Postmodernism, as the word itself says it, it's a drift away from modernism. Concentrating more on form rather than function, a bigger emphasis goes into feelings rather than rationale. The inner perspective and reflection, as well as bringing classical elements or taking modernist styles to a more extreme level.
The Postmodernist is expressed in many aspects of art, design, literature and architecture.
Moreover, Supergraphics became very popular between the 60s and 70s, reflecting geometric shapes, colors, and large bold letters particularly became very important.
Dan Friedman, is considered a radical modernist artist.
He studied in Basel with Wolfgang Weingart, the pioneer of our generation. He experimented with letter-spacing in sans-serif type, black bar with white type through it.
Like Weingart, Friedman plays as well with letterforms and has them float in space.
Modernism in its essence was a revolt against realism. Basically encompassing the life of those who believed the traditional expressions of art, literature, architecture, were becoming outdated and felt they needed a change. Surrealism became popular amongst the public of modernism.
In opposition to this as we mentioned before post-modernism is more about engaging the viewer in the art itself. Creating work that is difficult to read or to some extent disgusts you.
A reaction against the logical and factual, rather it concentrated more on portraying the inner thought process of the artist. Putting myself into both of these times and eras I believe I'm more of a postmodernist.
Although a logical thinker, I enjoy more leaving the viewer with an intrigue. Involving the psychological aspect of a peace, and presenting it to them in a way that may make them feel uncomfortable but faces them with reality, as difficult and hard as it a\may be to look at.
To me that's where I find meaning in art. In expressing a particular message with the aim of making the viewer think. Otherwise, a pretty picture to look at,with no concept behind it is simply, pointless.
Saturday, April 23, 2011
Wednesday, April 13, 2011
Blog Post#11
Swiss Design + the International Typographic Style
More than just grids?
Good Swiss design is characterized by having a visual unity achieved by asymmetric organization, the use of objective photography. Sans serif type, flush left, ragged right, mathematical grids, and its "socially useful".
Swiss design is synonymous with the international style, and more important than the appearance is the attitude, whats behind it. They have the basic belief that design is socially useful. You cant make somebody believe in the morality of design, fundamentally you either believe or not that design will make the world better.
Being a designer is not about what you do for a living, but your way of life. Swiss design concentrated on this, on the influence of design in society.
Max Vill and Theo Balmer are students of the bauhaus, and are the two who provide a link for us between the Bauhaus and post war swiss design.
They begin to take in all these modernist ideas. For the, the grid is not just an idea behind a design, but rather it becomes the design in itself. The reason to have a grid structure was made more as guidelines than rules, it was created as a structure that if necessary could be broken, but when used would help bring the design together.
semiotics is a common application in swiss design. What things mean in relationship to other things.
Armand Hoffman " If you design the negative space, the rest will work"
The negative space in swiss design is an active component.
An example of Herman Millers poster is shown, where he uses negative space first to design his posters.
Another known artist of swiss design is Joseph Muller.
"You dont have to be able to read the poster to decode what's going on" the symbols and images give out the message without the need of verbal explanation.
Swiss modernism vs New York modernism:
Aiven Chermayeff
Post world war II is happening, we have the influence of european ideas which start filtering into the American design.
Paul Rand has a characteristic in his work as well as Aiven Chermayeff- the whole punches.
Thy both work with the idea of simplifying design, to the extent where symbols express more than the works in the work itself.
"Its all art or could be" who defines it? or who chooses whether or not it is. I feel this is a constant battle we fight today, or at least I do with how most people just comply to the rules of what previous designers have done
"you dont have an idea when you have nothing to work with"
David Carson: Dont confuse legibility with communication" just because you can read something it doesn't mean you're communicating the proper message.
The trick is to be articulate and show what you mean with the way you present the work.
More than just grids?
Good Swiss design is characterized by having a visual unity achieved by asymmetric organization, the use of objective photography. Sans serif type, flush left, ragged right, mathematical grids, and its "socially useful".
Swiss design is synonymous with the international style, and more important than the appearance is the attitude, whats behind it. They have the basic belief that design is socially useful. You cant make somebody believe in the morality of design, fundamentally you either believe or not that design will make the world better.
Being a designer is not about what you do for a living, but your way of life. Swiss design concentrated on this, on the influence of design in society.
Max Vill and Theo Balmer are students of the bauhaus, and are the two who provide a link for us between the Bauhaus and post war swiss design.
They begin to take in all these modernist ideas. For the, the grid is not just an idea behind a design, but rather it becomes the design in itself. The reason to have a grid structure was made more as guidelines than rules, it was created as a structure that if necessary could be broken, but when used would help bring the design together.
semiotics is a common application in swiss design. What things mean in relationship to other things.
Armand Hoffman " If you design the negative space, the rest will work"
The negative space in swiss design is an active component.
An example of Herman Millers poster is shown, where he uses negative space first to design his posters.
Another known artist of swiss design is Joseph Muller.
"You dont have to be able to read the poster to decode what's going on" the symbols and images give out the message without the need of verbal explanation.
Swiss modernism vs New York modernism:
Aiven Chermayeff
Post world war II is happening, we have the influence of european ideas which start filtering into the American design.
Paul Rand has a characteristic in his work as well as Aiven Chermayeff- the whole punches.
Thy both work with the idea of simplifying design, to the extent where symbols express more than the works in the work itself.
"Its all art or could be" who defines it? or who chooses whether or not it is. I feel this is a constant battle we fight today, or at least I do with how most people just comply to the rules of what previous designers have done
"you dont have an idea when you have nothing to work with"
David Carson: Dont confuse legibility with communication" just because you can read something it doesn't mean you're communicating the proper message.
The trick is to be articulate and show what you mean with the way you present the work.
Blog Post#10
Today in class we continued discussing the Bauhaus, its importance and influence throughout history.
We notice how art begins to shift towards a more simplistic form of expression, not only in paintings but also in the production aspect of design, as well as architecture.
"good designs for living is within the reach of every man or woman"
Joseph Albert, for a project in school, asked students to "reveal the quality of an object its true essence without it being an object in itself" and this is what they based their design on, at least the point at which in my opinion all artists should begin. The essence rather than the objects themselves. I believe this is one thing that much the modern design we see today seems to look, or at least disregard as important as it what back then. The "essence" of design, where does it come from originally and what is it meant to represent? I feel that today as opposed to design during the 1930s much of the design we see is created for one purpose, and one purpose only. To sell.
Though it may sound ironic to say this, seeing as the Bauhaus was in a way a "production" house that made much of its work to sell to the ordinary civilian. It was a time of exploration, they did not abide by the book, the were the book! they chose to make up theyr own rules as they investigated through trial and error. This is one thing that we see very little of today. People are guided more towards what other people will like, what makes money, walking along the path that has been walked on before. Rather than experimenting and for once daring to go out of those lines.
Going back to the class discussion, we are introduced to Jan Tischold. Trained in calligraphy, he writes a pamphlet to explain typography to the viewer. At the age of 23 he writes a book about elementary typography. Aesthetically when you look at it, it reminds you of De Stijl.
"the aim of every typographic work, is to deliver a message in the shortest most efficient manner" in a nutshell it reflects what we all need to know about modern communication and modern design.
Its what designers strive for now in their designs. Clear straightforward communication, because the viewer of today doesn't have or rather doesn't want to spend time looking at a design, a common problem needed to be tackled mainly by modern advertisers.
How is he similar to Wiener Werkstätte?
He gives the ideas of the bauhaus a practical expression.
Herbert Matter, was then introduced, he was known for pioneering photo montage during the time, his work is characterized by having extreme perspective shifts. Clear concise and efficient typography.
During the time of the depression:
More and more artists flourished, there was a need for community events, to get the citizens out of the house and enjoy themselves getting away from all the chaos for a while. With these events, the government recruited a series of artists to create the designs and ads of all of these events.
The use of serigraph gave these pieces a particular aesthetic, and very geometrical look.
Corporations begin to pay a very important role in design.
Then came the international style, where we see everything from typeface design, graphic design, fine art, architecture.
There aim was to look for universal truths, how to make pure, clear efficient work. It went terribly wrong, they get a terrible reputation during the 60s, because of the theory it in itself.
"The solution is in the problem, if you find the problem, the solution is there"
We notice how art begins to shift towards a more simplistic form of expression, not only in paintings but also in the production aspect of design, as well as architecture.
"good designs for living is within the reach of every man or woman"
Joseph Albert, for a project in school, asked students to "reveal the quality of an object its true essence without it being an object in itself" and this is what they based their design on, at least the point at which in my opinion all artists should begin. The essence rather than the objects themselves. I believe this is one thing that much the modern design we see today seems to look, or at least disregard as important as it what back then. The "essence" of design, where does it come from originally and what is it meant to represent? I feel that today as opposed to design during the 1930s much of the design we see is created for one purpose, and one purpose only. To sell.
Though it may sound ironic to say this, seeing as the Bauhaus was in a way a "production" house that made much of its work to sell to the ordinary civilian. It was a time of exploration, they did not abide by the book, the were the book! they chose to make up theyr own rules as they investigated through trial and error. This is one thing that we see very little of today. People are guided more towards what other people will like, what makes money, walking along the path that has been walked on before. Rather than experimenting and for once daring to go out of those lines.
Going back to the class discussion, we are introduced to Jan Tischold. Trained in calligraphy, he writes a pamphlet to explain typography to the viewer. At the age of 23 he writes a book about elementary typography. Aesthetically when you look at it, it reminds you of De Stijl.
"the aim of every typographic work, is to deliver a message in the shortest most efficient manner" in a nutshell it reflects what we all need to know about modern communication and modern design.
Its what designers strive for now in their designs. Clear straightforward communication, because the viewer of today doesn't have or rather doesn't want to spend time looking at a design, a common problem needed to be tackled mainly by modern advertisers.
How is he similar to Wiener Werkstätte?
He gives the ideas of the bauhaus a practical expression.
Herbert Matter, was then introduced, he was known for pioneering photo montage during the time, his work is characterized by having extreme perspective shifts. Clear concise and efficient typography.
During the time of the depression:
More and more artists flourished, there was a need for community events, to get the citizens out of the house and enjoy themselves getting away from all the chaos for a while. With these events, the government recruited a series of artists to create the designs and ads of all of these events.
The use of serigraph gave these pieces a particular aesthetic, and very geometrical look.
Corporations begin to pay a very important role in design.
Then came the international style, where we see everything from typeface design, graphic design, fine art, architecture.
There aim was to look for universal truths, how to make pure, clear efficient work. It went terribly wrong, they get a terrible reputation during the 60s, because of the theory it in itself.
"The solution is in the problem, if you find the problem, the solution is there"
Tuesday, March 29, 2011
Blog post #9
Bauhaus exists from 1919-1933.
It was a school created in Germany that combined both fine arts and crafts.
It began in Weimar 1919-1925, it was then moved to Dessau from 1925-1932. Finally it was moved to Berlin 1932-1933.
Opened only for 14 years. Its ironic to think about how it was only opened for these few years and remains as one of the most important school in history.
It makes you wonder what would have happened, or what would have come out if it had lasted say 20 more years. Would it have been the same, would the work have increased in quality, new design eras? would new artists have developed? or would it have decreased in quality through time?
Its an interesting thought to consider.
It was because of the strong oppression by the nazis that the bauhaus artists flourished. Their passion and will became stronger, their anger against the governments injustice became an inspiring motive, which influenced greatly the work created and their desire to revolt.
Walter Gropius was the first director of the Bauhaus.
He takes the form of a cathedral as a metaphor for the three pilars of design (painting, sculpture, and architecture)
The key members (council of masters) from the begingin were:
Gerhard Marks (Sculpture)
Lyonel Feringer
Johannes Itten (foundation of art and design)
Johannes Itten, was what we could say, an "interesting" character. His goal was to release each student's creative ability. He wanted to develop an understanding of the physical nature of materials.
"what is the nature of a particular thing, the structure, what does it do?"
In his class they would compare work, analyse old masters.
At the time, they were creating projects made out of materials they found outside. There was no money in Germany at the time so they were using random materials for their studies.
Beginning with the idea of contrast. Something hard, agains something soft (metal agains wood).
Itten leaves the Bauhaus in 1923, because it starts to move away from this "medievalism and handycraft" which was why Itten had come there in the first place.
A new character come into play, Laslo Moholy-Nagy,he will become the right hand of Gropius.
He used photography to try and develop a new visual language.
Bayer developed the universal alphabet. Experimenting with strokes, bars and contrast.
The Bauhaus was created with the sole purpose of uniting all arts. The constant change of leaders, and directors began to shift the purpose of the school. In 1930 it was taken over by Mies Van Der Roeh, who then converted it into a private school.
It was a school created in Germany that combined both fine arts and crafts.
It began in Weimar 1919-1925, it was then moved to Dessau from 1925-1932. Finally it was moved to Berlin 1932-1933.
Opened only for 14 years. Its ironic to think about how it was only opened for these few years and remains as one of the most important school in history.
It makes you wonder what would have happened, or what would have come out if it had lasted say 20 more years. Would it have been the same, would the work have increased in quality, new design eras? would new artists have developed? or would it have decreased in quality through time?
Its an interesting thought to consider.
It was because of the strong oppression by the nazis that the bauhaus artists flourished. Their passion and will became stronger, their anger against the governments injustice became an inspiring motive, which influenced greatly the work created and their desire to revolt.
Walter Gropius was the first director of the Bauhaus.
He takes the form of a cathedral as a metaphor for the three pilars of design (painting, sculpture, and architecture)
The key members (council of masters) from the begingin were:
Gerhard Marks (Sculpture)
Lyonel Feringer
Johannes Itten (foundation of art and design)
Johannes Itten, was what we could say, an "interesting" character. His goal was to release each student's creative ability. He wanted to develop an understanding of the physical nature of materials.
"what is the nature of a particular thing, the structure, what does it do?"
In his class they would compare work, analyse old masters.
At the time, they were creating projects made out of materials they found outside. There was no money in Germany at the time so they were using random materials for their studies.
Beginning with the idea of contrast. Something hard, agains something soft (metal agains wood).
Itten leaves the Bauhaus in 1923, because it starts to move away from this "medievalism and handycraft" which was why Itten had come there in the first place.
A new character come into play, Laslo Moholy-Nagy,he will become the right hand of Gropius.
He used photography to try and develop a new visual language.
Bayer developed the universal alphabet. Experimenting with strokes, bars and contrast.
The Bauhaus was created with the sole purpose of uniting all arts. The constant change of leaders, and directors began to shift the purpose of the school. In 1930 it was taken over by Mies Van Der Roeh, who then converted it into a private school.
Blog Post#8
Bauhaus was and stil remains in history as one of the most important and revolutionary schools of design. Positioned in Berlin Germany, suffered against the government during nazi Germany, a series of artists like Kandinski came out from this school.
Their designs were very simplistic (parallel to the communist regime) based on the importance of form and structure.
interesting fact: the Bauhaus name, hanging on the wall of the Bauhaus building, is one of the few times the use of vertical text has been succesful!
Their designs were very simplistic (parallel to the communist regime) based on the importance of form and structure.
interesting fact: the Bauhaus name, hanging on the wall of the Bauhaus building, is one of the few times the use of vertical text has been succesful!
Tuesday, March 15, 2011
Blog Post #7
photo-montage starts to become very popular, starting by the fact that photography was seen as a modern form of art.
Artists such as Sergei Ezenstein begin to work with photo-montage as well as the cutting of the images.
Because of the communist and socialist regime of the time in Russia, the films and images looked to show the rising and suffering of the citizens. Showing the high contrast between the social classes. Citizens vs officers, and the power struggle.
the oppression of the government. Putting moral dilemmas into play, an example of this is the section of the baby in the cradle falling down the stairs.
Watching the movie reminded me of home not necessarily in a good way, because my country is currently going through the same situation, which in turn makes us think about the relationship between design today and the design of the 1920’s; and what it is that today’s artist’s are going through and experiencing that gives them inspiration for their work.
I think it’s interesting to relate artists such as Sergei Ezenstein (a 1920s revolutionary) and Jesus Soto (21st century Venezuelan Revolutionary) who in a way experience similar regimes and how their work is guided by this.
Alessandro Rodchenko is another character that appears during the time. He is what we would consider today a graphic designer. His philosophy: if you are creating something for the people, it has moral good.
He also began to be influenced by the supremacist way of thinking.
“Ive reduced painting to its logical conclusion, I affirm, its all over” He said this for his piece of the black, yellow and red square.
1932: Stallin is in power, and the artistic style is abolished, seeing as creativity in a way went against the entire idea of communism.
Constructivism: the only true art has function for the people.
Further on comes Destiyl. A movement developed in the Netherlands, a utopian aproach to easthetics. Looking back into suprematism and constructivism both of these are based on a particular morality. In opposition to this, Destiyl was concentrated on the idea of what makes true art.
- Characteristics of De styjl:
Rectilinear Planes
No texture except pure primary hues.
The best known painter is Mondrian
The founder Theo Van Doesburg, the lider and publisher who dies along with Destyl itself.
Artists such as Sergei Ezenstein begin to work with photo-montage as well as the cutting of the images.
Because of the communist and socialist regime of the time in Russia, the films and images looked to show the rising and suffering of the citizens. Showing the high contrast between the social classes. Citizens vs officers, and the power struggle.
the oppression of the government. Putting moral dilemmas into play, an example of this is the section of the baby in the cradle falling down the stairs.
Watching the movie reminded me of home not necessarily in a good way, because my country is currently going through the same situation, which in turn makes us think about the relationship between design today and the design of the 1920’s; and what it is that today’s artist’s are going through and experiencing that gives them inspiration for their work.
I think it’s interesting to relate artists such as Sergei Ezenstein (a 1920s revolutionary) and Jesus Soto (21st century Venezuelan Revolutionary) who in a way experience similar regimes and how their work is guided by this.
Alessandro Rodchenko is another character that appears during the time. He is what we would consider today a graphic designer. His philosophy: if you are creating something for the people, it has moral good.
He also began to be influenced by the supremacist way of thinking.
“Ive reduced painting to its logical conclusion, I affirm, its all over” He said this for his piece of the black, yellow and red square.
1932: Stallin is in power, and the artistic style is abolished, seeing as creativity in a way went against the entire idea of communism.
Constructivism: the only true art has function for the people.
Further on comes Destiyl. A movement developed in the Netherlands, a utopian aproach to easthetics. Looking back into suprematism and constructivism both of these are based on a particular morality. In opposition to this, Destiyl was concentrated on the idea of what makes true art.
- Characteristics of De styjl:
Rectilinear Planes
No texture except pure primary hues.
The best known painter is Mondrian
The founder Theo Van Doesburg, the lider and publisher who dies along with Destyl itself.
Tuesday, March 1, 2011
Blog Post#6
Holwein- his work is recognizable because of a symbol he puts on every piece. He’s known for his simplistic style particularly with his experimentation with figure ground interactions.
He is also known for his political propaganda. He worked for the Nazis.
UND DU? the use of an intimidating image to recruit people. His reputation was ruined because of his association with the NAZIS
Mcnight kauffer:
1980 piece the ideas of cubism applied to communication design, and brings into play the notion of negative space.
One of the most recognized poster designers of the time was A.M. Cassander.
As time goes by, structure becomes more and more important (metaphor for the urgent need for sustainability?) People are craving reason, and logic, universal truths.
Artists of the time are looking at science and what the role of art is in society.
etoile du nord pullman = for a train that travels from paris to amsterdam. star: destination, train tracks, the tracks are a reclining person,
Dubonnet campaign: “dubo” coming from the word doubt. It is known as one of the most famous campaigns, If you can manage to get the type to work as art and communication. You’ve got it. Paul Rand reworks on the Du bonnet campaign.
Later on comes the Russian Avant Garde :
The first wave (cubo futurism) taking the ideas of futurism and Cubism, and combining them.
Second wave (supremitism)
Third wave(constructivism)
Cubo Futurism: movement and how to express it, taking advantage of scrap materials in their work.
At the time in russia, people didn't have the technology or materials we have today, their work was based solely on what they had which was not much. Printing on the backs of wallpapers to make a book.
Kashmir Malevich, outlines the theme of suprematism, which rejects the premise of utilitarian functions.
In contrast to this, we find constructivism: the only meaningful art has function, and things that have function are art. They renounce art for art’s sake. Art should serve the new communist society.
Known artists from this movement are:
Vladimir Tatlin
Rodchenko
Lissitzky : painter, teacher, architect, typographer, photographer etc. He will influence constructivism. He developed the idea of the proun. He is trying to look for the intersection between painting and architecture. Dorian asks, What is more utopian than building?
He is not to be confused with Kandinski, though at first sight they may seem quite similar because of their highly geometry works.
He influences the Bauhaus,
What he’s looking at is unity and projecting a world of objects.
categorized by aesthetic, asymmetrical balance, sans serif typography- begin to move towards modernism.
He is also known for his political propaganda. He worked for the Nazis.
UND DU? the use of an intimidating image to recruit people. His reputation was ruined because of his association with the NAZIS
Mcnight kauffer:
1980 piece the ideas of cubism applied to communication design, and brings into play the notion of negative space.
One of the most recognized poster designers of the time was A.M. Cassander.
As time goes by, structure becomes more and more important (metaphor for the urgent need for sustainability?) People are craving reason, and logic, universal truths.
Artists of the time are looking at science and what the role of art is in society.
etoile du nord pullman = for a train that travels from paris to amsterdam. star: destination, train tracks, the tracks are a reclining person,
Dubonnet campaign: “dubo” coming from the word doubt. It is known as one of the most famous campaigns, If you can manage to get the type to work as art and communication. You’ve got it. Paul Rand reworks on the Du bonnet campaign.
Later on comes the Russian Avant Garde :
The first wave (cubo futurism) taking the ideas of futurism and Cubism, and combining them.
Second wave (supremitism)
Third wave(constructivism)
Cubo Futurism: movement and how to express it, taking advantage of scrap materials in their work.
At the time in russia, people didn't have the technology or materials we have today, their work was based solely on what they had which was not much. Printing on the backs of wallpapers to make a book.
Kashmir Malevich, outlines the theme of suprematism, which rejects the premise of utilitarian functions.
In contrast to this, we find constructivism: the only meaningful art has function, and things that have function are art. They renounce art for art’s sake. Art should serve the new communist society.
Known artists from this movement are:
Vladimir Tatlin
Rodchenko
Lissitzky : painter, teacher, architect, typographer, photographer etc. He will influence constructivism. He developed the idea of the proun. He is trying to look for the intersection between painting and architecture. Dorian asks, What is more utopian than building?
He is not to be confused with Kandinski, though at first sight they may seem quite similar because of their highly geometry works.
He influences the Bauhaus,
What he’s looking at is unity and projecting a world of objects.
categorized by aesthetic, asymmetrical balance, sans serif typography- begin to move towards modernism.
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