History of Graphic Design

Sunday, December 11, 2011

Module 11 - Final Project

Reflections

“If you can sustain your interest in what you’re doing (throughout your life) you’re a very luck person… I’m still astonished…things still amaze me, and I think that’s a great benefit of being in the arts where the possibility for learning never disappears, where you basically have to admit you never learn it.” - Milton Glaser

I came upon these inspiring words while researching Milton Glaser, a hugely respected Graphic Design pioneer and icon, with a prolific career spanning over 50 years to back him up. What strikes me about these words is the inspiration for all of us to never allow ourselves to stagnate – to think we know everything we need to know, and become complacent with the world. This overarching lesson is one I take to heart, and have surely experienced from taking The History of Graphic Design.

At times, the extensive amount of reading, supplemental lectures, writing, observing and critical thinking exercises, seemed overwhelming. However, I chose not to be daunted. I’ve realized through the years that the classes, work, whatever project you delve into the most, are the ones you gain the deepest understanding and appreciation of, and are those things you carry with you and draw upon the rest of your life.

I’ve taken art and some design classes in the past, but never an art history class. I realize now, after taking The History of Graphic Design, that I was most certainly at a disadvantage. My work was strictly based on intuition, and lacked depth, and creativity. Now that I’ve taken the class, I understand why my work was stunted: I was missing the visual vocabulary and historical foundation learned in this class. I clearly remember a design exercise from a class I took. Looking back now, it was very reminiscent of Constructivism. I recall the teacher getting very frustrated with all of us because we were not producing the work he expected. Then, it was difficult for me to understand the concept, but if given the project now, with the knowledge I have of Constructivism, the lesson would have meaning to me, probably resulting in a richer product. This knowledge motivates me to continue learning about design. I’m excited to apply what I’ve learned, experiment, and observe the results.

Il Lissitsky, Contructivism

Like travelling to a different country, the experience of learning adds something vibrant to your life. The experience changes you, and no one can take that away. This is how I feel after taking this class. I no longer look at art the same way; in a sense, I’ve become more attentive to what I see. I now ask myself why do I like that piece? Does it communicate clearly? What, if any, historical design influences were used? What visual design elements are used? How are they used? Do they work well together? What would improve the design? Is the solution unique, or have I seen the problem solved that way before?

Milton Glaser

Inflluences: Arts and Crafts, Art Nouveau, Japanese Woodblock

A curiosity for learning more about other artists and influential design movements has also crept into my life. While researching topics for the weekly field journals, the flexibility of the Internet allowed me to venture off into other directions. So much so, that often times I found it hard to narrow my choices for that week. For instance, Milton Glaser I found to be a fascinating, wholly inspiring person. Further wandering on the Internet led me to the works of artists such as the Thonik Group, Phillipe Apeloig, Nancy Skolos-Wedell, and others – the information seems boundless.

Thonik

Phillipe Apeloig

Nancy Skolos-Wedell

After taking this class, I’m also more attuned to the political, social, economic and technological forces that influence visual design today, and how they may affect visual communication in the future. These factors cause change, and are part of life, as we’ve seen in this class. Graphic design is part of that dynamic. A contemporary example of this involvement is the STEM to STEAM project, led by the State of New Jersey, the Rhode Island School of Design (the school president is John Maeda), educators, business and technology. National support for the project is also gaining momentum. For those not familiar with STEM, it is an acronym for Science, Technology, Engineering, and Mathematics. Promoters of the project have evidence that supports the beneficial inclusion of Art in STEM. From this addition STEM becomes STEAM, which drives innovation for the future. Art is proven to stimulate creative thinking in humans that the other disciplines cannot. If you’re interested in finding out more, please visit www.stemtosteam.org.

John Maeda (President RISD) with business, government leaders

STEM to STEAM forum

A side benefit of taking this class has been the exciting exchange of ideas brought to my discussions with family and friends. The information has been so interesting to me that I want to share it, discuss it – pass it along. My newly-found creative use of type and image in text messages may sometimes get a “ugh”, but believe it or not, discussions about what is an ideograph, what the invention of printing meant to people, how did modern art begin, the impact of the industrial revolution, how wartime influenced art, and the influence design has on social movements, have inspired enriching conversation.

Finally, I must say that the information presented by class members in their weekly field journals help to expand my learning. An online class could have a tendency to leave you with only your perspectives and ideas, but with the field journals, that potential learning gap is filled. I enjoyed hearing about what other class members learned from the modules, and about their interests. Their unique observations, and perspectives helped to enrich my learning experience.

Thank You!

Baskerville font ;)

The following pages of my blog serve to illustrate a progressive journey through graphic design history. The blog is published in descending order with the most recent journal appearing first. Titles include: Does Culture Influence Alphabet Design and Function?; Seventeenth Century Graphic Design Innovation?; Arts and Crafts Movement in the Digital Age; Periodicals of the Art Nouveau Movement; Modernism in American Graphic Design; A Modern Day Corporate Identity Solution; Corporate Identity Program – Flextronics; and Graphic Design and Public Service.

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Sources:

YouTube: Milton Glaser. http://www.youtube.com/watch?v=b0VPVbFY4Kg

New York Times, Sunday Review. Sunday, December 11, 2011, page 2,

www.MOMA.com

artdeco.blogspot.com

www.thonik.com

www.apeloig.com

www.skolos-wedell.com

YouTube: STEM to STEAM forum with RISD in Washington, 6-22-11. http://www.youtube.com/watch?v=yXgC5rGev-k

Tuesday, December 6, 2011

Module10 - Field Journal

Graphic Design and Public Service

I loved this module! The audacity of new designers to challenge the status quo, Bauhaus and the International Typographic Style, was so refreshing. The concept based, more intuitive new designs are so much more relatable and exciting. Although very legible, and easy to understand, the International Typographic Style was too rigid for personal design expression, and lacked excitement.

I also enjoyed seeing past design and vocabulary we’ve studied blended with contemporary approaches. Why not draw on the wealth of graphic design history for inspiration.

Beyond the information presented in Chapter 23, I’m wowed by how digital technologies, and the Internet have pushed the visual communications world well beyond that experienced by the Guttenberg phenomenon. A global world of information is available to us, more than I think we can even comprehend. Now, we just have to harness that information, and organize it so that it helps people explore information in an active, meaningful way – and with digital technologies we can. No longer are graphic designers resigned to fixed, linear communication. The digital tools available to us allow for active, information- seeking experiences, aided by the continual exploration of digital media.

WITH THAT SAID, what really struck my interest about this and other modules, is the work that promotes social causes. Graphic design to promote business is necessary so we have a thriving economy, but the designs that viscerally affected me were the posters promoting causes. In that vain, I decided to research work done by the Ad Council. Perhaps all of you are aware of this non-profit organization. If not, here is an explanation of what it does:

Effecting Positive Social Change

The Ad Council has endeavored to improve the lives of all Americans since first creating the category of public service advertising in 1942. From our earliest efforts including "Loose Lips Sink Ships" to the more recent "I am an American," Ad Council PSAs have been raising awareness, inspiring action and saving lives for more than 70 years.

Based on our long history of effecting positive change, it's fair to say that Ad Council campaigns have inspired several generations of Americans. Our ultimate goal is to ensure that future generations will reap the benefits of our efforts to date, and continue to be inspired by our public service campaigns in the future.

Primary Activities
The Ad Council is a private, non-profit organization that marshals volunteer talent from the advertising and communications industries, the facilities of the media, and the resources of the business and non-profit communities to deliver critical messages to the American public. The Ad Council produces, distributes and promotes thousands of public service campaigns on behalf of non-profit organizations and government agencies in issue areas such as improving the quality of life for children, preventative health, education, community well being, environmental preservation and strengthening families.

Some people might feel that this is a way for advertising to "make up" for its commercial nature, (creating need in the marketplace), and in a sense it may be. However, I like to think it demonstrates the human need to help others by using their talents – in this case the talents of communications people, including graphic designers.

A visit to the Ad Council website, (referenced above) as well as their Facebook page is terrifically inspiring. The design quality of the work is noteworthy. Here are some examples I found on their website, and Facebook page:

I like this billboard for Feeding America. The drive-by nature of a billboard requires quick interpretation by the reader. The type used evokes a "school-like" impression, and the bell symbol, and inclusion of children in the piece helps communicate the message quickly and clearly.

This is a sidewalk marquee found in Detroit. Specifically aimed at Fathers, the concept of fathers spending time with their children is cleverly, and succinctly communicated using a simple clock form (circle with lines for arms) and activity icons for the hours.

Another drive-by communications challenge executed with a single element. I think the goggles shout "EXERCISE!". The message could be for us all, but is aimed at people with arthritis, (for the Arthritis Foundation).

This bus stop poster was created by Shepard Farley, creator of the Obama posters, (featured on Time magazine's "Person of the Year" cover. His use of limited flat planes of color are modernist in nature, and the limited color palette reminds me of the colors used in Russian Constructivism. The Obama poster was originally silk screened, and this poster has that feel as well. I find the design to be very direct and eye catching.

Here is another Ad Council project taken from the designer, Bret Middleton:

Print ad, billboard and augmented reality piece created and entered into the 2009 AdCouncil Ad Futures Competition. The charge was creating awareness about digital abuse. The piece placed 2nd in the competition and ran in the New York Times, on streets through New York and on ThatsNotCool.com.

The use of a character composed of type is ingenious. It works to communicate the violence that digital bullying can impose on someone, and its potential for use in print and the web, (movement) is very clever. I find the visual elements conceptual and communicative.

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Sources:

http://staging.adcouncil.org

Facebook.com - Ad Council

http://www.brettmiddleton.info/22781/work

Tuesday, November 29, 2011

Module 9 - Field Journal

Corporate Identity Program – Flextronics

Note: Although my Module 8 Field Journal also dealt with a corporate identity case, I want to share information on another identity program, which I was unable to complete before the last module deadline.

Yesterday I was fortunate to interview Catherine Blades, Chief Marketing Officer for Flextronics. Flextronics, headquartered in Milpitas, California, is a $30 billion, global manufacturing company, employing 260,00 people, and operating in 40 different countries. Catherine recently launched the first and second phases of a new corporate identity program for Flextronics. The following is information Catherine shared with me about the process she experienced in developing, and implementing the program.

Background

When Flextronics hired Catherine Blades in February 2011, the company had 180 different logos in use around the world, and no corporate identity program. After performing thorough external marketing research, it became apparent that Flextronics’ image was “watered down” in the marketplace – Flextronics customers, the financial market and in the media. Creating a corporate identity program became a clear priority for Catherine, the benefits of which she was able to communicate to senior management. All design work was done in-house.

Objective

Create and implement a comprehensive, visual identity program for Flextronics that will give the company a solid, unified presence in (1) the external market – customers, financial market and media, and (2) internal market – internal communications.

Brand Identity

Flextronics is -

1. State-of-the-art technology – cheaper and smarter production

2. Financially strong

3. Has a strong workforce

4. Practices sustainability

Corporate Identity Architecture

1. A “parent logo” was created to unify identity

2. 16 sub-logos were created to identify each business within the company

3. Each of the sixteen sub-logos was divided into the four brand identity categories

4. A Style Guide was created giving clear direction on rules to follow when creating company visual pieces, from embroidery on baseball caps, to requisition templates, to print advertising.

5. A website is in development.

Design Considerations

1. Logo design – an emphasis on the “X”, (three dimensional implied by cut-out “X”) was made to allow for flexibility of use, and the bold, san-serif Flextronics font (created for Flextronics) expresses the strong technology and financial position of the company.

2. Different paper sizes outside the United States – a consideration when designing universal templates and other printed materials.

3. Color – Flextronics Blue, PMS 289 U, and Flextronics Grey, PMS Cool Grey 9 U, is the primary color palette used to unify identity, with a limited palette of secondary colors for sub-categories.

Launch Strategy

1. External identity program launched first.

2. Internal program was soft launched (test market) in three different corporate locations in order to work out problems.

3. Internal program was fully launched using an 11 minute video explaining the new program to all employees.

4. The marketing team was available to handle employee questions and concerns about the program.

Challenges

1. Although senior management supported the new program, other employee levels had a difficult time accepting the changes. They had a hard time understanding the benefits of the program.

2. The comprehensive nature and international scope of the program required a vast amount of considerations, and great attention to detail.

Monday, November 21, 2011

Module 8 - Field Journal

A Modern Day Corporate Identity Solution

After learning about corporate identity and visual systems this week, I chose to investigate a more recent example, and find out, from a designer’s perspective, how a solution was developed. I came across a corporate identity case study that involved the rebranding of the Martha Stewart Collection. Unlike the Olivetti, CBS and New Haven Railroad examples, the Martha Stewart Collection had an established corporate identity program. However, because of legal troubles involving its figurehead Martha Stewart, a failed television program and subsequent business losses, the company decided to reinvigorate the corporation by creating a new visual corporate identity.

Stephen Doyle, of Doyle Partners (New York) was hired for the assignment. Excerpts taken from an online AIGA article entitled, “Case Study: Rebranding Martha Stewart” (www.aiga.org/case-study-rebranding-martha-stewart/) outline the strategy, and considerations he used when creating the new design:

1. Examine the brand value statement – Doyle says that the “brand value statement is a very helpful guide for shaping a new identity…We paid close attention to whether or not our design was an actual embodiment and visualization of some of the words of the statement.”

Original brand value statement: The handmade, the homemade, the artful, the innovative, the practical, the contemporary, and the beautiful

We are not just about lifestyle, but about essential tools for modern living. Not just about the how-to, but about the why-to. We aim to inspire the creativity that can transform homemaking into domestic arts, or a simple dinner into an occasion-filling our lives with a little more quality, a little more permanence, a little more lasting beauty. We are not just a company, but a laboratory for ideas and a community celebrating the art of the everyday.

2. Words embodied in the visual design – these were taken from the brand value statement, “…the handmade… the homemade…the beautiful…more quality…more permanence…more lasting beauty.”

3. Developing the logo: “Martha Stewart” or “MarthaStewart” ? Should there be a space between “Martha” and “Stewart”? Some of the staff believed the lack of a space could help transform the person’s name into a corporation.

How would the one word read in press releases and newspapers?

Most importantly, how did the consumer see the subject – as the woman or the corporation?

4. Aura of a name – a name “can nurture tremendous power”. Doyle believed that the words “Martha Stewart” carried a lot of emotional weight and that adding anything to the them as part of the logo design would diminish its effectiveness.

5. Creating a distinctive and proprietary way to present the words – Doyle started with the words making a “circle” shape, symbolizing a homemade wreath. He later called the symbol a “coin” shape, symbolizing “quality, permanence, and lasting beauty…subtly suggesting that this company was valuable, dependable, and bankable.”

6. Graphic design elements – Doyle started with the letterforms of Trajan, but settled on a version of Optima. The advantages of Optima:

Letters could be reproduced in miniscule applications, (buttons or tacks).

Letters would maintain handsomeness when shown carved or embossed.

Letterforms were drawn repeatedly to grow away from rigidity, adding a handmade, homemade and artful quality to the letterforms.

Reasons for selecting aqua blue as part of the corporate identity, an integral part of the program, is not mentioned in the article.

Logo ideas during development:

Here are before and after images of the Martha Stewart Collection logo. It is used on everything involving the company, from photo album punches to the corporation’s website, www.marthastewart.com.:

New logo in use:

Website

Lighting Products

Rug Products

On book spines

Was the new visual corporate identity successful? Criticism varies. Here are a few:

Positive - "To a certain extent, when I experienced the brand while shopping, the blue/green colors take an equally weighted role in establishing Martha's new brand -- in partnership with the type treatment circular logo. The clean design aesthetic of the collection's consumer items is open-ended, simplistic design at its best, and really lets the packaging color take the brand the step further that it needed beyond the logo."

Negative - "I disagree with this design as the lettering is too close and the ability of the human mind to word play could find displeasing words in this circle it needs to be more clear at first clance leaving an imprent more recognisably"

My impression of the design is that it's "ok". The letterforms are contemporary, well spaced. The round shape to me represents the "world" of the corporation's products, and the color is clean and beautiful. However, I think the circle could cause viewers to see other words in the logo. Perhaps a sybol using the initials "M" and "S" would have worked better to convey the "MarthaStewart" name as a corporation.

For those interested, I also discovered a very informative graphic design article that details the design strategy, or identity architecture for a brand extension, (different products within a brand). The article written by Rob Wallace, titled, "Blood, Sweat and Tiers: Building Optimal Brand Identity Architectures" is also located on the AIGA website, (hhtp://www.aiga.org/blood-sweat-and-tiers-building-optimal-brand-identity-arch/). It describes a design formula using hierarchy of color, shapes, numbers and words in developing the architecture. I found it to be very informative, and potentially useful for future design projects.

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Sources:

www.underconsideration/martha_stewart_circling.php

www.underconsideration.com:

Tuesday, November 15, 2011

Module 7 - Field Journal

Modernism in American Graphic Design

After reading this week about the European immigration of graphic designers during the 1920’s and 30’s, I couldn’t help but think about how lucky we are as a country to experience the talents, passion, hard work, and ingenuity that immigrants have contributed to the United States.

In the context of this class, the contributions of European modernism to 20^th century graphic design were enormous. I’d like to focus on two modernist editorial design pioneers, Lazlo Maholy-Nagy and Alexey Brodovitch by comparing work by the designers (on the left) with present day examples from the November 2011 issues of Harper’s Bazaar and Vogue magazines, (on the right).*

Lazlo Maholy-Nagy:

Multiple exposure/motion (photography)

Texture (photography)

Integration of type and shape

Alexey Brodovitch:

Affinity for white space and sharp type on clean open page

Contrast (photography)

Photo enlargement and cropping

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Sources:

Maholoy-Nagy image credits:
Mobile still/in motion - terminartors.com
Oskar Schmlemmer, Asconia, 1937 - chagalov.tumblr.com
Typophoto - rici-art.com

Brodovitch image credits:
White space and sharp type - arterritory.com
Contrast layout - benseary.blogspot.com
Girl in Hat - katydwyerdesign.com

Tuesday, November 8, 2011

Module 6 - Field Journal

Il Lissitscky

After reading about Il Lissitsky (1890-1941), I wanted to know more about this graphic design visionary and his work, and how it is seen in design today. I decided to research the transformation of his work as he was exposed to, experimented with, and synthesized his work with artists of the western European Dada and De Stijl movements.

As noted in the textbook, the Constructionists renounced art for arts sake, and were intent on devoting themselves to art that served the new Communist society; a move from laboratory to practical application. Lissitsky took this idea further, and according to Meggs' History of Graphic Design, states he believed that ,”the artist/designer…would forge a unity between art and technology by constructing a new world of objects to provide mankind with a richer society and environment”.

Lissitsky’s dedication to these ideals led him to become a “conduit” between western European and Russian art movements. He lectured, disseminated new art trends through international periodicals such as Veshch (written in Russian, French and German), collaborated and studied with Dadaist and De Stijl artists, and made frequent visits to the Bauhaus. By doing all of this work, Lissitsky unified the new art movements into an international collective.

There are three stages I chose to focus on while developing a transformational timeline of Lissitsky’s work. The first is from his early days when he developed his architectural background, up until 1919. The second phase is during his directorship of the graphic workshop at the Vitebsk Art Institute (1919 - Unknown) where he met Malevich and developed his PROUNS style, (projects for the establishment, or affirmation, of new art). And, a third stage takes place during the early to late 1920’s when he travelled to Germany and the Netherlands, collaborated with Dada and De Stijl artists, and participated in a range of experimentation.

First Stage (up to 1919)

Solntse na izlete. Vtoraia kniga stikhov, 1913-1916

1916. Cover with letterpress illustration on front

U rek vavilonskikh. Natsional'no-evreiskaia lirika v mirovoi poezi

1917. Cover with letterpress illustration on front

Sikhes kholin. Prager legende

1917. Overall design; cover with letterpress illustration on front

Second Stage (1919 – Unknown)

Untitled from Proun

(1919-23). One lithograph with collage additions

from a portfolio of six lithographs, two with collage additions, composition

Neuer (New Man) from Figurinen, die Plastische Gestaltung der elektro-mechanischen Schau "Sieg über die Sonne" (Figurines: The Three-Dimensional Design of the Electro-Mechanical Show "Victory over the Sun")

(1920-21, published 1923). One from a portfolio of ten lithographs, composition