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.
Monday, February 23, 2009
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.
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