Corporate leadership and government-sponsored programs helped usher modernism into American graphic design during the first half of the twentieth century. Discuss how government-sponsored programs (specifically, the Rural Electrification Administration, the Federal Art Project of the Works Progress Administration and the U. S. Office of War Information) helped usher modernism into American graphic design. Identify designers and links to examples of their work that aren’t found in Meggs’s A History of Graphic Design in your post.
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| Keeping up with science (LOC) Weisberg, Shari,, artist. Keeping up with science Illinois : Federal Art Project, WPA, [between 1936 and 1939] |
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| See America. Welcome to Montana. Richard Halls Designer Works Progress Administration, Federal Art Project, NYC Maker United States Travel Bureau, Washington, D.C. Commissioner |
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| No enemy sub will dare lift its eye if you lend your Zeiss or Bausch & Lomb bino culars to the Navy : pack carefully, include your name and address : send to Naval Observatory Washington D.C. [between 1941 and 1943]. Library of Congress Prints and Photographs Division. Reproduction Number: LC-USZC2-5161. |
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| Keep mum - the world has ears / Grigware. Edward T. Grigware. [between 1941 and 1943]. Library of Congress Prints and Photographs Division. Reproduction Number: LC-USZC2-5554. |
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| New Deal WPA poster - Federal Art Project |
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| East side, West side exhibition of photographs. Anthony Velonis. 1938. Library of Congress Prints and Photographs Division. Reproduction Number: LC-USZC4-6179. |
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| Cellar ceilings must be fire-retarded : Keep cellars clean / MW [monogram]. Martin Weitzman. [1936 or 1937]. Library of Congress Prints and Photographs Division. Reproduction Number: LC-USZC2-5397. |
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| Rural Electrification Administration Advertisement Source: NRECA |
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| Design for Container Corporation of America. Egber Jacobson |
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| Design for Container Corporation of America. Egber Jacobson |
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| Design for Container Corporation of America. Cassandre |
The Federal Arts Project by the Works Progress Administration created a cultural poster project that helped illustrators, designers, sculptors, painters, and artists keep their jobs in a time where it was hard for them to survive financially (1). It gave them a crutch that enabled them to continue designing, allowing a new design style to take place. The project produced more than 35,000 posters advertising programs including “health and safety programs, cultural programs including art exhibitions and theatrical and musical performances, travel and tourism, educational programs, and community activities” (2). These artists drew inspiration from the Bauhaus movement, pictorial modernism, and constructivism to create posters using silk-screen and a flat-color, reductive style, as opposed to the more illustrative style that was popular in that time (1).
ReplyDeleteThe great thing about the poster project was that it involved so many different designers and artists, and the posters covered a wide range of topics and ideas to promote. Anthony Velonis designed a poster for the Exhibition of Oil Paintings by Well Known Artists using silkscreen; the imagery isn’t as simple and reductive as other WPA Federal Art Project posters, but it still asks you to fill in certain information in the imagery that’s intentionally left out (3). It’s also not very flat color, but it’s not exactly a realistic interpretation of a museum gallery either.
(1) Meggs’ A History of Graphic Design
(2) http://memory.loc.gov/ammem/wpaposters/about.html
(3) http://postersforthepeople.com/posters/exhibition-of-oil-paintings-by-well-known-artists.html
Velonis' poster looks as though it could have been made within the past recent years; I think this shows how far along and forward-thinking the modern movement was at the time. I like how he didn't emphasize one artist but gave the easel a lifelike quality that allowed it to represent the participating artists.
DeleteDuring this time I feel like the focus was set so much on getting the traditional work force's jobs back that those of designers and artists were often overlooked. It's crazy how many people were employed through the Federal Arts Project and creation of so many posters. It's also interesting to notice how prevalent posters were at that time versus how they are today.
DeleteGovernment-sponsored programs helped to usher modernism into American graphic design in many ways. Programs like the Federal Art Project of the Works Progress Administration hired hundreds of artists who made over 100,000 works of art which encompassed the key aspects and characteristics of modernism. These works dealt with cultural tendencies and movements of the modern day such as rapid growth of cities, industrialism, World War I, etc. Adolph Gottlieb was an artist that joined the Artist’s Union and Easel Division of the FAP and was revered for his abstract and expressionist paintings. Mark Rothko was an artist known for his figurative portraits in the Treasury Relief Art Project. Both artists played significant roles in government-sponsored programs.
ReplyDeleteExamples:
Mark Rothklo: pictify.com
Adolph Gottlieb: www.adamscottneal.com
http://www.theartstory.org/org-wpa.htm
http://gottliebfoundation.org/the-artist/biography/
I didn't think about how they portrayed modernism through the ideas they represented. Visually, they embraced modernism by promoting experimentation of graphics centered around a theme. They were given a lot of creative freedom, and I think that's part of what made these projects so successful and interesting.
DeleteI think its interesting to see Rothko contribute to this program because I don't associate his work to this kind of poster style. It is interesting to see the range of artists that contributed to the program and to see the different kind of work that was contributed to it.
DeleteThe government-funded Federal Art Project of the WPA hired hundreds of artists who collectively created more than 100,000 paintings and murals and over 18,000 sculptures. Some of the 20th century’s greatest visual artists were employed by the Project under the auspices of the WPA, before going on to create Abstract Expressionist artworks in the post-World War II era. Some of those artists were Jackson Pollock, Willem de Kooning, Mark Rothko, and Arahile Gorky, just to name a few. The Federal Art Project division of the WPA tended to favor figurative art rather than abstract art; a trend that resulted in many of the century’s greatest abstract painters (Rothko, Pollock, Krasner, etc.) creating rather uncharacteristic art. One artist who was known to have the most success in this program was Arahile Gorky. The head of the Mural Division, Burgoyne Diller, assigned Gorky to draw some sketches for the Administration Building of Floyd Bennett Field in Brooklyn, NY for a mural devoted to aviation. The specifications for the mural stated that it should incorporate “early legends and stories of man’s aspiration to fly in a romantic period…. [Portraying] the first attempts to build flying machines, through a combination of painted and photo murals.” Since he never traveled in an airplane, and appalled by the notion of realistically depicting aeronautic history, Gorky wanted to give viewers a sense of flying rather than simply depicting people in airplanes. Originally, Gorky developed a ten-panel piece entitled Aviation: Evolution of Forms under Aerodynamic Limitation, which was to be divided onto four separate walls. The murals would also include photographs of aeronautical subjects by Wyatt Davis (Stuart Davis’ brother), intermixed with Gorky’s painting. (1)
ReplyDeleteI decided to choose his work because as the years of 1935-1937 (a time period when he worked on certain works for the WPA), his works get more figurative and Abstract Expressionistic. His use of color and composition becomes more apparent within each work of art. You have to literally sit there and extract his paintings, which are full of random colorful shapes and lines, to try to figure out what he is saying. I feel that helped usher in modernism in graphic design because after the war ended and the ‘50’s and ‘60’s came rolling in, designers were more free and modern and colorful with their works than ever before. Take a look at Andy Warhol for example- he was an innovative illustrator/graphic designer/advertising designer/communication designer/filmmaker/everything ever and the majority of his posters, paintings, and prints are full of color and “pop”, a design era that followed abstract expressionism, and a major shift for the direction of modernism.
Works cited:
(1) http://www.theartstory.org/org-wpa.htm
Links to more of Gorky’s works:
http://artobserved.com/2009/10/go-see-philadelphia-arshile-gorky-at-philadelphia-museum-of-art-through-january-3-2010/ (Aviation: Evolution of Forms under Aerodynamic Limitations) (lots of examples of his work is on this website) http://www.reproduction-gallery.com/oil_painting/details/copy_artist/1179983436/masterpiece/Arshile_Gorky/museum_quality/Aerial_Map_1935.xhtml (Aerial Map 1935) http://artsy.net/artwork/arshile-gorky-enigmatic-combat (Enigmatic Combat, 1936-1937)
The WPA commonly refers to the many agencies established by the Federal Government in the 1930s during Franklin D. Roosevelt’s administration. The WPA Federal Art Project allowed for actors, musicians, visual artists, and writers to continue their professional careers. A poster project was included, and thousands of posters were designed. This called for the posters to be created and sent out for government-sponsored cultural events. These events could cover a number of different topics, with different purposes. The flat color characteristic of silk-screen combined with what was taken from Bauhaus, pictorial modernism, and constructivism. This allowed for an end result of modernist style that contrasted with the traditional illustration style that was an extremely popular American graphic communication during this time.
ReplyDeleteMeggs’ A History of Graphic Design
http://www.theartstory.org/org-wpa.htm
Examples:
http://vintagraph.com/collections/wpa-posters
http://www.theartstory.org/org-wpa.htm
I really like how all the WPA posters are different and unique, but they all use a similar style. You can definitely tell the similarities just by looking at them. I love the reductive, simple style, and there are so many graphic designers that use this style today. Some of the posters in the link you provided definitely look like it's something that could have been designed today. It's interesting to see the progress of graphic design over time, and how closely it relates to our design style these days.
DeleteThe flat color characteristics truly are apparent among all of the posters. They share similar design ideas, but are unique in their own ways. I agree with what Katie says when she says some of the posters look like they could have been designed today. Whenever I pass a poster in a subway station or down the street, I always stop for a second to identify what design era the designer adopted to use in his current designs. It's amazing to see how past designers are passed down through time.
DeleteThe link you gave with all the poster examples show that they all have similar traits between them. They all have flat, silk screen appearance to them and don't seem to use bright colors. It is interesting to see the different kind of things the posters advertised such as teeth cleaning to preserving wild life.
DeleteIn 1935, President Roosevelt created the Works Progress Administration to provide job opportunities. The WPA Federal Art project allowed actors, musicians, artists and writers to continue their jobs. The poster project allowed for artists to create thousands of powers for government sponsored events. They used silk screen posters inspired from Bauhaus, pictorial modernism and constructivism. (1) This allowed for the modernist style to emerge in America and make it very popular as a form of art.
ReplyDeleteWilliam A. Dwiggins was a type designer, printer, illustrator, and graphic designer. He studied at the Frank Holme School of Illustration in Chicago. He was the one who invented the term graphic design. (2) He was known for his book design, uncommon title page arrangements and two column book format. He used stenciled ornaments and collage.
(1) Visual Communication Study Guide
http://stoneletters.wordpress.com/2012/09/20/when-only-a-good-scotch-will-do-mr-dwiggins
“Willie Dwiggins” doodling http://www.linotype.com/3245-21454/startinganewcareerasatypedesigner.html
After reading this I realized that I never even knew who created the term "graphic design." I read online that Dwiggins "described his activities as an individual who brought structural order and visual form to printed communications, that an emerging profession received an appropriate name." It's impressive how far along our profession has come when you see that it has barely been "officially" around for 100 years (he coined the term in 1922).
Deletehttp://www.designtalkboard.com/design-articles/whats-design.shtml
The Works Progress Administration (WPA) initiated a poster project in the interest of stimulating he economy and helping those in creative professions (artists, musicians, etc.) to keep their livelihoods. The campaign jumpstarted the creation of 35,000 posters on the subject of cultural/government-sponsored themes (1). Taking inspiration from the Bauhaus, Pictorial Modernism, and Constructivism, the artwork transformed into a new modernist movement that utilized silk screening and flat colors. As the advantage of using art to serve business purposes was acknowledged, Americans began to get used to the new style of graphic design and advertising. Alexander Dux’s (2) and Frank S. Nicholson’s (3) “See America” poster promotes tourism, a healthy way to pump money into the economy. Bits of pictorial modernism can be seen in he silhouetted figures as well as the Bauhaus philosophy of blurring the line between fine and applied art.
ReplyDeleteThe Rural Electrification Administration (REA) was created under Roosevelt’s New Deal Program with the intent of getting electricity to rural areas (4). It also helped revive the economy by providing jobs (5) The posters created for the REA evoked American patriotism and urged US citizens to do their part for their country, emphasizing a sense of unity and community. As seen in this poster from an unknown designer, (6) electricity was portrayed as a life-changing commodity. Seeing so many designs begin to appear throughout our nation, Americans accepted these new visuals with the WWII mentality of getting rid of neutrality and traditionalism (1).
(1) Megg’s History of Graphic Design, p 350 & 357
(2) http://vintagraph.com/collections/wpa-posters/products/see-america-wpa-travel-poster
(3) http://vintagraph.com/collections/wpa-posters/products/see-america-wpa-poster
(4) http://www.moma.org/explore/inside_out/2012/03/22/lester-beall-and-the-rural-electrification-administration/
(5) http://vintagraph.com/collections/wpa-posters/products/see-america-wpa-poster
(6) http://www.energyfordevelopment.com/2010/05/rea-electric-cooperatives.html
I really like poster design (2), the light, medium, and dark color of brown really creates a flat surface and the hints of the grayish green color really helps contrast the composition, as well as the fading blue in the background. The text sits nicely right at the bottom of the design. It really captures the portrayal of a rural part of America.
DeletePoster number 3, See America (Cowboys), is definitely a great example of the Bauhaus philosophy of blurring the line between fine and applied art. The hints of brown and green help distribute contrast within the composition. The silhouette is a part that can be admired as pictorial modernism, making it a persuasive advertising tool.
DeleteThe "Blue Caves" poster with "See America" text and the silhouette of two tourists visiting stalagtites and stalagmites in shades of light and dark blue. The design uses strong solid colors mixed with different shades of blue to represent lighting. The poster is visually effective and the type works well even though it is just placed at the bottom of the page.
DeleteThe Works Progress Administration (also known as WPA), developed by then President Roosevelt in 1935, created a opportunity for artist to provide for themselves and their government, The Federal Arts Project: an on-going poster contest of sorts that would help in stimulating the economy. Over 35,000 poster were produced during the campaign project, all of which varied on different cultural/government-sponsored themes. Over the years, the artists that participated in theses projects took inspiration from the up and coming movements of the day, including but not limited to movement such as Bauhaus and Pictorial Modernism. one common element is the use of flat color to create dimensionality. The overlaying and laying of flat but vibrant color is simply beautiful and eloquently executed. This in turn created the "new: style of American graphic and advertising design. One poster I stumbled upon on the Library of Congress' database shows a poster for free technical and trade class. Although the color choice does not such a large punch as others I have seen, I can still draw to it because of its diagonals, slanted but aligned san serif text and use of overlaying elements. It effectively conveys the aspect of innovation and modernism.
ReplyDeleteMegg’s History of Graphic Design
http://memory.loc.gov/cgi-bin/query/r?ammem/wpapos:@field%28NUMBER+@band%28cph+3f05294%29%29
Other examples:
http://memory.loc.gov/cgi-bin/query/i?ammem/wpapos:@field%28NUMBER+@band%28cph+3b48899%29%29:displayType=1:m856sd=cph:m856sf=3b48899
http://memory.loc.gov/ammem/wpaposters/highlight7.html
http://memory.loc.gov/ammem/wpaposters/highlight1.html
The Market poster really shows the use of silk-screen and a flat-color, and reductive style. The flat colors give us a scene to look at and imagine the market place. I like how the work, Market, is larger then the rest of the text in the sentence and that it is in red separating itself from the rest. It shows its inspiration from the Bauhaus movement as well as Pictorial Modernism.
DeleteI really like your links to some examples of poster designs during the Works Progress Administration. Some of the posters are really illustrative but many are more abstract or use flat colors and silhouettes. Some of them that really caught my eye were on the WWII design page. The silhouette of the face and the image within it is really striking and modern. I like the composition a lot and it is different then the posters we have seen previously.
DeleteOne thing I love about the posters that came out of the Federal Arts Project is the simplicity in flat color and bold lines that many of the posters seem to have. My personal style is much more simple and minimalistic, so I really appreciated how successful those posters were without feeling the need to be too chaotic or overwhelming.
DeleteWorks Progress Administration (WPA), Direct relief for the unemployed was replaced by work opportunities, and billions of dollars were infused into the economy as an average of more than two million workers were paid from fifteen to ninety dollars per month from 1935 until 1941. Launched in the fall of 1935, the WPA Federal Art Project enabled actors, musicians, visual artists, and writers to continue their professional careers. A poster project was included among the various cultural programs. Sculptors and painters joined unemployed illustrators and graphic designers in the studios. As many designs were by artists, it is not surprising that the project took a strong aesthetic approach to typography, which was used as both a compositional element and a message communicator.(1) By March, 1936, the WPA rolls had reached a total of more than 3,400,000 persons; after initial cuts in June 1939, it averaged 2,300,000 monthly; and by June 30, 1943, when it was officially terminated, the WPA had employed more than 8,500,000 different persons on 1,410,000 individual projects, and had spent about $11 billion. During its 8-year history, the WPA built 651,087 miles of highways, roads, and streets; and constructed, repaired, or improved 124,031 bridges, 125,110 public buildings, 8,192 parks, and 853 airport landing fields.
ReplyDeleteMegg's History of Graphic Design
http://www.indiana.edu/~liblilly/wpa/wpa_info.html
Examples
http://upload.wikimedia.org/wikipedia/commons/4/40/Breastfeeding_WPA_poster.jpg
http://chawedrosin.files.wordpress.com/2009/03/a-young-mans-opportunity.jpg
http://images.fineartamerica.com/images-medium-large/10-new-deal-wpa-poster-granger.jpg
http://www.zazzle.com/wpa+posters
When type if combined with image, the impact a piece of work has on its audiences is always increased. It makes the message more understandable and for some more interesting. By adding in the elements of sculpting and painting to a design it could really become interesting. The use of type with these new styles was an effective one. Like you said it is no surprise that the project took a strong aesthetic approach to typography, which was used as both a compositional element and a message communicator.
DeleteOriginally, Americans did not embrace the modernism movement, choosing instead to protest and reject it. Until it soon gained ground in editorial design and book design, with the depression taking place and the start of the world war, many immigrants from other countries began flocking to the U.S. With them, they brought their talent in design.
ReplyDeleteIn order to help boost the economy due to the depression, FDR began The Works Progress Administration Poster Project, helping to employ artist and designers. The program did not discriminate, all types of artistic expression was welcomed. Most of the designs during this program were “silk-screened,” meaning they had Bauhaus, pictorial modernism, and constructivism influences, combined with flat color (1). A poster from this era is “Just a Scratch” poster (2).
The United States Office of War Information was government agency during WWII, which that used broadcast and posters to promote patriotism, inform the public and promote overseas propaganda. An example is David Stone Martin’s "Strong in the Strength of the Lord” poster (3). Poster such as these ushered in a new way on symbolism and advertising and communication to masses.
(1) Meggs’ History of Graphic Design
(2) http://www.hats-plus.com/chronicles/?p=743
(3) http://americanhistory.si.edu/victory/8810638a.gif
The first poster is a really strong design that probably was engraved in the audiences minds. I think this pictorial modernism and constructivists influences are key to speak out to the audience. The simplicity in the designs are easy to remember, but complex when one is trying to form the shapes to what the message is.
DeleteI agree with Jessica about the "Just a Scratch" poster. When I look at the second example you gave, the "Strong in the Strength of the Lord" poster, I definitely see where the influences of Pictorial Modernism, Bauhaus and Constructivism play in, but with a new twist on it. It still has that minimalistic idea, however, the flat background color begins to become not as flat, and that single symbol portrayed in the poster comes more alive—from a simple silhouette that we've seen in previous posters, to something a bit more detailed and life-like.
DeleteI think the first poster was a great representation of the WPA movement. Combining a PSA type advertising campaign with great graphic design in order to truly captivate the audience and portray the exact message they wanted.
DeleteThe corporate leadership and government-sponsored programs gave designers and artists the chance to create works and get paid to do it. It also really helped the American economy. During the war there wasn’t a lot of money or jobs going around, especially for artists, and the government funding they received to design, mainly for war propaganda, was a huge deal. It helped boost design in America and bring more modern design to the United States as well. Artists came from other countries and this also was a large influence for American designers. The Federal Arts Project was established in 1935 and with it over two million copies of 35,000 poster designs were produced. The designs were mainly silk screened “with influences from the Bauhaus, pictorial modernism, and constructivism to produce a modernist result that contrasted with the traditional illustration dominating much of American mass-media graphics of the era.” (1)
ReplyDeleteThe Office of War Information gave commissions to several artists and designs to design propaganda for the war. They also designed posters to promote production. The New York Art Directors Club awarded Jean Carlu for his poster design for the Office of Emergency Management (2). Over 100,000 copies were distributed throughout the country.
Many artists and designers came out of the Federal Art Project and would not have been so successful without it, including Jackson Pollock, and Leon Bibel (3). One designer that I found particularly interesting was Richard Halls. He designed a poster called “See America. Welcome to Montana” (4) for the US Travel Bureau. I think this poster was influenced by the Bauhaus with the simple geometric shapes and silhouettes. It is a good example modernism design in America, unlike the previous more illustrative design that was happening previously.
(1) Meggs, History of Graphic Design, page 357
(2) Meggs Page 359
(3) http://blogs.forward.com/the-arty-semite/tags/federal-art-project/
(4) http://www.wolfsonian.org/explore/collections/see-america-welcome-montana-1
The example of Richard Hall's designs is pretty neat and really captures the the handwork and labor shown in the "Descending" poster. I really like the integration of color used in the poster, it heightens the emotion in this poser. I think the simple, stylized shapes in this poster work pretty well.
DeleteLike you said about the influence of other art movements in the poster designs for these government-sponsored programs—it is evident the use of Bauhaus and Constructivism because of the use of geometric shapes, bold, flat planes of color, or just one flat background color. I looked into some of Beall's posters in which one symbol was used to get the point of the poster across (like a faucet in the poster for the Rural Electrification Administration). These kinds of posters remind me of those used in the style of Pictorial Modernism, like Ludwig Hohlwein's 1932 poster, "And you?" (or Und du?"). The German Imperial flag lays as the background, and the soldier with the steel helmet is the sole subject, with the words written at the bottom. Both styles share a minimalistic aspect.
DeleteI love how this is a perfect example of the power of influence graphic design yields. The propaganda campaign, put into play by the government, took advantage of the persuasive powers of graphic art mixed with a powerful message in order to herd the masses into a particular way of thinking.
DeleteA part of FDR's New Deal, the federal government boosted the Works Progress Administration Poster Project (WPA) in order to stimulate the economy and provide jobs for the unemployed artists. Billions of dollars were inserted into the economy. The program took a strong aesthetic approach to the typography, while using both compositional elements and message communicators. Most design was flat colored, with a combination of post-pictorial modernism and cubism influences. (1) In Shari Weisber’s poster, the artist promotes scientific advancements and awareness, while also complimenting with past styles of influences. (2) Again we see the same integrations of flat colors and pictorial images to promote harvesting in Stanley Thomas Clough’s poster. (3)
ReplyDeleteThe U.S. Office of War Information also advocated artist to produce posters during the trauma of war. Groups of painters, illustrators, and designers were commissioned to produce propaganda. America’s entry into the global conflict was inevitable as the government began to develop propaganda posters to then promote production. (1) Ben Cunnigham’s poster advocates for women to aid in the U.S. Cadet Nurse Corps, while utilizing the strong image of a fellow Cadet Nurse.
(1) Megg’s History of Graphic Design
(2) http://www.flickr.com/photos/library_of_congress/6629875959/in/set-72157628703260971/
(3) http://www.flickr.com/photos/library_of_congress/6629874647/in/set-72157628703260971/
(4)http://4.bp.blogspot.com/_I_1MV9aXK5k/SMPhryR3fyI/AAAAAAAAFqI/XyZhaWBx14E/s400/ww1645-84.jpg
I really like Shari Weisber’s science poster. It definitely has cubism influences, as seen with the geometric shapes mixed abstract form and flat textural colors.
Delete-Jasmine Berry
I think your second poster is very pretty the "LET THEM GROW" from Stanley Thomas. I really like the green, white and this nice deep blue color combination. It is a very simply poster influenced by the Plakatstill with a simply text in the bottom but provides an aesthetic pleasure for the viewer.
DeleteIn 1935 the federal government created the Works Progress Administration as part of President Franklin Delano Roosevelt's New Deal. DIrect relief for the unemployed was replaced by work opportunities, and billions of dollars were inserted into the company as an average of more than two million workers were paid from fifteen to ninety dollars per month from 1935 until 1941. The Federal Art Project that took place enabled actors, musicians, visual artists, and writers to continue their professional careers. A poster project was included among the various cultural programs. Most of the designs were silk-screened. Silk-screen printing's characteristic flat color combined with influences from the Bauhaus, pictorial modernism, and constructivism to produce a modernist result that contrasted with the traditional illustration dominating much of American mass-media graphics of the era.(1)
ReplyDeleteMark Rothko, an amazing artist was employed in the Treasury Relief Art Project division of the Works Progress Administration. Rothko uses simple geometric shapes in his paintings, but the lines that define the shapes are fuzzy and indistinct. In his, "Entrance to Subway" painting he uses abstract compositional arrangements to explore the relationship between the painting and its viewer.
(1) Megg's History of Graphic Design Page 357
(2) http://www.wikipaintings.org/en/search/mark%20rothko%201936/1#supersized-search-242088
(3) http://www.wikipaintings.org/en/search/mark%20rothko%201936/1#supersized-search-242101
I like how the example Artist you used for the Works progress administration was a painter and not a designer. It shows how both artists and designers can be influenced by the same movements and his paintings are not too much different then poster designs created during this time. It looks like he was really influenced by the Bauhaus and De Stijl movements and these are great examples of modernism.
DeleteIn 1935 the Rural Electric Administration (REA) was created to bring electricity to rural areas like the Tennessee Valley. The REA undertook to provide farms with inexpensive electric lighting and power. To implement those goals the administration made long-term, self-liquidating loans to state and local governments, to farmers' cooperatives, and to nonprofit organizations. During this time, artists like Lester Beall took advantage of the opportunity to usher modernism into American graphic design. He made several posters for the REA, reducing pro-electrification messages to elemental signs. For instance, his 1937 poster with the white silhouette of the faucet with the words "running water" across it. The benefits of electricity were presented through signs understandable to illiterate and semiliterate audiences. It was simple and to the point, and could be grasped by almost anyone. Another poster series combined photomontage with the red and white stripes of the American flag. These designs were so well received that in 1939, Beall's posters were among the first to by displayed in the Museum of Modern Art. Here is a link to some other poster designs by Beall, like the one about radio, or wash day, or light. They all use the same approach as his poster about running water.
ReplyDelete(1) http://www.designboom.com/design/electrifying-america-the-posters-of-lester-beall/
(2) http://www.infoplease.com/encyclopedia/history/rural-electrification-administration.html
(3) Megg's History of Graphic Design
I find that poster from Rural Electric Administration, such as Lester Beall definitely have influences reminiscent of pictorial modernism. From the uses of Plakatstil style where objects are simplified, while the subject is detailed to art deco, with the use of geometric shapes and bold colors.
Delete--Jasmine Berry
I agree with Jasmine, you can clearly see the influence of the Plakatstil. No frills just geometric forms and bold colors. I don't particularly like these two posters for REA but it serves its function, conveys REA's message very efficiently. Also I don't understand when there is so much space for the copy why the word "RADIO" is sitting on the arrows? I think it interferences in the legibility a bit.
DeleteAs part of Franklin Roosevelt's New Deal the federal government created the Work Progress Administration (WPA) in 1935 which launched the Federal Art Project. The FAP helped actors, musicians, visual artists, and writers to continue their professional careers. For the help of illustrators and graphic designers poster projects were created. These projects took a strong aesthetic approach to typography, used compositional elements and message communication. From the 1935 until 1939, when the Federal Art Project was abolished, over two million copies of approximately 35 thousands poster designs were produced. The subjects of these posters were cultural events, including theatrical performances and art exhibitions, and public services about health, crime prevention, housing and education.
ReplyDeleteEgber Jacobson was the first design director of CCA (Container Corporation of America). Worked for Walter Paecke who founded the CCA and also known as an advocate and patron and design. Jacobson in his design for CCA used industrial colors gray and brown and mixed with bright colors (red, yellow). A consistent format used sans-sarif type.
Egber Jacobson for CCA:
http://www.fulltable.com/VTS/c/concor/16.jpg
http://www.fulltable.com/VTS/c/concor/15.jpg
http://www.flickr.com/photos/crossettlibrary/5072791666/
Cassandre was also commissioned to work for CCA in 1937. He designed a series that defined American advertising conventions. The traditional headline and body copy were replaced by a dominant visual that extended a simple statement about CCA.
Cassandre for CCA:
http://pacificgraphicdesign.files.wordpress.com/2011/11/cassandre-cca-ad-1938.png
http://www.rare-posters.com/p590.jpg
Source: Meggs' History of Graphic Design page 351-359
Franklin Roosevelt's New Deal the federal government from 1929-1943 brought about a number of changes in America during the great depression. The goal was to progress America into the modern age. The Rural Electrification Administration attempted to provide rural farmers with electricity via companies. A resource most would have no access to otherwise. The Federal Art Project of the Works Progress Administration enlisted the help of thousands of poor artists from the city. Some of the 20th century's greatest visual artists were employed by the Project under the auspices of the WPA, before going on to create Abstract Expressionist artworks in the post-World War II era. Some of those artists were Jackson Pollock, Lee Krasner, Mark Rothko, Arshile Gorky, Philip Guston, Thomas Hart Benton and Stuart Davis. With these two influential elements at play, electricity became more accessible, and artists were in demand. Combined it created a surge of innovation, creativity, and modernized thinking.
ReplyDeleteJackson Pollock-http://files.doobybrain.com/wp-content/uploads/2007/12/jackson-pollock-me.jpg
Lee Krasner- http://www.thousandsketches.com/sketches/0958_krasner_w.jpg
Mark Rothko-http://artinvestment.ru/content/download/news/20081205_mark_rothko_white_center.jpg