Hunter.3196C.Issue5.SP2: The Pub "Learning about Design Culture" Volume V

The Pub

Volume V

Learning About

Design Culture 2 May 2021

Table of Contents

Table of Contents Section 1: Cover Page/Title Page/Masthead Section 2: Table of Contents Section 3: Visual Literacy Section 4: Featured Designer(s) Section 5: Design Innovation Section 6: Design Practice Section 7: Bibliographic information

Cover 1 2 4 5 9 11

Visual Literacy This final week first article of review for visual literacy is Blues Project featuring the work of Spanish born Victor Moscoso, an American artist who made his mark in the industry in 1967 San Francisco when he designed band posters of psychedelic design with hand drawn letters. His designs were used by bands such as “the Greatful Dead, Jefferson Airplane, and Big Brother and the Holding Company” (Heller 173) as well the “Millers Blues Band” (Classic Posters np). The posters idealized the music of the time and the hippie movements of the late 1960’s into the early 1970’s, capturing a visual representation of psychotropic drug use of the time.

A rebellious soul and formally trained artist who bucked the system and established norms/rules of art and organizations and developed into an award-winning artist who has created art across various mediums to include comics, posters, clothing, radio, commercials, and billboards.

Fig 3-1Victor Moscoso 2011 by Victor Moscoso Pg 2

Fig 3-2 THe Miller Blues Band Lithograph 1967 by neon rose

Visual Literacy (Cont.)

Our final article review for this semester is shooting targets. With no known figure to label as a creator of shooting taget designs as they are heralded through out history with functional use from everything from missile weapons to firearms, however it is their use for honing in the eye and attention of the viewer in graphic design that this article targets.

The design is used by well known companies as their brand logo’s such as that used by Target used overtly designed by Stewart Widdess and his public relations team, and Tide designed by Donald Deskey back in 1946 to 1947 which is used as a backdrop to the product line name making it easy to spot while shopping.

In both cses the use of contrasting and bold colorsleads to a very successful and solid design concept that is exceptionally older than most would expect upon first glance, which is all it takes to identify the brand.

Fig 3-3 Original Target logo design 1962 by Stewart Widdess

Fig 3-4 Original Tide logo design 1946-1947 By Donald Deskey Pg 3

Featured Designers

Fig 4-1 The eames House completed in 1949 Photo by Eames Office

This week’s featured designers are the Eames’, Charles and Ray. Considered to be by many as a pair of the most influential designers of the 20th century, for furniture designs, architectural designs, combat and medical apparatus for the war effort, photography, film, books, toys and numerous exhibitions.

Fig 4-2 life in the USA film for the American National “Charles and Ray Eames are Exhibition 1959 phoamong the most important Ameri- to by Eames Office

can designers of the 20th century”1

The couple who had a mutual love for designing and creativity established a business in Venice California. Their creativity spans so many venues of art and design that this small mention does not do them justice.

Fig 4-3 Body Litter Their work is so revered that their Fig 4-4 Solar 1943 phot by eames house, which they designed and lived in, Do-Nothing Maoffice chine 1957 Photo by is now a museum. eames office Pg 4

Design Innovation The first Design Innovation idea is #63 from 100 Ideas that Changed Graphic Design. Comic Lettering has it’s roots at the begining of comic books in the early 20th century.

Often making use originally, of hand drawn lettering with influences from posters for various circus’, their intent is to draw the reader to the cover and add to the cover art, usually with drop shadows and bold colors hinting at what the issue was about.

The use is now seen not just in comics but even in comics turned movies with surge of superhero movies in the late 20th to early 21st century cinema.

Fig 5-1 Captain America: The First Avenger movie poster 2011

by John Black

Fig 5-2 1933 Famous Funnies Comic book 1934 by Jon Mayes

pg 5

DESIGN INNOVATION (CONT.) This week’s second Design Innovation idea is #50 from 100 Ideas that Changed Graphic Design. The Provocative Gesture can be sexual in nature but its purpose is to invoke a reaction within the viewer, to provide some form of discourse through the imagry that is either aligned with it or runs counter to it.

The imagry has had place in many forums, and finds its way often into political media, in recent times to illicit reactions and strike certain emotional responses from the viewers with the intent to swing them or cement them in a certain view point or affiliation.

Fig 5-3 Someone Talked 1924 Office of War Information

Fig 5-4 Change over to a Victory Job 1943, Department of Home Security

Pg 6

Design Innovation (Cont.)

This week’s third Design Innovation idea is #79 from 100 Ideas that Changed Graphic Design. Scan Lines, a technology based aparatus, were utilized by Paul Rand to lighten the weight of the text based logo used for International Buisness Machines (IBM). The redesing made the logo relevent to the now and ensured it would not become a logo of yesterday.

As a result this design innovation made its way into the logos of several major brands over the later decades in the 20th century as can be seen here.

Fig 5-5 AT&T Logo 1982 by saul Bass

Fig 5-6 Minolta Logo 1981 by Art Director Herbert Clark and Saul Bass

Pg 7

Design Innovation (Cont.)

Design Innovation (Cont.)

Fig 5-7 Dracula at night shadow play billboard 2020 by BBC Creative

Fig 5-8 Kamala Harris walking with shadow of Ruby Bridges 2019 by Bria Goeller

Pg 8

This week’s last Design Innovation idea is #53 from 100 Ideas that Changed Graphic Design. Shadow Play a powerful visual point of discourse which can be effective to bringing attention through the play upon the perception of the viewer through the use of light and the expectation of how it should react within the environment.

Concepts as old as man, kids use shadow play with their hands to make creatures using shadows, to using numerous people to replicate forms in artistic theater to the effective use in advertising, this form of design has a long and varied history of use and will likely for centuries to come.

DESIGN PRACTICE This week’s First Design Practice Subject is that of letterforms, specifically the Trajan letter form which is derived from the text found upon the named column in Rome.

After an eight-hundred-year hiatus the text was elegantly redesigned for use in the 20th century and has been such a staple and safety go to-use in film, books and TV that its vilified overuse in the graphic design circles, it has acquired a love/hate much like Helvetica has.

Fig 6-1 Conan the Barbarian movie Poster 2011 by Lindeman & Associates

Fig 6-2 A Beautiful Mind Movie Poster 2001 by InSync Plus

Pg 9

Desi g n Practice

Fig 6-3Window Software Logo 1998 by Microsoft

Fig 6-4 Opening crawl text from the The Empire Strikes Back 1980

BY Lucas Films

Pg 10

This week’s Second Design Practice Subject of letterforms is focused on Franklin Gothic. A Grotesque Sans Serif font family created between 1902 and 1904 by Morris Fuller Benton for the American Type Founders Company for primary use in news paper press and various types of advertisement print mediums. Known for its ease of readability which led to its widespread use in news media and lends to the overall newspaper feel even today. The name of the text is a nod to Benjamin Franklin, noted printer and newspaperman in early American history.

In the 1970’s the text was redesigned

by Victor Caruso for the International Typeface Corporation to create additional weights and widths to expand the use of the text. In more recent times of the digital age the font has become particularly useful as a digital display type font. A parculiar unique identifier of the Franklin Gothic text is its double-story “g” which is very uncommon in most sans-serif texts.

Bibliographic information Visual Literacy

Heller, Steven, and Rick Poynor. “Blues Project.” Design Literacy: Understanding Graphic Design, Third,

Allworth, 2014, pp. 173–74.

Heller, Steven, and Rick Poynor. “Shooting Targets.” Design Literacy: Understanding Graphic Design,

Third, Allworth, 2014, pp. 238–39.

Featured Designers

https:\/\/www.eamesoffice.com\/eames-office\/charles-and-ray\/#author. “Charles and Ray Eames.”

Eames Office, 27 Mar. 2020, www.eamesoffice.com/eames-office/charles-and-ray.

Endnote 1 https:\/\/www.eamesoffice.com\/eames-office\/charles-and-ray\/#author. “Charles and Ray Eames.”

Eames Office, 27 Mar. 2020, www.eamesoffice.com/eames-office/charles-and-ray.

Design Innovation

Heller, Steven, and Veronique Vienne. “Comic Lettering.” 100 Ideas That Changed Graphic Design,

Reissue, Laurence King Publishing, 2019, pp. 132–33.

Heller, Steven, and Veronique Vienne. “Provocative Gesture.” 100 Ideas That Changed Graphic Design,

Reissue, Laurence King Publishing, 2019, pp. 106–07.

Heller, Steven, and Veronique Vienne. “Scan Lines.” 100 Ideas That Changed Graphic Design, Reissue,

Laurence King Publishing, 2019, pp. 164–65.

Heller, Steven, and Veronique Vienne. “Shadow Play.” 100 Ideas That Changed Graphic Design, Reissue,

Laurence King Publishing, 2019, pp. 112–13.

Design Practice

Gomez-Palacio, Bryony, and Armin Vit. “Practice in Letter Forms: Trajan.” Graphic Design, Referenced:

A Visual Guide to the Language, Applications, and History of Graphic Design, Illustrated, Rockport

Publishers, 2011, p. 368.

Gomez-Palacio, Bryony, and Armin Vit. “Practice in Letter Forms: Franklin Gothic” Graphic Design,

Referenced: A Visual Guide to the Language, Applications, and History of Graphic Design, Illustrated,

Rockport Publishers, 2011, p. 370.

Pg 11

Bibliographic information (Images) Cover Page Image by Douglas G. Hunter, acrylic pour on canvas by Douglas G Hunter Apr 2021 Visual Literacy Fig 3-1 http://www.victormoscoso.com/picts/about-pic2.jpg Fig 3-2 https://www.moma.org/collection/works/173255?artist_id=4117&page=1&sov_referrer=artist Fig 3-3 https://blog.logomyway.com/wp-content/uploads/2020/12/target-logo.jpg Fig 3-4 https://www.thepackagingcompany.us/knowledge-sharing/wp-content/uploads/sites/2/2019/05/ip-tide box-1024x474.jpg Featured Designers Fig 4-1 https://www.eamesoffice.com/the-work/eames-house-case-study-house-8/ Fig 4-2 https://www.eamesoffice.com/the-work/glimpses-of-the-u-s-a-film/ Fig 4-3 https://www.eamesoffice.com/the-work/solar-do-nothing-machine-2/ Fig 4-4 https://www.eamesoffice.com/the-work/body-litter-molded-plywood/ Design Innovation Fig 5-1 https://static3.srcdn.com/wordpress/wp-content/uploads/2020/06/Captain-America-First-Avenger-Clas sic-Comics-Fan-Art.jpg?q=50&fit=crop&w=740&h=543&dpr=1.5 Fig 5-2 https://s2982.pcdn.co/wp-content/uploads/2020/07/famous-funnies.jpg.webp Fig 5-3 https://i.guim.co.uk/img/media/0e36910c0bd87065ca07530c3c73ae8d8ee4b5fd/0_0_7240_10392/mas ter/7240.jpg?width=880&quality=85&auto=format&fit=max&s=0878c1d9a3a067d751cc606fc47c4c61 Fig 5-4 https://i.guim.co.uk/img/media/7ece7ba3717eff76976eb075639481c5a4523ef8/0_0_7568_11452/mas ter/7568.jpg?width=880&quality=85&auto=format&fit=max&s=34dd532f28df2dd6afca57be6c1c158b Fig 5-5 https://static.wikia.nocookie.net/logopedia/images/7/7b/AT%26T_1983.svg/revision/latest/scale-to width-down/170?cb=20161226043740 Fig 5-6 http://logok.org/wp-content/uploads/2014/11/Konica-Minolta-logo-880x660.png Fig 5-7 https://media-assets-05.thedrum.com/cache/images/thedrum-prod/s3-p1199104--default--1280.jpg Fig 5-8 https://news.emory.edu/stories/2020/11/er_bria_goeller_harris_bridges/thumbs/story_main.jpg

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Bibliographic information (Images) Design Practice Fig 6-1 http://www.impawards.com/2011/posters/conan.jpg Fig 6-2 http://www.impawards.com/2001/posters/beautiful_mind.jpg Fig 6-3 https://logodix.com/logo/90662.png Fig 6-4 https://static.wikia.nocookie.net/starwars/images/7/73/ESBOpeningCrawl.png/revision/latest/scale-to width-down/1000?cb=20130324023857

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