Paula Scher
I chose Paula Scher is my favourite master to study.
Paula Scher is very well-known typography. When she studied at Philadelphia's Tyler School of Art, the student were taught the Swiss International Style of typography: Helvetica on a grid. However, Paula don't like coloring within the lines. "I felt I was being forced to clean up my room," she says. Therefore, she became an illustration major. But she didn't draw well. By the great ideas, she was told to try illustrating with type. Then she learned about type in relation image. That’s the way Paula find the strong point and discovery what precious factor she had for design work. It is the idea. If you have it you are good designer. And if you know to apply, translate and communicate it to people, You are absolutely successful designer.
Paula made the typography work distinct. What did she do? The idea was to copy a typographic genre and turn into a record cover. In late 70s, she decided try to the new field besides imagery. Paula was also influenced Art Nourveau Constructivism of 30s. In the Jazz poster with accompanying album series identity, she combined a style of decorative typography and imagery together.
Let's convey one of her design to know more about her style. This is the quote of one interview about the Public theater poster design of the mid-1990s. In this work, her landmark identity fused high and low into a wholly new symbology for cultural institutions, and her recent architectural collaborations about the urban landscape have adopt the urban landscape as a dynamic environment of dimensional graphic design
"Tell me about the identity program you designed for the Public Theater.
George Wolf had clear, specific goals. The organization was intricately linked to Joseph Papp. To many people, it was the Joseph Papp Theater. The problem was, Joseph Papp is dead. So people thought the theater must be dead, too. That's a big image problem. Paul Davis's posters were part of the old image. Also, his work was linked in people's minds with Masterpiece Theater. His posters were amazing, but we needed to start over to rebuild the image of the Public Theater. It was a tall order, because Paul Davis was loved so well. I felt I couldn't use illustration at all. Going in a totally opposite direction, and focusing on type, was better, because no one would compare the new work with Paul Davis.
I did three logos--George Wolf picked the boldest one. Then there was the problem that the New York Theater Festival was better known than the Public Theater as a total organization. We made "PUBLIC" big so that people would know they were going to the Public. The theaters within the organization had to be subbranded. We made a round "stamp" for each theater that goes with the word "PUBLIC."
Does the Public Theater identity draw on any historical or vernacular references?
There are a number of influences. A little bit of Dada--the different scale relationships coupled with stamps. The Apollo Theater posters are another source. They were done in wood type on silkscreened grounds of gradated color. Instead of letterspacing to make everything fit, they changed the size of the letters. It was the language of printers. They were the ones doing it. What they wouldn't do, though, is change the axis of some of the words, as I have done in the Public Theater work."
(Source: http://www.designwritingresearch.org/essays/scher.html)
Paula Scher is very well-known typography. When she studied at Philadelphia's Tyler School of Art, the student were taught the Swiss International Style of typography: Helvetica on a grid. However, Paula don't like coloring within the lines. "I felt I was being forced to clean up my room," she says. Therefore, she became an illustration major. But she didn't draw well. By the great ideas, she was told to try illustrating with type. Then she learned about type in relation image. That’s the way Paula find the strong point and discovery what precious factor she had for design work. It is the idea. If you have it you are good designer. And if you know to apply, translate and communicate it to people, You are absolutely successful designer.
Paula made the typography work distinct. What did she do? The idea was to copy a typographic genre and turn into a record cover. In late 70s, she decided try to the new field besides imagery. Paula was also influenced Art Nourveau Constructivism of 30s. In the Jazz poster with accompanying album series identity, she combined a style of decorative typography and imagery together.
Let's convey one of her design to know more about her style. This is the quote of one interview about the Public theater poster design of the mid-1990s. In this work, her landmark identity fused high and low into a wholly new symbology for cultural institutions, and her recent architectural collaborations about the urban landscape have adopt the urban landscape as a dynamic environment of dimensional graphic design
"Tell me about the identity program you designed for the Public Theater.
George Wolf had clear, specific goals. The organization was intricately linked to Joseph Papp. To many people, it was the Joseph Papp Theater. The problem was, Joseph Papp is dead. So people thought the theater must be dead, too. That's a big image problem. Paul Davis's posters were part of the old image. Also, his work was linked in people's minds with Masterpiece Theater. His posters were amazing, but we needed to start over to rebuild the image of the Public Theater. It was a tall order, because Paul Davis was loved so well. I felt I couldn't use illustration at all. Going in a totally opposite direction, and focusing on type, was better, because no one would compare the new work with Paul Davis.
I did three logos--George Wolf picked the boldest one. Then there was the problem that the New York Theater Festival was better known than the Public Theater as a total organization. We made "PUBLIC" big so that people would know they were going to the Public. The theaters within the organization had to be subbranded. We made a round "stamp" for each theater that goes with the word "PUBLIC."
Does the Public Theater identity draw on any historical or vernacular references?
There are a number of influences. A little bit of Dada--the different scale relationships coupled with stamps. The Apollo Theater posters are another source. They were done in wood type on silkscreened grounds of gradated color. Instead of letterspacing to make everything fit, they changed the size of the letters. It was the language of printers. They were the ones doing it. What they wouldn't do, though, is change the axis of some of the words, as I have done in the Public Theater work."
(Source: http://www.designwritingresearch.org/essays/scher.html)
posted by odd-bod at 5:04 AM
1 Comments:
Why don't u provide some samples of this artists?
This will be cool.
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