- In the 1950s and 60s, New York was the center
of advertising and design.
The term "The New York School" is more about
a group of designers working in and around New York,
rather than a strong creative movement.
A common theme of these designers is a commitment
to the Modernist ideas of "less is more," functionalism,
and the use of images and geometric forms
to convey a message.
The American iteration of this placed importance
on the work being egalitarian, open and direct.
These designers took advantage
of common cultural symbols.
They combine them with verbiage to tell a new story,
creating a symbiotic relationship between word and image.
Henry Wolf's cover for a catalog on an AIJ exhibtion
of paperback covers, shows the viewer
a trompe-l'œil tear revealing the word "Paperback,"
which is of course, exactly what that is.
Bradbury Thompson's incredible promotional books
for the paper company Westvaco,
integrate collage, experimental printing techniques,
and asymmetrical typography
with classical American images and themes.
Paul Rand's cover for a book on Pablo Picasso
takes the artistic personality of Picasso's brush strokes
and integrates a portrait of him into the composition.
This creates a double meaning for the title,
a portrait of the artist and a portrait of his work.
Much of this work used a clever twist on a common image.
The upside to this approach was a fast read,
that provided a sense of delight and positive connection
to the brand or product.
The vision behind CBS, William Golden, used a flag
at half mast as a symbol for the death
of someone of prominence.
The answer here, made clear by the headline,
is how the Vice President can become the President.
The tenet in Modernism, less is more, makes this work.
Every element, from the image to typeface,
contributes to the communication.
If George Tscherny had added too many elements,
fussy typography or decorative devices,
the message would be unclear.
Designers also used alternative methods of making
to create a stronger message.
We are so used to a world of photographs,
that it is hard to consider a rough drawing
or collage as a viable solution.
Even though he was in Los Angeles, Saul Bass
is typically included in The New York School.
Bass used cut paper, collage, and a variety of tools.
His poster for "The Man with the Golden Arm"
is made of cut paper and hand drawn typography.
The result is one of the most famous
movie posters in history.
Bass also used humor to suggest an idea
that might be too risque.
The poster for "Love in the Afternoon"
doesn't show a literal image of people engaged
in an illicit activity.
Bass suggests the naughtiness with a hand
closing the blind, the first step if one
were to have an affair in the afternoon.
The defining ideas of The New York School,
simiplicity, honesty, humor, and intelligence,
echo the American culture of the 1950s and early 60s.
These designers took the tenets of Modernism
and techniques of the European avant-garde
and created a new language.
This version of Bauhaus Modernism had now matured
into a confident and dynamic approach,
reflecting the values of the time and place
and creating a truly American form of design.