Wednesday, April 14, 2010

Entry 9

Postmodernism

  • Group of approaches motivated by some common understandings.
  • A set of theoretical positions, which at the core are self reflexive and aware of the tentativeness, slipperiness, the ambiguity and the complex interrelations of culture and meanings.
  • Opposes the ordered rationality of modernism
  • Rejects totalities, universal values.
  • Skeptical of truth
  • Underground 60's and early 70's
  • Communities of opinion and belief
  • 60's pluralistic, eclectic, hedonistic, and anti-est.
  • Underground comics
  • Experimental alternative publishing - Village Voice
  • Pushpin studios famous for their designs in the 60's
New Wave Typography
  • Rejections of the International style by swiss designers began in Basel.
  • Anti-functional approach.
  • Wolfgang Weingart
  • Rejected the right angle
  • Intuitive design
  • Questions the customs of typographic arrangements
  • Every convention was up for interrogation
  • First designer to use computer for experiments
  • New wave included:
  • Wide Letter Spacing
  • Bold stair stepped rules
  • Rule lines punctuating space
  • Diagonal Type
  • Mixing typefaces or weight changes within words
  • Type reveresed from a series of bars
  • Diagonal Type
  • Mixing typefaces or weight changes within words
  • Type reveresed from a series of bars
  • April Grieman
  • New wave Basel Studio in LA
  • First paint boxes and later Macs
  • digital graphic design
  • illusion of depth
  • Postmodernism: appropriation, to copying styles, was no longer naive nostlagia but calculated because the past itself was considered invented
  • Paula Scher
  • Appropriation or "to quote" vs. plagiarism
  • Constructivism vocabulary was her inspiration
  • Assumption that art can only be repetitious
  • Pop art and Warhol
  • Charles Anderson
  • CSA Archieve - collection of historic line art
  • history of art and design was a vast archieve to quote
  • textural patterns of enlarged cheap comic books for clip art
  • Postmodernism does not comprise a single style but a conspicuous group of trends
  • Nevel Brody
  • Urban primitive typographic configurations became iconic emblems.
  • Brody plundered and plagiarized as his distinctive work was quickly assimilated around the world in part through the advent of computer scanning.
  • Jacques Derrida / Deconstruction
  • Showed most value-laden distinctions we attempt to establish.
  • Unconventional writings
  • Cranbrook - explores post-structuralism and the language games of Derrida's Grammatology
  • Deconstruction is a way to read texts
  • SEE IMAGE ------ READ TEXT
  • SEE TEXT -------- READ IMAGE (deconstructive)
  • Ed Fella
  • distinctly unsystemized inspires "Grunge"
  • David Carson
  • Disruptive and disturbed type and design
  • Untrained - walked the line between illegibility and chaos angering many
  • Professionals unwilling to accept the impact of a post-structural world
  • Un-natural cropping of print images
  • Emigre magazine features digital typefaces
  • Fontographer allows people to make fonts
  • Deconsturction Structures in the mass media can be reshuffled
  • Why not Associates
  • Formal Characteristics of late postmodernism
  • Layering
  • Fracturing
  • Transparency
  • Disunity
  • Deformation
  • High and low juxtapositions
  • Chip Kidd - book covers for Knopf stock photographs onto the covers of fiction
  • Jonathan Barnbrook - demonization to market fonts
Tonight I leave somewhat inpired by the newer styles and post-modernism. I feel like having one style is such a trap. I read a quote about design that said "Having a style is like being in prison." I'm excited to be in the age where we have run out of "isms". I feel boundless possibilities because of the fact that I can use any style in my aresonal. I really enjoyed the work that was shown by Why not Associates. I really thought it was amazing. I am more curious about deconstructivism and want to look even more into it!

Discourse 2

Typography–"The Eye Is a Creature of Habit"
By David Ogilvy

Key Concepts:
  • Good Typography helps people read your copy, bad typography prevents them from reading it.
  • Capitals retard reading
  • Capitals are read letter by letter
  • People are accustomed to reading lower case.
  • Letters superimposed over illustration are hard to read.
  • No periods in headlines
  • Drama belongs in what you say not the typeface.
  • San serif is hard to read.
  • Long copy's readership can be increased by:
  1. Subhead of two lines, between your headline and body copy.
  2. Starting body copy with a drop initial.
  3. Limit opening paragraph to eleven words max.
  4. After two or 3 inches of copy insert a crosshead
  5. Short lines / Windows increase readership
  6. Key paragraphs set in bold or italic
  7. Add arrowheads, arrows, bullets, asterisks, and marginal marks to help your reader into your paragraph.
  8. Number unrelated facts
  9. 11 point type is about right
  10. Add leading between paragraphs to increase readership.
  • You can't sell what is unreadable.

This image follows many of the principles that Ogilvy discusses. The type is simple, and says what it means, it is lowercase, there are no periods, there are serifs, there is an illustration but the type does not lay on top of it.

This is another good example of the concepts of this article. The headline is lower case, in a pretty simple, readable font. Dates are also listed in an organized manner in lower case. There is use of a white shape so type isn't overlaying directly on an image.



Another example of the principles discussed. No cap headline, nice sense of space between the title and the sections of copy. Also the headline is against a black and white image, allowing it to stand out well. The only thing that holds it back is that the copy is sans-serif. However the title is a serif font.

I had an observation when researching for images, that it is hard to find headlines that follow these principles. Everything seems to be ALL CAPS.

Wednesday, April 7, 2010

Entry 8

  • Swiss Design.
  • Basel School of Design - Laboratory of the international style.
  • Emil Ruder, Armin Hoffmann, Josef Muller Brockman are teachers at Basel
  • Valued minimalism
  • Armin Hoffmann published a Graphic Design Manual to demonstrate his principles
  • He said Type goes on Point, Line, and Plane
  • Brockman at the time leading theorist of Swiss movement
  • Wrote the book on Grid Systems
  • Der Film poster, and Public Awareness posters
  • Also created music posters
  • Swiss design remained prominent for over two decades in America
  • Paul Rand understood the value of invented forms for both symbolic and communicative ends.
  • Corporate design begins
  • Lester Beal helps define emerging corporate design movements
  • Branding was a major way to shape reputation of a product
  • Saul Bass - motion picture design, famous corporate identities
  • Design firms began being bought by corporations to become in house.
  • Chermayeff and Geismar Associates - "Early Design Office"
  • C&G did many types of design.
  • Post war corporate American Identity
  • Vignelli Associates
  • Unigrid system
  • Herbert Matter - Knoll
  • Advent of Televison
  • Henry Wolf Brodovitch became art director of Esquire in 1953
  • Cover becomes a single image conveying a visual idea
  • Henry Wolf - Conceptual strategies
  • George Lois - advertising genius
  • Conceptual power of images
  • Doyle Dane Bernbach
  • Opened in 1949 new approach to advertising
  • Text and Image
  • George Lois concept was dominate and text and image became completely interdependent
  • The New Advertising -
  • Visual statements used simple images
  • Talked intelligently to there audience
  • Focus on the benefits of a product
  • Pushed concepts to the limit
  • Innovative concepts grew from his ability to understand and respond to the people of his era
  • Challenged shocked and provoked the audience
  • Photo-typography typefaces on film
  • Overlapping begins
  • American design - graphic form to a concept
  • Word and image separation collapses. Type playing two roles.
  • Word becomes image, image becomes word.
  • Figurative Typography
  • Lubalin - Avant Garde
  • Ebony Magazine

The most intersting part of tonights lecture to me was the section about George Lois. His Esquire covers were originally shocking before anything else. The ideas may seem somewhat trite these days, but they are so original it seems. I feel like they can never been done again. The most inspiring one featured is probably the one about the Vietnam War that says "Oh my God-we hit a little girl." It is so simple, yet really shocking. I feel like it very simply said so much about the Vietnam War. I can only imagine the impact it had when it was realeased.