Author: Anchal_Kc (Page 1 of 2)
From November 1 to 2, it was Dio De Las Muertos also known as Day of the dead. Mainly celebrated in Mexico, this festival is about remembering your loved ones that have deceased. During this day, people offer food and other things (ofrendas) to their deceased one’s picture.Â
Throughout the year, the LGBTQ community has been one of the sensitive topics. They have fought for their rights to be whoever they want without any judgment. Recently on Dio De Las Muertos, Doritos, one of the well-known American corn chip brands came up with their ad that represented LGBTQ.Â
The ad opens with an old lady with her family and a young girl with a red Doritos bag offers ofrendas to her deceased brother’s photo. Suddenly the color of the sky changes from orange to blue when the brother’s soul (top picture on the right) shows up, while talking to his family another male soul pops up and the brother introduces the soul as his lover. While everyone is shocked, the sister claps and says “I thought you will forever be alone.” The ad ends with the quote “It’s never late to be who you are.” Although we see a glimpse of Doritos in the ad, the company focused on a festive day but mainly about LGBTQ giving a sweet and wonderful message.
In the second reading, Marshall McLuhan explains how technological advancement is changing everything around us over the years. He states “All media are extensions of some human faculty- psychic or physical. The wheel is an extension of the foot, the book is an extension of the eye, clothing, an extension of skin, electric circuitry an extension of the central nervous system. Media, by altering the environment, evoke in us unique ratios of sense perceptions. The extension of any one sense alters the way we think and act- the way we perceive the world. When these ratios change, men change.” “When this circuit learns your job, what are you going to do, jobs represent a relatively recent pattern of work.” Basically, technology and media play a way in how we design. As we progress into the future, design becomes more simple and modernistic for the audiences we design them for.
Karl Gerstner was a Swiss designer, typographer, author, and artist. He developed a systematical solution for when he was making Swiss Typography. Karl feels that problem-solving is the best way to approach design, he viewed Graphic Design as a very technical field, as he states, “This implies: not to make creative decisions as prompted by feeling but by intellectual criteria. The more exact and complete these criteria are, the more creative the work becomes.” Karl created this table and labeled each box with a potential solution so that after he’s through with a design, he can simply check each category and see whether he received anything from them. He organizes with grids, which he claims to assist him a lot. In “Designing Programmes,” there is an abundance of numbers, equations, units, and quite frankly, a whole lot of things I barely understood. “The creative process is to be reduced to an act of selection. Designing means: to pick out determining elements and combining them. Seen in these terms, designing calls for method.”
Jan Tschichold was a German calligrapher, typographer, and book designer. He played a significant role in the development of graphic design in the 20th century – first, by developing and promoting principles of typographic modernism, and subsequently idealizing conservative typographic structures. Just like Karl Gerstner, Jan also had a similar outlook and believed that art and design are a balance of creativity and logic. “Every part of a text relates to every other part by a definite, logical relationship of emphasis and value, predetermined by content. It is up to the typographer to express this relationship clearly and visibly through type sizes and weight, arrangement of lines, use of color, photography, etc. The typographer must take the greatest care to study how his work is read and ought to be read”.According to Tschichold, a typographer should design in a way that is clear and uses other forms of design to relate to one another in a logical relationship; they work well with one another and in harmony. Jan Tschichold emphasized the change in typographers’ priorities; reforming their typographical designs to have a stronger sense of clarity rather than “beauty,” or the aesthetic of the typography. Tschichold states, “It is up to the typographer to express this relationship clearly and visibly through type sizes and weight, arrangement of lines, use of color, photography, etc. The typographer must take the greatest care to study how his work is read and ought to be read.”
Josef Müller-Brockmann was a Swiss graphic designer, author, and educator, he was a Principal at Muller-Brockmann & Co. design firm. He was a pioneer of the International Typographic Style. Josef Müller-Brockmann states “Every visual creative work is a manifestation of the character of the designer. It is a reflection of his knowledge, his ability, and his mentality”. He goes into detail as to why the grid is so important and how it has been helpful in the creative process. Josef takes on an approach that highlights the very same idea but that those elements that can not be categorized from Gerstner function, which are unable to be organized or chaotic that can indeed put places into a program that does the opposite of what they are. He believed his system should contribute to the general culture in terms of the “ clearly intelligible, objective, functional, and aesthetic quality of mathematical thinking.” Müller-Brockmann considers grid system literacy to be important for professional designers. This is a statement of professional ethos: the designer’s work should be plainly comprehensible, objective, useful, and attractive in mathematical thinking quality. “The use of the grid as an ordering system is the expression of a certain mental attitude inasmuch as it shows that the designer conceives his work in terms that are constructive and oriented to the future.”
The tool of the spirit of yesterday was the ‘academy.’ It shut off the artist from the world of industry and handicraft, and thus brought about his complete isolation from the community. But lately, the artist has been misled by the fatal and arrogant fallacy, fostered by the state, that art is a profession that can be mastered by study. Typography is communication composed in type. Photography is the visual presentation of what can be optically apprehended. It has given us a new, progressively developing creative basis for typography, too. One man invents printing with movable type, another photography, a third screen printing and stereotype, the next electrotype, phototype, the celluloid plate hardened by light. An effective loosening up can be achieved only by the most sweeping and all-embracing use of the techniques of photography, zincography, the electrotype, etc. Photography is highly effective when used as typographical material. It may appear as an illustration beside the words, or in the form of “photo-text” in place of words, as a precise form of representation so objective as to permit no individual interpretation. typography was for the first time seen not as an isolated discipline and technique, but in context with the ever-widening visual experiences that the picture symbol, photo, film, and television brought. in the united states the art of typography, book design, visual communication at large, in its many aspects, is being shelved as a minor art. Bayer managed to be immensely practical and rational while never losing the ideals he discovered at the beginning of his career. The typographical materials themselves contain strongly optical tangibilities by means of which they can render the content of the communication in a directly visible—not only in an indirectly intellectual—fashion. previously used largely as a medium for making language visible, typographic material was discovered to have distinctive optical properties of its own, pointing toward specifically typographic expression. The form of these new typographic works will, of course, be quite different typographically, optically, and synoptically from the linear typography of today. It may appear as an illustration beside the words, or in the form of “photo-text” in place of words, as a precise form of representation so objective as to permit no individual interpretation. The tool of the spirit of yesterday was the ‘academy.’ It shut off the artist from the world of industry and handicraft, and thus brought about his complete isolation from the community. The theoretical curriculum of an art academy combined 1rith the practical curriculum of an arts and crafts school was to constitute the basis of a comprehensive system for gifted students. The book has been a standard form for a long time. a new spirit invaded the stagnant field of rigidity with the adoption of the dynamic page composition. An important extension was introduced with the recognition of supranational pictorial communication. with its combination of text and pictures, today’s magazine already represents a new standard medium.
These authors lived in the same time as industrialized cultures so they have different views on how technology can be a part of their future. El Lissitsy however thinks technology helps take the first big step, but it is not what evolves design. Working intently in his self-designed leather workman’s “production suit,” Rodchenko utilized new technology and mass production in an attempt to give form not just to revolutionary concepts of functionalism and economy but to ideal Soviet citizens as well. He embraced, redefined, and elevated graphic design as an essential force in society. Rodchenko and his wife, Varvara Stepanova, repositioned artists as agents of social change standing at the center of a brave new world. His work “Technology is—the mortal enemy of art. technology. . . . We—are your first fighting and punitive force. We are also your last slave-workers. We are not dreamers from art who build in the imagination: With the start of the reconstruction period about 1922, book production” also increases rapidly. Our best artists take up the problem of book design of 1920, is also printed, and also the Mayakovsky book, where the booking form itself is given a functional shape in keeping with its specific purpose. The cinema and the illustrated weekly magazine have triumphed. We rejoice at the new media that technology has placed at our disposal. Lissitzky believed that once something was developed, it would never progress into a higher art form again unless society became tired of it and desired something new. While on another side, Rodchenko and Marinetti have a more positive on their outlook on technology and it influences their methods of design.
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