...and unrestrained freedom of American design was just as important as the influences on both German design and design around the globe. The American and japan conceptual innovation and visual invention was spread throughout the globe. During the 1980s and 90s the rapid development of electronic and computer technology began to change the process and appearance of design. Overnight these big changes recurred within mail, fax machines and the internet, this all served to further shrink the human community into Marshall Mcluhans global village. Influential People Alan Fletcher is one of the most influential figures in post-war British graphic design. The fusion of the cerebral European tradition with North America’s emerging pop culture in the formulation of his distinct approach made him a pioneer of independent graphic design in Britain during the late 1950s and 1960s. As a founding partner of Pentagram in the 1970s, Fletcher helped to establish a model of combining commercial partnership with creative independence. He also developed some of the most memorable graphic schemes of the era, notably the identities of Reuters and the Victoria & Albert Museum, and made his mark on book design as creative director of Phaidon. Siobhan Keaney After graduating from the LCP, Siobhan Keaney worked briefly for three of London’s most prestigious design companies. She then went on to form her own design studio and with her european influenced graphic methods and independent, even maverick...
Words: 1313 - Pages: 6
...today’s day and age of technology graphics are critical for successful presentations. One sure way in the development is to create the graphics first, then write or create the text around the graphics. Graphics generally fall under two criteria that must be achieved to be considered successful, and they mesh or complement each other. If the image or graphic communicates the right message, then it is more likely that it will be accepted. Then if accepted, the presentation of the message will be clear to the receptiveness of the targeted audience. It has been found that most clip art libraries do not contain the proper graphics for advertisement or newsletters, which causes a delay in the presentation. Also, to retain a captive audience the presentation should and must be pleasing to the audience and not to overwhelm them with too much or too many colors. The author or creator doesn’t want this to happen as it may affect the ability for the viewer to recall and associate the graphic and message at a later time. Many have interpreted visual communication as a fancy term for graphic design. I see it as a process of providing pictorial and written information to an intended audience. I see two important distinctions that separate visual communications and graphic design. The first is that visual communication is a “process,” that by its problem-solving nature includes investigative and analytical skills in the creation of communications. Graphic design focuses primarily on form-making...
Words: 2270 - Pages: 10
...AMA - Makati Introduction to Graphic Design – Pre Final Examination DIRECTION: Place your answer the following using Robin Landa - Graphic Design Solutions I. DEFINITION OF TERMS 1. Graphic design __________________________________________________________________________________________________________________________________________________________________________ 2. Advertising __________________________________________________________________________________________________________________________________________________________________________ 3. Branding __________________________________________________________________________________________________________________________________________________________________________ 4. Identity design __________________________________________________________________________________________________________________________________________________________________________ 5. Environmental design __________________________________________________________________________________________________________________________________________________________________________ 6. Motion graphics __________________________________________________________________________________________________________________________________________________________________________ 7. Package design __________________________________________________________________________________________________...
Words: 458 - Pages: 2
...Graphic design is an area that has grown and is still advancing to greater heights. Diverse aspects and skills have been developed in the industry over the years which have facilitated designer specialization in various fields in graphic design, such fields like brand identity. With so many brand designers out there in the design world, there tend to be quite a focus put on those whose works leave a long lasting impression in the public’s mind. Ken Cato and Jacob Cass are amongst one of the recognised designers in the industry. Both specialising in corporate brand management and known for their unique approaches, this forms the basis of comparison for the report. Australian designer Ken Cato has gained notoriety as a leading figure on the visual communication scene today. Founder of Cato Purnell Partners, the largest design company in the southern hemisphere, Cato has built an international reputation as a talented graphic designer over a 40 year career. He is capable of effectively articulating a concept or brand through visuals, objects, interiors and landscapes, has always loved drawing and making things as a child and til this day still carries a pencil and pad everywhere he goes. His work surrounds all aspects of corporate brand management and design. Widely known for his compellingly open-minded, holistic approach, Cato says "I feed my brain and take inspiration from films, books, poetry, music, whatever ... When I tackle projects, the battle is not the creative thing;...
Words: 1182 - Pages: 5
...There is a rise in the number of schools teaching design all around the world but there is still a major lacking in the education that they provide. These programs teach their students how to design but forget a very important aspect of being a designer, a curiosity to know more about everything because design is about everything but design. It can obviously be argued that this curiosity cannot be taught. But it can be inculcated by providing education in History, Political Science, Music (as a few examples) that is complimentary to design. If this need is not addressed soon, we will be left with a crop of designers that can create aesthetically great pieces of work but nothing that has real meaning because meaning making is not task that can...
Words: 2136 - Pages: 9
...Invention of Photography Adam M. Bolenbaugh DeVry University Invention of Photography Photography, a nineteenth century scientific invention, has like many other technical innovations of the era “dramatically altered mankind’s perception and experience of the world, “an effect that continues to this day.” The invention of photographs defines the beginning of the modern era due to the effects it had on new systems of representation including graphic design and advertising. The photograph evolved and “it was this fertile and receptive soil” of the nineteenth century which saw its serious development. From the birth of lithography to the development of chromolithography, and the new systems of representation in graphic design and advertising on billboards, posters, and in magazines, its invention next to the printed word, is still the “widest form of communication” since the beginnings of the modern era. The ability and need to create and reproduce photographs ourselves has created a virtual reality that has Become an inescapable part of our modern era. The invention of photography as we know it in the modern world today is one which not one person can solely be praised for as many generations have been involved in its perfection. The concept behind photography is the “camera obscure” Latin for “dark chamber”, and was a room or box with a small opening or lens in one side which was known to the ancient world as early as Aristotle and Leonardo da Vinci...
Words: 1726 - Pages: 7
...Painters can create physical texture using impasto in order to create things like peaks and valleys on a canvas. Visual texture is perceived when looking at a texture, such as an image of tree bark; the paper is still smooth, no matter how rough the texture is perceived. Repeating that texture is what creates a pattern. The 1950s were a time of innovation for design, especially using type. Objects and type were no longer separate entities. They became one sort of element, one figure. I wasn’t able to find much about how technology affected the development of the movement, however historical and social factors did play a large role. The statement made in the image above, “She’s got to go out to get Woman’s Day,” was, in my personal opinion, a bold statement made about the social movements women were making during that period. The statements made in advertisements were as bold as the art itself. I chose this art movement to be the visual inspiration for my poster design because it is the very movement that inspires most of my daily work. Simple, bold designs really speak volumes to me, much more than busier designs do. Also, the social and political movements that inspired the art during that period are far more inspirational than anything I hear about anymore. The movements that figures such as Martin Luther King Jr., or Alice Paul were associated with were incredible feats in...
Words: 632 - Pages: 3
...Elizabet T. Georgieva Student ID: 200850268 Graphic & Communication Design DESN 2730 Principles of Typography Dr. Paul Wilson The Swiss style sans-serif twins in contemporary design Visual language, communication and design are one of the key players that have a great influence on today’s world. Advertisements, posters, billboards, logos, websites, marketing campaign and etc. all these things are connected with communication and they all convey a certain message directed to society. One of the most powerful tools of visual communication is Typography. At first, some people may consider it as something that is not important but it is proven that typefaces can both attract and disgust readers as well as affect us on a subconscious level. Typography gives the text a certain character and individuality and as Walter Tracy puts it “typography means the process of making the words visually attractive and effective” (Baines and Haslam, 2005). One particular style that has left an enormous mark in the history of typography is the international typographic style and it is still utilised for a lot of contemporary design work. This particular style has its roots formed by the modernist movement that started a few decades before it emerged. The style was later called The International Typographic style because it was mainly built on the use of typography. There are two typefaces that are the big stars of the Swiss style, the so called “Sans Serif Twins”, Univers and Helvetica...
Words: 643 - Pages: 3
...“Iteration” firstly, we visually compared images, breaking them down to simple forms to study their similarities and how design has brought fundamental changes in communication and is an art of extremely fine differences. On page 20, we analyzed “On great sea of graphic art” by O.K. Schenk (fig. 1) with Allan Fleming’s “Leo Lionni’s Graphics”(fig. 2) on a formal level, they both look simple and virtually identical that comprises of a few lines of text, two-color print, second color form the background covering 2/3 of whole and an illustration but they did not feel/read the same. Comprising of wavy text and silly illustration, “great sea” (fig. 1) looks more playful and absurd in contrast with the “lion” image (fig. 2), that is well structured, organized and logical; and with the absence of decoration and unnecessary elements and rational thinking the “lion” image closely associates with modernism that we define today. Interestingly, in- class, we argued the exact opposite, “the great sea” looked more modern with its loose text and playfulness and the white space, than the “lion” image that used an old-fashioned font and illustration. This shows how all our verbal associations with visual imagery are constantly changing with our culture and provide them with context by referring them with our history. Nothing about these images have changed, just the system around it. In the other counter-example, we studied two ...
Words: 1848 - Pages: 8
...program chairs’ agreement, the material will go to the full faculty for discussion and vote. I will also gather input from Student Affairs so that we understand their contribution to the success of our students. Readings about assessment and what it is are attached.* As I mentioned earlier, we will be working our way through this process together, and developing our assessment program in relationship to the goals and values unique (and/or integral) to this institution. Additional readings are on reserve in the library, and an enormous amount of information is available on the web. *Distributed at the Program Chairs meeting on 9.9.2008 MISSION Maine College of Art delivers a demanding and enlivening education in visual art and design within an intimate learning community. We teach each student how to transform aspirations and values into a creative practice that serves as the foundation for a lifelong pursuit of personal and professional goals. VALUES o Maine College of Art’s educational philosophy is built on the premise that focused individual attention and meaningful collective inquiry produce the conditions in which students’ voices can find strength, clarity, and purpose. o Our faculty of practicing professional artists, designers, writers, and scholars are committed and passionate educators who consider their classrooms to be extensions of their creative work. o We give our students the tools they need to take risks, think critically and...
Words: 6365 - Pages: 26
...Graphic designer Paul Rand Peretz Rosenbaum was born in 1914 in Brooklyn New York. He later changed his name to Paul Rand and become one of the most famous graphic designers in history. He’s best known for his logo designs and corporate branding. He stayed close to home and attended several respected design schools in New York and later teaches at universities. He would eventually be recognized by universities with honorary degrees and in 1947 he published a book title Thoughts for Designs which is still using today to educate students and professionals. He made a name for himself as an editorial designer for magazines and worked for free in some cases, as a result his style became known in the design community. His popularity grew and over the course of his career he designs some of the most memorable brands in history. Rand used collage, photography, artwork and unique use of type to engage his audience, when viewing his ad the viewer is challenged to think interact and interpret it. His principles of his graphic designs are: * A logo derives meaning from the quality of the thing it symbolizes and not the other way around. * Logos can be like whatever they want and that they don’t have to directly depict anything about the company they represent. * Presentation is the key; for each design, a designer must tell a unique story that is tailored to the client. * Simplicity is not the goal, it is the by-product of a good idea and modest expectations, ...
Words: 478 - Pages: 2
...Jacob Kleintz FYWT Christa DiMarco Research Paper A Culture of Rejection Graphic designer David Carson reflected the grunge culture of the 1990’s through his design of the first issue of the music magazine, Raygun which was published November of 1992. Grunge itself, has its roots in the new music that was emerging as America entered the 90’s. Much of the music shows a disenchantment with society and a sense of entrapment. In 1992, music critic Simon Reynolds said about teenagers in the 90’s, “…there’s a feeling of burnout in the culture at large. Kids are depressed about the future.” By the early 1990's a majority of young adults found the pop music of the time had become too dull and boring. Due to this fact teens turned to a more alternative sound. They found this sound to be produced by college radio and small time record label companies. (Benner). By the start of the 90’s grunge was not only moving to new areas but also began making their own music. Grunge musicians rejected expensive, highly staged performances; most would not use pyrotechnics or other complicated lighting and visual effects during their shows. Grunge ironically arose from a complete rejection of culture (Berman). Carson's style of typography experimentation influenced the development of the deconstructed style of design and a whole new era of designers. The experiments by Carson and other Ray Gun designers were chaotic, abstract and distinctive, but sometimes illegible. The magazine's radical subject...
Words: 948 - Pages: 4
...ROSENBAUM, AUGUST 15, 1914 – NOVEMBER 26, 1996) was a well-known American graphic designer, best known for his corporate logo designs. Rand was educated at the Pratt Institute (1929-1932), the Parsons School of Design (1932-1933), and the Art Students League (1933-1934). He was one of the originators of the Swiss Style of graphic design. From 1956 to 1969, and beginning again in 1974, Rand taught design at Yale University in New Haven, Connecticut. Rand was inducted into the New York Art Directors Club Hall of Fame in 1972. He designed many posters and corporate identities, including the logos for IBM, UPS and ABC. Rand died of cancer in 1996. Early life and education Peretz Rosenbaum was born in Brooklyn, New York in 1914. As Orthodox Jewish law forbids the creation of graven images that can be worshiped as idols, Rand’s career creating icons venerated in the temple of global capitalism seemed as unlikely as any. It was one that he embraced at a very young age, painting signs for his father’s grocery store as well as for school events at P.S. 109. Rand’s father did not believe art could provide his son with a sufficient livelihood, and so he required Paul to attend Manhattan’s Harren High School while taking night classes at the Pratt Institute, though “neither of these schools offered Rand much stimulation.” Despite studying at Pratt and other institutions in the New York area (including Parsons School of Design and the Art Students League), Rand was by-and-large “self-taught as...
Words: 2568 - Pages: 11
...The Evolution of Pop Art by Marius Janavicius Critical and Cultural Studies Caroline Archer August 2011 During the 1960s Art Deco and Art Nouveau already were already established movements, which did not have the labels of “contemporary” styles. People were looking for something new, and shocking. Reactions towards established moral standards, social tensions which included race relations, sexual mores, women’s rights gave birth to total reassessment of old values. It was born twice: first in England and then again, independently, in New York. During the early 1950s, several London artists transformed the artifacts and mass media imagery of American popular culture into critical, satirical art works. They were responding to a flood of American postwar export of consumer goods, movies, magazines, comics and advertising. However, Pop Art became popular movement in United States. After the Second World War came the birth of the consumer society. The American way of life, with its emphasis on growth, quantity, consumption and fun, dominated western values. However, underneath many of the same old dark forces raged on: war - Berlin, Korea, Vietnam; racial unrest; the political intolerance of the early 1950s. Among the young, new values awoke, and protest movements sprang up. Pop art mostly opposed abstractionism, represented by Jackson Pollock. It was said that Pollock’s work terminated all connections with visible reality. Young artists blamed him for making...
Words: 1966 - Pages: 8
...Otl Aicher and Erik Spiekermann: both German designers with differing philosophies and approaches to making work, have come to leave a lasting mark in the history of graphic design. Although both work through the well-known international design principle of many European graphic designers, the two use the grid systems differently to take on designs. Through the comparison of their works, philosophy, and their lasting legacies that they’ve left for the future, a better understanding of Spiekermann’s being the more accomplished designer will be achieved. First and foremost, Erik Spiekermann is known in the design world as an extremely accomplished typographer who pioneered through the 90s into the new age of type designed for the mobile screen. His most notable typefaces out of the 471 he designed are Nokia sans, Berliner Grotesk, Officina, and most importantly Meta. Coined as the “Helvetica of the 90’s” the nickname in itself speaks as a backhanded compliment of being the glass goblet typeface that spoke levels of versatility and sophistication. Although a ¬designer of the time can really only understand the tag of it being a 90’s typeface, it’s a different case in Europe. In fact, like Helvetica is used repeatedly in the United States, FF Meta is used throughout Germany in the same fashion. Originally designed for the German post office with 28 different weights (FF Meta – Desktop Font), Spiekermann designed this typeface with Helvetica being the complete antithesis in mind...
Words: 2066 - Pages: 9
