After today’s class, leave a comment on this blog post of at least 250 words summarizing your reading and the lecture on Kostelnick’s “Typographical design, modernist aesthetics, and professional communication.” If you did some extra research on Modernism and the Bauhaus, please include that in your response.
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In Charles Kostenlick’s essay, “Typographical design, modernist aesthetics, and professional communication,” he talks about how professional communicators are taking on a new role which is designing their own message. With new printing and designing technology emerging, the professional communicators will no longer need a graphic specialist to design a document. No longer will they need them to add text and design brochures, newsletters, or an annual report. They will be able to do all of that themselves. They’ll be able to emerge text and images together. Kostenlick also brings up four key ideas of modernist design that was formed by the Bauhaus and was discussed in class. They are the unity of text and form, the emphasis on economy and simplicity, the search for a universal, objective style and the faith in intuition, both in terms of the innate perception of the individual and the collective intuition of a culture. The first one, the unity of text and form is where words and visual elements are combined. You have text and images in one to convey any message. The space between them, the boundary of text and image are eliminated. The second key idea is the emphasis on economy and simplicity. This simply means that the layout of a document should be straightforward, easy to read and have no decorations on it. The decorations will only distract the audience and your message won’t get the attention you want it to have.The decisions you make for when designing a document need to fill the requirements of the message you are trying to get across. The third key idea is the search for a universal, objective style. With this key idea, the Bauhaus wanted to apply a style around the world that would be able to work with everyone. This was not possible because not everyone has the same needs with a certain given message. Culture also prevented this from happening because it plays a big role, as well as language. The fourth and last key idea is the faith in intuition, both in terms of the innate perception of the individual and the collective intuition of a culture. When creating and designing a document it is always important to go straight to the point and to not have a lot of ornamentation that might not help your document convey its message. But it’s also okay to trust your instinct and that is what this key idea is telling us. The Bauhaus is telling people that it is okay to trust your instinct and to go with it. Sometimes going with your instinct works out perfectly. As long as your message gets the point across and is not blocked from designs that aren’t necessary. Your message will need to be readable and understood by your audience.
Charles Kostelnick is an American Professor at Iowa State University. Kostelnick has a Bachelors degree in Architecture, a Masters in English, a Ph. D in Comparative Literature, all accrued at the University of Illinois at Urbana-Champaign. Kostelnick has wriiten several pieces, but the piece to be written about is “Typographical Design, Modernist Aesthetics, and Professional Communication”. Kostelnick discusses the added responsibilities professional communicators now assume. With the evolution of technology, professional writers now have all the tools at their disposal to select their own typefaces, type sizes, design of page, icons and graphic cues. With this assumption of power, professional communicators now take the jobs of the graphic studio and printing shop. The professional communicators role has expanded to where they are writing, designing, and printing their own work. I can see where this can become an issue for professional communicators. Not everyone is adept at designing, as some people are not adept at writing. To thrust the entirety of the process on a single person, who may not possess a keen eye for designing, isn’t a fair thing to do. Kostelnick then discusses Bauhaus, a school and an art movement originating in Germany. In discussing Bauhaus, Kostelnick discusses the four ideas created by them: the unity of text and form, the emphasis on economy and simplicity, the search for a universal, objective style, the faith in intuition, both in terms of the innate perception of the individual and the collective intuition of a culture. Unity of text and form is described as being a clear connection between form and the idea. Both text and form become one to shape the idea. The emphasis on economy and simplicity is described as less is more. Emphasis should be placed on clear, and concise text to maximize resonance with the reader. The search for a universal style is pretty self explanatory: a style that could be used by anyone. Lastly, the collective intuition of a culture is where the universal style encompassed all design so everyone understood it. What I have taken away from this reading is to keep things simple and concise. Don’t pollute your work with anything grandiose cause its not necessary to convey your message.
In Charles Kostelnick’s passage “Typographical design, modernist aesthetics, and professional communication,” Kostelnick mentioned four essential ideas that connect to the relation of language in his article. The first one idea is the utility of text and the formation of it, we use different tone to interact with the content. It intergrades with visual, and verbal inside of the language to achieve the purpose of the document. Also, it maximizes the interaction with signification, between words and the image. The second idea is the emphasis on economy and simplicity. It considers strict economy to be more as autistic, and rhetorics with useful evidences. The third idea is the research for universal object style, it uses visual language and it adapt it to the content of the document. The forth idea is the faith in violation, both in terms of sense of individual and collective tuition. It aggregates intuitive and rational problem with solving during the writing design process. Kostelnick says that technology has to do with knowing methods. The Bauhaus is the fragmentation which it profoundly influences German school, and it includes architecture and typography. Different kinds of fragmentation builds up the Bauhaus, it utilizes everything. Kostelnick believes that visual simplicity provides the reader a clear vision, use instinct to organize critical ideas. He uses the term modernism, which the technological design depends on modernism. Overall, Kostelnick coveys the key idea which delivering reader directly with a simple way. As long as the reader get the point, the simplicity of work is more efficien
Charles Kostelnick is a professor and chair in the English Department at Iowa State University. Like many of the other authors whom we have studied, he too has an interdisciplinary background: he received his bachelor’s in Architecture first; he then moved on to receive his master’s in English, and finally, a PhD in Comparative Literature, all at the University of Illinois Urbana-Champaign.
Dr. Kostelnick is a prolific technical writer, having created ten publications just since 2008. We read one of his works from 1990 entitled, “Typographical Design, Modernist Aesthetics, and Professional Communication.” In this piece, he discusses how the modernist movement as well as the Bauhaus school in Germany impacted technology and language. The modernist’s motto is “make it new”. The Bauhaus, an art school and movement that ran from 1919 – 1933 in Germany, influenced art, graphic design, typography, and architecture. Modernism and the Bauhaus merged the aesthetics and beauty of art with the pragmatism and functionality of purpose. In other words, art was not art just for art’s sake; art could be both pleasing to the eye and also be practical and useful.
To that end, Dr. Kostelnick uses the philosophies espoused by modernism and the Bauhaus with regard to technology: technology was made anew in terms of art and function. He says that technology made a return to the arts, rather than technology only being regarded as only a science of gadgetry or tools. He explains that an artist can be a technologist; e.g. a computer programmer must know the tools of his trade, such as coding, hardware and software to create his “work of art”, just as an artist must know how to use his tools, such as paints, canvas, brushes, etc. to create his art.
Kostelnick emphasizes four key points in this reading. One is a unity of text and form: he believes in integrating the visual and verbal aspects of language to achieve the purpose of the document. The image and word must blend cohesively to have the most impact. The second point is an emphasis on economy and simplicity: create designs and writing that are not wasteful or convoluted, and in so doing, are more persuasive and clear– a “less is more” approach. The third point was to search for a universal objective: try and use visual language that the audience understands and is familiar with, and then adapt it to the context of the document. The fourth point was to employ faith and intuition in one’s designs, both in terms of the innate perception of the individual, and also from the collective intuition of a culture. He is saying that rational problem solving, while crucial, may be tempered by a bit of intuition in order to be most effective in communicating with one’s audience. One’s lived experience, which informs one’s intuition, is valuable, and it’s okay to use this tool to inform your critical thinking and writing.
We discussed just how critical it is now to be multifaceted, to always try and gain new knowledge and skills in order to be prepared both in an ever-changing workplace and in life. Dr. Kostelnick predicted in 1990 that technical writers would put graphic artists out of work with the impending ubiquity and availability of computers. While this didn’t happen exactly as such, it is nonetheless very true that today, technical writers and communicators must be able to merge effective, economical writing with an artful design aesthetic to be most effective in conveying their message.
Charles Kostelnick is a professor in the English department at the Iowa State University. He earned his bachelor’s in architecture, master’s in English and his Ph.D in comparative literature, all at the University of Illinois. In Kostelnick’s “Typographical design, modernist aesthetics, and professional communication,” he teaches modernism and how it’s important to continue learning new technology. He also speaks about Bauhaus, an influential German art school from 1919 to 1933. Bauhaus influenced art, graphic design, architecture and typography. There are four ideas that were taken from the Bauhaus, which are unity of text and form, emphasis on economy and simplicity, the search for universal objective style, the faith and intuition both in terms of the innate perception of individual and collective intuition of a culture. All of these ideas are very important when it comes to technical writing, personally I admire the idea on “emphasis on economy and simplicity” because as a future technical writer, I believe that it one of the most important things to consider while writing for an audience. Ornaments can be distracting in relaying the information to the readers but if it must be used, it should support what you’re trying to communicate. He also mentioned how professional communicators must make sure that the intuition is understood by their specific audience. Kostelnick also discusses the importance of esthetic, rhetorical, and functional aspects of writing. It’s really up to the writer how they are going to design a document, how they are going to help the audience understand their ideas, how it’s presented and making sure that people are going to want to read what they wrote.
While researching Charles Kostelnick credentials, I knew he meant business. His writing style for his Iowa State University directory page illustrates a polished structure of his accomplishments. Kostelnick degrees represents his interdisciplinary education with degrees in Architecture B, English MA, and Comparative Literature Ph.D. His 1990 work, “Typographical design, Modernist Aesthetics, and Professional Communication,” reinstates the idea of a productive and effective document. Kostelnick clearly practices what he preaches. His straightforward writing parade his minimalist style of presenting material with sufficient content. Therefore, Kostelnick retreats technology to its basics. Knowledge is a technology. This technology was first introduced as methods and tools used as a craft. Consequently, method techniques should be the focus and practiced.
Kostelnick ideas are parallel to Staatliches Bauhaus. This was a school and an art movement which influenced multiple skills such as art, graphic design, architecture, typography. This interdisciplinary capstone became essential in gaining an education. Class discussion included the Bauhaus wheel diagram and the four key idea Bauhaus. One key idea includes the unity of text and form. “The visual language of the text is the text-the two are inseparable-and readers expect consistency between the purpose of a document and its textual form(Page 13).” This concept is similar to McLuhan who was aware and skilled in different mediums to convey an effective “cool” message. The second key idea was an emphasis on economy and simplicity. On page 15, his message is to be simple as long as the design does not overshadow the idea. Ultimately, the design and idea are united as one. He includes ideas of Victorian architecture, in which he views this style as excessive. The third key idea is the search for the universal objective style. Styles should function for myriad individuals. However, styles may differ with culture or language needs. The last key idea is faith and intuition in the natural perception of a person and their culture. This concept states that intuition should play a role in ideas. Our intuition has been shaped by personal experience and our culture throughout our lives.
Kostelnick introduces four main ideas in his work that are similar to Bauhaus. The first one is “Integrate visual and verbal language to achieve the purpose of the document.” An example Professor Ellis used was a Star Wars poster entitled “SOLO” in which the title has the protagonist imaged in the word. Although this poster is no longer in use, it provides a link between the two signifies. This poster’s concept used a written and a visual means of aiding a message.The designer chooses elements that complement the purpose of the work. Another idea is “Consider strict economy to be as much an aesthetic and rhetorical as a functional criterion.” This means choices designers or writers make are effective and practical. The artistic choice to balance the rhetorical choice with making it a persuasive message.Importantly, audiences must understand documents purpose. Postmodernists have criticized economy means while agreeing less is always more. This idea works well as Apple uses a clean design to attract its customers.The third main point Kostelnick includes is “Use visual language that the audience is accustomed to, but adapt this language to the context of the document.” This idea is to use methods that are familiar to the audience. However, the writer must use a design that suits the needs of a topic. Dilemmas such as cultural needs must be used as necessary. The final main point is “Combine intuitive and rational problem-solving during the writing/design process.” Designs should be mapped out to become visually appealing to audience needs.
Hence, Kostelnick provides a guideline to ensure quality work when conveying a message. His ideas along with Bauhaus model evaluate the structure and power of the written word. Both concepts ensure an effective document should be universal.
Charles Kostelnick is a multidisciplinary learner who has degree’s in Architecture, Literature, and English from the University of Illinois Urbana-Champaign ,and currently teaches multiple English courses at the University of Iowa. In the previous class we analyzed one of his earlier works called, “Typographical Design, Modernist Aesthetics, and Professional Communication”. As a class we learned about Kostelnick’s four ideas that are vital to language and the transformed responsibilities of a writer in today’s world. He traces these ideas back to, The Bauhaus, an art school and movement that began existed in Germany in the early 20th century. The very first idea was called, utility of text and form; Kostelnick was referring to how various types of media merge both text and images together with the goal of projecting the message to the viewer without using up space in a document. The second point,emphasis on economy and simplicity is to eliminate excessive info, this means keep your document strictly focused on the message you are trying to project to the world. Idea #3 was search for a universal objective: think of styles that are common with viewers so they can understand ,and add your twist. The fourth idea, faith, intuition, the individual, and the culture. This is a foundation of all technical writers, graphic designers, and anyone in the software content creating industry should consider. Always add your perception of good and bad in a document and consider the perception of good and bad in everyone culture to insure your document is not in the wrong light of another culture.
TO: Professor Dr. Jason W. Ellis
FROM: Ronald C. Hinds
DATE: March 22, 2018
SUBJECT: Typographical Design, Modernist Aesthetics, and Professional Communication
In his piece titled “Typographical Design, Modernist Aesthetics, and Professional Communication” Charles Kostelnick, Professor at Iowa State University, talks about visual language functioning as one that reliably conveys meanings and embodying codes that normalize its practices among the designers and technical communicators who employ it, and the consumers who interpret and use it.
My question is should the artist be equated to an outstanding craftsman? There should be really no fundamental difference between them. Is art a profession that can actually be taught? The artist with a creative imagination is on his/her way to attaining a high level of excellence.
Kostelnick talks about the Bauhaus’ call for the crystallization of unity of text and form and the idea of applying these concepts to practical design. Another principle of the Bauhaus is an emphasis on economy and simplicity. Keep it simple and without too much ornament i.e. not too much clutter. The design must reinforce the content of the document. Kostelnick pushes for a stern economy, being frugal, and to employ an aesthetic, a set of principles underlying and guiding the work of a particular artist or artistic movement, and to attempt to win over the reader or consumer Kostelnick opines about using visual language that the audience is used to. As with all other technical communication keeping the attention of the audience is the goal. The purpose of the document revolves around the integration of the visual and combining it with the verbal. He also touted the use of having someone doing the peer review to offer an opinion from another pair of eyes.
Craft training was emphasized at the Bauhaus. Every student had to learn one. In a break from tradition the workshop was the ideal and the school was the servant of the workshop. László Moholy-Nagy, former law student, artist, designer, photographer, sculptor, painter, and theoretician was described as the genius of all media. He dabbled in the constructivist style,a style in which assorted mechanical objects are combined into abstract mobile structural forms. In March 1923, Walter Gropius appointed him as a master at the Staatliches Bauhaus Weimar but he left that post in 1928 and established his own studio. He then moved to Chicago.
I like Walter Gropius, of the Staatliche Bauhaus in Weimar, who exhorts the students as follows: “Together let us desire, conceive, and create the new structure of the future,” one that will break down barriers between a craftsman and artist. The somewhat idealistic thought also seemed to energize those who constituted the house of Bauhaus. The German word Bauhaus which literally means “construction houses” was understood as meaning “School or Building.” They of the Staatliche Bauhaus in Weimar emphasized creativity, freedom of individuality avoided rigidity not only in all crafts but they also learnt sculpturing, architecture and the arts, i.e. poetry, music, and acting. The role of the Bauhaus was guided by a manifesto and program, and although the school was only operational from 1919 to 1933 its legacy lingers on five score years later. The staff, after it was closed, when they left Germany, migrated over the world and spread its ideals.
My father and one uncle were both artists. My father had a truly good sense of taste, which was reflected in the colors that our house in Georgetown was painted in, and his choice of matching furnishings. My youngest brother inherited this sense of style. The other uncle who was an artist was also influenced by music of the jazz era and popular culture. He was an educator and later in life he had a music program on radio and he subsequently became a cultural affairs officer with the American embassy in Georgetown, Guyana, South America. Both brothers dabbled with the genre of abstract art. Another uncle was initially a tinsmith and he later on owned an auto spray painting enterprise. He was premier in his field and renowned for capturing the particular original colors which the automobile owners desired. He did car bodywork and dreamt of being a sculptor. These kinfolk were all endowed with remarkable artistic skills and one was a reputable craftsman. I am not sure to what degree the teachings of the Bauhaus school of arts influenced all three of them. But the Arts and Crafts Movement of Britain, which was a precursor to the Bauhaus, had its tentacles in the British Empire. Guyana, formerly British Guiana, was one of Britain’s colonies.
In May 1934 Walter Gropius travelled to London on a trip arranged by Moholy-Nagy, where he was invited by the Royal Institute of British Architects to speak (for the first time in an English-speaking country) at the opening of an architecture exhibition. So some cross fertilization was going on.
Reference
Kostelnick, C. (1990). Typographical design, modernist aesthetics, and professional communication. Journal of Business and Technical Communication, 4(5), 5-24.
http://jbt.sagepub.com/content/4/1/5. Downloaded on 20 March, 2018.
Bauhaus Manifesto and Program” (1919)HYPERLINK “http://mariabuszek.com/mariabuszek/kcai/ConstrBau/Readings/GropBau19.pdf”. Downloaded on 20 March 2018.
Keywords: atavistic, calligrammes, constructivist, functionalism, functional orientation, ideogrammatic poems, modernist, multi-disciplinary, practical aesthetic, prolixity
Charles John Kostelnick is an experienced instructor in the field of record configuration. Charles work “Designing Visual Language” offers valuable methodologies for archive outline of assorted types. The central objective is to empower understudies to stretch out to visually outline the expository approach they absorb in composing and altering courses. Kostelnick puts a spotlight on the sorts of circumstances and down to earth reports that happen in the working environment and mixes this concentration with an explanatory approach that binds configuration to the gathering of people, reason, and setting of messages. His book presents itself as a guide that shows understudies how to outline proficient reports for particular purposes and gatherings of people by deciphering ideas from talk and composed correspondence to record planing. About Ten sections talk about an essential vocabulary of configuration and how to shape that vocabulary logically.
Specifically in the section “Typographical outline” Kostelnick specified four basic thoughts that associate with the connection of dialect in the article. The first thought is the utility of content and its development, we utilize distinctive tone to interface with the substance. It combines visual and verbal representation within the dialect to accomplish the motivation behind the record. Additionally, it expands the collaboration with connotation, amongst words and the picture. The second thought is the accentuation on economy and straightforwardness. It views the strict economy as extremely introverted, and talking points with valuable confirmations. The third thought is the examination of widespread question style, it utilizes visual dialect and it adjusts it to the substance of the record. The fourth thought is the confidence in infringement, both regarding the feeling of individual and aggregate educational cost. It totals instinctive and levelheaded issue with tackling amid the written work configuration process. Kostelnick says that innovation needs to do with knowing strategies. Kostelnick trusts that visual straightforwardness gives the reader an unmistakable vision, utilize impulse to compose basic thoughts. Kostelnick also flocks the key thought that conveying information to the reader in a basic way will get them to the point faster.
Charles Kostenlick is a professor at Iowa State University with a Masters in English and a Ph.D. in comparative literature. In his essay, “Typographical design, modernist aesthetics, and professional communication”, he also mentions an influential German school, the Bauhaus. Kostenlick wants us to see how we should keep learning new technology and he draws most of his ideas from the Bauhaus. He has left us some guide lines for us to follow, the first being “Integrate visual and verbal language to achieve the purpose of the document”. When writing we should try and combine images with our writing so that our idea we are trying to convey can come across more smother. The second is “Consider strict economy to be as much an aesthetic and rhetorical as a functional criterion”. We should try to make our ideas known but at the same time don’t make them overly complicated. The third is “Use visual language that the audience is accustomed to, but adapt this language to the context of the document.” When we use pictures or images we should be mindful that we should use images the audience would be used to seeing so that we can get our message across more easily. The fourth is, “Combine intuitive and rational problem-solving during the writing/design process.” We should always check our writing to see if every thing connects and after that make sure that people would actually like it and would possibly not get offended by it, do some trials to see if it works out.
The author of the article, Typographical Design, Modernist Aesthetics, and Professional Communication, Charles Kostelnick is currently a professor at Iowa State University. Professor Kostelnick is also a profound scholar who has earned a bachelor’s degree in architecture, his master’s degree in english, and his phd in comparative literature. The author discusses in his article how crucial it is for professional communicators to learn about new technology. They now have the freedom to expand their skill sets with the help of devices such as laser printers and scanner devices , but he mentions how important it is for them to understand the modernist paradigm. Yes it is accommodating for them to have this new technology at their disposal but they need to have the knowledge that is required to use them. With that said , the author talks about modernism, which originates from the Bauhaus. The Bauhaus was a school in Germany that was founded in 1919 but was closed down in 1933. The school was based on art and design and was founded by Walter Gropius.The school specialized in exploring the methods and value of different forms and material of new material and strayed away from outdated material. “The multiplication of mechanical appliances, and new methods of research, required a new intellectual orientation, a fusion of clarity, conciseness, and precision.” The author later mentions 4 key ideas about modernist design which was also discussed in our previous class lecture.The 4 key ideas are the unity of text and form, the emphasis on economy and simplicity, the search for a universal objective style, and the faith in intuition. Unity of text and form is essentially that their is a bond between form and form and idea, which creates the possibility for them to become one. The second idea of the emphasis on economy and simplicity means to keep your work clear and concise. The third idea the search for a universal objective style means to have a style which is common amongst a majority of viewers. The fourth key idea,faith in intuition, is to allow the viewers to have a different perspective on one’s work but they are all able to understand the concept that is being presented.
Charles Kostelnick is an established scholar who currently teaches eight courses at Iowa State University of Liberal Arts and Sciences. He specializes in visual communication; data visualization; history of visual rhetoric in professional communication; literature, visual art and document design. He has a multitude of publications including an article titled “Typographical design, Modernist Aesthetics, and Professional Communication”, which speaks heavily on document design and the proper ways to go about it. One of the first major points he makes regarding document design and conveying of information is the unity of text and form. He states that “The visual language of the text is the text-the two are inseparable.” Kostelnick explains that the visual arrangement of the text helps to communicate tone, style, and even the content of the information or the message. Kostelnick also placed an emphasis on economy and simplicity. He urged for the careful and intelligent management of all available resources. He states that the document should always be reinforced by whatever it is written on just like Marshall McLuhan stated that the medium is in the message. Kostelnick also was interested in finding a universal style that would be understood by everyone. Different languages and cultures however created quite an obstacle for this to be achieved. Kostelnick also urged individuals to have faith in intuition. You must take into account the unity of text and form as well as economy and simplicity however, sometimes you must be your own individual and go with your gut to stand out. While doing this you must also keep in mind your rhetorical choices. It is important to appeal to your audience by ensuring your document is something that they would like to read. Use visual language that your target audience is accustomed to but adapt it to fit the context of the document. While it is important to follow your intuition another crucial part to the process is testing your writing before it is unleashed on the world. People might not like what you have written however, their review can lead to revisions that will make your document better than before.
Charlie Kostelnick, a professor at the Iowa State University, holds three distinct degrees in three distinct areas of study; Bachelors in Architecture at the University of Illinois at Urbana-Champaign, a Masters in English at the University of Illinois at Urbana-Champaign and a Ph.D. in Comparative Literature at the University of Illinois at Urbana-Champaign. Being that he has this background, his writing has a dominant form of being technical, rather than philosophical like Derrida. He introduces what he’ll discuss in his essay, and then speaks about them very clearly. Kostelnick speaks about the advantages of having the asset of technology in your hands. It was stated in class that if someone were to stay well skilled, learning the new things around today, then they would be a much better asset to a professor, or a boss, or company. This relates to Klein’s “What is Technology?” as he described the four usages of technology. The third usage stated was the “know‐how/technique technology, which is defined as: “the information, skills, and processes to get things done.” These are the little things that goes into a house, such as building a wall, or putting together the roof.” When a person holds the “know-how” skill, they are more advanced and can get things done. He speaks that all these little know-hows make up technology as a whole; the know-hows are learned, and as time changes, they are passed on, and evolves to become something even more technologically advanced.
During today’s class we discussed Charles Kostelnick, an American Professor at Iowa University He has gained his bachelor’s degree in architecture and he mastered in English, respectively. Moreover, he also got his PhD, making all of his achievements possible and complete at the University of Illinois. Charles Kostelnick wrote a passage titles, “Typographical design modernist aesthetics, and professional communication.” There were a few main ideas that were taken out of his writing. He discussed the utility of text, the economy and simplicity, research for certain objects and faith in violation. When discussed the utility of the text it was said that Kostelnick was referring to the flow of the paper how it is written visually and verbally. When talked about the economy and simplicity he wants one to create a paper that is both visually and verbally (again) well written, not wasted or non-clear. He prefers more simple and clear design, as sometimes too much is not pleasant to the eye. The third idea talks about the research of for universal objects this refers to choosing the visual design that is known of to the people that will be looking at it. Last, fourth idea to employ faith in violation. This idea refers to the perception of a person looking at an object. Something going with what is on your mind and letting your mind free might bring interesting results. It is very much important to constantly learn and discover new things. Technology and our world is constantly changing so diving into new areas of knowledge to deepen our knowledge will only make us better not worse.
After Class Writing: Kostelnick’s demonstrates in the essay, “Typographic design, modernist aesthetics, and professional communication” how important the bauhaus was to modern design and he gives us 4 ways to use bauhaus design in technological documents.
Integrates visual and verbal language to achieve the purpose of the document, essentially to maximize the interaction between word and image.
Consider strict economy to be as much an aesthetics rhetorical criteria as a fictional.
Use visual language the audience is accustomed to adapt this language to the context of the document.
Combine intuitive and rational problem solving during the writing design process.
Because professional communicator create documents of specific audiences and specific situations that need to evaluation rationale for the visual process of tech mass of users.
“The technology of in-house publishing is radically shifting the responsibility for document design from the graphic specialist to the individual writer. To apply the new technology, professional communicators need to understand the principles underpinning typographical design and their origin in the functionalist aesthetics of modernism, particularly as articulated by the Bauhaus. While some of the key concepts of modernism—strict economy, universal objectivity, intuitive perception, and the unity of form and purpose—are well-suited to business and technical documents, these concepts are bound to an historical and intellectual milieu. By understanding the influence of modernism on typographical design, professional communicators equipped with the new technology can adapt design principles to the rhetorical context of specific documents.”
References
Journal of Business and Technical Communication
Vol 4, Issue 1, pp. 5 – 24
First Published January 1, 1990