Presentations May 13th

Leo Burnett
He started his own company known today as Leo Burnett Worldwide. He focused on creating an identity for the product, not obessing about how it was better than other products. And thus created some of the most well known icons such as Jolly Green Giant, Toucan Sam, Pillsbury Doughboy, Tony the Tiger, and the 7up 'spot.'

Clement Mok
His roots go back to Apple, as a software publisher/developer. Breaking off from apple he founded Studio Archetype and NetObjects Inc. While very good at logo designs, he was also versatile enough to do package design and product development.

Stefan Sagmeister
He began working for Kalman's M&Co design company. He then went to form his own design copany, Sagmeister Inc and has since then designed icons, graphics and packaging for clients such as the Rolling Stones, HBO and Time Warner.

Presentations May 11th

Tibor Kalman
After escaping Hungary and moving to the United States, Kalman began to work in what later became the first Barnes & Noble becoming the supervisor of their in-house Graphic's department. Then Liz Trovato, who later became his wife, and Kalman started up the Graphic's girm M&Co. He went on from there to become editor of Colors magazine.

David Carson
More of a Typography artist. His signature style used non-mainstream photography and his characteristic 'grunge style.' He became the art director of Transworld Skateboarding magazine. He went on to open his own studio and "work(ed) for Pepsi Cola, Ray Ban (orbs project), Nike, Microsoft, Budweiser, Giorgio Armani, NBC, American Airlines and Levi Strauss Jeans, and later worked for a variety of new clients, including AT&T, British Airways, Kodak, Lycra, Packard Bell, Sony, Suzuki, Toyota, Warner Bros., CNN, Cuervo Gold, Johnson AIDS Foundation, MTV Global, Princo, Lotus Software, Fox TV, Nissan, quiksilver, Intel, Mercedes-Benz, MGM Studios and Nine Inch Nails."

Matthew Carter
Another type designer, he helped with the transition from physical type faces to digital. Creating typefaces like the ones for the Bell Telephone Company. He created Bitstream Inc. with Mike Parker, one of the largest type foundries. He went on to start his own comapny Carter & Cone with Cherie Cone.

Presentations May 8th

Presentation One: Nevil Brody

• Influenced by punk, London college of printing
• Fuse Magazine
• No limitations, no holding back
• Research studios – change the cover of Time magazine
• Contrast in color, and unique typographic layout

Presentation Two – Art Chantry

Given by Me.

Presentation Three – Storm Thorgerson

• Pink Floyd moon cover
• Photography unusual
• Born in 1944 in potters bar, Middlesex
• Hipgnosis
• Munch, Dali, Maurice Sendak

Presentations May 6th

We covered three designers today. The first designer was April Greiman, who seemed to have a real knacked for combining various mediums in one harmonious unity. Victoria and I chose her as the best Graphic Designer out of the bunch because of her smooth transition from doing work by screen printing, and then later on moving to the computer. My quote that sticks foremost in my mind is the one that April's mother told her “You can’t fake the cha-cha.” The second designer we looked at was Milton Glaser, who did some amazing works such as 'I <3 New York' and the bob dylan poster in the History of Graphic Design book. He founded Push Pin Studios, and really explored color and form. Finally we talked about Seymour Chwast, another member of Push Pin Studios. This presentation was probably the best in encomusing the artist's creative style.

Thesis Statement

I had a hard time finding books for my artist. I went into the Lake Geneva Public Library and asked them to check the entire inter-library system for Wisconsin and they could not find any books! It was rather frustrating, but then I used the Carthage system and found a few. I'm looking for some biographical material but really having a hard time. Any suggestions?

In any case this is my thesis thus far:

Art Chantry, a graphic artist better known for his logo and poster work, uses a combination of psychedelic and pop art to create a unique style of design.

Psychedelic- Poster Mania

Welcome to the 1960s a time of hippies, drugs, and revolution. The poster designs from this chapter were really a combonation of contrasting colors with text, seemingly impossible to read. The section of the reading begins by talking about the social climate under which this style really grew, and then continues on to talk about some artist known in the psychedelic style (Robert Wesley and Victor Moscoso to name a few). When I looked into this more online, I found a link I wanted to share with everyone, it's a quick tutorial for making psychedlic posters using the computer.

http://psd.tutsplus.com/designing-tutorials/create-a-60s-psychedelic-style-concert-poster/

What I found really intresting was poster 21-48. Looking at the other examples it dosent seem to quite fit. I really like this last poster, and the unique style it convays.

Chapter Twenty and Twenty One

Chapter Twenty: Corporate Identity and Visual Systems

Chapter Twenty is a flood of logo and identity system development. Covering from the 1950s all the way to 1981 (creation of MTV logo) the pages of this chapter are filled with the iconic images of various famous logos still in use today. In the 1950s, television was just starting out, but already it was a powerful media. Images had to be designed specifically for the first TVs and their tecnical limitations. Looking at CBS in particular and the development of their logo we find an intresting quote: "Stanton reminded Golden of the old advertising adage, "Just when you're beginning to get bored with what you have done is probably the time it is beginning to be noticed by your audience. (Page 400)". It struck me as an important phrase in the fact that its true. My marketing professior said it takes a person five times before they will remember something, and the same applies to logos and assosiating that with a company. The CBS logo and other logos, AT&T, abc, and IBM, are still in use today showing how powerful some of the images created in this era became to be. Another aspect of this chapter is the development of the Olymic logo and the 'male' 'female' basic sighns and their development into things like on page 419. So basic of designs but yet so important and powerful. We get to hear about computers begin introdcued in this chapter, and that is my question for this chapter - what kind of programs were used? Can we see an example of how the programs worked?

Chapter Twenty One: The Conceptual Image

This chapter turns our eye from logo design, and the growth of idenity systems back to poster and its growth tword modern poster designs. Looking through the chapter, just flipping through and looking at the posters it seems almost a revival sometimes of earlier poster designs. Earlier styles meeting modern photography and concepts on layout and color. Graphic artist started to, once again, combine the fine art with the poster design. Starting with a simple image and few words, but evolving into the phycadelic style (page 438 to 439) of two color images filling a page and the text hidden admist the image. What I found intresting was the stated printing method. "In almost casual collage approach, designs were created from torn and cut pieces of colored paper, then printed by the silkscreen process" (page 425). I thought this was an archeic form of printing, and I wanted to know more about the process so I looked up what exactly is silkscreen printing is on wikipedia and will post what I found here for the class:

Screen printing is a printing technique that uses a woven mesh to support an ink blocking stencil. The attached stencil forms open areas of mesh that transfer ink as a sharp-edged image onto a substrate. A roller or squeegee is moved across the screen stencil forcing or pumping ink past the threads of the woven mesh in the open areas.

Screen printing is also a stencil method of print making in which a design is imposed on a screen of silk or other fine mesh, with blank areas coated with an impermeable substance, and ink is forced through the mesh onto the printing surface. It is also known as "silk screening" or "serigraphy".

Traditionally silk was used for screen-printing, that's where the name silk screening comes from. Now a polyester is used to do the printing.

http://en.wikipedia.org/wiki/Screen-printing