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.
Monday, March 23, 2009
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.
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