FNAR 264/664 Graphic Design with Creative Technologies - 02

FNAR 264/664 Graphic Design with Creative Technologies Week 2

Transcript

1. FNAR 264/664
   Graphic Design
   with Creative Technologies Week 02
2. –David Jury Typographer and author From the title page of his book About Face RotoVision SA: Switzerland, 200 “Rules can be broken—but never ignored.”
3. Cave painting from Lascaux, c. 15,000– 10,000 BCE.
4. Found carved and sometimes painted on rocks in the western United States, these petroglyphic figures, animals, and signs are similar to those found all over the world.
5. Various tablets from Mesopotamia, c. 2000 BCE.
6. The development of papyrus, a paperlike substrate for manuscripts, was a major step forward in Egyptian visual communications.
13. Models of Communication ! • Linear process (Encoding, decoding) • Feedback and environmental effects • Sight and sound are the most important sensors • Communication is culture-dependent
17. Movable type was invented by Johannes Gutenberg in fifteenth-century Germany. His typography took cues from the dark, dense handwriting of the period, called “blackletter.”
18. Movable type was invented by Johannes Gutenberg in fifteenth-century Germany. His typography took cues from the dark, dense handwriting of the period, called “blackletter.”
19. The traditional storage of fonts in two cases, one for majuscules and one for minuscules, yielded the terms “uppercase” and “lowercase” still used today.
20. The painter and designer Geofroy Tory believed that the proportions of the alphabet should reflect the ideal human form. He wrote, “the cross-stroke covers the man’s organ of generation, to signify that Modesty and Chastity are required, before all else, in those who seek acquaintance with well-shaped letters.”
21. In the late eighteenth century, the English printer John Baskerville created type with such contrast between thick and thin elements that his contemporaries are said to have accused him of “blinding all the Readers of the Nation; for the strokes of [his] letters, being too thin and narrow, hurt the Eye.”
22. The rise of advertising in the nineteenth century stimulated demand for large- scale letters that could command attention in urban space. In this lithographic trading card from 1878, a man is shown posting a bill in flagrant disregard for the law.
23. Fat Face is an inflated, hyper-bold type style developed in the early nineteenth century. It is Bodoni on steroids.
24. Fat Face is an inflated, hyper-bold type style developed in the early nineteenth century. It is Bodoni on steroids.
25. This Dada poster uses a variety of typefaces as well as advertising “cuts” (stock illustrations available in the printer’s shop). The layout is innovative and dynamic, fighting against the grid of letterpress. Iliazd, 1923.
26. This logo for the Dutch avant-garde journal De Stijl was designed by Vilmos Huszar in 1917. The letters
27. This logo for the Dutch avant-garde journal De Stijl was designed by Vilmos Huszar in 1917. The letters
28. Herbert Bayer designed universal, consisting of only lowercase letters constructed with circles and straight lines, at the Bauhaus in 1925
29. Bauhaus & New Typography
30. Designed by Paul Renner in Germany, 1927, Futura is a practical and subtle font that remains widely used today.
31. The French designer Philippe Apeloig created these contemporary variations on reduced, geometric typefaces. 1993
32. Saul Bass
33. Pat Gorman of Manhattan Design, MTV press kit cover, 1982. Randomly generated color combinations were selected and composed in a repeat pattern; visual elements convey the network’s character in a nonverbal manner.
34. John Maeda, calendar, 1996
35. The Barack Obama "Hope" poster is an image of Barack Obama designed by artist Shepard Fairey, which was widely described as iconic and came to represent the 2008 Obama presidential campaign
36. Aaron Koblin, dynamic visualizations for “Flight Patterns,” 2005. Flight paths across North America are traced, revealing changing patterns of air traffic and the key superstructures that guide the aviation network.