El in 1907. He was an essential

El Lissitky’s
theoretical work is significant to the art history of graphic design because he
shows professional design practices throughout his work. For example, he
expresses a special composition contrast between elements, asymmetrical
balanced, relationship of form to negative space, use of Sean-serif type bold,
and geometric shapes of black and red. He was very good at using color in basic
shapes to make strong political statements. El Lissitzky combined architecture
and three-dimensional space with the traditional and abstract two-dimensional
imagery. El Lissitzky created his series of architectonic figures after seeing
a production of Victory Over the Sun. His “The Three-Dimensional Design of the
Electro-Mechanical Show “Victory over the Sun”” design was published
in Hanover, Germany in 1923. It is a three-dimension design and used ten color
lithographs to show the main character. It has pure geometric abstraction. This
“victory over the sun” drawings imply the geometrical choreographies of
constructivist for next generation. The movements of figures are suggested by
using shifting axes, multiple perspectives and directional signifiers.

Herbert Matter
who was born in Switzerland in 1907. He was an essential member of modern
designers, who was known for his excellent printing techniques and photography. He was master of
using photomontage, color and typography in an expressive manner, transcending
the boundaries between arts and designs. His advanced techniques in graphic
designs and photography become a part of his visual narrative.  Herbert Matter’s brochure for the printing company Gebruder
Fretz AG in 1933 is an innovative piece of design of Graphic Design. It
provides a source-book of print examples, which demonstrate how recent advances
in offset lithography and gravure allowed complex arrangements of graphic and
pictorial elements, ideas that had not been elaborated before. He arranged his
design in new way which is combined textural, image and other graphic
characteristics. This synthesis of qualities reflected Matter’s own broad range
of experiences where the text is
placed, rather than the layout being dominated by columns of the text. We
progress through the printing processes via a sequence of black-and-white
images that winds its way through the brochure, leading the eye to blocks of
text. In addition to skewed frames, some images are rotated so that they no
longer align with the vertical or horizontal axis, and many are masked or
dropped out of their background. A number are also displayed as vignettes,
which fade out into the white of the page, and black-and-white photographs or
line drawings occasionally over-print monochrome images, producing a layered
effect. Rather than just an exercise in hollow virtuosity, such interventions
reveal the connections that could be made between images.

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Saul bass was an American designer who was born in
1920 in New York City. Bass stepped up the sophistication of movie posters with
his distinctive minimal style and he was the one of person who completely
revolutionized in designing film poster. In 1955 Bass designed movie poster
‘The man with the golden arm’ for the Otto Preminger movie during the high
modernism or Swiss school era. Bass was committed to injecting life into these
graphics, making them as much a part of the cinematic experience as anything
else. In this poster, he introduced his signature “kinetic type,” Bass’ letters
dashed and moved across the screen and whole poster was incorporated with
images more than text. Title was separate at the top with bold and Sens-serif
international type.  He used conventional
illustration design and used different color to make this poster delightful.

El Lissitky’s
theoretical work is significant to the art history of graphic design because he
shows professional design practices throughout his work. For example, he
expresses a special composition contrast between elements, asymmetrical
balanced, relationship of form to negative space, use of Sean-serif type bold,
and geometric shapes of black and red. He was very good at using color in basic
shapes to make strong political statements. El Lissitzky combined architecture
and three-dimensional space with the traditional and abstract two-dimensional
imagery. El Lissitzky created his series of architectonic figures after seeing
a production of Victory Over the Sun. His “The Three-Dimensional Design of the
Electro-Mechanical Show “Victory over the Sun”” design was published
in Hanover, Germany in 1923. It is a three-dimension design and used ten color
lithographs to show the main character. It has pure geometric abstraction. This
“victory over the sun” drawings imply the geometrical choreographies of
constructivist for next generation. The movements of figures are suggested by
using shifting axes, multiple perspectives and directional signifiers.

Herbert Matter
who was born in Switzerland in 1907. He was an essential member of modern
designers, who was known for his excellent printing techniques and photography. He was master of
using photomontage, color and typography in an expressive manner, transcending
the boundaries between arts and designs. His advanced techniques in graphic
designs and photography become a part of his visual narrative.  Herbert Matter’s brochure for the printing company Gebruder
Fretz AG in 1933 is an innovative piece of design of Graphic Design. It
provides a source-book of print examples, which demonstrate how recent advances
in offset lithography and gravure allowed complex arrangements of graphic and
pictorial elements, ideas that had not been elaborated before. He arranged his
design in new way which is combined textural, image and other graphic
characteristics. This synthesis of qualities reflected Matter’s own broad range
of experiences where the text is
placed, rather than the layout being dominated by columns of the text. We
progress through the printing processes via a sequence of black-and-white
images that winds its way through the brochure, leading the eye to blocks of
text. In addition to skewed frames, some images are rotated so that they no
longer align with the vertical or horizontal axis, and many are masked or
dropped out of their background. A number are also displayed as vignettes,
which fade out into the white of the page, and black-and-white photographs or
line drawings occasionally over-print monochrome images, producing a layered
effect. Rather than just an exercise in hollow virtuosity, such interventions
reveal the connections that could be made between images.

We Will Write a Custom Essay Specifically
For You For Only $13.90/page!


order now

Saul bass was an American designer who was born in
1920 in New York City. Bass stepped up the sophistication of movie posters with
his distinctive minimal style and he was the one of person who completely
revolutionized in designing film poster. In 1955 Bass designed movie poster
‘The man with the golden arm’ for the Otto Preminger movie during the high
modernism or Swiss school era. Bass was committed to injecting life into these
graphics, making them as much a part of the cinematic experience as anything
else. In this poster, he introduced his signature “kinetic type,” Bass’ letters
dashed and moved across the screen and whole poster was incorporated with
images more than text. Title was separate at the top with bold and Sens-serif
international type.  He used conventional
illustration design and used different color to make this poster delightful.

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