In the recent discussion about credits Design Maven turned the conversation towards history. In so doing he brought up many names of people he believes have been entirely or partially ignored by historians. And this got me thinking about what makes a particular designer’s contributions important enough to be historically relevant. We know the obvious (canonical) names because they either promoted themselves well, were celebrated throughout their career, were extraordinarily prolific, left behind an icon or two, etc. But until Meggs wrote his book, graphic design history was not taken too seriously. Our historical heros were simply professionals doing their jobs. And some important ones fell through the cracks. It was not unlike the work-a-day movie directors of yore, hired by the studios to follow a shooting script. Only a few real visionaries were considered “artists.” Now, because film is so popular virtually every director is at least considered as potentially historically significant. Likewise, designers look to certain leaders (stars, if you will) as having historical resonance, in part because we like to think of graphic design as more than just a service. If only for our own self-esteem, it is an art with a legacy that demands preservation.
Anyway, a topic of discussion for all of us (and especially the would-be historians) is: Who has exerted major historical influence on the connected fields, graphic design, advertising. typography, and illustration? What well known or unknown individual, studio, or school has made a real and indelible impact on you personally, professionally, even culturally?
We can even break these down into three sometimes overlapping parts.
For me:
Personally: Brad Holland. I first met him when I was 17 and had no idea what the word “typography meant.” He introduced me to type, and its relation to image. He also taught me that illustration needn’t be Norman Rockwell alone, but an expressive, symbolic, and interpretative art form.
Professionally: Herb Lubalin. He was the first art director/designer that caught my eye after entering the field. I copied his typography for years, and never did it as well. He showed that type could be molded like clay. It was sculptural in his hands. He made type speak in pictorial ways.
Culturally: Seymour Chwast and Milton Glaser. Like the Beatles they influenced the style of my formative years (the 60s) with images, colors and ideas that made the moment come alive. And I’d also add Victor Moscoso, because building on the basic forms of Push Pin, his psychedelic poster designs were a brand new language designed exclusively for MY generation. His work was a frontal attack on modern universality.
And here’s one more category:
Forgotten: For me Ruth Ansel, who with Bea Feitler, was art director of Bazaar during a formative moment when photography was beginning to overtake illustration as an expressive editorial medium. She went on to art direct the NY Times magazine, Vanity Fair, House and Garden.
Suggested Reading:
Alexey Brodovitch
Graphic Design: A Concise History
The Dictionary of Graphic Designers
American Modernism
Lester Beall
Typographica
Graphic Design History
Graphic Style
Typology
Design Literacy
Graphic Design Timeline
makes a particular designer’s contributions important enough to be historically relevant
It might simply be that the designer, or work, was "in the right place at the right time" - and noticed by the right people.
Of course... there will always be the instance of a great logo...etc... and the company becomes more known. But I think a part of the "problem" is that you actually have to research in a lot of cases whom actually did the designing.
It is unlike other art in that sense... we do not (usually) sign the bottom of say a poster... and our names do not get recognized.
But until Meggs wrote his book, graphic design history was not taken too seriously.
And that, is definately another reason, I am sure. The university I attended is only NOW considering making "The History of Graphic Design" a class for the Art HIstonians to tackle. Sure, we had a class titled "Design Theory and Crit." - but it was the Megg's book (and a few others - edited by someone named Heller? jk) - we learned from.
Maybe because "Graphic Design" or should I say "Graphic Designer" is such a 'new' profession. ? ( I might be wrong here)
so.. to the real question.. Personally - of course, my college professors, but Clif Meador, mostly. His ideas, and focus, is what kept me in the game. He posed a lot of interesting questions, and I admire his personal work.
Professionally and Culturally - I just have not been working long enough (at the right places) to have an answer... maybe I will post that in a year or two :).
On Jan.09.2004 at 09:16 AM