MULTI DESIGNERS PROFILE

HERBERT BAYER (Haag 1900- Montecito/USA 1985)

At the age of nineteen Herbert Bayer took up an apprenticeship with the

architect and designer Georg Schmidthamer in Linz, where he produced
his first typographic works. From 1921 Bayer worked at the Darmstadt
artists' colony as assistant to the architect Josef Emmanuel Margold. In
the same year Bayer enrolled as a student at the Weimar Bauhaus, where
he initially attended the pre-course under Johannes Itten followed by a
workshop on mural painting, lead by Wassily Kandinsky.

In 1925 the artist completed his training with a final examination. Herbert
Bayer was appoined head of the newly created workshop for print and
advertising at the Dessau Bauhaus, where they also produced the school's
own printworks. In 1928 the artist left Bauhaus to focus more on his own
artwork and moved to Berlin, where he worked as a graphic designer in
advertising and as an artistic director of an advertising agency called
"Studio Dorland".

During his time in Berlin, the artist also devoted his time to the design of
exhibitions, painting and photography and was art director of "Vogue"
magazine in Paris.

In 1938 Herbert Bayer emigrated to the US, where he arranged the exhi-
bition "Bauhaus 1919-1928" at the New York Museum of Modern Art in the
very same year.

In 1946 he moved to Aspen, Colorado, where he worked as a painter,

graphic designer, architect and landscape designer. Furthermore, Herbert
Bayer worked as an artistic consultant for several companies and institu-
tions, including the "Container Corporation of America", the "Atlantic
Richfield Company".

He was also the design consultant for the Aspen cultural center and
member of the art board for the information bureau of the United States
of America. In 1974 the artist moved to Montecito, California, where he
died in 1985.

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Herbert Bayer received numerous awards and honors, including an honor-

ary doctorate of the "Technische Hochschule Graz", the "Österreichisches
Ehrenkreuz für Wissenschaft und Kunst", the "Ambassador's Award for
Excellence" in London and the "Kulturpreis für Fotografie" in Cologne.

PROJECTS

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ADOLPHE JEAN-MARIE MOURON, Cassandre

Cassandre, pseudonym of Adolphe Jean-Marie Mouron[1] (24 January

1901 – 17 June 1968) was a Ukrainian-French painter, commercial poster
artist, and typeface designer.

He was born Adolphe Jean-Marie Mouron in Kharkov, Ukraine,[2] to

French parents. As a young man, Cassandre moved to Paris, where he
studied at the École des Beaux-Arts and at the Académie Julian. The
popularity of posters as advertising afforded him an opportunity to work
for a Parisian printing house. Inspired by cubism as well as surrealism, he
earned a reputation with works such as Bûcheron (Woodcutter), a poster
created for a cabinetmaker that won first prize at the 1925 Exposition
Internationale des Arts Décoratifs et Industriels Modernes.

Cassandre became successful enough that with the help of partners he

was able to set up his own advertising agency called Alliance Graphique,
serving a wide variety of clients during the 1930s. He is perhaps best
known for his posters advertising travel, for clients such as the Compag-
nie Internationale des Wagons-Lits.

His creations for the Dubonnet wine company were among the first post-
ers designed in a manner that allowed them to be seen by occupants in
moving vehicles. His posters are memorable for their innovative graphic
solutions and their frequent denotations to such painters as Max Ernst
and Pablo Picasso. In addition, he taught graphic design at the École des
Arts Décoratifs and then at the École d'Art Graphique.

With typography an important part of poster design, the company created

several new typeface styles. Cassandre developed Bifur in 1929, the sans
serif Acier Noir in 1935, and in 1937 an all-purpose font called Peignot. In
1936, his works were exhibited at the Museum of Modern Art in New York
City which led to commissions from Harper's Bazaar to do cover designs.

With the onset of World War II, Cassandre served in the French army until
the fall of France. His business long gone, he survived by creating stage
sets and costumes for the theatre, something he had dabbled in during
the 1930s. After the war, he continued this line of work while also return-
ing to easel painting. In 1963, he designed the well-known Yves Saint-
Laurent logo.

In his later years, Cassandre suffered from bouts of depression prior to

his suicide in Paris in 1968.[2]

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JAN TSCHICHOLD

Was a typographer, book designer, teacher and writer.

Tschichold was the son of a provincial signwriter, and he was trained in

calligraphy. This artisan background and calligraphic training set him
apart from almost all other noted typographers of the time, since they
had inevitably trained in architecture or the fine arts.
Tschichold's artisan background may help explain why he never worked
with handmade papers and custom fonts as many typographers did, pre-
ferring instead to use stock fonts on a careful choice from commercial
paper stocks. After the election of Hitler in Germany, all designers had to
register with the Ministry of Culture, and all teaching posts were threat-
ened for anyone who was sympathetic to communism.

DESIGN

The Van de Graaf canon used in book design to divide a page in pleasing
proportions, was popularized by Jan Tschichold in his book The Form of
the Book.

Depiction of the proportions in a medieval manuscript. According to Jan

Tschichold: "Page proportion 2:3. Margin proportions 1:1:2:3. Text area
proportioned in the Golden Section."[2]

Tschichold had converted to Modernist design principles in 1923 after vis-

iting the first Weimar Bauhaus exhibition. He became a leading advocate
of Modernist design: first with an influential 1925 magazine supplement;
then a 1927 personal exhibition; then with his most noted work Die neue
Typographie. This book was a manifesto of modern design, in which he
condemned all typefaces but sans-serif (called Grotesk in Germany). He
also favoured non-centered design (e.g., on title pages), and codified
many other Modernist design rules. He advocated the use of standardised
paper sizes for all printed matter, and made some of the first clear expla-
nations of the effective use of different sizes and weights of type in order
to quickly and easily convey information. This book was followed with a
series of practical manuals on the principles of Modernist typography
which had a wide influence among ordinary workers and printers in Ger-
many. Yet, despite his visits to England just before the war, only about
four articles by Tschichold had been translated into English by 1945.
Between 1947-1949 Tschichold lived in England where he oversaw the
redesign of (e.g. film posters) - that he had always pursued during his
career.[citation needed]

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His abandonment of Modernist principles meant that, even though he was

living in Switzerland after the war, he was not at the Centre of the post-
war Swiss International Typographic Style.

Typefaces Tschichold designed include:

• Transit (1931)
• Saskia (1931/1932)
• Zeus (1931)
• Sabon (1966/1967) - [1], named after Jacques Sabon.

Sabon was designed to be a typeface that would give the same reproduc-
tion on both Monotype and Linotype systems. It was used early after its
release by Bradbury Thompson to set the Washburn College Bible. A
“Sabon Next” was later released by Linotype as an ‘interpretation’ of
Tschichold's original Sabon.

WORKS

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RAYMOND SAVIGNAC

Often just abbreviated to "Savignac", was a French graphic artist famous

for his commercial posters. He was born on November 6, 1907 in Paris,
and died on October 31, 2002 in Trouville-sur-Mer (Calvados), aged 94.
His work is distinguished by a humorous simplicity.

Self-taught, he started designing posters under the direction of Cassan-

dre, but met his greatest success with the poster for Yoplait yogurt, which
featured the udders of a cow directly supplying the "milk yogurt" with
milk.

Another famous poster was called "La Guerre des boutons" (War of But-
tons). A permanent display of his work may be found at the Montebello
Museum in Trouville, where he spent his last years. There is also a beach-
front walk dedicated to him. Many of his posters depicted the Norman
seaside town. These works can be seen there. His murals can be seen also
around town.

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PROJECTS

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PAUL RAND

Paul Rand (born Peretz Rosenbaum, August 15, 1914 – November 26,
1996) was a well-known American graphic designer, best known for his
corporate logo designs. Rand was educated at the Pratt Institute (1929-
1932), the Parsons School of Design (1932-1933), and the Art Students
League (1933-1934). He was one of the originators of the Swiss Style of
graphic design. From 1956 to 1969, and beginning again in 1974, Rand
taught design at Yale University in New Haven, Connecticut. Rand was
inducted into the New York Art Directors Club Hall of Fame in 1972. He
designed many posters and corporate identities, including the logos for
IBM, UPS and ABC. Rand died of cancer in 1996.

Early life and education

Peretz Rosenbaum was born in Brooklyn, New York in 1914. As Orthodox

Jewish law forbids the creation of graven images that can be worshiped as
idols, Rand’s career creating icons venerated in the temple of global capi-
talism seemed as unlikely as any. It was one that he embraced at a very
young age, painting signs for his father’s grocery store as well as for
school events at P.S. 109. Rand’s father did not believe art could provide
his son with a sufficient livelihood, and so he required Paul to attend
Manhattan’s Harren High School while taking night classes at the Pratt
Institute, though “neither of these schools offered Rand much stimula-
tion.” Despite studying at Pratt and other institutions in the New York area
(including Parsons School of Design and the Art Students League), Rand
was by-and-large “self-taught as a designer, learning about the works of
Cassandre and Moholy-Nagy from European magazines such as
[Gebrauchsgraphik].”

Early career

His career began with humble assignments, starting with a part-time

position creating stock images for a syndicate that supplied graphics to
various newspapers and magazines. Between his class assignments and
his work, Rand was able to amass a fairly large portfolio, largely influ-
enced by the German advertising style Sachplakat (ornamental poster) as
well as the works of Gustav Jensen. It was at around this time that he
decided to camouflage (and abbreviate) the overtly Jewish identity
telegraphed by ‘Peretz Rosenbaum,’ shortening his forename to ‘Paul’ and
taking ‘Rand’ from an uncle to form his new surname. Morris Wyszogrod,
a friend and associate of Rand, noted that “he figured that ‘Paul Rand,’
four letters here, four letters there, would create a nice symbol. So he
became Paul Rand.” Peter Behrens notes the importance of this new title:
“Rand’s new persona, which served as the brand name for his many
accomplishments, was the first corporate identity he created, and it may

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also eventually prove to be the most enduring.” Indeed, Rand was rapidly
moving into the forefront of his profession. In his early twenties he was
producing work that began to garner international acclaim, notably his
designs on the covers of Direction magazine, which Rand produced for no
fee in exchange for full artistic freedom. Among the accolades Rand
received were those of Moholy-Nagy.

PROJECTS

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SAUL BASS

Saul Bass was a great 20th-century American graphic designer, who cre-
ated the corporate image and memorably stunning logos for numerous
American companies. Saul Bass was, first and foremost a pioneering
1950s Hollywood designer, the founder of conceptual cover design, who
created the motion picture title sequences and posters for a great many
films.

Saul Bass developed a simplified, symbolic design language that visually

communicated all the essential elements of a film. Bass designed em-
blematic posters that made a stunning visual impact, thus revolutionizing
animated film graphics and the visuals of film advertizing. Born in the
Bronx, Saul Bass was given a scholarship to the Art Students League in
1936. From 1944 until 1946 Saul Bass studied at Brooklyn College.

He worked in New York as a freelance commercial artist for advertising

agencies and companies, including Warner Bros. In 1946 Saul Bass went
to Los Angeles, where he continued to work as a commercial artist. By
1952 he had a practice of his own, which was registered from 1955 as
Saul Bass & Associates.

In 1954 he received his first commission from the director Otto Preminger
to design the title sequence for his film "Carmen Jones". This commission
was followed in 1955 by others from Robert Aldrich and the Billy Wilder
Film "The Seven Year Itch". That same year Saul Bass designed the title
sequence for Preminger's "The Man with the Golden Arm" and it caused a
sensation.

Saul Bass became the leading title designer in Hollywood; the directors
Bass worked in this capacity include Alfred Hitchcock ("Vertigo", "North by
Northwest", "Psycho"), from 1960 Stanley Kubrick ("Spartacus", "The
Shining"), from 1990 for Martin Scorsese ("Good Fellas", "Cape Fear",
"The Age of Innocence", "Casino"); and, in 1993 Steven Spielberg: the
title sequence for "Schindler's List".

Between 1991 and 1996 Saul Bass also designed the posters for the Oscar
Awards ceremony. In addition to his work for Hollywood, Saul Bass has
created the corporate image of numerous companies, including United
Airlines, AT&T, Minolta, Esso, BP, and Continental Airlines, for which he
also designed the company logos.

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ALOÍSIO SERGIO MAGALHAES

Was one of most important Brazilian graphical designers of century XX.

Although it was formed in right, worked always inclined towards the arts:
Painting, Recorded, visual arts.

Trajectory

•Besides designer, was Secretary General of the Ministry of Education of

Brazil .

•Also he was one of the founders of the ESDI (Escola Superior of Indus-
trial Desenho), that is the first school of Diseño of level superior in Brazil
and Latin America, established in 1962. The model followed by the ESDI
was the one of the school of Ulm, a German school of design that lasted
only ten years, that the proyectual design promoted essentially and had
extremely a vision oriented to Functionalism .

As of 1975, the ESDI comprises of Universidade do Been do Rio de

Janeiro, is located in Lapa ( Rio de Janeiro ) initiating in 2005 its course
of magíster in design.

•He was professor of already mentioned school during his first years,
where one of its main contributions was to offer a direction of the alterna-
tive design to the German, presenting/displaying a tendency of integrated
design, without distinction enters graphical design and industrial Diseño,
thanks to which the students withdrew with both capacities.

•It was charter member of Or Loving Graph, magazine prevailed estab-

lished in Recife in May of 1954 that remained active until 1961, and in
which participated next to young artists and pernambucanos intellectuals.
This organization contemplated works of very high quality of Brazilian
graphical designers, working altogether with Poets and another type of
big Artists Presentó typesetter creations and of plastic arts. In its book on
Or Loving Graph, Guilher to me Cunha Lima it says that the experiences
in graphical design of the group had an important paper in the origins of
Brazilian Typography modern.

Worked much with Mosaic regular, which were one of their favorite ways
of artistic expression and contributed in numerous works with the
Cerâmica Office Francisco Brennand, who dedicated to the production of
Ceramic Sculptures and in Pernambuco.

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PROJECTS

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ALBERTO CORAZÓN

Born in Madrid in 1942, he first worked in 1965, designing publishing and

poster products. He is a true reference point in design, although his artis-
tic interests have led him to explore other fields: he has worked as an
industrial designer, an editor, a painter and a sculptor. He is the creator of
the graphics images for important companies and institutions, including
Anaya, ONCE, Círculo de Bellas Artes, the MAPFRE Foundation, RENFE
local trains and Telefónica’s Domo telephone. As a person committed to
his profession, in 2006 he was elected a member of the San Fernando
Royal Fine Arts Academy, which introduced design as a discipline in the
Academy for the first time. He is also the author of many studies about
the world of art and design.

PROJECTS

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ERIK SPIEKERMANN

He is a German typographer and designer. He is a professor at the Univer-

sity of the Arts Bremen.

Spiekermann studied art history at Berlin's Free University, funding him-

self by running a letterpress printing press in the basement of his
house.[1]

Between 1972 and 1979, he worked as a freelance graphic designer in

London before returning to Berlin and founding MetaDesign with two part-
ners.

In 1989 he and his wife, Joan Spiekermann, started FontShop, the first
mail-order distributor for digital fonts. FontShop International followed
and now publishes the FontFont range of typefaces. MetaDesign combined
clean, teutonic-looking information design and complex corporate design
systems for clients like BVG (Berlin Transit), Düsseldorf Airport, Audi,
Volkswagen and Heidelberg Printing, amongst others.

In 2001 Spiekermann left MetaDesign over policy disagreements and

started UDN | United Designers Networks with offices in Berlin, London
and San Francisco.

In April 2006, the Art Center College of Design in Pasadena awarded

Spiekermann an Honorary Doctorship for his contribution to design.[2]
His family of typefaces for Deutsche Bahn (German Railways), designed
with Christian Schwartz, received a Gold Medal at the German Federal
Design Prize in 2006, the highest such award in Germany.[2]

As of January 2007, UDN has been renamed SpiekermannPartners, and

as of January 2009 it has been renamed Edenspiekermann.[3]

PROJECTS

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NEVILLE BRODY

He is an English graphic designer, typographer and art director.

Neville Brody is an internationally renowned designer, typographer, art

director, brand strategistand consultant. Brody is also the founder of the
Research Studios network and partner in eachof their operations, his
insight, methodology and appetite for excellence inform every aspect of
their work. Today, in addition to lecturing and contributing to a variety of
cultural and educational initiatives, Brody works both independently on
private commissions and alongside Research Studios on commercial pro-
jects for a diverse range of clients.

PROJECTS

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 Bibliographic Resources
MULTI DESIGNERS PROFILE

References
•^ (French) Notice d'autorité personne : Cassandre, BnF, according the
international pseudonym convention described in the BnF authority file.
•^ a b O'Mahony, Niamh. "Adolphe Mouron Cassandre (1901-1968)".
Retrieved Augist 7, 2009.
•^ Amazon.com page for A.M. Cassandre by Henri Mouron
•^ Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclope-
dia of Type Faces. Blandford Press Lts.: 1953, 1983, ISBN 0-7137-
1347-X, p. 2408-249

Sources

•Robert K. Brown: The poster art of A. M. Cassandre. - New York: Dutton,

1979
•Henri Mouron: A. M. Cassandre : affiches, arts graph., théâtre. -
München: Schirmer/Mosel, 1985 published in English as Cassandre :
Posters, Typography, Stage Designs - London: Thames and Hudson, 1986
(ISBN 0-500-23450-7)

External links

•Official website of google images

•Official french website with lots of samples of his work
•Art Directors Club biography, portrait and images of work

Bibliography

•Schriften: 1925 - 1974 Band 1/2. Berlin, 1992.

•Die neue Typographie, Ein Handbuch für zeitgemäss Schaffende, Berlin,
Verlag des Bildungsverbandes der Deutschen Buchdrucker, 1928.
•Typografische Entwurfstechnik, Stuttgart: Akademischer Verlag Dr Fritz
Wedekind & Co., 1932.
•Ausgewählte Aufsätze über Fragen der Gestalt des Buches und der
Typographie, 1948.
•Schatzkammer der Schreibkunst, Basel, 2. Aufl. 1949.
•Meisterbuch der Schrift. Ein Lehrbuch mit vorbildlichen Schriften aus
Vergangenheit und Gegenwart für Schriftenmaler, Graphiker, Bildhauer,
Graveure, Lithographen, Verlagshersteller, Buchdrucker, Architekten und
Kunstschulen, Ravensburg, 1952, 2. Aufl. 1965.
•Geschichte der Schrift in Bildern, Hamburg, 4. Aufl. 1961.
•De proporties van het boek (Die Proportionen des Buches), Amsterdam,
1991.

Recovered from Wikipedia in Aug 30, 2012.

By: Cardona, A.N. Instructor At SENA-Regional Antioquia.
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 DISEÑO EN EL MEDIO AMBIENTE

Control de documento
Construcción Objeto de Aprendizaje
Análisis de la Información
Desarrollador de contenido
Ana Yaqueline Chavarro Parra
Experto temático
Luis Antonio Suárez Martínez
Asesor pedagógico
Maria Teresa Camargo Serrano

Producción Multimedia Antonio Vecino Valero

Programador Roberto Chajín Ortiz

Líder expertos temáticos Ana Yaqueline Chavarro Parra
Líder línea de producción Santiago Lozada Garcés

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