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Back to the Basics...
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Dynamic
Gestalt At Work... Gestalt is a general description for the concepts that make unity and variety possible in design. It is a German word that roughly translates as "whole" or "form." Gestalt theory is involved with visual perception and the psychology of art among other things. It is concerned with the relationship between the parts and the whole of a composition.
The objective of studying gestalt is to put the designer in control of what the viewers see when they look at a composition. Using a variety of graphics, I have composed a design that is balanced and contains elements such as closure, continuance, proximity and alignment. Gestalt theory holds that the whole is more than the sum of its parts.
Even Words are Designs...
Design by Billy Collins
Using only the poem to the right in combination with Gestalt theory, I created an aesthetically pleasing design. The design below contains the element of closure, allowing the viewers mind to supply the missing pieces in the composition.
say fe I of li is the e l c s y i the c one. Th ne, the u o to n of fort This is l whee c circle. f Tralee o arcti hite rose osts of gh w e e ad th to th the de t un I say amily, a f my s, the , my d r fathe drowne rs and e who n broth unborn r unbo s, my . This n r siste childre ith its e w l c cy e sun es and k h is t ring spo n. This o e glitt tter mo e circle i t b l e o h s u say to t e ab I is th metry e wall, h o of ge ack in t ds who r r the c to the bi indow. w y a s I he wheen I s t cros is the cycle to This nvented the rest i just through l l ro
I pour a coating of salt on the table and make a circle in it with my finger. This is the cycle of life I say to no one. This is the wheel of fortune, the arctic circle. This is the white rose of Tralee I say to the ghosts of my family, the dead fathers, the aunt who drowned, my unborn brothers and issters, my unborn children. This is the sun with its glittering spokes and the bitter moon. This is the absolute circle of geometry I say to the crack in the wall, I say to the birds who cross the window. This is the wheen I just invented to roll through the rest of my life I say touching my finger to my tongue.
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Going Green... Furman University is currently celebrating its Year Of the Environment and was in need of a logo and symbol.
Year Of the Environment Logo: YOE
Year Of the Environment Symbol in black and white
Year Of the Environment Symbol in color
Year Of the Environment Combination Mark in black and white
Year Of the Environment Combination Mark in color
Going Modern... The Modern Poster “Catalogues, posters, advertisements of all sorts. Believe me, they contain the poetry of our epoch.” –Guillaume Apollinaire, 1912 Although posters were not formally acquired by The Museum of Modern Art until 1935, its first director, Alfred H. Barr, Jr., had the medium in mind from the beginning. In 1929, the year of its inauguration, he proposed that the new museum “would probably expand beyond the narrow limits of painting and sculpture in order to include departments devoted to drawings, prints, and photography, typography, the arts of commerce and industry, architecture, stage designing, furniture, and the decorative arts.” Today the broad range of the Museum’s program is taken for granted. Its success tends to obscure the unique characteristics of the period in which the Museum was founded when a reevaluation of Western artistic sensibilities was taking place in all the arts. Not only was the new art seen as inseparable from the social and industrial changes of the day, but there was an unprecedented cross-fertilization among the various mediums.
In order for the article to be published, there needed to be a magazine.
By combining 2D and 3D (the magazine name), a new mark for the magazine was created.
Colors and various images from posters of the late 1800’s and early 1900’s were altered in order to create designs that worked well in relation to the text.
Initially, social and industrial changes in the nineteenth century had elicited very different reactions from architects and designers, and from artists. Reformers in architecture and the applied arts were the first to try to come to terms with the social, cultural, and formal issues raised by industrialization. They sought to impose order on the ensuing chaos – on its artifacts (including graphics) and on its urban growth. Artists, in contrast, at first
ignored these issues and took an art-for-art’s-sake position. But then, in the first years of the twentieth century, it was they who derived a new aesthetic from the apparent chaos of the new industrial and urban environment. The evolution of these contradictory efforts and their subsequent convergence in the 1920s set the stage for a modernist synthesis of the arts that, among other things, inspired the multifaceted outlook of the Museum’s program, with the poster an integral part of it. The industrial revolution, by shattering familiar patterns of manufacture, generating new artifacts, and making others obsolete, forced fundamental reassessments for design. The advent of new inventions and techniques for production raised the question of the appropriate forms for these new objects. A dichotomy developed between a utilitarian approach and one that sought to impose traditional decorative forms on the new artifacts. In fact, one might view the evolution of modern design as the attempt to reconcile the rupture between function and manufacturing technique, on the one hand, and form, on the other, caused by industrialization. The medium of print – or typography – in books, journals, newspapers, posters, broadsides, and advertising was one genre of artifact that proliferated, as the principal means of creating markets for the new products. The lack of visual standards was put into perspective by the increased knowledge of cultures of the past; cultural anthropology and art history became firmly established disciplines at this time. Civilizations came to be judged by the artifacts they produced, and the inchoate products of the new industrial cul-
ture were compared unfavorably with the coherent artifacts of past cultures. In England, the founding of the Museum of Ornamental Art, later the Victoria and Albert – the first museum devoted to the applied and decorative arts – in 1852 and the Arts and Crafts movement in 1859 reflected contemporary concern over the lack of stylistic coherence. William Morris’ Arts and Crafts movement sought to revive interest in the crafts and improve the everyday artifacts of the masses. It evinced strong social concerns about the alienation of the industrial labor force, but its proposals looked to the past, to the Gothic style as an aesthetic model, and to the abolition of industrialization and a return to craft guilds. Moreover, its ideals came to be seen as unrealistic because, among other reasons, they tended to result in artifacts only the wealthy could afford. Subsequent reformers, while recognizing the inevitability of industrialization looked to other sources for a model. The Belgian artist Henry van de Velde, one of the creators and the chief theorist of Art Nouveau, looked to the forms of nature. Many of the designers of the Deutscher Werkbund, a highly influential organization founded in 1907 that sought to raise design standards and bring designers and industry together, looked to a simplified classicism for a new order. Only tentatively did they look to the machine itself. The social and theoretical ideas of these designers stressed a new unified aesthetics which would embrace architecture, the applied arts, and graphics, and reflect modern culture and means of production. Their ideas, more than their designs, were to be a fundamental contribution to subsequent development.
2D + 3D = ?
DECEMBER 2006
Vol. 1.1
TH E MODE R N POST ER
“Catalogues, posters, advertisements of all sorts. Believe me, they contain the poetry of our epoch.”
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In the Works... Asbury Hills has recently decided to give all of thier summer camps the umbrella title South Carolina Summer Camps. In search of a new brand identity, new logos and marks were created plus letterheads, business cards, and envelops. Billboard mockups and print ads were also designed to promote the ultimate camp experience without losing the Methodist aspect.
Below are several marks that were designed as possible choices. Unfortunately, the print ads and billboard mockups are currently being printed and are not available for show.
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