While our readings for next are similar to those of the past couple of weeks, the written portion will be the first of the two longer responses to be completed during the semester.
The readings are as follows:
Beatrice Warde, The Crystal Goblet, or Why Printing Should be Invisible (1930): Warde_CrystalGoblet
A selection from György Kepes’ Language of Vision: Painting, Photography, Advertising-Design: Kepes_Language_of_Vision_exc
Requirements for the written portion are included below. Note that you do not need to address this week’s texts in the paper if they are not directly relevant to your topic, but you must be prepared to discuss them in class on the 3rd.
Select a design or design object created after 1969 in which the influence of the theories considered thus far can be seen. Begin with a brief description of the object, the designer who created it, and the historical circumstances under which it was made. Considering these factors, examine the ways in which the creator was responding, directly or indirectly, to theories related to linguistics or semiology, avant-garde art movements or Gestalt psychology (ie. any of the ideas that we’ve covered). Discuss the manner in which the design you’ve chosen embodies these theories. Provide direct references to relevant passages from our readings. Locate additional writings using library resources to substantiate your comparisons.
Your goal is ultimately to provide a critical examination, not an account of historical details.
This response will be a 750-1000 word typewritten paper, double-spaced in 12 pt. Times New Roman, printed and submitted at the start of class on the 3rd. Include images of the work under consideration and any other relevant illustrations. Cite all materials researched for historical context, any related writings, and image sources. All sources, references and quotations should be cited in MLA format.
I was kinda confused why the article about typography is related to art.
Then I realized that they didn’t distinguish themselves yet from an artist. They tried to create art that would communicate with everyone. “…analysis of the creative process” . “Only an apparent unity can be achieved if many helpers carry out the designs of a single person”. Even emotions in an artwork should be logically selected.
The logical approach to typography made huge impact. Approach that typography is not self expression made reading experience better.
Also very important the study of combining a photo with type for the best way to communicate with viewer.
The artists were very exited about the Technological progress.
Futurism was very passionate about changes (very dramatic reading). They believed that the art of the past has to be destroyed. Ultimate desire for changes and something new. Absolutely no sense of nostalgia, which is hard to imagine today. A lot of graphic design trends these days are inspired by works from the past.
Lizitsly doesn’t embrace artists of the past, when talking about history of art. He was talking that when the idea exhausted itself, the new Wave of Art starts.
And Constructivism was all about WE. Design was created without the idea of individuality.
I feel like politics shaped graphic design like nothing else.
In comparison to the art forms of the present day, there is a conspicuous lack of “key elements” in art of the past. With the advancement of technology, as time ushered in a myriad of new expression styles and techniques, this stark contrast between ‘past’ and ‘present’ was inevitable. Architects/designers/artists, László Moholy-Nagy, Herbert Bayer and Walter Gropius are all Bauhaus affiliates with a perspective on the effect of time and preserving ideas for the future of design.
Herbert Bayer for instance, had an outlook on typography suggesting it to be a service art and not a fine art. However pure and elemental that discipline may have been, it was a service art. Bayer also goes on to address the notion that, the present day designer feels as though the typographic means as of late, have been exhausted. An idea of Bayer’s that holds impact to this day is “universal communication”.
1. The people of today are lacking the love for the past. “With nostalgia we hear of times when literate people had knowledge, respect and understanding of the subject. Common man today has no opinion at all in such matters… typesetter, original typographer, as well as the printer, has lost this culture.” This quote explains that back then people were passionate to consume the knowledge of typography. They were able to understand the idea, the process and much more about type. Whereas today, man has set aside the fact that type is relevant in our lives. All of these beautiful machineries that was created for us is losing their importance within history. All because we lack passion for the past.
2. When making art in the future, it is necessary to understand that technology is advancing every day and us as designers need to keep up with what is new. In Laszlo Moholy-Nagy “Typophoto” it states “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.” Everything is going to influence something or someone and that something or someone is going to make it even better for others to improve after that.
3. According to Walter Gropius artist have been misled in thinking that art could be mastered by study. I agree with him in the sense that not everyone is made to be an artist. It starts from within and works its way through your brain, through your bones, through your finger and to the tip of your material. Within “the academy” they teach them about the past and what has been done already. This still happens today where the idea of art history is scheduled for students to understand what they are getting into.
When people think of going to school they usually think of being taught the skills that they’ll need to function and thrive in the real world but that’s the traditional way of doing education. One of the major differences that we as design students face is that we are taught not just skills and fundamentals for creating good design but are also taught that we should break the rules to create these designs. This however conflicts with traditional education because we are also taught that we should always follow “the academy” as stated in “Walter Gropius; The Theory and Organization of the Bauhaus (1923)
“But lately the artist has been mislead but the fatal and arrogant fallacy, fostered by the state that art is a profession which can be mastered by study.Schooling alone can never produce art!”
This is still as relevant today in the year 2020 as it was back in the year of 1923 there are some classes that feel like grades matter more then the art itself, the issue with this is that art is not something that should be standardized it should be an expression unique to the artist. That is what creates new groundbreaking work in out modern age creating based on new unique ideas and not just following premade conventions that have been done multiple times with no variations.
Bauhaus is a general term used by Germans to define art and all its aspects combined. It is a term used to refer to a school of art introduced in the early years in Germany.
The Bauhaus was founded by Walter Gropius whose main focus was on working in collaboration with schoolwork and the industries for efficient output. He argues that in his era art was a deficit of true beauty. He believed that every design in art needs to be approached comprehensively by analyzing the problems that need to be addressed fully. According to Laszlo Moholy-Nagy technology is one of the vital tools for art improvement in the future. Technology is an asset that can be adopted for the storage and preservation of art for a long duration of time. Photography, films and book designs are some of the tools that Laszlo used. The use of typography introduced by Herbert is another way of making and improving art in the future due to its appealing nature to people.
Education or the academy as stated by Walter is a discipline to teach artists that art is acquired as a result of much practice and deep understanding of passion and willingness of a person. It also teaches artists that art improvement goes by with time as one gets more experienced. At the start, the art may not be at a quality level but with progression, the qualities improve. However, this has been corrupted by saying that art is a profession acquired through study and not practice as Walter says.
In the modern century technology seems to be taking better in art and design. It has been highly appreciated in the art industry due to modern technological advances in the whole universe. It helps in sharing ideas and information to produce newly designed objects in the market.
The introduction of Bauhaus was important in the development of the art industry that is important to date. It is a sector that is beneficial to many people in the modern world bearing in mind the technological advances to use in improving art.
in one of the article it talks about the artist who want to change colors with technology and art together. in the another article it talks about how to change typography I think typography do not matter so why change how the letters looks. also in one of the article it of how MR WALTER Gropius is helping students to become better desingers at the Bauhaus.
From the readings, I learned that the old art lacked many unique characteristics that might differentiate from contemporary art through time and space. Also, I learned that many years before, artists didn’t use their total potential in order to create art. Bayer thought that traditional art didn’t contain the aesthetical approach of print media and mass production because of they were not able to use machines and special tools of copying and typewriting. Gropius talks about how artists are in a state of isolation in the world. Gropius shows that past art typography was not preserved, since a Bauhaus aesthetic idea of the theoretical approach was not practiced. Moholly-Nagy also shows past art lacked technology in photographic effects and in the purity of linear effects as there were no typesetting or printing machines.
Art needs to show what every artist can do in the future and the academy should teach the artist about their field due to the changing world of art. Bayer thought that typography doesn’t need to be simple but something different. With this he says that for the future, artists need to try to use something different that not only helps the new artist and the future artist. The future of art should come from a school in which you get more and more knowledge from teachers who already study what is art. Gropius argues that artists have to see the outside world, so the artist can be able to grasp the meaning of art. For Gropius is getting more experiences as well as making an exploration of what’s out there. Moholy-Nagy used art differently by combining type and photo into what is called typophoto. This is where the artist is using both two methods of art into one. All three articles talk about creativity, experience, knowledge and the combination of all of them, where these are what the future of art needs. Nagy views of typography, shows that in the future, every printing press would have to possess a block-making plant since it is from photomechanical processes. Art will help to continue preserving the history for future generations and modern society to understand the changes that are happening globally. Art in the future will preserve people’s cultures that will be important for studying history.
In the 21st century, the idea that is still used for art is typography. The reason why typography is important is because it creates a message and attracts people’s attention. Making a pretty design helps but it is not enough, it needs to put a meaning into it. Typography is important when designers want to create logos for companies such as museums, and others. Behind typography, there are a lot of typefaces that can be used on designs, it will implement both or just or more.
The philosophy of the Bauhaus focuses on the needs of people rather than the artistry of the product itself. All craftsmanship aesthetics must keep up with the pace of mechanized mass production. The Bauhaus existed for only 14 years from 1919 to 1933, but the influence of the Bauhaus on the world as a thought and style continues to this day.
The most important “heritage” left by the Bauhaus are the following: First, the Bauhaus has formed a modern design art education plane, which advocates the combination of teaching and practice, The combination of teaching and production has established a set of scientific design art teaching methods and systems, laying the foundation for modern design art education. Second, it emphasizes the social responsibility of design. The motive and purpose of design should serve the public. Third, clarify the definition of design, emphasize the scientific nature of design, distinguish it from art, and establish a design system centered on concepts and problem-solving.
The Bauhaus design style is almost ubiquitous and has profoundly influenced our lives. Such as IKEA furniture, What we can see every day, from plastic lunch boxes, men’s and women’s bathroom signs, and even small speakers, are the products of the Bauhaus movement in the early 20th century, even all of Apple products, mobile phones, computers, iPad, are filled with feelings of Bauhaus.