Ch. 21 Conceptual Image

Chapter 21, "The Conceptual Image" is about an approach that came from Poland, United States, Germany and Cuba. In Poland, after WWII began, the design community basically came to an end until Communism was established. However, only state-controlled institutions and industries requested design work. Trepowski was a famous Polish poster designer because he was able to reduce imagery and words into a succinct statement. Tomaszewski was famous because after all of the somber and darker posters, he re-embraced a brighter, positive, colorful world of poster design. Jerzy Janiszewski was also an important figure because of his Solidarity logo design, which was a symbol worldwide for struggle versus oppression.
In America, photography began to replace illustration beginning in the 1950s. A more conceptual approach was then born for illustration; the “Push Pin” designs expressed an openness and reinterpretation of visual imagery, as well as an integration of words and image into a total design. Chwast and Glaser were two of the influential artists of this time with their experimental magazine, poster designs, and Glaser’s contoured, flat shapes of color with black outlines. These two also invented some novelty display faces. In 1980, design finally became a truly national profession for Americans.

I was really impressed with the Poland school of design and the community that outlasted the Communist reign and restrictions. I think it shows that design is an important part of this world if it could outlast the evil of those days, as well as keep a bond between professionals and create a community for them, even when illegal (Solidarity).

The question I have is about the advancement of illustration in the US after the 1950s. I can see the uniqueness of Glaser’s illustration, using black contour lines and flat colors; is this what the evolution was, or were there other major advances in illustration?

(I presented Chapter 20.)