The Development and History of Graphic Design

Graphic design has a rich history of evolution and development. Over the course of this history a number of notable designers and works have emerged. In an attempt to provide a clear understanding of how specific designers have impacted the development of graphic design, this investigation considers contributions made by Paul Rand, Alexey Brodovitch, and Gene Fedrico. Through a careful consideration of these designers and the works that have made them important to the development of graphic design, it will be possible to demonstrate how graphic design has evolved over the last several decades.

Considering first the work of Paul Rand, it is clear that when it comes to the development of modern graphic design, Rand was on the cutting edge of this genre even the early 1950s. Research on Rand's background reveals that he began his career in 1937 with Esquire. Although no standards for graphic design had been rigorously implemented by magazines during this time period, Rand was able to revolutionize form and layout of the magazine. Throughout the late 1930s and early 1940s Rand created a host of covers for Esquire and other magazines. His work became a staple for graphic design development. After establishing formal design standards for magazine covers, Rand moved on to advertising, where he had the most significant impact on the development of graphic design (Paul Rand, 1999). "Paul spend fourteen years in advertising were he demonstrated the importance of the art director in advertising and helped break the isolation that once surrounded the art department" (Paul Rand, 1999).

Among the most notable works to have been completed by Rand include the ABC Logo, the Westinghouse logo and the IBM logo. In each of these works. Rand utilized simple basic designs that made the logos universally recognizable. Although branding was not an integral part of graphic design in the 1950s, the specific logos that Rand created appear to hedge toward this end, as his work attempts to leave an impression on the viewer such that it is inextricably linked with the product in the end. The ability of Paul Rand to accomplish such a feat in the early years of graphic design clearly demonstrates that this artist was ahead of his time.

Considering next the work of Alexey Brodovitch, it is evident that this designer too had a notable impact on the development of graphic design. Where as Rand's work focused on primarily on artwork as a central means to develop the medium, Brodovitch work is unique because it focuses on the use of photography as a principle graphic arts medium. "Fascinated with photography, he fostered an expressionistic approach that became the dominant photographic style of the 1950s" (Alexey Brodovitch, 2003). Even though Brodovitch had created a unique style for graphic design, he argued that he did not have a specific theory on graphic design. According to Brodovitch, "There is no recipe for a good layout... What must be maintained is a feeling of change and contrast" (Alexey Brodovitch, 2003). Thus, even though Brodovitch's work is distinctive, it does not follow an overriding theory of design.

One of Brodovitch's most memorable designs appears in the 1941 issue of Harper's Bazaar and is entitled "Tips on Your Fingers." This design includes photographs of two hands with red finger nails that have been placed at various place on the page. The hands do not appear in a pair, but rather overlap with one another, sometimes with transparency. The hands frame an article and are placed on a black background, which highlights both the whiteness of the model's skin and the brightness of the red nail polish. At the time that the story was produced, the image was quite innovative as the techniques used by Brodovitch had not been widely employed before. Brodovitch's ability to utilize various shades in such basic, primary colors leaves a lasting impression on the viewer. Brodovitch's work represents bold contrasts that simply were not common place in the 1940s and 50s.

Finally, considering the work of Gene Fedrico, it is clear that this graphic designer discovered his calling by accident. "By the late 1940s, after an apprenticeship at an ad agency, a tour of duty in the Army and an unexceptional stint as a magazine art associate, Federico realized that graphic design was his passion and advertising his métier" (Gene Fedrico, 1988). Although Federico was a graduate of the Pratt Institute, it took him a number of years to find his niche in the industry. However, once Federico found his niche, his talent and passion for his work became quite evident. With a strong background in typology, Federico was able to quickly find his niche working with both images and text. "Federico's method is also based on the integration of text and image and so he has always worked intimately with a copywriter" (Gene Fedrico, 1988).

One of Federico's most notable pieces is an advertisement that he produced for IBM in 1962. The advertisement takes place on a single page as if the page is divided by an imaginary line. On the right are a number of lines with one word on each line that asks a question about a complex problem. On the left, is a uniform block of text that is the same size of the lines on the right hand side. The text includes the answer to the question, interrupted in the middle with a pencil tied in a knot. The mixture of graphic and text establishes the complexity of the issues that IBM deals with while presenting the solution in a simple manner. The mixture of both text and image was also unique at the time it was pioneered by Federico. As such, Gene Fedrico was also a man ahead of his time.

Each of the graphic designers profiled in this investigation are important because they represent the most innovative designers of their time. The talents expressed by these men pushed the envelope of graphic design and created new avenues for expression in this medium. Without the bold steps taken by these designers, graphic design would not have evolved to its current state. As such, these designers are an integral part of an ongoing history.

References

Alexey Brodovitch. (2003). Communication Arts. Accessed December 12, 2005 at: http://www.commarts.com/CA/feapion/brodovitch/.

Gene Federico. (1988). American Institute of Graphic Arts. Accessed December 12, 2005 at: http://www.aiga.org/content.cfm?contentalias=genefederico.

Paul Rand. (1999). Communication Arts. Accessed December 12, 2005 at: http://www.commarts.com/CA/feapion/rand/.