Chapter Fourteen - Art Decoratifs

This chapter mainly deals with the evolution of graphic communication and art in Paris, London, and American during World War I.

After World War I a time of economic abundance fell over the victorious, and celebration of the mechanical forms such as in cubism became more and more important. Cubism is best described through the words of Aldous Huxley, " ' producing' not a copy, but a simplified, formalized and more expressive symbol." Thus was born the term that describes the art from this time (1920s-1930s) : Art Deco. With art schools like the Bauhaus promoting the strict De Stijil and decrotive gemoetry helped to express love of the machine while still alowing the creative spirit to be fostered. The actualy term 'art deco' was created from the title of the Exposition Internationale des Arts Decoratifs et Industriels Modernes in Paris. Probably the most intresting part of this chapter is the unique fonts created during this time. In the art deco display type Bifur, the eye is able to fill in the missing parts and read the characters. Poster designs during this time take fragments of imgaes and put them all together in a sort of victorian jumble and use pure geometric shape and color to solve a communications problem.

My only question has to deal with the creation of these works, did they sketch then color? All hand done? How was 14-52 created?