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When I was a student,

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we were able to collect a lot of things

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that Rand would have around,

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and he often had things

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that he had excess copies of.

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This was one of them.

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This booklet that describes how to use the IBM logo in different ways.

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And I'm just going to show you the cover because the inside is kind of bland, corporate stuff.

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But the cover is really instructive.

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It shows the IBM logo dancing around to this cover.

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Same size,

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different colors.

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And we see how all these different colors are existing against the black ground.

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And when we turn it over,

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we have the same design,

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but now it's on white.

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So again, it's like this taught me so much about color.

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How color is completely dependent on his background.

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How the same design can look completely different based on a white background or a black background.

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So Paul Rand was definitely one of my biggest inspirations and continues to be to this day.

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In my practice and in my teaching,

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he taught me so much.

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My next influence is a little bit more recent.

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I would say in the last 20 years or so of my life.

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It's Corita Kent.

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The first time I saw the work of Corita Kent,

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I was in an exhibition in a gallery in Chelsea near where I live.

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I was completely once again blown away by these designs,

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and they reminded me a lot of Moran's designs.

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They're very spirited,

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very colorful,

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based on abstraction,

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some geometric shapes, but very, very free.

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So I began looking into her designs and began thinking about how her work is something that would inspire me.

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Sister Corita, Sister Corita Kent, began her artistic career as a Catholic sister,

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a nun in Los Angeles.

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And she was teaching at a girls school.

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And a lot of her early work was based on religion, her own religiosity.

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But she became involved in advocacy and protest in the 1960s.

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And you see here this amazing image of all these women,

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young women from the school, marching,

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holding posters.

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Corita's work was photographic,

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it was handmade,

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it was hand-colored,

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but it was all done with silkscreen.

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So one of the most rudimentary and primitive forms of printing became her medium for expressing her ideas

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about social justice,

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about advocacy,

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about religion, and mostly about love.

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So these are examples of some of her earlier designs,

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very expressive.

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The typography is handmade,

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but not in a conventional sense.

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She's looking at historical examples of lettering,

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some of them religious,

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and rendering the type herself,

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in some cases painting directly on the screens with emulsion, like here.

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Her work moves from purely religious work into work that is more about social justice,

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advocacy,

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anti-war.

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And her visual language changes from being something that's very handmade and expressive,

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to adaptations or repurposing typography that's found on packaging and in advertising.

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In editorial design.

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So Wonder Bread became a prominent theme in her work,

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but it wasn't about bread,

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it was about other things.

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And she would combine lettering from the packaging with her own handwriting,

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which was usually quotations about peace, love.

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Safeway,

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Safeway is a chain of supermarkets in California,

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using primary colors.

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Her coloring was just amazing.

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Look at this, just beautiful.

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Karita gave herself permission to do things like running type backwards,

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sometimes upside down,

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combining these letter forms,

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which are found on packaging,

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photographed,

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repurposed in her silkscreens, with her handwriting.

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Now I eventually figured out,

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and I started to do this for myself just through experimentation,

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that the way this handwriting,

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or the way the typography was made,

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would be to photocopy

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the type onto some kind of a paper,

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and then bend the paper,

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much like the page is bending here,

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photographing it,

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and then through that process,

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you distort the lettering.

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So all of this distortion,

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there was no computers,

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there was no digital effects that could be applied to this,

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this was all done photographically.

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So beautiful and so expressive and so free.

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As free as going

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all the way back to Zwart,

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and what he did with geometry and expressive typography in his own way,

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Karita Kent here,

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30 or 40 years later,

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is doing something completely different,

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but still, thinking about typography as an expressive element,

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thinking about form and color in a really beautiful,

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very expressive way, is very inspiring.

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If I'm talking about my influences,

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these next two designers and artists are really essential.

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Johannes Itten,

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probably the most important early influence in my color teaching.

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And this is the cover of his book,

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The Art of Color,

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and right away you see something happening that's really quite extraordinary.

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We see how the same colors,

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the same yellows, can look different on different ground,

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something we come back to later,

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a simultaneous contrast.

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Johannes Itten was one of the first teachers at the Bauhaus.

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He was there at the very beginning, in 1919,

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and he actually created what was then the foundation program,

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or the preliminary course that all students who went to the Bauhaus took.

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And it was a course that introduced these students to ways of working,

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ways of thinking,

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composition,

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color,

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all the essential ideas that are needed to become a prosperous and successful art student.

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Every student took this.

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Itten really invented that concept,

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and it's something that has influenced art and design schools ever since.

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I teach foundation courses,

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and everything that I teach goes back to Itten,

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goes back to the Bauhaus.

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His way of doing this was through thinking about art and design,

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composition,

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color, in terms of contrasts.

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So contrasts like large and small,

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geometric, organic,

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thick and thin,

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up and down,

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side to side, smooth and even,

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and rough.

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All of these different ideas could be employed in experiments created by students.

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And through those experiments,

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they would learn about all of the possible things that

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are available to them for expressing their ideas.

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Color was part of that.

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The seven color

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contrasts,

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even though he didn't invent the color contrast,

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he put that idea together,

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and it made sense,

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and it's become an essential part of my teaching.

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This book, The Art of Color,

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is just loaded with ideas,

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and it really inspired me early on in my teaching.

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These color grids are something that I just adapted to very quickly.

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And this particular set of color grids is an expression of the four seasons,

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which has become one of the essential assignments that I give all of my students.

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The last influence I'll talk about right now is Joseph Elbers.

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Again, just as important as Johannes Eden has been as an inspiration for my teaching,

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Elbers has been an essential teacher for me.

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This book,

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which is one of two volumes that come as a set,

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is his large-scale version of interaction of color.

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We'll be talking much more about this stuff later,

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but just to give you an overview of what's in here,

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we have examples of color interaction, of simultaneous contrast,

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the same color looking different on different grounds.

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And if we just flip to the back,

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we start to see other things, transparency, illusion.

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One of my favorite parts of his work are the collages

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that his students would make.

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He would call these free studies.

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So along with the very disciplined work that he would do,

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where you would try to actively make three colors look like two,

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or create the illusion of transparency,

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he would tell his students just to go and play.

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Work with those ideas you were exploring objectively,

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and try to work with them in a subjective sense.

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Be more expressive.

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And then finally,

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one of my favorite things, leaf collages.

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I do this every year myself.

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I go out and I collect leaves.

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I dry them, I flatten them.

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And at that point,

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they become like paper, like colored paper.

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And you can use them in combination with colored papers.

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Albers began doing this when he emigrated to the United States

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and taught at Black Mountain College,

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and then carried on with this idea at Yale.

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He thought that leaves were great for making collages.

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They were free, they were plentiful,

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anyone could find them.

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And you could respond to them in the same way you would respond to paper.

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The color,

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the texture,

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the shapes.

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You could work with them monochromatically like this.

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Produce really dramatic results.

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It's very easy to be influenced by work like this,

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that is so playful and so imaginative,

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and uses material in such an interesting way.

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So that's Albers.

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So those are five of my major influences.

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Pete Swart, Paul Rand,

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Sister Corita Kent,

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Johanna Sitton, Joseph Albers.

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There are many more,

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but those five are really key for me.

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In this lesson, I talked about my five main influences.

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In the next lesson,

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I'll go in-depth into two of those influences,

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Johanna Sitton and Joseph Albers.

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