Modernism in Graphic Design
~ Aesthetic self-reflexiveness
~ Montage, disruption, juxtaposition
~ Paradox, ambiguity, uncertainty
~ Loss of integrated interior subject
~ Belief in Progress
~ Amplified and distorted modernist themes. Brought attention to INHERENT CONTRADICTIONS OF MODERNISM.
~ Less belief in “progress”
~ Rejection of universal, eternal, timeless:
Ironic use of historical motifs
~ Modernism as a style: one of many styles
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“(Henrik Tomaszewski’s) work was graphic design, but it was much more akin to art and expression than graphic design, which at the time to me meant something made by T-squares and french curves, which I abhorred.” – James Victore
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Author or designer doesn’t need to have any particular intention for us to “poach” a meaning.
Thanks to these students for sharing their work with the class.
If presenting, be sure to show up on time and load your lecture onto the class computer. Thursday, Nov 13
Even if you aren't still developing ideas for Project 2, you will find these articles stimulating. Lisa Wade analyses everything from his-and-hers bibles to interracial twins to shrimp-flavored Pringles.
Visual persuasion : the role of images in advertising
by Paul Messaris.
Call Number: HF5822 .M415 1997
Library North 4
The pictures in television commercials, magazine advertisements and
other forms of advertising often convey meanings that cannot be
expressed as well, or at all, through words or music. Visual Persuasion
is an exploration of the uniquely visual aspects of advertising.
Because of the implicit nature of visual argumentation and the relative
lack of social accountability which images enjoy in comparison with
words, pictures can be used to make advertising claims that would be
unacceptable if spelled out verbally. From this starting point, Paul
Messaris analyzes a variety of commercial, political and social issue
advertisements. He also discusses the role of images in cross-cultural
Advertising and Society Review
If you can't see this at home, try on campus.
This publication runs articles like "Mad Women?: Marketing in the Age of the Female Economy," "Spirituality that Sells: Religious Imagery in Magazine Advertising," and "Visions of New Men: The Heroic Soldier Narrative in American Advertisements During World War II."
Herbert Bayer and the Nazis
Bayer later tried to erase this period from his biography, describing it
as “my advertising purgatory,” which is now the title of an exhibition
devoted to his work at the Bauhaus Archive in Berlin.
Fabien Barral is an incredibly talented artist who draws from the traditions of the past. You can definitely see a hand craftedness in the work he does. Check out his website and blog! I use him for inspiration quite often.
Mac Advertisments:"I'm a Mac, I'm a PC." Macintosh uses ads comparing a young trendy actor to a business like man representing Windows. I feel Apple makes windows users seem slow or handicapped in there advertisements.
Elderly: Ads using elderly people often depict them as needing help.
Energy Drinks: Most energy drink ads show people using them in extreme sports which i feel is a stereotype since many students use them to study and are found all around university campuses. Also energy drinks have become popular in nightlife when used to mix with alcohol which can be dangerous.
Einstein described a windowless elevator in space. Depending on how fast it's accelerating, those inside may experience weightlessness or gravity. But what forces are at work when you can’t see outside? With our galaxy of broadcast design evolving so quickly, it’s time to examine the state of screen design today. Are we floating or accelerating or both? Just outside our elevator is a vast universe of outdoor media, retail installations, digital signage, web integration, large format corporate applications, advertising hybrids, and more. With all these worlds coming together, a February 28
new language of visual communication is emerging.
Join RIOT Creative Director Jeff Doud and a panel of fascinating guests for a trip through the media landscape — television and beyond.
Art Roche, Creative Director, Cartoon Network New Media
Bill Chapman, VP Creative Development, Emerging Technologies, Turner Entertainment
Doug Grimmett, Creative Director, Founder, Primal Screen
Tim Tewell, Creative Director, IQ Interactive
I went to the Art Spiegelman event at SCAD tonight; it was brilliant. He spoke and presented a slideshow on the history of comics, starting as an underground (often forbidden) medium, and becoming a respected art form more recently. Simultaneously, he discussed his own story of becoming a comic book writer, including his work before MAUS, In the Shadow of No Towers, his New Yorker covers and essays, and on into some stuff that ain't even out yet. Spiegelman is really an amazing thinker and speaker on the topic of comic books. As a presenter, his performance is loose, funny, charming, and feels unrehearsed and improvised. I'm sure he's give some version of this presentation hundreds of times, but his presentation didn't feel stiff and rote.
He discussed the structure of comics as being two languages working in conjunction, and his belief that we understand comics better than either pictures or words, because they work in the same way that our minds are wired to work. It was a fascinating talk; if you couldn't go, I sincerely hope you get another chance to hear this guy speak. One of my favorite parts of his speech, loosely paraphrased:
NANCY was read by a lot of people, not because it's good, but because it's harder to not read it than it is to read it.
Saul Bass designs, wrecked
The Grand Prix one seems especially tragic. This article is a good reminder to me that graphic design history is complicated! These posters were indeed PARTLY created by Bass but may have been extensively messed with.
Earn up to ten extra credit points by reviewing GO or Type:Rider. Write one page, including whether this item would be useful for GSU students. Maximum points awarded = 10. Due: end of semester. You can turn in as a pdf or as hardcopy.