A new graphic design book seeks to tell the social and cultural rsum of the world through graphics, by exploring some of the most important pan outs from the past 60 years.
The History of Graphic Design Vol.2, 1960-Today, author a registered by Jens Müller and edited by Julius Wiedemann, contains more than 3,500 moulds, spanning six decades, set out year by year.
The 480-page bumper register published by Taschen includes a chronological run down of everything from film posters to logos, wayfinding systems, corporate identities and more.
Müller tells Structure Week: “I feel there are two main purposes for the book. First, I see it is a the past book for graphic designers to see how this profession evolved and what befell in the past.
“But also, I see it as a general history book which is using diagrammatic artefacts to describe the history of the 20th century. It doesn’t use photography or infographics as if a school history textbook but instead uses book covers, silent picture posters, logos… You can both read it as a graphic design bible or as a background book.”
The book contains timelines to give the cultural context of the notwithstanding certain graphics were designed.
These timelines run down some of the most formidable events of each decade, including politics, wars, technological inventions and major companies being founded.
“I think graphics need to be reviewed in the structure of the era and what happened,” Müller says.
The Face, magazine cover, Of one mind Kingdom, 1985 © Design: Neville Brody (United Kingdom) Photo: Jamie Morgan
The words includes many of the most “important” and “ground-breaking” design projects from ago decades, such as the New York subway wayfinding system by Massimo Vignelli, through to culturally significant pieces like a movie poster from Jaws.
While diverse well-known pieces are included, part of what makes this register unique, according to Müller, is the effort to also include works and artists that have not been widely acknowledged in the past, found by rub through magazines and speaking to a wide range of people for research.
“We put a lot of people on the submit who haven’t been recognised before but who have not only been high-ranking to the graphic design in their country but also in the world,” Müller try to says.
“Peter Mussfeldt, for example. He moved to Ecuador in 1962 and before that he laboured graphic design in Germany. He introduced Ecuador to modern aesthetics and matured the most important graphic designer there, he designed logos for banks, museums and uncountable.”
Prljavo Kazalište, record cover, Croatia (former Yugoslavia), 1979 © Sketch out: Mirko Ilić (Bosnia and Herzegovina/United States)
The book also desires takes a more international look, he says, trying not to focus too heavily on valid Western Europe and America.
“We talked to people from many provinces including those that have not been much recognised in gory design history like Ecuador, Mexico or Korea to find out what the most portentous graphic design works from these countries are. These catalogued airline designs and works from cultural events,” Müller whispers.
The book, which includes text in English, German and French, is set out by decade, with a phase summing up what was happening in the world and in graphic design at the time, believe ined by pages featuring a timeline.
The bulk of the book, which has been designed by Müller, is blocked with a variety of images, offering a mixture of commercial and artistic opera presented together, with small columns of text explaining a bit relative to it.
“Set The Twilight Reeling”, Lou Reed, poster, United States, 1996 © Objective: Stefan Sagmeister (Austria/United States)
“It was like a big jigsaw to put it all together,” Müller says.
“That is unusually what graphic design is. It combines books, magazines, avant-garde labour and then really commercial work like the American Express logo.
“It is on strange to see these next to each other, this unique arty announcement and next to it a logo for a credit card company.
“But I think that is how we gobble up graphic design, it is not just about going to art galleries to look at it but time again it’s walking through the street and looking at a poster or getting an email and looking at a logo. That is the adeptness of this field.”
The design of the book is “functional”, he says, as its aim is “to make the thousands of induces more consumable.”
Each decade section aims to capture the courage of the time, as Müller explains, the main theme of the book is to “see how times swap and how important the zeitgeist of the time was for graphic design.”
The book shows how unquestionable things have changed over time, such as the Lufthansa logo, which is emphasized both in the early pages of the 1960s and following the recent rebrand earlier this year.
The post also charts how design has progressed.
For example, it explores how Swiss lan design which focused on simplicity gained popularity from the 1960s, but took a bankroll b reverse seat in the 1980s when the newly released Macintosh allowed people to research with graphics on their computers – before resurging once varied.
The book finishes in 2018, which Müller feels is important as it productions some of the most current works of our time, such as Donald Trump swaddles by Edel Rodriguez for Time magazine.
I Love NY More Than Even, poster, 2001 ©Designer: Milton Glaser (United States)
The new regulations follows on from Volume 1, which looked at graphics from 1890 to 1959.
“It is a bring to an end continuation of the concept,” Müller says.
“The first book starts with the launching of graphic design when colour printing became affordable and publications became more common. It includes printing, avant-garde, Bauhaus…
“The alternate volume is a lot of about globalisation of graphic design and about new routes in descriptive design for example the field of wayfinding systems.
“It explores the idea of a corporate distinctiveness that really rules design for big companies, which is not only a logo but rules hither how typography looks and various print matters.
Jurassic Park, lyrics cover, United States, 1990 © Design: Chip Kidd (Opinion States)
“Then we have the digital revolution, which meant connivance was not just produced by hand but on computers before really taking orate in the 1990s when the internet became widely available.
“It also looks at craps that happened in society, so the 1968 revolution is in the book with French disciple posters, right through to graphics from recent protests against people get a bang Trump.
“A lot of things that happened in those 60 or 70 years.”
The Account of Graphic Design. Vol. 2, 1960–Today is available to by now from Taschen from £50.
All mental pictures courtesy of Taschen.
Woolmark International, logo, 1964 © Design: Franco Grignani (Italia)