The notion of style in General is: a variety that is typical of the architecture, design,expression or way of implementing it. Style in graphic design means the visual beauty that has a big effect on a time and a certain place. Graphic designers basically tasked to organize and communicate the message to put a product or idea in the mind of the audience, giving a good impression, as well as inform and publicize an information in a way that is effective. In this process, the style also means a way to inform and mark the messages intended for a specific audience.
Since the Victorian era to the present, graphic design works serving a variety of needs in economic and cultural sectors, thus developing the graphic design style is diverse anyway. A style created for reasons of aesthetics (Art Nouveau), whereas others with political reasons (the chest). There is also based on the desire to get a shared identity (Switzerland International Style) or commercial (Post-Modernism), as well as upon the moral and philosophical grounding (Bauhaus). Some of the stylesinfluenced by fine art/fine art (Art Deco), or there are influenced by industry (Plakatstil). Several national styles even became an international movement (Futurism). Butthere are also some style that survives to this day and continues to still be used (Contructivism, Expressionism, Surrealism). Some of the styles are not able to survivebeing engulfed and lost several times, the style is turned on and used again today and even abused by the next generation.
Style in graphic design
1. Victorian
Victorian graphic design style developed in America, the United Kingdom and most of the European continent since the 1820 's to 1900. This style arose because of the reaction of the artists for the consequences brought about by the industrial revolution. Indeed, on the other hand, the industrial revolution in the United Kingdom bringing blessings but also bring up due to increased criminality, urbanization and the rich man (the bourgeoisie/borgeouis). They then find the style of the past with the compare on the art and architecture of the Gothic era.
After the events of the exhibition of 1851, the society year Kingdom is increasingly interested in additional forms. The tastes of the public assumed that the forms that tend to fat will cause an effect that pleases the eye.
The graphic designers at that time rejected the standard typographic Renaissance by way of creating a poster thus ruining the elegance of typeface Bodoni and Didot of the 18th century. How to make become more wide and black. This is called impersonation with a Fat Face and became the hallmark of the Victorian era. Advances in technology also supports the development of Victorian style changes, namely the existence of color print (chromolithography) in Germany and America in 1870-80s. woodcut Techniques (woodcut), and typeface with serifs/fins as well as the Gothic letters into a design that is typical of this era.
2. Arts and Crafts
Exhibition in 1851 also carry influence in the community about the fact that the industrial revolution had pressed quality aesthetics/beauty on the resulting goods industry. They seek to reinstate the standard esetetika by developing an integrated national style. John Ruskin (1819 – 1900), an artist and critic said that the Gothic forms and ornament is the most potent drug to cure all the ills of the modern aesthetic.
While William Morris (1834 – 1896) was a fellow architect and designer Ruskin, implement sans serif typeface-typeface and refused to wear the classic Roman typeface. This style soon became the decisive influence of the turn of the way of thought in the Victorian era in aesthetics.
3. Art Nouveau
This style is the first international style design which evolved beginning in 1880 's to the early era of the first world war. Although it only lasted relatively short, yet have the force of Art Nouveau in spreading the arts in the community. It is even considered one of the most imaginative innovation in design history by critics at the time.
This style is actually began in the United Kingdom and is derived directly from the movement Arts and Cratfs. Designers at that time showing an informal forms of floating, undulating rhythms, with design patterns, feminine, curved lines, naturalist style plants, insects, naked women as well as symbolizing-symbolizing that elicited admiration. Art Nouveau introduced elements of sensuality into the design and is often shown clearly.
a. the French/Belgian Art Nouveau
In the year 1870 's to the year 1899, Jules Cheret (1836 – 1932) made the vibrant streets of Paris with hundreds of poster advertising. Cheret itself is often referred toas the father of the Modern Poster design work with numbered more than a thousand posters. Designs made Cheret is usually showing a single figure with one or two words (usually a slogan) that are written by hand. The figure looked apart with the foot does not touch the ground and hovering over the surface of the poster. The characteristics of these later became the basis for the poster design in Europe and America in the next perriode.
b. Jugendstil
In Munich, Germany in the year 1896 evolved style Jugendstil (meaning ' young ' style in the language of Germany) which evolved from the traditional print style to Germany. This style often display the harsh fringes and allows a personal touch like on the cover of the magazine Youth. The designers of the followers of this style of traditional typography display but refused to wear a unique typeface but sometimes difficult to read.
c. the Glasgow Style
Inspired by traditional Celtic ornaments and typical line of Beardsley, Scottish artists led by Charles Rennie Mackintosh (1868 – 1928) developed a new visual language which became known as the Glasgow Style. This style was then applied in the works of graphic art, textile, architecture and interior design. Because at the beginning of the Decade 1890 's, this style using botanical motifs, then Glasgow Style associated with Art Nouveau, but more emphasis on functional design and reject the excessive motif.
Glasgow Style compositions display a more geometric, replacing elements of Botany and curved lines with strong straight line structure. The themes of the design is a vertical line going up and with a gentle curve curves at each end to his meeting with the horizontal line. The characteristics of this style are the angles that are narrow, rectangular, plus oval shapes, circles and arches.
d. the Vienna Secession
This style is similar to that of Jugendstil i.e. give a touch of pre-Raphaelitism, antique, classic, anti-naturalistic, a straight line of pure, simple, geometric contours/outline an assertive, spiky angles images and decorative typefaces.
This style was introduced by Gustav Klimt (1862 – 1916) was affected by The Glasgow School.
e. American Art Nouveau
As the international style, its influence until well into the United States. Although thetrend in America, but never truly dominant, unlike that occur in Europe. American designers are reluctant to change the style of the world adopts the political, culturaland spiritual.
4. Early Modern
In the decades of 1870 's to 1890 's is the time in which the industry experienced rapid progress. So, join in the world of advertising developing too. Begins the era of posters, packaging and advertising support activities to cabaret, theatre, circus,music and other cultural performances.
a. Beggarstaff
In the year 1894 in the United Kingdom, a painter named James Pryde (1866-1941)along with brother-in-law William Nicholson (1872 – 1949), who later called themselves as The Beggarstaff Brothers opened a studio to serve ads.
The characteristics of their design is unadorned and to save time for their reproduction process wears the silhouette. The colors used were restricted to just two or three basic color only. Desain-desainnya most asymmetrical with a typefacetebal to compensate for the illustration.
b. Die Wiener Werksttate
This style of design is based on the utilization of the field and the balance betweenpositive and negative field, coupled with original Gothic letters that are restricted in the geometric and typeface as handwriting. Although this style lasted until 1932, but have been unable to bridge the gap between art and industry.
c. the Deutscher Werkbund
It is the States from employers, retailers and designers formed in Munich, Germany in 1907 to improve product quality of Germany industry. Influenced by the ideas of the Arts and Crafts style of the United Kingdom, the Werkbund seen applying it into mass production techniques.
d. Plakatstil
A movement posters which began in Germany in the early 1890 's and tried to lift the commercial advertising posters became a form of artwork. Begins dariSachplakat (object poster) formed from a single dominant object, the typeface is simple but assertive, as well as the striking colors. Designers on this style, among others, Lucian Bernhard and Ludwig Hohlwein. Monthly magazine published in Berlin, Das Plakat (1910 – 1921) into a medium that greatly affected the style of this design.
5. Expressionism
6. Modern
a. Futurism
Was originally a revolutionary art movement in 1909 by Filippo Tommaso Marinetti Italy author (1876 – 1944). The first appearance of this design style is in the French newspaper Le Figaro (February 20, 1909), featuring a mix of nationalism, militarism and the worship of Italy against speed, which is expressed through the figure ofcars and airplanes.
b. Vorticism
An art movement in the United Kingdom started by Wyndham Lewis (1882 – 1957) in 1914, which at desain-desainnya the dynamic composition of merger looks similar to the style of cubism or Futurism. Lewis is the editor of majalahBlast, a magazine that was controversial at the time. Illustration and typography in design style features ketidakberaturan, a stiff with the contrast as well as jagged lines and countered with diagonal fields. Join the movement subsided along with the end of World War I.
c. Constructivism
This style emerged in Russia that radical art movement that developed towards the Bolshevik revolution of 1917. In order to join the fix the role artists and contribute to the ' construction ' for a new Communist State, a group of artists reject the concept of ' art for art's sake ', which is where this concept is the basis of the movement of Suprematism.
d. De Stijl
Often called The Style, a movement art in the Netherlands and became the name of a magazine that was first coined by Theo van Doesburg a painter and designer in 1917. De Stijl was affected by movements of the avant-garde in the 1920s who committed the whole art of uniting. The movement attracted the attention of artists,designers and architects has a distinctive appearance of abstract objects through the form box and primary colors combined with black, white and gray. Some names that are often associated with this style is the painter Piet Mondrian, architect and furniture designer Gerrit Rietvield and Piet Zwart. The design on this style is extremely disciplined and measurable, with the use of sans serif typeface, straight lines, blocks a box meeting and an innovative asymmetrical layouts.
e. the Bauhaus
(In Germany means: home building/Building House). A design school that tries to unify Germany between art and industry by rejecting all forms of decorative forms and techniques konstruksional. Founded in Weimar in 1919 by Walter Gropius, the Bauhaus established themselves as ' a complete building for any purpose of art '.
f. The New Typography
A revolutionary approach towards typography design that developed in Europe during the 1920s and early 1930s. a critical component in the movement of modernism in graphic design, The New Typography combines elements of the work and writings of William Morris with the plus aspects of other art movements, like Futurism, Dada, Cubism, de Stijl and Constructivism. Originating in Russia and Germany, this style also attracts devotees in the Netherlands (Paul Schuitema, Piet Zwart), Czechoslovakia (Ladislav Sutnar) and Poland (Henryk Berlewi). Figures of this movement was El Lissitzky, Laszlo Moholynagy and Jan Tschichold. Lissitzky refuse other forms of decoration and fight for a dynamic asymmetric layouts featuring geometric shapes and sans serif typeface.
7. Art Deco
A style that tends to showcase the glitz, which became the international style that emerged in 1918 – 1939 in fashion, interior, architecture, industrial design and ceramics. It is named after the world's Fair in Paris in 1925 (Exposition Internationale des Arts Decoratifs et Modernes Industriale). Featuring bright colors and lively among the floral motifs, geometric and figurative.
8. Chest
A movement in the world of literature and art which arose in Switzerland during the year 1916. Originated from a desire to respond to gloom during World War I, a group of poets and artists like to deride the values kemapanan. Founded by the poet Tristan Tzaradan Hugo Ball, Hans Arp, the movement quickly spread to the major cities of the world such as New York, Paris and Berlin. The chest is a style that challenges all the rules of social and artistic standard. This movement disappeared in 1922 and became the founders of the flow of Surrealism that appeared in Paris in 1924.
9. the Heroic Realism
10. Late Modern
a. American Late Modern
b. Switzerland International Style
c. Corporate Style
d. Revivalism and Ecleticism (Liberation and Renewal)
e. Polish Posters (Poster of Poland)
f. Psychedelic
g. Japanese
11. Post-Modernism
A movement in the design field who grew up in the mid-1960s as a critical response over the dominance and kakunya flow of Modernism. By accepting the fields of art, architecture and applied art, the movement stated its interest back on ornamentation, symbolism and visual humor. Freed from the previous teachings, post-modern designers rejected the flow desires of modernism by developing and challenging basic beliefs about the regularity and discipline by the Bauhaus and his followers. Based on the movements of the International Typographic Style in Switzerland who believe in the teachings that State that form follows function, but at the end of the 1960s a new generation of graphic designers Switzerland defied the limitations of force can always be predicted. We know that the style of the Bauhaus era design, de Stijl and Contructivism is always mathematically and neat.
In the vanguard of this movement contained Odermatt and Tissi in Zurich and Wolfgang Weingart's Basle. Since the early 1970s as a lecturer Weingart's influence extends across the United States, with his rejection of the teaching tipografer sepertiTschichold, Ruder and Gerstner, he attracted attention and controversy in the determination of these values.
With an eclectic approach that tends to (free) and the anarchist – also known as the New Wave – with legibilitas which is often sacrificed at the expression, had been disseminated in the United States by a former pupil of Basle as Daniel Friedman, April Greiman and Inge Druckrey. The pressure on this new discovery is on intuition and the potential of typography and applied in the United Kingdom by Neville Brody, in the Netherlands and at Dumbar olehStudio Spain by Javier Mariscal and Peret. Although eventually applied more into a style than a stream, the post-modern gives a new direction on the future development of graphic design. By expanding the range of source materials from the past that are available to the designers andthrough its proximity to the new technology, its effect feels so liberating and positive.
a. Punk
b. New Wave (the new wave)
The notion of style in General is: a variety that is typical of the architecture, design,expression or way of implementing it. Style in graphic design means the visual beauty that has a big effect on a time and a certain place. Graphic designers basically tasked to organize and communicate the message to put a product or idea in the mind of the audience, giving a good impression, as well as inform and publicize an information in a way that is effective. In this process, the style also means a way to inform and mark the messages intended for a specific audience.
3. Art Nouveau
This style is the first international style design which evolved beginning in 1880 's to the early era of the first world war. Although it only lasted relatively short, yet have the force of Art Nouveau in spreading the arts in the community. It is even considered one of the most imaginative innovation in design history by critics at the time.
This style is actually began in the United Kingdom and is derived directly from the movement Arts and Cratfs. Designers at that time showing an informal forms of floating, undulating rhythms, with design patterns, feminine, curved lines, naturalist style plants, insects, naked women as well as symbolizing-symbolizing that elicited admiration. Art Nouveau introduced elements of sensuality into the design and is often shown clearly.
a. the French/Belgian Art Nouveau
In the year 1870 's to the year 1899, Jules Cheret (1836 – 1932) made the vibrant streets of Paris with hundreds of poster advertising. Cheret itself is often referred toas the father of the Modern Poster design work with numbered more than a thousand posters. Designs made Cheret is usually showing a single figure with one or two words (usually a slogan) that are written by hand. The figure looked apart with the foot does not touch the ground and hovering over the surface of the poster. The characteristics of these later became the basis for the poster design in Europe and America in the next perriode.
b. Jugendstil
In Munich, Germany in the year 1896 evolved style Jugendstil (meaning ' young ' style in the language of Germany) which evolved from the traditional print style to Germany. This style often display the harsh fringes and allows a personal touch like on the cover of the magazine Youth. The designers of the followers of this style of traditional typography display but refused to wear a unique typeface but sometimes difficult to read.
c. the Glasgow Style
Inspired by traditional Celtic ornaments and typical line of Beardsley, Scottish artists led by Charles Rennie Mackintosh (1868 – 1928) developed a new visual language which became known as the Glasgow Style. This style was then applied in the works of graphic art, textile, architecture and interior design. Because at the beginning of the Decade 1890 's, this style using botanical motifs, then Glasgow Style associated with Art Nouveau, but more emphasis on functional design and reject the excessive motif.
Glasgow Style compositions display a more geometric, replacing elements of Botany and curved lines with strong straight line structure. The themes of the design is a vertical line going up and with a gentle curve curves at each end to his meeting with the horizontal line. The characteristics of this style are the angles that are narrow, rectangular, plus oval shapes, circles and arches.
d. the Vienna Secession
This style is similar to that of Jugendstil i.e. give a touch of pre-Raphaelitism, antique, classic, anti-naturalistic, a straight line of pure, simple, geometric contours/outline an assertive, spiky angles images and decorative typefaces.
This style was introduced by Gustav Klimt (1862 – 1916) was affected by The Glasgow School.
e. American Art Nouveau
As the international style, its influence until well into the United States. Although thetrend in America, but never truly dominant, unlike that occur in Europe. American designers are reluctant to change the style of the world adopts the political, culturaland spiritual.
4. Early Modern
In the decades of 1870 's to 1890 's is the time in which the industry experienced rapid progress. So, join in the world of advertising developing too. Begins the era of posters, packaging and advertising support activities to cabaret, theatre, circus,music and other cultural performances.
a. Beggarstaff
In the year 1894 in the United Kingdom, a painter named James Pryde (1866-1941)along with brother-in-law William Nicholson (1872 – 1949), who later called themselves as The Beggarstaff Brothers opened a studio to serve ads.
The characteristics of their design is unadorned and to save time for their reproduction process wears the silhouette. The colors used were restricted to just two or three basic color only. Desain-desainnya most asymmetrical with a typefacetebal to compensate for the illustration.
b. Die Wiener Werksttate
This style of design is based on the utilization of the field and the balance betweenpositive and negative field, coupled with original Gothic letters that are restricted in the geometric and typeface as handwriting. Although this style lasted until 1932, but have been unable to bridge the gap between art and industry.
c. the Deutscher Werkbund
It is the States from employers, retailers and designers formed in Munich, Germany in 1907 to improve product quality of Germany industry. Influenced by the ideas of the Arts and Crafts style of the United Kingdom, the Werkbund seen applying it into mass production techniques.
d. Plakatstil
A movement posters which began in Germany in the early 1890 's and tried to lift the commercial advertising posters became a form of artwork. Begins dariSachplakat (object poster) formed from a single dominant object, the typeface is simple but assertive, as well as the striking colors. Designers on this style, among others, Lucian Bernhard and Ludwig Hohlwein. Monthly magazine published in Berlin, Das Plakat (1910 – 1921) into a medium that greatly affected the style of this design.
5. Expressionism
6. Modern
a. Futurism
Was originally a revolutionary art movement in 1909 by Filippo Tommaso Marinetti Italy author (1876 – 1944). The first appearance of this design style is in the French newspaper Le Figaro (February 20, 1909), featuring a mix of nationalism, militarism and the worship of Italy against speed, which is expressed through the figure ofcars and airplanes.
b. Vorticism
An art movement in the United Kingdom started by Wyndham Lewis (1882 – 1957) in 1914, which at desain-desainnya the dynamic composition of merger looks similar to the style of cubism or Futurism. Lewis is the editor of majalahBlast, a magazine that was controversial at the time. Illustration and typography in design style features ketidakberaturan, a stiff with the contrast as well as jagged lines and countered with diagonal fields. Join the movement subsided along with the end of World War I.
c. Constructivism
This style emerged in Russia that radical art movement that developed towards the Bolshevik revolution of 1917. In order to join the fix the role artists and contribute to the ' construction ' for a new Communist State, a group of artists reject the concept of ' art for art's sake ', which is where this concept is the basis of the movement of Suprematism.
d. De Stijl
Often called The Style, a movement art in the Netherlands and became the name of a magazine that was first coined by Theo van Doesburg a painter and designer in 1917. De Stijl was affected by movements of the avant-garde in the 1920s who committed the whole art of uniting. The movement attracted the attention of artists,designers and architects has a distinctive appearance of abstract objects through the form box and primary colors combined with black, white and gray. Some names that are often associated with this style is the painter Piet Mondrian, architect and furniture designer Gerrit Rietvield and Piet Zwart. The design on this style is extremely disciplined and measurable, with the use of sans serif typeface, straight lines, blocks a box meeting and an innovative asymmetrical layouts.
e. the Bauhaus
(In Germany means: home building/Building House). A design school that tries to unify Germany between art and industry by rejecting all forms of decorative forms and techniques konstruksional. Founded in Weimar in 1919 by Walter Gropius, the Bauhaus established themselves as ' a complete building for any purpose of art '.
f. The New Typography
A revolutionary approach towards typography design that developed in Europe during the 1920s and early 1930s. a critical component in the movement of modernism in graphic design, The New Typography combines elements of the work and writings of William Morris with the plus aspects of other art movements, like Futurism, Dada, Cubism, de Stijl and Constructivism. Originating in Russia and Germany, this style also attracts devotees in the Netherlands (Paul Schuitema, Piet Zwart), Czechoslovakia (Ladislav Sutnar) and Poland (Henryk Berlewi). Figures of this movement was El Lissitzky, Laszlo Moholynagy and Jan Tschichold. Lissitzky refuse other forms of decoration and fight for a dynamic asymmetric layouts featuring geometric shapes and sans serif typeface.
7. Art Deco
A style that tends to showcase the glitz, which became the international style that emerged in 1918 – 1939 in fashion, interior, architecture, industrial design and ceramics. It is named after the world's Fair in Paris in 1925 (Exposition Internationale des Arts Decoratifs et Modernes Industriale). Featuring bright colors and lively among the floral motifs, geometric and figurative.
8. Chest
A movement in the world of literature and art which arose in Switzerland during the year 1916. Originated from a desire to respond to gloom during World War I, a group of poets and artists like to deride the values kemapanan. Founded by the poet Tristan Tzaradan Hugo Ball, Hans Arp, the movement quickly spread to the major cities of the world such as New York, Paris and Berlin. The chest is a style that challenges all the rules of social and artistic standard. This movement disappeared in 1922 and became the founders of the flow of Surrealism that appeared in Paris in 1924.
9. the Heroic Realism
10. Late Modern
a. American Late Modern
b. Switzerland International Style
c. Corporate Style
d. Revivalism and Ecleticism (Liberation and Renewal)
e. Polish Posters (Poster of Poland)
f. Psychedelic
g. Japanese
11. Post-Modernism
A movement in the design field who grew up in the mid-1960s as a critical response over the dominance and kakunya flow of Modernism. By accepting the fields of art, architecture and applied art, the movement stated its interest back on ornamentation, symbolism and visual humor. Freed from the previous teachings, post-modern designers rejected the flow desires of modernism by developing and challenging basic beliefs about the regularity and discipline by the Bauhaus and his followers. Based on the movements of the International Typographic Style in Switzerland who believe in the teachings that State that form follows function, but at the end of the 1960s a new generation of graphic designers Switzerland defied the limitations of force can always be predicted. We know that the style of the Bauhaus era design, de Stijl and Contructivism is always mathematically and neat.
In the vanguard of this movement contained Odermatt and Tissi in Zurich and Wolfgang Weingart's Basle. Since the early 1970s as a lecturer Weingart's influence extends across the United States, with his rejection of the teaching tipografer sepertiTschichold, Ruder and Gerstner, he attracted attention and controversy in the determination of these values.
With an eclectic approach that tends to (free) and the anarchist – also known as the New Wave – with legibilitas which is often sacrificed at the expression, had been disseminated in the United States by a former pupil of Basle as Daniel Friedman, April Greiman and Inge Druckrey. The pressure on this new discovery is on intuition and the potential of typography and applied in the United Kingdom by Neville Brody, in the Netherlands and at Dumbar olehStudio Spain by Javier Mariscal and Peret. Although eventually applied more into a style than a stream, the post-modern gives a new direction on the future development of graphic design. By expanding the range of source materials from the past that are available to the designers andthrough its proximity to the new technology, its effect feels so liberating and positive.
a. Punk
b. New Wave (the new wave)
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