updated australia prototype

i may take out the white outlines in the building and will definitely eliminate the black lines in the background sky between the colors.

final project: prototypes (2nd round) part 2

sorry, my scanner at home wasn't working, so i just did simple layouts on photoshop. i will trace them later, and do slightly different color...more solid chunks of color, rather than this naturalistic look that the pictures show.

basic layout for 2nd poster.

mountain landscape will be continuous with the bridge in the background of australia poster.

i like the faded background behind new zealand text thats different from the water in the background

obviously, i'm not going to reproduce in perfect likeness the picture in the background, but since my scanner's not working, i plan to trace this prototype and change the color later to decide which colors i will use.

on purvis's "visit india" poster, he used a silhouette in front of his background, and i think a silhouette of maybe a person with a big hat of some sort in front of the mountains would be cool. possibly in front of the mountains, but behind the text...

final project: prototypes (2nd round)

colors are a little off

i like the changing colors with the actual architecture...like the size i think.

probably will do a different background color. bridge would look better a little more bold and maybe in a black. although the blue is growing on me.

as far a the text goes, i couldn't find an appropriate font on my computer at home, so i'll look for a better one on the schools computers. also, i want to make the font blend into the background a little better...possibly send it behind the bridge or something.

Tom Purvis

Tom Purvis

Art Deco - English Movement

background information:

developed a bold, 2D style using large blocks of vivid flat color and eliminating detail

works for LNER largely avoided depictions of the trains themselves but rather concentrated on portraying the resorts that were the holiday destinations of the travellers and the leisure pursuits that could be enjoyed there (create personal project using this approach)

sex appeal was strong element = women in bathing costumes with bare arms and legs (risque in 1930s Britain)

seaside resorts, each shown at an unusual angle, to form a continuous landscape in the background within the 6 posters produced for LNER
(with my project, make backgrounds link together....like landscape from train window...maybe Australia and New Zealand since they are next to each other...or Egypt and surrounding country)

East Coast Joys depicts various leisure activities with a relaxed simplified style giving almost a Mediterranean feel (emphasizing that the east coast of Britain is the "drier side of Britain")

Late Modern

(Lou Dorfsman)

(Rudolph de Harak)

(Lou Dorfsman)

(Carlo L. Vivaarelli)

(Josef Muller-Brockmann)

(Max Bill)

"advancements in photographic and computer technologies applied to typography and printing began to change not only the look but the methodology of graphic design"

Swiss International Style

object photography, sans-serif typography, lack or ornamentation, and strict composition on the basis of the grid system are characteristic of this style

- the grid became the most significant design tool of the postwar era

=used for prospectuses, brochures, books, and exhibition catalogues, it was perfect adaptable to the requirements of international business

*Carlo L. Vivarelli

*Max Bill

*Josef Muller-Brockmann : "Copy and a picture are arranged and related in accordance with objective and functional criteria. The areas are sensitively organized with an assured touch in mathematical proportions, and due attention is paid to the rules of typography."

Corporate Style

job of the corporate communications designer was to create and maintain consistent identities and advertising campaigns

unadorned, economical graphics, and kinetic photographic accents

*Gene Federico

*Rudolph De Harak

*Lou Dorfsman

Art Deco

(Paolo Garretto)

(AM Cassandre)

"Societe des Artistes Decorateurs realized that the middle class required another unthreatening style as an alternative to the increasingly abstract (and, for many, inaccessible) Modernism."

elements of geometric styles (such as cubism) incorporated in a more decorative and luxurious style

-geometric rather than asymmetric

-rectilinear rather than linear

unique confluence of Egyptian ziggurats, sunbursts, and lightning bolts

efficient modern living and the elegant lifestyle

effective code for consumerism and acceptable metaphor for the glory of machine-age culture

-advertising typography and layout acted as the primary communicators of the Art Deco style

FRENCH ART DECO

"combine decorative frenzy with Neo-Classical and Cubist elements (and a touch of Modigliani)"

influence from Deberny & Peignot's Divertissememnts Typographiques

*Georges Barbier (influence from Diaghilev's Ballets Russes)

*AM Cassandre

*Jean Carlu

*Paul Colin

AMERICAN ART DECO

had "exotic" indigenous references (aka Native American tapestries, fabrics, etc.)

-geometric ornament

Regionalism (EX: Prairie Style) influenced movement

Westward Expansion motifs, icons included in movement

-authentic national and regional characteristics (authentic to American culture)

time period ~1930s

John Dos Passos characterized as "the shop-windown world of Fifth Avenue"

fanciful, dreamlike, and symbolic decorative illustration

*AM Cassandre (French) worked on Harper's Bazaar covers

*Paolo Garretto (French) worked for Fortune

SWISS ART DECO:

*Charles Loupot

new typography image

possible image to use on vacuum new typography poster:

Modern Era: Bauhaus and New Typography

goals of the Modernist era: "To smash the old visual language and create a new one."

*Henryk Berlewi (on advertising design): "must rest on the same principles as prevail in modern industrial production." 

-photos replaced realistic, decorative, or otherwise sentimentalized illustration

-"photomontage" as most popular tool of new graphic design

Modern Design:

1. asymmetric typography

2. geometric layout

3. photogrphic illustration

cubism (a modern movement) broke with reliance upon nature for subject matter and the complete rejection of decorative tendencies

first Modernist battles: waged against the industrialists, who controlled public taste and used it for their own functions and interests

BAUHAUS: (pg.  112 - 117 in textbook)

students encouraged to produce utilitarian materials fit for everyday use

new products had no precedents in the decorative arts of the past

not focused around the bourgeoisie interests: the masses were the consumers

Peter Behrens (father of Industrial Design)

NEW TYPOGRAPHY: (pg. 118 - 125)

asymmetric text (introduced by Cubism, Futurism, and Dadaism) 

total revision of the rules of traditional commercial layout

writings by *Jan Tschichold

"criterion of fitness for purpose in design"

the school was "working in the real world" - very practical design

El Lissitzky did first formal application of the new approach

(Herbert Spencer argued that it contradicted the free spirit of modern typography)

not dependent on readymade layouts and would express the spirit, life, and visual sensibility