Chivas Regal Sponsored National Art Museum of Sport Exhibition 1980 Winter Olympics
Marget Larsen
Although the graphic design industry was dominated past men in the 1960s, Marget Larsen (1922–1984) forged her own path. She was a designer whose work helped define the San Francisco design aesthetic.
Larsen grew up in Burlingame, California, and worked for Joseph Magnin (JM), a section store known for its trendsetting way. The advertizement, posters and packaging she created with illustrator Betty Brader-Ashley for the JM make were so memorable, they are still treasured today. Larsen'due south cheery and versatile Christmas boxes were specially popular promotions. Printed with assuming typography and ornamentation, the packages were and so colorful and appealing that they negated the need for wrapping paper.
Larsen then joined advertising innovator Howard Gossage at Weiner & Gossage. The bureau created ingenious ads, such equally the wrappers she designed as role of a new look for Parisian Bakery—a groundbreaking utilize of paper bags as a promotional device. She later partnered with Robert Freeman to open Intrinsics, Inc., which offered clients boutique design services and creative consulting. Larsen's typographic skills, inventive designs and instinct for what works advanced San Francisco as a centre of creativity.
1. Parisian Bakery blueprint program, 1961.
2. Joseph Magnin Christmas packaging, 1963.
3. David's Delicatessen packaging, 1966. Robert Freeman, art director; Richard Stearns, author; George Dippel, illustrator.
Gene Federico
Gene Federico
He was called "the art director's art managing director." Factor Federico (1918–1999) elevated the role of typography in advertising and illustrated the ability of clever, uncomplicated graphics. Federico was built-in in New York's Greenwich Village, and it was during his school days that he discovered the piece of work of leading European advertising artists. He was particularly captivated by a Cubist-inspired poster past A.K. Cassandre; Federico responded to its striking geometry and subtle hues, which influenced his early on posters.
Past the late 1940s, after a brief stint in the editorial world, Federico took a task at Grayness Advertising and then Doyle Dane Bernbach. In 1967, he cofounded New York ad bureau Lord Southard Federico, which later became Lord Geller Federico Einstein. Securely immersed in the aesthetics and possibilities of type, Federico once designed a 16-folio booklet titled Love of Apples that showcased his experiments with metal type. For more four decades, Federico crafted visual puns in ads and elegantly integrated text with pictures. He quietly pushed against the boundaries of American advertising design.
i. Print advertisement for Napier fine fashion jewelry, 1981. Anne Conlon, author; William Helburn, photographer; Lord, Geller, Federico, Einstein, bureau.
2. Impress ad for Lauffer crystal, 1970. Dick Lord, writer; Henry Sandbank, photographer; Lord, Geller, Federico and Partners, agency.
three.Woman's Day impress ad, 1953. Doyle Dane Bernbach, bureau.
Neil Fujita
Neil Fujita
Integrating the nuances of fine art and design, Sadamitsu "Neil" Fujita (1921–2010) created iconic record and book covers that showcased his virtuosity. Born in Waimea, Hawaii, Fujita's artistry came to the attention of William Golden at Columbia Dissemination Organisation, who hired him in 1954 to blueprint album covers at Columbia Records. Fujita commissioned work from abstract expressionist painters and leading photographers—and sometimes used his own paintings—to express a visual dynamic that complemented the music'south energy. His vivid painting of circles, stripes
and curves for Fourth dimension Out past the Dave Brubeck Quartet is timeless—as exuberant and rhythmic today every bit when it was first published in 1959.
Wanting to expand the variety of his work, Fujita created a blueprint subsidiary of a public relations house he joined in 1963, establishing Ruder, Finn & Fujita (later Fujita Pattern). Fujita's typographic skills and graphic sensitivity enabled him to produce book covers with memorable details, such as the crimson hatpin with the bulbous head he added to the title of In Cold Blood. For The Godfather, his extension of the top of the G to the d in the championship accentuated the ominous ability of those 3 letters. "I didn't just blueprint the blazon for those book jackets," Fujita said. "I drew it with my quill pen, using india inks and dyes."
ane.The Godfather book cover, 1969.
ii. Westinghouse print ad, 1962.
iii. Dave Brubeck Quartet Time Out album cover, 1959.
Muriel Cooper
Muriel Cooper
Through her work every bit a book designer, researcher and educator, she profoundly affected the fashion information is presented. Muriel Cooper (1925–1994) helped develop early estimator interfaces, breaking basis in the -then-unknown infinite where technology and design meet.
Born in Brookline, Massachusetts, she became a freelance designer at the Massachusetts Institute of Technology Role of Publications in the 1950s. After establishing her own blueprint studio in the early 1960s, she designed the MIT Printing colophon, and was named the MIT Press's design managing director in 1967. Cooper designed the archetype book Bauhaus and oversaw the production of nearly 500 books. She had a lasting effect on the publication of university books throughout the United States.
In 1974, Cooper cofounded MIT's Visible Language Workshop with Ron MacNeil. The integration of blazon, graphic design, engineering, art and animation became the focus of her research. In the 1980s, she became a founding member of the MIT Media Lab. She was the commencement woman granted tenure at the Lab, where she pioneered interface design and encouraged the next generation of designers to experiment.
ane.Bauhaus volume cover, 1969.
2.Communication by Design exhibition encompass, 1964.
3. Screen capture from 1 of several works in progress on three-D information programs that were demonstrated at TED5 by Cooper, and then managing director of the Visible Language Workshop at MIT, 1994.
Lou Dorfsman
Lou Dorfsman
Best known for his complete skill in developing the Columbia Broadcasting System (CBS)'s advertizement and corporate identity, Lou Dorfsman (1918–2008) played a crucial role in building the CBS brand.
A native of New York City, Dorfsman began his tenure at CBS in 1946, afterwards becoming creative managing director of the CBS television network after William Aureate's decease in 1959. Dorfsman was named the director of design for all of CBS and, ultimately, senior vice president and creative director for marketing communications and design. During his fourth dimension at CBS, he did it all. He designed sets for CBS Morn News and Walter Cronkite's CBS Evening News. He produced paper ads. He created annual reports. The print projects he worked on were exemplary, including the limited edition book created to commemorate the commencement manned moon landing, with a grit jacket embossed to represent the lunar surface.
Dorfsman besides oversaw the graphics for the CBS headquarters in Manhattan, known as Black Stone, from the interior signage to the type for the lift-inspection stickers. His "magnum opus," a behemoth typographic work called the Gastrotypographicalassemblage that he directed the overall blueprint of, graced a deli wall of Blackness Rock and now lives on at the Culinary Constitute of America's Hyde Park campus.
1.Gastrotypographicalassemblage, 1966. Tom Carnase/Lou Dorfsman/Herb Lubalin, designers.
2.The New York Times full-folio print advertizing promoting CBS'due south coverage of John Glenn'southward orbit of the Earth in Friendship vii, 1962.
three. Merchandise advertisement to CBS advertisers, 1962. Al Amato/Lou Dorfsman, designers.
Hal Riney
Hal Riney
He helped establish San Francisco as a artistic hub of the advertising manufacture. In a career spanning nearly 50 years, Hal Riney (1932–2008) produced advertisement that was engaging in its honesty, humor, understatement and emotion.
Riney is known for his piece of work on the successful 1984 campaign to reelect Ronald Reagan as president. The campaign included the optimistic "Morn in America" commercial, which Riney wrote and narrated. He as well created the characters Frank and Ed for Due east & J Gallo Winery's wine libation line, which he named Bartles & Jaymes. Riney concluded up writing 143 commercials for the product over three years. His bureau likewise snagged the Saturn business relationship in 1988 and helped make its launch a resounding success with the tagline "A unlike kind of company. A different kind of car."
Riney grew upwardly in Longview, Washington, and joined BBDO San Francisco in 1956, showtime in the mail room and working his way upwards to executive vice president, creative director. In 1976, he opened Ogilvy & Mather'southward San Francisco office, purchasing it from Ogilvy in the belatedly 1980s and renaming it Hal Riney & Partners. In 1998, the agency was sold to Publicis Groupe. The legendary ad man retired at the noon of the regional ad industry he helped create.
1. Yamaha print ad, 1976. Bernie Vangrin, fine art director; Don Hadley, writer; Richard Leech, illustrator; Botsford Ketchum, bureau.
two. Reagan/Bush-league '84 "Prouder, Stronger, Better" Telly commercial, 1984. Barbro Eddy, producer; John Pytka, director; Pytka, production company; Tuesday Team/Westward, c/o Della Femina, Travisano & Partners, bureau.
3. Blitz-Weinhard beer print advertising, 1979. Jerry Andelin, art managing director; Dennis Foley, author; Robert Grossman, illustrator; Ogilvy & Mather, agency.
Robert "Bob" Meridian
Robert "Bob" Peak
His dazzling montages transported viewers into movies' cinematic worlds. Illustrator Robert "Bob" Superlative (1927–1992) was highly skilled at painting numerous characters and scenes into a single blended prototype, changing the look of motion picture advertising from traditional static headshots and film stills to intricate narrative fine art. The poster artwork that Peak created in 1961 to promote West Side Story paved the style for more than than 130 movie posters, such equally those for My Fair Lady, Apocalypse Now and five Star Expedition films, among many others.
He was built-in in Denver, Colorado, and moved to New York in 1953, where his drawing skills chop-chop led to advertising and editorial assignments. Acme illustrated 45 covers for Time, and his portrait of Mother Teresa for a 1975 cover was particularly poignant. Sports Illustrated also called on him for memorable assignments, including a safari with the Shah of Iran and a Grand Prix bout with champion racer Jackie Stewart. Peak was too known for his work for the US Postal Service—especially the 30 stamps he designed to commemorate the 1984 Summer and Winter Olympics. Although he was dubbed "the father of the modern movie poster," his influence tin can exist felt well beyond the lights of Hollywood.
ane. TIME cover painting of Mother Teresa, 1975. David Merrill, art director.
2. United Artists' Apocalypse Now promotion art, 1979. Murray Smith/Don Smolen, Smolen, Smith and Connolly, art directors.
2. Warner Bros.'southward My Fair Lady gift book drawing, 1964. Bill Gold, Beak Golden Ad, art director.
Robert Miles Runyan
Robert Miles Runyan
Known every bit the creator of the modernistic annual report, Robert Miles Runyan (1925–2001) elevated corporate communications by showing how financial statements to shareholders could be presented with mode and sophistication.
Born in Nebraska, Runyan opened his own studio, Robert Miles Runyan & Associates, in 1956 in the littoral neighborhood of Playa del Rey, near Los Angeles. In 1959, Runyan designed a revolutionary annual report for Litton Industries. Although the electronics company was young at the time, he utilized artful nevertheless life photographs and graphics to correspond the company's story and connect it to a broader history. The written report was among the first to nowadays a visitor within the context of current social and economical trends. The issue combined typographic elegance and hit imagery with the editorial catamenia of a sleek magazine. A resounding success, the study ushered in professional accolades and commissions for Robert Miles Runyan & Associates.
Runyan's firm also created logos, identities and packaging for clients like Mattel and the Los Angeles Rams. He designed the symbol for the 1984 Summertime Olympics, held in Los Angeles. The "Stars in Movement" logo featured three stars shaped from horizontal confined of red, white and blue to represent speed. "What I achieved can never be taken away," he said of the project. "I'grand etched in history."
1. Los Angeles Olympic Organizing Committee "Stars in Move" logo for the 1984 Summer Olympics, 1980.
ii. Motorola Aviation Electronics poster, 1961. James Fitzgerald, designer.
3. Litton Industries almanac report embrace, 1959.
Paula Green
Paula Dark-green
She believed in selling with words. Paula Light-green (1927–2015) was a copywriter and advert executive who idea an ad must brand a sensory or "gut" connectedness with a consumer to work.
A Los Angeles native, she moved to New York and joined Doyle Dane Bernbach, where she worked with legendary art director Helmut Krone on Avis. Her "We attempt harder" slogan revolutionized the rent-a-car manufacture, and Light-green after became the agency's first woman creative management supervisor.
In 1969, she struck out on her ain, cofounding Dark-green Dolmatch with her husband, Murray Dolmatch. Later becoming Paula Green Advertising, her bureau worked for clients including the American Cancer Social club, Goya Foods, the New York Times and Subaru. Light-green helped cement Goya in the minds of shoppers with such lines as, "There'southward a edible bean for every girl and boya, in the food shop section known every bit Goya." To help the International Ladies' Garment Workers' Union encourage Americans to buy union-made clothing, Green wrote the lyrics for the song "Wait for the Wedlock Label." In an industry dominated by men, she immortalized words and became a pioneer.
ane. Avis print advertizement, 1963. Helmut Krone, art managing director.
2. Wedgwood print ad, 1958. Bert Steinhauser, art manager; Arnold Rosenberg, photographer.
3. International Ladies' Garment Workers' Spousal relationship "Look for the Wedlock Label" TV commercial, 1975. Malcolm Dodds, music.
Arnold Varga
Arnold Varga
Innovative and fearless, Arnold Varga (1926–1994) created sophisticated designs, witty illustrations and total-color newspaper ads that readers had never seen before. He was an fine art director with piffling grooming and an illustrator with poor eyesight. Yet, his work was so fresh and engaging, the prototype would sell without selling.
Varga was born in McKeesport, Pennsylvania, and was a teenager when he showtime offered to depict for retail stores. He continued to develop his skills and worked for several advert agencies, including BBDO in Pittsburgh. During the late 1950s, he freelanced for department stores, including Horne'south, Higbee's and Wanamaker's. Author Alan Van Dine oftentimes wrote copy, but didn't know for which client. "It was completely backwards," he said. "Arnold would say, 'I want to do a watermelon.' Or, 'a baby carriage.' My job was to come with something lively to connect the visual." By the 1960s, design magazines Communication Arts, Graphis and Pagina 3 were praising Varga'due south work.
Varga had a special fondness for Christmas, and, in 1967, he created a caricature of Scrooge for the Horne's Christmas newspaper ad. It received so much attention, Horne's reprinted information technology as posters, postcards and Christmas cards. For a vacation ad for Wanamaker'south, Varga greeted newspaper readers with a startled gnome. The headline said, "Rediscover your elf cocky."
1. John Wanamaker newspaper ad, 1978. Albin A Smagala, art director; James R. Spark, writer; Louise Reeves/Arnold Varga, designers.
2. Anaconda Aluminum print ad, 1971. Tom Ladyga, art managing director; Preston Moore, author; James Johnston, creative director; Griswold-Eshleman, agency.
3. Paper ad for department shop Cox'southward, 1960.
Art Paul
Art Paul
A simple drawing of a bunny with a tuxedo bow necktie, drawn in an hour by artist Arthur Paul (1925–2018), became a corporate identity and a publishing phenomenon. Paul was the founding art director of Playboy magazine, and his bunny became ane of the globe'southward most recognizable logos.
He was born in Chicago and studied at Chicago'due south Institute of Design, originally chosen the New Bauhaus upon its founding by Bauhaus master László Moholy-Nagy. His studies were influenced by the German Bauhaus aesthetic, with its make clean lines and simplicity. In 1953, while working as a freelance illustrator and designer, Paul was contacted by Hugh Hefner, who wanted a modern look for his publication. In render, Hefner offered artistic freedom. Paul continued to oversee the pattern of the magazine for the next 29 years.
With an centre for talent, Paul commissioned illustrations from local and international artists, such as Shel Silverstein, Andy Warhol and Salvador Dalí. He also experimented with pop-up pages, collages, die-cutting patterns and placing the logo inside different embrace designs to challenge readers. Hefner summed upwards Paul's contribution to the earth this way: "Arthur, quite frankly, was responsible for irresolute the nature of commercial illustration."
1. Playboy logo, 1954.
2. Playboy inaugural issue cover, 1953.
3. Opening spread for a Harry Crews short story, 1976. Kunio Hagio, illustrator; Len Willis, designer.
Betty Brader-Ashley
Betty Brader-Ashley
Glamorous, confident and absurd, Betty Brader-Ashley (1924–1986) introduced a new style to fashion ad in the 1950s and 1960s that continues to inspire today's illustrators. Expressing the casual sophistication of the San Francisco Bay Surface area, her drawings became synonymous with the trendy department shop Joseph Magnin.
Beginning as a seamstress for Marshall Field's, Brader-Ashley transitioned to fashion illustration and worked for May Co., Neiman Marcus and several advertisement agencies. In the 1950s, she freelanced and traveled to Europe before joining Joseph Magnin. Brader-Ashley became a chief illustrator, often working with Marget Larsen, the shop's savvy art managing director. They produced ads, promotions and posters, which often featured a 2-figure composition, a bold gesture and a striking graphic design.
Focused more on mental attitude than sales copy, her illustrations caught the attention of both shoppers and the pattern customs for their individualist spirit and playful sense of optimism. Her stylized figures captivated the Joseph Magnin client and elevated the JM make, which reached its elevation in the 1960s with more than 32 retail stores.
1. Print advertizement for department shop Joseph Magnin, 1961. George Coutts, art managing director.
two. Cal Tjader Quintet album cover, 1956.
3. Print ad for section store Joseph Magnin, 1959. Marget Larsen, fine art director.
Allan Fleming
Allan Fleming
Known as Canada'southward leading graphic designer, Allan Fleming (1929–1977) championed all aspects of cultural life in Canada during its mid-century try to secure its identity. While working at MacLaren Advertising during the 1960s, Fleming was influential in nation-edifice projects, which included postage stamps, the national flag and Expo 67.
He was born in Toronto and, at sixteen, began working at various firms before studying typography and book design in England during the early '50s. Fleming joined Cooper & Beatty as typographic director and designer in 1957. When he received the opportunity to design a new logo for Canadian National Railways, the job required a design that would refresh the company's image. The outcome, launched in 1960, combined the C and the N into a single flowing line. Today, the logo is a timeless modernist symbol of motion.
Fleming was too main designer at the Academy of Toronto Printing, using his typographic skills and bang-up sense of information design to advance the look of scholarly publishing in Canada. The breadth of Fleming's portfolio enabled him to accomplish beyond borders, influencing futurity generations of graphic designers in many fields.
1.Maclean's cover, 1962.
two. Ontario Science Centre logo, 1969.
3. Cooper & Beatty moving announcement, 1958.
4. Canadian National Railways logo, 1960.
Helmut Krone
Helmut Krone
The work of art director Helmut Krone (1925–1996) defines modern advert. The groundbreaking campaigns he worked on for Avis, Colombian coffee and Volkswagen remain visually compelling today despite decades of imitators.
Krone was a native New Yorker and was interested in product design until the 1950 New York Art Director's show convinced him that advertisement was worth pursuing. He became an art director at Doyle Dane Bernbach in 1954 and, except for a few years spent creating his own agency during the 1970s, stayed for more than 30 years until he retired in 1988.
Krone's obsession was "newness," and his design for the Remember Small campaign for Volkswagen was unlike anything else in the automotive sector. Krone also took every negative condition about the car—unchanging, muddy, dented—and made them positives in the subsequent ads. The campaigns were a rapid success, equally was the "Nosotros endeavor harder" ads for No. 2–rated Avis, and the creation of Juan Valdez, a character concocted to promote Colombian java. Krone said, "Bang-up ad really has to be talked about past people and become part of the national scene." And his did.
1. Volkswagen print ad, 1960. Julian Koenig, writer; Wingate Paine, lensman.
2. Avis print ad, 1965. Paula Greenish, author.
iii. Porsche print advertizement, 1982. Tom Yobaggy, writer; David Langley, lensman.
Deborah Sussman
Deborah Sussman
Historic for her brilliant signage and graphic compages, Deborah Sussman (1931–2014) spotlighted California'southward design aesthetic to the globe. Working with architect Jon Jerde on the 1984 Summertime Olympics in Los Angeles, she helped create the colorful wayfinding and identification system and supergraphics that transformed the urban center into a Technicolor extravaganza.
She was born in Brooklyn, New York, and landed in Los Angeles in the summertime of 1953 for an internship in the office of Charles and Ray Eames. During her stints in the Eames office, she worked on everything from furniture showroom designs to films to packaging, and clients included the Ford Foundation, the Government of India and IBM.
Starting time in the 1960s, Sussman developed her piece of work in environmental graphics, from signage to "graphitecture," collaborating with architects and planners to thoughtfully infuse bold color—quite literally—into the built environment. In 1968, she founded Deborah Sussman & Company, which was renamed Sussman/Prejza & Company when she was joined past her husband, architect and urban planner Paul Prejza, in 1980. The house's projects included corporate identities and many traveling exhibits, an identity program for the City of Santa Monica, and corporate interiors for Hasbro.
1. Champion Papers The Printing Salesman's Herald, Issue 32, 1973. Ave Pildas, assistant designer.
2. The "look" of the 1984 Summer Olympics, developed in collaboration with The Jerde Partnership, 1983. Deborah Sussman/Paul Prejza, partners in charge; Debra Valencia, senior designer; Marking Nelson, projection director.
3. Hasbro Bradley toy exhibit display, 1984. Marking Nelson/Debra Valencia, designers; Barton Myers Assembly, architect.
Robert Abel
Robert Abel
A pioneer of computer-generated animation and visual effects, Robert Abel (1937–2001) created films, commercials and interactive classroom materials. He was as well a director, producer and writer who won Emmys for his work on the documentaries A Nation of Immigrants and The Making of the President, 1968 and a Golden World for 1972'due southElvis on Tour.
Abel and Con Pederson founded Robert Abel & Assembly (RA&A) in 1971 and adapted the computerized photographic camera system used for 2001: A Space Odyssey to create special furnishings for broadcast graphics and commercials. Abel later established Synapse Technologies. Among the multimedia projects the business firm produced was an educational project for IBM chosen Columbus: Encounter, Discovery and Beyond. The multilayered multimedia database enabled students to explore still images and graphics, text, videos, and sound to amend understand the civilisation, politics and people from the 1400s to the nowadays day.
A visionary whose versatility earned him numerous honors, Abel mentored a generation of talent at RA&A, who would go on to launch or work for the top companies in the field of computer-generated imagery. "The essence of what I practice is that I take risks," Abel said. "Every time I ready out to do a project, I get out to do something never washed or seen earlier."
1. TRW "Line" Goggle box commercial, 1984. Thomas Smith, art managing director; Charles H. Withrow, author; Michael C. Marino, creative director; Kenny Mirman, designer/director; Frank Vitz, technology director; Jim Barrett, product designer; Wyse Advertising, agency.
two. Scene from the short film "High Fidelity," 1984. Randy Roberts, designer/managing director; Ann Kerbel, technology director; Rick Ross, editor.
3. Columbia Pictures logo, 1976.
Diane Rothschild
Diane Rothschild
She was an advert executive and copywriter who wrote with "class, wit and intelligence," said Ari Merkin, who worked with her in the mid-'90s. Beyond a career spanning nearly 40 years, Diane Rothschild (1943–2007) helped create memorable campaigns for numerous companies, including Chivas Regal, IBM, Mobil Oil and Volkswagen.
Born in Manhattan, New York, Rothschild joined Doyle Dane Bernbach as a copywriter in 1973, launching her career. She worked her way up the ladder and became executive vice president, creative director and a fellow member of the agency'due south board of directors. During her time there, she was known as the agency'due south nigh awarded copywriter. In 1986, Rothschild formed Grace & Rothschild with former Doyle Dane Bernbach chairman Roy Grace, where she oversaw clever campaigns.
Grace & Rothschild's clients included Range Rover, J&B Scotch and Sterling Motor Cars. In one impress advert created for Range Rover, an image showing the off-road vehicle driving through a stream is accompanied by copy that reads, "We brake for fish." A vacation-flavour advertisement for J&B Scotch states "ingle ells, ingle ells. The holidays aren't the same without J&B." In a impress advertisement for Sterling Motor Cars, numerous features that come standard with the vehicle are listed, and the copy reads, "Observe another $28,500 car with all this and we'll buy it for you."
i. Range Rover print ad, 1991. Don Miller, art manager; Gary Cohen, writer; Carl Furuta, photographer.
ii. Print ad for J&B Scotch whisky, 1991. Christopher Graves, art director; Craig Demeter, author.
three. Range Rover print ad, 1994. Allen Richardson, art managing director; Ari Merkin, writer; Jerry Cailor, photographer.
Mary Ellen Marking
Mary Ellen Mark
Past chronicling the lives of marginalized people, Mary Ellen Mark (1940–2015) became one of the well-nigh dedicated documentary photographers of her generation. She was born in Philadelphia, and afterward moving to New York Metropolis in the tardily 1960s, she photographed Vietnam War demonstrations, the women'southward liberation motility, transvestite culture and New York's Times Square. While on assignment for an alumni magazine, she met the managing editor of Look mag, who afterwards accepted Marker's pitch to photograph young heroin addicts in London. Her work appeared in numerous magazines, including The New Yorker, TIME and Vanity Fair. Mark also shot production stills of more than 100 films, including Mike Nichols'south Grab-22 (1970) and Francis Ford Coppola'due south Apocalypse Now (1979).
Marker forged strong relationships with her subjects. For example, while photographing on the prepare of I Flew Over the Cuckoo's Nest, she learned of the maximum-security women'due south ward of Oregon State Hospital, where the movie was primarily filmed. She subsequently spent five weeks living in the hospital, photographing the women who were patients in the ward. She also began photographing homeless youth on the streets of Seattle in 1983; the piece of work was after developed into a documentary motion picture as well as one of the many books that showcase her work today.
i. Backstage at the Alcazar theater, Thailand,A Day in the Life of Thailand, 1995. Rick Smolan/David Cohen, projection directors; Leslie Smolan, art manager; Collins Publishers, publisher.
2. "The United states of america Interview: Meryl Streep," 1994. Jennifer Crandall, photograph editor.
three. The Ricky Reyes Hair Salon, Manila, The Philippines: A Journey Through the Archipelago, 1996. Jill Laidlaw, projection editor; Didier Millet, Archipelago Press, publisher.
Rudolph de Harak
Rudolph de Harak
In a multidisciplinary career, he was a graphic and ecology designer with a modernist aesthetic. Rudolph de Harak (1924–2002) was built-in in Culver City, California, and moved to New York in 1950 before becoming promotion art director of Seventeen magazine. He started his ain design office in 1952 and, over his career, taught at Cooper Spousal relationship and designed book jackets, album covers and posters.
In the mid-1960s, exhibition design became a facet of his career, and de Harak helped design pavilions at Expo 67 and Expo 70. For the Cummins Engine Visitor's corporate museum in Columbus, Indiana, de Harak conceived of the museum'due south centerpiece—a spectacular "exploding" diesel engine with each of its parts suspended by wire. He also worked on the design of the photographic timeline and typographic displays for the Metropolitan Museum of Art'south Egyptian fly. Requiring painstaking research, the project took ten years to complete.
An office building at 127 John Street in lower Manhattan benefitted from de Harak's ambitious environmental graphics, including a futuristic neon-lit tunnel entryway and a iii-story-high digital clock. "I prided myself in thinking that I would come up with some kind of form configuration that had such a nobility of its own, or a power of its ain," de Harak said, "that information technology would imply the idea, or some idea, to the person who came in contact with that."
1. Detail from the Cummins Engine Company corporate museum, 1985.
2. 127 John Street illuminated digital clock installation, 1970. William Kaufman Organization, developers.
3. Westminster Records album comprehend, 1962.
Cipe Pineles
Cipe Pineles
Her design had an originality and composure that distinguished her from her American peers. Austrian-born Cipe Pineles (1908–1991) was an artist, illustrator and trailblazer who became the art director at pioneering publications.
Cipe (pronounced seepe) was born in Vienna and arrived in New York when she was xiii years former. Subsequently graduating from Pratt Institute, she was hired to assistance One thousand.F. Agha, the art director of Condé Nast publications, in 1932. He encouraged her to experiment and detect inspiration in fine fine art. She continued to motility upwardly in the mag world, and past the mid-1940s, she was shaping the design of Glamour equally its fine art director. She later served every bit fine art director at Seventeen and Amuse. Pineles deputed fine artists, such equally Jacob Lawrence and Andy Warhol, to illustrate articles, and her playful modernist arroyo earned the magazines prestigious design awards.
In 1943, after ten years of nominations, she became the beginning female person member of the Art Directors Club of New York, paving the way for time to come female designers. In 1975, she became the first woman inducted into its Hall of Fame.
1. Parsons School of Design poster, 1979. Janet Amendola, illustrator.
2.Seventeen embrace, 1949. Francesco Scavullo, photographer.
3. Proposed Faddy cover, 1939.
Franklin McMahon
Franklin McMahon
He was an artist-reporter using charcoal drawings to convey a larger truth. For more than 50 years, Franklin McMahon (1921–2012) freelanced for major newspapers and magazines. In 1955, Life assigned him to produce courtroom sketches during the trial for the murder of Emmett Till. McMahon used a small spiral notebook in the Mississippi court, later redrawing the sketches on larger sheets of newspaper and adding watercolor. On-site reporting became his life'due south work.
McMahon was born in Chicago and covered almost every US presidential campaign and national political convention from 1960 to 2008. He was at the Richard Nixon–John Kennedy debates, Kennedy's funeral and Nixon's resignation. He followed the ceremonious rights movement, including the Selma-to-Montgomery march and the 1968 Chicago riots following Martin Luther Male monarch Jr.'south bump-off. And he watched Neil Armstrong'due south walk on the moon from Mission Command Center in Houston during the space race.
McMahon produced numerous books and films of his work and bristled at the title illustrator. His drawings, he said, were never "later on the fact." They captured landmark events as they unfolded—a life'south work of storytelling that amounts to nearly ix,000 drawings.
1.Chicago magazine characteristic "Housing, Off-white and Otherwise," 1966.
ii. One in a series of paintings and drawings published in Look equally role of a story on the "new" Japan, 1963.
3. Personal slice. Martin Luther King Jr. and Ralph Abernathy singing "Nosotros Shall Overcome" in Selma, Alabama, 1965.
Lester Beall
Lester Beall
Self-taught at a time when posters and ads were the domain of illustrators and apprentices, Lester Beall (1903–1969) is credited with inventing the profession of art director. He sowed the seeds of modernist visual design in the United States and championed its concise organization with integrated elements that convey both a commercial message and an emotional response.
A Kansas City native, Beall developed an interest in mod art movements, such every bit Dadaism and surrealism, and combined modernist aesthetics with a liberty to experiment in his design work. Beall moved his studio from Chicago to New York in 1935 and developed work in corporate identity, editorial, packaging, posters and more. In the 1950s and 1960s, Beall became a leader in the emerging corporate pattern move. Known for his comprehensive identity plan for International Paper, he also produced one of the get-go graphic standards manuals in the industry. His clients included Abbott Laboratories, Caterpillar Tractor and Connecticut General Life Insurance Co. Beall later on moved to Dumbarton Farm in rural Connecticut and set up his own modernist function.
Throughout his career, he created powerful graphics using assuming primary colors, photomontage, arrows, lines and angled type. Continually advancing his piece of work beyond "the aesthetics of yesterday," he wrote, "For me, tradition handicaps, while experimentation helps the creative artist."
1. Connecticut General corporate identity manual, 1959.
2. Rural Electrification Administration poster, 1937.
iii. International Paper trademark, 1958.
Jay Chiat
Jay Chiat
He was the brains behind the bureau that helped transform advertising in the 1970s and 1980s. Morton Jay Chiat (1931–2002) was chairman and master executive of Chiat/Day, best known for popularizing the Analeptic Bunny and creating the I Love L.A. entrada for Nike and the "1984" spot for Apple, which is credited with elevating the status of the Super Bowl commercial.
Chiat was passionate and restless, claiming his existent talent was for "losing clients." Yet, Chiat/Solar day became one of the elevation agencies in the land. Chiat focused on both the business and creative sides, and Chiat/Day grew from a regional shop with 50 employees to a global powerhouse with one,200 employees and, in the early 1990s, billings of more than one billion. Born in New York City, he became creative managing director of a small Orange Canton ad agency before leaving in 1962 to open up his own shop in Los Angeles, Jay Chiat & Associates. When Jay Chiat & Associates merged with Faust/Day in 1968, Chiat/Solar day was born. Information technology would keep to be named Agency of the Decade by Ad Age in 1990, and its customer list has included American Express, Nissan and Reebok. Today, Chiat/Day lives on every bit TBWA\Chiat\Day.
1. Nissan outdoor board, 1987.
ii. Apple tree advert congratulating IBM on its first personal computer, 1981. Tom Tawa, art director/creative director; Steve Hayden, author.
iii. Honda print ad for its first car introduced to the The states, 1971.
Howard Gossage
Howard Gossage
Known for his unconventional philosophy and progressive ideas, adman Howard Gossage (1917–1969) was oft called the "Socrates of San Francisco," in part for his brainy comments, as well as the ambience cultivated in his Barbary Coast agency. The converted firehouse of Weiner & Gossage—established in 1957 and afterward renamed Freeman, Mander & Gossage—became a kind of salon where John Steinbeck, Buckminster Fuller and Tom Wolfe would convene.
Gossage was famous for his wit and long-re-create ads, which attracted readers and created apprehension for the side by side installment. For example, an ad for Fina Oil and Chemical Co. spoofed oil industry clichés past introducing Fina'due south "condiment of the hereafter," dubbed Pink Air—a superior air with which to fill up one'due south tires. A subsequently ad encouraged readers to send in coupons for a free sample of Pinkish Air. Standing the tongue-in-cheek campaign, another ad asked readers to send in ideas for the best way to use Pink Asphalt. Gossage pioneered interactive advertising well before the proliferation of digital.
An outspoken critic of his industry, he believed advertising was too valuable to waste on commercial products and should instead exist used to further social causes. His work for the Sierra Society ushered in the environmental movement, and he helped found Friends of the Earth.
1. Sierra Club print ad, 1968. Jerry Mander, writer; Marget Larsen, designer; Freeman, Mander & Gossage, bureau.
2. American Petrofina paper ad, 1961. Robert Freeman/George Dippel, art directors; Marget Larsen, designer; Howard Gossage, author; Weiner & Gossage, Inc., bureau.
Tomoko Miho
Tomoko Miho
She possessed an adroit sense of limerick and visual ingenuity. Tomoko Miho (1931–2012) combined unique spatial solutions with a modernist approach to blueprint posters, catalogs, logos, ecology graphics and signage.
Built-in in Los Angeles, she and her family unit were incarcerated in an internment camp in Arizona during WWII. Afterward the state of war ended, she studied at the Minneapolis Schoolhouse of Art and Art Middle School in Los Angeles and later took an influential tour of Europe with her husband, Jim Miho, where she met with prominent designers, like Armi Ratia and Josef Müller-Brockmann. She then worked for New York Metropolis–based studio George Nelson Associates Inc. under creative director Irving Harper, where she designed for brands like Herman Miller. She continued working for the piece of furniture make throughout her career, including designing showroom lighting installations while leading her own studio, established in 1982. Her other clients included Aveda, the Isamu Noguchi Foundation and the Museum of Modern Art.
Miho is all-time known for her masterful sense of scale and her powerful minimalism. She challenged perspective, employed trompe l'oeil illusions and expanded the depth of the 2-dimensional plane.
1. Neat Compages in Chicago poster, 1967. Rodney Galarneau, photographer; Center for Avant-garde Research in Design, design firm.
2. Omniplan Architects poster, 1971.
3. Fondation Cartier pour l'fine art contemporain Paris Architectures invitation, 2001.
Al Parker
Al Parker
He was known as the creator of the mod glamour aesthetic in women's magazines. Illustrator Al Parker (1906–1985) lifted the spirits of a nation recovering from the Dandy Depression with his pictures of beautiful women.
He was built-in in St. Louis, Missouri. After winning honorable mention in a national cover competition sponsored by Business firm Cute in 1930, other publications began commissioning his work. Parker later moved to New York City and began illustrating a mannerly serial of mother-and-girl covers for Ladies' Home Journal. The first cover was introduced in 1939. Before publishing the final embrace in 1952, the Journal produced posters of his art in social club to attract advertisers. They highlighted the popularity of the female parent-daughter pairs, whose matching outfits had inspired a fashion trend that spread to stores across the land.
Equally magazines turned to photographic covers past the belatedly 1950s, Parker kept experimenting and received assignments from Sports Illustrated and Fortune. He was celebrated for his strong compositions and his chameleon-similar power to keep changing way and direction. In 2001, as part of a series honoring American illustrators, the US Postal Service released a stamp featuring his artwork.
1. Portrait of Broderick Crawford for the cover of TV Guide, 1971. Jerry Alten, art director.
2. From a Sports Illustrated article about the Monaco Grand Prix, 1964. Richard Gangel, fine art manager.
3.Ladies' Domicile Periodical comprehend, 1948. William Fink, art director. Parker'southward female parent-and-girl cover illustrations appeared from 1939 to 1952.
Morton Goldsholl
Morton Goldsholl
Acclaimed for his corporate branding, films and progressive hiring practices, Morton Goldsholl (1911–1995) combined the experimental and the commercial.
Born in Chicago, Goldsholl opened a freelance office in 1941 and established Goldsholl Blueprint & Film Assembly with Millie Goldsholl, his married woman, in 1955. Morton took accuse of the pattern sectionalisation while Millie began building the moving-picture show segmentation. Having been inspired by their studies at Chicago's Institute of Blueprint, with its emphasis on Bauhaus principles and the possibilities of film, they began to garner attention for their inventive "designs-in-flick." Experimenting with light, photography and moving images, the studio applied avant-garde filmmaking techniques to mainstream advertising. Their practise attracted and fostered a generation of local filmmakers.
The studio's integration of art, design, advertising and visual culture led to a wide range of work—commercials, corporate branding, trademarks, packaging, films and print ads—for major clients, including Kimberly-Clark, 7UP and Revlon. Goldsholl worked on iconic logos for the Peace Corps and Alcoa and designed the Motorola "batwing Chiliad" logo, still in use after more than 60 years. The Goldsholls' xl years of work demonstrated the power of fine art, design and advertising.
1. Bauer & Black elastic goods packaging, 1959.
2. 7UP packaging, 1975. Morton Goldsholl/Thomas Miller/John Weber, illustrators.
iii. Motorola logo, 1955.
Art Kane
Art Kane
In the urban milieu of post–World War 2 New York, Art Kane (1925–1995) evolved into one of the great photographers of the 20th century. From the 1950s through the early on 1990s, he created numerous images for such publications as Life and Vogue, including his portraits of music royalty
like Bob Dylan, Aretha Franklin and the Rolling Stones. He also photographed for major brands, including Coca-Cola and Volkswagen.
Born in New York City, Kane served every bit art director of Seventeen magazine and studied photography with acclaimed art manager Alexey Brodovitch. In 1958, he gathered 57 jazz musicians exterior of a Harlem townhouse; the result, at present known as A Smashing Day in Harlem, is i of the well-nigh iconic images in music history. Yet, visually, information technology is unlike most of his piece of work, which was provocative, experimental and playful.
He brought his fresh concepts to life by employing odd angles, strange settings and saturated colors. Kane preferred natural calorie-free only would "ain" his subjects, directing them into deliberate poses. He would also sandwich transparencies to create montage images with layered significant, such as his print of a young Black boy overlaid with a white gate. "Reality never lives up to itself visually for me," he said. "As a lensman, I'm not observing too carefully where I'grand going, because tripping over a stone might just pb to something marvelous."
1. Harley-Davidson print ad, 1976. David Kennedy, art managing director; Benton & Bowles, agency.
two. Cacharel print ad, 1977. Robert Delpire, art director.
3. Esquire magazine,A Corking Day in Harlem, 1958. Robert Benton, fine art director.
Georg Olden
Georg Olden
When Georg Olden (1920–1975) was the guest on Idiot box's I've Got a Underground in 1963, a glory panel tried guessing i of his achievements. Olden had several. The award-winning designer was one of the first African Americans to work in the budding television industry, the first artist to design news graphics at CBS, and the first African American to blueprint a stamp for the Us Postal Service.
Born in Birmingham, Alabama, Olden and his family later moved to Washington, DC. He had an interest in cartooning and took art classes at Virginia State College, dropping out after the attack on Pearl Harbor in 1941 to design for the Part of Strategic Services. Subsequently WWII ended, Olden joined CBS and became the head of network on-air promotions. He oversaw graphics for many shows, like I Dearest Lucy, Lassie and Gunsmoke.
In 1960, Olden inverse industries to advertizing, get-go working at BBDO and later for McCann Erickson. He designed the statuette for the Clio Awards and won vii for his work, along with multiple medals from the Art Directors Guild of New York. Olden, the grandson of a slave, also designed a commemorative postage stamp stamp in 1963 that honored the 100th anniversary of the Emancipation Annunciation.
ane. CBS Small Globe give-and-take program title card, 1959.
ii. CBS The Silent Gun teleplay championship menu, 1956.
3. USPS postage stamp commemorating the 100th anniversary of the Emancipation Proclamation, 1963.
John Berg
John Berg
With a discerning heart for imagery, a love of unique typography and his latent humor, John Berg (1932–2015) brought Columbia Records to the forefront of the music manufacture. He was an innovator with more than than five,000 anthology covers produced nether his leadership, including Bruce Springsteen's 1975 album Born to Run. Berg's choice of a charmingly candid photo of Springsteen leaning on saxophonist Clarence Clemons is an iconic case of his visual instincts and a embrace that became a archetype.
Berg was a native New Yorker and worked at Doyle Dane Bernbach and Esquire before joining Columbia, where he is credited with commissioning work from some of the all-time designers, photographers and illustrators, including Milton Glaser, Richard Avedon and Edward Sorel. Berg besides utilized the gatefold encompass, which doubles the infinite available for artwork. "The record would fall out on the floor when y'all opened it up," Berg said of Bob Dylan's 1966 album Blonde on Blonde, which opened vertically to show a rectangular portrait of Dylan. "That was a big selling indicate," he said of the unconventional album packaging. During his 25 years at Columbia, he was nominated for 29 Grammys, winning four for his work on anthology covers for Barbra Streisand, Bob Dylan, Thelonious Monk and Chicago.
1. Bessie Smith Any Woman'south Blues anthology encompass, 1970. Philip Hayes, illustrator.
2. Chicago Chicago II album cover, 1970. Nick Fasciano, artist.
3. Thelonious Monk Solo Monk album cover, 1965. Paul Davis, illustrator.
Phyllis Robinson
Phyllis Robinson
Every bit a writer and creative director, her work was an integral office of her agency's success for decades. Phyllis Robinson (1921–2010) left the promotion department at Grey Advert to become copy master of Doyle Dane Bernbach when it opened in 1949. She broke footing during a time when few women were in senior direction positions at advertizing agencies.
When Robinson joined the fledgling agency, she was paired with art director Bob Gage. They helped produce popular ads for Ohrbach'southward section shop, Polaroid and Levy's Existent Jewish Rye bread.
For one Doyle Dane Bernbach entrada for Levy'south Real Jewish Rye staff of life, the re-create "You don't take to be Jewish to dear Levy's Existent Jewish Rye" accompanied images of people from different ethnic backgrounds enjoying sandwiches. For a long-running campaign for Polaroid featuring the actors James Garner and Mariette Hartley, the playful banter sounded then natural that viewers believed the actors were really married.
George Lois, who briefly worked with Robinson at Doyle Dane Bernbach, called her "the starting time great mod advertizement author." She was a mentor and a mensch and continued working at the agency until her retirement in 1982.
1. Polaroid impress advertising, 1967. Bob Cuff, art manager/designer; Dick Richards, lensman.
two. Clairol print ad, 1971. Allan Buitekant, fine art managing director.
Source: https://www.commarts.com/favorites/pioneers
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