We began tonight by looking at the controversial works of Barbara Kruger and the underlying premise behind deconstructivism. We also took a look at the revolutionary typographic works of Cranbrook and David Carson. After examining further influences of deconstructive theory on design, we ended with looking at the works of Chip Kidd and Stephen Sagmeister, and discussing how the role of the 21st century graphic designer will be challenged.
Key Points:
-Deconstruction is an attitude, not a style.
-Use of potentially offensive/disturbing messages to evoke emotions.
-Question how the alphabet shapes the speech.
-Question how the speech changes the alphabet.
-There is no innocent speech.
-Breaking the rules of typographic hierarchy.
-Rapid outpouring of new typefaces with the use of computer technology.
-Messages can be deconstructed and rebuilt as totally different messages.
-Structures can be reshuffled and re-inhabited.
-The role of language in our construction of reality.
-The culture jam.
-Emphasis on the body.
-Characteristics of Postmodernism.
-Experiments of the 90's.
-The book covers of Chip Kidd.
-Stephen Sagmeister's work as a designer.
-Outsourcing of basic production work in the present day.
-The dynamic graphic systems of the 21st Century and the challenge for today's designers.
As one who's opinion is not always the popular one, I find it important to see the significant power contained in the ability to take one message and turn it around, sometimes completely against the creator of the original message. I've also always been a fan of many of the more questionable typefaces (two semesters of Type haven't destroyed my fondness for papyrus and comic sans), so it's interesting to see how some of the more unorthodox typographic work came into play.
Throughout history, it seems as though civilization and design have taken turns moving and changing each other. As we move forward into the 21st century, it should prove interesting to see which way this interaction will take us next.
Monday, April 27, 2009
Monday, April 20, 2009
Essay 9 - Unit 3.3 - April 20
Today we began looking at Postmodernism, the inevitable backlash against modernism. We examined postmodernism not as a style, but rather an examination of what motivates us. We also looked at New Wave Typography and its influences, before taking a look at how Appropriation marked the end of true originality.
Key Points:
-examination of various, governing cultural codes
-principles of grand narrative, enlightenment, and modernism
-rejection of all established concepts in postmodernism
-postmodernism's graphic start in the counterculture of the 60s
-the examination of the woman's place in culture
-promotion of ideas and lifestyles not sanctioned by the grand narrative
-the new pluralism of the "ME" generation
-Push-pin studios and their understanding of the powers of the new medium for graphic communication
-rejection of the old swiss style by Wolfgang Weingart
-New Wave Typography's inventory of forms
-Influences of New Wave on exhibition design
-use of computers for new levels of experimentation
-Appropriation vs. plagiarism
-End of History and the Death of the Author
-The attitude reflected in Paula Scher's work.
-The CSA compiled by Charles Anderson
-new potential realized for historical styles in design
As an artist, certain aspects of the creativity of postmodernism do appeal to me, as well as certain influences of the movement. However, I personally disagree with the rebellious irreverence promoted through much of postmodern art, along with the total rejection of all previous concepts. If I had to define myself, I would say I'm more of a modernist with some *selectively* postmodern tendencies. I have mixed feelings on the subject of appropriation, although while appropriation in graphic design may be old news, its musical aspect is still a pretty heated issue.
Key Points:
-examination of various, governing cultural codes
-principles of grand narrative, enlightenment, and modernism
-rejection of all established concepts in postmodernism
-postmodernism's graphic start in the counterculture of the 60s
-the examination of the woman's place in culture
-promotion of ideas and lifestyles not sanctioned by the grand narrative
-the new pluralism of the "ME" generation
-Push-pin studios and their understanding of the powers of the new medium for graphic communication
-rejection of the old swiss style by Wolfgang Weingart
-New Wave Typography's inventory of forms
-Influences of New Wave on exhibition design
-use of computers for new levels of experimentation
-Appropriation vs. plagiarism
-End of History and the Death of the Author
-The attitude reflected in Paula Scher's work.
-The CSA compiled by Charles Anderson
-new potential realized for historical styles in design
As an artist, certain aspects of the creativity of postmodernism do appeal to me, as well as certain influences of the movement. However, I personally disagree with the rebellious irreverence promoted through much of postmodern art, along with the total rejection of all previous concepts. If I had to define myself, I would say I'm more of a modernist with some *selectively* postmodern tendencies. I have mixed feelings on the subject of appropriation, although while appropriation in graphic design may be old news, its musical aspect is still a pretty heated issue.
Discourse 2 - April 20
Discourse 2
Article: From De Stijl to a New Typography
By Kees Broos
From: Texts on Type - Heller & Meggs
Key Points of the Article:
–Typography has no restrictions on the user or the medium.
–Importance of being aware of the shapes and functions of the letters, and by extension, the overall expressive potential of their arrangement.
–The Use of Letters can have two entirely different purposes.
–First Purpose: "Printing should be Invisible" -Beatrice Warde. In this purpose, the arrangement of type serves the content.
–Second Purpose: Typography has an autonomous function. Emphasis on the visual potential of letter shape and arrangement. This purpose was practiced by some of De Stijl's founders.
–De Stijl's ideas were a challenge and a touchstone for outsiders who experimented.
–Warde called them stunt "typographers". Spencer called them "Pioneers of Modern Typography".
–Van Doesburg used a symmetrical typography at first, and later an asymmetrical one.
–Van Doesburg's work includes both Dadaist and Constructivist sides.
–Cover for the first issue of De Stijl magazine was designed by Huszar. The letter forms correlated with the context of Huszar's paintings at the time.
–Geometrical experiments with letter shapes and combinations were popular after World War I.
–Wijdeveld devised highly complicated typographical compositions for his periodical, Wendingen.
–Wendingen the antithesis of De Stijl, yet both showed a tendency towards systematizing and plane filling.
–Zwart and Huszar collaborated on designing furniture and interiors.
–In a letterhead for Bruynzeel and a portfolio of architectural drawings, Huszar used a geometric alphabet with solid letters and corresponding graphic elements, quite the opposite of his cover design for De Stijl magazine.
–Van Doesburg's experimenting involved distortions of type, pushing legibility to a secondary tier of importance.
–Later, Van Doesburg experimented less and relied mainly on his basic alphabet, consisting of letters that were compact, self-contained constructions.
–The manner in which the letters in the De Stijl title could be broken down into elements was most consistently found in Bart van der Leck's work.
–Van der Leck differs from Huszar in that he accepts the diagonal and employs a more prominent white background. Van der Leck's letters not constructed on a rigid pattern, but rather distilled from common letter shapes and interwoven into a homogenous texture. Lack of legibility compensated for by poetic quality of letters being drawn in a childlike way.
–Potential for development of new letter shapes from a geometric basis was not realized in the Netherlands, but it was to some extent realized in Germany, via the work of Bayer, Albers, and Schwitters.
–Van Doesburg believed that in poetry the word should be posed according to its meaning as well as its sound. His ideas with poetry related to those of Raoul Haussmann and Kurt Schwitters.
–De Stijl's truly important contribution to typography came from abroad: the special issue Of 2 Squares, by El Lissitzky, recently published in Berlin. The book gave an unparalleled survey of all possibilities text and image, juxtaposed in tension, could bring out on the page. It broke many through many conventions with it's revolutionary and convincing notions.
–Visiting the Netherlands in 1923, Lissitzky met a younger generation with whom he could discuss his typographical ideas.
–Lissitzky's ideas visibly influenced the work of Zwart and Van Doesburg.
–Van Doesburg collaborated with Schwitters to create Die Scheuche (The Scarecrow), the most sympathetic typographical experiment he had ever worked on.
–Schwitters founded the Ring neuer Werbegestalter (Circle of New Advertising Artists) in 1927. Major contributors to De Stijl joined, along with Tschichold and Zwart, but Van Doesburg refused to join.
–The new ideas found many avenues of distribution, including Tschichold's influential handbook, The New Typography.
–De Stijl had played in part of source of inspiration, a part incubator, and finally an irritating antagonist against these ideas.
First we have the first cover for Theo van Doesburg's De Stijl magazine. The title and image below it were designed by Vilmos Huszar, showing the high level of geometric experimentation with letter shape and organization, exploring the potential of visual emphasis. Huszar's alphabet was known for its ability to be broken down into simple, separate elements. Huszar's logo design appeared on the covers of the first three issue of De Stijl, until the format was radically changed by Van Doesburg starting with the fourth issue.
Next we have an exhibition poster designed by Bart Anthony van der Leck, which depicts a man on a horse, constructed entirely of geometrical shapes. Typographically, we can observe the similarities and differences between Huszar's and Van der Leck's work. Like Huszar, Van der Leck's type was fragmented, constructed of simple, individual parts. But Van der Leck employed the diagonal, while Huszar did not. Furthermore, we see that Van der Leck's type was not designed from a rigid grid pattern, but rather distilled from common letter shapes. We can also observe how Van der Leck employed a good deal more white space in his design layout than Huszar.
Finally, we have the book "Of 2 Squares", designed by Russian constructivist El Lissitzky. Breaking through many conventions of the time, the book explored many different possibilities of text and image arrangement and juxtaposition. Among others, the revolutionary ideas conveyed in the book had visible influence on the work of Theo van Doesburg and Piet Zwart. Despite coming from an outside source, "Of 2 Squares" is seen as De Stijl's most important contribution to typography.
Article: From De Stijl to a New Typography
By Kees Broos
From: Texts on Type - Heller & Meggs
Key Points of the Article:
–Typography has no restrictions on the user or the medium.
–Importance of being aware of the shapes and functions of the letters, and by extension, the overall expressive potential of their arrangement.
–The Use of Letters can have two entirely different purposes.
–First Purpose: "Printing should be Invisible" -Beatrice Warde. In this purpose, the arrangement of type serves the content.
–Second Purpose: Typography has an autonomous function. Emphasis on the visual potential of letter shape and arrangement. This purpose was practiced by some of De Stijl's founders.
–De Stijl's ideas were a challenge and a touchstone for outsiders who experimented.
–Warde called them stunt "typographers". Spencer called them "Pioneers of Modern Typography".
–Van Doesburg used a symmetrical typography at first, and later an asymmetrical one.
–Van Doesburg's work includes both Dadaist and Constructivist sides.
–Cover for the first issue of De Stijl magazine was designed by Huszar. The letter forms correlated with the context of Huszar's paintings at the time.
–Geometrical experiments with letter shapes and combinations were popular after World War I.
–Wijdeveld devised highly complicated typographical compositions for his periodical, Wendingen.
–Wendingen the antithesis of De Stijl, yet both showed a tendency towards systematizing and plane filling.
–Zwart and Huszar collaborated on designing furniture and interiors.
–In a letterhead for Bruynzeel and a portfolio of architectural drawings, Huszar used a geometric alphabet with solid letters and corresponding graphic elements, quite the opposite of his cover design for De Stijl magazine.
–Van Doesburg's experimenting involved distortions of type, pushing legibility to a secondary tier of importance.
–Later, Van Doesburg experimented less and relied mainly on his basic alphabet, consisting of letters that were compact, self-contained constructions.
–The manner in which the letters in the De Stijl title could be broken down into elements was most consistently found in Bart van der Leck's work.
–Van der Leck differs from Huszar in that he accepts the diagonal and employs a more prominent white background. Van der Leck's letters not constructed on a rigid pattern, but rather distilled from common letter shapes and interwoven into a homogenous texture. Lack of legibility compensated for by poetic quality of letters being drawn in a childlike way.
–Potential for development of new letter shapes from a geometric basis was not realized in the Netherlands, but it was to some extent realized in Germany, via the work of Bayer, Albers, and Schwitters.
–Van Doesburg believed that in poetry the word should be posed according to its meaning as well as its sound. His ideas with poetry related to those of Raoul Haussmann and Kurt Schwitters.
–De Stijl's truly important contribution to typography came from abroad: the special issue Of 2 Squares, by El Lissitzky, recently published in Berlin. The book gave an unparalleled survey of all possibilities text and image, juxtaposed in tension, could bring out on the page. It broke many through many conventions with it's revolutionary and convincing notions.
–Visiting the Netherlands in 1923, Lissitzky met a younger generation with whom he could discuss his typographical ideas.
–Lissitzky's ideas visibly influenced the work of Zwart and Van Doesburg.
–Van Doesburg collaborated with Schwitters to create Die Scheuche (The Scarecrow), the most sympathetic typographical experiment he had ever worked on.
–Schwitters founded the Ring neuer Werbegestalter (Circle of New Advertising Artists) in 1927. Major contributors to De Stijl joined, along with Tschichold and Zwart, but Van Doesburg refused to join.
–The new ideas found many avenues of distribution, including Tschichold's influential handbook, The New Typography.
–De Stijl had played in part of source of inspiration, a part incubator, and finally an irritating antagonist against these ideas.
First we have the first cover for Theo van Doesburg's De Stijl magazine. The title and image below it were designed by Vilmos Huszar, showing the high level of geometric experimentation with letter shape and organization, exploring the potential of visual emphasis. Huszar's alphabet was known for its ability to be broken down into simple, separate elements. Huszar's logo design appeared on the covers of the first three issue of De Stijl, until the format was radically changed by Van Doesburg starting with the fourth issue.
Next we have an exhibition poster designed by Bart Anthony van der Leck, which depicts a man on a horse, constructed entirely of geometrical shapes. Typographically, we can observe the similarities and differences between Huszar's and Van der Leck's work. Like Huszar, Van der Leck's type was fragmented, constructed of simple, individual parts. But Van der Leck employed the diagonal, while Huszar did not. Furthermore, we see that Van der Leck's type was not designed from a rigid grid pattern, but rather distilled from common letter shapes. We can also observe how Van der Leck employed a good deal more white space in his design layout than Huszar.
Finally, we have the book "Of 2 Squares", designed by Russian constructivist El Lissitzky. Breaking through many conventions of the time, the book explored many different possibilities of text and image arrangement and juxtaposition. Among others, the revolutionary ideas conveyed in the book had visible influence on the work of Theo van Doesburg and Piet Zwart. Despite coming from an outside source, "Of 2 Squares" is seen as De Stijl's most important contribution to typography.
Monday, April 13, 2009
Essay 8 - Unit 3.2 - April 13
Today we looked at the American Corporate Design movement and saw how the influential works of Paul Rand, Chermayeff and Geismar, and Vignelli helped to shape a new way of looking at corporations and advertising. We also looked at the evolution of Pop-Culture, and the big ideas behind the "new Advertising". Finally, we examined Lubalins innovations with photo-typography and the exploration of individualism in accordance with 60's mantra.
Key Points:
–Paul Rand, the man to see for corporate design in the 50's-60's.
–New way of looking at corporations.
–Chermayeff and Geismar's "early design office".
–Vignelli and the Unigrid system.
–Knoll and the modern furniture movement.
–Growing distaste against the impersonal nature of corporate design.
–Pop-Culture emerging as a bridge to the Postmodernist movement.
–Wolf's conceptual images.
–The "New Advertising".
–Lois' work with Esquire magazine.
–Lubalin and Photo-Typography.
–Idea of Individualism pushed in design.
–Black Publication: Ebony.
–Graphic Design fully matures as a national profession, to be taught nationwide in schools and universities.
As perviously noted, I have a particular interest in identity design. It's fascinating to see where so many time-honored company logos came from, and amazing that they were all designed by just a handful of people. Additionally, it's interesting to see where many of the ideas, beliefs, and concepts we take for granted today originally came from.
Above all, one must remember the importance of clearly communicating their message when wielding the formidable weapon that is design.
Key Points:
–Paul Rand, the man to see for corporate design in the 50's-60's.
–New way of looking at corporations.
–Chermayeff and Geismar's "early design office".
–Vignelli and the Unigrid system.
–Knoll and the modern furniture movement.
–Growing distaste against the impersonal nature of corporate design.
–Pop-Culture emerging as a bridge to the Postmodernist movement.
–Wolf's conceptual images.
–The "New Advertising".
–Lois' work with Esquire magazine.
–Lubalin and Photo-Typography.
–Idea of Individualism pushed in design.
–Black Publication: Ebony.
–Graphic Design fully matures as a national profession, to be taught nationwide in schools and universities.
As perviously noted, I have a particular interest in identity design. It's fascinating to see where so many time-honored company logos came from, and amazing that they were all designed by just a handful of people. Additionally, it's interesting to see where many of the ideas, beliefs, and concepts we take for granted today originally came from.
Above all, one must remember the importance of clearly communicating their message when wielding the formidable weapon that is design.
Monday, April 6, 2009
Essay 7 - Unit 3.1 - April 6
Today we looked at the Age of Information and how designers strove to develop a universal language for anyone who could interpret basic images. We also examined the influences the European Modernists had on American art after fleeing to the United States during the second World War. Finally we took an extensive look at Swiss design and the grid, and how it came to revolutionize information design worldwide.
Key Points:
-The search for a universal language of form.
-The ISOTYPE system.
-Iconic design, simplifying images to their basic essence.
-The hallmark influence of Herbert Bayer's Geographical Atlas.
-Influences of Europeans on American Design.
-Adaptation of Modernist techniques by Lester Beal.
-Rising dominance of photography as an art medium.
-"Graphic Design" coined by Dwiggins in 1922.
-Foundations laid for modern corporate advertising and logotypes.
-The Basel school and the Swiss Grid
-Ballmer's hand-rendered typography.
-Tectonic visual forms to communicate the invisible.
-International Style of Typography.
The rigid discipline present in Swiss design was a required learning here at Ringling. It was my first hand-on experience with the formula, and I found it to my liking. While I enjoy employing my own "voice" in my work, I cannot ignore the persistent importance of following a system for efficient organization. Like with all things, a proper balance between the disciplinary aspects of the grid and the creative wit of modernism is essential for attaining a happy medium.
Key Points:
-The search for a universal language of form.
-The ISOTYPE system.
-Iconic design, simplifying images to their basic essence.
-The hallmark influence of Herbert Bayer's Geographical Atlas.
-Influences of Europeans on American Design.
-Adaptation of Modernist techniques by Lester Beal.
-Rising dominance of photography as an art medium.
-"Graphic Design" coined by Dwiggins in 1922.
-Foundations laid for modern corporate advertising and logotypes.
-The Basel school and the Swiss Grid
-Ballmer's hand-rendered typography.
-Tectonic visual forms to communicate the invisible.
-International Style of Typography.
The rigid discipline present in Swiss design was a required learning here at Ringling. It was my first hand-on experience with the formula, and I found it to my liking. While I enjoy employing my own "voice" in my work, I cannot ignore the persistent importance of following a system for efficient organization. Like with all things, a proper balance between the disciplinary aspects of the grid and the creative wit of modernism is essential for attaining a happy medium.
Monday, March 23, 2009
Essay 6 - Unit 2.3 - March 23
Today we examined how the influences of Plakastil and Synthetic Cubism came together in the Art Deco period. Simplified, symbolic forms became a means for conveying ideas, beginning the branding of products. We also looked at how design influenced thinking between the wars, and how propaganda became the central focus during World War II. Finally we took a brief look at Swiss design and how illustration was eschewed in favor of photographic imagery and typographic abstraction.
Key Points:
-Plakastil + Synthetic Cubism = Art Deco
-Machines of war become machines of transportation and expansion.
-Evolution of the modern leisure class.
-Illustrations of A.M. Cassandre and "branding".
-Cubist influences of Kauffer.
-America was copying European styles.
-Hohlwein's work and the accompanying rise of Nazism.
-Uses of propaganda by both sides during the second World War.
-Mythic Realism
-Matter's poster design and it's lasting influence.
-Polarization of graphic design vs. illustration.
Before coming to Ringling, I was more of an illustrator than a graphic designer. Seeing the further influences of modernist movements on the popular techniques for designing today continues to broaden my knowledge and respect for where various techniques come from. Additionally, it amuses me that he US was busy copying the European styles during the modernist movements. America has gained a lot through imitation over the years, and much of that imitation of European culture and society. Like Rock and Roll—seen by so many young people as an America tradition—originated in Britain.
Lastly, it's fun to see that the techniques for making enemies of people and organizations haven't changed much in the last several decades.
Key Points:
-Plakastil + Synthetic Cubism = Art Deco
-Machines of war become machines of transportation and expansion.
-Evolution of the modern leisure class.
-Illustrations of A.M. Cassandre and "branding".
-Cubist influences of Kauffer.
-America was copying European styles.
-Hohlwein's work and the accompanying rise of Nazism.
-Uses of propaganda by both sides during the second World War.
-Mythic Realism
-Matter's poster design and it's lasting influence.
-Polarization of graphic design vs. illustration.
Before coming to Ringling, I was more of an illustrator than a graphic designer. Seeing the further influences of modernist movements on the popular techniques for designing today continues to broaden my knowledge and respect for where various techniques come from. Additionally, it amuses me that he US was busy copying the European styles during the modernist movements. America has gained a lot through imitation over the years, and much of that imitation of European culture and society. Like Rock and Roll—seen by so many young people as an America tradition—originated in Britain.
Lastly, it's fun to see that the techniques for making enemies of people and organizations haven't changed much in the last several decades.
Monday, March 16, 2009
Essay 5 - Unit 2.2-2.3 - March 16
Today we covered the De Stijl movement and saw how it pushed the practices of cubism to a pure geometric art. While highly influential on design and architecture, the movement was most hated for it's rejection of classical and historical ideas. While the movement died with van Doesburg in 1931, its ideas lived on. We also looked at the Bauhaus and the many innovators who helped shape it's curriculum, setting modern design trends that have lasted to this day. We examined the work of Jan Tschichold and how after proliferating the understanding of modernist design, turned away from it later in life. Finally, we examined the prominent Dutch designers and saw how printing tools became instruments of creativity.
Key Points
-Theo van Doesburg as De Stijl's guiding force.
-The application of De Stijl in Mondrian's work.
- Asymmetrical equilibrium.
-Birth of geometrical typefaces.
-Architectural influences - Schroeder House.
-Bauhaus begun primarily by fine artists.
-"To solve design problems created by Industrialization"
-Architectural Influences of Walter Gropius
-Modern page design created by Herbert Bayer.
-Moholy Nagy and Photoplastics.
-The Universal Alphabet.
-The preliminary course, influences on modern art schools.
-The 14 books of the Bauhaus.
-The "New Typography".
-Sabon's compatibility with Sans Serifs.
-Dutch Modernism and integration of typography with photography.
-Creative use of printing presses.
-Dutch Modernism + German Plakastil = New face of commercial design.
Having long been a fan of both modern design and modern architecture, I found it fascinating to see what movements and individuals pioneered these ideas and helped push them into the mainstream. The longevity of modern design as self-evident, as I can see it all around me today. Understanding the influences De Stijl had on modern design gives me a new appreciation for the historical basis behind my own design preferences. Like Tschichold, I agree that there must be an even balance between the extremes, although I do tend to lean more towards the modernist side myself. It bemuses me how in his lifetime, Tschichold moved from one extreme to the other, leaving a legacy that provided unification for both.
Key Points
-Theo van Doesburg as De Stijl's guiding force.
-The application of De Stijl in Mondrian's work.
- Asymmetrical equilibrium.
-Birth of geometrical typefaces.
-Architectural influences - Schroeder House.
-Bauhaus begun primarily by fine artists.
-"To solve design problems created by Industrialization"
-Architectural Influences of Walter Gropius
-Modern page design created by Herbert Bayer.
-Moholy Nagy and Photoplastics.
-The Universal Alphabet.
-The preliminary course, influences on modern art schools.
-The 14 books of the Bauhaus.
-The "New Typography".
-Sabon's compatibility with Sans Serifs.
-Dutch Modernism and integration of typography with photography.
-Creative use of printing presses.
-Dutch Modernism + German Plakastil = New face of commercial design.
Having long been a fan of both modern design and modern architecture, I found it fascinating to see what movements and individuals pioneered these ideas and helped push them into the mainstream. The longevity of modern design as self-evident, as I can see it all around me today. Understanding the influences De Stijl had on modern design gives me a new appreciation for the historical basis behind my own design preferences. Like Tschichold, I agree that there must be an even balance between the extremes, although I do tend to lean more towards the modernist side myself. It bemuses me how in his lifetime, Tschichold moved from one extreme to the other, leaving a legacy that provided unification for both.
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