BEING A GD - Voice and Vision - “Steal Ideas- just not from other graphic designers” pg 18 Pg. 26 valuable list of GD descriptions - “graphic” + “design” b/c it is a dual nature - Design work in corporations o Aesthetics o Structure o Emotion o Utility Joseph Neuzil 1/15/16 From 16,000 yrs ago W.A. Dwiggins – coins term “Graphic Design” in 1922 Categories of GD - Corporate - Environmental - Motion - Interaction - Type - Publication - Book - Signage - More!
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BEING A GD - Voice and Vision - “Steal Ideas- just not
from other graphic designers” pg 18
Pg. 26 valuable list of GD descriptions
- “graphic” + “design” b/c it is a dual nature
- Design work in corporations
o Aesthetics o Structure o Emotion o Utility
Joseph Neuzil 1/15/16
From 16,000 yrs ago W.A. Dwiggins – coins term “Graphic Design” in 1922 Categories of GD
- Corporate - Environmental - Motion - Interaction - Type - Publication - Book - Signage - More!
EMILY OBERMAN TRAVIS OLSON LUCIAN BERNHARD
Rest by Milton Glaser
Emily Oberman founded design studio Number 17- and is known to be a influenced and closely taught by Tibor Kalman. Kalman was a designer in the 40s who designed largely for companies, as Oberman does. He said “many bad companies have great design”. While SNL isn’t bad, nor the Late Night, they could be dubbed as “inappropriate”, but clearly Oberman has created great designs.
Lucian Bernhard is a German designer of the 20th century. He did largely object posters. What I like most about his work is his ability to make the product come off of the page with contrasting colors, and distinct edges. He revolutionized the way that product posters and packaging ( to name a few) were done. His influence can be seen in modern designers and logos, such as GMC.
Travis Olson – Travis Olson is not as widely known, and is currently a graphic design professor. But I really liked how he is able to have distinct edges and color. So, I found another designer who reminded me of his work. Milton Glaser uses distinct color and patterns to really make his work stand out. So the second three designs are by Glaser. I love the use of red and black by each artist.
Other notes- Industrial revolution in Europe brings paper and the printing press
o Steam powered cylinder press (1814) Gothic reveal
o Brooklyn Bridge- (GD in infrastructure) Arts/ Crafts movement (1880-1910)
o William Morris – Recaptures handcrafted art forms Aestheticism (1870-1914)
o Victor Cousin General Electric Logo- makes me think just how much GD can influence the entire perception of a
company- when I think of “x” company, do I think of their product first or their logo first? GE is one where I think of the logo first
Art Nouveau (1890-1910) o Directly inspired by arts and crafts and aestheticism o Architectural work
Modern World o Cubism o Futurism o Many common modern art movements with great effects on GD
Nature often reminds me of color. Seasons, region of the world, etc. all have drastic impacts on nature, the color, the style, and the overall fell. I believe that in nature, one of the largest effects on our emotion is the environment- the sounds, smell, temperature, rain, snow, etc. So many different aspects can have effects on nature.
Trees, wildlife, water, noise, temperature, everywhere, huge, life, physics, atmosphere, space, habitat
Movement, voice, instruments, feel, emotion, dance, specific, happy, expressive, loud, organized, unorganized.
Show, movement, enticing, visuals, amazing, relatable, personal, ode, event meant for others
NATURE
MUSIC
PERFORMANCE
One of the first things that comes to mind when I think about the combination of music, nature, and performance is the rainforest. Temperate, tropical, etc.
This is where nature comes together with performance, and the visual performance that is put on by plants, water, and animals. The sounds from these various aspects of nature come together to form music of nature. Yet another thing I think about when the three combine is animals. Animals in a natural habitat are fun to watch, and have a rhythm about the way they live which entices me and is like their own music.
Think of going on a safari, or simply listening to birds in the spring. We go on a safari for the performance and the nature, and all the sounds from nature and animals create this natural music. These last four pictures have been largely outdoor nature based. When I think of performance and music, I think of a concert. How many countless concerts are held in nature for the very affect of performance, nature, and music all coming together.
I think that the music here speaks for itself. But part of the performance is the beauty of nature going on all around the “focus” of the concert. The music and performance are helping to celebrate nature around them while the nature enhances the experience of the musical performance. Finally, when I think of music, performance, and nature, I think of films- which are really just recorded performances. Finding Nemo is an animated film which is full of unique nature and music. Also, Planet Earth has a sick soundtrack.
Finally, when I think of these three words in one, the most notable is the ocean. Waves and tides make a unique music, and the natural phenomena of the moon and wind causing waves and currents is quite the performance.
GREEN
VISUAL PUNS
Joseph Neuzil
3x5 Designers
-Starts on next page down
William Morris
Alvin Lustig
Shigeo Fukuda
WILLIAM MORRIS
Trellis (1862)
Materials- 16th
century decorations
Golden Type design
Conceptual- What is best way to
print? Gutenberg press and on…
Perhaps the image to most
closely influence, with birds,
color, and complex imagery,
this 16th
century tapestry is an
early example of wall
covering design
Gutenberg Press
type
Ancient type on
papyrus attempting
for clarity and
aesthetically pleasing
The new best way to
William Morris- English textile designer, poet. British arts and crafts movement. Shifts
focus from printing around 1862 and begins to pursue wallpaper
- Begins as a print designer
o Books, types of writing
o Works with famous authors and poets such as Emily Dickinson
- Covers, books, pamphlets, etc.
- Revolutionized the way that printing was done from an aesthetic standpoint
- Changed and began the arts movement
- “Trellis” (1862) is his first wallpaper design.
- Begins working with textile printing
o Works with fabrics, embraced by political figures and upper class
- Later in life begins to work with weaving, dyeing, and glass staining
- Helps beginner architect by letting his design “Red House”
o L- shape is different kind of architecture similar to Gothic
He is a designer of physical elements, and stays away from pencil and paper (for the
most part)- he prints or weaves or dyes, or builds.
- Helps to design his own home both interior and exterior
Text printing, and textiles- ever increasing detail and clarity. Romantic and colorful type
which became popular for the time. Large single letters with color.
Peacock and Dragon
(1878)
All three levels
Changing trends/ fashion
Difficult canvas
Organization and
patterns seem to be
timeless
Red House (home)
Material - Brick
Conceptually- L- shape
Composition – red brick,
fell of this type of home
The Manifesto Cover
(1877)
Detail and clarity of the cover-
with an image accompanied by
varying text size
ALVIN LUSTIG
Alvin Lustig (1915-1955)
- Believed in curative power of good design
- Generalist who established standards in media used today
- “The Composing Room Gallery” 1949, NY
- 1949 paperback cover “Lorca: 3 Tragedies”
o Symbolic acuity, compositional strength, typographic craft
- Printed covers, mainly
- Approach
o Reticulated negative, photograms, still-lifes
Developed from an interest in montage originally practiced by
European Moderns
Influenced by E. McKnight Kauffer
o His book cover designs were new because use of abstraction and small,
discreetly typeset titles
Influenced by Jan Tschiold
- Jacket for “Henry Miller’s Wisdom of the Heart” 1941
o Influenced by Lloyd Wright
- “Ghost in the Underblows” 1940
o Constructivist typecase
- Switched to drawing, influenced by Paul Klee, Joan Miro, Mark Rothko
o “Liberally Borrowed from these artists”
o New Classics
- Covers for Noonday Press between 1951 and 1955 have both traditional and
modern aesthetics
- Dies young of causes related to diabetes
http://www.alvinlustig.com/aa_intro.php
Lorca: 3 Tragedies (1949)
Henry Millers “Wisdom of
the Heart” (1941
Here, Lustig was influenced by
Lloyd Wright. Below are
Wright’s designs. Clearly, he
was influenced by the shapes,
colors, and contrast. This was
conceptual, materialistic, and
compositional.
Ghost in the
Underblows (1940) The Man Who Died
(1947)
Two Novels by
Nathanael West
Conceptual- Using characters to
create other images, negatives
Paul Kee
Joan
Miro
Mark Rothko
“Ghost in the
Underblows” was
largely influenced
by constructivist
design from the
1920’s. Notice how
the design by Lustig
uses similar colors,
and very distinct
shapes. These sharp
endges and
geometric shapes
make up the design
on each of these
book covers.
SHIGEO
FUKUDA
Shigeo Fukuda
- Feb. 1932 – Jan 2009
- Sculptor, graphic artist, and poster
designer
o Creates optical illusions
- Following WWII, became a minimalist
- “I believe that in design, 30 percent
dignity, 20 percent beauty and 50 percent
absurdity are necessary”
- Swiss design was a great influence
o Attends Tokyo University of Fine
Arts and Music
- First Japanese designer to be inducted
into the New York Art Directors Club
Hall of Fame
o Visual illusions
- “Victory” 1945 won him grand prize at
Warsaw Poster Contest in 1975
o Proceeds helped fund the Peace
Fund Movement
- Wrote columns in Japanese newspaper
about visual magic
- Earth day posters
o Designs for the good of the
people
- Fukuda, because his style is largely visual
illusion, connects to other designers on a
conceptual level more than anything
Victory 1945
Another “Victory”
These are some visual
illusions pertaining to
war, done by various
designers. Clearly they
are using similar
techniques as Fukuda.
Out of one image there
are many other
meansings
Here is another “Victory”
by Fukuda. Below are
designs done by Tang
Yau Hoong. He uses a
nationality approach
similar to Fukuda to
create his visual illusions.
Simple color can be used
because it is about
different things the eye is
drawn to in order to
understand what is
happening in these
designs.
Remembering for the Future
Negative Space
Noma Bar
La Viane Limousine
These are different visual illusions by
Fukuda. They are followed by other visual
illusions done by various graphic
designers. Fukuda does a variety of
illusions, using materials, people, and
animals. He was a large influence on these
design illusions.
These two designs have
been animals within other
animals. They are
interesting illusions of
how animals fit into each
other
These designs
use a similar feel
to Fukuda in the
sense that they
are arms or legs.
He uses few
shapes and
negative space to
create more
objects, and here
focuses of
appendages
Here is something similar
to Fukuda where multiple
animals make up a larger
animal
This column felt more like
patterns and color used to
create a visual illusion.
Rather than use humans,
animals, or objects (Fukuda
does include animals in this
one), I feel it is more about
patterns. Below are some
similar illusions done by
other artists. Below I
included two mazes, because
that is the feel that Fukuda
portrayed, to bring out
confusion. This is more
conceptual than anything else
I originally thought that design was something where
designers are contracted and paid to make a cover, and so
they draw it. Glaser really helps explain that it isn’t about
the contract. He is really taking his designs and attempting
to have an impact on the way people view culture, history,
current events, etc. with the way he designs.
It is interesting to realize how some designs, covers, posters,
totally change the emotion and perception of monumental
times in history. Glaser allowed me to reflect that I can
design things that are more than just aesthetically pleasing.
Designs can change the way people think about a city.
Glaser seemed to be inspired by the culture and the people of NY.
He really loved the small restaurants and how each had their own
unique way about them. He stressed the amount of people and
companies that he invested in and how many made it and how
many did not make it. But throughout the film Glaser stressed
that he would not be where he is today without the city of New
York.
Glaser got $0 from the “I heart NY” logo. He
said how much pride he takes in it though that
it inspired everyone to take pride in NY again.
Glaser liked that he had been there his entire career. He talked
about how many changes it had been through with the company,
that it was small and large and now he likes an open atmosphere.
Another thing was that it bordered a school and he drew
inspiration from that
I find the “I heart NY”
audience fascinating.
Really, it is everyone.
He wants people to take
pride in their city again,
and it works
For “what is the goal” I find myself thinking of the college campus. He designs it to be
environmentally friendly and portray a “green” feeling. As said below, he isn’t just
making a campus look nice, he is attempting to help change the fundamental way people
think and feel about the world around them and make positive impacts.
Back to the school. He wants the form to bring out an emotion in
people. And more than an emotion he wants to impact their outlook
on how individuals, communities, and campuses can change the
world. Using windmills, and the physical form, help to do that
Joseph Neuzil
40’s design cards
The goal of this piece was to
inspire Americans to get behind
the war effort. It is rhetoric and
inspirational. The American flag
background reflects nationalism
with a support in the war effort
with the tanks
Modern Americans (at the time)
who “should support the war
effort”. It was important to get
Americans “on board”. Using a
worker and tanks shows
nationalism and the working man
behind the war which speaks to
the average American worker.
By integrating images into the
American flag, there is a non-
subtle tribute of nationalism. This
is also a poster, which can be
posted around the streets. Short
phrase with an exclamation point
offers a quick view of this poster
to get the point across.
Leo Lionni
Poster for Office for Emergency
Management 1941
Meets the new design of the era,
with larger text, and attempting
to get away from purely 2-D
imagry.
The goal of this piece is similar to
the one above. The average
American worker is glorified
along side the soldier. Without
one the other would not survive,
and everyone needs to do their
part in the war. This is a very
pro-war piece.
The audience is the “average
working American”. Those “at
home” were a large part of the
war effort and needed to
understand they had a great
influence, so it encouraged them
to get behind the war.
It is a comparison between the
working man and the soldier.
Using this contrast, it is clear that
there are two sides of the war.
All black imagry between the two
people shows there is no
difference between worker and
soldier, and an easy to read slogan
offers the goal of the poster by a
quick glance
Jean Carlu
“Give em both barrels”
Another similar poster for war
support. It is similar and different
from the image above.
The goal of this piece, like the last
two, was to influence people to
join the industrial profession.
celebrating the working man,
these posters made military
members out as a hero, suggested
that the industrial worker was a
hero, too.
The audience is young men of the
1940’s who America needed to
join the war effort. These would
be easily persuaded men who
wanted to be part of an adventure
and be viewed as a hero, even by
just staying at home in the factory
It is a portrait form, with a
persuasion. There is a direct
message to the audience in text,
saying in a secondary manner to
join by saying “step into the
picture”. Next, the men are
glorified and in their industrial
job, it is a direct comparison
saying, “you don’t need a military
uniform to be a hero in the war
effort.”
Joseph Binder
“Labor” Office of War
Information 1943
This was another pro-war poster.
It aimed at the common man once
again to join the war effort as an
industrial worker. It gets out of
the 2-D imagery and attempts to
put the white figure in the
foreground to make it the focus of
the poster.
The goal is to make the audience
have a scared, shocked, and
interested reaction. The audience
should see this book cover and be
intrigued and confused, shocked
and awed.
The audience in this piece is those
who are going to buy the book. It
is an interesting cover that jumps
out because of the images, colors,
and text.
This form was classic for the
time. He overlaps colors and uses
drastic and shocking images.
There are two children with
barbed wire in the background,
and it looks as if the triangles of
color are going into their mouths
similar to being fed.
Gene Federico
“The Wolf That Fed Us” 1947
This uses similar techniques of
the time, overlapping colors, not
many colors, and symbolism in
the shapes.
The goal of this piece is to give
the feel of a dark, prison like
place. The red symbolizes blood
trapped behind the barbed wire
The audience is the buyer. More
specifically it is a buyer who is
interested in darker poems, and
who may be willing to read about
war and death.
This form is similar to the last
which uses color and overlapping
images. Here, the barbed wire
overlaps the red, which gives the
imagery of blood on the wire.
Lack of text draws attention to the
wire and blood, which are a
symbol of death and war of the
time.
Alvin Lustig
Poems by Wilfred Owen 1949
This was similar to the last piece
which uses overlapping images
and the use of barbed wire. It is
also a book cover.
JOSEPH NEUZIL
50’s CARDS
For the 50’s, Modernist graphic designers.
Influenced by Europeans such as Alexey
Brodovitch, Herber Bayer, Americans
such as Alvin Lustig
Audience is once again the consumer. A
post-war world.
Individualistic approach by each designer.
They wanted to put their own “art” on
their designs.
VISUALLY POTENT DESIGN THAT
WOULD GRASP VIEWERS
ATTENTION
Trademarks and logos begin
The goal of the piece is to intrigue
the consumer. It was the poster’s
hope to grab attention from a
passersby and make them do a
double take, because of the
flashiness of the poster.
The audience is any consumer.
But more importantly is the
consumer who is interested in
type. Olivetti was a typewriter
and calculator manufacturer, and
wanted those who did a lot of
number crunching and typing to
be interested.
This form incorporates colors and
text. Because Olivetti was a
producer of typewriters and
calculators, they wanted people to
associate their name with
numbers. So, The designer
scattered the page with numbers,
and with no slogan or message.
Then, he changed colors to draw
attention from the passerby. In
this way, someone is intrigued by
the standoffish design and gets an
indirect message to associate
numbers with Olivetti.
Giovanni Pintori
Olivetti Poster 1950
This is a poster that uses a very
visually potent design. It was
intended to capture the attention
of the viewer and make them
think about what was going on.
The goal of this piece is to
advertise general dynamics in a
positive way. There are colors
and symbols that make the poster
stand out, and look interesting.
The text is the secondary
advertisement to make sense of
the colorful imagery and get the
advertisement across.
The audience is the general
public. General Dynamics clearly
wants the general public to think
that they are a chemical
manufacturer, but not for the
wartime manufacturing that
crippled the 1940’s. They are a
new way and want growth.
A poster is important because it
has appeal to the general public.
The designer uses color and
shapes and a pyramid look with a
ball to make the poster a cool
image that people would stop and
look at. Once the designer has
your attention he uses a short
slogan that does not overtake the
poster in order to get the point of
the poster across and make sense
of the imagry,
Erik Nitsche
General Dynamics Poster 1958
This is similar to the Olivetti
poster, where the main goal is to
make the advertisement jump out
and draw attention with color and
patterns.
The goal of this piece is to begin
to associate IBM with a logo. In
fact, this is still the IBM logo
today. The designer wanted the
audience to see the capitol IBM
letters, and even without thinking,
know they are for the computer
company.
The audience is current, but more
future general public. The
designer wants to associate
company with logo, so that there
will always be an audience that
understands what IBM is. An
audience (consumer) needs to be
able to know the logo without
thinking.
It is capital letters with simple
colors, similar to something that
would be seen in a screen of the
time. It is simple, and the
emphasis is on the text. In this
way, the logo can have its colors
and other variables change, but
the IBM will always be the logo,
as it is today.
Paul Rand
IBM logo 1957
This is one of the first three ads
that I am going to analyze. Each
is for a different company and is
designed specifically for the
company. The 50’s was an era
where companies wanted to have
a logo which made their
advertising identity. People
wanted their company to be
associated with an image, so
when someone saw an image in
advertising they immediately
thought of a certain company.
The goal of this piece is to define
the identity of AIR MAIL through
a poster design. It is able to
advertise the company while
simultaneously making the viewer
understand the identity of Air
Mail.
Based on the poster, the audience
is anyone who is attempting to
mail something domestic or
international. Those who want
access to the entire world, or even
right down the street should be
using Air Mail
The poster background is a mix of
a map and a sky (with clouds).
This gives the perception of the
world, quick travel, and logistics.
On the “map-like” background,
there is a hand with a map on it
that outlines Air Mails worldwide
locations. There is a literal map
with locations, which helps the
audience to understand the
specifics of the company and their
real deliverables. The hand
suggests a delivery, and personal
service.
McKnight Kauffer
Air Mail Poster 1950
Here is another ad that is designed
in a very product specific way. It
doesn’t just attempt to advertise
the piece but give the company an
identity. I feel like both designers
and companies were attempting to
find individual identity in the
1950’s
The goal of these pieces is to
associate CBS with various other
programs. Olden wants viewers
to understand that if they want to
see all the best sports programs,
they need to tune into CBS, and
the viewer knows that it is CBS
because of the eye logo.
The television viewer.
Specifically the sports fanatic,
who wants to know what
television provider to tune into if
they want all the best in sports.
These ads to a variety of things.
They use both text and imagery to
advertise the sports. This is done
because sports are shapes and
visuals (balls, horses, humans).
Second, they stand out. Next, it
incorporates the CBS logo. In
this way, people see the eye logo
and think CBS, now, they think
CBS and they think sports
Georg Olden
Various CBS shows 1950’s
I picked these because they all
have the CBS logo, and begin to
define certain Television shows as
well. This is an identity of CBS
as having all of these “sub-
identities” as the programs they
provide.
American industries and technologies begin to
grow and advertisers (and designers) are able
to use this to promote this in design.
Psychedelic look and feel in colors, shapes,
patterns, and text
60s is golden age of print advertising
60s designers shaped the way we look at
the entire era no. Designs can give an era
its definition and culture
Many of the experiences in GD that
happened in the 60s were actually
developed and began in the mid-50s
For the 60s Joseph Neuzil
The goal of this piece is to
advertise alka-seltzer as a good
tasting stomach antiacid. Rather
than showing a sick person, the
goal is to show that this product
helps your stomach and goes
down easily, like your favorite
drink. Finally, it is good on those
hot summer days
The audience are those with upset
stomachs. More importantly, the
audience is those with upset
stomachs who are tired of
choking down disgusting drinks
and pills. Here is offered a better
tasting alternative. Another
audience may be those who get
heat sick, and cold alka-seltzer is
key
The black and white doesn’t
suggest it is fancy. A simple
glass with ice and an orange gives
the image of a normal, good
tasting beverage. Large type
offers the product name, and sort
of a joke that the product is as
good as your favorite drink.
Finally, once you are focuses on
the add, small type offers a clever
little phrase that may stick with
you. This large image with
juxtaposing text size makes a
simple poster fresh and easy to
look at with a clear advertisement
strategy.
George D’Amato
Alka Seltzer ad (1965)
I chose this advertisement
because I think that it models the
print advertising. Television did
not quite have the influence then
at it does now, so ads in the paper,
on posters and in magazines were
important
The audience is the people who
may oppose Nixon, and really
anyone who keeps up with
politics. But, the satire helps to
appeal to an audience that may
not be involved in politics and
just wants to read a piece here or
there about Nixon.
The goal of this piece is to bring
to light that Nixon is on the hot
seat. He is having make-up done
as a satire to suggest that it is his
last rodeo, and he is going to look
the part even though he will
probably fail again
You have a political figure who is
having hair and makeup done. It
is satire suggesting that Nixon is
more focused on his looks, more
specifically his public image, than
anything else. Eyes are drawn to
the picture, which is a little
confusing, and then the small text
makes the message clear
George Lois
Cover of Esquire (1969)
I felt that this was an interesting
political piece of the time. It
doesn’t exactly mesh with what
the 60s designing was about.
Instead it is a bit of satire
The goal of this piece is to sell
magazines. More specifically, it
is intended to catch eyes, which it
does. Violence is eye-catching,
especially when a police officer is
involved. Then, the word
revolution creates shock and aw
which gets readers.
Everyone. Violence (when police
are involved especially) is a hot
topic. Revolution is something
which affects all ages, genders,
races and classes.
It is a black and white photo with
color text. The Photo is bold,
dramatic, and a little disturbing.
That is what the eyes are drawn
to. Then, there is the “American
Revolution 1969” in simple text,
but blue. The blue on the black
and white photo backdrop and the
red magazine title and outline
make it pop. It also helps the
photo to pop. “Revolution” is eye
catching and dramatic. This
supports the image.
Robert Kingsbury
Rolling Stones Cover (1969)
I chose this piece because it is
another political piece. The
image is a little more obvious
than the first, and actually pretty
drastic. The text also stands out.
I was a little confused about the
goal of this piece. It is
celebrating all kinds of body
types
The audience here is people who
may suffer from issues with their
body image. The magazine
attempts to tell everyone that it is
ok to look however you want and
to be comfortable in your own
skin
This feels like more of the 60s. it
is “free love”, and “be yourself”
and “be happy doing whatever”.
There is an image, but more
significantly is the text font,
which has the psychedelic feel of
the 1960s. Lots of curves,
varying sizes and shapes.
Herb Lubalin
Fact magazine cover (1965)
This seemed to be more of a
design that I think of when I think
of the 60s. The text especially is
parallel to the 60s
The goal of this piece is to sell
magazines, and to create an
interesting cover which is
generally not a designed image
but a picture
People who buy playboy. idk
It is a cool cover. It has an image
made up of the bright pinks and
greens and orange. Text comes
together to create a wavy
background and part of the
woman on the cover. More
colorful wavy lines give the
image ears, like a bunny. It is
psychedelic and very 1960’s,
perhaps what the designer was
going for
Arthur Paul
Playboy cover 1967
This seemed like another classic
60s piece to me. There is both the
curvy text and the curvy image.
Colors and such also help to give
it the “60s” look.
The goal of this piece is to sell
magazines. It is to confuse the
audience and make them think
about what is going on in the
picture.
Any consumer. This is interesting
because the target audience is
really anyone.
This is an interesting piece
because of the use of the negative
space. I really like how there are
large pieces of text which use the
background of the piece to create
3D imagry. I like the use of both
text, which uses many forms, and
depth of 3 dimesnions.
Dan Friedman
typographische monatsblätter
1971
I really enjoy the use of the text
and as images. It is confusing
and everywhere. The
background picture gives the
text elements shape, and a 3rd
dimension by acting as a
backdrop
April Greiman and Jayme Odgers
Wet Magazine 1979
This work is interesting with text
and color. It is in the “New
Wave” design. I like the collage
design, and there are very formal
elements (see bottom of the work)
mashed with popular imagery
from the time. It is very
expressive how the eyes are
covered up and there seem to be
random images everywhere.
The goal of this piece is to
capture the attention of the
audience and to confuse people.
You really look 2, 3 or 4 times at
this cover and still don’t
understand what is going on. I
would be interested to open this
up and see what is inside.
Wet magazine buyers. Also
people who don’t buy the
magazine, and might want to buy
the magazine because of this
crazy cover.
This is interesting collage form.
Unlike most collages, this
combines both formal imagery
with random imagery. See the
bottom where there are distinct
shapes, vs. random pictures at the
top, and lots of different color and
texture. There is just a lot going
on in this cover.
Designer- April Geiman/ Jayme Odgers
Wet Magazine 1979
This piece uses interesting imagery,
color, and text. It is a collage that is
typical of the 1970’s
The goal of this piece is to sell
Quaker Oats. But more it is to
give the Quaker Oats brand a logo
that people can trust, and that they
think of when they think of
Quaker Oats, something the
consumer looks out for in the
super market.
The audience is the consumer.
Quaker Oats wants to make an
easy to understand logo at first
glance with more complex imagry
as the consumer looks again.
This is a use of both positive and
negative space. It is interesting
because it is not a complete use of
negative space.
Saul Bass
Quaker Oats 1971
This is a great use of negative
space. It is not like most
negatives where all we look at is
the negative. Parts of negative
and positive elements make a
distinct feature without the
normal “cut-out feel” of typical
negative space works.
Goal of this piece is to make a
logo that the consumer will trust,
and associate with everything that
Exxon stands for. Exxon wants to
make a logo that people know
when they think of fuel.
The audience is the car driver,
anyone who uses oil or gas, really
the common consumer.
This is simple form. There are
sharp edges and distinct objects.
Because Exxon is a technical
company, they want their logo to
be direct and obvious.
Raymond Loewy
Exxon Logo 1971
This was a time, like the Quaker
Oats logo above, that companies
were beginning to define
themselves as a logo. When you
see this logo you think oil, cars,
energy, etc., or the other way
around. Also, there are distinct
edges, over-lapping X’s, this
helps to define Exxon as mistake
free, careful, exact, technical, etc.
which is the company they strive
to be today
The goal of this piece is to
promote an event.
The audience are typical 70s
audience who may want to go to a
fun event, who are into the
common designs of the time
The form is the most interesting.
Shapes that don’t typically have
sharp, disctinct colors and edges
do in this piece. Also, it is don’t
to common themes of the 70s,
which is a rainbow. Then, there
is a small shape that looks like a
rock formation, to give a
landscape look for the American
theme
David Lance Goines
America Poser 1974
This is a cool poster because it
uses straight edges, and very
distinct shapes and colors to
define objects that have no
straight edges, shapes, or
definitive color. This poster was
to reinterpret Art Deco. He uses
classic 70s icons, the rainbow.
JOSEPH
NEUZIL
The goal of this piece is sort of a
compare and contrast. This is a
TV series about interviews
between different people. So, the
designer uses a split screen to
make it clear that there are
different sides to the interview or
the show.
Specifically Sundance. But this is
really for someone who might
like drama and confrontation.
The faces are clearly not happy,
and the split screen makes it seem
like there might be opposing
views. So an intense type of
show from an intense design.
As said above, the split screen
gives a message of two different
sides. The faces give a message
of intense confrontation, and the
bleak background color helps to
prove the point that this will be
anything but happy
Greg Hahn
Iconoclasts TV series
This is a good example of using
juxtaposition and stills. The
designer uses the technique of
split screen. Using faces, it gives
the idea that there will be some
human interaction.
To sell CD’s. But there is clearly
a focus on the woman. She has
an intense look on her face, and
even the simple sketch makes that
clear. She is obviously having
meaning in whatever she is
singing, and the designer wants
the audience to know it may be
serious music with a message.
People who want music that may
have more soul, and more of a
message. Obviously people
buying CD’s, but not the pop
culture teens or someone going
for light music.
The sketch is simple yet gives a
clear image. This gives the entire
CD a very intense look. Focus
quickly turns to the face of the
woman.
Hillman Curtis
Swiss Miss collection
This is a DVD set that was
designed by Hillman Curtis. It is
a good example of portraiture.
The writing is over the portrait
but the sketch, while simple,
gives a clear image of the person.
The goal of this piece is to
explain what the interview is
going to be about without a real
summary. There are many
different fonts that make up the
design. Obviously it is about a
man (Bierut) and then obviously a
man who may design fonts. The
goal is to tell a story without
narration.
Perhaps the design world. But
specifically people who stop and
look at this and think “wow that’s
neat, I wonder how he does that”.
It is a skill to use fonts to draw
and many people would find this
interesting.
Again, he draws himself out of
what he is skilled at. It is a very
detailed portrait despite being
done by fonts. Clearly, this is a
designer who can use text to
create anything.
Michael Bierut
Interview of Michael Bierut
This is an interesting design,
because Michael Bierut did it
about himself being interviewed.
He is a master of fonts, and using
fonts to create imagery.
The goal is to sell perfume. But
really it is to have a unique voice.
Rahme uses distinct color and
curvature to create a style that
appeals to New Yorkers (where
her store is located). The
attraction to the design is more
powerful than the perfume.
As said before, New Yorkers.
Rahme says how she uses colors
and styles from around the globe.
This appeals to the drastically
diverse audience of NYC.
The form is interesting. The
bottle, actually, incorporates all
human characteristics. There is a
head (the top), arms, and legs.
Within this human form she
creates the design for the specific
perfume, for the individual buyer.
Laurice Rahme
Perfume for Bond No. 9
This is interesting because of all
the different aspects of how she
designs. Every aspect of the
bottle is thought out, from shape
to color, and the logo (obviously)
The goal is to advertise a movie
showing. It is crazy, difficult to
read, and has a very unclear
image (almost looks upside-down
because of the peace symbol at
the bottom). Clearly, this is not a
blockbuster showing of Batman,
but probably a movie which is a
little “out-there”
The audience is clearly not main-
stream. The odd picture is
capitalized only by the odd text,
some of which is in a different
language. This may not appeal to
the masses but gets the quirky
audience.
He uses this form because it goes
away from clear design. Most
design wants a clear, obvious
message using text or imagery or
a combination. This is on the
verge of totally
unreadable/understandable, but in
that way has an interesting draw.
Elliot Peter Earls
Throwing Apples at the Sun
This is a very interesting design
series because it is so different
than all the other designs that I
have seen. It mixes text and art,
and the images almost look like
sculptures. Also, the text is not
formatted with any rhyme or
reason.
Iconoclasts TV series cover.
Clear use of Juxtaposition by
making two planes of the cover
and using faces in different
directions.
Interesting between two
different objects which look
the same—Cover for Royal
Academy of Arts
A clear image made from
lights—Geroge Tscherny
An interesting image giving
the idea that this is somehow
the same picture, when clearly
a mash up
This is another interesting
picture contrasting the new
world (industry) with the old.
The shark needs to be able to swim. Although perhaps the ball can float and therefore while one will stay
on/above the water, the other remains below.
NARRATIVE
Need to consider multiple things: functionality, material, shape, size, color, texture. How will these be
used? For example, the shark cannot float and the ball cannot bounce. Does this change how they might
be played with? Both made in China.
- Sharks live in ocean, swim, need movement. Importance to have realistic color/dimensions b/c
they actually exist.
- Ball is flexible and has crazy color design. It is soft, and has different aspects to play with.
NARRATIVE---
The shark needs to be able to swim. Although perhaps the ball can float and therefore while one will stay
on/above the water, the other remains below.
Need to consider multiple things: functionality, material, shape, size, color, texture. How will these be
used? For example, the shark cannot float and the ball cannot bounce. Will these two things make the type
of use for each different than they would otherwise?—Probably. Both made in China.
- Sharks live in the ocean, need to be able to swim, have movement. Cannot break down if put in
water. Made of hard plastic so can go in water. Need realistic dimensions and colors because they
exist.
- Ball is flexible and has many different aspects such as spikes and color design.
NARRATIVE:
This shard always wanted to be a dolphin. Its entire life, instead of hunting and being mean it dreamt of
playing games and learning tricks. After finding the crazy multicolored ball one day floating in the ocean,
he was able to allow his dreams to come true with his new toy. He used the ball as a prop and played with it
all the time.
For my first “redesign” I thought it would be cool to use the juxtaposition, like Greg Hahn used on his
Iconoclasts. It was important to create a dramatic image using the shark and the ball, and create a story.
To do this, I used limited text and allowed the pictures to tell a story. Not a lot is going on, but here it is
really shark vs. ball. The shark is cut off to show the semi circle shark head vs half of the ball.
My second design I used text to create the shark and the ball. The shark was more difficult to create
because of its shape. This is similar to the pattern of Michael Bierut. This advertisement design again
doesn’t help to show the fun of the toys, but is interesting none the less and draws the attention of the
audience. That is what the text helps to do, is to have an audience say “wow that’s a neat design,” and
then take a closer look.
Through the eyes of Elliot Peter Earls I found the best way to design this package. His craziness really
helps draw attention to the fun, easygoing side of the toys. It is much more obvious that these are toys,
and underwater things are ever flowing and crazy. I was able to do a much more ocean-like design for
this one.
REFLECTION
- If I had more time I would really focus on using color and texture to reflect the toys. I think that
the flow of the shark and the ball together would be really cool with an underwater theme,
although that is hard to replicate. This was a very important theme for the toys, to be played
with in their natural setting.
- If the audience changed then I think the audience would become collectors, and these objects
would not be toys but collectable nick-nacks. That would make the design different, perhaps
calling out their quality and longevity.
- For the designers, I was a little confused (obviously) about the assignment, and used the themes
from three designers in my redesigns. So above is how I think that three of the designers I used
would have done this assignment,
JOSEPH NEUZIL
The goal of this piece is to
advertise a men’s and women’s
clothing catalog. Another goal is
to show the interesting shape and
color of the brochure, which may
draw attention that the type of
clothing inside has loud colors.
Also, attention is drawn to strange
type and the shapes at the bottom.
Buyers of clothing, but a very
specific type. The audience who
would look through this brochure
probably likes flashy, fashion
forward clothing that draws a lot
of attention, like the colors and
design of the front of the
brochure.
As touched on above, it is
important that the shapes and
colors really come off the page
and make a statement. Like the
clothing inside, the design of the
catalog needs to be flashy. Colors
contrast and the odd shapes at the
bottom are an attention draw.
Dan Friedman
Brochure cover and logo for Neo
1988
This seems like a cool 80s piece.
The colors don’t blend together
but rather are separated by distinct
lines and shapes. This makes the
different colors and shapes really
jump off the poster.
The goal of this piece is to give
MTV an ID. The blue is electric
and really pops off the black
background. The M is simple,
filled with colored geometric
shapes. This gives a crazy feel
but also a very HIP FEEL.
Audience is the younger
generation who wants to watch
music videos. The design is very
hip to the time, with the popular
and trendy colors and shapes. So,
it appeals to the fashion (for ages
16-25) of the time as well.
Again, the blue is electric and
jumps off the black, and the red
“M” filled with shapes is trendy
of the 80’s. This form is
concurrent with fashion of the
time and would appeal to a
younger audience.
Frank Olinsky
MTV logo 1985
This seems like another classic
80’s design. The florescent colors
which contrast and jump off the
page to the large text. The black
background really makes the
color of the logo pop. Also, using
geometric shapes is a style of the
time, and they are just thrown in
to make the image more
ridiculous.
The goal of this piece is to remain
fashion forward with the design
of a bag for a department store. It
needs to be hip and trendy like the
department store goods. Now,
anyone who purchases at the store
sends the same message while
carrying the bag.
Shoppers of the time. The
audience needs to see that
everything about Bloomingdale’s
is going to be fashion forward,
which will make them associate
Bloomingdale’s with the place to
get latest trends. Even the
shopping bag needs to be that way
when being carried around.
This is the classic shapes of the
80’s. While they are not all
geometric (except the circles),
they are distinct, curvy shapes
separated by their own color.
There is some paint splatter in the
corner. This design of the time
helps to advertise Bloomindales
as a place to shop for all the
trends.
Laurie Rosenwalk
Bloomingdale 1981 Bag
Like above, this is for the fashion
of the time. Because it is for a
department store, it must be a hip
and fashion present design. What
I like about this is the lack of text,
but the shapes that define the 80’s
design so well.
The goal of this piece is to
advertise the clothing company.
These are receipts of the clothing
company. Like above, it is to
advertise the color and flair of the
clothing. The flashy and
florescent color.
Those who like the 1980’s
fashion of bold contrasting
florescent colors. Using these
receipts helps to show this color.
These receipts are colored to
contrast the black background.
The black background (used
above) helps to make the
florescent colors pop even more.
Next, the folds in the receipts
show contrast, and there are three
different styles which show the
range of color in the clothing line.
Tamotsu Yagi
Espirit advertisement 1984-1984
This design is cool because it
takes real objects and has turned it
into the 80s style design. Yagi
calls this design “happy graphics”
because the color, contrast, and
shapes.
To sell the “NEXT” line of
computers. Really, it is like the
others before, but advertising
computers. It is a design of the
time, and its goal is to make the
computer company the computer
of the time.
Anyone who wants the most
current computer. Clearly, this
“in the times” design style
suggests that this computer is the
computer of the 1980’s
As above, this form clearly
appeals to the time. The florescent
colors in this case are shown
through text, but still have the
popular black background, the
background being a geometric
shape (a cube). This is clearly the
style of the time, and helps to
portray any product as a product
of the time.
Paul Rand
NEXT logo 1980s
This is a cool one because instead
of shapes, this design focuses on
text being the way that the color
is reflected. The shape is the
entire logo, a large cube. What is
cool is that the cube is not only a
shape but the black background. I
like how this is the same style but
very text oriented.
William Morris
1860’s
This is a great example of
text, and a little bit of
color. This is all text
done by hand which
makes it really amazing.
The goal of this piece is to
make an aesthetically pleasing
piece using text. There is
something to read but also
nice things to look at.
The reader. Those who
appreciate not only letters on
paper but something more. The
text is amazing, there is a nice
background and it is very
interesting.
It is a book, so must be
organized and legible or it
destroys the point. At the same
time it is totally artistic the way
morris designs the pages.
JOSEPH NEUZIL
DESIGNER 1 WILLIAM MORRIS
William Morris
Trellis (1862)
I chose this piece
because it is a great
example of a pattern.
It has the
checkerboard with
more design on top
This is to create a nice pattern
with imagery on top. It is for
textiles, and so people wanted
nature and imagery, but also on
most textiles there is a design.
Audience are those who want
simple yet eloquent designs.
Like most textiles, this has a
pattern, with amazing artistic
styling of nature around the
pattern.
There is not a ton of color, which
is easy to reproduce in textiles.
There is also a pattern. But, the
form becomes different when the
realistic nature images are put
over the pattern.
William Morris
Peacock and Dragon 1878
This is another pattern
type design. Unlike the
first, it focuses more on
color and being
symmetrical.
To create an image within the
symmetry. It is a pattern and a
mirror image, but within that
there is another design of a
peacock and a dragon, the goal is
to create depth.
Again, those who want textile that
are both pattern (as most are) but
also with and elegant design.
Using the blue, he doesn’t use a lot
of color to create a very specific
design within a pattern. Instead of
designing on top of the pattern he
designs within the pattern.
William Morris
The Red House (late
1800s)
This house was the design
of Morris. It is brick and
not just a simple pattern
or shape like most houses
back then
To create a different type of
home design. Brick was not
used all the way up a home,
and especially not this shape.
Those who want new time
architecture. This went away
from a simply designed,
simple shape home.
This is a physical structure,
much different than anything
on textiles or paper.
The Manifesto Cover
William Morris (1870)
This is another example
of text but much more
simple and organized.
The goal of this piece is not
to exemplify the beauty of
the text, but to have the
reader focus on the
organization and the
meaning of the pamphlet
itself.
This is an informative
pamphlet, and the audience
are those who want to gain
information from reading
Again, this is an informative
pamphlet. The goal is not to
be pretty in design. Morris
makes the text clear and
organized, so the content,
rather than the aesthetics are
the focus of the design.
Alvin Lustig
3 tragedies 1949
This is an interesting black
and white piece. I explain
later why black and white
is used and he does it very
well.
The goal is to make a simple
cover that draws attention to
the pictures. There is not a lot
going on, and clearly the three
pictures have something to do
with the three tragedies.
Someone who may not be as happy
or upbeat, maybe someone who is a
little dark. There is talk of tragedy
and no color, and is not a very
welcoming cover.
Tragedies are dark and sad, so there is
no color. Also, the moon, sand, and
water are all colorless, these are the
three pictures used, so there message
can get across without the use of
color.
DESIGNER 2: ALVIN LUSTIG
Alvin Lustig
Wisdon of the Heart cover
1941
This is the opposite of the
first. Here, shapes and
colors are used to make
the cover convey a
specific message.
Goal is to really pop. The
colors and shapes make an
interesting contrast, and
there is some use of
juxtaposition to really make
the cover stand out.
“Wisdom of the heart” with a
lot of shapes and colors and
contrast is for those who are
looking for something more
lively, that will make them
think.
The colors and shapes are
lively and fun. Juxtaposition
helps to make this stand out.
Opposite to the black and
white cover, “wisdom” and
the “heart” need color.
Alvin Lustig
Ghost in the Underblows
1940
This is sort of a creepy
one. There is color and
form, but neither are
defined.
The goal is to come off a bit
creepy. There are strange
colors and shapes used, and
make it an odd cover.
People who may like
mystery, because it is
difficult to tell exacly what
this is about.
He uses this to create a creepy
and mysterious feel. The
darker colors and the odd
shapes make the viewer really
question what is going on.
Alvin Lustig
The Man Who Died 1947
This is a clear cover. It is
obvious what is going on
but is still a really cool
design.
The goal of this piece is to create
an intense feel. The person who is
dead on the cover is black on the
ground, and has the outline similar
to a police outline. So there is
clearly death involved in more than
the title
The audience are those who
are alright with the intensity
of death in the book that they
read.
Black sketch of man lying on
the ground is dead. The
police outline, and then his
angel in yellow going to
heaven. Not much color is
used, but there is amazing
contrast.
Alvin Lustig
Two Novels 1940s
This is an interesting
piece because of the
whacky design and the
color. Negative space is
sort of used, and this is
clearly something fun. I
also like the text in the
horse.
The goal is to portray that
there is some odd stuff
going on. There is a man
with weird eyes and a
horse, and a miniature man.
So much going on in two
novels.
Those who don’t want the
norm. This is clearly going
to be odd. People who want
to be surprised in a fun way
and not read reality would
be attracted to this.
First, there is use of all the
space. It is whacky and crazy
and there are a lot of different
designs. Everything is green
which creates contrast and
confusion, and the sloppy,
unreadable text within the
horse only creates more
confusion.
Shigeo Fukuda
Victory 1945
This is a great illusionist
piece, and uses simple
colors and contrast to
portray a message.
Goal of this piece is to celebrate the
WWII victory. But it is also to
make the viewer think about what is
going on. Was a shot just fired or is
something about to be hit? Is the
war over or still going?
People who were influenced by
the war and propaganda, and who
still might be influenced by the
war. There is still shots being
fired and therefore the audience
might be those still caught in the
cross-hairs.
He uses the illusionist form to raise
questions about the real meaning of
the design. Here, he also uses color
contrasting to make the illusion even
better. I like the color and the object
focus of this.
SHIGEO FUKUDA
Shigeo Fukuda
Victory 1945
This is another example
of victory, and another
illusion piece. This is
offers the illusion of a fist
destroying the swastika,
or Germany.
The goal of this piece is to show
the downfall of Germany. The
hand of the allies is destroying
everything that the evil stands
for. Also, the hand is clenched
and held up for “victory”
The audience are those who
are influenced by propaganda,
but also the allied forces.
They would like to see a
victory poster, and this is an
intense poster.
The swastika is 2D and the
hand is 3D, all in black and
white. This offers good
illusion. Also, the red
“victory” is the only color
and therefore stands out.
Shigeo Fukuda
Remembering the Future
1950s
I like this one because of
the contrast between the
red and black, the use of
negative space and the
juxtaposition.
Goal of this piece is to use a
circle and in it incorporate
as many hands as they
possibly can.
The audience are those who
are willing to take a deeper
look. From afar this appears
to be an oddly patterned
circle, but is clearly hands.
This form is cool because it is
an illusion and uses good
negative space. The
contrasting is successful
because of the change in color.
Shigeo Fukuda
Negative Space Noma
Bear
Love the negative space
on this one. Fukuda
seems to be a master of
the negative space and the
use of black and white.
Goal of this piece is to
create an illusion by the
use of negative space,
something that Fukuda
does extremely well
Audience again are those who
enjoy to look a little deeper. This is
cool because the cat using the
negative mouth space is not forced,
but comes naturally, it takes a
moment to see it even when you
know what to look for.
It almost looks like the bear
is eating the cat creature.
What is really amazing is the
lack of detail yet such a
realistic depiction of the
bearand the cat.
Shigeo Fukuda
La Viane Limousine
I like how the color and
the pattern both work to
trick the eyes into having
trouble grasping what is
going on in this piece.
This is actually a poster that
is advertising a food place.
The food uses natural meat.
It is again though to “trip”
people out and really make
your mind work.
Audience are those who
want a different kind of
restaurant. Deeper than that
it is to attract the deep,
different thinkers because of
the maze design.
It is a maze, and either side of
the walls are different colors to
throw your mind off even
more. The eyes have trouble
understanding this because of
pattern and color, and then
there are shapes of cows at the
center, suggesting that one
huge cow makes up the maze.
Welcome to the game...
These are your final battles. Please answer all questions as thoughtfully and fully as you can.
When you arrive at the library
● check in and get your BATTLE GROUP. Each group will have a different google doc.● all three members should be able to work on the same document.● determine the order of rotation. Player one will participate as "Player One" in the first Battle, "Player Two" in the second
Battle and as "Judge" in the third battle, then back to "Player One". "Player Two" will participate as "Player Two" in the first Battle, "Judge" in the second Battle and "Player One" in the third Battle. This rotation is important so everyone has the same "distribution" of questions.
● To Begin the first BATTLE, Player One clicks on the top page of the document to reveal the question.● Players One and Two choose cards from their decks to illustrate their arguments and illustrate their points.● Players verbally present their arguments.● The judge chooses a winner.● All participants document their comments in the appropriate boxes on the Google Doc..● Players rotate position and Player One opens the next page.
I think this incorparates the color design of the 1980s but the odd design of the 1970s. It is difficult to tell what exactly the image is in the “raindrop” shape.
I think this combines both the modern composing design and the color design of 1980s.
Both pictures are very well designed, and combine styles very well. I believe that Joseph’s photo choice combines the 70s and 80s very well, and therefore Joseph wins this round.
Clara Mefford
Joseph Neuzil Wenxi Lyu
“Which best combines styles from 2 different
decades?”
This poster uses stark contrasts of color to represent the “cutting edge”
The MTV logo provides bright color and colors which contrast. Each shape is a different color which allows for the vibrant, electric colors to pop off of the design.
I think both images are very well. I think Joseph’s image are better, because the use of bright colors are distinctive and more attractive.
Wenxi Lyu
Clara Mefford Joseph Neuzil
“Which is the most effective
use of color in an 80s design?”
I think the text and the color design are pretty traditional and elegant
This poster from the 80s utilizes a concept called “constructivism,” which is an idea that art should serve a purpose, rather than art for art’s sake. This is also prevalent in the 70s, when art was used mainly for political gain, advertising, etc.
Both of these designs do a great job of exhibiting previous influence. I love the 70s one but I will go with Wenxi’s design. The traditional design doesn't go out of style like a decade design might.
Joseph Neuzil
Wenxi Lyu Clara Mefford
“Which exhibits influence from a
previous decade?”
One of my 3x5 designers is an illusionist. THis is attempting to give the illusion of a perfect 3D cube despite working with 2 dimensions.
Shigeo Fukuda, one of my research designers who is famous on his optical illusion.
While both pictures draw influence from the players’ 3x5 designers, I’ll have to choose Wenxi’s picture as the winner. It is more of an optical illusion, and therefore draws more inspiration from Shigeo Fukuda.
Clara Mefford
Joseph Neuzil Wenxi Lyu
“Which most clearly draws on influence from one of your 3x5
designers?”
This poster uses negative space to silhouette Bob Dylan in order to memorialize him
Fukuda is a master of illusion and negative space. What makes this even better is the illusion and the black and white. He only uses black and white to make it stand out.
I really like both of these designs, but I prefer Clara ‘s picture. The design is not only black and white but with colorful hairs which makes me felt that not just about the use of negative space but something else.
Wenxi Lyu
Clara Mefford Joseph Neuzil
“Which is the best use of
negative space?”
Shigeo Fukuda created optical Illusion. He was the king of graphic design in Asia.
George Lois used his design to influence people’s political opinions and their thoughts about President Nixon
I will go with Clara Mefford’s design. I agree that Fukuda was the king of graphic design in Asia as I also worked with him as one of my designers. But because of Lois’ political influence he was more of an impact.
Joseph Neuzil
Wenxi Lyu Clara Mefford
“Which designer was the most influential?”
This is very “cartoony” and i think that going out of the box with a design and using negative space is always a popular design technique.
The pattern is still relevant in today’s furniture and wallpaper
I would say that Wenxi’s design is a tad more relevant today, as the floral repeating pattern is still seen often in upholstery and wallpapers
Clara Mefford
Joseph Neuzil Wenxi Lyu
“Which style is still relevant in
today’s culture?”
This poster attempts to highlight abandoned and run down buildings in New York, which was a huge problem in the 80s
This has jagged shapes and tons of vibrant, electric color that really jumps off the page. The black background makes the colors pop even more and the neon colors are very 80s..
Both of these designs are very well, but I will go with Clare’s picture. The picture shows the distinctive elements from decade.
Judge’s name
Clara Mefford Joseph Neuzil
“Which best illustrates the traits of the
decade in which it was created?”
It is a series of environmental pollution poster design. The designer used exaggerated change on a small clip to portray what people have done to environment.
This poster uses perspective to exaggerate the church’s stature, showing how even a small building, such as the church, could overpower something as large as the World Trade Center
Both of these posters are very compelling. I would like to see the series of posters that Wenxi is describing, perhaps that helps to make the exaggeration more effective. Looking at these two designs, Clara’s choice clearly shows the exaggeration of commerce and capitalism always being overpowered by the church.
Joseph Neuzil
Wenxi Lyu Clara Mefford
“Which utilizes exaggeration
most effectively?”
SYNTHESIS POSTER DESIGN
Joseph Neuzil
Thoughts:
Audience- myself
- Poster needs to be informative. I want to know where, when, and how.
- Needs to have a unique design that also incorporates the where, when,
and how.
- What is going on? Why should I go? I like the outdoors, good weather,
music, and live events. I enjoy Worlds Fair Park.
- The design should paint a picture of what is going on, but also the
deeper meaning of what its for
- Simple
For Earth Day, I want to create with a white board so there is no waste. Paper will
fall to the ground and be thrown away. I want a digital image made from
reusable material.
Below is my poster design. I made the sunsphere, representing both worlds fair
park and the problem of global warming. I put a microphone and a drum on an
iceberg, which I was hoping to have represent the problem of melting ice caps.
Music is coming out of the microphone. In text below the surface of the iceberg is
the information about the concert. Hills with flowers and trees represent the
outside nature of the concert, and for earth day.
I did a second poster design below, using different elements to try to give a
different message. I used juxtaposition to create a relationship between music
and nature, with the tree and the microphone.
FINAL THOUGHTS
Joseph Neuzil
Remember the visual puns and forcing connections?
Remember the visual thesaurus and nature and music?
Remember having your breath be taken away when you discovered something truly inspiring,
appropriate, innovative?
Please answer the following and include in your workbook.
Questions for reflection:
Where do you find inspiration?
I find inspiration from other designers. I am not an artist, and I don’t try to come off as one.
Often, it is difficult for me to BEGIN my design. Others are so creative and unique, and I believe
that I can build on these ideas using my own perspective, and still make something that is
uniquely mine. We heard in class that “great artists steal”
What was the biggest surprise this semester?
I had no idea that so many of the famous logos were done by the graphic design industry.
Some of the thought that went into them is amazing. I really enjoy the aesthetically pleasing
nature of these logos. These logos are associated with a product, a feeling, and can define a
company.
Describe your creative process. How do you get started?
I will use the poster design that we just completed as an example. There were many problems I
was faced with. I had to solve the problem of advertising a music festival for earth day, at
worlds fair park, about melting ice caps. So how do I incorporate all of this into a poster while
still making it creative. Basically I break it down as: what will represent music, what will
represent the earth, what will represent location and activity….now, lets bring all of these
together.
How do you keep yourself motivated?
The final product is always something that I am happy with. I need to keep reminding myself
that there is an end and it will be awesome.
What is your process when you feel stuck or scared?
This is tough because in every problem solving scenario we feel stuck and scared. It is part of
the process, and often it is when the best ideas are created, because we feel so motivated to no
longer be stuck and scared.
What do you still want to learn?
Simplicity. Sometimes I feel like if I don’t do a lot in my design I am not doing enough, almost
like I don’t deserve credit if I do too little. But take the FEDEX logo for example: How do I make
something so simple provide so much substance? When do I go little? When do I go big?
What questions do you ask yourself as you explore a problem?
What is the final outcome I wish to achieve. What are the broad steps needed to achieve this
final outcome? What is step one? What resources will I need to accomplish step one? O.K.,
lets begin.
What are things you will change or alter in your process as you move forward?
As I said above, I need to be willing to go simple in my design. Once I have done an extravagant
design, I need to rethink what is necessary, and analyze what makes the design so great. Then,
using these one or two powerful pieces, recreate a simpler design.
How has designer research and the designer card game influenced your thinking and ideas?
I look at these great designers and I understand the countless ways to portray the same idea.
Different opinions and outlooks on the same idea create such different emotions. There are so
many ways to design. There are also more concrete ways, like negative space, juxtaposition,
text, illusion, 3D space, color, contrast… etc. to design. These ways, mastered by designers, can
be good ways to portray specific designs, like I did with my synthesis poster.
Reflect on your process and your workbook, how has your work changed since the beginning
of the semester and how has it stayed the same?
It has changed in the way where now I like and appreciate certain designs that I didn’t before,
because I understand the strategy that the designer is using. At the beginning of class, I was so
lost at to what the design was, that I didn’t like it because I didn’t understand it, but now that I
understand the process behind the design, it has helped me to reappreciate certain designs.
For staying the same, some designs I will always like. I really enjoy negative space and illusions,
and I also enjoy organized text.
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