Bézier Curves and Beyond!

From someone who has studied engineering in school and likes to think mathematically, I was fascinated by how mathematics can be applied to graphics design when reading about Bézier Curves in Chapter 24 of Megg's History of Graphic Design. Meggs discusses Bézier Curves on page 531 of her textbook. She mentions that "Type characters are generated as outlines that are then filled in as solid forms. The curved lines of the characters are formed of Bézier spines." I think this is a very great lead-in for the last chapter of the text called "The Digital Revolution--and Beyond." The use of technology, science, and mathematics have made graphical design so much more scalable, robust, and far-reaching into newer areas and techniques.

I do wish that Meggs had spent more time in this chapter discussing how technological advancements and science have influenced graphic designs and go deeper into how some of this technology works. But I assume that there is so much to discuss in this chapter, that she may have been unable to do so.

Before I started to write this blog post, I flipped through the entire chapter and looked at all the examples of graphic design in the pictures and the trend I see is how technology and computers were really the necessary component that allowed for the ability to make the designs in the chapter. Technology has indeed led to an explosion of new fonts, techniques, and ultimately creative design. The application of Bézier Curves is one example of technology that I will discuss to demonstrate how it has transformed the graphic design industry and allowed for artists to stretch their capabilities in design.

We never really appreciate the technology behind many of the graphic design works that are produced today. For example, the mathematical concepts behind how fonts are made. What a vector graphic actually is? How does Adobe Illustrator and PostScript technology work? I'm happy that this chapter marries technology and math with art and have gained a better appreciation over the science that goes into graphic designs.

Bezier Curve. Source: https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcS0J2byotNkFeIZ4iRo0rpELQtkHwighYL950dHqTpFHxu5qWV6CA

Bézier Curves are named after the French mathematician Piere Bézier who, in 1962, actually patented and widely popularized but did not invent this mathematic principle (http://en.wikipedia.org/wiki/Pierre_B%C3%A9zier). Bézier studied and used these in his work when designing automobile bodies, but he took them from the mathematician Paul de Casteljau using de Casteljau's algorithm.

Piere Bezier. Source: http://www.vonglitschka.com/images/pierre_bezier.jpg

A Bézier curve is a parametric curve. It is frequently used in computer graphics and related fields and has been a foundation for vector graphics used in computer software for designers. Bézier curves are used to create "Paths"for these image manipulation programs, working as combinations of Bézier curves that are linked together. We also see the application of Bézier curves in animation. By adding a time component, it can be used as a useful tool to control motion.

I can go very deep into the mathematical theories and principles of Bézier curves. But it may be too technical for the purposes of this blog. Just to give you some taste of the mathematics for my personal gratification, I'll show you the mathematical function for linear Bézier curves, or a straight line, where P₀ and P₁ represents the start and end point of the line:

While a quadratic Bézier curve, or parabolic curve, is represented by the following function:

Cubic Bezier Curve. Source: http://upload.wikimedia.org/wikipedia/commons/thumb/d/d0/Bezier_curve.svg/300px-Bezier_curve.svg.png

So what are the applications of Bézier Curves we see today in graphics design? We see it as the standard curve of PostScript languages as vector programs that industry designers use today. Anyone who has worked in Adobe Illustrator, CorelDRAW and Inkscape have been using Bézier Curves. In fact, most outline fonts, as discussed in chapter 24 of Megg's History of Graphic Design are TrueType and PostScript Type 1 fonts that have been developed using Bézier curves. Even business application use it. The "smooth curve" feature of charts in Microsoft Excel also uses the Bézier Curves algorithm.

Use of Bezier curves to construct type. Source: https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcTiziyPZNyoWd3YH0APe6P6j7GU6PchPKU-Z0rGR0xJhfJ-MsCW

Bezier curves are the foundation of vector graphic design programs. Source: https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcTXJbXBHmnz3m4CzxNT0anxGOkt-i5bnDCuUN7fjZ8xgbg27uNMbg

From cave petroglyths to computer-aided technology in graphics design, we've come a long way throughout the history of the world! I now feel I've gained a comprehensive study of graphics design throughout the development of man. What is the next stage in graphics design? 3-D, realistic imagery? Images sent directly in our brain without the use of any medium such as paper, photographs, or posters? Maybe in another 100-200 years, students who will be studying the history of graphic designs would be blogging about this new advanced technology like I'm doing today.

What is the future of graphic design? Source: https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcRm60avLbVKRK_GT2o6dtlyrrD0rGNjtHkO7gi9Ly5SBUIPqww2lQ

Sources:

Meggs and Purvis. "History of Graphic Design." 5th edition. John Wiley & Sons, Inc. 2012.
http://en.wikipedia.org/wiki/B%C3%A9zier_curve
http://en.wikipedia.org/wiki/Pierre_B%C3%A9zier
http://graphicssoft.about.com/od/glossary/l/blbezier.htm

Who is Che?

I've often seen this iconic picture of a long and wavy haired man wearing a beret and sporting a beard looking intently towards the left. I've seen his portrait on stickers, posters, t-shirts, and even in modern art museums. I've seen him everywhere, but I never knew who this man was until reading this latest module in the History of Graphics Design course. In this blog post, I will discuss the iconographic image of Che Guevara and its impact it has have on graphic design, iconography, marketing, and popular culture.

Elena Serrano, "Day of the Heroic Guerilla," source: http://t1.gstatic.com/images?q=tbn:ANd9GcRNjGbZeQsFpeAVRmBqwRQKcdo9Qjob4cY1Y2ANY76yv9O3AMiEuztem93H9Q

Ernesto Guevara, who is often referred to as simply "Che", was an Argentine Marxist revolutionary, physician, author, guerrilla leader, diplomat, and military theorist.  He is extremely well-known in Cuba as a hero of the Cuban Revolution and his figure and image is found all over Cuba to this day. More so,  his stylized visage has become universal. It is used as a countercultural symbol of rebellion and global insignia that we often find in popular culture and iconic imagery.

Alberto Korda was the photographer that captured this iconic picture on March 5, 1960 that we often see today. He captured it at a funeral service in Havana for victims of the La Coubre explosion. It was the perfect time to capture the picture of this 31-year old leader, as he had the right facial expression and glance towards the left, showing resolution, determination, a bit of pain, but hope in his countenance.

Korda did a great job cropping the picture and removing any unnecessary distractions. Comparing the original to the now famous iconic picture, she removed the palm tree and man and captured only the top portion of Che's body.

Original Photograph by Korda, 1960. Source: http://upload.wikimedia.org/wikipedia/commons/thumb/a/a1/Heroico1.jpg/350px-Heroico1.jpg

The iconic picture after cropping. Source: http://upload.wikimedia.org/wikipedia/commons/thumb/5/58/CheHigh.jpg/230px-CheHigh.jpg

What was produced has become one of the most iconic and reproduced pictures of the 20th century. It has become a strong visual symbol used in graphic design and modern art. I don't believe there has been many other symbols so strong or ubiquitous in recent decades. People involved in counter-culture, political protests, anti-establishment sentiments, hippie culture, or just having a rebellious agenda will use this icon to symbolize their causes. In fact, we see this not only marketed as a symbol of resistance and rebellion, but it is super common in ordinary popular culture. I think it has even become almost over-marketed, becoming sometimes common-place, losing its original meaning and intensions.  That's why I've been seeing this picture all over the place but have never understood its meaning until now! I wonder if this is the usual path of icons that become so mass-marketed and popularized that they then become a but contrite and sadly meaningless. 

What's also interesting is that we can see many reproductions and variations of this famous icon in graphic design. For example, take a look at this stylized poster by Irish artist Jim Fitzpatrick. He made this out of a paper negative on a piece of equipment called a grant in which he printed in first black, then red, and next hand-painted the yellow star on his beret. 

Fitzpatrick variation. Source: http://upload.wikimedia.org/wikipedia/en/thumb/a/a1/FitzpatrickChe.jpg/170px-FitzpatrickChe.jpg

Pop artists also took advantage of their own opportunity to stylize their own versions of this iconic photograph, creating vasts array of pop art. For example, take a look at this image looking a lot like Andy Warhol's works. This was made by Gerald Malanga in 1968.

Source: http://upload.wikimedia.org/wikipedia/en/thumb/8/89/WarholChe.jpg/200px-WarholChe.jpg

Numerous other variations were produced by graphic designers from all over the world. For example, this was produced to advertise the Tricontinental Conference in 1969:

Source: http://upload.wikimedia.org/wikipedia/commons/thumb/6/6a/CheTriContinental.jpg/160px-CheTriContinental.jpg

And it's even used in billboard ads in India:

Source: http://upload.wikimedia.org/wikipedia/commons/thumb/6/64/Sfikasaragod.jpg/220px-Sfikasaragod.jpg

And of course, take a look at the now-famous Obama Hope campaign posters that we've been seeing very recently during his campaign. Notice the similarities between the Che icon and Obama's face. The size of his portrait, his glance and countenance, the direction of his face and where he is looking, the flat and simplified colors. I'm sure the designer took inspiration from the Che poster and wanted the same results to make Obama into a political and cultural icon.

https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcSSd0ABo6WU8vCpZp1r8tO-il5dbDnmRLp87tBWRZvPbQWELwGmPg

Che's iconic image has been used everywhere. I've even read in my research that its been used on condoms. [I won't provide a visual example for you of this for decency's sake]. This just shows how much one image, then right, can have such a far-reaching impact on the world of graphic design, culture, and history.

Sources:
http://www.pslweb.org/liberationnews/news/06-10-08-ernesto-che-guevara-day-heroi.html
http://edition.cnn.com/2009/SHOWBIZ/books/05/05/argentina.che.photo/#cnnSTCVideohttp://en.wikipedia.org/wiki/Guerrillero_Heroico
http://news.bbc.co.uk/2/hi/americas/7028598.stm

http://en.wikipedia.org/wiki/Guerrillero_Heroico

Logos: Graphical Tools of Manipulation

What makes a logo so effective? I think an effective logo is one that can express the essence of the organization well and is universal and immediate. The viewer does not need to think about it or figure it  out. Once they see, they know what the organization represents. The feelings, emotions, vision, and mission of the organization is expressed in one single simple but compelling visual.

Chapter 20 of Meggs' History of Graphic Design was a very interesting read for me. It helped me understand the history of the corporate identity through the use of "visual systems." I liked how she used the quote "Good design is good business" from the 1950s to sum up what corporations were thinking during the time of mass production and consumerism that sprung up after World War II. There were so many more choices being made by consumers, as many new products were going out on store shelves, catalogues, and the market. An effective logo could compel the consumer to vote for the product through a purchase, producing much desired revenue for the corporation. All this can happen in a blink of an eye. Having an effective logo was paramount and can mean the survival of a product line and even the company itself.

Good and experienced graphic designers were therefore given very prominent statuses at companies to produce effective logos that will make "the" difference in consumer behavior and corporate branding. Many of them became famous for producing logo designs and visuals that have been etched into our minds. For example, who can't recognize Paul Rand's work, producing such prominent corporate logos for "IBM," "ABC," and "UPS."

Source: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDHPoLZNjC7C2Zr-quZzvWglNJHK6QcKuPiE7ujirpWynQB9_-bjW7sAt8Af96n8HEaX7r8XIqQminXIuthem-rlBVaNwBsQKfip76fT27ltpltiusBy5qhFOMoIItfkcCvLs5FHzAnE0/s640/Logotype+selection.jpg

Everything about these logos reflect the company. IBM's logo looks like a terminal screen with horizontal lines, reflecting the technology of the day. UPS is a shield with a package. That expresses protection for making sure the packages get delivered on time. Apple's logo does the same and that's why I think it's so effective. The logo is sleek, innovative, simple, elegant, and even sexy. And so are its products. When we look at the logo, all these attributes resonate. We don't even have to think about it. Then we connect it with its products. All in a blink of an eye. And for a long time we will make this connection. And then we keep on buying the latest iPhone, iPad, iMac and anything with an "i."

Source: http://www.musicrow.com/wp-content/uploads/2012/09/apple.jpeg

There is actually scientific evidence to back up how we respond to logos. Here is what I read in a Phycology Today article through my research on the Internet:

"Every brand comes with a set of associations," explains study co-author Gavan Fitzsimons, a professor of psychology and marketing at Duke University. "When we're exposed to logos, those associations fire automatically, activating our motivational systems and leading us to behave in ways that are consistent with the brand image"—and our preexisting drives. Over the years, all the Think Different ads we've seen have seared a link in our brains between Apple and creativity. The same goes for Disney and honesty. Unless, of course, you're a disgruntled duck. —Jay Dixit

I definitely agree there is a strong subconscience effect that logos have on us. This means that graphic designers of logos are not only artists but phycological manipulators!

A great web article I found about how logos can be used to manipulate and affect psychology was at http://www.optimus01.co.za/psychology-logo-design.html. The section from this article I found most interesting was the use of colors in logos. Humans are wired to respond differently depending on the color of the logo, and the consumer will make immediate connections when they see the color with the logo.  For example, you immediately connect the color red with Coca-Cola.

The use of colors can have dramatic undertones. For example, white conveys simplicity, cleanliness or purity, peace and innocence. Dove soap's logo has a very white background, conveying purity and the ability to make you clean!

http://www.groceryshopforfree.com/wp-content/uploads/2010/01/Dove.jpg

While orange conveys affordability, fun, youth, creativity and celebration. So is this why I always see Nike's logo in the orange color? I have a shopping bag with an orange "Swoosh" right in front of me now!

Source: http://blog.platform-mag.com/wp-content/uploads/2012/08/nike_SWOOSH_Orange1.jpg

In the case of black, it signals mystery, secrecy and tradition. Is this why Calvin Klein chose to use this color for its background on its "Man" cologne bottle?

Source: http://www.norcorp.com/Portals/60349/images//CK-Man-cologne-bottle.jpg

Blue is an easy one. It conveys power or authority, calmness, success and trustworthiness. That's why most police uniforms are blue. And we see blue in the logos of many financial corporations. Let's take a look at Cirrus' blue logo for example:

Source: https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSig05WCre6WI5516_ONykYQnHzLAy_jZgCKI6mekj1fM7wZQ8T

I wanted to see how many other financial insitutions have blue in their logo so I did a Google image search. Wow, look at all these logos with blue in it. Is this a trend I spot?

Source: https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcSEyUSofLUl3G9vXMB29qcfWF_KwAbKeaDQmMoZb11BlJNQmMzeOA

Ten out of the 12 above logos have blue in it. The only ones that don't belong to Discover. When looking at logos now, I will have a keener sense over the choices that designers make in the color, imagery, font, placement, etc. There is so much intention behind logos that make them so effective at, yes of course, manipulation!

Sources:
Meggs' History of Graphic Design
http://www.optimus01.co.za/psychology-logo-design.html
http://www.psychologytoday.com/articles/200805/logos-branded-life

New Typography's Influences on Page Design

During my studies of Chapters 16 and 17 of Meggs' History of Graphic Design, I became most intrigued by the section on the New Typography movement. I was inspired that this movement focuses so much attention on strong design principals, especially in print media and how information is conveyed. The one who started the New Typography concept was Jan Tschichold, who was inspired by the Bauhuas movement when he visited an exhibit in Weimar, Germany. He took on this new design approach, combined it with the Russian constructivist style, and developed his own new innovation that became New Typography (Meggs, 335). 

I've listed below some of the essential elements I've read about New Typography that Jan Tschichold first advocated that I thought were interesting:

• Asymmetry to "express the spirit, life, and visual sensibility of the day" (Meggs, 337)

• "Functional design by the most straightforward means" (Meggs, 337)

• Delivery of the message in the most simple and straightforward way possible without sacrificing aesthetic appeal

• Rejection of any decoration that may distract from conveying the message. No embellishment

• Type being "set in motion rather than rest" (Meggs, 337)

• Sans-serif type only

• Grid-like patterns in design

• Use of proper white space

• Rules, bars, and boxes used for emphasis, structure, and balance

• Objective photographs rather than abstract illustrations

And here are my own thoughts on what I think these design principles do and why they're so effective:

• Messages are conveyed very objectively. The reader/viewer is not distracted by anything else. It does what it is supposed to do.

• The reader/viewer is allowed to connect with the message directly. He is not encumbered or bored by the design. He is fulfilled by it.

• Form and function are unified. There is not more of one than the other. Both are connected.

• There is still aesthetic beauty in the design even though it lacks ornamentation or decoration. But this beauty does not distract from the message; it only enhances it.

• The placement of the type and visual elements (such as bars), the colors, the weights, and the sizes of the elements serve a purpose to create harmony or help emphasize a certain message. Everything is intentional, yet done eloquently.

I just love these design principles and I still see them advocated to this day in many design schools of thought. For example, in page layout and design, the rule-of-thirds is advocated. It creates a balance in weight and produces harmony that is aesthetically pleasing. I wonder if there is any connection to New Typography principles since the effects are similar.

Source: http://desktoppub.about.com/library/graphics/qt-rule_of_thirds.gif

The use of grids and balance in page layout design that are recommended today are also very similar. The below layout is a example of proper use of design advocated by an About.com website on how to produce good layout design. Seems very similar to the grid pattern designs shown in Meggs' textbook on page 336 designed by Jan Tschichold. Was Tschichold the first person to advocate for this technique and do we still follow his principles today? My answer would be a "YES."

About.com's recommendation for good layout:

http://desktoppub.about.com/library/01art/s2c2-asymmetricalbalance2.gif

Looks similar to Tschichold's design from the pages of his "Elementare Typographie," 1925:

Source: http://25.media.tumblr.com/tumblr_m04nyixWsw1rnrg56o1_1280.jpg

Another unique principle I found interesting was Tschichold's use of diagonals that were found aesthetically harmonious on a page because they created pleasing proportions. Below is a diagram called the Van de Graaf canon often used in book design. It divides a page in "pleasing proportions," and was popularized by Jan Tschichold in his book The Form of the Book. I thought it was interesting that there is such a strong use of mathematical principles and a classical approach to design, even though New Typography is considered a modern movement.

Source: http://upload.wikimedia.org/wikipedia/commons/thumb/2/2d/Van_de_Graaf_canon_in_book_design.svg/499px-Van_de_Graaf_canon_in_book_design.svg.png

Sources:

http://en.wikipedia.org/wiki/Jan_Tschichold

http://desktoppub.about.com/od/designprinciples/l/aa_balance4.htm

http://www.jaddesignsolutions.com/thistory01.html

Graphic Design as a Persuasive Political Tool

Graphic design became a tool of mass persuasion for social and political causes during the early part of the twentieth century, especially through propaganda. Wikipedia defines propaganda as "a form of communication that is aimed at influencing the attitude of a community toward some cause or position by presenting only one side of an argument. Propaganda is usually repeated and dispersed over a wide variety of media in order to create the chosen result in audience attitudes." Indeed, we see this form of influential communication especially prevalent in posters used by the government starting around World War I. Meggs writes in History of Graphic Design that "During the war, governments turned to the poster as a significant medium of propaganda and visual persuasion." (Page 283).

We even see differences in the style different countries used in their poster graphic design. For example, during World War I, the Central powers used traditions from the Vienna Succession movement and simplicity was a theme that originated the Plakatstil style. Meggs writes that "Words and images were integrated and the essence of the communication was conveyed by simplifying images into powerful shapes and patterns." (Page 283). On the other hand, the Allied powers used a more illustrative and realistic approach. We find more literal images rather than symbolic images to emphasize traditional values and efforts at home in American and British propaganda posters that expressed patriotism and public support for the war. Upon exploration of the different styles of propaganda posters, I've found that the graphics propaganda coming from Allied countries used many older traditions in graphic design. While the propaganda of the Central powers and especially in later years, the Soviet and communist powers, tend to be more groundbreaking and innovative in style. There is more use of modernist style and art movements from these countries to rally up to the people to support their causes.

Let's look at some examples. Take a look at this poster, an example of Allied propaganda. Notice the traditional qualities with the American flag colors draped around Lady Liberty. 

Source: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqIfmKsC6aAjw-rqHAwUZ_7oeBvu8FZDrwz96RmR94jE8vfsAQr7bavp-oCM2hgltBQh2kyVMXGU-ziZBFdG68fRQ_f4NnILtbjaF9Th8qPui6JtpzuNSNHbhrxWiq3fqQFuASqTHprKE/s320/debs_poster.jpg

Then let's contrast the above poster to this poster from Italy that celebrates Fascism in a strictly modernist flavor. The poster was modern and daring. and used to advertiser for the Mostra della Rivoluzione Fascista that was being held in Rome in 1933, to commemorate the tenth anniversary of the coup that made Mussolini absolute ruler of Italy. This poster desfinitely seemed more innovative than the American poster. Notice the diagonal lines going up and to the right facing a figurative future. It has some cubist qualities as well.

Source: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF2yS4NXbR2C3DRVfnJQ078wgfvDIm9TAWihbd3uCSIHn0AqAPjDtRgEOQmlrRABUKe6Dj0d5kvMxWjJ7nq1_dW5LrmomPtF7n2x-4ebCsNRRTR-aHKXe9lp2s1ZFibGqGjVAF89yft0s/s320/Yamato-e.jpg

We can see many other Modernist art movement styles represented in the political propaganda posters of the early twentieth century. I've listed two of them below in my exploration:

• "Beat the Whites with the red wedge" by El Lissitzky (1920). In this example of the avant garde movement, Lissitzky used various geometric color surfaces in an abstract fashion. A great example of how a subtle platform can suggest in a blunt propaganda massage.

Source: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU_D29KX4NWQp_z0ZQOUpk3kxeH_qDLBWrLN98IROmsV2yn6DTW917VNODSEwyXhe9HmeuFlA3z-3VTNO6YzOu6oEbzyVw30ttxUU1ZmEqJTg0ar3Hyru4couvQvhruW7D-Zwqq_iamNY/s320/debs_poster.jpg

• "Liberated woman – build up socialism!" by Strakhov-Braslavskij A. I. (1926). Figurative Cubism style was used was introduced in this poster with geometric planes and flat, stylized, and dynamic forms with some abstract qualities.

Source: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijcZcIU6tV1J9eH-C5AK36gQ5-WrRFh8Z0hJu8yiLkBKoXxCeNJI2RYiIyUgzAcYJHUC-KcNMysYdd8H37Tp51Z7AdzFbqyblC7ddkceRz_ikfSgneGn8oDpt6CH-X4k-G8qHX_g3L6ug/s320/debs_poster.jpg

In my exploration, I've also included the following propaganda posters that I've found very interesting:

Source: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh33gxzFKLn9SgPfbHiCLyHEkcL-OJ6YSIXE0BquzFDX4OIe6kss1t1xtN0bM5xLY3TL36aDvbAqBKcXT4mpMEXt_VcF83HayB7ATI55nbk3ynLhc2uJutNePQMMesd2QUMmBgEpDY00uI/s320/debs_poster.jpg

This above poster was created by Magda Koll and called "Four Rest at Homes Behind the Front for Soldiers from Bremen," commissioned in 1915. This poster was an example of minmalist design and notice the use of a simple color palette and flat imagery. It was created as the "German response to the Allied allegation of German barbarism in the first world war."

Source: http://www.crestock.com/uploads/blog/2008/propagandaposters/us_propaganda-1.jpg

The very recognizable American recruiting poster designed by James Montgomery Flag in 1917. Very traditional and patriotic values are demonstrated in this classic poster, as Uncle Sam points straight to the viewer with glaring eyes. Notice the simple yet bold image and colors with dark lines against a white background.

http://creativefan.com/files/2011/08/Russian-Revolution.jpeg

A poster from the Russian Revolution used to symbolize change. Notice the flat, graphic, red figures demolishing a softly sketched beige past. The use of hard angles and dynamic lines promote the future of an industrialized nation Russia was hoping to be. The large curve in the middle shows progression towards a bright future. There are no detailed features on the people. I think this is used as a technique to allow the viewer to better connect to the poster, showing that anyone can be a part of this movement.

Sources:

http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html

http://en.wikipedia.org/wiki/Propaganda

http://creativefan.com/war-propaganda-posters/

http://www.designer-daily.com/10-amazing-cold-war-propaganda-posters-2901

http://www.crestock.com/blog/design/the-evolution-of-propaganda-design-us-retro-posters-122.aspx

Frank Lloyd Wright at the Forefront of 20th Century Design

I must say I love Frank Llyod Wright and his design the same way Meggs does. On a recent trip to Chicago for business last week, I was reminded of his influence on architecture and design. Two years ago, on another trip to Chicago, I was fortunate enough to take a tour of his home and design studio in Oak, Park IL. I had very little knowledge of Wright and his influence on design previously. The tour provided a window into how Wright's impact on the world, and reading chapter 12 of Megg's History of Graphic Design helped me to connect Wright to the prevailing movements of design during the late nineteenth and early twentieth century. In fact, I liked how Meggs put Frank Lloyd Wright at the beginning of chapter 12, entitled "The Genesis of Twentieth Century Design." I believe this means that Meggs has a special place for Wright for his influence on twentieth century design and I'd even suggest that she believes he was one of the prominent leaders at the forefront of the new movement bridging the way from art nouveau to modern design of this past century. Meggs writing that "At the turn of the century he was at the forefront of the emerging modern movement" on page 233 pretty much sums it up!

One of the aspects I love about Wright's design is that it was one of the first design movements that had his origin straight from the United States. Unlike other design movements like art nouveau that had its origins in Europe and Asia, Wright's design principals was purely American. (Although he did still draw some of his inspiration from the French rationalist writings of Eugene Viollet-le-Duc, the British Arts and Crafts movement, Japanese architecture, and pre-Columbian art, most would say that Wright's style is still uniquely American). His style later spread across the globe to Europe and started a new era of design where America became the new origin of design influence. Wright caused others around the world to draw inspiration from America, placing us as leaders in the design world.

Wright design was actually very radical during his time. He rejected historicism in favor of "organic architecture." He placed direct emphasis on the interior spaces of buildings. He had this unique way of combining his buildings with the surrounding landscape. Since he hailed from the flat prairies of the midwest, it would then make sense that he would like using very flat long horizontal lines that resembled the environment where his buildings existed. He loved space and you can see this in the spacious interiors of his buildings. Wright also had a deep love and knowledge of nature, probably one of the first to lead the cause for environmentally friendly buildings. He especially placed a lot of attention to the lighting, heating and climate control of the buildings he designed. Wright once said that "The good building makes the landscape more beautiful than it was before the building was built.” This was the start of the "Organic Architecture" movement.

Below are examples of his style of architecture where you can see the prevailing long horizontal lines of his "Prairie House" style.

Photo of Frank Lloyd Wright's Studio I took on a tour in Oak Park, IL in 2010. Notice the long horizontal and vertical lines.

Photo of a house in Oak Park, IL that I took exhibiting Frank Lloyd Write's Prairie House architectural style

No, this is not in the mid-West. This Prairie House style home is found in San Jose, CA (source: http://photos.mercurynews.com/2012/07/20/prairie-style-homes-still-turning-heads/#2)

Fallingwater, by Wright. Source: http://upload.wikimedia.org/wikipedia/commons/f/f6/FallingwaterWright.jpg

Wright used many mathematical concepts in his design and architecture. Of course, being educated in engineering at the University of Wisconsin, Madison helped. (Although he had to drop out to pursue a career in architecture). We see many of his design containing geometric shapes, often repeating lines and in both symmetric and asymmetric patterns. On the tour in Oak Park, I heard this was because of his fascination with the wood blocks used to educate children in mathematical concepts in German Kindergartens. Many of these geometric patterns were apparent in his print and architectural designs. Some of them were simple, but others were extremely complex with many repeating patterns. Below are some examples of his intricate design patterns found in both print and in his architecture.

Source: http://www.curbly.com/uploads/photos/0000/0001/0392/Frank-Lloyd-Wright_large.jpg

Source: http://www.scottishstainedglass.com/wp-content/uploads/2010/11/frank-lloyd-wright-stained-glass-designs-large.jpg

Source: http://frank-lloyd-wright.visit-chicago-illinois.com/frank-lloyd-wright-robie-livingroom.jpg

Source: http://images.monstermarketplace.com/jewelry-gifts-and-home-accessories/frank-lloyd-wright-rug-designs-coasters-set-283x288.jpg

Wright later worked under Sullivan, which was Chicago's most progressive architect at that time, who had strong influence on him. At the age of 26, Wright begin his own practice where he designed numerous homes, buildings, furniture, and interiors. Some of Wrights most famously known styles include the Prairie House Style, textile block houses often found in California, Mature Organic style, and Usonian Houses.

I would one day love to own a Frank Lloyd Wright inspired home emphasizing the surround environment, with design-focused interiors, and repeating patterns.

Sources:
Megg's History of Graphics Design
http://en.wikipedia.org/wiki/Frank_Lloyd_Wright
http://www.pbs.org/flw/legacy/essay1.html

Victorian Advertisements versus Ads of Today

I want to focus this post on comparing and contrasting Victorian advertisements and graphic design in relation to the advertisements today. I learned from the reading that advertisements first appeared in great abundance during the Victorian era. This was due to the proliferation of mass communications media that were made more available to the general public as production and demand for reading material inceased. Social, political, economic, and technological changes ensured that this brought on advancements that produced greater wealth and literacy in the general public. People had more money to purchase products that were mass produced, making them cheaper and more accessible to the general public.  Companies began competing against each other to gain the favor of the larger consumer market, hoping to convince them to purchase their products. Ads, thus, became abundant in sinage  posted throughout cities and in editorials and newspapers.

Victorian era postacard ad for Cornish & Co. Source: xroads.virginia.edu

Meggs writes in History of Graphic Design that "The Spectacle of posters covering public spaces gave a new, dynamic visual element to urban living that contrasted with the traditional visual art experience of the art gallery. (p. 168). Unlike today, the Victorians enjoyed looking at ads more. Due to the slower pace and lifestyle of the Victorian era, people back then simply had more leisurely time to explore and enjoy the various ads and posters, as these were very new sights created by the newest innovations in technology. Graphics, which use to be just black and white, started to be printed in multiple colors due by innovations in chromolithography, creating a novel experience for the viewer.

It was interesting to read also that "...Victorian advertising pages were created with little concern for a total design." (p. 172). I think that design might not have been as important back then because the designers knew that people would actually stop, look at the poster, and engage in the message and intricate details. Unlike today where there are numerous ads competing for the viewers attention and a bad design will cause the user to ignore it, bad design in the Victorian period did not cause users to disregard ads. So Victorian graphic designers for ads simply just got away with poor design!

Meggs writes that "Frequently, an engraved illustration would have type set above or below it, and often engravers adopted the prevalent practice of chromolithography, superimposing lettering on top of a pictorial image." (p. 172). Looking at the ad below of Mrs. Winslow's Soothing Syrup, we can see an example of the text superimposed right on top of the colorful graphics causing it to be hard to read. The text on the bottom is especially not visible because it clashes with the strong red color of the blanket. A viewer today would disregard this ad due to the difficulty in making out the message. We don't have time today to focus on ads. We'd simply move on to the next thing to look at. But back in the Victorian era, the viewer would find this ad interesting and will be willing to spend time to figure out what the ad wants to say.

Source: englishhistoryauthors.blogspot.com

This group of ads below provides more examples of the nature of Victorian ad design. There is plenty of clutter and a viewer today will simply glance over all the ads below without spending time on any of them. There is too much to look at nothing really catches the eye. However, I think the Victorian reader would like to spend time looking at each ad carefully despite the clutter.

Source: meylah.com

Meggs writes again that in Victorian ads, "Outlandish and fantasy lettering enjoyed great popularity, and many trademarks of the era reflect the Victorian love of ornamental complexity." (p. 175).

Here are examples I found on the Internet of this embellishment of lettering that we don't find common in ads of today's time:

Source: freevintagedigistamps.blogspot.com

Source: pinterest.com

Source: midclassillustration.blogspot.com

Now let's take a look at the differences in design in the ads of today:

Source: gra2171rasterizers.wordpress.com

Source: terryrybak.visualsociety.com

Source: grist.org

Unlike the ads in the Victorian era, ads today have strong bold letters, making the words easier to read and capturing the user's attention. The text does not clash with the image in the background. The design is much better, using more empty space so that it doesn't clutter the image. A short split second glance at these ads will allow the viewer to have enough time to figure out what they're advertising and the product and brand being advertised. Contrast this to the Victorian ad. Viewers back then will need to spend at least 5-10 seconds to have the message conveyed to them.