MINGDE_SHAO_3162710

Mingde Shao

3162710

VISD-2006-001

Keith Bresnahan

April 6, 2020

 

Kenya Hara

Kenya Hara is one of the most famous Japanese designers in the world. I believe the next edition of Graphic Design should include him: A New History for several reasons:

Hara has enormous effects on modern design history in Japan. Before the 1970s, the design of Japan is sometimes copying American and European styles. Gradually Japanese designers came up with their style. Hara was one of the designers who breathe new life into Japanese design. He graduated in design from the Musashino Art University of Kodaira in 1983, and immediately joined the NDC. (Munari,2013) Minimalist designs by Kenya Hara are elegant and straightforward, which shows eastern style. Therefore Hara’s design is popular around the world, especially among young people.

Hara’s new idea of design can help to create a complete history of graphic design. He believes that design is based on our life. The original intention of the design is to create a better experience. As a minimalist designer, he thinks that “空 ” is the idea of design, because “空” can become everything. “空” means “empty.” He also suggests to use senses is the best way to determine designs. The zen from his understanding of design is something new from the history of graphic design. Therefore he shows to be included for a complete history.

gdpic(Hara,2018)

To be edit into the textbook and introduce him to readers, I think the logo of Aranya company as one of his famous works should be added to our textbook as well. Aranya is a resort in Hebei China, which aims to build a cozy integrated community. Hara uses the most basic letters to show a clear view and feel of the brand. The lower case letters look comfortable, soft, and beautiful. People will feel peaceful from this logo. Hara wants his design to be like water, which is clean and pure, so audience and get the nature of the context through the designs. That’s what Aranya company wants to show the audience. In this case, I believe the logo design of Aranya would be the best option to be a sample in the textbook.

Overall, Kenya Hara has his understanding of design, and his ideas are pure and mostly based on our life. His concept has a significant effect on Japanese design history. I think we should include him in the next version of the textbook.

 

 

 

 

 

 

 

Work Cited

“HARA DESIGN INSTITUTE.” Aranya | WORKS | HARA DESIGN INSTITUTE, www.ndc.co.jp/hara/en/works/2018/04/aranya.html.

 

Mingde Shao
3162710
VISD-2006-001
Keith Bresnahan
April 6, 2020

Kenya Hara
Kenya Hara is one of the most famous Japanese designers in the world. I believe the next edition of Graphic Design should include him: A New History for several reasons:
Hara has enormous effects on modern design history in Japan. Before the 1970s, the design of Japan is sometimes copying American and European styles. Gradually Japanese designers came up with their style. Hara was one of the designers who breathe new life into Japanese design. He graduated in design from the Musashino Art University of Kodaira in 1983, and immediately joined the NDC.(Munari,2013) Minimalist designs by Kenya Hara are elegant and straightforward, which shows eastern style. Therefore Hara’s design is popular around the world, especially among young people.
Hara’s new idea of design can help to create a complete history of graphic design. He believes that design is based on our life. The original intention of the design is to create a better experience. As a minimalist designer, he thinks that “空 ” is the idea of design, because “空” can become everything. “空” means “empty.” He also suggests to use senses is the best way to determine designs. The zen from his understanding of design is something new from the history of graphic design. Therefore he shows to be included for a complete history.
(Hara,2018)
To be edit into the textbook and introduce him to readers, I think the logo of Aranya company as one of his famous works should be added to our textbook as well. Aranya is a resort in Hebei China, which aims to build a cozy integrated community. Hara uses the most basic letters to show a clear view and feel of the brand. The lower case letters look comfortable, soft, and beautiful. People will feel peaceful from this logo. Hara wants his design to be like water, which is clean and pure, so audience and get the nature of the context through the designs. That’s what Aranya company wants to show the audience. In this case, I believe the logo design of Aranya would be the best option to be a sample in the textbook.
Overall, Kenya Hara has his understanding of design, and his ideas are pure and mostly based on our life. His concept has a significant effect on Japanese design history. I think we should include him in the next version of the textbook.

Work Cited
“HARA DESIGN INSTITUTE.” Aranya | WORKS | HARA DESIGN INSTITUTE, www.ndc.co.jp/hara/en/works/2018/04/aranya.html.

GMIConference. “A Talk with Kenya Hara: Nothing, yet Everything”, Youtube, May 23th 2017, px4vx0hFImQ, https://www.youtube.com/watch?v=px4vx0hFImQ

Nicola-Matteo, Munari “Kenya Hara
Okayama, Japan, 1958.” Designculture, 2013,http://www.designculture.it/interview/kenya-hara.html

Youtube, May 23th 2017, px4vx0hFImQ, https://www.youtube.com/watch?v=px4vx0hFImQ

 

Nicola-Matteo, Munari “Kenya Hara

Okayama, Japan, 1958.” Designculture, 2013,http://www.designculture.it/interview/kenya-hara.html

 

 

Why Pauline Boutal deserves to be in the next edition of Graphic Design: A New History

untitled-2
Facteur, U.S. Postal Service [Postman, U.S. Postal Service], 1909. Pauline Boutal painted this scene at the age of fifteen.The narrative scene is typical of calendar illustrations of the time, like those of the Hudson’s Bay Company.

     Included in the textbook are a few artists who in their practice, worked strictly with paint. A majority appear in Chapter 4 – Modern Art, Modern Graphic Design and acknowledge painters such as Pablo Picasso, Georges Braque, Umberto Boccioni and Amédée Ozenfant. All of which are artists whom participated in art movements such as Cubism, Futurism and Abstract Expressionism. The artist who I personally believe would be a strong addition to the next publication of Stephen F. Eskilson’s – Graphic Design A New History, is Pauline Boutal.

     Pauline Boutal (1894-1992) was both a French and Canadian artist who began her art journey after being constantly encouraged by her husband, Arthur Boutal. He admired her talent and wanted her to devote more of her time to art. At this time, money was hard to come by but he insisted on paying “five dollars for the registration fee at the Winnipeg Art Club” where this was her initial start of attending drawing classes (Duguay 2015). Above, is one of the many paintings she had completed at the age of fifteen while still attending the art sessions at the Winnipeg Art Club. As she grew older, she decided that Arthur Boutal was the one she wanted to marry.

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Eaton’s Catalogue, Spring & Summer, 1925.
download-3
L’abonné fidèle, 1940. This pastel portrait of A. Sourisseau was displayed in the Manitoba Society of Artists exhibition under the title Wine, Snuff and Politics.

Pauline Boutal was always working to improve her artwork. She was very much interested in fashion design and often drew from imagination. She was given the opportunity to illustrate for several Eaton’s catalogues and “worked alongside many artists of varied talents, such as Fritz Brandtner, Eric Bergman, and Charles Comfort” (Duguay 2015). While working for these catalogues, the quality of her lines and strokes were developing the more she drew. At the peak of her artistic journey, a handful of theatre productions began reaching out to Pauline Boutal and always kept her busy with graphic design commissions. The point is, at the age of fifteen, creating art was simply a hobby of hers but years of dedication and improving her skills allowed her as well as her artwork reach new heights. She worked with all sorts of mediums from inks to pastels and despite the heavy workload that both her husband and herself accumulated, “they wouldn’t have done it if they hadn’t loved it” (Duguay 2015). As a Canadian young artist myself, it is certain that many others can learn from Pauline Boutal’s story and begin to understand the amount of commitment it takes to make art while also enjoying the process to the fullest.


Works Cited:

Duguay, Louise, and S. E. Stewart. Pauline Boutal: An Artist’s Destiny,
1894-
 1992. University of Manitoba Press, 2015.

Blog Post 2 Olaoluwa Oyenuga

An area of graphic design I would like to see in the next edition of Graphic Design: A New History would be a section discussing the contributions of modern social media ephemera and its relationship over time to the practice of graphic design.
With the introduction of a myriad of social media platforms also came a new forum for creating and sharing many types of ephemera online, ranging from adverts, event promotions, viral videos and memes, to religious propaganda and various translations and adaptations of news media. Many of these platforms emphasize content creation encouraging users to create eye-catching content in order to secure the attention of their viewers/followers. Because of the intensely visual nature of social media, the compound result of this new media environment is a “deprivatization” of graphic design.
Many regular social media users without any formal education in visual design are creating (and at times, in various ways, even critiquing) design solutions to suit their online needs. In the earliest periods of this development, most online ephemera were quite crude in their design and people rarely created such ephemera themselves, rather most were simply re-posted severally so that the original author became practically untraceable (think family WhatsApp group chats or those reshared Facebook posts) – with the exception of advertisements created by actual brands, organizations and companies. These designs often used basic or non-existent structure, decorative typefaces and/or jarring combinations of typefaces, colors, and graphics (Many of these ephemera have evolved to become what we recognize as the modern meme). However, what these ephemera often lacked in their aesthetic, they made up for in their loud and direct message.

Figure 1 Author unknown, Date unknown; A generic re-shared social media post.

With time more users have begun to create their own content, especially with the advent of more truly “ephemeral” platforms and features such as Snapchat and Instagram stories. These apps/features allow users to create content that is deleted 24-hours after sharing, unlike regular profile posts which stay visible indefinitely unless hidden/deleted. The Instagram story feature especially has significantly developed since its introduction, adding more tools and features to allow users to be more creative and to make unique designs by combining any of the in-app features. As a result of these new forms of social media it seems lay people are developing a more refined sensibility for visual communication and graphic design; users are becoming increasingly selective with how they use in-app and out-of-app design tools to create aesthetically pleasing and unique designs to express themselves online. As a result, these designs (while typically quite personal in content and audience) are becoming more refined in their structure and even levels of meaning, taking cues from pop-culture and even psychology.

Figure 2  Lexie Carbone, 2019; Instagram stories often have a collage or scrapbook aesthetic as a result of the constraints of the feature (and possibly also the point of stories), especially when created in-app.

The evolution of social media ephemera is even beginning to have an effect on how companies advertise both within these apps and on other platforms, and I believe it can be argued that the trends of social media ephemera are having an effect on the professional practice of graphic design. This is a relationship that can be explored, however briefly, within a new edition of the textbook. Within the social media sphere, there appears to be a microcosm of graphic design development. While this may be perceived an insignificant phenomenon, we know that historically graphic design has been shaped repeatedly by changing popular trends among its consumers, therefore I believe this area is evolving to be a strong influence in the development of modern graphic design, and one that should be addressed and studied by design institutions and likewise within a major textbook like Graphic Design: A New History.

Interactive Advertisement in the Public Space

3163906 JiHyun Moon

Graphic Design: A New History by Stephen Eskilson offers general information about graphic design history for readers with sufficient historical references, timeline, and images. For Graphic Design History 20th Century course students, this book is appropriate as a textbook since the structure of this book allows students to learn about overall graphic design history in the short term. Each section of the textbook is well organized and divided through the exact timeline; therefore, students can easily recognize the specific period of design and designer’s history. If the author is analyzing the significant event, he added additional information on the side of the page and tried to offer more data to the readers. Since this book is explaining general graphic design history, the role of additional caption and image is important to provide students with in-depth information of history.

Stephen Eskilson is offering readers about interactive advertising in the textbook, however, it is only describing online interactive advertisement. In the graphic design history, the interactive advertisement was not only existed in the online but also in the public space. It was an attractive and creative way to advertisement brand to the customers, and sometimes, in the campaign, it was effective to impress people since it is physically interacting with them in the public space.

Denver Water's "Use Only What You Need" campaign 2015
Denver Water’s “Use Only What You Need” campaign 2015
Ambient advertisement created by Y&R, Switzerland for ACAT
Ambient advertisement created by Y&R, Switzerland for ACAT

 

There are countless interactive advertisement and marketing which are using the public space, however, one of the most popular and recognizable company Coca-cola attempt to present an interactive advertisement for a long period.

Coke Zero: Drinkable Advertising 2016
Coke Zero: Drinkable Advertising 2016
Coke Zero: Drinkable Poster 2016
Coke Zero: Drinkable Poster 2016
Coke Zero: Drinkable Advertising 2016
Coke Zero: Drinkable Advertising 2016

In 2016, Coca-cola released an interactive advertising campaign Coke Zero Drinkable Advertising which is collaborated with Shazam application (Smiley). Shazam is an application which can search for music with sound (Smiley).

To participate in the Coke Zero Drinkable Advertising, consumers should find a Coke Zero advertisement in public space and open the Shazam application. Then, the application will show them a straw on their smartphone screen. It will indicate them to take drinking action and the coke in the advertisement will disappear gradually while they take action.

Coke Zero: Drinkable Advertising 2016
Coke Zero: Drinkable Advertising 201

Since it has collaborated with an application, it was not limited to the public space. People were allowed to interact with the advertisement indoor. Through their public advertisement, Coca-cola provides consumers to enjoy not only their product but also an interactive experience.

According to these examples, it is clear that interactive advertisement in public space is a significant part of the graphic design. Also, it is still considered as an effective method to advertise a brand or organization because it can provide consumers with a more impressive and memorable experience through physical experience.

 

Work Cited

 

Smiley, Minda. “Coke Zero Takes Its Drinkable Advertising Campaign to ESPN.” The Drum, The Drum, 31 Aug. 2015, www.thedrum.com/news/2015/08/31/coke-zero-takes-its-drinkable-advertising-campaign-espn.

“Use Only What You Need Photo Gallery.” Use Only What You Need Photo Gallery | Denver Water, www.denverwater.org/about-us/history/use-only-what-you-need/use-only-what-you-need-photo-gallery.

“ACAT: Back of Seats.” RSS, 1 June 2009, www.adsoftheworld.com/media/ambient/acat_back_of_seats.

Effie Worldwide, www.effie.org/case_database/case/NA_2016_440059.

Eskilson, Stephen. Graphic Design: a New History. Yale University Press, 2019.

Nintendo Switch Are Graphic Design



Reality is broken. Game designers can fix it.

—JANE MCGONIGAL


Video games have become a huge and significant part of our daily life, most of us play video games, more or less, there are lots of different types of the video games in this world, as the development of the game industry, there will be more types games come up. 


packaging design is the connection of form, structure, materials, colour, imagery, typography, and regulatory information with ancillary design elements to make a product suitable for marketing. Its primary objective is to create a vehicle that serves to contain, protect, transport, dispense, store, identify, and distinguish a product in the marketplace. Ultimately, the goal of packaging design is to meet marketing objectives by distinctively communicating a consumer product’s personality or function and generating a sale.” (Klimchuk)


We all know all products have their unique package, so does the video games in Nintendo Switch, Nintendo Switch is a video game console developed by Nintendo with more than 2000 games you can purchase and play with it. The player can purchase the game online or in-store, the different game has different packaging design to fit the style of the game, those graphic designs are all well done by the artists  


SO WHY NINTENDO SWITCH?


switch_image

  •  (Nintendo Switch Animal Crossing edition)

I am a Nintendo switch player and I played a lot of games with it, it recently released a game called: Animal Crossing™: New Horizons, when I tried to purchase the special edition Nintendo Switch of this game. I surprised to find out that all special edition is sold out, and not only the special edition but the regular and lite version all also sold out in-store or online, with the release of the game, Nintendo switch become so popular right now, there is nowhere you can buy Nintendo switch online with the regular price. The popularity of this contemporary game console, Include the different packaging designs in the textbook will easily make students feel connected and understand the importance of the packaging design, which is part of the graphic design.


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  • (Nintendo Switch Lite)

There are two very successful games in Nintendo switch, so does their packaging design, one is the game I mentioned before: Animal Crossing™: New Horizons,

animal-crossing-nh-header-mobile

  • (Animal Crossing™: New Horizons)

This graphic design represented the cute style of the game very well not only the picture but also the typography of the title fit the style.


The other game is a game released in 2017: The Legend of Zelda™: Breath of the Wild

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  • (The Legend of Zelda™: Breath of the Wild)

it won several games of the year honours and other awards, the graphic design also fits its style and the background story.



Work Cited


“Nintendo Switch – Official Site – Gaming System.” Nintendo, www.nintendo.com/switch/system/.

Klimchuk, Marianne R., and Sandra A. Krasovec. “Packaging Design: Successful Product Branding From Concept to Shelf, 2nd Edition.” O’Reilly Online Learning, Wiley, www.oreilly.com/library/view/packaging-design-successful/9781118358603/chap02-sec001.html.

Video Games Quotes, www.notable-quotes.com/v/video_games_quotes.html.

Blog Post 2 XinmingYi

 

Student Name: Xinming Yi

Student Number: 3171274

Chen Shao Hua is one of the famous graphic designers in China; he left a tremendous influential effect on Chinese graphic design. During the mid-twenty century. He and other Chinese designers like Wang Yafei, Han Jiaying set up the first independent professional association in China. They organized Regular Competitions about graphic design in china. While the association was inviting international designers as jury members, they wanted more Chinese people to get to know the global status and concept of graphic design. (wong, 51). Since Hong Kong graphic design gained more fame in the international standard, the  mainland graphic designers only reached a short time in the international standard. The development of graphic design started to begin in Shenzhen, China. The designers established the first graphic design association in Shenzhen which also was the first graphic design association in the mainland. Many artists who were going to join this association, including Chen Shao Hua, were active in many graphic design exhibitions in 1992. (Wang, 63) Chen Shao Hua and other designers like Wang Yue fed, Zheng Dali, Zhou peng, Jia Yi bo and Han Jia Ying were pioneers in the Shenzhen design scene in the mid-1990s. In 1996, Chen Shao Hua was invited to the thematic poster exhibition held by the Chinese poster Association. In the following year, a thematic poster invitational exhibition was co-organized by the graphic design associations in Shenzhen in mainland China. (Wang, 66).  Chen Shao Hua has created lots of masterpieces in his life and one of the most famous designs was the logo of the 2008 Beijing Olympic with other co-designers. As a member of the first graphic design association, he made western influence into his own, thus revolutionized graphic design in China. Since Chen Shao Hua went to Shen Zhen, which is the centre of graphic design and art in China, he and his co-designer pushed the development of graphic design in China.

On the other hand, graphic design has also influenced the world. Chen Shao Hua and his work is the representative of Chinese graphic design and took a unique place in China. So I think that is the reason why we should include Chen Shao Hua for his contribution to graphic design in the next edition of Graphic design: A new history textbook. 

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Work cited

Wong, Wendy S. “Detachment and Unification: A Chinese Graphic Design History in Greater China since 1979.” Design Issues, vol. 17, no. 4 2001, pp. 51-71.

 

Snowboard Graphics_Blog Post 2

Snowboarding is a new winter activity that was developed in the United States in the 1960s. It has many common points with surfing, skateboarding, and skiing. Snowboarding was shown on the Winter Olympic Sport at Nagano in 1998 (Olympic Sport 2018). The popularity of snowboarding in the United States have peaked in 2007, which measured by equipment purchase of snowboards, bindings, and boots, etc. (Sheridan 2015). Therefore, snowboarding as an emerging, fashion and populous sports, the graphic design on the snowboard is also on the rise.

“Without graphics, snowboarding would be just another boring sport.” (Horton 2019). During the early 1990s, as snowboarding ‘s popularity increased dramatically, people were turned their vision on the snowboard graphics. Some surfboard and skateboards artists such as Jim Phillips realized that snowboard afforded them a new canvas. Burton Boards which was founded by Jake Burton in 1977 is one of the famous snowboard brands. At that time, Burton Boards have only decorated their boards with the company logo (Brower 2018). After that, Burton began to appear more delicate and enlightened graphics on their snowboards (Figure 1).

Figure 1, Burton snowboard, 2020.
Figure 1, Burton snowboard, 2020.

There is one of the iconic snowboard graphics created by Jamie Lynn. It is a curvaceous blue-skinned woman sitting on the ground (Figure 2). The gentle and mysterious gesture is in sharp contrast to the daring and exciting snowboarding. This recurring theme is one of his most popular graphics. Jamie Lynn’s hand-painted graphics on a snowboard has been popular for over 20 years (Horton 2019).

Figure 2, Jamie Lynn/Lib Tech,1995-2016.
Figure 2, Jamie Lynn/Lib Tech,1995-2016.

CAPiTA is also one of the famous brands in snowboarding, and Travis Parker is one of the coolest professional snowboarders. Travis created the funniest graphics for his debut pro model. The graphics is hand-drawn diagrams of important grabs (Figure 3). Besides, Unorthodox created the world’s first-ever double Swallow Tail, which letting CAPiTA ahead at least five years on today’s trend of stylish shapes (Horton 2019).

Figure 3, Travis Parker UNorthodox / CAPiTA, 2005.
Figure 3, Travis Parker UNorthodox / CAPiTA, 2005.

Overall, I think snowboard graphics could be an area of graphic design to include in the next edition of Graphic Design: A New History. As a newly developing sport, snowboarding has to lead the new trends in graphic design. More and more snowboarders are keen on customizing their snowboard. Therefore, snowboard graphics have a lot of space to discover, and it will be a new history of graphic design.


Work cited

Brower, Steven. “The Birth of Snowboard Graphics.” Eye on Design, 3 Oct. 2018, eyeondesign.aiga.org/design-history-101-how-the-90s-ouija-board-changed-snowboarding-graphics/.

Horton, Jason. “Best Snowboard Graphics: 5 That Shaped the Sport.” Red Bull, Red Bull, 16 Dec. 2019, www.redbull.com/ca-en/stories-behind-the-5-most-iconic-snowboard-graphics.

“Snowboard Equipment and History – Olympic Sport History.” International Olympic Committee, 14 May 2018, www.olympic.org/snowboard-equipment-and-history?tab=history.

Sheridan, Tom. “Is Snowboarding Melting in Popularity?” Orange County Register, Orange County Register, 23 Feb. 2015, www.ocregister.com/2015/02/23/is-snowboarding-melting-in-popularity/.

“Snowboard Gear: Boards, Bindings, & More.” Burton Snowboards, www.burton.com/ca/en/c/snowboarding-gear.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Fusion of Culture and Modern Design-Kan Tai-Keung

The design has a direct connection with culture and culture exists as the value behind the design. About our textbooks; The New History of Graphic Design involves graphic designs with different cultural backgrounds. However, with the gradual development of modern design, the integration of culture has become essential. Behind the fusion represents the intention to achieve commonality in design, and at the same time has the functionality of the design. Only under the influence of traditional culture, the graphic design produced by developing design thinking and integrating with modern design can maximize the value of design. Many designers have not stopped thinking and are constantly trying to integrate their own culture into modern design, and Hong Kong, Chinese designer Kan Tai-Keung is among them.

Kan Tai-Keung, who was born in Guangdong in 1942, has been influenced by Chinese culture since childhood and is happy to show the charm of the culture he has received in his design. Kan Tai-Keung skillfully incorporated Chinese ink painting from elementary school into his design, and he refused to combine rigidly. He insisted on incorporating the spirit of a culture in the design rather than a simple shell.

k_tai_keung_01_348x522

-2008 Beijing Olympics (2006)

Perseverance in culture did not make Kan Tai-Keung’s design immutable. On the contrary, he always tried different design methods and adhered to the concept of modern design. He has always emphasized the combination of design and brand; and focused on visual communication with customers in design. Kan Tai-Keung insists on visually connecting the design to the brand positioning and presenting it to customers in a clear manner.

-Beijing International Logo Festival (2000)

Just as Kan Tai-Keung designed the posters for the Beijing International Logo Festival, he attached great importance to the functionality of poster design when combining culture and design. He clearly shows Chinese culture through concise graphics and colors. The overall design is visually simple and intuitive enough. The geometric figures in the poster represent the base of the logo design and accurately represent the theme of the trademark festival.

-“Chinese Characters” Series Poster

His design always has direct visual influence and can convey the inner spirit of culture at the same time instead of simple patterns. Ink paintings with Chinese culture are combined with modern design. The picture is visually concise and dynamic, yet it can reflect the peaceful spirit of Chinese culture. This is a good example of the combination of traditional culture and modern design.

A pattern cannot represent a culture. Only the fusion of the inner spirit of culture and the concept of modern design for visual function can realize the value of design.

 

Work Cited

“靳埭强-传统文化与现代设计融合的平面设计: 后时代.” 返回首页, www.houshidai.com/master/kan-tai-keung.html.

“Kan Tai-Keung.” Ideasondesign, ideasondesign.net/speakers/speakers/kan-tai-keung/.

“靳埭强:在任何时代创新都最重要: 平面: 专访: 设计师专访 – 原创文章 – 站酷 (ZCOOL).” 靳埭强:在任何时代创新都最重要|平面|专访|设计师专访 – 原创文章 – 站酷 (ZCOOL), www.zcool.com.cn/article/ZMTc5ODA0.html.

Batagoda, Muditha. “Impact of Culture in Modern Design Techniques.” Medium, UX Planet, 27 Jan. 2019, uxplanet.org/impact-of-culture-in-modern-design-techniques-1405d30663e3.

The Art Of Chinese Propaganda/ Posters in Cultural Revolution_Xinyi Mao

In the past five hundred years, Western culture has great influence on the world. Western culture has occupied an important position in world culture. In the past ten years, traditional Chinese culture has once again been valued by people, and various types of “Chinese elements” have been applied to modern graphic design. The design with traditional Chinese cultural elements has a unique charm of oriental culture and is a valuable asset of oriental culture. It can not be replaced by other art elements. It records down the long history of Chinese and spreads it for a long time. At the same time, it has gradually brought about a diversified design trend in international design and has a certain influence. Since ancient times, the West and China have a close relationship in visual culture.

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Picture retrieved from: https://www.bbc.co.uk/programmes/articles/44hl41NY7Mb4Jx4tPJpzwty/seeing-red-the-propaganda-art-of-china-s-cultural-revolution

In 1920, The Russian Constructivists revolutionized the posters by using photo-montage and bold geometric form(Victoria and Albert Museum). This promoted the development and export of poster propaganda in World War I. Soon, this particular way spread around the world . It has affected the development and innovation of published art in many countries and regions. In 1930. China and other places have also been affected by this new style prints(Victoria and Albert Museum).

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Picture retrieved from: www.sohu.com/a/161520035_772189.

In 1949, the Cultural Revolution broke out. This was an important proletarian revolutionary movement lead by the Chairman Mao Zedong in Chinese history (Sayej). The starting point is to against capitalism and to develop China’s own road to building Socialism (Sayej). However, his miscalculation of the political situation of the party and country caused a serious mistake. This revolution has brought important changes to China’s development. It is a memorable memory in Chinese history (Burgess). During the Cultural Revolution, many political thinkers and traditional artists were severely and cruelly criticized and restricted and even imprisoned by the people and the government (BBC Arts). At the same time, the government was trying to unify the people’s minds through new visual cultural communication methods (BBC Arts). One of the most representative of that period was the revolutionary poster propagandas. Propaganda posters belong to the category of posters and originate from posters and advertisements. However, unlike posters, the main purpose of posters is use for commercial, and the propaganda posters are mainly for political services. For example, celebrating worker labor, preaching soldiers, industrial progress, and praising Chairman Mao(BBC Arts). At that time, a large number of posters with Soviet socialist realism illustration style inspired poster propaganda were produced on a large scale. The purpose was for the government to try to sell ideology to the people, thereby indirectly achieving politicized control and silent violence (Sayej). Looking back on the history of the Chinese revolution, the posters played an important role in the revolutionary movement and war. Especially during the Cultural Revolution, the government pushed the production and dissemination of posters to the extreme. The role of publicity is even more irreplaceable. The Cultural Revolution posters recorded people’s profound memories for a period of time.

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 Picture retrieved from: www.sohu.com/a/161520035_772189.

Work Cited

Burgess, Anika. “The Art of Chinese Propaganda Posters.” Atlas Obscura, 23 Feb. 2018, www.atlasobscura.com/articles/chinese-propaganda-posters-cultural-revolution-shaomin-li.

Brown, Evan Nicole. “These Vibrant Posters Track the Rise of China’s Economic Might.” Fast Company, Fast Company, 28 Feb. 2020, www.fastcompany.com/90469107/these-vibrant-posters-track-the-rise-of-chinas-economic-might.

“V&A · A Short History of the Poster.” Victoria and Albert Museum, www.vam.ac.uk/articles/a-short-history-of-the-poster.

Sayej, Nadja. “The Sleeping Giant: How Chinese Posters Pushed Products and Propaganda.” The Guardian, Guardian News and Media, 26 Feb. 2020, www.theguardian.com/artanddesign/2020/feb/26/the-sleeping-giant-how-chinese-posters-pushed-products-and-propaganda.

“Seeing Red: The Propaganda Art of China’s Cultural Revolution.” BBC Arts, BBC, www.bbc.co.uk/programmes/articles/44hl41NY7Mb4Jx4tPJpzwty/seeing-red-the-propaganda-art-of-china-s-cultural-revolution.

“红色宣传画,一代人的记忆!.” 1 Aug. 2017, www.sohu.com/a/161520035_772189.

 

 

Deep-rooted tree magazine

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<Deep-rooted tree> April 1980, publisher Chang-gi Han, Art director Sang-Chul Lee.

As Carmel Snow and Alexey Brodovitch led the heyday of Harper’s Bazaar, art director Sang-Chul Lee and publisher Chang-gi Han also brought a significant shift in the world of graphic design in Korea. I believe their collaborated work, Deep-rooted Tree should be included in Graphic Design: A New History as the international case of the introduction of art direction. In the history of Korean graphic design, Deep-rooted Tree was the first magazine that incorporated an art direction system. Art director Sang-Chul Lee and publisher Chang-gi Han collaborated to create one united system throughout the magazine. Lee and Han brought about significant shifts in the history of graphic design.

First, the designer began to impose a specific order throughout the magazine. This was a huge step forward from the previous system that editors used to randomly organize the contents according to their taste. Director Han, who had an eye for distinguishing beauty and order in design, asked designer Lee to create visual principles that encompass the entire magazine. As a result, Lee carefully framed the areas to incorporate images and texts and started to commission the illustrators or photographers to create works that fit with the contents.

Secondly, Lee and Han studied the operation of letters and the composition of the plates to create texts with high legibility. In order to increase readability, they sometimes had to cut the text word by word to make an adjustment between the lines. In addition, Lee studied how the size of the letters, the length of the lines, the spacing between the lines, and the spacing between sections should be corrected to improve legibility. Such improvements led to the establishment of a transparent, simple and organized system.

Graphic Design: A New History introduces the western case of the introduction of the art direction system, including the case of Harper’s Bazar. However, since each country has different backgrounds, history, and language, the art directing methods and techniques may vary accordingly. For example, unlike the English alphabet, the Korean alphabet, Hangul has a different language structure. Therefore, the way the text was placed in Deep-rooted tree looked different from the one in Harper’s Bazaar because the writing was perceived differently in the eyes of the readers. I believe that Lee and Han’s Deep-rooted tree should be included in Graphic Design: A New History, as one of the international examples of art direction to offer the readers a multifaceted view of history.