
(2) Meggs’ History of Graph Design
(3) http://www.artyfactory.com/art_appreciation/graphic_designers/cassandre.htm
(4) http://flyergoodness.blogspot.com/2011/09/cubism-design-by-m-cassandre.html
(5) http://www.art.com/products/p12503428852-sa-i6354431/joseph-binder-house-garden-cover-march-1936.htm?sorig=cat&sorigid=0&dimvals=5053860&ui=3a5464b368c444a8922e96fabcd08525
(6) http://eu.art.com/products/p13457629402-sa-i6457369/joseph-binder-united-air-lines-new-england-c-1950s.htm
-Jasmine Berry
I appreciate you bringing visual hierarchy into this discussion Jasmine. This is tool each of us can use when developing our own designs. Simply asking "what do I want the viewer to look at first, second, third, etc." and placing those elements according to size, contrast, etc will help accomplish this goal.
DeleteJasmine, I love the United Air Line poster that you referenced in your post. Its very different from a lot of the Cubist-like work that I've seen; however, you can still see the use of basic flat, geometrical shapes being utilized. But at the same the poster shows depth due to the difference in scale with each individual object.
DeleteI love that you used Cassandre's Nord Express poster as an example because it clearly shows the influence of cubism, with its dynamism, and how it incorporates three dimensional shapes. It also shows how he incorporates his ow type face into his work.
DeleteCubism was a major art movement that was started in the early 1900s. Initiated and developed by two luminary figures, Picasso and Braque, it influenced many other artists during that time, and in subsequent decades. By looking at A. M. Cassandre and Joseph Binder's works, we can see that they were influenced by cubism. A typical Cubist art work consists of simple, geometric shapes, and we see them prominently in Cassandre and Binder’s work. When we look at their posters, we see the subjects as prominent, bold and geometric in shapes; our eyes then fall on the text, if it’s there on the advertisement, poster or magazine cover.
ReplyDeleteA good example of A. M. Cassandre’s work could be seen here in the links:
http://upload.wikimedia.org/wikipedia/en/d/df/Normandie_poster.jpg
http://www.rare-posters.com/p1814.jpg
http://www.fulltable.com/VTS/f/fortune/j/gr.htm
There are no unnecessary complexities in details or elaborate curves. Their design is simple, straight to the point and impactful to the viewer. We see that organic materials are reduced to its simple, geometric shapes, which is what we would also observe in Cubist paintings. We observe similar traits when we see Joseph Binder’s works:
http://www.collectarc.com/195201.jpg
http://laurawolcott.files.wordpress.com/2010/05/fortune-magazine-cover-joseph-binder.jpg
http://www.pokernationusa.com/new-york-world-s-fair-1939-by-joseph-binder-framed-24x32.html
Our eyes are first drawn to the large shapes that dominate the poster, which is important if you want to sell the viewers the meaning or the message. After the images, we see the text, which clarifies the viewers that they’re seeing. Their graphic designs are pictorial definitions of Postcubist Pictorial Modernism.
Sorry for the lack of spaces between paragraphs. Even I'm having trouble reading this wall of text. I'll try not to forget it next time.
DeleteAs we discussed in class, there is a process our eye goes through when first viewing work: the bold, basic geometric shapes hit us first, then we move to the verbiage to clarify what we're looking at, leading us to some sort of call to action telling the viewer to get more information.
DeleteThat is very true David. I clicked on the link of Binder's "Answer the Call' poster, and although those words are at the top of the poster, and are a decent size, my eyes immediately are drawn to the red cross first. Then I read the words, and I don't even realize until later that it is a door that is opening up to the red cross too.
DeleteI like the point you make about the scale of the subject matter being important in getting the message across to the viewer immediately. Posters' primary subject matter/focus during this time period was centered around the war--gaining support, boosting morale, persuading citizens to purchase bonds, etc. It was important to grab the viewer's attention right away in a poster that didn't demand five minute's of one's time to read. The message could be easily seen and comprehended immediately.
DeleteCassandre believed that “Designing a poster means solving a technical and commercial problem....in a language that can be understood by the common man." He used a lot of bold colors and geometric shapes, in his mainly two dimensional pieces. Each piece integrated images, text and well though out composition to get his point across. It was said he used a lot of stencils in his work. His work was related to synthetic cubism a generalized, more geometrically simplified and flatter style involving overlapping planes sometimes sharing one color. This can be seen in his Thomson Poster: 1931. He uses dark bold colors on a faded background to provide some pop, overlapping both image and text, both providing movement throughout the poster because of the angles they were placed on.
ReplyDeleteJoseph Binder was known for his work which focused on the reduction of geometric forms, on color contrasts and the psychological impact of colors. He applied his techniques of reductive compositional principles (taken from Cubism and De Stijl) to his posters. For example the one he designed for the New York World's Fair in 1939, combining usage of color, composition, and text.
Although both designers used cubism they applied their own styles to puss their pieces to further in order to make their messages clear. By adding text that worked with their images and playing with composition they allowed further involvement in their work from the audience.
Megg’s History of Graphic Design
http://pinterest.com/pin/167970261073546266/
http://flyergoodness.blogspot.com/2011/09/cubism-design-by-m-cassandre.html
http://arthistory.about.com/od/glossary_s/a/s_synthetic_cubism.htm
http://www.aiga.org/medalist-josephbinder/
That is a good quote that you've brought up, it explains the gist of his philosophy in designing posters. I also didn't know that Cassandre used stencils in his work (I've just heard of him in last class, after all), and it makes sense that he would use that tool. So thank you for bringing that up.
DeleteI agree with david, i like the quote you used in the first sentence it describes what he wanted his art to convey. I also agree that even though both designers are influenced by this movement, they incorporated their own style into their work, differentiating them.
DeleteJohn, I love that you said their work allowed further involvement from the audience. This is exactly what effective visual communication does! It connects with the viewer, emotionally engages and encourages them to take action.
ReplyDeleteA. M. Cassandre worked as a poster designer using inspiration drawn from cubism and surrealism. His work used simple shapes and drew from cubism in the way that the objects were often depicted from from one viewpoint and abstracted such as in his work "United States Lines" (1) made in 1928. This piece of work shows how the ocean liner is simplified by zooming into the ship and used three basic colors. The use of type in this poster is incorporated into the picture itself and broken up as well to become abstracted so it merges into the image but is still readable.
ReplyDeleteJoseph Binder also used Cubism as an inspiration for his poster art. He reduced his images to flat, geometric shapes that had colors contrast. I think what was most interesting about him was that in after years of success as a poster designer, he turned away from it to focus more on his abstract art. (2) "7A" made in 1968 shows his work developed from a simplified form that was drawn from his earlier work of simplifying shape and form like cubism. However, this piece of work shows even more simplification of the form so that it it becomes more like Suprematism rather than Cubism.
(1) http://www.artfixdaily.com/artwire/release/6663-%E2%80%9Ctitans-of-the-sea%E2%80%9D-extended-at-international-poster-gallery
(2) http://www.wyethalexander.com/Joseph-Binder
Kitty, notice how Cassandre places importance on the spacing between the letterforms in the United States Lines text by making it white and reversing out the letters. A very cool visual optical effect occurs as a result. This treatment seems to offer the same breaking down of planes as cubism does and yet we are still able to read it. Very cool example!
DeleteI agree on your points how both artists evidently were influenced by cubism in their works. Your examples definitely justify how you talked about the reductive, geometric, and colorful qualities, however, I couldn't help to notice that I felt like I haven't seen any hints of surrealism in Cassandre's work. Maybe I'm mistaken?
DeleteThe 7A painting is a great example of how an artist progresses throughout their career yet still keeps their interest and style at heart. As you mentioned, the painting is composed only of flat geometric shapes, showing that he was still exploring how far he could reduce his artwork. 7A also reminds me of suprematism since it is nonobjective and can be argued that it is "art for art's sake." It also reminds me of an origami layout or architecture, as if an industrial designer would have been behind the design.
DeleteI think that the United States Lines poster is a really nice example of how Cubism inspired Cassandre's work. The abstract image is cut up by color and shape (Cubism) yet you can still make out what they are (smokestacks). I think this is a relevant piece because it really shows how Cassandre takes Cubism to another level and really integrates the text with the image.
DeleteAdolph Mourmon was a french painter and commercial poster artist. His work shows a clear influence of the art form cubism. His work is very abstract and bold; for example in his Harper's Bazaar Cover from 1939 he uses different shapes to make the abstract face in the center. He also uses a variety of bold texts. This piece is also two-dimmensional and flat. His poster Grande Quizaine from 1932 was a little different but still shows the influence of cubism. The background is lat but the circle is three-dimensional and looks like it is placed on top of the poster. He uses different shapes and texts to arrange a very interesting composition.
ReplyDeleteJoseph Binder was an Austrian designer who was also influenced by cubism. One poster that showed the influence of cubism was his Ski Vacation Giclee Print. He uses a variety of colors and shapes; his use of lettering is bold and and big. In his New York World's Fair poster from 1939 he also uses a variety of color. This poster is a little more abstract because he uses different shapes to make the scene in the poster. He used bold text at the bottom to create an interesting composition that balances off the top.
sources:
http://www.designishistory.com/1920/am-cassandre/
http://www.aiga.org/medalist-josephbinder/
http://cache2.allpostersimages.com/p/LRG/15/1569/7TJDD00Z/posters/binder-joseph-austria-ski-vacation.jpg
http://www.aiga.org/uploadedImages/AIGA/Content/Inspiration/aiga_medalist/MD_BinderJ_WorldsFair_640.jpg
-Rande Archer
Rande, that World's Fair poster marks America embracing modernism!
DeleteA.M. Cassandre: Both A.M. Cassandre and Joseph Binder were influenced by previous art movements in their work, especially Cubism. A. M. Cassandre especially liked using iconographic images and symbols in his designs. He also integrated flat planes of solid color, which became prevalent in the cubism movement. One of the things that Cassandre did that made him a post cubist pictorial modernist, however, was his strong ability to integrate the images he used with text. It all became part of one composition instead of the text being an afterthought and placed at the bottom or top of the page. He even created his own typefaces, including Bifur, which he used in many of his designs (1). One of his most famous poster designs includes the 1931 design for the ocean liner L’Atlantique (2)(3). His use of geometric shapes to reduce images is a classic example of cubism, which shows how much it has influenced his work. He also utilizes another method, which is using scale to exaggerate how large one object is from another (ocean liner and tugboat). Another poster design that I think shows how much Cubism has influence Cassandre is Dunkerque, 1932 (4). There are only a few colors used and although there is a little more detail then L’Atlantique, the images are still broken down into basic geometric shapes. It is advertising a night train ferry and the lighthouse (again using extreme exaggeration in scale to prove a point) is lighting up the water to show the ferry the way to land. The light is simply a large triangle shape of color.
ReplyDeleteJospeh Binder’s design was influenced by Cubism in the way that he uses pictorial design to communicate to the audience. “The hallmarks of his work were natural images reduced to basic forms and shapes, like the cube, sphere, and cone, and two flat color shapes used side by side to represent the light and shadow sides of a figure or object (5).” One of the posters that really stick out to me as being influence by Cubism is his poster design for the 1939 New York World’s Fair (6). The poster is taking elements from the fairground and the NYC skyline and reducing them to simple geometric forms. He only used three colors for this design and overall I think the composition is nice. The thing that makes is more then just a cubist design is the way that Binder laid out the text. The images and the text work together and form one composition instead of the text being one design and the images another.
(1) http://www.prepressure.com/fonts/interesting/bifur
(2) http://www.cassandre-france.com/posters/latlantique-1931-ref-200002.html
(3) Meggs
(4) http://www.cassandre-france.com/posters/dunkerque-1932-ref-200067.html
(5) Meggs page 295
(6) http://www.aiga.org/medalist-josephbinder/
Upon doing research on what Dunkerque means, I found it clever of Cassandre use triangular shape to be a light from the lighthouse, with the basic colors of blue, yellow and red. I love the image of the poster and what it represents, but I do find all the type to be a bit distracting. But, according to http://ske5.blogspot.com, “he only used capitals in his designs as he believed…were more legible, especially when seen on a large scale…type is not a separate element but is integrated with the image to create the unified concept of the design.”
Delete-Jasmine Berry
Cassandre's thoughts about only using capitals is intriguing! I'm not sold on that mindset. We rely on ascenders and descenders when it comes to reading for they offer hints as to what the letter is even before we really focus on it. ALL CAPS negates that making the eye work a little harder to differentiate one letter from another. All caps certainly works but in limited amounts, maybe call outs or headlines, but try reading a lot of text written in all caps. Not too pleasant!
DeleteThe cubism art movement encompassed drawings and paintings that emphasized two dimensionality. Figures were abstracted through geometric shapes and planes with contrasted and fractured objects and points. It has been said that, “The Cubists challenged conventional forms of representation, such as perspective, which had been the rule since the Renaissance. Their aim was to develop a new way of seeing which reflected the modern age.” (1) Artists like A.M. Cassandre and Joseph Binder created work that had many characteristics of cubist art.
ReplyDeleteA.M. Cassandre was known for his bold geometric posters during the early twentieth century. Following the hallmarks of cubism, Cassandre’s work is made up of broad, flat, colorful planes. His designs are simple, but still interesting and successful as two dimensional pieces. His Grand-Sport poster is an excellent example of this. (1) His Wagon-Bar piece is another example of how to incorporate type and image in a simple and organized way. The type is made up of a simple sans-serif typeface with flat plain colors. (2)
Joseph Binder’s work also showed a lot of cubist influence. His compositions are very simple and geometric. It has been said that he is extremely skilled at “demonstrating his control over pictorial elements and geometric reduction.” (3) He was known for reducing natural images to geometric shapes and had great success with it in pieces like in his poster, “New York World’s Fair.” (4) In his poster for International Advertising Art he even uses simple geometric shapes like rectangles and triangles to create a simple but unique typeface for the poster. (5) Both of these artists show many signs of cubist influence and were successful employing this style.
(1)http://farm8.staticflickr.com/7170/6542706729_0808b2ea77_b.jpg
http://khensarling.files.wordpress.com/2009/11/cri_4530.jpg?w=265
http://www.drleslie.com/Contributors/binder.shtml
http://www.aiga.org/uploadedImages/AIGA/Content/Inspiration/aiga_medalist/MD_BinderJ_WorldsFair_640.jpg
http://vangeva.com/joseph-binder/
Cassandre's Wagon-Bar piece does present this cubist approach. The use of black and red help connect the imagery to the type, but there is still a visual separation between them. Would this piece be more successful if the text found at the bottom was moved up and interacted/engaged with the imagery more as opposed to sitting directly below it?!
DeleteI also used Joseph Binder's New York World's Fair poster as an example of how his work was influenced by Cubism. I think this is a really good design to call out because he is using basic shapes and colors and turning them into a design. The silhouette of the skyline and the beams of light can still be made out even though they are completely abstract and I also like how the type is laid out in this poster design. I agree that the designs overall are simple but they are also very successful.
DeleteIt’s no surprise that cubism, credited as being the most influential visual art style of the twentieth century (1), has influenced the work of these two designers. Originating from two well-known artists, Pablo Picasso and George Braque, cubism was an art movement that rejected the traditional perspective on nature and forms leaning towards abstract shape to create physical forms (2). Applying that to design creates interesting an outcome. Now the outcome I speak of doesn’t mean some completely thing new or amazing was birthed but more so a new approach or method.
ReplyDeleteWith both having a common influencer, Binder and Cassandre are different but similar. In Binder’s work, in his design Binder worked on geometric form reduction, color contrasts, and the psychological impact of colors; In Cassandre work he also focused on reduction of geometric form with broad planes of color. What makes their work interesting, As John stated before in his post, in included the audience more. With aligns with Cassandre belief that “Designing a poster means solving a technical and commercial problem…in a language that can be understood by the common man” (3). This quote says everything that I feel about the direction that cubism sent Binder and Cassandre, a breakdown of images, information, made to be easier to digest to the average person.
(1)/(2) http://www.metmuseum.org/toah/hd/cube/hd_cube.htm
(3)http://www.artyfactory.com/art_appreciation/graphic_designers/cassandre.htm
Joseph Binder
http://www.aiga.org/uploadedImages/AIGA/Content/Inspiration/aiga_medalist/MD_BinderJ_WorldsFair_640.jpg
http://www.vangeva.com/wp-content/uploads/2012/01/1453847344_28492e7e3c.jpg
A.M. Cassandre
http://www.moma.org/collection_images/resized/479/w500h420/CRI_211479.jpg
http://www.moma.org/collection_images/resized/286/w500h420/CRI_211286.jpg
Derek, this is worth a repeat: “Designing a poster means solving a technical and commercial problem…in a language that can be understood by the common man.” That is exactly what effective visual communication is supposed to do! When designing try to talk to your intended audience in a language they understand and can relate to!
DeleteSpice this up with a persuasive message and sounds like advertising to me! What if advertising is not a persuasive message from the advertiser to the "common man". An attempt to solve the advertiser's problem. The more creative the message gets the more attention it calls! I am so crazy about advertising, and I just had my "Christmas" watching the Super Bowl ads. I think at this point needles to say my major is advertising. :)
DeleteIt is our job to engage, motivate and inspire the viewer to take action.
DeleteThat quote is on point, especially when dealing with the examples everyone has been mentioning throughout their comments. With the main purpose of poster art throughout this time period being to actually have a purpose communication is a crucial factor. Like we touched on in class these posters could in some cases be responsible for life or death (whether it be someone the poster targeted or the artist for stepping out of line) so it was extremely important that the idea being conveyed was not misinterpreted and seen in a negative way to a lot of the public.
DeleteThe hallmarks of cubism are the ’breaking down’ of form and space into geometrical shapes.
ReplyDeleteIn contrast to traditional painting styles where the perspective of a subject is fixed in one time and space, cubist work can portray the subject from multiple perspectives and multiple lapses of time.(1)
Cassandre achieved statements by combining telegraphic copy,powerful geometric forms,and symbolic imagery created by simplifying natural forms into almost pictographic silhouettes.From 1923 until 1936 he revitalized French advertising art through a dramatic series of posters.(2) Cassandre's bold,simple designs emphasize two-dimensionally and are composed of broad,simplified planes of color. By reducing his subjects to iconographic symbols,he moved very close to synthetic cubism.
Joseph Binder like A.M Cassandre also used a more reduce art form where the subject matter was define to simple geometric shapes and use color contrast to the the features of the art work.
(1) http://toffsworld.com/lifestyle/art-information/cubism/
(2) Meggs' History of Graphic Design
(3) http://flyergoodness.blogspot.com/2011/09/cubism-design-by-m-cassandre.html?m=1
(4) http://www.aiga.org/medalist-josephbinder/
(5) http://toffsworld.com/lifestyle/art-information/cubism/
This reduction of form you speak of is a great way to streamline out unnecessary elements in a design. It helps to make the remaining elements more important in the communication.
DeleteA.M. Cassandre's graphic design techniques show influences of Surrealism and Cubism. Cassandre's "bold, simple designs emphasize two-dimensionality and are composed of broad, simplified planes of color." By combining telegraphic copy, powerful geometric forms, and symbolic imagery created by simplifying natural forms into almost pictographic silhouettes, Cassandre achieved putting together brief statements. One unifying device employed by Cassandre was the use of contour line common to various spatial units.(1) An example of one of Cassandre's "bold and simple designs" is his Grande Quinzaine: 1932, where he incorporates powerful geometric forms to the design as well. (2) His Maison Prunier: 1916, is another example of how to unite image and text in a very simplified way.(3) Cassandre also exaggerated in his geometrical shapes (as well as text at times) to a point where it was the first thing you should look at, making the piece very bold, and then drawing our eyes to his simple way of introducing text into the image. An example of this is his Chemin De Fer Du Nord - Vitesse-Luxe-Confort: 1935.(4)
ReplyDeleteAnother great graphic designer that was influenced by Cubism as well as the work of Koloman Moser, is Joseph Binder. The hallmarks of his work were natural images reduced to basic forms and shapes, like the cube, sphere, and cone, and two flat color shapes used side by side to represent the light and shadow side of a figure or object.(1) An example of Binder's work includes the New York World's Fair poster of 1939, he incorporates natural images reduced to geometrical shapes, as well as the usage of color and text.(5) In 1952, Binder created a poster for the Association of American Railroads. This poster had a very strong communicative power, Binder used a very simple image to make an eye catching message. He incorporates flat color shapes used side by side to represent the light and shadow side of the object.(6)
Although both designers were influenced by Cubism, both had their strategies in visual communication skills. By incorporating color, text, simplicity, contrast, boldness, and geometrical shape into their work, both designers gave their audience the space to get involved in their own way.
(1) Megg's History of Graphic Design Page 291-292 and Page 295
(2) http://www.designishistory.com/1920/am-cassandre/
(3) http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A1015&page_number=1&template_id=1&sort_order=1
(4) http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A1015&page_number=6&template_id=1&sort_order=1
(5) http://www.aiga.org/medalist-josephbinder/
(6) http://www.aiga.org/medalist-josephbinder/
We had a chance to view the Association of American Railroads poster in class (http://www.aiga.org/medalist-josephbinder/). The bold, red triangle form in the upper right commands attention. It's simple geometric shape is a beautiful contrast to the "ornamentation" and reductive forms found on the left of the composition. The red fights a good visual fight with the left side!
DeleteCubism was a truly revolutionary style of modern art developed by Pablo Picasso and Georges Braques. With this style, artists attempted to breathe new life into artistic traditions. The Cubists challenged conventional forms of representation, such as perspective, which had been the rule since the Renaissance. Their aim was to develop a new way of seeing which reflected the modern age.
ReplyDeleteA.M. Cassandre was one of the great poster designers of the 20th century. He emphasized two-dimensionality in his works by using bold designs and broad planes of color. All of his works had simple and reduced geometric abstract forms, which portrays Cubist ideals and influences. He also designed various Art Deco typefaces like Bifur, Acer Noir and Piegnot. He thought capital letters were easier to read, so he only used them in his designs. The way he integrates type and image is the epitome of his design. In these two examples of Cassandre’s work, it is evident his use of flat blocks of color, and overlapping shapes and images, drawn from the Cubist style.
http://www.popartuk.com/g/l/lgA120101.jpg
http://www.citrinitas.com/history_of_viscom/images/modernism/cassandre07.jpg
Joseph Binder had a large impact throughout Europe and the US as well. He applied reductive compositional principles derived from Cubism to his posters. In his design he focused on the reduction of geometric forms, on color contrasts and the psychological impact of colors. In one example below, Cubism is apparent in his poster design. The portion of the train and tracks are made up of a series of various geometric shapes, and some overlapping. There is a stark contrast in colors as well.
http://www.aiga.org/uploadedImages/AIGA/Content/Inspiration/aiga_medalist/MD_BinderJ_Train_640.jpg
http://www.artyfactory.com/art_appreciation/art_movements/cubism.htm
http://www.artyfactory.com/art_appreciation/graphic_designers/cassandre.htm
http://skellerarthistory.wordpress.com/2012/05/03/a-m-cassandre/
http://www.aiga.org/medalist-josephbinder/
Sam, Cassandre's Wagons Lits Cook poster has an effective play of colors. (http://www.citrinitas.com/history_of_viscom/images/modernism/cassandre07.jpg) The repetition of color found in the illustration is carried into the type. This is a wonderful way to bring the two different elements together. Notice the tight spacing between the bottom of the image and the top of the letterforms. This is also found in the illustration and helps cement their union. Very smart use of type and image!
DeleteCubism was one of the most influential visual art styles of the early twentieth century. (1) It inspired a lot of movements, not just in fine art, but also among designers of the XX century.
ReplyDeleteA.M. Cassandre used some of the main principles of cubism in his work. Cassandre’s bold, simple designs emphasize two-dimensionality and are composed of broad, simplified planes of color. (2) By reducing his subjects to iconographic symbols, he moved very close to synthetic cubism. (2) Cassandre achieved concise statements by combining telegraphic copy, powerful geometric forms, and symbolic imagery created by simplifying natural forms into almost pictographic silhouettes. (2)
In an advertisement poster for Dole (4) Cassandre created an interesting composition with basic silhouettes, making simple shapes recognizable and appealing to the viewer. The emphasis of the image is not in the details of the design, but in the interaction of shapes. The type on the poster is also very geometric, which complements the design and goes well with the image.
Joseph Binder also relied on cubist ideas in his designs. He applied reductive compositional principles derived from Cubism and De Stijl to his posters. (3) In his design he focused on the reduction of geometric forms, on color contrasts and the psychological impact of colors. (3) The hallmarks of his work were natural images reduced to basic forms and shapes, like the cube, sphere, and cone, and two flat color shapes used side by side to represent the light and shadow sides of a figure or object. (2)
In a travel poster (5) the image of the lady is very stylized, it was created primarily using contrast and basic shapes. The type also interacts with the image, because of color choices and the overall similarity in style (the sans serif typeface reminds the viewer of a basic shape, found in the simple lines of the image).
(1) http://www.metmuseum.org/toah/hd/cube/hd_cube.htm
(2)Megg’s History of Graphic Design
(3) http://www.aiga.org/medalist-josephbinder/
(4) http://3.bp.blogspot.com/_KeJuKKeeXiU/TCmlmviliMI/AAAAAAAAAJ4/5TkOpOzNtoU/s1600/cassandre_dole_1936x.jpg
(5) http://www2.onb.ac.at/siteseeing/schnee/galerie1.htm
The bold placement of the woman in Binder's travel poster is wonderful to see. Notice how important the blank, negative space on the left is! Would this piece be as strong if this was a symmetrical layout?
DeleteHow can the type be integrated into the design even more effectively? Perhaps the blue sky extended on top and the text in the bottom left moved up into the extended bue sky area? The power of the visual and the text would focus our eye towards the top of the design as opposed to top and bottom in the current layout.
I think that a symmetrical layout would have shown less movement, so it would have been more static and uninteresting.
DeleteI also think that it's not the best use of type, even though it does interact with the image somewhat. Maybe it would have been interesting if it was positioned diagonally so that it follows the shadow of the woman's body.
Both Cassandre and Binder were influenced by cubism.Cassandre had an exceptional ability to integrate powerful symbolic images and hand-drawn, sans-serif lettering to achieve a unified composition and concise message.(1)
ReplyDeleteFrom 1923 until 1936 Cassandre revitalized French ad¬vertising art through a stunning series of posters. Cassandre's bold, simple designs emphasize two-dimensionality and are composed of broad, simplified planes of color. Cassandre achieved concise statements by combining telegraphic copy, powerful geometric forms, and symbolic im¬agery created by simplifying natural forms into almost picto-graphic silhouettes. (2)
Binder combined various influences, including Koloman Moser and cubism, into a pictorial graphic design style with strong communicative power. The hallmarks of his work were natural images reduced to basic forms and shapes, like the cube, sphere, and cone, and two flat color shapes used side by side to represent the light and shadow sides of a figure or object. (2)
http://www.fulltable.com/vts/f/fortune/covers/1932/xxx01.jpg (3) Joseph Binder, Fortune Cover, August 1932.
http://www.fulltable.com/vts/f/fortune/covers/ab/75.jpg (4) A. M. Cassandre, Fortune Cover, March 1937
(1)www.csun.edu/~pjd77408/DrD/.../ArtDeco.html
(2)Meggs’ History of Graphic Design
Wow, the fortune cover is surprisingly dark and ominous compared to many of the his designs I've seen! http://www.fulltable.com/vts/f/fortune/covers/ab/75.jpg
DeleteA.M. Cassandre was offered him to work in a print shop which later on made him became a well-known poster designer. He was inspired by cubism and surrealism, he added those elements into his work.(1) was made in 1928. In this art piece, the combination of illustration and typography is somehow catchy yet, he brings in the element of surrealism into it.
ReplyDeleteJoseph Binder a German designer, cubism was the style that influenced him work. In his work uses various geometric shapes and high contrast in his work. Such as this (2), he used simple shapes to build up the buildings and used colors and dots to made it into the real night city.
1.http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A1015&page_number=5&template_id=1&sort_order=1
2.http://www.google.com/imgres?start=79&hl=zh-TW&client=firefox&hs=DP8&sa=X&tbo=d&rls=com.yahoo:zh-TW:official&tbm=isch&tbnid=6sx9L_NItd3QdM:&imgrefurl=http://www.studydroid.com/printerFriendlyViewPack.php%3FpackId%3D25412&docid=S_CxTCfjOZvlxM&imgurl=http://studydroid.com/imageCards/card-1545025-front.jpg&w=237&h=300&ei=Ap8NUfToNoji0QGvxYHwBw&zoom=1&ved=1t:3588,r:2,s:100,i:10&iact=rc&dur=858&sig=110975176395333513092&page=3&tbnh=177&tbnw=133&ndsp=48&tx=64&ty=89&biw=1600&bih=772
Can you offer some insight and thoughts on the examples you've posted? What works in each design? What could be altered to enhance the posters' communication?
DeleteI have personally become so impressed by the one of the image you provided, , NEderlandsche NYverheidsten TOonstelling By A. M. Cassandre. This works perfectly portrays the utilization of cubism but I have to recognize that it has been probably one of the best uses of typography by this artist. Someone the "cubist feeling" is also reflected on the different scales of the type and mostly placement. Great Work.
DeleteCassandre's "NEderlandsche NYverheidsten TOonstelling" is an interesting example I haven't seen before. I think it is a great example of the integration of type and image. I like the way the words play with the texture of brick to make it seem more like the poster rather than just text that was put on last in a default spot.
DeleteCubism influenced the work of A. M. Cassandre and Joseph Binder. Inspired by cubism and surrealism, Cassandre emphasized two-dimensionality in his works by using bold designs and broad planes of color. All of his works had simple and reduced geometric abstract forms, which shows his influence from cubism (1). Cassandre also did letterforms, and used typography in a lot of his posters. He was able to integrate words and images to achieve concise yet powerful statements. He designed several typefaces for the Deberny and Peignot type foundry, including Bifur and Acier Noir. Bifur is very geometric and shows a cubist influence in its design (1).
ReplyDeleteInspired by Cubist and DeStijl movements, he designed elegant compositions and geometric patterns which helped to build up his reputation as an innovative advertising and graphic designer. Binder reduced the subjects of his design into their simple of geometric forms, using color contrasts to stress their features. Joseph Binder believed in psychological impact of colors (2). Binder eventually abandoned commercial art and forayed into the artistic venture with abstract, non-representational work. Starting in 1960, Binder devoted himself to painting, and exhibited in the Museum of Modern Art, and in his home country in Vienna’s Museum of Applied Art. Joseph Binder died in 1972. (2).
(1) http://skellerarthistory.wordpress.com/2012/05/03/a-m-cassandre/
(2) http://vangeva.com/joseph-binder/#ixzz2JmydGsFe
It is cool to see this cubist influence appearing in Cassandre's type designs. The idea of breaking type down, but still retaining legibility is pretty awesome!
DeleteI agree, it's cool to see the cubist influence in some of Binder's work as well. Specifically in the example you shared. It's funny how the exact same shapes that are used to make up the composition of the poster are emphasized in the type itself, while still remaining legible like you said. You just don't see type like this very often in today's society.
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DeleteIt's amazing and jet interesting how Binder used the composition of the letters in this poster, even though they are on top of the poster they have such a connection with it.
DeleteCubism was a revolutionary art movement that was developed in the early 20th century, pioneered by Pablo Picasso and Braques. It was known as the first method of abstract art, which was developed in result of a world that was changing at unprecedented speed. Cubism challenged conventional forms of representation, such as perspective, and still-life like artwork (1). Both A.M. Cassandre and Joseph Binder created work that was highly influenced by the Cubist movement.
ReplyDeleteA.M. Cassandre shows trademarks of Cubism in a number of his posters. He could create a relationship between the imagery and lettering. There was an absence of interest among designers in the products being advertised, but Cassandre felt it necessary to emphasize the object as well as the lettering (2). Cassandre’s famous L’Atlantique is a prime example in showing how Cubism is incorporated In his work (3). Here, Cassandre creates this very static, near abstract image of the ocean liner using very geometrical shapes, while still allowing the image to be recognizable. By utilizing the various shapes and planes of the boat, he creates a very flat and static design that is reminiscent of Cubism.
Joseph Binder was an Austrian born designer who also shows compositional principles derived from Cubism. For example, his poster for the Vienna Music and Theater Festival, 1924 is a direct reference to Cubism (4). The figures are minimal and reduced to flat, geometric shapes, however the proportions and indications of light and shadow retain a sense of naturalism in the design. He utilized these triangular, sharp edges and repeats them throughout the design.
Both Binder and Cassandre were artists that helped propel poster design into what it is today. After studying both of their pieces, it is apparent that the key to their success was being able to take complex images and being able to flatten them down to more simple, relatable objects.
1. http://www.artyfactory.com/art_appreciation/art_movements/cubism.htm
2. http://brittanygay.wordpress.com/2012/05/01/biography-1-a-m-cassandre/
3. http://brianpaulnelson.com/2009/12/06/am-cassandre/
4. http://designhistorytimeline.info/joseph-binders-poster/
This comment has been removed by the author.
DeleteFlattening and reducing and yet still maintaining communicative power. The question, how far is too far? Have you ever tried designing using this approach?
DeleteYes, I have actually. I believe that sometimes design is more successful when it is simplistic, rather than busy. This approach is most effective and often used for branding and logo design. A reduced image can look cleaner and more professional, in my opinion. However, I am not saying that the opposite approach necessarily translates to poor design.
DeleteIt is interesting that Dan has made the connection between the reduced, graphic shapes of Cubism and modern-day logo design. It is the test of a great graphic designer (and, of course, every design student) to create a clean, simple mark that will convey a brand message and often evoke some other form. It is easy to see the connection between the simplified, dimensional planes of Cassandre's L'Atlantique and similar vector forms that suggest depth in the digital realm-- for example: http://www.seeklogo.com/images/A/Arden_Realty-logo-FB8B51C41D-seeklogo.com.gif
DeleteA. M. Cassandre was a brilliant poster designer of the 20th Century. His use of bold colors and airbrush made his posters be recognizable. The work of Cassandre had influence from Cubism from his use of simple geometric forms and planes to create his pieces. (1)For example, his famous poster L'Atlantique has a geometric design and large plane of color that stems from cubism influence. The cubism influence with Cassandre's style of air brush, bold color, and depth creates a wonderfully balanced poster.
ReplyDeleteJosh Binder style of poster design focused on reduction, which was an influence from cubism. The use of reduction in Binder's posters created were heavy on geometric Binder's work would go beyond just the reduction and simplicity by the use of texture, shading, and dimension in his designs.
(1) http://skellerarthistory.wordpress.com/2012/05/03/a-m-cassandre/
http://www.designhistory.org/Poster_pages/Airbrush.html
http://www.aiga.org/medalist-josephbinder/
http://www.artyfactory.com/art_appreciation/graphic_designers/cassandre.htm
Jessica, you've found some brilliant examples here. Can you offer thoughts on them? What aspects of the designs do you think work? What don't? Even looking at them with a contemporary eye, what design elements are successfully connecting and communicating with you?
DeleteFrom 1923 until 1936, A.M. Cassandre revitalized French ad¬vertising art through a stunning series of posters. Cassandre's bold, simple designs emphasize two-dimensionality and are composed of broad, simplified planes of color. By reducing his subjects to iconographic symbols, he moved very close to syn¬thetic cubism. His love of letterforms is evidenced by an exceptional ability to integrate words and images into a total composition. Cassandre achieved concise statements by combining telegraphic copy, powerful geometric forms, and symbolic im¬agery created by simplifying natural forms into almost picto-graphic silhouettes.
ReplyDeleteBinder combined various influences, including cubism and the work of Koloman Moser, into a pictorial graphic design style with strong communicative power. The trademarks of his work were natural images reduced to basic forms and shapes, like the cube, sphere, and cone, and two flat color shapes used side by side to represent the light and shadow sides of a figure or object. (1) In Cubism, Cubist artists would shy away from detail and concentrate mainly on the form or shape of an object by breaking the object down into geometric shapes. For example, they would replace a detailed face with rigid lines and shapes. Some pieces had dull, mundane colors, while others used colors dynamically to enhance the form of the object. Other cubist artists used fragmentation and overlapping to push the object further away from physical reality, sometimes to the point where the object was not identifiable. (2)
I know that it said to locate lettering and type design of Cassandre and Binder’s work, but I found a CD cover design that is basically exactly influenced from Cassandre’s work, especially the one of “Bifur Typeface” from 1929. The moment I looked at the cover, I knew that it was influenced by him. I don't know the name of the album, but I do have a picture, so when I find out how to post a picture of it that I took, I'll post it here (if that is possible).
(1) https://www.inkling.com/read/history-of-graphic-design-philip-meggs-5th/chapter-14/postcubist-pictorial-modernism
(2) http://charles_hom.tripod.com/cubhistory.html
Amelia, please see the addition to my initial question posted above! ;)
DeleteI just saw it! I noticed your cover that you found and I see that there is purple that replaces the grayed out areas of the original 1929 font. It might be that the designer took the concept of the Bifur typeface from 1929, and added his own twist to it. In the cover that I found, the red and black comes hand in hand, so maybe adding a grey area to replace the missing legs of the text would have been too much since the red legs fill out the rest of the letter. To the right, there is some grayness that lays behind the jumbled up letters that adds a cool edginess to the rest of the cover. In my opinion I absolutely love both covers!
DeleteThere is an animated playfulness to the letterforms... give off a vibe of energy!
DeleteA.M Cassandre’s worked in commercial art: Dole, travel agencies, and harpers bazaar. He also designed many fonts, which he incorporated into his work. He also designed the iconic YSL monogram and logo. Much of his work design was influence by cubism, his poster designers were comprised of two-dimensional geometric forms, which were blocky, rigid, bright colors, and sometimes sleek.. His work appears more stylized than Binders work, as it was focused in more on machinery and the technological advances at the time. His cubism influence is apparent in his poster design for Pivolo Aperitif, the font is bold, flat and blocky. The bird is flat and comprised of geometric shapes, it’s behind a more naturalistic glass. It reminds of those tipping-in-the-glasses birds, it’s probably not though.(1)
ReplyDeleteCubism and DeStijl influenced much of Joseph Binders work, he designed for various magazines, the 1939 New York worlds fair poster, and worked for travel companies designing posters. “He focused on the reduction of geometric forms, on color contrasts, and the psychological impacts of color” (2) His work was more “Realistic” than Cassandres’s, as forms were more rounded *kind of puffy* + he used shadows and highlights, which is seen in his “Austria”poster. (3)
http://www.trueartworks.com/large/0000-0796.jpg
http://www.aiga.org/medalist-josephbinder/
http://cache2.allpostersimages.com/p/LRG/15/1569/7TJDD00Z/posters/binder-joseph-austria-ski-vacation.jpg
I too was struck by the Pivolo Apertif design which is why I showed it in class! http://www.trueartworks.com/large/0000-0796.jpg
DeleteI really like the Pivolo Apeirtif design - I think it's a perfect example of Cassandre's work/postcubist pictorial modernism. Though the text is pushed to the top and bottom, it still feels more integrated due to its color palette and playful nature that matches the style of the image. It's impressive how the entire work is comprised of simple shapes, yet it is so well done that you still get the idea and immediately know what that it is a bird and glass of wine. The poster is unified by the use of these flat geometric forms in both the image and the text.
DeleteI previously didn't know that A.M. Cassandre designed the YSL logo, but it is certainly interesting to look when talking about his type design. For example, in class we talked about visual tension and the playful dynamism that can be achieved with type. The "S" in the YSL logo creates an interesting movement that dips and moves through the other letters while also forming interesting negative shapes. Using type like this is just one way to activate a composition (as opposed to the "black boxes" we looked at in class!)
DeleteThe Cubism movement of the early twentieth century that allows artist to become independent of nature and take a more abstracted, angular and analyzed. The movement has a great impact on the upcoming artist and designers of the era. A.M. Cassandre’s work for instance reflected some cubist principles, especially his posters that were geared toward machinery and innovation. He used simple geometric forms like planes to create the allusion of space in his design. For instance, his poster “Automobiel - & Motorrijwiel Tentoonstelling”(1), although it is more post cubist, uses formal and abstract shapes to convey the feeling of innovation and scientific inquiry. The posters have a lot of information but are balanced and bold with color. In contrast, Josh Binder poster designed posters that were geared toward having a few large, simplified forms as the focal point. Binder’s World Fair poster (2) is one example of his method. They have very reduced but had bold impact through his use of shading and texture.
ReplyDelete(1) http://www.designishistory.com/1920/am-cassandre/
(2) http://www.aiga.org/medalist-josephbinder/
Interesting points you've brought up, how these work artists were influenced in different ways by cubism. How they both lay out their composition, is important in distinguishing their works from each other.
DeleteI agree! Both artists were influenced by the same movement but they were a bit different in their designs. I like Josh Binder's designs more.
DeleteThe tennis poster what you linked in from Cassandre is GREAT! It is definitely stands out because when you look at it, you have the feeling it is going to hit you in the face! That's why it is so eye catching and gives a feeling of the speed how hard those tennis players hit the ball!
DeleteI like how you you differentiated between the two artists although they were influenced by the same general concept of Cubism. Both your examples for Cassandre and Binder helps to realize what the different ways they composed their work. Cassandre's “Automobiel - & Motorrijwiel Tentoonstelling” is a great example of how he geared towards machinery and innovation, with the use of simple geometric forms.
DeleteAshley, what are your thoughts on Cassandre's "Willi's Wine Bar" design? Here're the URL if others want to comment: http://www.nytstore.com/Willis-Wine-Bar-by-AM-Cassandre--1984_p_6638.html
ReplyDeleteCassandre's “Automobiel - & Motorrijwiel Tentoonstelling” poster has much layering. Does this cause some visual confusion? By confusion I mean, does your eye get confused as to where to look first, second, third, etc?
ReplyDeleteCubism was a revolutionary style of modern art. It voluntarily took priority of abstract art in response to a world that was changing with unprecedented speed. Cubism concentrated on running away from traditions of Western art and completely devote to the new era (1).
ReplyDeleteA.M Cassandre was considered one of the great poster designers of the 20th century. Cassandre's posters had a specific purpose, which was to celebrate and communicate “the new modes of luxury transport”. By drawing upon the ideas of Cubism, his designs focused on the application of simple or geometric shapes that created a very abstract and yet natural picture to convey his message. In “Nord Express', 1927 (Unpublished Poster featuring Cassandre's 'Acier Noir' typeface)” A.M Cassandre utilizes stylized curves with the geometric abstraction; somehow the designs place decorative style of an object in an important stage before its functional qualities (2).
Joseph Binder an Austrian-born designer, he mostly applies reductive “compositional principles derived from Cubism…” (3. Binder’s posters carry characteristics of reduction of geometric forms and utilization of color contrasts, it is known that the color choices were used for psychological methods possibly to get the message across. Graphis 29, 1950 cover by Joseph Binder is a great example of color choice and geometric abstraction.
http://www.fulltable.com/vts/f/fortune/covers/1932/xxx01.jpg (4) This image I could not find if Joseph Binder was the true creator but it displays a perfect example of reductive cubism as well as color choice.
(1) http://www.artyfactory.com/art_appreciation/art_movements/cubism.htm
(2) http://www.artyfactory.com/art_appreciation/graphic_designers/cassandre/nord_express_1.jpg
(3) http://www.aiga.org/medalist-josephbinder/
Maria, I love how the feeling of the dissected and broken type is reflected in the style of the imagery in Cassandre's Nord Express poster. They both seem to draw inspiration from cubism.
DeleteA.M. Cassandre was a Ukrainian-French typeface designer, painter and founded the design agency Alliance Graphique. He was a student of the affluent school École des Beaux-Arts in Paris, France. He reached the peak of his career in the 1930's when he was given the opportunity to reach a wider group of clients increasing his popularity globally through Europe and the U.S. (1) He's the genius mind behind many famous typefaces today. Examples would be Bifur in 1929, and Peignot in 1937. He's been influenced by cubist and surrealist elements in many of these innovative types. Bifur is a mix of thick opaque lines, and transparent colors as an interpretation of the image of letters. It's been used in many famous advertisements and covers. An example is Natasha Bedingfield's album cover "Strip Me"(2). One of Cassandre's most famous pieces can be found in Meggs' A History of Graphic Design(3). In his advertisement for Nord Express he portrays the modernism of the train with clean and simple shapes and emphasizes its power by having us look up at its towering iron form from a track-level perspective. He also emphasizes the speed of the railway with straight lines that disappear rapidly into the distance. These all include elements of cubism that make his work stand out among the rest.
ReplyDeleteSources:
(1)http://www.designishistory.com/1920/am-cassandre/
(2)http://www.elledecor.com/cm/elledecor/images/3H/04_meggs-lgn.jpg
(3)http://www.linotype.com/358/amcassandre.html
Natasha Bedingfield's album cover "Strip Me" is another excellent example! Thanks for finding this.
DeleteIt's interesting to see A.M. Cassandre's fonts in contemporary artwork. It doesn't seem dated and 'old school', because of the basic shapes that are used. I think that's what keeps it relevant even today.
DeleteI've always been fond of the link between Cubism and graphic arts. When first beginning my design education, I found myself most drawn to Modern artists who experimented with the flattening of shapes into graphic elements, especially when done so to create color, texture, or depth. I can recall a time in painting class when my classmates created soft, blended, attractive emulations of Renaissance and Impressionist greats– and I tried to make everything look like Juan Gris (and, most of the time, failed miserably). In the case of Joseph Binder:
ReplyDeletehttp://desaingrafisindonesia.files.wordpress.com/2007/12/1453847344_28492e7e3c.jpg
I immediately notice an influence of Cubists such as Fernand Leger:
http://uploads1.wikipaintings.org/images/fernand-leger/the-four-cyclists.jpg
particularly in large blocks of saturated color and minimal, simplified faces. In the type of this particular work, for example, I notice similarities between the shapes used to simplify letterforms and the shapes used by Paul Klee:
http://upload.wikimedia.org/wikipedia/commons/a/ac/Paul_Klee_-_Tempelg%C3%A4rten.jpg
In the work of A.M. Cassandre:
http://www.nytstore.com/assets/images/AE1016.jpg
I notice an influence of Cubists such as Amédée Ozenfant:
http://3.bp.blogspot.com/-xTa7YRxfaFM/T4rWXpcXNvI/AAAAAAAAFFc/MU7SvhssScI/s1600/ozenfant+5.jpg
in his dramatic hard edges of round shapes and subtle gradients to suggest depth. The term "graphic," after all, is applicable to both painting and design, be it a vase:
http://www.artyfactory.com/art_appreciation/art_movements/art%20movements/cubism/still_life_with_mandolin.jpg
or a color block, rule, or letterform. And while the style of graphic arts developed largely out of the technology with which it was made, the execution of different styles was clearly influenced by relevant art of the time.
I personally think there is a well use of rhythm thought the composition, talking specifically about the geometric shapes that create the forms and the "curvy" line that works like a connection tool between the two elements. Color didn't make me happy at first, however it works great for the kind of mood is trying to imply. At last the geometry lines are pretty successful, it definitely portrays cubism and reduction of details.
ReplyDeletemy previous comment was referring to "Willi's Wine Bar" by A.M. Cassandre - 1984
ReplyDeleteAlthough the Cubism as movement didn't last very long it had a lasting influence on Art Deco which first appealed in 1920s in France but flourished internationally during the 30s and 40s. It is an eclectic style which combines elements from Cubism, Futurism and Eclecticism. Cassandre used Cubist elements in his work, such as simple bold design, simplified planes of colors. He reduced his subject to iconographic symbols which is very much like the synthetic cubism. He had an extraordinary talent how to integrate words and images into a total composition. He also created new typefaces such as the Bifur, Acier and Peignot typefaces.
ReplyDeleteCubism was one of the influences which influenced Joseph Binder's pictorial graphic design style. His hallmarks were natural images reduced to basic forms and shapes, like cube, sphere, and cone and two flat color shapes used side by side to represent the light and shadow sides of a figure or object.
IMAGES:
http://www.artyfactory.com/art_appreciation/graphic_designers/cassandre.htm
http://www.aiga.org/medalist-josephbinder/
SOURCES:
http://www.artyfactory.com/art_appreciation/graphic_designers/cassandre.htm
Meggs' History of Graphic Design page290-297
I think it's interesting how you say that Cassandre interplay "realistic" with flat and linear graphic shapes. It is an interesting way to think about that in the way of art. I like the relationship that comment has with his "Willi's Wine Bar" poster. The image has a glowing feeling to it, making it seem more realistic but yet is still made of simple shapes.
ReplyDeleteThe way you describe Cassandre's methods definitely helps us see what elements are put into his image of the 'Normandie' poster. He did have an amazing way of integrating words and images into one composition and his talents didn't stop at just that. I am glad you mentioned what other typefaces he created because it gives us a way of seeing his talents all together.
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