After reading the chapter, students should understand:
- Pop culture sparked a dynamic dialogue between the graphic language of commerce and those of counterculture and protest.
- Slick photography and self-conscious humor introduced elements of sophistication and complicity into the graphic design of mainstream advertising.
- Graphic designers began to develop signature styles and aspired to the celebrity status of rock musicians and other media stars.
- Counterculture designers used ever more readily available means of graphic production to create messages that registered effectively within the media landscape.
- While graphic designers participated in an increasingly mediated culture, critical approaches to the study of mass communication developed a new vocabulary for “understanding media.”
- Pop designers produced images that circulated as signs in media systems, without necessarily bearing any connection to a reference base in lived reality.
What made Doyle Dane Bernbach’s Volkswagen ads from the 1960s were effective?
How were Pop different from early modern designers?
What projects pushed the permissiveness of design and challenged traditional conventions?
How were designers able to lead in the production of visual culture over fine artists?
What did Ken Garland’s First Things First manifesto of 1964 critique?
What was an effective strategy in graphic protests against the Vietnam War?
What were type “foundries” were established to create?
What were production techniques freely used in the 1970s?
Which art movement followed “pop?”
What elements of visual culture and graphic media embraced the counterculture?