Archive for April, 2012

POST8: STACY 1910-1929

Posted: April 30, 2012 by stacypollard in Uncategorized

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1910

armory show introduces modern art to new york / the edwardian era, outbreak of ww1 1914-18, the deer cry- archibald knox- liberty prints, first jazz record issued, russian revolution, stile liberty, leopoldo metlicovitz, odeeon casino posters, schnackenberg, ‘jugend’ ‘das plakat’, stockholm olympic posters, bortzell, leete, hassall, multiplex typewriter, underground font, bauhaus, Schlemmer, Schmidt, Laszlo Moholy-Nagy, Terry-Adler, Theo van Doesburg ,dada. hoch, heartfield, hausmann, manray, grosz, futurism, Informative Functionalism, futurism, Expressionism, Titanic sinks, WW1 begins, suffagette movement, foxtrot,Futurism, Orphism, travel, bobbed hair for women,light green pantone5445/swooning mauve 5015/tans 465/ iridescent colours electric light bulb invented

1920

the roaring twenties, flappers, cocktails invented, the jazz age, charleston, new feminism, prohibition of alcohol 18th ammendment, coco chanel, burberry, jaeger, merz magazine, schwitters, million mark note herbert bayer, edward johnston – railway type, quaker oats, a.m.cassandre, bakelite candlestick telephone, philips 2514 radio and speaker, mussolini becomes prime minister of italy, al jolson appears in the jazz singer first full length talking film, kodak developes colour 16mm film, wall street crash, ‘vanity fair’, paris exposition internationale des arts decoratifs et industriels modernes in 1925, el lissitsky, futurist poster stamp 1931, binder, clarence underwood, raoul dufy textiles, gunta stolzl, neophone 1929, universal font 1925, futura font 1927, offset magazine, paul renner, gills sans 1928, beginnings of jazz, held, malevich, constructivism,elementare typographie”, great gatsby,turkey abolishes arabic alphabet and adopts roman, mah- jongg craze, tutankhamans tomb opened, black friday crash of wall street, bauhaus movement, abstact expressionism, chanel pallette- biege488/taupe4645/ gray warm/black, celery614/pale pink 691/lavender664/powder blue 650 light green 622, art deco bronze 8960/chrome, steel 8002/and glass, bright colours as spot colours,fonts eagle bold, cheltenham, cheltenham bold, kabel black, kabelbook, kabel heavy, kabel light, monotype broadway, ozwald, parsons, futura, erbar, franklin gothic, news gothic, gill sans, coronet

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NAOKI POST7: NY! NY! NY Subway Art

Posted: April 28, 2012 by mypalmick in Uncategorized

 

William Morris (1834-1896), was the single most influential designer of the nineteenth century. Morris was a political theorist, scholar, translator and publisher, an environmental campaigner, writer and poet as well as an outstanding designer. Under his direction Morris & Co. grew into a flourishing and fashionable decorating firm renowned for its wallpapers and textiles. http://www.william-morris.co.uk/

Morris was one of the founders of the Pre-Raphealite Brotherhood, together with six other artists and craftsmen. The brotherhood where  very critical of the artists of the 19th century for being servants of the industrial age. http://www.spartacus.schoolnet.co.uk/Jmorris.htm

Pre-raphealite art

To Morris, the art of the middle ages was the golden age of craftsmanship, and this was the standard which should be pursued. This love of traditional craft, was informed by his philosophical background as a Utopian Socialist. http://en.wikipedia.org/wiki/William_Morris

“Nothing should be made by man’s labour which is not worth making; or which must be made by labour degrading to the makers…this is a direct challenge to the death to the present system of labour in civilized countries. That system, which I have called competitive Commerce…” http://www.spartacus.schoolnet.co.uk/Jmorris.htm

Morris is most famous for his print and wallpaper designs, and his name continues to be associated with sumptuous floral prints in a manner evoking a combination of medieval imagery, Islamic repetitious prints, and art Nouveau curvy lusciousness.  http://www.theearthlyparadise.com/2009/08/william-morris-and-islamic-art.htm

Wallpaper

Although William Morris’s design work is still reproduced his influence stretches to many of his interests, for example, his work on restoration of architecturally significant houses helped initiate the foundation of the National Trust in England. Morris’s emphatic emphasis on the master craftsman helped bring about the birth of the Arts and Crafts movement both in Britain and in America.http://e17designersmarkets.blogspot.com.au/2010/11/inspired-by-william-morris.html

The movement emphasised:

    • One cannot validly distinguish between fine and applied or decorative arts.
    • The artisan or craftsman should have the same imaginative pleasure and freedom as painters, sculptors, and architects.
    • The Industrial Revolution both greatly damaged popular taste and did much to destroy traditional craft skills.
    • Mid-nineteenth century design was by and large dreadful and artists, sculptors, designers, craftsmen, theorists, and the buying public had to work together to remedy this situation.
    • Properly designed objects should embody truth to materials — what Ruskin had called the “Lamp of Truth.” In practice this meant, for example, that furniture should use solid wood rather than veneers, and all objects from small pieces of jewelry to entire buildings should explore the intrinsic capacities of the materials from which they are made.
    • The role of the craftsman must be appreciated.http://www.victorianweb.org/art/design/craftintro.html

Post 5 Crystal Poster Design

Posted: April 26, 2012 by crystalspencer30 in Uncategorized

 Reg Mombassa

Born in New Zealand in 1951,  he immigrated to Australia with his family in 1969. He attended the National Art School, Sydney 1969-70 and returned to art school in 1975 to obtain his diploma of painting in 1977.
In 1976  he formed the rock band ‘Mental as Anything’ with four other art students. He toured with them and exhibited with them at the same time.

He has worked closely with Mambo Graphics since 1986 designing t-shirts and posters.

Established in 1984 by Dare Jennings and Andrew Rich, the Mambo label began as a backyard business screenprinting T-shirts for a small niche market in surfwear. The mix of surf culture, art and music influences resonated with Australian youth who loved the notoriety and controversy the designs characteristic of Mambo aroused in conservative middleclass Australia.

                

The designs were vibrant, humorous, irreverent and of questionable taste but had broad appeal with youth both in Australia and overseas. The disintegration of accepted motifs and conventions, the portrayal of anti-realist and anti-rational popular iconography combined with imagery typifying Australian suburbia dominate Mambo designs.

Reg states that he loves his work to be funny, spirtuality uplifting or educational. Many of his Mambo works feature long format text showcasing his flair for the written word alongside his artistic talents. A lot of Reg’s work has caused quite the drama. From threats from Christians fire bombing the old Mambo store on Oxford Street for a gay Jesus in the window to his posters being discussed in the upper house for their commentary on the refugee situation.
The posters reveal that beneath the humour and amusing parodies, lies incisive insight, sympathy and expression of serious social concern.

           
This is an important collection of posters and is significant for the contribution Mambo Graphics has made to Australian popular culture.

Reg’s work has way ahead become the instantly recognizable iconography of Mambo and thus the contemporary Australian t-shirt and from there been at the forefront of Australian larrikin art.
Certainly with his series of paintings of the Australian Jesus, the bestower of pies and beer to the masses. He formalizes the ocker rituals, enshrining Australian middleclass as the bastions of cultural identity with pseudo-religious icon art of BBQs and Bondi landscapes.

                        

Australian pop culture owes a lot to Reg Mombassa who has melded the styles of fine art and commercial design to create a pop surrealist identity that has achieved a status as the branding of twentieth century Australian suburbia. He is the jester as cultural hero.
http://www.planetvideo.com.au/blog/2009/11/mambo-king.html

http://regmombassa.com/biography

http://about.nsw.gov.au/collections/doc/poster-mambo-instellar-anthropology-by-reg-mombassa-for-mambo-graphi/

http://www.australianinfront.com.au/news/article/reg-mombassa

http://www.careerfaqs.com.au/news/news-and-views/reg-mombassa-artist-designer-and-musician/

post 7 ~ Bodoni by Natalie Kiryk

Posted: April 25, 2012 by natkiryk in Uncategorized
History has given him the title of “the king of typographers”

Giabattista Bodoni was born, 1740, in Italy. He was known for engraving, type design, typographer, printer and publisher. His impact is still seen today with the ever famous font Bodoni, being used for posters, logos and many other areas in the world of graphic design. The fonts of the Italian printer have been copied, revived and interpreted hundreds of times .

He developed a dramatic and bold style.  From the 1780’s he worked with his brother, Giuseppe to produce his own types. In 1798 was when he first designed the font Bodoni.

These are the lead font type face that Giambattista Bodoni would use to print with by inking them up and then print onto paper. The type face on the leading is “Bodoni” as well.

He became internationally known and collectors sought his books. His coldly elegant books were frankly made to be admired for typeface and layout, not to be studied or read. His many important works include fine editions of Horace, Virgil and Homer’s Iliad.

His major work on printing was the Manual Of Typography which after his death was published by his wife. He created over 140 roman fonts, a corresponding number of italic designs, more than 115 titling and script fonts, a large number of ornaments and several non- Latin scripts. Much of the strength and beauty of Bodoni’s printing is a result of his ability to use absolutely the right design for any given application.

Bodoni had a long career and his designs evolved and differed. The typography Bodoni produced is still regarded as some of the most refined and structured printing ever produced.

The first modern revival of Bodoni’s work was drawn for the American Type Founders Company in 1910 by Morris Fuller Benton. The Bodoni Old FaceTM design, drawn by G. G. Lange for Berthold in 1983, took the first steps toward a true representation of Bodoni’s original typefaces. Late in the 1980s, Tom Carnase – assisted by Massimo Vignelli as design director – collaborated on WTC Our Bodoni for World Typeface Corporation.

More recently, the Bodoni Classic, ITC BodoniTM, Filosophia,
FB Detroit Bodoni, Lanston Bodoni, ParmaTM and Linotype GianottenTM typefaces have been added to the list of new Bodoni designs.

Where the Bodoni font is today…

http://www.answers.com/topic/bodoni

http://www.behance.net/gallery/Bodoni-Font-Study/2510231

http://www.linotype.com/683/giambattistabodoni.html

http://www.prepressure.com/fonts/interesting/bodoni

http://en.wikipedia.org/wiki/Bodoni

http://ashleyattwood1.wordpress.com/top-10/top-10-designers/

 

Aubrey Beardsley was an English artist and illustrator who left a lasting impression on the world of nascent graphic design. His subject matter was often risqué and his style exemplified the Art Nouveau use of flowing lines and sensuous curves.

Illustration for "Salome"

Born in 1872, Aubrey’s first published illustrations were for a school newspaper when he was 13. At age 19 Aubrey became a professional artist, and within a year moved to Paris. In Paris he discovered a number of artists and styles, which he would be influenced by. Chief amongst these (at least initially) was the poster art of Henri de Toulouse-Lautrec. Japanese printing also influenced him, which was immensely popular at the time.

 

Aubrey also co-founded a number of publications, most notably The Yellow Book (1894) and The Savoy (1896).  The press was often critical of Aubrey’s art, deeming it offensive and crude, even though in one edition of the Yellow Book, he signed different pictures with different pseudonyms, with the same critics commending his art when they weren’t aware of his authorship.

 

The Yellow Book Vol. II - title page

 

Yellow Book Cover

Aubrey’s styles varied from the elegant to the grotesque, borrowing themes from paganism, mythology, fashion and erotica for his work.

 

Aubrey’s contribution to graphic design is evident in his borders and his lettering, as well as overall composition of his work. His work appeared as book covers and illustrations, posters for events and publications and also satirical cartoons.

 

Though Aubrey’s work was often lewd and provocative, exemplifying the Aesthetic movement of the time, shortly before his death in 1898 he converted to Roman Catholicism, and “repented” of his “obscene” art from his life, even asking his publisher to destroy his work. Fortunately, his work remains intact where it influences graphic designers to this day.

 

 

 

 

http://en.wikipedia.org/wiki/Aubrey_Beardsley

http://beardsley.artpassions.net/

http://en.wikipedia.org/wiki/The_Yellow_Book

http://archive.org/details/yellowapril189401uoft

http://www.victorianweb.org/decadence/yellowbook.html

http://www.wormfood.com/savoy/yellow_book/267.html

 

The First real Comic Character – The Yellow Kid

1890’s

Volume 1, Issue 1

The Yellow Kid was the creation of Richard F. Outcault and is considered to be the first American comic book character. This ‘Bart Simpson’ of the 1890’s was a street urchin named Mickey Dugan, and was the main star of the comic strip ‘Hogans Alley’.

The strip was first published in 1894 with only 4 issues printed in black and white for the ‘Truth’ magazine, before being snatched up by the ‘World’ and printed in colour when the publication got hold of a colour press.

In the era between 1890 and 1900, over 42% of the population were foreign born and uneducated.

The hero of the ‘Alley’ is shown wearing a nightgown probably handed down from an older sister, with a newly shaven head (common sight in the tenements due to lice) plastering statements on his nightclothes addressing current issues with racism, class distinction and the consumerist environment speaking on behalf of those from the wrong side of the tracks. The Yellow kid became a voice for a large percentage of the population who went previously unheard, it also brought some humour and light to their situation.

Vol 1, Issue 2

The sheer popularity of The Yellow Kid ensured it became an overnight success, starting a competitive bid between publications to possess it. At times it was published in multiple publications simultaneously. The design layout, the content and the fact it was in colour started a new trend of controversial comic artworks. The competitive race for sales fostered by this series, coined a new phrase ‘Yellow Journalism’, which describes the nature of two newspapers editorial practices of using ‘ sensationalism and profit to attract readers and increase circulation as priorities in journalism ‘without any regard for truth or fiction. ‘


Here is an awesome radio podcast talking about his. Have a listen.

http://backstoryradio.org/the-adorable-origins-of-yellow-journalism/

http://library.duke.edu/exhibits/earlycomicstrips/

http://www.comicvine.com/the-yellow-kid/29-66506/all-images/108-307002/001yellowkid/105-976765/

http://www.comicvine.com/yellow-kid/49-28282/

http://xroads.virginia.edu/~ma04/wood/ykid/intro.htm

http://www.infoplease.com/biography/var/theyellowkid.html

http://en.wikipedia.org/wiki/The_Yellow_Kid

http://en.wikipedia.org/wiki/Richard_F._Outcault

http://cartoons.osu.edu/yellowkid/index.htm

http://www.nytimes.com/1995/12/17/books/the-kid-from-hogan-s-alley.html

http://xroads.virginia.edu/~MA04/wood/ykid/death_kid.htm

http://academic2.american.edu/~wjc/spanish10.htm

http://xroads.virginia.edu/~MA04/wood/ykid/illustrated.htm