Sunday, December 9, 2012

In Pursuit of Excellence - Great Designers Forge Ahead


The  following ten field journals were completed while taking the on-line class, GID 01: History of Graphic Design in the Fall of 2012.  This class was taught online by Professor Kent Manske at Foothill College in Los Altos, California.  The field journals were compiled as a result of reading Meggs’ History of Graphic Design as well as from lectures and the viewing of images from Prehistoric to Post Modern times.  The many other art history classes I have previously taken were taught purely from a fine art perspective. This class has been a delightful, riveting and a completely eye opening experience. 

One is likely to think the entrepreneurial spirit of mankind is a recent convention, yet the reading this quarter shows innovation is deeply rooted in the human experience. The need to communicate has been a driving force behind the development of written language and graphic design.  It is amazing to see that in 15,000 years, humankind went from having no written language to currently having infinite typefaces in hundreds of alphabets. In just 5000 years letterforms moved from one substrate to the next: from stone to clay, to papyrus, to parchment and vellum, to paper and now to light reflected from an RGB screen.

Through this need to visually communicate, I have noticed a reoccurring theme - the continued pursuit of excellence among designers.  One can see it in: 




Johannes Gensfleisch zum Gutenberg’s unrelenting pursuit to create a moveable type printing press (c.1398 -1468)

Gutenberg Press

 

Nicolas Jensen’s commitment to creating legible fonts (1420-1480) 

Nicolas Jensen

 

Giambattista Bodoni’s clean, repeatable standardization of letterforms (1740-1830)

Bodoni serif font

 

Vincent Figgins foray into designing modern style romans and sans serif (1766-1884)

Vincent Figgins sample font

 

William Morris’s call for pristine workmanship and his influence on fine book design  (1834-1896)

From William Morris' the Ideal Book

 

Henri de Toulouse-Lautrec revoutionary use of flat color shapes (1864-1901) 

Poster by Henri de Toulouse-Lautrec, La Goulue au Moulin Rouge, 1891

 

 

Jan Tschichold’s application and evangelization of the New Typography (1902-1974)

Sample drawings

Kรคthe Schmidt Kollwitz prints and drawing that reflect human suffering (1867-1945)

Kathe Kollwitz, Die Mutter, 1921, Woodcut

 

Hermann Zapf’s pioneering of new typeface forms for the 20th century (1918 -living)

Palatino, by Hermann Zapf

 

April Greiman’s determination to explore and maximize use of digital age tools.  (1948-living)

Wilshire Vermont

 


Their passion and persistence forged new roads of design excellence and innovation. 

The U.S. is in an economic crisis. We have moved from a manufacturing based economy to a service based society. Our country desperately needs to build back its manufacturing base. Good manufacturing starts with great thinkers and designers. Students in the Bauhaus were prompted to tinker, to be exposed to new materials and to invent elegant design solutions. This same spirit can be fostered in K-12 school by good teachers and at home by good parents. Education is the great equalizer. As the divide between rich and poor continues to grow, particularly in California, we can make a difference. School and community classes can make up for parents who don’t nurture the creative spirit. To think of all the William Morrises, Johann Gutenbergs, and other great designers to come…we can’t miss those opportunities. I encourage everybody in this class to help foster the creative spirit in one child, especially those with huge opportunity gaps. 

Two areas I am intrigued to study further:
The evolution of roman letterforms
Graphic design used as positive propaganda such as Guerrilla Girls work
I also want to attend the Maker Faire   Bay Area, Date: May 18th & 19th, 2013, San Mateo Event Center

Wednesday, December 5, 2012

Food Truck Art.. Supergraphics on the Go



A herd of Food Trucks.
The other day I was driving down the road when a large, brightly painted food truck turned into the intersection right in front of me.  I am used to seeing these monoliths herded together at festivals and local ‘food truck nights’.  Seeing one on a solo journey, up close and personal from my car window  momentarily took my breath away. After taking this class my vision is hardwired for seeing graphics in a new way. 

Artist: Laura Luo
Mardi Gras style
Throughout our reading we have seen graphic design evolve as new industries make their debut.  Food trucks have been around for a very long time, mostly as sterile aluminum coated vans, but recently they have flourished on a new level. Regionally infused, ethnically diverse, these cafeterias on wheels have to compete for eye share. 

Food truck fonts are seen in large scale, colors are bolder, and the business names need to be more intriguing.  Psychedelic, punk, Japanese modern, vernacular styles make food truck art truly postmodern. 
Artist: Landers Miller Design

As stated in Meggs' History of Graphic Design, the term supergraphics was coined to describe "bold geometric shapes of bright color, giant Helvetica lettering, and huge pictographs warping walls, bending corners, and flowing from the floor to the wall and across the ceiling.." "Psychological as well as decorative values were addressed, as designers created forms to enliven dismal institutional architecture.." The pedestrian, institutional look of the aluminum sided food truck has been elevated by these large scale applied graphics.

Street Sweets artists, Landers Miller Design, incorporated typography into the food truck art in the spirit of the facades of French patisseries.  Incorporating the concept of street maps, the design takes on a vernacular, Parisian flair.

In a reversal, one of my favorites, Curry Up Now, started out as a food truck and then opened a brick-and-mortar restaurant in San Mateo. Perhaps the food truck business is simply a trendy micro industry, or an extension of an existing corporate identity system. Either way it is an example of the ever-evolving call of commerce that design answers.
I wonder how Robert Venturi would design his own food truck. Oh, and there is even a food truck for dogs.

Resources:
http://www.californiacartbuilder.com/  vernacular design Mardi Gras
The Place artist: Laura D. Luo
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