Chapter 23 Flashcards

Question

Ryuichi Yamashiro

Answer 1

- 1920-97 - The tree-planting poster by this Japanese designer demonstrates just how successfully national traditions can be maintained while incorporating international influences, as Eastern calligraphy and spatial concerns unite with a Western communications concept

Answer 2

- 1915-97 - Under his leadership, Japanese graphic designers dispelled the widely held belief that visual communications must be hand-drawn, and the notion of applied arts’ inferiority to fine art faded as Japanese designers established their professional status. He charted the course of this new Japanese movement through the vitality and strength of his creative work, his leadership in founding the Japan Advertising Art Club to bring professionalism and focus to the new discipline, and the establishment, in 1960, of the Japan Design Center. The logo and posters he created for the 1964 Olympics in Tokyo received international acclaim and established Japan as a center of creative design

Answer 3

- b.1922 - His growing involvement in the use of photographic illustration to solve graphic design problems, combined with his interest in collaborative and team design, culminated in the establishment of the Masuda Tadashi Design Institute in 1958. Through his collaborative team approach, unexpected solutions and new ways of seeing things emerged

Answer 4

- b.1929 - a sculpture major at the Tokyo University of Fine Arts and Music, who turned to graphic design after graduating in 1951. His oeuvre might be considered ongoing research into linear form and the properties of line as a graphic medium for spatial modulation. His poster for “Tradition et Nouvelles Techniques”(Traditional and New Techniques) creates a universe of geometric forms evoking planets and energy forces moving in space

Answer 5

- 1930-2002 - used plane and shape as the nucleus for his work. During the 1950s, he assimilated many of the Bauhaus design traditions, and then opened Tanaka Design Studio in 1963. Two underlying visual concepts in much of his work are grid structure and vibrant planes of color that explore warm/cool contrast, close-valued color, and analogous color ranges. Traditional Japanese motifs, including landscape, Kanze Noh theater, calligraphy, masks, and woodblock prints, are reinvented in a modernist design idiom

Answer 6

- b.1944 - After graduating from Tama University in 1968, he earned a graduate degree from the University of California, Los Angeles. Upon returning to Japan, he opened his own design office in 1970. Much of his studio’s work is in trademark, corporate identity, environmental, and product design. By 1976, his experiments with alphabets drawn on isometric grids were attracting clients and international recognition. He calls his three-dimensional alphabetic sculptures architectural alphabets

Answer 7

- b.1936 - His work replaces the order and logic of constructivism with the restless vitality of Dada and a fascination with mass media, popular art, and comic books. His “Sixth International Biennial Exhibition of Prints in Tokyo” poster combines a variety of techniques showing the range of his uninhibited design vocabulary

Answer 8

- b.1932 - His designs are disarmingly simple—as readable and immediate as a one-panel cartoon—yet they engage the viewer with their unexpected violations of spatial logic and universal order. His irresistible directness is seen in “Victory 1945,” awarded first prize in an international competition for a poster commemorating the thirtieth anniversary of the end of World War II. Playfulness and humor abound in his work

Answer 9

- b.1944 - His painting of a white tray—which he tilted so the blue-colored water filling it graduated toward one end—became an important inspiration for his evolution. Sato’s design balances opposites: traditional/futuristic, organic/mechanical, East/West, light/dark. He also writes haiku poetry; His graphic designs share the multiple levels of meaning and expression of deep emotion found in this traditional form. Auras and glowing luminosity are found in his work, bringing a metaphysical poetry to the printed page

Answer 10

- b.1928, b.1922, 1923-2008 - In 1963, graphic designer Wim Crouwel, product designer Frisco Kramer, and architectural designer Benno Wissing formed Total Design (TD), a large multidisciplinary design firm in Amsterdam.

Answer 11

- 1931-2004 - worked at his father’s printing firm, De Jong & Co., near Amsterdam, where he learned all aspects of printing. He established a small gallery at De Jong & Co. and presented exhibitions of advanced art and graphic design. He designed the posters for these exhibitions based on a grid of fifteen squares. The poster he designed for the 1960 exhibition De man achter de vormgeving van de PTT (The Man Behind the Design for the Dutch Post Service) uses translucency to communicate the concept of behind. Brattinga edited a journal, Kwadraatblad (Quadrate), which was published by De Jong & Co. and provided designers with a forum to experiment with the print medium. He also designed posters and publications for the Kröller-Müller Museum in Otterlo

Answer 12

- 1878-1942 - became general secretary of the Netherlands Postage and Telecommunications Service (PTT) board in 1919 and emphasized aesthetic excellence in all areas, from telephone booths and buildings to postage stamps. He died in a concentration camp in 1942.

Answer 13

- b.1929 - In 1965, Oxenaar was selected to design Dutch paper currency and in 1976, he was appointed the aesthetic advisor to the Netherlands Postage and Telecommunications Service (PTT). Under his leadership, PTT achieved visual innovation

Answer 14

- b.1940 - participated in Fluxus, which helped him seek unconventional solutions to visual communications assignments; he emerged as a provocateur pushing for maximum freedom of expression and thought. His posters often use photographic depictions of the human figure that are embellished with objects, fragmented, distorted, or altered to create jolting ambiguities, unexpected perceptual experiences, and shocking messages

Answer 15

- b.1932 - explores means of organizing information to challenge the viewer to participate in the perception process and examine the meaning and motives of visual messages. His memorable designs are often assembled of intentionally provocative images and idiosyncratic font choices in unfinished montages rather than seamless compositions

Answer 16

- b.1945 - Through their simplicity and flat surfaces of color, his posters stand out from the urban surroundings where they hang, and through their quiet dignity they attract attention on crowded streets

Answer 17

- b.1940 - founded Studio Dumbar in 1977. Originally located in The Hague and then in Rotterdam, this studio has a comprehensive range, designing everything from experimental graphics for cultural clients to corporate identity programs and literature. He developed a technique he called staged photography, consisting of still lifes and environments incorporating found material and papier-mâché figures and objects sculpted or assembled for the project. Illustration, photography, typography, and sculpture were integrated into a lively visual syntax

Answer 18

- b.1969 - specializes in making books. She sees them as sculptural objects, which can provide an additional aspect to the text

Answer 19

- b.1937 - a German designer who remains faithful to the more traditional methods of graphic design. He works as a graphic and stage designer, his colorful and highly illustrative posters displaying wry humor effectively penetrating to the core of the subject depicted.

Answer 20

- b.1948 - In addition to being a poster artist and textile designer, she is scenographer and director at the Mill Theatre in Haderslev, Denmark. Her design process involves collecting material, photographing it, and then introducing paint and text, the latter often her own handwriting or enlarged typewritten letters

Answer 21

- b.1960 - Having received her artistic training in Bulgaria, this artist and designer has lived in the United States since 1981. Employing radically contrasting images, her subtle and lucid statements often bluntly confront social and political issues such as war and environmental conservation

Answer 22

- b.1961 - Conceptualism, a typical attribute in Japanese graphic design, is plentiful in the complex designs of this Japanese designer. Laden with ambiguities, his elegant posters consist of highly abstract minimalistic and direct images of color and light. In “I Am Walking,” a large poster in nine sections, he subtly guides the reader through the text of a poem about walking in a forest

Answer 23

- b.1952 - Armed with a fecund imagination, he orchestrates an arcane symbolic content that follows no previous models. Serendipity plays a prominent role as he discovers his solutions during the creative process. His 1988 poster for Alpha Cubic Co. consists of an intricately reconstructed face. With no text other than the name of the company, it proves to be both a quandary and source of intrigue for the onlooker

Answer 24

- b.1940 - presents commonplace objects as fresh, rich, and unexpected images. His 2002 poster for the JAGDA Member’s Poster Exhibition uses the familiar rising sun theme as a central element

Answer 25

- b.1931 - The application of layers of ethereal light is a recurring design device in posters by this Tokyo graphic designer. As with Matsunaga, the familiar circular shape is used in his majestic 1998 poster, “En Hommage à Yusaku Kamekura,” a design fully worthy of its subject

Answer 26

- b.1962 - received his first diploma in graphic design from the University of Applied Arts in Vienna, and while on a Fulbright scholarship earned a master’s from the Pratt Institute in New York. In 1993 he founded Sagmeister Inc. in New York. He has designed graphics and packaging for the Rolling Stones, David Byrne, Lou Reed, Aerosmith, and Pat Metheny, among other clients. His graphic design is consistently characterized by an uncompromising and harsh directness. On a poster for a Lou Reed album, lyrics from one of Reed’s songs are handwritten across his face like graffiti

Answer 27

- b.1944 - works as a graphic designer in Chatillens and Lausanne, Switzerland, mainly for cultural institutions. In his poster “Saison,” a single image is endowed with a double meaning through a simple modification: a change in color

Answer 28

- b.1959 - one of the few poster designers from the Basel School of Design who remained in Basel. Combining figurative elements, frequently a face, with typography and natural or geometrical forms, his posters invite reflection and contemplation. His designs witness the rigor of his Swiss training blended with a conceptual vision

Answer 29

- b.1943 - A native of Basel, he studied with Armin Hofmann and Emil Ruder at the Basel School of Design. He has taught at the École Nationale Supérieure des Arts Décoratifs and as a graphic designer produces visual identity programs, posters, logos, exhibitions, products, and cartography. As a teacher, he has inspired a generation of graphic designers by stressing the importance of basic design principles, typographic research, and the rich tradition of French poster design

Answer 30

-b.1947 - received formal training at the Art School of Lucerne from 1967 until 1971 and worked as an art director for Hollenstein Création in Paris before starting his own graphic design studio in Willisau, Switzerland, in 1973. An avid jazz fan, he has created many posters for jazz concerts and festivals

Answer 31

- b.1932 - completed his graphic art studies at the Kunsthochschule in Berlin. During his long career, he has designed over two hundred posters for such clients as British Airways and the Zurich Opera House, where he has also created notable stage designs for seasonal festivals of music and theater

Answer 32

- b.1939 - began his graphic design studies in Lucerne and in 1960 continued his education in Paris. In 1963, he opened his own studio in Los Angeles, where he collaborated periodically with Saul Pass. Brühwiler returned to Switzerland in 1973, working for clients such as the Swiss International Tourist Office, Swissair, Kunsthaus Museum, Museum Reitberg, and the Luzerner Theater

Answer 33

- b.1943 - A native of Dresden, Germany, this designer provides the viewer with few clues to the meaning of his minimalist and arcane messages

Answer 34

- b.1940 - This graphic designer from Berlin and Hamburg delights in presenting ordinary objects and situations in unusual ways: tomatoes become sunglasses; a standing painted nude male advertises the expertise of a printer; flaming matches become a man’s hair; and a circular saw blade is used as a palette

Answer 35

- 1928 - Educated at the École Nationale Supérieure des Arts Appliqués and the École Nationale Supérieure des Arts Décoratifs, he then worked as an intern for Total Design in Amsterdam. He began his own studio and became the art director for Jardins des Modes, and then in 1997 he became a design consultant for the Louvre Museum, where he is currently the art director. His designs are dominated by an expressive and decisive use of typography that not only provides information but also functions as a visual pun

Answer 36

- b.1964 - After studying design in Munich, Lenz moved to Paris in 1990, where she worked at the cultural-political design group Grapus. Having launched her own studio in 1993, she works mainly in the social and cultural sector designing elegant works for public spaces

Answer 37

- b.1938 - graduated from London College of Printing in 1962 and from the Yale University School of Art and Architecture MFA graphic design program in 1967. Since 1987, he has been the principal designer for Studio-Works and is involved with exhibition design, wayfinding, print design, public art, and information design. His recent work could be described as “sculptural posters,” employing ambitious die cuts, stamping, and folds that add a third dimension to the traditionally two-dimensional format

Answer 38

- b.1964 - His designs for Alfred A. Knopf have helped to foment a revolution in book jacket design. “By distancing the title from the image on the cover, [he] puts a very specific kind of pressure on readers: he asks them to bridge the gap between what they read and what they see,”said Veronique Vienne in a monograph on his work

Answer 39

- b.1940 - founder, in 1975, of the Katsumi Asaba Design Office. One of his goals has been to forge a connection between contemporary graphic design and ancient writing systems, as demonstrated by the jacket for the book Spy Sorge.In the late 1980s he transformed a surviving pictographic script, Dongba (Tompa), used by the Naxi tribe in China, into a personal design language titled “Katsumi Asaba’s Tompa Character Exhibition: The Last Living Pictographic Script on Earth”

Answer 40

- b.1949 - A former student of Milton Glaser and Ed Benguiat at the School of Visual Arts in New York, Gil has been creative director of Tau Design in Madrid since its founding in 1980. Tau Design is one of the pioneering graphic design studios in Spain, specializing in visual communication and corporate identity programs. Gil also wrote and the book Pioneers of Spanish Graphic Design, the leading publication on this subject. His design reflects the aesthetic and direct manual involvement of designers working in postwar Spain; handwork is celebrated while juxtaposed with modern typographic design

Answer 41

- b.1953 - strives for a balance between reflection, feeling, and intuition. He works initially with words and drawings, developing and refining ideas before taking them to the computer. Estrada is currently chair of the Madrid Designers’ Association, which manages the Central de Diseño de Matadero in Madrid. He is a member of the Higher Council of Artistic Teaching and is executive chairman of the Advisory Council of the Ibero American Design Biennial

Answer 42

- b.1963 - initially studied drama in Paris. He began his work as a graphic design in Barcelona in 1989 and formed his own studio in Huesca in 1996. His sculptural, whimsical, and humorous book covers often combine found objects with simple graphic elements

Answer 43

- 1929-97 - generally considered the father of Portuguese graphic design. Rodrigues’s early designs reflect his research into the indigenous Portuguese popular culture. Beginning in the 1960s, he created the identity for the Calouste Gulbenkian Foundation, a private Portuguese institution dedicated to the arts, charities, education, and science. In 1959, Rodrigues was awarded a grant from the foundation allowing him to travel for six months exploring and collecting popular graphic material from the northern part of Portugal to use in his design projects. From 1959 to 1961, he was art director for the monthly magazine Almanaque

Answer 44

- b.1957 - attended the College of Fine Arts in Lisbon and early in his career was inspired by Sebastião Rodrigues. In 1990 he founded the Henrique Cayette Studio in Lisbon, where he has been working with a large team on cultural, education, and scientific design; design for exhibitions, public spaces, and accessibility; illustration and editorial production; and signage

Answer 45

- b.1942 - in 1982, opened his own studio in Porto, concentrating on poster design, illustration, and packaging. His posters are typified by exuberant colors, a playful arrangement of geometric elements, and strong contrasts between flat surfaces and textured patterns

Answer 46

- b.1938 - A native of Havana, Cuba, hewent to the United States in 1956 to study painting and graphic design at the School of Visual Arts, the Art Students League, the American School of Art, and the Pratt Institute. In 1962, he returned to Cuba, where he designed a series of social and political posters about the Cuban Revolution, indigenous art, public safety, and the new economy. His graphic design follows the traditions of the international style

Answer 47

- b.1946 - His corporate identity designs include the Mexico City emblem as well as work for the National Council for Culture and the Arts, Mexico. He works primarily as an editorial designer for the magazines Saber-Verand Artes de Mexicoand the journals El nacionaland La cronica. As demonstrated by his poster “Cervantes XXI,” honoring the Spanish author Miguel de Cervantes, his designs are often direct and confrontational

Answer 48

- b.1956 - studied graphic design at theEscuela de Diseño del Instituto Nacional de Bellas Artes. As a graphic designer, she has worked on many children’s books, magazines, posters, and contemporary art catalogs. Her whimsical designsare inspired by Polish poster designers, such as Roman Cieslewicz. Most recently, Rodriguez is engaged in designing for political, social, and cultural causes in Mexico

Answer 49

- b.1971 - The work of this independent graphic designer also has roots in the Polish conceptual realm. With overtones of surrealism, he employs collage and freehand drawing with wit and intellectual prowess

Answer 50

- b.1955 - highly acclaimed in Brazil and worldwide for his pioneering work in graphic design. He has exhibited internationally, including solo exhibitions at the Centre Pompidou in Paris and the Museum of Modern Art in New York. He has taught at the School of Visual Arts in New York and Istituto Europeo di Design in São Paulo, where he is director of the graphic design master’s program.

Answer 51

- b.1942 - head of the innovative design firm Fontana Diseño; has been highly influential in increasing public awareness of graphic design throughout Argentina. He introduced typography at the Universidad de Buenos Aires, where he taught until 1997. From 1987 until 2006 he directed the international event Bienal Letras Latinas, and for twenty years he was the publisher of the magazine TipoGráfica

Answer 52

- b.1934 - among the earliest Western-trained modern designers, having studied at Hunter College in New York and later at the Yale University School of Art, where he studied under Paul Rand. Practicing in Hong Kong, his work has had significant influence in the Pacific Rim. His notable designs include a long-lasting series of banknotes for Standard Chartered Bank. Each banknote is based on mythical Chinese animals, giving the denominations an orderly arrangement and straightforward hierarchy

Answer 53

- b.1933 - studied at the LuXun Academy of Fine Arts in China and at the Hochschule für Grafik und Buchkunst in Leipzig, Germany. He is one of the earliest practitioners of modern graphic design in China and an influential leader and teacher. He has inspired a generation of Chinese graphic designers by emphasizing the significance of traditional Chinese arts painting, and calligraphy as well as the principles of both his Eastern and Western design education. In 1992 Yu became the first ethnic Chinese person admitted to the Alliance Graphique Internationale (AGI), and in 1998 he received the Gutenberg Prize from the city of Leipzig for “rendering outstanding, exemplary services to the advancement of book arts”

Answer 54

- The dean of the School of Design at the Central Academy of Fine Arts (CAFA) in Beijingis a leader in the Chinese embrace of Western design movements, in both education and practice. Educated at Zhejiang Academy of Fine Arts, he later studied with Alvin Eisenman and Paul Rand at Yale University. In 1990 he joined Adobe System’s Creative Services Department and worked with Sumner Stone on a design team that developed Adobe’s first font catalog. His cross-cultural perspective and ability to fuse East and West is clearly evident in his font designs for Adobe, the work in his design partnership, Square Two design, and most notably, in the 2008 Beijing Olympic Games graphics program, for which he served as design director

Answer 55

- b.1947 - is one of China’s most influential book designers and illustrators. His designs emphasize the book as an interactive three-dimensional object and his use of unique materials, elegant bindings, and incised cover treatments draws on China’s rich esthetic traditions and expressively joins them with postmodern Western design. In his designs he succeeds in creating multiple levels of texture and meanings focused on what he describes as the “five senses” of reading a book: cover, design, binding, text design, layout, and editing

Answer 56

- b.1973 - After continuing his studies at the Berlin University of Arts he remained in Berlin, where he opened Hesign Studio. With their remarkable blend of type and photography, his posters retain the majesty and serenity of traditional Chinese landscape painting

Answer 57

- b.1973 - A member of the design faculty at the Central Academy of Fine Arts (CAFA), heexplores modern Chinese typography (meishuzi) and its development, basic structure, history, and calligraphic tradition. This research forms the basis of his unique working methodology, visual explorations, and creative approach toward his recent work

Answer 58

- b.1966 - studied at the Academy of Arts & Design at Tsinghua University under his mentor, Bingnan Yu. Specializing in visual communication for several publishers, he frequently blends traditional Chinese illustrations with Chinese typography in his work; his designs for book covers express a harmonious refinement

Answer 59

- b.1956 - A professor at the Nanjing Arts Institute, Cao presents ancient Chinese themes and rich cultural symbolism in her work. Her designs incorporate smoothly and inseparably collaged layers of repetitive hand-drawings, musical notes, Western typography, Chinese calligraphy, and photographs.

Answer 60

- b. 1955 - Founder of WX Design in Guangzhou, Wang’s expressive designs reflect the grace and beauty of traditional Chinese calligraphy and brush painting. He has edited and designed over eighty design books and magazines, including Design Exchangeand numerous volumes of the book series Graphic Designers’ Design Life

Answer 61

- b.1960 - combines a decidedly Western and postmodern visual language emphasis with elements of Chinese traditional arts. He incorporates layered, textured, and deconstructed digital designs in his work, particularly in publication designs such as Vision Quest

Answer 62

- b.1960 - refers to himself as a “social worker of visual communications.” His designs juxtapose Chinese aesthetics and modern visual language to emphasize social messages that frequently call attention to interpersonal human relations. In 2005, his poster series on addressing “the spirit of Hong Kong” was one of two artworks from Hong Kong presented at the 51st Venice Biennale

Answer 63

- b.1958 - A native of Macau, he was educated first in Portugal and later at the Academy of Fine Art of Guangzhou, China. Displaying both Iberian and Chinese influences, his workcombines skillful yet expressionistic use of the pen, infusing his posters with a sense of freedom, lightness, and jubilance. He has also held important art and cultural posts in Macau, including designer for the Cultural Institute of Macau, director of the Macau Museum of Art, and president of the Macau Cultural Affairs Bureau

Answer 64

- b.1952 - designed a succession of experimental letters based on older Korean typefaces. In his poster and publication designs, he incorporates the letters as free and playful elements

Answer 65

- b.1963 - founded the design studio 601bisang, and serves as its president and creative director. Experimental and innovative, his work often blurs the border between typography and painting

Answer 66

- b.1944 - This Israeli graphic designer studied at the BezalelAcademy ofArt and Design in Jerusalem before graduating from the London College of Printing in 1968. Since 1975, he has operated his own studio in Tel Aviv, specializing in visual communications on cultural themes

Answer 67

- 1936-2005 - Considered the father of Iranian graphic design, Momayez studied in Paris, where he was exposed to the work of his European contemporaries. He was deeply inspired by the Swiss school of international typography and the Polish poster movement. He also sought to develop his own style, drawing from Iran’s distinctive visual culture. By combining Iran’s traditions in illustration and calligraphy with new approaches to working with typography and image, he created something new and uniquely Iranian. Momayez also did much to foster the practice of graphic design and design education in Iran. He established the Iranian Graphic Designers Society (IGDS), brought together the country’s most talented designers, involved them in education, and inspired and engaged new generations of artists

Answer 68

- b.1965 - Astudent of Momayez, he earned a degree in visual communication from the Faculty of Fine Arts, University of Tehran. He is part of a generation of designers who emerged after Iran-Iraq War (1980–88). In 1989 he founded Did Graphics, one of the most prestigious studios in Iran. Like Momayez, Abbasi has embraced traditional Persian illustration and calligraphy, but recombines them with other approaches to visual communication, such as Western-style photography

Answer 69

- b.1967 - The typographic expressive posters of this Iranian graphic designer reflect both his training in graphic design and his later education as a painter. As with his prize-winning poster for the film Rêves de sable,his type and image frequently become one and the same

Answer 70

- b.1964 - Specializing in book and publication design, Saed Meshki creates works that are ethereal and speak of a separate world. His book covers transport the viewer to a spirited place and time indicative of the poetry and stories contained within. His work is painterly, yet every composition is made of individually scanned and digitally manipulated elements. The incorporation of calligraphy produces an aesthetic strikingly different than that of Western traditions