Requirements and Resources

Graphic Design 315 A
Spring 2009

Research Report and Presentation
Proposal due: 3/10/09
Assignment due: 3/29/09

Research a topic that relates to either the history or contemporary practices of graphic design. Write a three-page paper on the topic. Include images when appropriate. Follow MLA guidelines for in-text citation and works cited list. Prepare a 15-minute Power Point slide show of your chosen topic to present orally in class.

This research report and presentation on a historical period or contemporary practice of graphic design will serve as introduction to specific movements, graphic designers, and design works for both the researcher and the class.

Possible Topics:
Renaissance (Albert Durer, Johann Gutenberg,)
Early Typography (John Baskerville, Giambattista Bodoni, Francesco da Bologna (Griffo), William Caslon, Franciose Didot, Claude Garamond, Nicolas Jenson, Geoffroy Troy)
Victorian (Joseph A. Adams, Charles Dana Gibson, Harpers and Brothers publications, Owen Jones, Louis Prang and Company, Aloys Senefelder)
The Arts and Crafts Style (Will Bradley, Aubrey Beardsley, Century Guild, Walter Crane, Kelmscott Press, Arthur H. Mackmurdo, Glasgow Style- Charles Rennie Mackintosh, William Morris, Morris & Co., William Pickering, Gustav Stickley)
Art Nouveau ( Jules Cheret, Hans Christiansen, Eugene Grasset Dudley Hardy, Jegenstil, Toulouse Lautrec, Henri Meunier, Alphonse Mucha,)
Vienna Secession (Gustav Klimt, Josef Olbrich, Alfred Roller, Otto Wagner, Wiener Werkstatte- Josef Hoffmann & Koloman Moser)
Plakastil (Lucian Bernhard, A.M. Cassandre, Austin Cooper, Das Plakat Magazine, Hans Rudi Erdt, Ludwig Hohlwein, E. McKnight Kauffer, Schulz-Neudamm)
Posters on Society (WWI) (Lucian Bernhard (also plakastil), Hans Rudi Erdt, James Montgomery Flagg, Ludwig Hohlwein (also plakastil), E. McKnight Kauffer (also plakastil) Julius Klinger, Otto Lehman, Saville Lumsley, Jesse Willcox Smith, J. Paul Verrees)
Expressionism (George Groez, Kokoschka, Kirschner, Kathe Kolwitz)
Futurism (Guillaume Apollinaire, Carlo Carré, Fortunato Depero, Filippo Marinetti, Severini, Ardengo Soffici)
Constructivism (Henryk Berlewi, El Lissitzky, Kasimir Malevich, Laszlo Moholy-Nagy, Alexander Rodchenko, Georgy and Vladimir Stenberg- designed film posters, Ladislav Sutnar, Vladimir Tatlin, Karel Teige, Alexander Vesnin)
De Stijl (Theo Van Doesburg, Vilmos Huszar, Piet Mondrian, Piet Zwart,)
Bauhaus (Herbert Bayer, Laszlo Moholy-Nagy, Oskar Schlemmer, Joost Schmidt)
The New Typography (Henry C. Beck, Eric Gill, Rudolf Koch, Paul Renner, Joost Schmidt, Ladislav Sutnar, Jan Tshichold, Piet Zwart)
Art Deco (A. M. Cassandre, E. McKnight Kauffer, J.C. Leyendecker, Charles Loupot, Rene Vincent, Frank Llyod Wright)
Dada (Hugo Ball, George Grosz, Raoul Hausmann, John Heartfield, Hannah Hoch, Kurt Schwitters, Ilya Zdanevitch)
Swiss international Style (Theo Ballmer, Kunstgewerbeschule Basel, Josef Muller-Brockmann, Alexey Brodovitch, Armin Hofmann, Max Huber, Herbert Matter, Emil Ruder)
Modernism (Lester Beall, Gyorgy Kepes, Alvin Lustig, Cipi Pinelles, Paul Rand, Bradbury Thompson)
Deconstruction (Neville Brody David Carson, Ed Fella, Katherine McCoy)
Psychedelia (Victor Moscoso, Wes Wilson)
Women in Design (Louise Fili, Sheila Levrant DeBretteville, Marlene McCarty, Cipe Pinelles, Martha Scotford)
New York School (Saul Bass, Ivan Chermayeff, George Lois, Herb Lubalin, Alvin Lustig, Cipe Piineles,, Paul Rand, Bradbury Thompson, Henry Wolf)
Corporate ID (Saul Bass and Associates, Lester Beall, Chermayeff & Geismar Associates, Lou Dorfsman, Manhatten Design- Pat Gorman and Frank Olinsky Paul Rand)
Conceptual Image
(Paul Davis, Pushpin - Milton Glasser & Seymour Chwast, Woody Pirtle, Wes Wilson)
Postmodern Graphic Design & Digital (Neville Brody, David Carson Design, Émigré- Rudy Vanderlans (@Émigré), Zuzana Licko (@Émigré, Edward Fella, Louis Fili, April Greiman, Caren Goldberg, Tibor Kalman, Katherine McCoy, McCoy group at Cranbrook Academy, Pentagram Studios- Paula Scher (@Pentagram, Woody Pirtle (@Pentagram, The Thunder Jockeys, Michael Vanderbyl, Rudy Vanderlans Wolfgang Weingart)
Contemporary (Adams/Morioka, Gerald Bustamante, Margo Chase Design, Kyle Cooper @Imaginary Forces, Jeffery Keedy (@Cipher), Chip Kidd, Vaughan Oliver, Michael Vanderbyl, Martin Venezky, James Victore)
Punk /Music Graphics (Art Chantry, Stephan Sagmeister, SubPop)
Street Graphics (Banksy, Shepard Fairey, stencil /graffiti)

Graphic Design Timeline- Megg’s History of Graphic Design

• Preparing the report will help you understand the dimensions of research and learn how to refine your strategies not only for finding information but also for narrowing your topic into a workable whole.
• In presenting your topic to the class, you will improve your communication skills and demonstrate your knowledge of design and design-related terminology.

Proposal Guidelines: Write a brief summary about your topic of choice and how you will go about presenting it.

Research topic
a. Why you are choosing the topic?
b. What do you hope to learn from it?

Thesis statement or central point
a. What do you want to prove or discuss?
b How you will go about proving or discussing it?

a. Introductory paragraph including thesis statement or central point
b. Body of paper- major stages of thought in proving thesis
c. Conclusion- summation and significance of your paper

a. What will your discussion consist of?
b. What visual aids will you use (PowerPoint, Printed Images,
c. Will you involve the class with any discussion that will help
them further understand the topic you are discussing.

Report Guidelines:
• Report should be a minimum of 3 pages, double-spaced, and typed in 12pt font.
• Report should begin with a summary of the broader topic, as well as, the specific designers or design works you are featuring.
• Following the summary, formulate your central point about your subject. To arrive at a thesis or central point ask yourself questions that will lead to narrowing your topic. Whatever central point you decide to prove or discuss, support your position with ideas from your research sources.
• Images relevant to your text may be integrated into your report where appropriate.
• Conclude by summing up your position and explain the significance of your ideas to the reader.
• Document your paper using MLA parenthetical notes in the text and include a list of works cited in MLA format.
See MLA handout attached.

Grading Criteria: See rubric.

Presentation Guidelines:
• Verbally present to the class the period of design you chose to research using Power Point.
• Pinpoint specific aspects of the period.
• Involve your audience if possible- ask pertinent questions of class members.
• If you have handouts, make enough copies for the whole class.
• Take your time with the presentation. Make it thoughtful and challenging for the class.
• You will have a minimum of 15 minutes of class time to share with us.

You may want to consider:
• Discussing specific designers
• Comparing and contrasting works
• Describing works using design terminology
• Reacting to design works
• Describing emotional qualities of design works
• Reacting to comments of historians and critics
• Visually displaying works that relate to your topic
• Using articles to further the point you are trying to make
• Placing designers and design works in a cultural or historical context
• Discussing media and techniques specific to the period or particular works
• Discussing the relationship of the designs with the public

Grading Criteria: See rubric.


Simple Guide for MLA (Modern Language Association)

Making Reference to works of others in your text:
In MLA style, referring to the works of others in your text is done in two ways. When you make reference to someone else’s idea, either through paraphrasing or quoting them directly, you:
• Provide the author’s name (or the title of the work) and the page (or paragraph) number of the work in parenthetical citation
• Provide full citation information for the work in your works cited list

Common MLA standards for In-text Citations:

(Author, Page)
If the author is referred to within the sentence then only the page number is necessary.

Direct quotes
(Qtd, in author, Page)

Web sources
(Abbreviated title, Page number/ Paragraph number or screen number)

Common MLA standards for Works Cited List:

Author(s). Title of book. Place of publication: Publisher, Year of publication.

Web site and Weblogs
Author(s). Name of the page. Date of posting/revision. Name of institution/organization affiliated with the site. Date of access .

Article in an online journal or magazine
Author(s). “Article title.” Name of web site. Date of posting/revision. Name of institution/organization affiliated with the site. Date of access .

Online images
Artist if available. “Title or description of image.” Date of image. Name of institution/organization that houses the work (museum/gallery), city it is located in. Title of larger site. Date of download. .

Useful web sites for research and documentation:



Basic Graphic Design, Robert Smith
The History of Graphic Design, Phillip Meggs
Graphic style, Seymour Chwast and Steven Heller
Graphic Design Time Line, Steven Heller and Elinor Pettit
The Style of the Century, Bevis Hllier
Graphic Design Source Book, Liz McQuiston and Barry Kitts
Thirty Centuries of Graphic Design, James Craig and Bruce Barton
Nine Pioneers in American Graphic Design, R. Roger Remington and Barbara J. Hodik
The Language of Graphics, Edward Booth-Clibborn and Daniele Baroni
Typology: Type Design from the Victorian Age to the Digial Age, Steven Heller and Louise Fili
Genius Moves: 100 Icons of Graphic Design, Steven Heller and Mirko Ilie
Typography: An Encyclopedic Survey of Type Design and Techniques Throughout zhistory, edited by Friedl, Ott, Stein
Type Rules by Ilene Strizver
Designing With Type, James Craig
Upper & Lowercase (U&LC)

For your Interest: Local Area Arts

Art in Philadelphia and Surrounding Communities:
All information taken from websites. Links are included in the text to learn more.

A nonprofit web-based community, presenting online and real world exhibitions and events; providing opportunities and exposure for contemporary visual artists; and serving as a free public hub for art information, resources and dialogue.
See the Exhibition and Event Guide on for area gallery and museum listings.

Olde City
Located within our country's most historic square mile, Philadelphia's Old City was once a busy commercial waterfront district. By the early 1970’s many of its industrial and warehouse uses gave way to artists’ lofts, and a thriving arts community began to take root. The subsequent restoration and conversion of many historic industrial structures into large residential apartments coincided with an influx of art galleries, design firms, architects and performance groups during the 1980’s and 90’s.

Old City Arts Association
Old City Arts Association was formed in 1991 as the Old City community quickly grew to include galleries of all kinds, as well as theatre companies, artists’ cooperatives, workshops, schools, dance companies, design showrooms, and historic and cultural museums. Today, Old City is an active cultural, dining and shopping district, and one of the most appealing residential neighborhoods in downtown Philadelphia.
Old City Philadelphia is an easy walk from the Pennsylvania Convention Center & many downtown hotels. The Old City neighborhood is small enough to be seen during a brief walking tour but interesting enough to spend several days exploring its many cultural and architectural gems.
Old City Arts Association is a registered 501(c)(3) nonprofit organization dedicated to developing and maintaining Old City as a vital meeting place for arts and culture in Philadelphia.
Phone 800.55.5191 or 215.625.9200
* Download map from website

First Fridays
Hosted by the Old City Arts Association since its 1991 inception, First Friday is a unique cultural event in Philadelphia and one of the city’s most popular evening escapes. Held the first Friday of each month, this arts community “open house” brings together city dwellers and suburbanites, contemporary arts and antique collectors, aficionados of classical and contemporary design, and theater and performance buffs.
The welcoming informality of First Friday attracts crowds of casual browsers as well as buyers to each festive event, with dozens of galleries and cultural organizations of Old City hosting receptions and exhibition openings.
Several parking lots are located conveniently within the Old City Cultural District. In addition, on-street parking meter regulations in Old City are suspended by the City of Philadelphia after 5pm during First Fridays only.
When: The first Friday evening of each month, rain or shine, year-round.
Hours: 5:00 PM to 9:00 PM
Please Note There is no admission fee for First Friday - participating galleries are open to the public. First Friday hours for some Old City Arts members may vary during the summer and on holidays.

Mural Arts Program

Common Threads
, Meg Saligman
Slide Show:,29307,1649278,00.html
"There is no program anywhere that better realizes the potential and value of art to our culture. As much as these murals have contributed to the beautification and revitalization of the City, the Mural Arts Program must be congratulated even more for engaging the youth of Philadelphia."
Edward G. Rendell, Governor of the Commonwealth of Pennsylvania

The Philadelphia Mural Arts Program (MAP) started in 1984 as a component of the Anti-Graffiti Network (PAGN), a citywide initiative to eradicate destructive graffiti and address neighborhood blight. As part of this effort, PAGN hired mural artist Jane Golden to reach out to graffiti writers and to redirect their energies to mural making. Mural making not only helped these young men and women develop their artistic skills, but also empowered them to beautify their neighborhoods. In 1996, the City of Philadelphia recognized MAP as a program distinct from the Anti-Graffiti Network. At the same time, MAP established a non-profit organization, The Philadelphia Mural Arts Advocates. The Advocates have a broad mission of youth development and neighborhood revitalization through the arts. The Mural Arts Program has produced over 2,700 murals throughout Philadelphia--more murals than any other city in the world. These murals have become a cherished part of the civic landscape and a great source of pride and motivation to the millions of residents and visitors who encounter them each year. Currently, MAP is involved in mural-making and art education throughout the city of Philadelphia. MAP's art education programs target under-served youth at neighborhood sites throughout Philadelphia, both after-school and during the summer. Art education classes use mural making to teach art, promote self-confidence, and foster life and job skills. With professional artists serving as educators and role models, MAP's art education programs serve more than 3,000 youth each year. Art education classes are offered at no fee, ensuring accessibility for all youth. MAP's community murals department works with more than 100 communities each year to create murals that reflect the culture of Philadelphia's neighborhoods. Mural projects often include stabilization of abandoned lots and revitalization of open spaces. MAP's community partners include block captains, neighborhood associations, public schools, community development corporations, local non-profits, and city agencies. MAP strives to coordinate mural projects with existing strategies for community development, thereby leveraging grassroots social capital to build positive momentum and stronger results. Employing over 300 artists each year, MAP is one of the largest employers in Philadelphia's arts community. MAP provides opportunities for artists with a variety of skills to work together to create interesting and beautiful murals. MAP also strives to employ an ethnically diverse group of artists. Drawing on the styles of artists from different cultures, MAP's murals reflect Philadelphia's wonderfully diverse neighborhoods.
Philadelphia is nationally and internationally recognized as America's "City of Murals." Every year more than 5,000 tourists and residents enjoy MAP's mural tours. In October, Philadelphia's annual Mural Arts Month, over 5,000 people attend citywide events such as lectures and gallery exhibitions. MAP also produces popular items such as the books acclaimed Philadelphia Murals and the Stories They Tell and the recently published More Philadelphia Murals, a short film titled A Healing Kaleidoscope, and an annual mural calendar.
*See Virtual Tour for map:

Philadelphia Mural Arts Program
1729 Mount Vernon Street
Philadelphia, PA 19130
Tours are available (see website)

The Mosaic Murals of Isaiah Zagar

"...what could be called a life's work making the city of Philadelphia PA... into a labyrinthine mosaic museum..."


Philadelphia Museum of Art
Benjamin Franklin Parkway and 26th Street
Philadelphia, PA 19130
Tuesday through Sunday, 10:00 a.m. to 5:00 p.m.
Friday evenings until 8:45 p.m.
Closed Mondays and legal holidays.
Students (with valid ID): $8
Sundays: Pay what you wish all day

Woodmere Art Museum
9201 Germantown Avenue
Philadelphia, PA 19118
Corner of Germantown Avenue and Bells Mill Road in Chestnut Hill
Tuesday - Saturday 10 am – 5 pm
Sunday 1 pm – 5 pm
Closed Monday and major holidays
$5 suggested donation
$3 seniors and students
Members and children under 12 free

The Barnes Foundation
300 N. Latch's Lane
Merion, PA 19066-1729
Phone: (610) 667-0290
For general inquiries
For reservations
(610) 667-0290 - Option 5
September through June: Friday, Saturday, Sunday -- 9:30am to 5:00pm
July & August: Wednesday, Thursday, Friday -- 9:30am to 5:00pm
Advanced reservations are required

Glencairn Museum
Bryn Athyn, PA
See website:

Sculpture Nearby:

Rodin Museum
The Rodin Museum, which opened to the public in 1929, houses 124 sculptures, including bronze casts of the artist's greatest works: The Thinker, perhaps the most famous sculpture in the world; The Burghers of Calais, his most heroic and moving historical tribute; Eternal Springtime, one of the most powerful works dealing with human love; powerful monuments to leading French intellectuals such as Apotheosis of Victor Hugo; and the culminating creation of his career, The Gates of Hell, on which the artist worked from 1880 until his death in 1917.
Benjamin Franklin Parkway at 22nd Street
P.O. Box 7646
Philadelphia, PA 19101-7646
Tuesday through Sunday: 10:00 a.m. - 5:00 p.m.
Closed Mondays and holidays.
(Hours subject to change.)
A contribution of $3.00 per person is suggested.

Public Art: Sculpture in the City

Love Park
Robert Indiana's 1978 "Love" sculpture
John F Kennedy Blvd, Philadelphia, PA 19104

Claes Oldenburg, 1976
North side of Market at 15th

Swann Memorial Fountain
Alexander Stirling Calder, 1924
Memorial to Dr. Wilson Cary Swann
Center of the circle Logan Square. 19th and the Parkway

Check out
for public sculpture in the city

Grounds for Sculpture
exhibits works by well-known and emerging contemporary sculptors in the museum buildings and landscaped sculpture park.
Open to the Public:
Tuesday-Sunday, 10 am - 6 pm November – March
Tuesday-Sunday, 10 am - 8 pm April – October
Students Tuesday, Wednesday, Thursday $4.00
Friday, Saturday $7.00, Sunday $12.00
18 Fairgrounds Road, Hamilton, NJ 08619
(609) 586-0616

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