Description: GRAPHIC DESIGN by Leon Friend and Joseph Hefter 1936 Whittlesey House First Edition 408 pages and over 1,000 Black and White Examples of Modern Commercial Art Leon Friend and Joseph Hefter: GRAPHIC DESIGN [A Library of Old and New Masters in the Graphic Arts]. NYC & London: Whittlesey House (McGraw-Hill), 1936. First edition. Quarto. Tan cloth debossed and decorated in brown. 408 pp. Fully illustrated with contemporary black and white work examples. Former owners name inkstamped twice to front free endpaper, one interior page margin and to lower textblock edge, otheriwse interior unmarked and clean. Cloth lightly soiled with spine somewhat darkened, all tips nice and sharp. Out-of-print. A very good or better copy. 8 x 11 book with 408 pages and over 1,000 b/w examples of modern Commercial Art, photography, typography, etc. circa 1935. One of the best original volumes ever published on the aesthetics of Modern Machine-Age Design. Whatever you call it -- Art Deco, Moderne Industrial design, Moderne, Streamlined Modern, International, Constructivism, Functionalism, American Studio Art -- its all good and its all well-represented in this landmark volume assembled by two instructors. Contents include Chapters on Lettering Printing Reproductive Arts Photography The Book Advertising Art The Poster Art Education Glossary of Terms Bibliography Index Includes work by Professor Joseph Albers, Fratelli Alinari, Peter Arno, Boris Artzybasheff (5), Ashley Havinden, Ernst Barlach, Herbert Bayer, Aubrey Beardsley, Beggarstaff Brothers, Lucien Bernhard, Joseph Binder, Margaret Bourke White, Will Bradley, Frank Brangwyn, Alexey Brodovitch, Anton Bruehl, Edward Burne-Jones, Erberto Carboni (4), Jean Carlu, A. M. Cassandre (6), Marc Chagall, Warren Chapell, Renee Clarke, T. M. Cleland, Jean Cocteau, Miguel Covarubias, Deberny & Peignot, Walter Dexel, Marion Dorn, Raoul Dufy, W. A. Dwiggins, Sergei Eisenstein, Paolo Garretto, Eric Gill (9), Kate Greenaway, William Groper, George Grosz, John Held, Ludwig Holwein, Gustav Jensen, The Kelmscott Press, Rockwell Kent (5), Rudolf Koch, Fernand Leger, Remy Lohse, E. McKnight Kauffer (6), Aristide Maillot, Robert Mallet Stevens, Frans Maserel, Laszlo Moholy-Nagy, Hans Alexander Muller, Paul Nash, Axel Nygaard, Tom Purvis, Arthur Rackham, Man Ray, Winold Reiss, Albert Renger Patzsch, Paul Renner, Diego Rivera, Bruce Rogers, Dante Gabriel Rossetti, Rudolph Ruzicka, Hans Schleger, Joseph Sinel, Edward Steichen, William Steig, Ralph Steiner, Alex Steinweiss, Alfred Stieglitz, George Switzer, Walter Dorwin Teague, Buk Ulrich, Lynd Ward, Edward Weston, Grant Wood, and many many others. Steven Heller wrote “Leon Friend began teaching in 1930, during the throes of the Great Depression in Brooklyn’s Abraham Lincoln High School where he was its first art department chairman. “Lincoln High will never be as famous as the Bauhaus, ULM or Cranbrook - nor is it even especially well known among most New Yorkers, unless you are a Brooklynite. But between 1930 and 1969, it was a springboard for scores of artists, photographers and graphic designers. Friend’s curriculum balanced the fine and applied arts and offered more commercial art courses than most art trade schools. He introduced leading contemporary designers and inspired many of his students to become designers, art directors, illustrators, typographers and photographers. “For most of us with limited economic resources,” explained a former student, Martin Solomon (class of ’48),”the career choice was to drive a cab. Thanks to Mr. Friend, we could earn a living and be challenged by working with type and image.”A partial list of his students include Seymour Chwast, Gene Federico, Jay Maisel, Irving Penn, Alex Steinweiss, Bill Taubin, Sheila deBreteville and Richard Wilde. “He accomplished in a high school that was not devoted exclusively to art studies, what many colleges and universities fail to do even today: Place the applied arts in both an historical and practical context. From the ninth grade his students were taught typography, layout and airbrush techniques while other schools were teaching crafts. “Graphic Design” was the title of his class was (long before it was common to do so), but defined broadly. Friend’s students drew and painted, designed posters, and composed magazine and book pages. For Friend, graphic design was an inclusive and expressive activity. Friend’s curriculum was more than a departure from the standard, cookie-cutter NY Board of Education pedagogy: it challenged the common assertion that art education was ethereal. His history classes broadened the knowledge of those who took them; his studio classes forced students to solve professional problems; and his guest lecture classes (with Laszlo Moholy Nagy, Lucian Bernhard, Josef Binder, Lynd Ward, Chaim Gross and Moses Soyer) offered an introduction to the masters of commercial and fine art. “Friend’s mid-term and final exams required each student be versed in how and where the intersection of the histories of fine and applied art defined culture. What other high school’s test paper included questions about perspective using E. McKnight Kauffer or A.M. Cassandre posters as visual examples? “Friend wanted his students to have every opportunity to succeed in the real world, and so he founded a quasi-professional extra curricular club called the “Art Squad,” which for its members was more important than any varsity football, basketball or baseball team. Located in Lincoln’s Room 353, Friend gave the Art Squad autonomy under the tutelage of an elected student leader who served for an eighteen-month term. “Friend entered the teaching profession at a time when graphic design was a potential means to escape economic hardship of the Depression and was by necessity an exponent of practical pedagogy or what one alumnus called “the achievement method.” Friend's practical methods prepared students to enter the profession. Design is a language - not like French or Spanish - but an Esperanto. While knowing the rudiments of design technique is enough for some, design literacy, which is predicated on historical understanding, is arguably as useful and necessary as any liberal arts foundation. “Admittedly, carving out time for design education seems low on the priority list. But I contend, and I know I am preaching to the choir, that design education is liberal arts education from the back door. In addition to tests of talent and skill, exercising the imagination, appreciation of history and how it plays into art and design practice, design offers lessons in ethics and intellectual property.” Please visit my Ebay store for an excellent and ever-changing selection of rare and out-of-print design books and periodicals covering all aspects of 20th-century visual culture. I offer shipping discounts for multiple purchases. Please contact me for details. Payment due within 3 days of purchase.
Price: 99.99 USD
Location: Shreveport, Louisiana
End Time: 2024-09-11T18:39:26.000Z
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