Unapologetically testing preconceived artistic social standards.
-Dadaism
Blog#1
I think graphic design is a language that the audience can understand. Excellent graphic design allows people to stop and watch because it is making an enjoyable sound to tell people the story it wants to express. People who design posters cannot always stand in front of their artwork to explain to the audience what topics they want to communicate. The most important thing about graphic design is to keep the audience and make them understand the story. Find the essence of the poster content, discarding the extra elements, to achieve the purpose of highlighting the theme, which is Cassandre’s poster design received the main reason. Cassandre is the most successful commercial poster designer during the “Art Deco Movement” in France, and his design has a rather strong “Art Deco” style. He is acutely aware of the functionality of posters and good at using indirect geometry through rearrangement, reflecting the collected works of art.
The one who impressed me most was the posters of Price’s Motorin, a work he designed in 1935, using simple geometry shapes. The visual focus is on the curved, bent drop of petrol left of the picture, and the relationship between the two is efficiently integrated by a rectangle through the superimposition fo cars on a gasoline and black rectangle background, with serif font gives a striking reminder.
If this piece just like this, it can only be regarded as regular posters. The bright place in this part is the advent of “the oilier oil,” a two-dimensional pile of significant geometric figures below the center of gravity of a punctuated petrol chart, with a downward optical illusion. Cassandre consciously tilted the typography down to the left, so a slight change made the text also think downward tilt. The work allows people to listen the trajectory of gasoline, which reminded the changes in gasoline prices. If you stand in front of this poster, you will surely hear it say to you: The touch of the petrol is lubricated and clear, slides away from the signs.
“Design doesn’t exist in order to produce visual things; design exists because there are needs to meet, tasks to undertake, goods to sell, people to train, objects of many sorts to help us live the way we want to (A History of Design, A History of Concerns, by Jorge Frascara, p13).”
Can you summarize a historical period in a six-word design?
Choose an era (such as the Victorian period, WWII, the 1960s, etc.) and summarize it in six meaningful words whose design accurately evokes the era.
Here’s your inspiration:
Arthur C. Clarke told this anecdote about his friend, the famous short-story author Ernest Hemingway. Hemingway was bet $10 that he could not write a story in only six words. This is what Hemingway wrote:
Which historical designer would you most like to interview?
“Interview” a graphic designer from the past about one of their projects, getting the facts about the commission, noting the project’s restrictions and requirements, as well as the designer’s intentions, viewpoint, and thoughts on their product. The interview should be approximately 750 words (in Q & A format) and include relevant images.
Here’s an inspiration:
How has historical graphic design influenced later design?
First, show a typical example of an influential historical design or style. Then, show an example that is inspired by the first example (it can even be your own work). Include an explanation of how and why the later design is inspired by the earlier design.
Here’s an example (visuals only) to inspire you:
What would a graphic design sound like? Or smell like? Or taste like? Or feel like? Or move like?
Synesthesia is the condition where one physical sensation evokes another; it is often described as hearing color or tasting shapes. Choose a historical graphic design that is representative of a style or movement (such as Art Nouveau, Swiss style, psychedelic, etc.) and translate its visual characteristics and principles into another sense (sound, movement, taste, smell, or touch). Include a paragraph explaining how the visual qualities of the style or movement are expressed in another sense.
Here’s something to inspire you (click on the link):
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