The adman George Lois was a leading figure in the shift from the straightforward hawking of goods to surprisingly ironic, convention-busting campaigns.
Among his achievements, he conceived nearly 100 Esquire magazine covers in the ’60s and early ’70s; one of the most famous, which showed Andy Warhol drowning in a can of Campbell’s soup, was based on a scene in “North by Northwest” in which Cary Grant and Eva Marie Saint are dwarfed by the gigantic presidential busts on Mount Rushmore.
Photo: From “George Lois on His Creation of The Big Idea”
Photo: From “George Lois on His Creation of The Big Idea”
Jan Tschichold (1902-74) was as indispensable to modern typography as Lois was to modern advertising. In his books and magazine articles, Tschichold codified what is called the “New Typography,” characterized by sans-serif typefaces and asymmetrical composition.
At left, a 1925 issue of Typographische Mitteilungen featuring Jan Tschichold’s work on New Typography.
Photo: From “Active Literature: Jan Tschichold and New Typography”
Photo: From “Active Literature: Jan Tschichold and New Typography”
Photo: From “Alexander Calder: The Paris Years, 1926-1933”
Most people are familiar with Alexander Calder’s large kinetic mobiles made of sheet metal and rods. Some might also know “Calder’s Circus,” featuring abstract performers made of cloth, wood and wire. Despite that work’s cartoonishness, probably very few know that Calder was an illustrator for The New York Times, The New York Herald, The Philadelphian and the Communist publication New Masses.
In this photograph, Calder in 1929 with “Miss Tamara,” a rubber dachsund made for the clown Albert Fratellini.
Photo: From “Alexander Calder: The Paris Years, 1926-1933”
Photo: From “Cave Art”
@Source: http://www.nytimes.com/slideshow/2008/10/26/books/20081026_HELLER_SLIDESHOW_index.html
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