Wednesday, October 13, 2010



Alexey Brodovitch created influential editorial designs emphasized and sought “a musical feeling” in the flow of text and pictures. He had a fascination for white space and sharp type on clear open pages. Elements inserted on colored and rough-textured papers contrast with smooth coated white paper. The use of cropping, the enlargement plus juxtaposition of images, and the rhythm environment of open space was energized by art and photography, he commissioned from major European artists. He saw contrast as a dominate tool in editorial design and often used repetition as a design device. Alexey Brodovitch was exposed to a number of influential designs including the European designs and artists.
Russian designer, Alexey Brodovitch (1898-1971), immigrated Russia and became the leading contemporary designer in Paris. Established in America, he became the art director of Harper’s Bazaar, teacher at the New School for Social Research and served as faulty at Yale University School of Art.
Alexey Brodovitch rethought the approach to editorial design and was partially responsible for the spread of editorial design in the 1950’s. He taught at the New School for Social Research and out of his home. The seeds for an expansive, design-oriented period of editorial graphics were sown in these classes. In addition, he educated on how to utilize photography and students learned to examine each problem thoroughly, develop a solution from the resulting understanding and then search for a brilliant visual presentation. Also, he developed an exceptional gift for identifying and assisting new talent.


                                






Saul Bass
One of the New York School’s pioneers, an acknowledged master of film titles and graphic designer, Saul Bass (1919-96) had the ability to express the nucleus of a design with images that became glyphs or elemental pictorial signs and exerted great graphic power. With the mastery of elemental forms, he pioneered an organic process of forms that appear, disintegrate, reform and transform in time and space, this combination, recombination and synthesis of form was carried over into the area of printed graphics.

Saul Bass broke the traditional portraits of actors and actresses promoting films plus the mediocre garish typography for film titles. By unifying both print and media graphics, he introduced the first comprehensive design program for motion picture film and titles. In addition to directing a number of films from short films to featured-length motion pictures, he created numerous corporate identity programs and embraced corporate visual identification. With iconic, widely imitated trademarks produced by Saul Bass, furthermore believed a trademark must be readily understood yet posses elements of metaphor and ambiguity that will attract the viewer again and again.

He approached each individual item as a unique communications problem resulted in the simplicity and directness of the designs enabled the viewer to interpret the content immediately. By means of utilizing irregular forms cut from paper with scissors or drawn with a brush, frequently simplified images to minimal statements and/or reduced messages to simple pictographic images lacking the exactness of measurement or structure that could make them determined.

Equally, Saul Bass and Paul Rand had a large amount of exposure from European designs while Paul Rand’s designs are dominantly influenced by constructivism. Saul Bass’ designs do not completely suggest constructivism even though; his designs are largely influenced by Paul Rand’s use of shapes and asymmetrical balance.










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