Monday, December 5, 2011

Project 1: International Swiss Typographic Style Timeline



In this first project, we all created rough drafts and took the best of the bunch.  Joo Ri did most of the actual design work while the rest of us were actively giving input and making suggestions on what should be included and placement of the content in collaboration efforts. 


Project 2: Max Miedinger Life Map



With the second project, once again, we created rough drafts.  We then collaborated ideas and all of us contributed to the content and placement of each item throughout the process  We took ideas from each draft and put them into one, tweaking to make it seem like everything went together and was cohesive. 


Project 3: e-Magazine (website form on CD)
We didn't have enough space on our "I" drives, so we are uploading the pages of our magazine instead and giving you the CD with the magazine, and it's flip ability. 



For this project, we all did our individual spreads of each font that influenced Helvetica, the epitome of the International Swiss Typographic movement.  We created a magazine with a cover, table of contents, and even back cover so we could make it seem more like an actual magazine.


Overall, this was a group project in which everyone participated in.  We pretty much stuck with the schedule (minus the printing changes) and worked inside and outside of class to get our project done.  We all contributed to put together these projects.

Individual Research / Bibliography

Chris:
Eskilson, Stephen J. Graphic Design: A New History. N.p.: Yale University Press, 2007. Print. 
Kane, John. Type Primer, A. 2nd ed. N.p.: Prentice Hall, 2011. Print. 

Joo Ri:
Hollis, Richard. Swiss Graphic Design: the Origins and Growth of an International Style, 1920-1965. New Haven: Yale UP, 2006. Print.
March, Marion. Creative Typography. N.p.: Harpercollins College Div, 1988. Print. 

Kathryne:
Gottschall, Edward M., and Aaron Burns. Typographic Communications Today. New York, NY: International Typeface, 1989. Print.
Hollis, Richard. Swiss Graphic Design: the Origins and Growth of an International Style, 1920-1965. New Haven: Yale UP, 2006. Print.

Victoria:
Hollis, Richard. Swiss Graphic Design: The Origins and Growth of an International Style, 1920-1965. N.p.: Yale University Press, 2006. Print. 
Solomon, Martin. Art of Typography. Revised ed. N.p.: Art Direction Book Co, 1995. Print.  

Tuesday, November 22, 2011

Textbook-Based Blog #2: INTERNATIONAL STYLE

Artist: Armin Hofmann
Title:  Giselle, Basler Freilichtspiele
Date: 1959
Image: 

Title:  Das Holz als Bau Stoff
Date: 1952
Image: 

Title:  R. Adams, Skulptur, 7 Junge Englische Maler
Date: 1950-1963
Image: 

Explain: The International Style is about being clean, neat, simple, professional, timeless, yet artistic and unique. Armin Hofmann keeps true to the International Style.  All of his works shown maintain a limited color pallet and in their simplicity, they are eye-catching and far from boring.  The overall composition is different, and it works.  Another commonality between these three pieces as well is that they are all typography based.  The International Style is about the large presence of type and the style of type.  Illustrations are rare if ever used and photography is used at a minimum.

In Das Holz als Bau Stoff, there is a photo used.  Even though the photo is used, it is kept dark and in black and white.  Only the highlights are apparent, and the highlights are balanced out by "Giselle" being vertical on the other side of the page.  Even in the asymmetrical characteristics of these pieces, there is always a balance found throughout them.  Another example of off-centered balance is found in the second image, Das Holz als Bau Stoff.  Although there is a large amount of text on the left side of the page, the small box of text in the upper right brings it back just enough to give an overall sense of harmony.  Between the boxes of color and text, R. Adams, Skulptur, 7 Junge Englische Maler also achieves the same balance.  


Artist: Alvin Lustig
Title:  Vivaldi
Date: 1953
Image: 

Title:  Industrial design in America 1954
Date: 1954
Image: 

Title:  "What's behind it?"
Date: 1952
Image: 

Explain:  Alvin Lustig, unlike Hofmann, is attracted to using color.  Even though he uses color though, he still sticks with the qualities of the International Style and keeps the number of colors to a select few.  In Vivaldi, there is a play of color with triangles, and the triangles reiterate the shapes of the letters in the word Vivaldi.  As stated in my comments about Hofmann, I said that the International Style was based around type and that there are limited uses of illustration.  In this case, as in many, the illustration echos and is a part of the type.  It emphasizes the type.

In the case of the last work, "What's Behind It?," it has the International Style essence because of the variety in thick and thin lines along with small type and an interesting, but very simple and primitive illustration in the background.  It almost looks like a fish or an eye to me, but the fun of the piece is that it could be anything!  It could even simply be abstract, but it looks professional and interesting with the line variation and the horizontally aligned text.  The four separated but united columns help reiterate the style as well.


Artist: Josef-Muller Brockmann
Title: Color Sticks
Date: 1960
Image: 

Title:  Musica viva blue
Date: 1958
Image: 

Title:  Musica viva radial
Date: 1970
Image: 

Explain: With these pieces, Brockmann is very connected to the International Style.  Most of his work is illustration based; however, there is enough text to get the point across.  The illustrations in themselves are simple and consist of about three colors, some a few more, but it is kept to a basic color system.

In the above examples, there is a diversity found among this in their unity.  There are basic shapes, circles and squares, a combination of both, etc.  There really is not a consistency in the text found.  Some headlines are large, some have the whole text large.  The balance between illustration and text is one of the foundations of the International Style.  Having the ability to create the balance between the two without one overpowering the other is easier said than done.  Brockmann did an excellent job of creating that balance - the balance between illustration and text and between the colors as a harmony.

Textbook-Based Blog #1: ART DECO


Artist: Alexey Brodovitch
Title: Harper's Bazaar Travel
Date: 1936
Image:

Title:  Harper's Bazaar Cover
Date: 1939
Image:

Title:  Martini
Date: 1926
Image:

Explain:  In accordance to most Art Deco pieces, the first magazine cover of Harper's Bazaar has decorative lines and flat, 2D forms.  There is a minimalist amount of colors used and overall simplicity.  There are 5 colors in total, including black and white, and basic shapes, shading, and technique.  The simplicity is exceptionally intriguing because even in its 2D design, it comes forward and pops out of the pages as a 3D design would.  What also helps the design come alive and pop off the cover is the layering effect that creates depth.  The blue box in the background with the hand or glove on top of the blurbs and then the magazine's title on top, etc. give an ultimate feeling of depth, which is quite interesting.  With the copy all in diagonals to the left and then Harper's at the top being in a diagonal in the opposite direction, it gives it a sense of balance, even in it's asymmetry, which is common in Art Deco.

In the second shown Harper's Bazaar issue, there is not as much simplicity in relationship to lines and shapes; however, there is still a limited color pallet and simple shapes.  Most of the shapes are rather similar and and consistent throughout.  What is striking on this cover is the strong vertical motion.  It has a sharp edge and draws my attention with how large it is on the page.  Compared to the rest of the curves and wavy lines, it is big, bold, sharp, and 3D.  It is also extremely interesting how Brodovitch plays with the illusion of eyes and / or mask in the middle of the bold object as well.  His placement is extremely interesting and draws the viewer in.  Overall, in his unbalance and heavy left side, he created a balance by adding more flag looking objects to the right.  It comes together in harmony, which seems to be true for most Art Deco pieces. 

As being the earliest of the three pieces, it's interesting to see the contrast between the three of them.  This is much simpler than the already simple magazine covers we observed.  This is a very geometric and unified piece consisting of essentially four squares and three circles.  How is it simple and unified?  Well, the shapes are limited to two and are consistent throughout the piece.  With the touch of red in the middle of the black square and then the touch of red in the text outside the square, it creates a balance which is compositionally amazing.  To continue on, the fact that the "M" in martini is cropped off makes the piece even more visually interesting because it is as if it continues on beyond the page.  The simple use of these four colors (two being black and white) seems to be common throughout Art Deco.  Simplicity, refinement, and geometry keep Art Deco comparatively cohesive considering how long of a movement it is. 


Artist: Jean Carlu
Title: America's Answer! Production
Date:1942
Image: 



Title:  Stop Em' to Sell Em'
Date: 1947
Image: 

Title:  Theatre Pigalle. Feu du Ciel
Date:  1929
Image: 

Explain:  Although this is later in the Art Deco period, America's Answer! Production still maintains the essence of Art Deco.  The typography is incorporated and involved within the piece and the colors are still simple.  The difference between the previous pieces reviewed and this one is obviously the amount of detail.  The level of detail in this piece does not compare to the previous ones.  The glove is shown realistically and is done in a 3D fashion.  Previously, most of the pieces were done 2D but appeared 3D whereas this is both 3D and presented in a 3D fashion.

With the second image, Stop Em' to Sell Em', it is extremely simple; however, the simplicity of the color and interaction of the colors together create an interesting appeal.  The central design is seemingly uncommon in Art Deco; however, that is what makes this so strong and different from the rest of the movement, yet so as they say "Art Deco."

Once again, with this final image - the strong diagonals and limited color pallet, it truly makes me smile because of its ingenuity.  It is fun, eye-catching, and with the "Theatre Pigalle" creating the crossing diagonal, it is an extraordinary composition.  It is fun to look at and would catch my eye every time. 


Artist: A.M. Cassandre
Title:  Grand-Sport
Date: 1931
Image: 

Title:  NEderlandsche NYverheidsten TOonstelling
Date: 1928
Image: 


Title:   G. des Fêtes de Paris
Date: 1934
Image: 

Explain: I am personally a big fan of A.M. Cassandre.  Even though the pieces are more detailed, there is still a simplicity of color and the integrity of Art Deco is still in tact.  Ingenious ideas such as the first image, Grand Sport of 1931, the combination of typography and illustration is clever.  Many of his works are as such - the combination of two or more concepts to create an ultimately unique and interesting piece.  This stands true for each of the shown works. 

The treatment of the composition and experimentation with a combination of concepts appeals to the Art Deco style and movement in general.  The tone and vibes from these Art Deco pieces consisting of edginess, recklessness, risk and thrill exemplify these factors even more to solidify Art Deco identity.

Cassandre's unique sense of style which transferred into the Art Deco movement so well is partially because of his interest and influence of Cubism and Surrealism.  This alternate way of thinking from both movements and the combination of them in addition to Art Deco, it is clear why his pieces are so successful.  He didn't have influence or creative thinking from just one source.  It was the combination, mixture, and juggling that formulated such great work.

Casino 1983 - Saul Bass


This movie was generally about Saul Bass and his career.  He started off as a graphic designer and got progressively involved with other mediums, developing graphic art as a whole.  His innovation and unique ideas have altered the way we watch television, how movies are advertised, etc.  His new way of thinking really changed history.  Something simple as "Let's make it move" in the beginning credits just started a revolution. 

Achieving such creativity and executing well is something to admire.  He has put his heart and soul into every project he has done and each one is different.  No two are alike, which makes him even more admirable.

Elbert Hubbard



Elbert Hubbard was the biggest creative force of his time.  He loved the fresh air and independence and searched for god and authenticity.  He had many philosophies and became very successful, starting with Message From Garcia. 

His ideas and concepts were known by everybody and thought by everybody.  It just took him to write it down that brought about his popularity.  It proves that the idea needs to be a human truth.  The idea especially in design, whatever the idea may be, needs to be widely understood.  Being widely understood and agreed upon makes a piece or words successful.  This is a concept we should keep in mind when we are creating our pieces for the group project. 

3rd Project: Peignot Edit

Here's the updated one with all the fixes. 


Monday, November 21, 2011

2nd Project - Max Miedinger

Artist:

1910 - born
1926 - trains as typesetter
1940s - World War II - caused increased exports and delivery to Germans and Switzerland's economy was well off
1947 - typeface sales representative
1950-53 - Korean War
1953-59 - Cuban Revolution
1956 - freelance graphic artist
1956 - Eduard Hoffmann commissions him to develop a new sans-serif typeface
1957 - Hass-Grotesk face is introduced
1957 - advertising increased
1958 - Introduction of roman / normal version of Haas-Grotesk
1959 - Vietnam War
1959 - Bold Haas-Grotesk
1960s - Cold War getting bad
1960 - Haas-Grotesk renamed to Helvetica
1980 - died

Tuesday, November 15, 2011

Architecture of Doom

I found it rather interesting that Hitler was a failed painter who specialized in watercolors and that when he retired he wanted to devote himself to art.  It was extremely interesting how he was fascinated with his home city and antiquity.  Why?  I also draw my inspiration and try to get influence from my home town, and I love antiques!  In a way, Hitler and I seem to be very similar.  However, I feel like this is true for many fellow artists.  He also focused on the philosophies and writings of Faulkner, who became the center for most of his ideas.

Hitler was also influenced by operas and used it as an illusion, escape from reality.  That describes television and the theatres today!  It's funny how much has not changed. 

What may not be widely known today is that even though Hitler was upset with the contemporary artists of the time, probably from jealousy, degenerate art shows were still allowed (to be mocked, but still).  With the development of the Nazis, he did most, if not all, of the design work.  He designed the swastika and uniforms. 

Hitler teaches a good lesson to designers.  Failing should not stop you from trying and succeeding. 

Project 3: Peignot

Here's my part of the 3rd project.  Probably could use some tweaking.  If you have suggestions, please share :).

EDIT: I just realized I used the wrong paragraph for the text.  I was supposed to use what I had in my previous post.  And I also forgot to include a large version of the date....................   Will fix those issues... now if you have any other issues I haven't seen, please share =).


-Victoria.

Beautiful Loser



Shephard Fairey teaches that a simple and effective design can have a serious impact.  He's created several designs that have so much impact.  He makes art to stop people and make them look.  He creates art that will make people think and question.  Less is more, more is less.

This needs to be kept in mind when our group is designing our posters and material.  If it's overly complicated, maybe we should reconsider how crazy and hectic it is.  If hectic works, then fine, but if not, maybe we should try the Shephard Fairey route for influence.  The Swiss International Typographic Style is much like Fairey's style in the way there are bold colors, simplistic uses of those colors, and an overall clean look.


Monday, November 7, 2011

Charles and Ray Eames

Charles and Ray Eames created influential work throughout their years.  With their creative thinking and unique ideas, it was pure chemistry.  They designed original chairs, tables, and furniture.  Bringing this kind of imagination to every day belongings, they made innovation and outside of the box thinking possible. 

We can apply this to our project by thinking of alternative ways of producing our pieces and not just going for the obvious.  And if we do go for the obvious, we can make it strange and unfamiliar to a point of being interesting and unique.  That is what Charles and Ray Eames did, and they came up with amazing ideas that are timeless, classy, and brilliant.

Wednesday, November 2, 2011

Final Project: Synopsis


1st Assignment:  As a group we came to an understanding that since our subject is about Swiss typography that we should base our timeline on just that. Using the letter structure of Helvetica we will use our graphic design skills to create a beautiful series of events without actually showing a line of any means. As a collaborate team we were all interested on the Swiss's idea of taking solid colors and applying it to the bold font. 
Format: Printed Poster


2nd Assignment:  To build a map based around one of the typographers. We all looked at several different styles such as info graphics and literal maps but one particular shape caught our eye and we were instantaneously drawn back to it. This circle form is very unique and as a group we feel it will display all the key points.  Its beautiful shape and I personally enjoy how the lines within the circle weave through one another.
Format: Printed Poster 


3rd Assignment:  This project will be overall to present our subject in an artistic fashion! Similar to a show book we will display the types of fonts that the Swiss Typography is all about! Each group member will be assigned a spread and a font. 
Format: e-Magazine


Timeline Info [Click Here]
Our Schedule [Click Here]
Progress [Click Here]

Sketches:


Wednesday, October 26, 2011

Project 3: Peignot Portion

This will be a 2 page spread of the eMagazine portion of the project.

1937

Peignot, a sans serif font, was commissioned in 1937 by a French foundry named Deberny and Peignot.  It is a nontraditional font and consists of a mixture of traditional lower case font and all caps.  It was popular in poster and advertising publishing, however, it died with the invention of Helvetica.  Helvetica is primarly based on  Akzidenz-Grotesk, however, it also took the leading and some inspiration from Peignot.  Overall, Peignot was considered too decorative at the time, and Helvetica provided a clean and fresh feel.  It wasn't used often until the 1970s. 

Wednesday, October 19, 2011

Final Project Content: What's Going In It?

1st Design: Swiss International Typographic Style
Timeline
Map
?

Tabloid Size: 11x17
Idea:

Research:
1896: Akzidenz-Grotesk
Akzidenz-Grotesk is a realist sans-serif typeface originally released by the H. Berthold AG type foundry in 1896 under the title Akzidenz-Grotesk. It was the first sans serif typeface to be widely used and influenced many later neo-grotesque typefaces. Max Miedinger at the Haas Foundry used it as a model for the typeface Neue Haas Grotesk released in 1957, renamed Helvetica in 1960. Miedinger sought to refine the typeface making it more even and unified. Two other releases from 1957, Adrian Frutiger's Univers & Bauer and Baum's Folio, take inspiration from Akzidenz-Grotesk.


1917: De Stijl
De Stijl, also known as neoplasticism, was a Dutch artistic movement founded in 1917.Proponents of De Stijl sought to express a new utopian ideal of spiritual harmony and order. They advocated pure abstraction and universality by a reduction to the essentials of form and colour;they simplified visual compositions to the vertical and horizontal directions, and used only primary colors along with black and white. Key figures in this movement were; Theo van Doesburg painters Piet Mondrian,Vilmos Huszàr and Bart van der Leck and architects Gerrit Rietveld, Robert van 't Hoff, and J.J.P. Oud.


1919: Bauhaus
Bauhaus was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. The Bauhaus school was founded by Walter Gropius in Weimar. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design. The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The Bauhaus style, also known as the International Style, was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design.


1936: Josef Müller-Brockmann
Josef Müller-Brockmann was a Swiss graphic designer and teacher. He studied architecture, design and history of art at both the University and Kunstgewerbeschule in Zurich. In 1936 he opened his Zurich studio specialising in graphic design, exhibition design and photography. Müller-Brockman was author of "The Graphic Artist and his Design Problems," "Grid Systems in Graphic Design" , the publications "History of the Poster" and "A History of Visual Communication." He is recognised for his simple designs and his clean use of typography, notably Helvetica, shapes and colours which inspires many graphic designers in the 21st century. 


1944: Graphis #1
Graphis, The International Journal of Visual Communication, was first published in 1944 by Walter Herdeg in Zurich, Switzerland. Graphis Inc. is the international publisher of books and magazines on communication design, advertising, photography, annual reports, posters, logos, packaging, book design, brochures, corporate identity, letterhead, interactive design and other design associated with graphic arts. Graphis was (and still is) one of the most important and influential European graphic design publication. Over 350 issues of Graphis magazine have been published. Graphis also publishes hardback annuals including: Graphis Design Annual, Graphis Advertising Annual, Graphis Photography Annual, Graphis Annual Reports Annual, and Graphis Poster Annual


Max Bill 
Max Bill was a Swiss architect, artist, painter, typeface designer, and graphic designer. After an apprenticeship as a silversmith during 1924-1927. Bill took up studies at the Bauhaus in Dessau. From 1937 onwards he was a prime mover behind the Allianz group of Swiss artists.  In 1944, he became a professor at the school of arts in Zurich. In 1953, he, Inge Aicher-Scholl and Otl Aicher founded the Hochschule für Gestaltung in Ulm, Germany, a design school in the tradition of the Bauhaus. The school is notable for its inclusion of semiotics as a field of study. The school closed in 1968.  Among Bill's most famous designs is the "Ulmer Hocker", a stool that can also be used as a shelf or a side table. The stool was a creation of Bill and Ulm school designer, Hans Gugelot.


1947: Emil Ruder 
Emil Ruder played a key part in the development of the Swiss Style. Ruder began his design education at the age of fifteen when he took a compositor’s apprenticeship. By his late twenties Ruder began attending the Zurich School of Arts and Crafts where the principles of Bauhaus and Tschichold’s New Typography were taught, leaving an indelible impression on Ruder. In 1947 he helped found the Basel School. Ruder published a basic grammar of typography titled "Emil Ruder: Typography". The book helped spread and propagate the Swiss Style, and became a basic text for graphic design and typography programs in Europe and North America. In 1962 he helped to found the International Center for the Typographic Arts in New York.


Armin Hofmann
Armin Hofmann is a Swiss graphic designer. Hoffman followed Emil Ruder as head of the graphic design department at the Basel School of Art and was instrumental in developing the graphic design style known as the Swiss Style. He is well known for his posters, which emphasised economical use of colour and fonts, in reaction to what Hofmann regarded as the "trivialization of colour". He was an influential educator, retiring in 1987. In 1965 he wrote the "Graphic Design Manual", a popular textbook in the field.


1954: Univers
In 1954 the French type foundry Deberny & Peignot wanted to add a linear sans serif type in several weights to the range of the Lumitype fonts. Adrian Frutiger, the foundry’s art director, suggested refraining from adapting an existing alphabet. He wanted to instead make a new font that would, above all, be suitable for the typesetting of longer texts — quite an exciting challenge for a sans-serif font at that time. Starting with his old sketches from his student days at the School for the Applied Arts in Zurich, he created the Univers type family. In 1957, the family was released by Deberny & Peignot, and afterwards, it was produced by Linotype.


1957: Helvetica
Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas foundry in Switzerland. Haas set out to design a new sans-serif typeface that could compete with Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, it was created based on Schelter-Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, had no intrinsic meaning in its form, and could be used on a wide variety of signage. In 1960, the typeface's name was changed by Haas' German parent company Stempel to Helvetica — derived from Confoederatio Helvetica, the Latin name for Switzerland — in order to make it more marketable internationally.

1959: Die Neue Grafik
In 1959 four zürich-based graphic designers launched the first issue of Neue Grafik magazine. A Magazine devoted to the Swiss style of design and typography. The team of editors constisted of Richard Paul Lohse, Josef Müller-Brockmann, Hans Neuburg and Carlo Vivarelli. The team signed some of their jointly written articles with the acronym "lmnv", formed from their initials."Neue Grafik" epitomizes Swiss typography of the 1950s. It was the new age manifesto for the design world and it was seminal in its influence on international graphic design after WWII. The publication of the magazine proved an international success making the Swiss Style the International Typographic Style.


2nd Design: [Artist] Swiss typeface designer Max Miedinger with Eduard Hoffmann
Timeline
Map
?

Tabloid Size: 11x17
Idea:  Circle Design


































3rd Design: [Our Choice] "Influences" - ?
Timeline
Map
? = e-Magazine / Brochure / Poster

Letter Size: 8.5x11
Idea: e-Magazine and everyone gets 2 pages with a font


Fonts:

Final Project Schedule: Deadlines to help us not procrastinate :)

I can be a bit of a procrastinator, I'm not going to lie.  So this is not something just for you guys, it's for me as well to make sure we don't fall behind and stay on schedule.  The end of the semester can be extremely stressful, so getting it done earlier is probably better and a big relief once it's all done.  This is a rough idea of where we should be on the project and when.  This is of course is flexible and can change depending if we need to meet outside of class and/or/if/when we print the final pieces, etc.


October 19 (Wednesday): Research 
October 24 (Monday): Decide topics & which topics go to which design *pick our 3rd topic and design layout/medium/etc
October 26 (Wednesday): Organize information that will go on each design (3)
October 31 (Monday): Start drawing roughs, picking colors, and which SIT Style we are going for
November 2 (Wednesday): Put together a first draft for 1st design
November 7 (Monday): Revise together & edit 1st design
November 9 (Wednesday): Put together a first draft for 2nd design 
November 14 (Monday): Revise together & edit 2nd and 1st design
November 16 (Wednesday): Put together a first draft for 3rd design
November 21 (Monday): Revise together & edit 3rd, 2nd and 1st design
November 23 (Wednesday): Thanksgiving Holiday Time (I think we earn this if we stay on track!)
November 28 (Monday): Final Revisions & Printing
November 30 (Wednesday): @ Midnight, 1st design must be printed
December 2 (Friday): 2nd design must be printed
December 5 (Monday): Everything must be printed and posted

Final Project Contents: Everything We Must Have / To Do List

  • 3-4 students per group
    • 1 member a graphic design major
    • Joo Ri Lee, Chris Posner, Kathryne Yance, Victoria Phillips
  • Pick a topic from the list ---> Swiss International Typographic Style
  • 3 designs:
    • Timeline: Swiss International Typographic Style
    • Map: Max Miedinger's life
    • [however we want to represent info]: eMagazine/brochure of relatable fonts to Helevetica
  • 3 topics for ^ designs:
    • The movement [Swiss International Typographic Style]
    • Specific Artist from the movement [Swiss International Typographic Style]
    • [Our choice] e-Magazine/brochure
  • What is required in designs:
    • Names
    • Dates
    • Social Influences
    • Artistic Influences
  • Deadlines:
    • November 30th: By midnight - 1 design must be printed
    • December 2nd: Second design must be printed
    • December 5th: Everything printed and posted
    • ALL GROUP MEMBERS MUST POST DESIGNS TO INDIVIDUAL BLOGS

Monday, October 17, 2011

Mid-Term Project (Final)

I wanted to create a timeline that had an essence of net.art in it.  So I designed the timeline around a website, allowing the timeline to be on a large scale and having the user navigate around the web browser comparing and contrasting the evolution of each different art and the different impacts both of them have on the viewer.  Here is a link to my mid-term project, and below is attached the timeline itself in print form.


http://students.uwf.edu/vlp4/HistoryOfDesign/index.html


Mid-Term Project Progress

Helvetica: Massimo Vignelli