Profession Grafic Designer

According to the bylaws from 1888 the "Graphische Lehr- und Versuchsanstalt (GLV)" settled as first institute that was especially focusing on the education of young graphic designers (and photographers). The institute made efforts to serve the interests of industry and not to be the second academy for fine or applied Arts. In doing so the GLV differentiate itself from the "Wiener Kunstgewebeschule", an important school that included the subject of graphic design as well in their artistic education program. Unlike the GLV the Kunstgewbeschule was often a subject of scientific studies. The objectives of those studies are similar to those scientific project, the applied methodology however differs. After the areas of involvement of GLV are thoroughly investigated, the knowledge base about GLV is to be extended to a much higher level than currently existing: The sporadically available literature and self-published jubilee publications contain mainly biographic data of inconsistent quality. The study covers the time between the beginnings in 1888 to the year 1955 that marked the tenth anniversary of the Second Republic in Austria and the departure of allies. This time-span is chosen to draw attention to the personal and the institutional continuities between the Austrian Ständestaat / National Soscialism and the second republic. With its proposed trans-discipline approach and method-mix, the study will serve as an example for similar projects. The method-mix combines a monographic focus , quantifying techniques as applied in social studies and a cultural-science framework. In this context we consider the demand for a comprehensive lexicon on German graphic designers as claimed by David Klemm. Klemm, as well as his request of closing the gaps in the scientific coverage of the subject. His claims are not only valid for Germany but to the same extent for Austria. The results of the presented project on GLV will be representative for a history on Austrian graphic design in general. For the first time the different areas of graphic design like poster and logo art (dominated by male designers and prioritized in science) as well as female dominated fields as fashion illustration, ex-libris art and miniature graphic are brought together. An outcome of some 2500 biographic investigations furthermore will give a detailed picture of the profession in it`s time. The results are prepared for further use in various media (print, CD- ROM, web). The availability of such data is important additionally as a source for the international literature on graphic design, i.e. Philipp B. Meggs` A History of graphic design) that usually make use of national science projects.

According to the bylaws from 1888 the "Graphische Lehr- und Versuchsanstalt (GLV)" settled as first institute that was especially focusing on the education of young graphic designers (and photographers). The institute made efforts to serve the interests of industry and not to be the second academy for fine or applied Arts. In doing so the GLV differentiate itself from the "Wiener Kunstgewebeschule", an important school that included the subject of graphic design as well in their artistic education program. Unlike the GLV the Kunstgewbeschule was often a subject of scientific studies. The objectives of those studies are similar to those scientific project, the applied methodology however differs. After the areas of involvement of GLV are thoroughly investigated, the knowledge base about GLV is to be extended to a much higher level than currently existing: The sporadically available literature and self-published jubilee publications contain mainly biographic data of inconsistent quality. The study covers the time between the beginnings in 1888 to the year 1955 that marked the tenth anniversary of the Second Republic in Austria and the departure of allies. This time-span is chosen to draw attention to the personal and the institutional continuities between the Austrian Ständestaat / National Soscialism and the second republic. With its proposed trans-discipline approach and method-mix, the study will serve as an example for similar projects. The method-mix combines a monographic focus , quantifying techniques as applied in social studies and a cultural-science framework. In this context we consider the demand for a comprehensive lexicon on German graphic designers as claimed by David Klemm. Klemm, as well as his request of closing the gaps in the scientific coverage of the subject. His claims are not only valid for Germany but to the same extent for Austria. The results of the presented project on GLV will be representative for a history on Austrian graphic design in general. For the first time the different areas of graphic design like poster and logo art (dominated by male designers and prioritized in science) as well as female dominated fields as fashion illustration, ex-libris art and miniature graphic are brought together. An outcome of some 2500 biographic investigations furthermore will give a detailed picture of the profession in it`s time. The results are prepared for further use in various media (print, CD- ROM, web). The availability of such data is important additionally as a source for the international literature on graphic design, i.e. Philipp B. Meggs` A History of graphic design) that usually make use of national science projects.