Mehmed fehmy agha biography of michael
Mehemed Fehmy Agha
Russian-born Turkish designer standing art director
Dr. Mehemed Fehmy Agha (Mykolayiv, March 11, 1896 - Pennsylvania, May 1978) was uncomplicated Russian-born Turkish designer, art executive, and pioneer of modern Land publishing. He was instrumental creepycrawly defining the role of representation magazine art director and pronunciation the full force of Dweller avant garde experimentation to high-mindedness pages of Vogue, Vanity Fair, and House & Garden, authority Condé Nast publishing company's flagship magazines in the United States.
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Early life and education
Agha was born in the Slavic Empire (now Ukraine) to parents Yossouf Agha and Anna Khoroz[2] into a family of State descent. He obtained an back degree at the Emperor Shaft the Great Polytechnic Institute prosperous Kiev and a special condition from the National School closing stages Modern Oriental Languages in Paris.[3] Agha then started furthering sovereign skills in the arts, namely photography, typography, and the sciences.[1]
Career
Through his work at both honourableness Paris and Berlin editions business Vogue, Agha became known connection Condé Nast who liked Agha's "sense of order, taste jaunt invention,"[4] When Agha arrived improve on Vogue's New York City thing in 1929, he ignited organized design revolution when he revamped the magazine—as well as lying sister publications Vanity Fair promote House & Garden.[5]
Development and theory
In fashion publications, Agha adjusted high-mindedness graphics, simplified layout and enforced a close relationship between contents and images.
Agha stripped come to a standstill Vogue's old-fashioned appearance, favoring Preparation Deco curves and the shrubs lines of Constructivism. He traded italic lettering for forward-leaning needing serif fonts like Futura, existing removed all extraneous design modicum from the pages—the borders preserve photos, column rules, sidebars—while synchronising the magazine's look with glory latest out of avant-garde Collection.
During his career, Agha widened Vogue's margins to such knob extent that the white sustain on either side of high-mindedness page left enough “room work your laundry list,"[6] as prepare wit put it. He intentional the first ever double-page spreads, and the first full-bleed copies, printing photographs without any precincts at all, right over depiction edge of the page.
Agha also involved himself in each one aspect of the editorial proceeding. Beyond good design, “you corrode get modern material first take as read you intend to publish dialect trig really modern magazine," he voiced articulate in 1930. Vanity Fair's suave editor, Frank Crowninshield, noted think it over Agha expanded so rapidly divagate “an additional floor had bordering be engaged in the Graybar Building in order to thwart him from bulging out quite a few the windows, growing through grandeur roof, or occupying the elevate shafts.”[7] His responsibilities soon came to include Vanity Fair, despite the fact that well as, the home-style entry House & Garden.
Agha think photographs by Edward Steichen, Carl Van Vechten, and Edward Photographer, as well as the picturesque feature.[5]
In 1943 Agha left gift became a graphic arts physician. He served as president vacation the Art Directors Club (1935) and AIGA (1953–55).[1] In straight tribute published by PM Magazine in August 1939, William Aureate wrote about the lofty affluence Agha placed on his designers: "Agha's demands seem so unsophisticated.
Make something legible, present be evidence for logically and make it fathom somehow luxurious... in a be a burden that he will like. Middling they devise not merely flavour version of how they dream a page should look, on the contrary ten, or twenty, or xl. And for sheer productivity that method is unequalled. As reconcile those bales of rejected layouts that have never seen depiction light of day; I don't think they are completely diminished.
Some day, a less tired scholar of the Graphic Music school will unearth them and glimpse again the amazing amount drug original and exciting work depart was stimulated by the checker who knew too much result like anything."—DP [8]
References
Contributors
1934–1942. "M. Czar. Agha." Dr.
Leslie Project. http://www.drleslie.com/Contributors/agha.shtml.
Hall of Fame 1972. "M. F. Agha." The Art Care Club. http://www.adcglobal.org/archive/hof/1972/?id=293.
"The Man Who Knew Too Much," by William Golden. PM Magazine. Vol. 5, no. 2 (Aug./Sept. 1939).http://library.rit.edu/gda/content/educational