Author: kirayuki (Page 1 of 2)

Heller stated, for the concept to be or not to be of mainstream vs. underground relevant in contemporary design because for the mainstream side: “All it takes is the followers of followers to cut a clear path to the mainstream. In the passage, Heller brings about the idea that contemporary design became relevant due to the fact that marketers constantly sought new ways of expression and depended on modern culture to fulfil that requirement. Some ideas were made by artists originally but were either taken or slightly edited to present the illusion of originality. reason is that i would do general posters and flyers for mainstream and underground. However, i feel like i can’t do that because i can’t think of any examples of mainstream and underground posters. One might say that the original works done by artists were mostly overshadowed by their fake counterparts created by corporate conglomerates with their goal of relevancy being fueled by grabbing the attention of the masses.

1. “in today century designers use mainstream advertising companies, weaned on alternative approaches, have folded the underground into the mainstream and call it “cool” “. This summarizes exactly what the modern era has done in the past 10 years as the decline of Modernism forced its way into the 21st century pallet. The sort of underground designs that influenced the work could be from the fact that “Ballyhoo took original quotidian ads for the things they made from cars, detergent and foods. The underground mocks the mainstream for choosing a foolish action to become lazy and uninspiring in the modern age. What many people fail to realize is that designs are made to be understood.

2.  the sense of good logos and art has been stripped out entirely and the senses are dulled. Without the original message being shown in a work, there is nothing that can be interpreted but with A large amount of graphic design is straightforward or neutral.

3. One of the ways designers work shaped the mainstream is because of the sixties psychedelic movement As a result, in today society of the 21st century things will only get worse in the future due to the fact of modern art were seen as heroes of graphic design and were praised to the point that they became the mainstream. These roots began to infect what was effective and gradually became ineffective. Heller’s article ties closely to this as he states “Today, designers for mainstream advertising companies, weaned on alternative approaches, have folded the underground into the mainstream.

i only have a few questions

According to Borthes, there is always a structure of an image or a hierarchy. There are always relations of the text to an image and several meaning that can be picked up on first glance and by observing for longer periods of time.

Polysemous” –  “poses a question of meaning and this question always comes through as a dysfunction, even if this dysfunction is recuperated by society as a tragedy”

Borthes describes how words began to coincide with images in modern forms of media such as film dialogue, comics, picture books and news articles.

Anchorage is more commonly shown in news articles, photographs and advertisement. On the other hand, relay is shown in films, cartoons and comics.

The Panzani advertisement is a good representation of the three messages

Borthes gives a definition of lexicon and uses it a lot throughout this last pages. A lexicon to him is ” A portion of the symbolic plane (of language) which corresponds to a body of practices and techniques”. He compares this to people’s idiolects, speech habits of a person.

Sakeru Gummy or better known as long long man is a 2017 tv commercial that started with a lot of ads that was inspiring to others who just wanted to grab their hands on that new brand candy made in japan .

McLuhan believe on the relationship between man and technology. in which He discovers about technology and media being “extensions of man,” meaning the influence the medium has on society. He illustrates to the audience that design is often regulated by the current trends of society during that time period and McLuhan warns people that design is no longer catering towards the concept of observation but rather tries to invoke psychological and emotional responses, as people were conditioned to not observe but rather “feel” a work or design. but not only that but warn us that Media extends human beings, or humanity in general because “the mediums, or process, of our time-electric technology-is reshaping and restructuring patterns of social interdependence and every aspect of our personal” lives. He explains how this makes things difficult because new pieces of work are approached with the same responses as the old; it’s what society has grown accustomed to. According to McLuhan, in order for artists and designers to play a decent role in creating new messages, they should have goals. He explains there should be a shift in education from instruction to discovery, allowing artists and designers to learn a natural creative thought process and individuality and The dropout represents a rejection of nineteenth-century technology as manifested in our educational establishments in which he teach-in represents a creative effort, switching the educational process from package to discovery.

Jan Tschichold was a German typography that design books using san serif as a typeface. he was interested in graphic arts in the age of 15 until he attended a teacher training college in Grima than was invited to start teaching in graphic arts and book production around the age of 21. in 1923 he was introduced to the modern movement in which he adopted his modern style until 1933 Tschichold modern idea were viewed as corrupted and degenerate which Nazis feared his new radical typography and sent him a concentration camp. with all of his career and legacy Tschichold went through two major style transform his modern style was based on all san serif in texts with asymmetrical alignments and when he immigrated or moved to Switzerland he denounced his previous style completely and changed his serif typefaces with center alignments in which he published several books explaining his classical style of graphic design. Tschichold understood that types fundamental purpose is to communicate however that great design plays an essential role in that communication.

Karl Gerstner was a European artist that design through visual and writing . he believe one design should be define through precision and logic .Karl explores art physically sumptuously also with formal clarity he also wrote a book about historical philosophical and psychological aspect of color in a series of essays showing examples from Aristotle to Andreas Peyser from Gautier to max lusha and showing how it apply to his own work design of color.

Josef Muller Brockman was a swiss graphic designer and teacher. he studied architecture, design and history of art at both the university and kunstgewerbeschule in Zurich . in 1963 he establishing his own Zurich studio specializing in graphics exhibition design and photography By the 1950s he was established as the leading practitioner and theorist of the swiss style , which sought a universal graphic expression through a grid based design purged of extra neous illustration and subjective feeling. he was a modern typographer that develop the grid in graphic design introducing from Europe first than north America. by 1958 – 1965 he started spreading his ideas publishing books and magazines. he continue teaching by inspiring a lot of designers until he passed away in 1996 when left a a final speech message stating that design show be shown as a surface meaning a grid , a knowledge of the rules that govern legibility .

Beatrice Warde believed printing to be a method of sending messages to people. In her articles, she talks about a comparison between two goblets, one that is made of solid gold and decorated in gems while the other is transparent, shaped like a wine glass. Beatrice use a similarities of printing to drinking wine in a glass cup in which she finds that wine should be observed by everyone who drinks it.

Gyorgy Kepes believed That art was like a machine and should be observed as a master piece through visually dynamic quality. He also stated Values of art is directives for a satisfactory human life”, Gryorgy Quoted It is only when an artwork has a type of value is it cherished by the modern world. Visual signs are effective when they show a connection between the atmosphere, the figure and the correlation between each other.

Coming to a conclusion Warde and Kepes present the same ideas that designs should be created with intended purpose which is quite interesting. however keapes to show more of an aspect when looking to traditional modern paintings , photos and designs while warde believes printing conveys one thought process of people ideas images, from one mind to other minds in other words having a person visualizing there on thought and creative minds when designing art from the inside our brain to outside of your especially from designing in typography etc

The role they imagined technology would play in shaping the futures would be that the tech was very helpful. Filippo Tommaso Marinetti founded the idea of futurism. He believed that tearing down the norms of typical design and reinstating a new design while Aleksandr Rodchenko seems to take a more analytical approach to things when he says, “We processed the human being As We organize technology and cause an impact through our lives. Rodchenko’s manifesto, it seems as though he wants art to serve a purpose and be useful to society. while El Lissitzky focused on communication. Lissitzky anticipated the growth and adaptation of communication. they overall see the impact of technology of how it impact and effect human society through communication and technology which cause them to have a pessimistic impact of the world of design & technology.