Author: Darren Le (Page 2 of 2)

The authors in the readings seem to have different visions of their futures, but they all have innovative ambitions that start their debate in graphic design. They believe technology will play an important role in shaping the near-term future. The future of technology is always realized with the help of engineering work, and the author’s background most helps them participate in the arts. Technology help solve book design’s problems. Because of the high standards of German technology, they have succeeded in realizing some of our book ideas in 1920. Art used to have a system of inventions that were considered special and important at the time, but over time it was seen as an exhausting subject before future improvements. These artists expect that art and design will come out in creative ways, as most artists make montages, that is, they piece together photos and inscriptions that belong to them and then reproduce them with photos. These authors share a common outlook on life that no longer makes sense in their minds but makes sense in their books. They have theories that commonplace others don’t exactly make, they look at matters and think of what would make it better. They may disagree with work that is described as fotopis (painting with photos) and consists entirely of images from other photographers, it’s not just art, it’s photography. Elements of these texts are relevant for the present are people are satisfied with a piece of work, some may not be interested and may express it on their face, and some may be quite the opposite. For example, “the Vortex Group published its work at war, large and basic, almost entirely in block letters; today”(El Lissitzky , page 28), this person characterizes all modern international print. The element in question has to do with politics. His problems manifested in the exhibition design. With Lissitzky’s problem in marrying a political to an avant-garde art vividly recollects a similar difficulty among the Neo-lmpressionists. Paul Signac, in rejoinder to this crisis, theorized:“The subject does not matter, or at least is only one of the parts of the work of art, not more important than the other elements, colors, drawing, composition. When the eye of the proletariat is educated, the people will see in the paintings something else besides the subject.” (cite)

References

https://www.artforum.com/print/197207/el-lissitzky-the-avant-garde-and-the-russian-revolution-37496. (n.d.). essay.

El Lissitzky, Our Book (1926)

Aleksandr Rodchenko, Varvara Stepanova, Aleksei Gan, Who We Are: Manifesto of the Constructivist Group (c. 1922)

Filippo Tommaso Marinetti, The Founding and Manifesto of Futurism (1909)

For me, design is the study of signs and symbols and their use or interpretation. However, according to Ellen Lupton & J. Abbot Miller, The difference is that language may have restrictions on sounds, syllabus, and words, while design has no restrictions in conveying data, designing small businesses, key words, shades, forms, icons, drawings, signs…

According to Saussure, in language definitions that distinguish human language from other communicative languages such as animal interaction, sentence structure is often seen as a recognition highlight of semantic code, identifying human natural language from the features of animal communication.

Signals, signs and symbols are the three related components of the communication process found in all known cultures, and they have attracted considerable academic attention because they are mostly unrelated to words or the usual concepts of language. Im believe symbols are icons that have a personality that we can see, unlike language which is auditory. Also, based on Saussure, the concept is distinction between the two united modules of a sign: the signifier, which in language is a set of speech sounds or marks on a page, and the signified, which is the concept or idea behind the graphic communication. In the history of graphic design, according to Ellen Lupton & J. Abbot Miller, modern design plays the role of visual problem solver in our lives and culture.

References

Lupton, Ellen and Julia. “All Together Now,” Print 61, no. 1 (January/February 2007): 28–30. (n.d.).

Ferdinand de Saussure, Course in General Linguistics (excerpt) || Ellen Lupton & J. Abbott Miller, excerpts from Design Writing Research. (n.d.).

http://web.sbu.edu/theology/bychkov/barthes.pdf. (n.d.).

According to Munari, design should play the role of visual problem solvers in our lives and culture. Designers should be able to question why this symbol, picture, typeface, colors, forms, signs, or signals was chosen for this sign. Also, designers or artists would view the poster by showing typography, a color scheme, an alignment, a hierarchy and other aspects that might not be as noticeable. In Munari’s view, what separates the field of design from other types of “creativity is the means and approach to solving each design problem. The designer must meet for the client’s needs. That’s one of the services that a designer wants to do. Every task of design asks the same question: How do we reestablish “between contact the art and the public?” (Murani, page 32).
According to Helen, designers should focus on theoretic problems that cannot be solved, because important writing also encourages new problems and opens new theoretic guidance. Ideas like this bring people together around common issues. Designers entering the field today must master an astonishing array of technologies and be prepared for the ever-changing conditions and demands of the industry. The most urgent problems facing designers today are authorship, universality, and social responsibility.
A designer responsible for solving these problems because If it’s hard to make rules for new things in our society, and early design world were built on ideals of anonymity, not authorship (Helen, page 8). As the field shifted toward a more
subjective design approach, social responsibility moves out from designers and they care about themselves more than before. Universality is the amount of “work moving out from this universality and the resulting, blurring of singular vision would overwhelm the minds of even the avant-garde”.(Helen, page 9)