History & Aftermath

of May 1968, France

max jurcak
History & Aftermath
of May 1968, France

max jurcak

COVID 19
History of Graphic Design & Friends, Inc.
 COLOPHON

This book, which began as an annotated bibliography of cited research

for a History of Graphic Design course at Wayne State University,
synopsizes articles detailing events that unfolded in Paris, France in
May of 1968 and their effects. The book is designed in the style of a zine,
an affordable and edition-able method that this author believes would be
approved of by the poster designers involved in the protests of “Mai ‘68,”
and the book is thusly designed to fit two pages on a standard letter sheet
of paper. The typography is set in serif based typeface to reflect the print
methods of the 1900’s, a nod to the classical textbooks of the prior
century. The type is set at 10 pt to include comfortable legibility with over
ten words per line of text on average. This book was produced
and published in May of 2021 in Detroit, Michigan, U.S.A.
 TABLE OF CONTENTS

CONTENTS PAGES

THE SIXTIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 - 6

EVENTS OF MAI 68’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 - 12

EFFECTS OF MAI 68’ . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 - 23

THE ART . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 - 46
 Horst Faas/Associated Press

During the 1900’s the United States joined in 5 foreign wars. The 1950’s
found the U.S., fearing Communism, choosing sides in a civil war in
Vietnam. Backing, and then assassinating the corrupt ruler, Diem in
South Vietnam, and approving use of Agent Orange and Napalm in war.
Meanwhile, at home, college sit-ins mount to protest Government cor-
ruption, foreign war, and the U.S. Military industrial complex,

1
Photo by Marc Riboud 2
 Protesting in the 1960s and 1970s

By Michelle L Janowiecki

This article goes into detail of “the most contentious decade in living

memory” of protest culture: 1960’s United States. The article details the

racism and injustice that ran rampant during these times, and the

corresponding protests that “shook the foundation of U.S. civil society.

The protests range from anti- war (Vietnam), Women’s liberation, Red

Power (Native Americans), Civil rights, and Gay rights. The article claims

the founding of the “New left” political base consisting of students,

and those in favor of basic human rights, and those opposed to war.

Janowiecki, Michelle L. “Protesting in the 1960s and 1970s” American Ar-

chive of Public Broadcasting. NA. https://americanarchive.org/exhibits/
first- amendment/protests-60s-70s

3
What the 1960s can teach us
about modern-day protests

By Hari Sreenivasan

This short but persuasive interview relates the civil unrest in 1960s

America to the political unrest of 2020 and Black Lives Matter marches.

It questions how peaceful and violent protests affect the political

landscape. Omar Wasow, Assistant Professor in Politics at Princeton

helps steer the reader through 12 years of protests during the ‘Long hot

summer’ of ‘the sixties.’ The focus is on data collected from thousands of

individual protests in a span of just over a dozen years. Wasow mentions

the enormous influence of protests at gaining media attention, adding that

the media coverage “predicts what changes in public opinion.” Wasow is

moderate in his demeanor but rigid in his statistical evidence that

peaceful protests drive headlines; citing the Civil Rights marches,

wherein police brutality was markedly the subject of press following

peaceful daytime marches. Wasow mentions that where violence occurs,

public opinion shifts toward law-and-order politics.

Sreenivarsan, Hari. “What the 1960s can teach us about modern-day

protests”PBS.31May2020. https://www.pbs.org/newshour/show/what-
the-1960s-can- teach-us-about-modern-day-protests

4
 Race Riots of the 1960s

By Encyclopedia.com

This article delves into the social problems leading up the race riots of

the 1960s and provides historic background information for several

well-known riots that occurred in major U.S. cities. It was determined

that the main causes were pervasive discrimination and segregation

coupled with a feeling of hopelessness due to harsh conditions and

inescapable living conditions. In addition, people felt powerlessness

to change these unfair conditions and it led to a revolt: a torch to raise

awareness to voices that are otherwise silenced and overlooked.

Encyclopedia Editors. “Race Riots of the 1960s” Encyclopedia.com. 2020

https://www.encyclopedia.com/history/encyclopedias-almanacs-tran-
scripts-and- maps/race-riots-1960s

5
The Rage Unifying Boomers and Gen Z

By Ronald Brownstein

This article compares American political activism and protests from the

1960’s to those occurring in our country today, in 2020, in light of police

brutality and systemic oppression, and nationalism. This article highlights

the differences in both reason and time frame, the article points out the

similarity that younger people are at the forefront of the cry for change,

while the electoral system favors older generations. The author makes

an interesting point, that the youth of today are far more diverse than of
those in the 1960’s which, in turn, leads them toward different progressive

causes.

Brownstein, Ronald. “The Rage Unifying Boomers and Gen z” The Atlan-
tic. 18 June 2020. https://www.theatlantic.com/politics/archive/2020/06/
todays- protest-movements-are-as-big-as-the-1960s/613207/

6
 Sipa Press/REX/Shutterstock

In Paris, May 1968 Students gathered to protest France’s government

oppressing students and workers as well as French involvement in the war
in Vietnam. The students were met with police brutality, with Parisian
citizens as witness. The lack of government responsibility led to nation-
wide general strikes that crippled the French economy, and led to broad
sweeping changes to the political trajectory of the future of France.

7
AFP Contributor/AFP/Getty Images 8
 May 1968: A Month of Revolution
Pushed France into the Modern World

By Alissa J Rubin

This article (interspersed with well composed photo-documentary work)

summarizes, in broad strokes, the key events that lead to – and the after-

effects of – the mass protests that transformed the political trajectory of

France in just one month in 1968. The implications of the Mai ’68 protests

are so far-reaching that it’s hard for any single article to summarize. The

New York Times, here, relies on interspersed quotations from historians,

professors, and philosophers to guide the reader through these historical

days and this social movement that inspired liberation in 1960’s France.

Alissa J, Rubin. “May 1968: A month of Revolution Pushed France Into

the Modern World” The New York Times. 5 May 2018. https://www.ny-
times.com/2018/05/05/world/europe/france-may-1968- revolution.html

9
This Day in History: May 16: Worker
Protests Mount in France

By History.com Editors

The History Channel, first, focuses on May 16th in France: as the Mai ’68

crisis extends from student protests to a ‘general strike’ with disgruntled

working- class citizens joining the strike alongside students soon total-

ing millions. The article then summarizes the protests chronologically

chronicling: the tumultuous Algerian crisis of the 1950s, the seemingly

stable state of France in 1960s, the unrest of Frances youth population

(catalyzed by outdated universities leading to scarcity of employment with

limited freedoms), a May 3rd protest at the Sorbonne temporarily closing

the university, Prime Minister Georges Pompidou’s attempted reopening

the Sorbonne leads to occupation of the school’s buildings by students be-

ginning the Mai ’68 revolts. The article closes with negotiations between

P.M. Pompidou, President Charles de Gaulle, Unions, and Students that

lead to better wages, working conditions, and modernized academia.

Editors, History.com. “This Day in History: May 16: Worker Protests

Mount in France” History. 21 July 2010. https://www.history.com/this-
day-in- history/protests-mount-in-france

10
 What Happened in France in May 1968,
Explained

By Jake Lahut

Organized in sections: Intro, Prologue, Phase 1: students, Phase 2:

workers, Phase 3: politics, and Epilogue: Aftermath – this article serves

to document the events and effects of politics, strikes and protests and

pressures that changed the trajectory of France in May of 1968. A student

protest of French involvement with the US in Vietnam lead to a violent

police crackdown and arrests of young citizens, this was followed by sol-

idarity as thousands protested the French government’s handling of civil

unrest. This article mentions “Les paves,” the cobblestones that were lifted

from the streets as an important symbol of the revolution. The article

details police brutality as they employ Moltov cocktails to burn cars and

dispense protestors on “The night of barricades.” The article ends relating

the implications of this movement to that of 1960’s America: liberation of

women, gender expectations, and worker’s rights. The article remembers

that the protests lead to “Gaullists” inspired stronger than before and pos-

es that one considers a possible “futility to political revolutions.”

Lahut, Jake. “What Happened in France in May 1968, Explained” French-

ly. 03 May 2018. https://frenchly.us/what-happened-may-1968-mai-68/

11
The Paris riots of May 1968: How the
frustrations of youth brough France to
the brink of revolution
By Andreas Whittam Smith

“The French always celebrate 1 May with a few riots,” jokes Andreas

Whittam Smith as he introduces the reader to a summary and introduc-

tion for the layman to the riots in Mai ‘68 France. The article asks if the

energy of the 60’s was a factor in the ‘possibility’ and ‘hope’ of this gen-

eration of protesters. But of course, it was after two worldwide wars, and

as the U.S-of-A entered a “police action” that would prove to be a fruitless

19-year bloodshed immediately after France ceased its own occupation

of the troubled country. The article details the “rise in the sheer number

of young people as a result of...” the baby boomers. The article details a
chronological history, from turmoil to protests to fading revolution, and

finally to lasting political changes and personal freedoms. This article

seems to sum up May ’68 as a catalyst for change without accomplishing

changes itself.

Smith, Andreas Whittam. “The Paris riots of May 1968” indepen-

dent. 05 May 2018. https://www.independent.co.uk/news/long_reads/
may-1968-paris- student-riots-demonstrations-sorbonne-nan-
terre-de-gaulle-a8335866.html

12
 Charles de Gaulle by Michel Droit

In the wake of Mai 1968, France’s leader Charles de Gaulle was forced to
hold democratic elections in 1969. Workers saw a 35% increase in
minimum wage. Schools were broken up to provide better facilities
to students. But, perhaps, the largest victory was for basic human rights:
Women, LGBTQNIA, students, workers, and the poor had more rights -
and more of a voice in France’s political arena.

13
 14
AFP/Jacques Marie
 Gaullism

By Oxford Reference

This article is an extended definition of the term: “Gaullism.” Defined as

“A French political movement with a diffuse ideology. Diffuse referring to

its ideologies spreading all over the political map. For example, Gaullism

is cited both as a “Right wing” movement and is referenced by the SFIO

(French Socialist Party). The common interest is in establishing the goals

of President Charles de Gaulle who wished to unify the people of France

through patriotism and “independent foreign policy.” Independent for-

eign policy could, perhaps, relate to “isolationism” another ideology. The

article details the timeline of Gaullist party within the French political
sphere. It seems, according to the article that the movement last held grip

in political offices in 1974. The article concludes with a few movements in

recent history that vaguely relate to Gaullism.

Editors. “Overview: Gaullism.” Oxford Reference. Accessed 11 April

2021. https://www.oxfordreference.com/view/10.1093/oi/authori-
ty.20110803095844 858

15
Why the French Communists
Stopped the Revolution
By Arthur P. Mendel

This article is an abstract of an essay in Review of Politics on the Mai 68

Revolution in France. The Abstract states that France was saved from

a revolution, not by de Gaul or Gaullists, but by the French Commu-

nist Party (PCF). The abstract points to the 9 million workers, students

and militants, unemployed persons and middle-class professionals that

backed the protests – fed up with a paternalistic regime ruling over

France, and distraught with unlivable wages. This direct action, it asserts,

put the people in control of agencies including communications and

financial institutions. It ends: “At will they could have deprived Paris and
other cities of food, water, fuel, electricity and gas.

Mendel, Arthur P. “Why the French Communist Stopped the Revolution.”

The Review of Politics. 05 August 2009. https://www.cambridge.org/core/
journals/review-of-politics/article/abs/why- the-french-communists-
stopped-the- revolution/6F04F09942CDE95948C2022CEB18E0FA

16
 Climate Justice Connection in France’s
Yellow Vest Protests

By Zoe Loftus-Farren

This article details the “Yellow Vest Protests” in France from the vantage

of 2018. The protestors of “Gilets Jaunes” wear neon yellow vests, sym-

bolic of danger or hazard on the road. The article says that this group is

loosely organized and founded in response to a proposed tax increase to

fuel.

Protestors, numbering over 125,000 in cities spanning France, have

populated streets “every weekend in the last month” (2018, Dec). The tax

hike is seen as hurting an already mistreated working class, in the wake of

tax credits handed to Frances upper class. These strikes and protests call
for higher taxes on the wealthy, ecological action regarding environmental

concerns, higher wages for workers. Recently, university students have

joined the workers to pressure the government for more human rights.

President Macron, in response, has increased France’s minimum wage –

but it’s not been seen as enough.

Loftus-Farren, Zoe. “The Climate Justice Connection in France’s Yellow

Vest Protests” EarthIsland.org. 14 Dec 2018. https://www.earthisland.
org/journal/index.php/articles/entry/climate-justice- connection-fran-
ces-yellow-vest- protests?gclid=Cj0KCQjw0oCDBhCPARIsAII3C_
EttQBMEsEgTlvQdAO5nJw3zJ6HMAbqpn1z Kk5oLuV-UPyMsN-
HSqQMaAkXCEALw_wcB

17
Why are the French always protesting?
Blame unions and history.

By Zack Beauchamp
This article is about the protest culture of France. Mass protests popu-
late the streets of France, the Gilet Jaunes. This protest began as a group
of cabbies protested over Uber drivers replacing their jobs. Tires were
burned and roads were blocked. This sort of activity dates back to the
17th century “charivari” a form of protest in which community members
would oust troublesome individuals (picture pitchforks and torches),
which in time developed to targeting political figures, tax collectors, and
national policy. The article poses that this history be not overlooked. It
captures the Mai 1968 protests as, yet another example of “glamourous
French tradition,” the most recent protest to carry the torch for a success-
ful cultural revolution in France. The article details an important relation-
ship between the Unions, workers, management and the government. It
seems that the Unions struggle for members, and though they are credited
for laws leading to worker’s rights, these rights could be repealed by the
French Government. This combined with the capitalistic relationship be-
tween governments and businesses makes the union a target of bullying.
Thusly when business management gives the Union a ‘hard-line” the only
bargaining chip the union can use is a protest. Without a solution to this
bind, France may just always be in protest.

Beauchamp, Zack. “Why are the French always protesting? Blame unions
and history.” VOX. 06 July 2015. https://www.vox.com/2015/7/6/8887667/
france- protest

18
 Stop Comparing today’s protests to 1968
By Thomas J. Sugrue
This artfully composed article walks a moderate political line while
comparing and contrasting similarities and differences between 2020’s
marches, and the protests of 1968 USA. Looting, vandalism and burning
populate the news in both cases, as pundits’ debate whether protestors
are majority peaceful. The article details Americas history of protests and
riots from LA to Detroit. History repeats itself as the article relates Nixon’s
law and order approach in 1968 to Trump’s same general policy in 2020.
Sugrue poses that this approach could win favor for Trump if the protests
proceed with violent antics, it will work to their disadvantage. However,
Sugrue doesn’t lump the protestors into a group, nor define a ‘proper’ way
to be marginalized – instead he points to victories. The Civil Rights Act
was the concerted effort of civil rights activists, and who knows where our
country would be without that? The article is focused on pointing to the
actual goals of today’s protests instead of lumping it together like we are
still in 1968. “Protest fills a vacuum left by abdication of political lead-
ership,” in this case Sugrue is pointing to police violence, underfunded
schooling, and overpriced houses – three key issues that directly relate to-
days protests to 1968. The article captures the times as people give Trump
the finger for instigating racial divisions and mismanaging the economic
collapse that’s left many unemployed during a worldwide viral pandemic.
Today’s protestors are also noticeable multi-racial, and we can’t take for

granted the rights gained by the protestors of the 1960s.

Sugrue, Thomas J. “Stop Comparing today’s protests to 1968” Wash-

ington Post. 11 June 2020. https://www.washingtonpost.com/out-
look/2020/06/11/protests-1968-george-floyd/

19
How today’s protests compare to 1968,
explained by a historian
By Dylan Matthews

This article is an interview with Heather Ann Thompson, Professor of

History and African American Studies at University of Michigan. Thomp-
son, a scholar of ‘60s and 70’s protest movements respond to questions
surrounding the protests of 2020 through the lens of Americas protest his-
tory. Thompson states, ‘protests keep happening because white suprem-
acy is never sufficiently reigned in.” She points out that injustices, one
after another, (Trayvon Martin, Breonna Taylor, George Floyd) lead to an
explosion, as we are witness now with marches, peaceful protests, and in
cases rioting. Thompson doesn’t shy from pointing a finger at a President
seemingly incapable of quelling unrest. Donald Trump’s political agenda
decided to blame protestors instead of taking progressive actions and has
led to a response of more police in response to police brutality. Thomp-
son points to the multi-racial streets today as evidence of the political sea
change garnered by Civil rights activists of the 1960s. In an interesting
sentence Thompson mentions the “Kerner commission” by President LBJ,
a probe into causes of urban unrest that uncovered American Racism. In
the end this minority report was mostly “show,” but the inequities men-
tioned in many cases remain broken – and a similar approach is likely a
proper response to civil unrest by a nations people.

Matthews, Dylan. “How today’s protests compare to 1968, explained

by a historian” VOX. 2 June 2020. https://www.vox.com/identi-
ties/2020/6/2/21277253/george-floyd-protest- 1960s-civil-rights

20
 Events of May 1968: French history

By Richard Wolin
Historian Richard Wolin details the events of May 1968 in France via:

‘Background,’ ‘The Confrontation,’ and the ‘Aftermath and Influence.’ The

article does a good job of staging the events that lead to the protests and

detailing the political sea-change thereafter. It considers the Paris Pro-

tests at Nanterre in ’67 regarding sex-related restrictions on adult dorms

leading to a (majority) youth that saw its government as a “quasi benign

dictatorship.” France’s backing of U.S. involvement in Vietnam fanned

the flames of a helpless majority – the communist party had submitted to

casual involvement in the French political system. Socialists and Radicals

had disbanded, and students were left with little opportunity, low wages,
outdated schooling, with a seemingly autocratic, ‘hierarchal’ WWII era

leadership. The article points to the changes of Frances “everyday life” as

the most notable effects of the protests, which lead to higher pay, better

work and school conditions, and a liberal tug that helped usher in Femi-

nism, ecology, and gay rights.

Wolin, Richard. “Events of May 1968: French History” Britannica. 29

September 2015. https://www.britannica.com/event/events-of-May-1968

21
In France, The Protests of May 1968 Re-
verberate Today – And Still Divide
the French
By Eleanor Beardsley
This article, by NPR discusses the political and social atmosphere of
France in May of 1968 as compared to the Train transport and University
strikes of 2018 – half a century later. While the president is no longer a
“deeply conservative” leader who’s held power for ten years, President
Macron’s Academic Admission policy and overhaul of the railroads has
led France back to striking workers and students. This article hints at the
revolution/protest culture of France and details the history leading to the
May ’68 revolt at Nanterre and the Sorbonne and Streets all over greater
France. NPR, here, mentions barricades and cities “awash in idealistic
posters and slogans” including: “life quickly!” “be realistic – demand the
impossible!” “under the paving stones, the beach!” The article documents
the republican governments oppression of the protests via censoring the
“state-owned” television news, but the inability to successfully censor
ground level radio stations housed in ‘second-floor apartments.’ Beardsley
mentions that the majority of French believe that May ’68 protests were a
positive force that led to possibility and hope: and catalyzed the Women’s
and Sexual revolutions that followed.

Beardsley, Eleanor. “In France, the Protests of May 1968 Reverberate

Today – And Still Divide the French” NPR. 29 May 2018. https://www.
npr.org/sections/parallels/2018/05/29/613671633/in-france-the- protests-
of-may-1968-reverberate-today-and-still-divide-the-french

22
 graphiene.com

During the revolution of Mai 68’ students and faculty of Paris art college
occupied the studio space, renaming the facility “the popular studio” or
Atelier Populaire. The Atelier produced thousands of serigraph and litho-
graph posters promoting idealism, and inspiring hope for a
Utopian France. The impact of this public messaging can’t be overstated,
and through designers like Grapus the impact of Mai 1968 can be felt in
graphic design still today.

23
Philippe Vermès 24
 A Gallery of Visually Arresting Posters
from the May 1968 Paris Uprising

By Josh Jones

This article opens with a paragraph about the 1960s turmoil in the US.
RFK and Martin Luther King Jr were recently assassinated as President
Nixon escalates the war in Vietnam and backs the FBI director Hoover’s
paranoid attacks on Black activists and Anti-war protesters. Relating these
protests to those of today the article suggests we look at our neighbors
across the ocean in the same time period. Students and workers revolt
against an “Authoritarian President” beginning with student rights and
leading to a revolution with Utopian aims. The article chronicles the
movement with quotations documenting peoples varying opinions on
Mai 68. The general theory is that Mai 68 is used too often as a stick in
political conversations and should be left to represent itself in history. The
movement fell short of its aims but scored people’s rights in various de-
mographics in France including workers, students, women and LGBTQ.
This ‘near civil war” is most interestingly explored in the pedestrian
archaeology of Graphic Poster. The article documents how the Atelier
Populaire run by student artists famously occupied the École des Beaux-
Arts to create thousands of screen-printed posters on newsprint to paste
in the streets. The creators employed bold and iconic symbols in “single
color” prints to inspire “hope to change the world.” Though their goals fell
short, these students were a spark, and catalyst that changed the history
of France forever – and through this alone were a success. (Let alone their

impact on graphic design history).

Jones, Josh. “A Gallery of Visually Arresting Posters from the May 1968
Paris Uprising.” Open Culture. 05 Jan 2017. https://www.openculture.
com/2017/01/a-gallery-of-visually- arresting-posters-from-the-may-1968-
paris-uprising.html

25
Grapus

By MoMa

This is a section of the Museum of Modern Art website. It contains a cat-

alog of artworks in possession by this New York City museum including

six posters accredited to the French design collective Grapus. Following

the links to the specific artworks one can see the name of the artwork,

year of creation, specific dimensions, credit for how the museum attained

the work, and mediums used to produce the poster. The works were made

in a period from 1977 – 1987 and show varied methods of print-making

techniques.

Editors. “Grapus: French, 1970-1991.” MoMa. Accessed: 11 Apr 2021.

https://www.moma.org/artists/2297?=undefined&page=&direction=

26
 Pascal Béjean

27
Pierre Bernard, social conscience of
graphic design, died at the age of 73

By Xavier de Jarcy

This article is a detailed memorial of Pierre Bernard, “Pillar of Grapus

Collective,” following his death in 2015 at the age of 73. The article is a
personal history of the artist as a young protester as he ages into a central
figure in French Academics and worldwide through design history. The
article contains direct quotes from Bernard himself detailing the reasons
Grapus went communist: “I had to work with the Communists. They
had strength and determination to make the revolution...” Where other
political ideologies during the unrest were less organized. The article, of
course, captures the mission statement of Grapus to create social change
through design and to never sell out to commercial advertising. Bernard’s
“disheveled, provocative and funny images inspired by Polish surrealism,”
are remembered fondly by de Jarcy, who ends the article (in comedic
fashion) with Bernard’s call for designers to embrace their inner pervert.
Bernard teaches designers, “You make others creative by breaking the
stereotypes, to show that communication is a living matter, and that code
is shit.”

de Jarcy, Xavier. “Pierre Bernard, social conscience of graphic design, died

at the age of 73” Telerama.fr. 24 November 2015. https://www.telerama.
fr/scenes/pierre-bernard-conscience-sociale-du- graphisme-disparait-a-l-
age-de-73-ans,134702.php

28
 Reputations: Gérard Paris-Clavel

By Ursula Held

In this article, Ursula Held asks Gerard Paris-Clavel questions from the

beginning of his art studies at Ecole Des Metiers d’Arts, his role in the

forming of Grapus, and his current venture which is a non-for-profit as-

sociation with friends named, Ne pas plier. He explains how his desire to

help seek political change and choosing clients and co-workers who were

willing to move forward in this realm, helped transform something that

was becoming a business into a movement toward positive change rather

than monetary reward.

Held, Ursula. “Reputations: Gerard Paris-Clavel,” Eye. No. 27, volume

7, 1998 http://www.eyemagazine.com/feature/article/reputations-ge-
rard-paris-clavel

29
ivierdeserres.fr

30
 Jan Popłoński

31
Henryk Tomaszewski

By Augustin

This article is about the “undisputed master” of the school of Polish poster

design. Henryk Tomaszewski made the poster a symbol of freedom with

his carefree and intuitive illustration style. The article details Tomaszews-

ki’s personal history: studying painting, learning poster design, winning

creative opportunities, finding lucrative business in successful posters for

cinema during the Soviet Bloc of Poland. The article notes Henryk’s “New

semantic language” that differed from the standard Socialist Realism that

reined in his time. By combining Abstract and Surreal art with a radical

approach to public design, Tomaszewski blasted off on his career that

would influence decades of Graphic Designers including those famous

kids from Grapus.

Augustin. “Henryk Tomaszewski” Grafik Indext. 22 March 2015. http://

indexgrafik.fr/henryk-tomaszewski/

32
 Henryk Tomaszewski, Leader of
the Polish Poster School, Dies at 91
By Steven Heller

This article paints a picture of the late Henryk Tomaszewski – pro-

nounced: “tom-a-SHEV-ski” as it notes. An artist, painter, designer,

professor and co-director of the Academy of Art at Warsaw; Tomaszewski

produced “animated” “witty” posters that transformed Post-war polish

poster design for over two decades. The article contrasts his “shockingly

playful work” rife with “abstract sensibility” to the dark, boring Stalinist

aesthetic of the time: Socialist Realism. A notable passage mentions that

Tomaszewski never joined the communist party despite their backing of

his art-direction and the artist is quoted as saying, “Politics is like weath-

er, you have to live with it.” Tomaszewski thus walked a line dealing satire

without political affiliation while designing posters for: movies, circuses,

and theater. The article mentions methodology of the master draftsman

including abstract collage combined with expressive lettering – and notes

that members of the famed Grapus studied under the designer at Warsaw,

as they were attracted to his ability to communicate across the barriers of

language. Tomaszewski used art to communicate with his students, as he

only spoke in his native tongue: Polish.

Heller, Steven. “Henryk Tomaszewski, Leader of the Polish Poster School,

Dies at 91” The New York TImes. 14 Sept 2005. https://www.nytimes.
com/2005/09/14/arts/henryk-tomaszewski-leader-of-the- polish-poster-
school-dies-at-91.html?auth=login-google

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1982 French Grapus Exhibition Poster,
Adolf Mouse, Au Musée de l’affiche: Paris
By laffichiste.com

This article is a website selling an original poster by French collective

Grapus. The poster is dated 1982 and is 23.75 x 31.5” and is credited to

Pierre Bernard. The article is accompanied by a blurb that contains rele-

vant information on the artwork. It details that this poster, perhaps titled

“Adolf Mouse,” was created for an exhibition poster design by Grapus

hosted at the Musée de la Publicité a museum focused on advertisement

in Paris. The blurb details the founding members and mission statement

of Grapus in light of the Mai 68 revolution in France. This article uses

descriptive art terms that shed light on Grapus’ designs: “bright colors,”

“provocative,” “playful,” ‘beautiful forms, handwritten text, high-spirited

visual pranks, and also a very extensive symbolic vocabulary.” It ends

with a definition for detournement a signature technique of Grapus in

which images are collaged, defaced, and vandalized in order to “reroute” a

symbols meaning.

Editors. “1982 French Grapus Exhibition Poster, Adolf Mouse, Au Musée

de l’affiche - Paris.” L’AFFICHISTE. https://www.laffichiste.com/prod-
ucts/1982- french-grapus-exhibition-poster-pierre-bernard

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 Grapus

By Social Design Notes

This article is about the forming of Grapus design collective by three

young Frenchman. All were members of the French Communist Party

and they communicated their ideals through their voice in design. The

article mentions their long-lasting stylistic inspiration to designers all

over with their “idealistic principles” that brough “culture to politics and

politics to culture.” The article notes that Bernard’s intentions are “mort

artistically than politically driven” and uses the infamous Louvre-Logo in-

cident (that disbanded Grapus in 1990) as their case in point. It also cred-

its the groups downfall to a surge in demand for graphic arts in France
in the 1980s – soiling Grapus “raison d’etre” (the most important reason

they exist, their meaning). The article ends with each of the members of

Grapus: “practicing their craft, each on their own terms.”

Social Design Notes. “Grapus Backspace.com. 15 Sept 2002. https://back-

space.com/notes/2002/09/grapus.php

35
Demanding the Impossible

By Véronique Vienne

The heart of this article focuses on the ideologies and methods of Pierre

Bernard. From his influences and the formation of Grapus, through the

formation of ACG Atelier de Creation Graphique) in 1991. Pierre was

an innovator in the field of graphic art; his work has been described as

having “an honest edge, but it’s not edgy.” And the success of his projects

was driven by his assumption that “graphic solutions must be emotionally

exhilarating in order to be intellectually stimulating.” The article interest-

ingly explains some social aspects particular to France which may have

influenced Pierre to respond through artistic expression.

Vienne, Véronique. “Demanding the Impossible,” AIGA NY, 2002 http://

www.aigany.org/ideas/features/bernard.html

36
 The Painted World

By Andrzej Klimowski

This article deals with Henryk Tomaszewski, master Polish poster

designer and graphic artist. This article captures the artists free-spirited

nature and antics. In a memorable passage, a young Tomaszewski walks

out of the Warsaw Graphic Design program on the first day only to study

painting and to return to become one of this Warsaw universities most

famed professors of graphic design. The article mentions the overall unity

of Tomaszewski’s works, his use of personal handwriting in design, and

the paintbrush: his main instrument. Tomaszewski avoided the post-war

cliché of Baroque design in favor of his own flavor: freedom of expression.

He employed irony and wit and remained working “simpler and more

direct” than ever at 77 years of age. This article accompanied a retrospec-

tive of the designer’s work held at the Stedelijk Museum. Tomaszewski

advises, “to avoid complacency designers should create a mental ‘double’”

preferably of a different profession in order to evaluate their own work

objectively.

Klimowski, Andrzej. “The Painted World” Eye Magazine. Summer 1991.

http://www.eyemagazine.com/feature/article/the-painted-word1

37
Henryk Tomaszewski

By Culture.pl

This article chronicles the life of Polish poster designer Henryk Tomasze-

wki. “The strength of his graphic works lies in a simple and intelligent

translation of messages and symbols from literary, theatrical, film, music

and social themes into a visual language,” it begins before delving into

Tomaszewki’s lifepath and search for, “signs which would be comprehen-

sible to everyone.” The article captures his early life, academic studies,

fine art education, print work during Nazi occupation, before becoming

a Professor. Tomaszewski encouraged his students to “do things their

own way.” The article details his work in posters via awards, images and

background information. His poster works are said to have brought Polish

poster culture a painterly approach to design that captured: “the vigour of

youth, a freedom in shaping the picture, and a rich imagination.”

Culture.pl. “Henryk Tomaszewski” Culture.pl. June 2004. https://culture.

pl/en/artist/henryk-tomaszewski

38
 Grapus – A French Collective
of Graphic Designers

By Broehan-Museum

This article is a synopsis of events in Paris 1968 as collected to accompa-

ny a “double exhibition” celebrating the 50th anniversary of the Mai ’68

protests in France that shook “the foundations of various social spheres.

This article mentions that the three founding members of Grapus were

joined by none other than Joseph Beuys’ student Alex Jordan in 1976, an

interesting art- historical note. The group used its criticism of capitalism

to position itself in solidarity with the working-people of the world. Their

intention: to inspire peace by employing art and design as a mode of com-

munication in the conversation of social change.

“Grapus – A French Collective of Graphic Designers” Broehan Museum.

5 July 2018. https://www.broehan-museum.de/en/exhibition/grapus-a-
french- collective-of-graphic-designers/

39
Reputations
Pierre Bernard

By Rick Poynor

his article begins with a crash-course intro to Bernard, Grapus, and

Atelier de Création – before abruptly jumping into an interview between

Professor and journalist Rick Poynor and Pierre Bernard, himself.

Bernard expresses his interest in combining fine art with commercial art

during his studies as inspired by Andre Francois and Savignac. He decid-

ed to study in Poland where painting and graphic techniques were used in

combination on poster designs. Bernard describes his working in adver-

tising and for a newspaper before returning to school, finding semiotics

and creating Grapus as inspired by the student protests of 1968 France.

He goes on to describe the tightrope walk of client-designer relations

with Grapus, a socially conscious entity by nature. In a notable segment

Bernard nods to Push Pin Studio (Milton Glaser, Seymour Chwast) of the

US as an inspiration of Grapus’ own “relationship between the image and

typography.” Bernard also mentions his belief that strong designs have a

“strongest possible confrontation between form and content.” He states

that when other designers copy, they use the same forms but lost the con-

tent, and it becomes fashion instead of communication.

Poynor, Rick. “Reputations: Pierre Bernard” Eyemagaine. Spring 1991.

http://www.eyemagazine.com/feature/article/reputations-pierre-bernard

40
 Pierre Bernard & Grapus
“Graphic design of Public Utility”
1942/2015

By Tiphaine Guillermou & Graphéine

This well composed article (part of Graphéine’s “Great names in graphic

design”) details the life and career of Pierre Bernard as he embarks on a

journey in: “one of the most interesting pages in the history of graphic

design in France.” The article follows Bernard in chronological order

(including photographs of design work) from his ‘training years’ with

Henryk Tomaszewski, his years in academia leading to ‘the Grapus years

in 68, and the ‘design years’ as Grapus fights to remain true to its cause

before finally disbanding 20 years later in 1990. The article goes on to

showcase works created by Bernard’s solo project “Atelier de Création

graphique.”

Guillermou, Tiphaine. “Pierre Bernard & Grapus: Graphic Design of

Public Utility” Graphéine. 23 March 2016. https://www.grapheine.
com/en/history-of-graphic- design/pierre-bernard-grapus-graphic-de-
sign-of-public-utility

41
Grapus:
A French Collective
of Graphic Designers

By Anna Larkin

This article is an accompaniment for a gallery installation of historical

Grapus posters from September of 2018 in Berlin, DE. This synopsis

captures some history of the Grapus collective in descriptive and artistic

verbiage. Anna Larkin paints a picture of “three design students” as they

“plaster there work all over the city” and become the “visual voice” of the

Mai ’68 student protests. Larkin points to Grapus left-leaning politics and

how their moral compass lead the collective to design for similarly aligned

entities such as the anti-apartheid movement, and the French Communist

Party (aka CPF). The show captures the trio’s twenty-year run of posters,

zines, and pamphlets throughout the gallery installation. Larkin describes

the work’s, “clever visual jokes, bombastic colours, classic typography and

ground-breaking collage techniques – none of which really seem to have

dated and could easily be seen on billboards today.”

Larkin, Anna. “Grapus: A French Collective of Graphic Designers” Ex-

berliner. 10 September 2018. https://www.exberliner.com/whats-on/art/
grapus-graphic- designers/

42
 Pierre Bernard and the Grapus Collective
By Baylee Bennett

This essay details the trajectory of Pierre Bernard (b. 1942) and his for-

mation alongside peers Gerard Paris-Clavel (another artist) and Francois

Miehe (a student leader) who met together at a riot. Bernard studied

under a Polish master designer Tomszewski before returning to France

to explore his own visual language to back the revolution. The group

of Bernard, Clavel, and Miehe formed a “collective name” of Grapus, a

made- up word combining vulgarity and historical reference. The trio

were members of the Communist Party, and desired to create graphics to

promote democracy in opposition to the exploitative capitalist regime of

Charles de Gaulle and Co. This article details the collectives distinctive

voice and defines their “detournement,” or “rerouted messages through

acts of vandalism” that Grapus employed till their separation in 1990.

Bennett points out the groups incredibly collaborative nature both with

clients and within the collective itself; working only jobs that aligned with

their morals and core values. Grapus spoke and fought FOR the people

and inspired both designers and revolutionaries the world over.

Bennett, Baylee. “Pierre Bernard and the Grapus Collective” WordPress.

6 April 2014. https://baylizgrace.wordpress.com/2014/04/06/pierre-ber-
nard-and-the- grapus-collective/

43
Utopian Image: Politics and Posters
By Rick Poynor

Rick Poynor, co-creator of Eye and DesignObserver documents the inner

struggle and implosion of Grapus via the lens of 21st century commodi-
fication of Grapus poster works. A book release in London of collectible
Grapus posters was anticipated by the collective in its conception. The
band of activist-artists though that the rightful place of their work was in
the streets, “in the centers of conflict,” and intended for the public eye.
Poynor details Grapus ideas and methods of using graphics to rebrand
ideologies seen as “radical” or “revolutionary” as utopian. The article
addresses the historical origins of Grapus as art-students worked day
and night in May of 1968 to produce over 500 designed posters stating
everything from need for participation, unity, strike action, to education
reform and iniquities of production lines and government corruption.
Poynor expands on the methodology of Grapus: posters were always
constructed around the slogan, they were pressed onto single-color green,
brown, purple blue, red, or black papers – and overtook visual real estate
“normally only achieved by commercial advertising.” Poynor connects the
name “Grapus” to “Crapules Staliniennes” meaning “Stalinist scum,” the
collectives nod to their communist ideology. Lastly, and possibly foremost
this article details the aftermath of the 1990 breakup of the collective and
how Paris-Clavel’s own Ne Pas Pleir carries the torch – but also struggles
to avoid the commodification of its artworks.

Poynor, Rick. “Utopian Image: Politics and Posters” Design Observer. 3

October 2013. https://designobserver.com/feature/utopian-image-poli-
tics-and- posters/37739

44
 Pierre Bernard:
“Make the Message Your Own”

By Type Directors Club

Pierre Bernard died on November 23rd, 2015. His artistic career lasted for

over 40 years of poster and “identity systems” design for “well known cul-

tural institutions. This article points out Bernard’s insistence on including

politics in design, which set the bar for contemporary design in France. It

delves into the social unrest in France during Bernard’s time at university,

the anger of students at patriarchal capitalism, and the left-wing protests

that ensued. It captures an image of Bernard working alongside peers at

the occupied universities “art workshops” to create silk-screened posters

for liberal causes. The article most potently quotes Bernard himself on his
design-logic, “to move the viewer, an image has to go through the filter of

one’s personal experience and inner convictions, and you must make the

message your own.”

Type Directors Club. “Pierre Bernard: “Make the Message Your Own””
TDC. https://archive.tdc.org/news/pierre-bernard-make-the-message-
your-own/

45
Pierre Bernard

By David Raizman

This short article is a biographical sketch of artist Pierre Bernard. The

article summarizes his life boiling it down to 4 paragraphs detailing his

early life and academic studies in fine art under Henryk Tomaszewski,

founding of Grapus in 1970 and disbanding of Grapus in 1990 (and their

winning French Grand Prix National des Arts Graphiques that same

year), Bernard’s founding of the Atelier de Création Graphiques wherein

the logo for Frances National parks was made. It concludes that Bernard

taught Graphic Design at ENSAD until 2007, and he was awarded the

Erasmus Prize.

Raizman, David. “Pierre Bernard” Designers & Books. 03 May 2018.

http://www.designersandbooks.com/designer/bio/pierre-bernard

46