He taught us to spurn symmetry, which he called an easy out? Hauck showed Beall valued copies of the Bauhaus books and publications of the avant-garde which he had brought back with him. Dorothy actually looks forward to my coming home; perhaps even too much so. Beall demonstrated with these posters that the language of communication was not necessarily bound to timeworn clichés and literal conventions. Beall maintained, throughout his life, a core of sources which stimulated his perception, creativity and methods of making art and design. Curiously enough, it was not as a designer.
He worked there as well as from his home in Wilton, Connecticut. He taught us that the solution to a design problem must come from the problem. Then, in 1942, Beall's greatness was acknowledged as he accompanied a distinguished group of colleagues, namely Dr. In the galaxy of the American graphic design, Lester Beall holds a special position. Beall earned great respect form his clients and staff. If there was a Beall imprint, it was the mark of his personality and aesthetic philosophy.
Apart from these singular personal attributes, Beall picked up some additional spirit of independence from his formative years in Chicago. He also collected seminal magazines such as Cahiers d'Art and rare volumes such as the famous Bauhausbucher. Of particular interest was his work for the Crowell Publishing Company which produced Colliers magazine. Gardening was his passion, growing flowers and vegetables in abundance. Beall was born in Kansas City, but he received his formal education in Chicago. This interest as well as such publications as Arts et Metier Graphiques, and Bebrauschgraphik helped Beall consolidate his own thinking away from a limiting vision of design as ordinary middle-American commercial illustration and towards a new dynamic, progressive form of graphic communication.
Beall remained in Chicago until 1935, always working independently, and it was not long before he began to gain professional recognition. He had developed some of the farm's out buildings into a professionally-praised office and studio space. Like all great designers, Beall did not try to impose a fixed style on each problem. An expanding world of science, technology, and manufacturing had brought about rising expectations that called for a new graphic imagery, succinct of statement and visually attuned to the increasing velocity of American life. All works by Lester Beall. Looking back, however, he was consistently commended for the excellence of this work. It is evidence of all the energy spent trying to make a real contribution to the common good and the environment.
His studio was a happy, stimulating place where work was fun and clocks did not exist. Loved them and used them in nearly everything he did. Photo: Kate Keller; Radio — Rural Electrification Administration. Music was another important ingredient of Beall's creative environment. This is a never-ending process which the dedicated artist must teach himself. In the '30s he had seen the experimental photographic work of the European avant-garde designers such as Herbert Bayer, El Lissitzky, and Lazlo Moholy-Nagy.
A well-manicured yard was his signature of excellence. He remained at the farm until his death in 1969. She participated as she could to realize her husband's work, career and life. That period also marked the first appearances of his graphic design in an Art Directors Annual. He collected books and periodicals seriously from the beginning of his design career in Chicago.
The designer, furthermore, can then be said to have contributed something of value to his culture. Photo: Jonathan Muzikar; Rural Industries, Rural Electrification Administration. Fifteen years ago, Lester Beall spoke at a conference. He was always at work in his studio, whether it was creating design, art or photography. In his mature years he led the way with creative and comprehensive packaging and corporate identity programs that met the needs of his clients. Doubtless, Beall was gifted with considerable, if yet unexplored, talent, but the supporting ingredients were his keen intelligence and a capacity for intellectual inquiry. Beall studied at the , in particular history of art, and was active on the varsity track team coached by.
Chicago, it is to be remembered, was where the scattered pieces of the dismembered Bauhaus were put back together, and its design beliefs revived. It was an unconventional design rhetoric employing contrast and incongruity, scale, bold abstract shapes, thrusting perspective, a shocking introduction of punctuation marks and typographic devices. Of particular interest was his work for the Crowell Publishing Company which produced Colliers magazine. An associate Fred Hauck, with whom he had shared office space in Chicago, was probably the major vehicle through which Beall received those exciting ideas from Europe. According to his online biography by R. He was born in Guernsey County on Jan. His identity program for International Paper Company from 1960 was his most extensive identity program and is noteworthy for the graphics standards manual, one of the first to be so fully articulated.