History of Design in the 1970s and 1980s. Part Two: Graphic Design

Contents:

• Conceptual Illustration and Regional Context
• "Anarchy in the UK" and Punk Design
• "Uppercase and Lowercase" by Herb Lubalin
• Wim Crowel and Jan van Toorn - The Debate of the Century
• Wolfgang Weingart's Swiss Punk

The main rule is the absence of rules. Designers of the 1960s–1980s boldly ignored the strict restrictions established in the mid-20th century. They perceived the heritage of world culture as a "treasury of ideas," open to free use and reworking in a wide variety of combinations. This was a period of bold experimentation, irony, and protest, when traditional approaches gave way to new forms and concepts. As a result, the design of this era became a symbol of creativity and innovation, reflecting changes in society and culture.

In this article, we will examine the development of graphic design in the 1970s and 1980s. This period marked a significant milestone in the history of design, when new technologies and cultural changes influenced visual art. This era saw the emergence of striking trends such as the use of vibrant colors, experimentation with typography, and the introduction of computer graphics. Designers began actively exploring the interaction between text and image, leading to the creation of unique visual solutions. By analyzing this period, we will see how social and technological changes shaped the face of graphic design as we know it today.

• Conceptual illustration and regional context;
• "Anarchy in the UK" and punk design;
• "Uppercase and Lowercase" by Herb Lubalin;
• Wim Crowel and Jan van Toorn - the debate of the century;
• Wolfgang Weingart's Swiss punk.

Conceptual illustration and regional context

Currently, author illustration and collages are becoming the main forms of visual art, gradually displacing photography. The most important aspects are the individual style of the artist and his ability to conceptual thinking, which allows him to offer original and unexpected solutions. Instead of traditional severity and seriousness, humor and the grotesque are increasingly present in works. References to various historical styles are actively used, contributing to an eclectic mix of decorative elements and graphic techniques from different eras. This makes contemporary art more vibrant and multifaceted, introducing a diversity of ideas and visual solutions. Hand-drawn lettering with rainbow outlines is becoming an important element of typeface design. In packaging and advertising, styles rich in detail are particularly in demand, such as Victorian graphics, the elegant curls of Art Nouveau, and the clear geometric shapes of Art Deco. These trends not only attract attention but also create a unique atmosphere, emphasizing the brand's individuality. Using these styles in your design helps you stand out from the competition and attract your target audience.

Prominent representatives of the American school of illustration of this period are graphic designers, teachers and authors of books on design Seymour Choust and Milton Glaser. Since 1954, they collaborated at the Push Pin design studio, and since their student years, they had been working on an almanac of the same name. Their contributions to graphic design and illustration had a significant impact on the development of visual culture in the United States, introducing new ideas and stylistic approaches.

In 1974, Glaser, feeling the limitations of his recognizable style, decided to leave the studio and begin an independent career. Meanwhile, Seymour Choust and his partners continued to develop and strengthen the studio's position, introducing new ideas and approaches to design. This is a period of transformation, when the studio adapts to changes in the industry and seeks new avenues for creative expression.

From 1968 to the early 1990s, Glaser created advertising posters for the Italian brand Olivetti, which specialized in typewriters, which later became laptops. The designer was given complete creative freedom, allowing him to integrate the designs into fantastical worlds filled with references to classical art. He masterfully combined realistic elements with comic book and engraving graphics, helping to transform the image of "boring" office equipment into something unique and memorable. Glaser's work became a symbol of creativity in advertising and made a significant contribution to changing the perception of technology in popular culture.

Milton Glaser's most famous work is the New York State tourism logo, I ♥ NY, created in 1976 and still in active use. This logo cleverly combines the American Typewriter typeface, associated with the business city, with a square typeface inspired by Robert Indiana's sculpture "Love." The emotional interaction of the letters and the graphic symbol of the heart creates a memorable and powerful visual image that has become a symbol not only of New York City, but of American culture as a whole.

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The History of the I ❤ NY Logo

The I ❤ NY logo, created in 1977, has become a symbol of New York City and a popular part of pop culture. Its creator, designer Milton Glaser, developed this unique symbol as part of an advertising campaign aimed at attracting tourists to the city after the economic crisis.

The idea behind the logo is simple yet powerful. The heart, symbolizing love, combined with the abbreviation I and the abbreviation NY, creates a bright and memorable image. The logo quickly gained popularity and became not only a symbol of the city but also a part of the identity of its residents.

Over time, the I ❤ NY has been used in a variety of contexts, from souvenirs to clothing, and has become an icon associated with travel, culture, and the spirit of New York. This design demonstrates how a simple idea can have a significant impact on the perception of a city and its culture.

The I ❤ NY logo continues to inspire designers and marketers, and its history exemplifies the power of visual content in shaping a city's image.

In the second half of the 1960s, designers began to show interest in regional contexts, traditional cultures, and folklore. This period saw the flourishing of regional poster schools, and the Polish poster has earned a special place in the history of graphic design in the second half of the 20th century. For many artists from socialist countries, posters, especially in the fields of film and theater, became an important space for creative expression. This allowed them to circumvent censorship and introduce modern art into the urban environment. The Polish poster has become a symbol of cultural freedom and innovation, reflecting the unique characteristics of national identity and introducing fresh ideas into visual communication.

Commercial posters featuring photorealistic portraits of actors have been replaced by illustrations that convey the film's plot through associative images. Such outstanding artists and designers as Henryk Tomaszewski, Jan Lenica, Waldemar Świerzy, Franciszek Starowiejski, and Roman Cieslewicz have worked in this direction. Their work contributes to the creation of a unique visual language that attracts viewers' attention and allows them to immerse themselves in the film's atmosphere. These illustrations not only advertise films but also become independent works of art, emphasizing a creative approach to visual culture.

The Polish school played a significant role in the development of the poster as an artistic movement, influencing not only the Soviet Union but also France in the 1980s. The creative collective Grapus, which included artists trained by renowned masters such as Tomaszewski, actively applied the principles of Polish poster art in their work. This demonstrates how cultural exchanges shape artistic trends and contribute to the development of graphic design on the international stage.

"Anarchy in the U.K." and Punk Design

"Anarchy in the U.K." is the debut single by the punk rock band Sex Pistols, released in 1976. The track became a symbol of punk culture and an expression of protest against the existing order. The artwork for the single, as well as for the band's subsequent records, was created by renowned British artist Jamie Reid, who brought a unique style to the visual aesthetics of punk. The single had a significant impact on the music scene and became a milestone in the history of rock music, setting the direction for many subsequent artists and movements.

Reed's posters and covers feature all the key elements of punk graphics. Here you can see a torn Union Jack held together with safety pins, as well as rough lettering composed of letters cut out of newspapers and magazines, or created using crude stencils. The visuals are complemented by surreal photo collages and random splashes of paint that highlight the rebellious spirit of punk culture.

The image of the British queen, created by Jamie Reid with a safety pin in her mouth, left a noticeable mark on the history of world fashion. This provocative T-shirt was released by fashion designer Vivienne Westwood and Sex Pistols manager Malcolm McLaren in 1977, the year Queen Elizabeth II celebrated 25 years on the throne. The T-shirt became a symbol of rebellion and opposition to tradition, reflecting the spirit of the times and the influence of punk culture on fashion.

A critique of capitalism, an awareness of the absurdity of the existing order, and a desire to resist it through anti-aesthetics and chaos brought punks closer to the concepts of (neo)Dadaism. The aesthetics of punk culture included ragged edges, black-and-white photographs and comic-book illustrations, as well as sloppy lettering done with markers or paint. These elements became an integral part of the DIY (Do It Yourself) philosophy, emphasizing individuality and creativity in self-expression. Together, the punk movement and (neo)Dadaism formed a unique cultural identity based on a rejection of traditional norms and a desire for creative freedom.

Samizdat magazines played a key role in the development of the subculture. Particularly significant were the American magazine Punk, founded in 1976, and the British magazine Sniffin Glue. These publications not only covered the punk scene but also shaped its ideas, style, and values, contributing to the spread of punk culture worldwide.

The work of British artist Linder Stirling deserves special attention. On the cover of the punk band Buzzcocks' single "Orgasm Addict" (1977), she presented her collage depicting a naked woman with an iron for a head and smiling faces on her chest. This provocative work drew attention to important issues of social inequality and the exploitation of women, highlighting the relevance of these topics in society. Sterling's art remains a significant example of how visual media can be used to critically reflect on social issues.

Herb Lubalin's "Upper and Lower Case"

U&lc, short for Upper and Lower Case, is a renowned American magazine devoted to graphic design and typography. Published from 1970 to 1999 by the New York-based International Typeface Corporation (ITC), the magazine became an important source of information and inspiration for designers and typographers. U&lc was distinguished by its original design and high-quality materials, making it a significant part of the history of graphic design and typography.

One of the three co-founders of the company, as well as the editor-in-chief and designer of the magazine, Herb Lubalin was a prominent graphic designer. He served as art director for such renowned publications as Eros, Fakt, and Avangard. Lubalin was renowned for creating original typefaces, expressive logos, and innovative advertising, which had a significant influence on the development of graphic design and printed media. His work was distinguished by its unique style and high quality of execution, which made him one of the most respected professionals in his field.

ITC was the first company specializing in the development, adaptation, and licensing of fonts for phototypesetting, and later for computer typesetting. The introduction of these technologies significantly simplified the font creation process, as characters no longer required metal casting. However, despite their convenience, this also facilitated the illegal copying of fonts, which became a significant topic in the field of copyright and intellectual property protection.

On the pages of U&lc, Lubalin emphasized the importance of using licensed fonts and demonstrated the advantages of phototypesetting. He emphasized the reduced letter spacing and the large number of ligatures, which introduce variety into layout and add uniqueness to display headlines. Dense typesetting, in which letters are placed extremely close to one another, became a hallmark of 1970s typography. Even the renowned modernist Massimo Vignelli actively used this technique, demonstrating its importance in the design of the time. It is important to note that using licensed fonts not only improves the quality of design but also provides legal protection, which is a pressing issue in the modern world of graphic design.

During this period, fonts inspired by various historical eras were actively developed. One of the most famous examples is ITC Bauhaus, designed by Ed Benguiat in 1975, which reinterprets the typographic legacy of the German Bauhaus school. This font reflects the aesthetics of the 1970s and is not suitable for serious stylizations in the spirit of the 1920s.

ITC Avantgarde Gothic is one of the most famous fonts influenced by the geometric sans serifs of the 1920s and 1930s. It was designed by Herb Lubalin and Tom Karnas in 1970, based on the logo Lubalin designed for Ralph Ginzburg's magazine Avantgarde in 1968. This font has become a symbol of modern design and continues to be used in various fields, including graphic design, advertising, and branding. ITC Avantgarde Gothic features clean lines and a contemporary style, making it the perfect choice for those seeking minimalism and expressiveness in their designs.

Wim Crowel and Jan van Toorn ― The Debate of the Century

In 1972, a famous public debate took place between two prominent Dutch graphic designers: Wim Crouwel, representing a rational modernist approach, and Jan van Toorn, a proponent of new postmodernist ideas. This debate became a significant event in the design world and was published as a book in English in 2015. This work continues to attract the attention of professionals and students of contemporary art and design, as it reflects key changes and debates in the field.

The debate over the fundamental foundations of the design profession remains relevant today. Some designers, such as Wim Crouwel, strive to act as neutral intermediaries, conveying information from the client to the audience with a high degree of engineering precision and taking into account all aspects of visual communication. At the same time, others, like Jan van Toorn, see themselves as artists who bring elements of their own individuality to each work and consciously leave room for viewers' interpretation. This contrast in approaches highlights the diversity in the design world and the importance of finding a balance between functionality and creativity.

Jan van Toorn became known for his collage calendars for the Mart Spruijt printing house. One of the most memorable, the 1972–1973 calendar, was inspired by the image of a market crowd. In this project, unexpectedly composed photographs of ordinary people, taken by the designer's assistant on the city streets, are harmoniously combined with printed images of advertising models, famous musicians, and political activists. This approach allowed us to create a unique work of art that reflects the spirit of the times and social contexts.

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Nudes, Eclecticism, and Chaos: Exploring the Rebellious Spirit of the Dutch Poster

The Dutch poster as an art form embodies a rebellious spirit, which is expressed through nude figures, eclectic elements, and chaotic composition. These posters often break traditional boundaries by combining different styles and techniques, making them unique and memorable.

The nude figures in such works symbolize freedom of expression and a rejection of conservative norms. Eclecticism, in turn, demonstrates a diversity of influences and ideas, reflecting the multilayered nature of contemporary culture. The chaos in the composition emphasizes the dynamism and energy that make Dutch posters particularly appealing to viewers.

These characteristics not only distinguish the Dutch poster from other artistic movements but also create a unique visual experience that continues to inspire contemporary artists and designers. The rebellious spirit of the Dutch poster remains relevant today, emphasizing the importance of creative freedom.

Poster for the exhibition "Selection of Marinus Busem from the collection of the Van Abbemuseum", held in The 1971 exhibition is a striking example of bold design provocation. It features a handwritten list of famous artists' names in a column, with the total price of the works on display listed below. Some critics claimed that Jan van Toorn "sells art like sausage," while others praised his wit and ability to draw attention to the exhibition. This approach raises important questions about the relationship between art and money, making the poster not only an artistic but also a social statement.

A modern example The work of the design collective Metahaven exemplifies a creative, critical, and socially engaged approach to design in Dutch design. This collective actively explores the boundaries between design, politics, and technology, creating projects that provoke discussion and stimulate critical thinking. Metahaven's work focuses on current social and political issues, making their designs not only aesthetically pleasing but also relevant in the context of modern society.

Wolfgang Weingart's Swiss Punk

Wolfgang Weingart, known as the "father of postmodern typography," anticipated many of the computer design trends of the 1980s, even before the digital era. He completed a two-year program in applied graphic arts and a three-year internship at a printing house in Germany. In 1963, Weingart became an auditor at the prestigious Basel School of Design, where he studied with masters of Swiss typography such as Emil Ruder and Armin Hofmann. In 1968, he began teaching, sharing his knowledge and experience with future designers. Weingart has had a significant influence on the development of modern graphic design and typography.

Weingart's talent is unique due to the paradoxical combination of his respect for the traditions of the Swiss school and his innovative, rebellious spirit. He masterfully combines classical techniques with modern experimental approaches, making his work truly outstanding. Weingart is unafraid to break rules and explore new horizons, allowing him to create original and memorable works. Students had the opportunity to explore the plastic possibilities of various typesetting and printing technologies. Using phototypesetting, it was possible to shift letters and lines close or far away, as well as effectively combine graphic and typographic elements. This opened up new horizons for working with textures and decorative elements, fostering creativity and individual style in design. In his poster, magazine, and book layouts, Weingart used multi-layered photographic textures, including elements with ragged edges, reflecting a punk aesthetic. He also used translucent films cut into geometric shapes, lending a unique and contemporary look to the compositions. This approach allows you to create visually rich and original works that attract attention and leave a memorable impression.

In a special issue of the magazine Typografische Monatsblätter, published in 1976 and entirely devoted to the work of Weingart, his essay "Does this deserve "Typography of Support, or Are We Living on the Moon?" This work draws attention to important questions about typography and its role in contemporary design, raising discussions about the meaning and future of this artificial form of communication. Weingart's essay remains relevant today, encouraging designers and researchers to rethink approaches to typography and its impact on information perception.

Lines of text with different weights, laid out in two languages, were closely spaced, creating a complex rhythmic interaction with a background consisting of decorative stripes and lines placed in violation of the modular grid. On the one hand, this is an abstract composition overloaded with details, and on the other, the text remains legible. This approach allows for an effective combination of aesthetics and functionality, which is especially important for modern web designs.

Weingart's students are outstanding representatives of the new wave of American typography, among whom are Dan Friedman, April Greiman, and Willy Kunz. Their careers flourished in the 1980s and 1990s, when they made significant contributions to the development of modern design and typography. These designers became pioneers, shaping new approaches and styles that influenced subsequent generations.

Graphic design in the 1970s marked an important transitional period, uniting the experiences of previous decades. Designers experimented, boldly combining seemingly incompatible elements, which contributed to the search for new meanings and possibilities for graphic expression. With the development of computer technology in the 1980s and 1990s, designers had the opportunity to significantly expand their creative horizons and gain greater professional independence, which influenced the future evolution of graphic design.

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