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.
Monday, March 2, 2009
Discourse 1 - March 2
Article: Designing Hate: Is There a Graphic Language of Vile Emotion?
By Steve Heller
From: Texts on Type - Heller & Meggs
Key Points of the Article: -Can hate be well designed?
-Hitler and the Nazi regime turned a benign symbol into a trademark of malevolence.
-Hitler had a staff devoted to the aesthetic promotion of "the State" and his agenda.
-Graphic Design played a key role in the systematic racist propaganda of the Nazis.
-Both verbal and graphic symbols were developed to dehumanize their enemies.
-Jews were graphically portrayed as 'vermin' to encourage hatred of them.
-Hateful imagery had already been present in Europe for over a century before the Nazis. Under them it was fully realized and the standards set for future practices.
-German 'Fraktur' type still bears an ominous feeling to it, regardless of what words are written.
-Modern sans serif type was outlawed for a period in Germany in favor of Fraktur. Sans serif was seen as a "Jewish invention".
-The swastika has retained it's ability to strike fear and revulsion. It lives on as a universal symbol for hatred and racism.
-Other symbols, such as the SS symbol and those used by the Fascists retain similar properties.
-The white hood of the KKK drew it's power as a symbol from medieval imagery.
-Symbols of power and violence, such as the lightning bolt, arrow, and gun sight, are common in the visual communication of hate.
-Threatening nature of hate groups is emphasized by their paramilitary nature.
-Hate and intolerance are often tritely designed, with little thought to nuances.
-The hatred in the texts of periodicals was camouflaged by a neutral looking composition.
-German hate propaganda was designed to fit in with the norm, as it was meant to be widely accepted by the masses. It couldn't appear out of place.
-Deviation from design standards began in the 60's with cheap offset printing. Oringinally only the left explored this, but the right followed suit eventually.
-The need to distinguish ideology and message has resulted in an increased number of graphics.
-Self-conscious design is often set-aside in favor of the neat fit. Defaults that will work suitably are used with no regard for nuance.
-The message of hate is best communicated through the violent and frightening symbols favored by hate groups.
-While euphemism can help disguise the message of hate as something less insidious, the design of hate must be obvious for effective communication.
-Symbols and associations that cannot be misconstrued are the ones best employed, due to their lasting historical significance.
This 1915 poster, depicting the German upset over the L'Entente Cordiale agreement of 1904, demonstrates how hateful imagery was already being used for political purposes long before the Nazis took over Germany. In this image, Britain is symbolized as a spider attacking Turkey and eating a French soldier. The noble German eagle sits high overhead while below a German submarine works to "cut" the British web. With the use of familiar animal imagery, the German artist was able to convey an intended message.
This poster from the September 1930 Reichstag election summarizes the ideology of German propaganda and reflects many of the article's key points. The Sword with the swastika on the pommel is stabbing through the head of the serpent with the red Star of David on its head. The words coming from the snake include unemployment, corruption, lies and betrayal, inflation, terror, and civil war. The poster sent a clear message to viewers that the Jews were inherently evil, and responsible for all of the corruption that was going on. The Nazis saw themselves as the divine power sent to purge the world of such evils. With this use of imagery they could demonize whatever group of people they wanted.
This poster demonstrates not only the visual legacy of the symbolism created by Hitler's regime, but its ironic use by many artists when they wish to demonize an individual or group that they oppose. A satire of an old German poster showing Hitler carrying the Nazi flag before his army, this image depicts Bill Gates as the evil dictator leading an army of zealots in an unholy conquest, and smiling all the way. The Windows logo has been used in place of the swastika on the flags. Although cliché, the depiction of certain individuals or groups as "Nazis" remains a favored tactic for artists.
By Steve Heller
From: Texts on Type - Heller & Meggs
Key Points of the Article: -Can hate be well designed?
-Hitler and the Nazi regime turned a benign symbol into a trademark of malevolence.
-Hitler had a staff devoted to the aesthetic promotion of "the State" and his agenda.
-Graphic Design played a key role in the systematic racist propaganda of the Nazis.
-Both verbal and graphic symbols were developed to dehumanize their enemies.
-Jews were graphically portrayed as 'vermin' to encourage hatred of them.
-Hateful imagery had already been present in Europe for over a century before the Nazis. Under them it was fully realized and the standards set for future practices.
-German 'Fraktur' type still bears an ominous feeling to it, regardless of what words are written.
-Modern sans serif type was outlawed for a period in Germany in favor of Fraktur. Sans serif was seen as a "Jewish invention".
-The swastika has retained it's ability to strike fear and revulsion. It lives on as a universal symbol for hatred and racism.
-Other symbols, such as the SS symbol and those used by the Fascists retain similar properties.
-The white hood of the KKK drew it's power as a symbol from medieval imagery.
-Symbols of power and violence, such as the lightning bolt, arrow, and gun sight, are common in the visual communication of hate.
-Threatening nature of hate groups is emphasized by their paramilitary nature.
-Hate and intolerance are often tritely designed, with little thought to nuances.
-The hatred in the texts of periodicals was camouflaged by a neutral looking composition.
-German hate propaganda was designed to fit in with the norm, as it was meant to be widely accepted by the masses. It couldn't appear out of place.
-Deviation from design standards began in the 60's with cheap offset printing. Oringinally only the left explored this, but the right followed suit eventually.
-The need to distinguish ideology and message has resulted in an increased number of graphics.
-Self-conscious design is often set-aside in favor of the neat fit. Defaults that will work suitably are used with no regard for nuance.
-The message of hate is best communicated through the violent and frightening symbols favored by hate groups.
-While euphemism can help disguise the message of hate as something less insidious, the design of hate must be obvious for effective communication.
-Symbols and associations that cannot be misconstrued are the ones best employed, due to their lasting historical significance.
This 1915 poster, depicting the German upset over the L'Entente Cordiale agreement of 1904, demonstrates how hateful imagery was already being used for political purposes long before the Nazis took over Germany. In this image, Britain is symbolized as a spider attacking Turkey and eating a French soldier. The noble German eagle sits high overhead while below a German submarine works to "cut" the British web. With the use of familiar animal imagery, the German artist was able to convey an intended message.
This poster from the September 1930 Reichstag election summarizes the ideology of German propaganda and reflects many of the article's key points. The Sword with the swastika on the pommel is stabbing through the head of the serpent with the red Star of David on its head. The words coming from the snake include unemployment, corruption, lies and betrayal, inflation, terror, and civil war. The poster sent a clear message to viewers that the Jews were inherently evil, and responsible for all of the corruption that was going on. The Nazis saw themselves as the divine power sent to purge the world of such evils. With this use of imagery they could demonize whatever group of people they wanted.
This poster demonstrates not only the visual legacy of the symbolism created by Hitler's regime, but its ironic use by many artists when they wish to demonize an individual or group that they oppose. A satire of an old German poster showing Hitler carrying the Nazi flag before his army, this image depicts Bill Gates as the evil dictator leading an army of zealots in an unholy conquest, and smiling all the way. The Windows logo has been used in place of the swastika on the flags. Although cliché, the depiction of certain individuals or groups as "Nazis" remains a favored tactic for artists.
Monday, February 23, 2009
Essay 4 - Unit 2.1 - February 23
Today we looked at the evolution of the modern poster, and the contrasting forms it took during the wars as it rose to a pinnacle of importance. We saw how typography took on a materiality and became an expressive element, rather than just a phonetic symbol. We also saw how the DADA movement sought to destroy and break down any traditional thoughts and styles, attacking the relation of the signifier and the signified. Finally, we looked at how Surrealism took hold in DADA's wake, introducing brand new ideas and techniques that would influence modern Graphic Design for years to come.
Some key points that stood out for me today were:
-Graphic Design was no longer limited to any one media.
-The rise of importance for the poster during the period of the wars.
-How different methods of design were employed to evoke similar emotional responses.
-How the relationships of elements in communication were reevaluated, and eventually torn apart.
-Typography becoming a physical form as well as a verbal form.
-How Cubism and Futurism came together to pave the way for modern Graphic Design.
-How the foundations for Postmodernism were laid in the DADA movement as it sought to destroy all things traditional.
-How DADA gave way to Surrealism, expanding on the ideas for how signification could occur.
-How the influences of DADA and Surrealism carried over to influence modern editorial design and propaganda.
As a fan of political satire and expressive typography, I found it intriguing to see how the letterforms of type were pushed beyond their phonetic roots into the realm of concrete shapes by the various Avant Garde movements, and how the practice of modern satire took it's shape. It's also interesting to see how many forms of expression we take for granted today as "the norm" were once pioneered by individuals rebelling against the standards of their time. This has given me a new appreciation for the background behind some of these expressive forms and techniques.
Some key points that stood out for me today were:
-Graphic Design was no longer limited to any one media.
-The rise of importance for the poster during the period of the wars.
-How different methods of design were employed to evoke similar emotional responses.
-How the relationships of elements in communication were reevaluated, and eventually torn apart.
-Typography becoming a physical form as well as a verbal form.
-How Cubism and Futurism came together to pave the way for modern Graphic Design.
-How the foundations for Postmodernism were laid in the DADA movement as it sought to destroy all things traditional.
-How DADA gave way to Surrealism, expanding on the ideas for how signification could occur.
-How the influences of DADA and Surrealism carried over to influence modern editorial design and propaganda.
As a fan of political satire and expressive typography, I found it intriguing to see how the letterforms of type were pushed beyond their phonetic roots into the realm of concrete shapes by the various Avant Garde movements, and how the practice of modern satire took it's shape. It's also interesting to see how many forms of expression we take for granted today as "the norm" were once pioneered by individuals rebelling against the standards of their time. This has given me a new appreciation for the background behind some of these expressive forms and techniques.
Monday, February 9, 2009
Essay 3 - Unit 1.3 - February 9
Today we covered the short (20 year) duration of the Art Nouveau movement, and saw how it gave way to modernism through the Vienna Secessionists and the Glasgow School. We also saw how the influential works of Peter Berhens paved the way for modern graphic communication and corporate identity.
Some key points from today's lecture that stood out for me were:
-How much influence mysticism and the occult had in Art Nouveau
-How much techniques in Art Nouveau were influenced by Japanese Ukiyo-e
-The uses of graphic abstraction and minimal text, precursors of today's design trends
-The controversial introduction of large portions of negative space in a composition.
-How the ornate organic gave way to the simple, clean geometric
-Berhens' influences on modern graphic communication and corporate identity
-Thinking in systems of universal forms for communication
-How everything seemed to come together in the Bauhaus
-The prevalence of the subway system design
As a designer with a particular interest in logo and identity design, I found it fascinating to learn about the influences Behrens and others like him had on modern graphic design, as well as the structured ways of thinking that led up to his work. Understanding the underlying systems present in design are imperative to effective communication. Following the system results in all parts working together to create a cohesive whole. Also, while art Nouveau lived a short life and was quickly put aside, I found it interesting to see how some of its minimalist influences on poster design remained throughout the modern era, influencing the way in which we design posters today.
Some key points from today's lecture that stood out for me were:
-How much influence mysticism and the occult had in Art Nouveau
-How much techniques in Art Nouveau were influenced by Japanese Ukiyo-e
-The uses of graphic abstraction and minimal text, precursors of today's design trends
-The controversial introduction of large portions of negative space in a composition.
-How the ornate organic gave way to the simple, clean geometric
-Berhens' influences on modern graphic communication and corporate identity
-Thinking in systems of universal forms for communication
-How everything seemed to come together in the Bauhaus
-The prevalence of the subway system design
As a designer with a particular interest in logo and identity design, I found it fascinating to learn about the influences Behrens and others like him had on modern graphic design, as well as the structured ways of thinking that led up to his work. Understanding the underlying systems present in design are imperative to effective communication. Following the system results in all parts working together to create a cohesive whole. Also, while art Nouveau lived a short life and was quickly put aside, I found it interesting to see how some of its minimalist influences on poster design remained throughout the modern era, influencing the way in which we design posters today.
Monday, February 2, 2009
Essay 2 - Unit 1.2 - February 2
Today we covered the Industrial Revolution and the saw the extent to which book design and typography suffered in the interests of pursuing fickle tends and mass production. Designers took a back seat to illustrators as Chromolithography dominated the advertising world. As the 19th century drew to a close, the calculated design ethics and value of artful handicraft were revitalized by the Arts and Craft Movement, seeking to brush aside the "cheap and nasty" trend graphic design had followed for so long.
Some of the key points that stuck out for me today were:
-How large scale type was introduced and quickly became a competitive element for advertising.
-How illustration took center stage during the Chromolithography era, requiring illustrators to be proficient at type drafting as well as drawing.
-The complete abandonment of traditional rules and formats, particularly during the Victorian era, and how books suffered as a result.
-How responsibility in design was cast aside for a time, then brought back with a passion.
-The evolution of Sans Serif typefaces (my personal favorite!).
-How the development of typefaces went hand in hand with design trends of the time (i.e. - Antique/Tuscan styles resembling locomotives)
-How newspapers and other types of text and image-based publications (like scrap cards) evolved.
As a designer, I am aware that a measure of responsibility and intelligence must go into everything I do. The quality of craft is a key to successful design, whether creating a layout for a printed book, or a web page. Society swings like a pendulum, and I found it interesting to observe where the abuse of the Industrial Revolution's newfound mass-production abilities led—total chaos. With today's computer technology, we possess the same ability to ignore design ethics and commit acts of artistic butchery. We can stretch type like silly putty, and adorn it with a nauseating stack of needless plug-in filters. Producing sloppy work to save time can be a dangerous temptation. Whether working with the pen tool in Illustrator or an Exacto blade in the process room, my duty as a designer is to see my work executed with precision and care, as well as consideration. The mistakes of the past are laid bare for us to see, and hopefully to learn from.
Some of the key points that stuck out for me today were:
-How large scale type was introduced and quickly became a competitive element for advertising.
-How illustration took center stage during the Chromolithography era, requiring illustrators to be proficient at type drafting as well as drawing.
-The complete abandonment of traditional rules and formats, particularly during the Victorian era, and how books suffered as a result.
-How responsibility in design was cast aside for a time, then brought back with a passion.
-The evolution of Sans Serif typefaces (my personal favorite!).
-How the development of typefaces went hand in hand with design trends of the time (i.e. - Antique/Tuscan styles resembling locomotives)
-How newspapers and other types of text and image-based publications (like scrap cards) evolved.
As a designer, I am aware that a measure of responsibility and intelligence must go into everything I do. The quality of craft is a key to successful design, whether creating a layout for a printed book, or a web page. Society swings like a pendulum, and I found it interesting to observe where the abuse of the Industrial Revolution's newfound mass-production abilities led—total chaos. With today's computer technology, we possess the same ability to ignore design ethics and commit acts of artistic butchery. We can stretch type like silly putty, and adorn it with a nauseating stack of needless plug-in filters. Producing sloppy work to save time can be a dangerous temptation. Whether working with the pen tool in Illustrator or an Exacto blade in the process room, my duty as a designer is to see my work executed with precision and care, as well as consideration. The mistakes of the past are laid bare for us to see, and hopefully to learn from.
Monday, January 26, 2009
Essay 1 – 1.26
Today we covered the history of typography and the evolution of different letterforms, along with their development over the many periods of history. We saw how typography took its roots in traditional handcrafted writing techniques, and then evolved over the ages to a state of mechanical precision, devoid of humanist influence. The painterly calligrapher slowly gave way to the calculating engineer.
The most important task designers face is effective communication. As with the old illuminated manuscripts, all parts of a design should “tell part of the story”. Additional embellishments are distracting and can hinder effective communication. It is also important to consider the world around us and note changes taking place, if we are to continue sending effective messages to people around the world.
The most important task designers face is effective communication. As with the old illuminated manuscripts, all parts of a design should “tell part of the story”. Additional embellishments are distracting and can hinder effective communication. It is also important to consider the world around us and note changes taking place, if we are to continue sending effective messages to people around the world.
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