Monday, December 5, 2016
Thursday, November 17, 2016
Franciszek Starowieyski, poster for the film House under the Rocks
The socio-historical context in which the Polish Style of Poster Design flourished, consisted of oppression, regulatory rigidity, and censorship. Poland’s leading artists, professors of art, design and architecture focused their passion on one art form, the cultural advertising poster. To the people, poster art in the streets -on walls, fences and kiosks, represented hope, and the only beauty visible in their otherwise gray landscape.
The paradox of artists doing their best work under oppressive conditions arose from the demanding negotiation between Professor Henryk Tomaszewski and the Russian government at the end of WWII. Cultural Officials wanted the artists to create posters to promote cultural events such as imported U.S. films -Tomaszewski insisted, that to gain his support, and that of the artistic community and universities, the visual imagery created by the poster designers could not be censored or made to conform to the prevailing social realism style.
An agreement was reached, and a renaissance creating a new visual language using symbolism and metaphor was born. Through international biennales and graphic design competitions, Polish posters attracted international acclaim, and became one of the art world’s great stories of creativity. The recent film festival officially selected documentary film Freedom On The Fence pays tribute to this inspiring art history and homage to the now deceased decades of artists that produced these works.
Sunday, November 13, 2016
(above the pitch of Saul Bass to ATT for its logo redesign -watch and learn)
there's plenty to discuss: Lubalin, symbol signage, Stankowski's metadesign, Swiss Topography Style, advertising, propaganda, Bass film title design, Alvin Lustig, pre logo, logo, the logo masters: Rand, Bass, Chermayeff & Geismar.
Saturday, November 5, 2016
alexander liberman, vogue, 1950
we took a sweep at graphic design in between the wars: the liberatyed woman of the roaring 20's, the suffragist backlash. the stars of european graphic design: a.m. cassandre, lester beal, joseph binder, agha, liberman, mcnight kauffer, piet zmart, herbert matter, alex brodovith, the design force of neoplasticism, surrealism in cinema, poster goes to war, normal rockwell, margaret bourke white's photos, public health design, informational analysis design, design reportage...
a lot to process. pick your favorite.
Saturday, October 29, 2016
Magritte, The Threatened Assassin, 1926
we had to go very fast, to cover thirty years of 20th century avant-garde:
deutscher werkbund, blue rider, expressionism (woodcut, film, graphic design, architecture), neue sachlichkeit circa 1926 (grosz, dix), cubism (analytic, synthetic, collage!), dada (political, metaphysic), futurism (music, graphic design, architecture), die neue typographie (tschichold), russian futurism, malevich geometric abstraction, russian constructivism (film, theater, architecture), rodchenko, lissitsky. BAUHAUS (pottery, architecture, textiles, theater, furniture, etc), surrealism (film, graphic design, photo).
keep in mid graphic design,
Thursday, October 27, 2016
Tschichold's background is in calligraphy, which sets him apart from almost all other noted typographers of the time (since many of them were architects). he became a leading advocate of modernist design: first with an influential 1925 magazine supplement; then a 1927 personal exhibition; then with his most noted work Die neue Typographie.
1- tschichold condemned all fonts except sans-serif (called 'Grotesk' in Germany).
2- non-centered design (e.g., on title pages.
3- standardized paper sizes for all printed matter, and
4- effective use of different sizes and weights of type in order to quickly and easily convey information.
Thursday, October 20, 2016
As they say,"the incident is closed."The love boat wrecked by daily life.
I'm all even with life and nothing would be gained by listing
mutual hurts, troubles, and insults.. . . .
Don't think I'm a coward. Seriously, it could not be helped (Mayakovsky's suicide note).
Wednesday, October 5, 2016
Thursday, September 29, 2016
Max Klinger was born in Leipzig and studied in Karlsruhe. An admirer of the etchings of Menzel and Goya, he shortly became a skilled and influential engraver in his own right. Klinger traveled extensively around the art centers of Europe for years before returning to Leipzig. From 1897 he mostly concentrated on sculpture. Klinger was cited by many artists (notably de Chirico, as being a major link between the Symbolist movement of the 19th century and the start of the metaphysical and Surrealist movements of the 20th century. Believe it or not, Klinger was a strong influence for one of my favorite photographers, Francesca Woodman.
Here, the mysterious story of the glove.
Here, the mysterious story of the glove.
William Henry Bradley was largely self-taught as an artist. He began working in a printer's shop at the age of twelve in Ishpeming, Michigan, where his mother had moved in 1874 after the death of his father. This work experience would be important in introducing the young man to the many issues of typesetting, advertisements, and layout that would occupy him in the years to come. Bradley executed a number of designs to promote The Chap-Book, a short-lived but important publication based in Chicago. His 1894 design for Chap-Book, titled The Twins, has been called the first American Art Nouveau poster; this and other posters for the magazine brought him widespread recognition and popularity. (Above, Bradley's poster for The Chap Book, 1895).
Otto von Bismarck, by George Gibbs
From 1821 to 1969 The Saturday Evening Post published current events articles, editorials, human interest pieces, humor, illustrations, a letter column, poetry (including work written by readers), single-panel cartoons and stories.
It was known for commissioning lavish illustrations and original works of fiction. The illustrations were featured on the cover, and embedded in stories and advertising. Some Post illustrations became popular and continue to be reproduced, especially those by Norman Rockwell.
|The Treasures of Satan, 1898.|
|Portrait of Madame Stuart Merril,|
|Delville's monumental Homme Dieu, 1895.|
Saturday, September 24, 2016
Brad Holland, Junkie, 1972
this is a great moment in history for the graphic arts: children's books, calendars, cards, comics, puck, chromolithography, gibson, nast, pre-raphaelites, reception, morris, the idea of gesamtkunstwerk, victorian design vs. arts and crafts, a bunch of figures: millais, gaudy, pisarro, mckmurdo, madox brown, grasset, beardsley.
here is a list of images for our Midterm Exam.
here is a list of concepts for our Midterm Exam.
1- Identification of images requires the following: Artist, Title, Year.
2- For the images I've added a bit more information, but only for your own knowledge. It never hurts to know more than less.
3- Regarding the list of concepts, i'm linking to Wikipedia articles. what you have there is the basic information-kernel you should know. my fill in the blank, or true/false, etc, questions will be based on that sort of succinct definition.
4- It's important that you spell the names of these artists & tendencies correctly (if need be, practice the spelling).
Thursday, September 22, 2016
Rudolph Koch was for most of his career the staff designer at the Klingspor type foundry in Offenbach. Early work by Peter Behrens and Otto Eckmann showed a clear Jugendstil culture upon which he built, designing revised blackletter faces. He combined the talents of punch cutter and calligrapher, two skills sometimes at odds with each other (above Koch various specimens).
Some of Koch well known fonts.
Here a list of Koch's "Christian symbols."
Some of Koch well known fonts.
Here a list of Koch's "Christian symbols."
Born in Bloomington, Illinois in 1865, Frederic W. Goudy, was one of the most well known and prolific American type designers. Frederic Goudy is best known for his type-styles: Oldstyle, Kennerly, Garamond, Deepdone and Forum.
What do we see here?
Essentially Goudy took the notion of the private press typeface inaugurated by William Morris and extended it to the larger world of commerce. Kennerley, the typeface designed for The Door in the Wall by H.G. Wells (published by Mitchell Kennerley, 1911), was the turning point in his career, the moment when type design began to overtake lettering and private press printing as his principal activity.
This one is fresh from the NY Times, a candid look at how corporations learn from human behavior:
The reason Target can snoop on our shopping habits is that, over the past two decades, the science of habit formation has become a major field of research in neurology and psychology departments at hundreds of major medical centers and universities, as well as inside extremely well financed corporate labs (...) One study from Duke University estimated that habits, rather than conscious decision-making, shape 45 percent of the choices we make every day, and recent discoveries have begun to change everything from the way we think about dieting to how doctors conceive treatments for anxiety, depression and addictions.And how corporations get into the habit forming business? It turns by making you believe you make the choice!
Didn't you know this already?“With the pregnancy products, though, we learned that some women react badly,” the executive said. “Then we started mixing in all these ads for things we knew pregnant women would never buy, so the baby ads looked random. We’d put an ad for a lawn mower next to diapers. We’d put a coupon for wineglasses next to infant clothes. That way, it looked like all the products were chosen by chance. “And we found out that as long as a pregnant woman thinks she hasn’t been spied on, she’ll use the coupons. She just assumes that everyone else on her block got the same mailer for diapers and cribs. As long as we don’t spook her, it works.”
I see it differently. Though they play the paternalistic game, corporations understand that we live in bad faith, (they mine on it and, by default, get us in the end).
Being a "consumer" means pretending independence.
Let's look again at this cycle of consumer's bad faith: You know you are being spied on, so you choose to play a game of "consumer independence," falling for the pretense that this time it's your choice?? (not the corporation's?). Bunk.
with the growth of the advertising industry, graphic art became an integral part of the way products reach consumers
Sunday, September 18, 2016
take this famous illustration by g. doré entitled the neophyte. the young, next to the decrepit, there's so much here to mine!
what's on your mind?
lots to talk about: doré, romanticism again, early photography and its developments, daguerreotype, pictorialism, freaks, circus, 19th century typefaces, newspapers and its development, magazines and its development, political satire.
Thursday, September 15, 2016
|a 26-month-old hairy baby was one of the attractions on show at the freak circuses around the mid-1800s in New York|
|four-legged myrtle corbin. presumably she had two sets of female genitalia|
|Eddie Masher, "the skeleton dude"|
|'Big-footed' Fanny Mills|
|Anne Leek, the armless lady, joined a freak show to earn a living |
|charles ctratton, the dwarf "general tom thumb"|
my point is that "freak" is a "design" for the masses. part entertainment, part exotic, part wondrous, at the fringes of admissible and the society of the normal. as instrumentalized as they were, these creatures were admired, a social phenomenon which played in both directions.
During the 1860's war reporting galvanized journalism, and the call for graphic designers offered opportunity for young artists to acquire experience in the high-pressure, short-deadline world of publishing. Homer's composition reveals the narrative conventions of his day. The emotional impact of his drawings derives from Homer's choice of the moment to be represented with all that it implies about the events preceding an d following it.
Eadweard Muybridge started his reputation in 1867, with photos of Yosemite and San Francisco and became famous for his landscape photographs, which showed the grandeur and expansiveness of the West. The images were published under the pseudonym “Helios.”
Muybridge helped solve the riddle of the horse's gallop.
Above, Mexican tattoo star Mary Jose Cristerna, known as the "La Mujer Vampiro" ("the female vampire"), poses during a tattoo exhibition, Caracas, January, 2012.
Cristerna shifts "freak" to art. What she does is reassigning & appropriating what cannot be classified:
design surface ---> skin,
design ---> self
message ---> performativity
She is not alone: Orlan is an inspiration.
On the other hand, you have the opposite effect w Lady Gaga, who takes "freak" to make it politically correct. This is another way of normalizing. Gaga is the political correctness of Madonna for the 21st century.
I find that Buzzfeed calls this series "ridiculous monsters."
Let's excuse BF's lack of historical acumen at not mentioning provenance.
My problem is that BF takes for granted that these "monsters" did not exist. Really?
Take a look at this (some amongst these "freaks" belong in a prominent list! (via the human marvels)*
|Josephine Clofullia (the so-called "bearded lady of Geneva")|
The Swiss manuscript presents a rational treatment of the issue,
*Thanks to J. Tithonus Pednaud's The Human Marvels, a formidable research/site!
joseph niepce's first photograph from nature (1826)
first there is heliography. what is it?
... during his trials with lithography, Niepce experimented with light-sensitive varnishes and then with images produced in camera, but he was unable to prevent the images from fading. Niépce discovered that he produced his best results while using a solution of bitumen of Judea, which dated back to the ancient Egyptians but continued to be used for making lithographic engravings in the 1800s.then comes, photography:
In 1822, Niépce successfully made a heliograph from an engraving of Pope Pius VII, which was destroyed during an attempt to copy it some years later. Over the next few years, Niépce experimented with bitumen on pewter or zinc plates that could be inked for printing. His best results came in 1826 with the copying of an engraving of the Cardinal Georges d'Amboise in which Niépce invented the first successful form of photomechanical reproduction.