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The flat color characteristic of si
The flat color characteristic of silk-screen combined with influences from the Bauhaus, pictorial modernism, and constructivism to produce a modernist result that con- trasted with the traditional illustration style that domi- nated American graphic communication during this time.
A major figure in the development of American modern design was the Chicago industrialist Walter P. Paepcke, who founded the Container Corporation of America (CCA). Paepcke recognized that design could both serve a pragmatic business purpose and become a major cultural thrust on the part of the corporation. He was
also a patron of design and provided moral and financial support for the Institute of Design started by Moholy- Nagy. CCA established a department of design, and Egbert Jacobson was selected as its first director. Like Peter Behrens, who developed an identity system for Allgemeine Elektricitäts-Gesellschaft (AEG) earlier in the century, Jacobson developed an identity system for CCA. Cassandre was commissioned by art director Charles Coiner of the N. W. Ayer advertising agency to create an ad campaign for CCA. The innovative campaign departed from the conventional headline and long-winded body copy of most 1930s advertising and featured a dominant visual supported by a simple statement. When Cassan- dre returned to Paris, CAA continued his approach and commissioned advertisements from other artists and de- signers of international stature, including Bayer, Fernand Leger, Ray, Matter, and Carlu.
America’s wartime graphics, commissioned by the U.S. Office of War Information, ranged from posters to informational training materials to amateurish cartoons. In 1941, when America’s entry into the global conflict seemed inevitable, the federal government began to develop propaganda posters to promote production, such as Carlu’s famous “America’s Answer! Produc-
tion” poster. Illustrator John Atherton, social realist Ben Shahn, Binder, Edward McKnight Kauffer, and Bayer were among the other designers commissioned by the Office of War Information to create posters in support of
A major figure in the development of American modern design was the Chicago industrialist Walter P. Paepcke, who founded the Container Corporation of America (CCA). Paepcke recognized that design could both serve a pragmatic business purpose and become a major cultural thrust on the part of the corporation. He was
also a patron of design and provided moral and financial support for the Institute of Design started by Moholy- Nagy. CCA established a department of design, and Egbert Jacobson was selected as its first director. Like Peter Behrens, who developed an identity system for Allgemeine Elektricitäts-Gesellschaft (AEG) earlier in the century, Jacobson developed an identity system for CCA. Cassandre was commissioned by art director Charles Coiner of the N. W. Ayer advertising agency to create an ad campaign for CCA. The innovative campaign departed from the conventional headline and long-winded body copy of most 1930s advertising and featured a dominant visual supported by a simple statement. When Cassan- dre returned to Paris, CAA continued his approach and commissioned advertisements from other artists and de- signers of international stature, including Bayer, Fernand Leger, Ray, Matter, and Carlu.
America’s wartime graphics, commissioned by the U.S. Office of War Information, ranged from posters to informational training materials to amateurish cartoons. In 1941, when America’s entry into the global conflict seemed inevitable, the federal government began to develop propaganda posters to promote production, such as Carlu’s famous “America’s Answer! Produc-
tion” poster. Illustrator John Atherton, social realist Ben Shahn, Binder, Edward McKnight Kauffer, and Bayer were among the other designers commissioned by the Office of War Information to create posters in support of
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The flat color characteristic of silk-screen combined with influences from the Bauhaus, pictorial modernism, and constructivism to produce a modernist result that con- trasted with the traditional illustration style that domi- nated American graphic communication during this time.A major figure in the development of American modern design was the Chicago industrialist Walter P. Paepcke, who founded the Container Corporation of America (CCA). Paepcke recognized that design could both serve a pragmatic business purpose and become a major cultural thrust on the part of the corporation. He wasalso a patron of design and provided moral and financial support for the Institute of Design started by Moholy- Nagy. CCA established a department of design, and Egbert Jacobson was selected as its first director. Like Peter Behrens, who developed an identity system for Allgemeine Elektricitäts-Gesellschaft (AEG) earlier in the century, Jacobson developed an identity system for CCA. Cassandre was commissioned by art director Charles Coiner of the N. W. Ayer advertising agency to create an ad campaign for CCA. The innovative campaign departed from the conventional headline and long-winded body copy of most 1930s advertising and featured a dominant visual supported by a simple statement. When Cassan- dre returned to Paris, CAA continued his approach and commissioned advertisements from other artists and de- signers of international stature, including Bayer, Fernand Leger, Ray, Matter, and Carlu.America’s wartime graphics, commissioned by the U.S. Office of War Information, ranged from posters to informational training materials to amateurish cartoons. In 1941, when America’s entry into the global conflict seemed inevitable, the federal government began to develop propaganda posters to promote production, such as Carlu’s famous “America’s Answer! Produc-tion” poster. Illustrator John Atherton, social realist Ben Shahn, Binder, Edward McKnight Kauffer, and Bayer were among the other designers commissioned by the Office of War Information to create posters in support of
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The flat color characteristic of silk-screen combined with influences from the Bauhaus, pictorial modernism, and constructivism to produce a modernist result that con- trasted with the traditional illustration style that domi- nated American graphic communication during this time.
A major figure in the development of American modern design was the Chicago industrialist Walter P. Paepcke, who founded the Container Corporation of America (CCA). Paepcke recognized that design could both serve a pragmatic business purpose and become a major cultural thrust on the part of the corporation. He was
also a patron of design and provided moral and financial support for the Institute of Design started by Moholy- Nagy. CCA established a department of design, and Egbert Jacobson was selected as its first director. Like Peter Behrens, who developed an identity system for Allgemeine Elektricitäts-Gesellschaft (AEG) earlier in the century, Jacobson developed an identity system for CCA. Cassandre was commissioned by art director Charles Coiner of the N. W. Ayer advertising agency to create an ad campaign for CCA. The innovative campaign departed from the conventional headline and long-winded body copy of most 1930s advertising and featured a dominant visual supported by a simple statement. When Cassan- dre returned to Paris, CAA continued his approach and commissioned advertisements from other artists and de- signers of international stature, including Bayer, Fernand Leger, Ray, Matter, and Carlu.
America’s wartime graphics, commissioned by the U.S. Office of War Information, ranged from posters to informational training materials to amateurish cartoons. In 1941, when America’s entry into the global conflict seemed inevitable, the federal government began to develop propaganda posters to promote production, such as Carlu’s famous “America’s Answer! Produc-
tion” poster. Illustrator John Atherton, social realist Ben Shahn, Binder, Edward McKnight Kauffer, and Bayer were among the other designers commissioned by the Office of War Information to create posters in support of
A major figure in the development of American modern design was the Chicago industrialist Walter P. Paepcke, who founded the Container Corporation of America (CCA). Paepcke recognized that design could both serve a pragmatic business purpose and become a major cultural thrust on the part of the corporation. He was
also a patron of design and provided moral and financial support for the Institute of Design started by Moholy- Nagy. CCA established a department of design, and Egbert Jacobson was selected as its first director. Like Peter Behrens, who developed an identity system for Allgemeine Elektricitäts-Gesellschaft (AEG) earlier in the century, Jacobson developed an identity system for CCA. Cassandre was commissioned by art director Charles Coiner of the N. W. Ayer advertising agency to create an ad campaign for CCA. The innovative campaign departed from the conventional headline and long-winded body copy of most 1930s advertising and featured a dominant visual supported by a simple statement. When Cassan- dre returned to Paris, CAA continued his approach and commissioned advertisements from other artists and de- signers of international stature, including Bayer, Fernand Leger, Ray, Matter, and Carlu.
America’s wartime graphics, commissioned by the U.S. Office of War Information, ranged from posters to informational training materials to amateurish cartoons. In 1941, when America’s entry into the global conflict seemed inevitable, the federal government began to develop propaganda posters to promote production, such as Carlu’s famous “America’s Answer! Produc-
tion” poster. Illustrator John Atherton, social realist Ben Shahn, Binder, Edward McKnight Kauffer, and Bayer were among the other designers commissioned by the Office of War Information to create posters in support of
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