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146 Cards in this Set
- Front
- Back
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Morris Arts & Crafts England 1890s Gothic Text, Organized Layouts, Text Boxes, Printing Press, Images, Focal Points |
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Morris Arts & Crafts England 1890s Gothic Text, Organized Layouts, Text Boxes, Printing Press, Images, Focal Points |
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Morris Arts & Crafts England 1890s Gothic Text, Organized Layouts, Text Boxes, Printing Press, Images, Focal Points |
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Mackmurdo Arts & Crafts England 1880s Not as Ornate, Breaking Symmetric Layouts, Prints, Flame-like Patterns, Worked with Positive and Negative Space |
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Mackmurdo Arts & Crafts England 1880s Not as Ornate, Breaking Symmetric Layouts, Prints, Flame-like Patterns, Worked with Positive and Negative Space |
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Mackmurdo Arts & Crafts England 1880s Not as Ornate, Breaking Symmetric Layouts, Prints, Flame-like Patterns, Worked with Positive and Negative Space |
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Grasset Art Nouveau Swiss (French Speaking Region) 1890s Exposed U.S. to New Way of Illustration Medieval Style, Different Color Palette |
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Grasset Art Nouveau Swiss (French Speaking Region) 1890s Exposed U.S. to New Way of Illustration Medieval Style, Different Color Palette |
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Grasset Art Nouveau Swiss (French Speaking Region) 1890s Exposed U.S. to New Way of Illustration Medieval Style Stain Glass, Different Color Palette, Black Line and Solid Color |
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Cheret Art Nouveau France 1890s Pictorial Lithograph Posters (7'), Hand Printed, Foreground Scene not Centered, Primary Colors, Black Lines |
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Cheret Art Nouveau France 1890s Pictorial Lithograph Posters (7'), Hand Printed, Foreground Scene not Centered, Primary Colors, Black Lines |
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Cheret Art Nouveau France 1870s Pictorial Lithograph Posters (7'), Hand Printed, Foreground Scene not Centered, Primary Colors, Black Lines |
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Bradley Art Nouveau U.S. 1890s "The Chap Book"Style, Striking Figures in Flat Color, Organic Symbols, Shape Relation, Lithography (Large Scale) |
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Bradley Art Nouveau U.S. 1890s "The Chap Book"Style, Striking Figures in Flat Color, Organic Symbols, Shape Relation, Lithography (Large Scale) |
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Bradley Art Nouveau U.S. 1890s "The Chap Book"Style, Striking Figures in Flat Color, Organic Symbols, Shape Relation, Lithography (Large Scale) |
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Beardsley Art Nouveau England 1890s Abstraction, Hard Lines, International Style, B&W |
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Beardsley Art Nouveau England 1890s Abstraction, Hard Lines, International Style, B&W |
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Beardsley Art Nouveau England 1890s Abstraction, Hard Lines, International Style, B&W |
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Mackintosh Early Modernism Glasgow 1900s Bold Simple Lines, Flat Planes of Color, Geometrics, Extreme Verticals, Angular |
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Mackintosh Early Modernism Glasgow 1890s Bold Simple Lines, Flat Planes of Color, Geometrics, Extreme Verticals, Angular |
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McNair & MacDonald Early Modernism Glasgow 1890s Bold Simple Lines, Flat Planes of Color, Simplified Geometrics, Extreme Verticals, Angular |
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Bernhard Early Modernism Germany 1900s Bold, Minimal Lettering, "Object Poster", Language of Shape and Sign |
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Bernhard Early Modernism Germany 1910s Bold, Minimal Lettering, "Object Poster", Language of Shape and Sign, Powerful Message with Minimal Info |
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Bernhard Early Modernism Germany 1900s Bold, Minimal Lettering, "Object Poster", Language of Shape and Sign, Powerful Message with Minimal Info |
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Berhens Early Modernism Germany 1900s San-Serif, Grid System, Formal Geometric Motifs |
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Berhens Early Modernism Germany 1890s San-Serif, Grid System, Formal Geometric Motifs, Logo Work |
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Berhens Early Modernism Germany 1900s San-Serif, Grid System, Formal Geometric Motifs 3 Column Struture |
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Man Ray Expressionism - Surrealism France 1930s Known for Rayograph (Photogenic Drawing), Solarization (Multiple Exposures) |
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Man Ray Expressionism - Surrealism France 1920s Known for Rayograph (Photogenic Drawing), Solarization (Multiple Exposures) |
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Man Ray Expressionism - Surrealism France 1930s Known for Rayograph (Photogenic Drawing), Solarization (Multiple Exposures), Commission for the London Underground |
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Heartfield Expressionism - Dadaism Germany 1930s Attacked Politicians in Montage Political Work, Prints from Magazines & Newspapers, Photos thought of at time as Poormans Art
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Heartfield Expressionism - Dadaism Germany 1930s Attacked Politicians in Montage Political Work, Prints from Magazines & Newspapers, Photos thought of at time as Poormans Art |
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Heartfield Expressionism - Dadaism Germany 1930s Attacked Politicians in Montage Political Work, Prints from Magazines & Newspapers, Photos thought of at time as Poormans Art |
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Van Doesburg Expressionism - De Stijl Germany 1910s Style Named After Avante-Garde Movement, Abstract, Geometric, Natural Form, Reduction of Form & Color, Primary Colors and B&W, Vertical & Horizontal |
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Van Doesburg Expressionism - De Stijl Germany 1920s Style Named After Avante-Garde Movement, Abstract, Geometric, Natural Form, Reduction of Form & Color, Primary Colors and B&W, Vertical & Horizontal |
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Van Doesburg Expressionism - De Stijl Germany 1910s Style Named After Avante-Garde Movement, Abstract, Geometric, Natural Form, Reduction of Form & Color, Primary Colors and B&W, Vertical & Horizontal |
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Stenberg Brothers Russian Constructivism Russia 1920s Combined Cinema & Graphic Arts, Captured Mood, Images Paint-like Photos, San-Serif, 3D Illusions, Merged Words with Art |
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Stenberg Brothers Russian Constructivism Russia 1920s Combined Cinema & Graphic Arts, Captured Mood, Images Paint-like Photos, San-Serif, 3D Illusions, Merged Words with Art |
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Stenberg Brothers Russian Constructivism Russia 1920s Combined Cinema & Graphic Arts, Captured Mood, Images Paint-like Photos, San-Serif, 3D Illusions, Merged Words with Art |
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Rodchenko Russian Constructivism Russia 1920s Strong Geometrics ,Symmetrical Compositions, Legible Lettering, Large Areas of Pure Color, San-Serif Hand Lettering, Static Form in Machine Rhythm, Bold Type with Soft Photomontage |
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Rodchenko Russian Constructivism Russia 1920s Strong Geometrics ,Symmetrical Compositions, Legible Lettering, Large Areas of Pure Color, San-Serif Hand Lettering, Static Form in Machine Rhythm, Bold Type with Soft Photomontage |
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Rodchenko Russian Constructivism Russia 1920s Strong Geometrics ,Symmetrical Compositions, Legible Lettering, Large Areas of Pure Color, San-Serif Hand Lettering, Static Form in Machine Rhythm, Bold Type with Soft Photomontage |
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Lissitzky Russian Constructivism Russia 1920s 3D Illusions, Incorporated Text, Subliminal Message with Art, Political because of Germany |
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Lissitzky Russian Constructivism Russia 1920s 3D Illusions, Incorporated Text, Subliminal Message with Art, Used Drafting Instrument instead of Typesetting |
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Lissitzky Russian Constructivism Russia 1920s 3D Illusions, Incorporated Text, Subliminal Message with Art, Used Drafting Instrument instead of Typesetting |
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Moholy-Nagy Bauhaus Germany 1920s Primary Colors, Uppercase Headings, Rotated Text Boxes, Use of Light & Shadow, Distortion, Extreme Closeups & Angled Viewpoints |
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Moholy-Nagy Bauhaus Germany 1920s Primary Colors, Uppercase Headings, Rotated Text Boxes, Use of Light & Shadow, Distortion, Extreme Closeups & Angled Viewpoints, Experimented with "Typophotos" |
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Moholy-Nagy Bauhaus Germany 1920s Primary Colors, Uppercase Headings, Rotated Text Boxes, Use of Light & Shadow, Distortion, Extreme Closeups & Angled Viewpoints, Experimented with "Typophotos" |
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Bayer Bauhaus Germany 1920s Bars, Rules, Points & Squares Frequently Used, San-Serif Fonts |
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Bayer Bauhaus Germany 1930s Bars, Rules, Points & Squares Frequently Used, San-Serif Fonts, Used Lowercase Letters to Save Space |
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Bayer Bauhaus Germany 1920s Bars, Rules, Points & Squares Frequently Used, San-Serif Fonts |
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Tschichold New Typography Germany 1920s Geometric Composition, San-Serif, Primary Colors, Breaks from Traditions, Headlines Flush Left, Justified Type |
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Tschichold New Typography Germany 1930s Geometric Composition, San-Serif, Primary Colors, Breaks from Traditions, Headlines Flush Left, Justified Type, Photoithograph |
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Tschichold New Typography Germany 1920s Geometric Composition, San-Serif, Primary Colors, Breaks from Traditions, Headlines Flush Left, Justified Type |
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Zwart Other Pioneers Netherlands 1930s |
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Zwart Other Pioneers Netherlands 1930s |
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Zwart Other Pioneers Netherlands 1930s |
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Sutnar Other Pioneers U.S. 1950s Based on Thought & Principle, Function, Flow, and Form |
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Sutnar Other Pioneers U.S. 1930s Based on Thought & Principle, Function, Flow, and Form |
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Sutnar Other Pioneers U.S. 1920s Based on Thought & Principle, Function, Flow, and Form |
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Matter Other Pioneers Switzerland 1940s |
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Matter Other Pioneers Switzerland 1940s |
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Matter Other Pioneers Switzerland 1930s |
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Cassandre Art Deco France 1920s Bold, SimplifiedColor Planes of Iconographic Symbols, Stressed the Beau of Machines, Airbrushed Designs |
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Cassandre Art Deco France 1930s Bold, SimplifiedColor Planes of Iconographic Symbols, Stressed the Beau of Machines, Airbrushed Designs |
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Cassandre Art Deco France 1920s Bold, SimplifiedColor Planes of Iconographic Symbols, Stressed the Beau of Machines, Airbrushed Designs |
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Kauffer Art Deco France 1910s Traditional Figure Approach, Simplified, Formalized Designs into Expressive Symbol
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Kauffer Art Deco France 1910s Traditional Figure Approach, Simplified, Formalized Designs into Expressive Symbol |
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Kauffer Art Deco France 1930s Traditional Figure Approach, Simplified, Formalized Designs into Expressive Symbol |
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Aicher Swiss International Style Germany 1960s Started at Ulm School of Design, Flying Crane Image in an Enclosed Circle, Blue and Yellow Color Scheme |
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Aicher Swiss International Style Germany 1960s Started at Ulm School of Design, Flying Crane Image in an Enclosed Circle, Blue and Yellow Color Scheme |
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Aicher Swiss International Style Germany 1970s Started at Ulm School of Design, Flying Crane Munich Olympics 1972, Use of the Symbol (Pictographs) |
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Muller-Brockmann Swiss International Style Switzerland 1960s Universal Graphic Expression, Intensity and Clarity, Photomontage, San-Serif, Minimal Color |
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Muller-Brockmann Swiss International Style Switzerland 1980s Universal Graphic Expression, Intensity and Clarity, Photomontage, San-Serif, Minimal Color |
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Muller-Brockmann Swiss International Style Switzerland 1950s Universal Graphic Expression, Intensity and Clarity, Photomontage, San-Serif, Minimal Color |
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Hoglwein Political Germany 1930s Texture & Decorative Pattern, Bold, Imperial, Militaristic Style of Tight, Heavy Forms and Strong Tonal Cnorast |
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Hoglwein Political Germany 1930s Texture & Decorative Pattern, Bold, Imperial, Militaristic Style of Tight, Heavy Forms and Strong Tonal Cnorast |
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Hoglwein Political Germany 1930s Texture & Decorative Pattern, Bold, Imperial, Militaristic Style of Tight, Heavy Forms and Strong Tonal Cnorast |
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Hoglwein Political Germany 1930s Texture & Decorative Pattern, Bold, Imperial, Militaristic Style of Tight, Heavy Forms and Strong Tonal Cnorast |
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Rusin Political Russia 1910s |
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Rusin Political Russia 1950s |
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Rusin Political Russia 1950s |
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Rusin Political Russia 1930s |
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Flagg Political U.S. 1910s |
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Beall American Modern U.S. 1930s Flat Planes of Color, Elementary Signs for those with Limited Reading Skills, Red, White, Blue theme for America |
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Beall American Modern U.S. 1930s Flat Planes of Color, Elementary Signs for those with Limited Reading Skills, Red, White, Blue theme for America |
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Beall American Modern U.S. 1930s Flat Planes of Color, Elementary Signs for those with Limited Reading Skills, Red, White, Blue theme for America |
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Golden American Modern U.S. 1950s Strived for Simple Design |
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Pineles American Modern U.S. 1950s Playful Approach, aimed at working women, Based on the Contrast between B&W, Running Text Background |
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Pineles American Modern U.S. 1940s Playful Approach, Striped Umbrella is a Balance between Text Reflection |
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Rand |
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Rand |
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Rand American Modern U.S. 1960s Inspired by Painters, "an explicit straightness", Urban, Stylish, and Bright Witty Humor |
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Thompson American Modern U.S. 1950s Large, Bold, Organic, and Geometric Shapes, Letterforms & patterns were enlarged and Used elements to create Pattern & Movement, Repetition, 4 Color Process, Overprinted to create New Colors, Old Style Typeface |
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Thompson American Modern U.S. 1950s Large, Bold, Organic, and Geometric Shapes, Letterforms & patterns were enlarged and Used elements to create Pattern & Movement, Repetition, 4 Color Process, Overprinted to create New Colors, Old Style Typeface |
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Thompson American Modern U.S. 1980s Large, Bold, Organic, and Geometric Shapes, Letterforms & patterns were enlarged and Used elements to create Pattern & Movement, Repetition, 4 Color Process, Overprinted to create New Colors, Old Style Typeface |
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Bass Late Modern Alternative U.S. 1950s Shape Ad Asymmetrical Balance, Simple Pictographic Image, Single Dominant Image (Usually Centered), Chunky Forms Cut From Paper,Decorative Letterforms for Typography |
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Bass Late Modern Alternative U.S. 1950s Shape Ad Asymmetrical Balance, Simple Pictographic Image, Single Dominant Image (Usually Centered), Chunky Forms Cut From Paper,Decorative Letterforms for Typography |
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Bass Late Modern Alternative U.S. 1950s Shape Ad Asymmetrical Balance, Simple Pictographic Image, Single Dominant Image (Usually Centered), Chunky Forms Cut From Paper,Decorative Letterforms for Typography |
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Chwast Late Modern Alternative U.S. 1960s Line Drawings Overlaid with Adhesive Color Film, Color in Frontal and Intense, Absolute Flatness |
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Chwast Late Modern Alternative U.S. 1970s Line Drawings Overlaid with Adhesive Color Film, Color in Frontal and Intense, Absolute Flatness |
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Chwast Late Modern Alternative U.S. 1980s Line Drawings Overlaid with Adhesive Color Film, Color in Frontal and Intense, Absolute Flatness |
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Glaser Late Modern Alternative U.S. 1970s Flat shapes Formed by Thin, Black Contour Lines with Color Added Adhesive Color Films |
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Glaser Late Modern Alternative U.S. 1970s Flat shapes Formed by Thin, Black Contour Lines with Color Added Adhesive Color Films |
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Glaser Late Modern Alternative U.S. 1970s Flat shapes Formed by Thin, Black Contour Lines with Color Added Adhesive Color Films |
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Lubalin Late Modern Alternative U.S. 1970s Looked at Alphabet as Visual Form, Strong Underlying Geometric Structure |
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Lubalin Late Modern Alternative U.S. 1970s Looked at Alphabet as Visual Form, Strong Underlying Geometric Structure |
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Lubalin Late Modern Alternative U.S. 1950s Looked at Alphabet as Visual Form, Strong Underlying Geometric Structure |
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Moscoso Late Modern Alternative U.S. 1960s Vibrant Colors, Illegible Lettering and Vintage Graphics, "Form Over Content" |
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Moscoso Late Modern Alternative U.S. 1960s Vibrant Colors, Illegible Lettering and Vintage Graphics, "Form Over Content" |
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Wilson Late Modern Alternative U.S. 1960s Features a Swastika within an American Flag Motif, A Protest to the U.S. Involvement in the Vietnam War |
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Wilson Late Modern Alternative U.S. 1960s Ability to fill all available space with vibrant, Flowing Letters |
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Wilson Late Modern Alternative U.S. 1960s Ability to fill all available space with vibrant, Flowing Letters |
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Brody Digital U.S. 1980s Aided with computer but most by hand, Designed Series of Geometric San-Serif Typefaces |
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Brody Digital U.S. 1980s Aided with computer but most by hand, Designed Series of Geometric San-Serif Typefaces |
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Brody Digital U.S. 1980s Aided with computer but most by hand, Designed Series of Geometric San-Serif Typefaces |
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Carson Digital U.S. 1980s "Form Follows Function" early Work done by Hand, mixed typefaces, Distortion of type, Visually Driven Arrangements of Text, Distortion Illegibility, Multi-Layered Nature Stimulates Imagination & Interests Readers |
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Carson Digital U.S. 1990s "Form Follows Function" early Work done by Hand, mixed typefaces, Distortion of type, Visually Driven Arrangements of Text, Distortion Illegibility, Multi-Layered Nature Stimulates Imagination & Interests Readers |
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Carson Digital U.S. 1990s "Form Follows Function" early Work done by Hand, mixed typefaces, Distortion of type, Visually Driven Arrangements of Text, Distortion Illegibility, Multi-Layered Nature Stimulates Imagination & Interests Readers |
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VanderLans Digital U.S. 1990s |
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VanderLans Digital U.S. 1990s |
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VanderLans Digital U.S. 1990s |
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Scher Digital U.S. 1980s Figurative and Expressive, Painterly and drawn illustrations, Mix Fonts, using Extreme letter spacing, and printing style in subtle Color-on-Color |
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Scher Digital U.S. 1980s Figurative and Expressive, Painterly and drawn illustrations, Mix Fonts, using Extreme letter spacing, and printing style in subtle Color-on-Color |
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Scher Digital U.S. 1980s Figurative and Expressive, Painterly and drawn illustrations, Mix Fonts, using Extreme letter spacing, and printing style in subtle Color-on-Color |
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Cranbrook Academy Postmodern U.S. 1980s Rejected Linear Visual Communication, Complex Typographic Structures |
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Cranbrook Academy Postmodern U.S. 1980s Rejected Linear Visual Communication, Complex Typographic Structures
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Cranbrook Academy Postmodern U.S. 1980s Rejected Linear Visual Communication, Complex Typographic Structures |
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Cranbrook Academy Postmodern U.S. 1990s Rejected Linear Visual Communication, Complex Typographic Structures |
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Greiman Postmodern U.S. 1980s Rebellion Type, New Wave Graphics, Used Rules, Bars, and Negative Space, Enlarged the Half-tone dots of the Printing, Type weights Created Grids, Violated Them |
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Greiman Postmodern U.S. 1990s Rebellion Type, New Wave Graphics, Used Rules, Bars, and Negative Space, Enlarged the Half-tone dots of the Printing, Type weights Created Grids, Violated Them |
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Weingart Postmodern Switzerland 1980s Rebellion Type, New Wave Graphics, Used Rules, Bars, Negative Space, Enlarged Half-Toned Dots, Type weights Created Grids and then Violated them |
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Weingart Postmodern Switzerland 1980s Rebellion Type, New Wave Graphics, Used Rules, Bars, Negative Space, Enlarged Half-Toned Dots, Type weights Created Grids and then Violated them |
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Weingart Postmodern Switzerland 1980s Rebellion Type, New Wave Graphics, Used Rules, Bars, Negative Space, Enlarged Half-Toned Dots, Type weights Created Grids and then Violated the |
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Igarashi Japanese Japan 1980s Drawn on Isometric Grid, Alphabet Evolved into 3D Alphabetic sculptures that he calls Architectural alphabets |
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Igarashi Japanese Japan 1980s Drawn on Isometric Grid, Designed Poster Calendars |
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Igarashi Japanese Japan 1980s Drawn on Isometric Grid, Alphabet Evolved into 3D Alphabetic sculptures that he calls Architectural alphabets |
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Kamekura Japanese Japan 1980s Based on Strong Geometric Elements and an Illustrative Use of Typography, Elements from "Mons" into Contemporary Trademark |
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Kamekura Japanese Japan 1970s Based on Strong Geometric Elements and an Illustrative Use of Typography, Elements from "Mons" into Contemporary Trademark |
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Kamekura Japanese Japan 1950s Based on Strong Geometric Elements and an Illustrative Use of Typography, Elements from "Mons" into Contemporary Trademark |
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Tanaka Japanese Japan 1980s Grid Structure and Vibrant Planes, Traditional Japanese motifs, Nature of Abstraction |
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Tanaka Japanese Japan 1960s Grid Structure and Vibrant Planes, Traditional Japanese motifs, Nature of Abstraction |
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Tanaka Japanese Japan 1980s Grid Structure and Vibrant Planes, Traditional Japanese motifs, Nature of Abstraction |
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Yokoo Japanese Japan 1960s Emphasized Japanese fascination with past, present, and future Icons, Elements of Dada, Pop Art, Comic, Fluorescent Colors, and Mystical Image, Black Line Drawing, Flat Areas of Color, Elements Collaged |
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Yokoo Japanese Japan 1960s Emphasized Japanese fascination with past, present, and future Icons, Elements of Dada, Pop Art, Comic, Fluorescent Colors, and Mystical Image, Black Line Drawing, Flat Areas of Color, Elements Collaged |
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Yokoo Japanese Japan 1960s Emphasized Japanese fascination with past, present, and future Icons, Elements of Dada, Pop Art, Comic, Fluorescent Colors, and Mystical Image, Black Line Drawing, Flat Areas of Color, Elements Collaged |
