How Art Made The World

MORE HUMAN THAN HUMAN
This film explored how we as a human race have come to perceive the body the way we do. Through the analysis of the workings of the human mind, starting with the Venus of Willendorf, an ancient statuette, depicting the female form in a very exaggerated manner. Evidently due to the fact that fertility and reproduction was important at this time.

Then, moving onto Egyptian art forms, the two dimensional representations of the human forms. This was founded to be based on a grid, and strict measurements, as to where each part of the body would be. Also, all aspects of the human body were portrayed at their best angle, which resulted in non-realistic representations of the human form.

Continuing through time, we come to the Greeks, who somewhat lawfully distorted the human body to achieve an inhuman perfection. It was also mathematically based, dividing the body up into sections which were to be separately manipulated using mathematics. Greeks used this to the extreme to create sculptures which displayed impossibly athletic men.

THE DAY PICTURES WERE BORN

Cave paintings were the first ever form of pictures, but what possessed an ancient artist to paint these images on the walls of caves. We need to go way back in time to find out. Many ancient artists usually painted the same images, colours and patterns, why was this? At first it was believed it was due to the animals they hunted, that theory went down the drain, as the question was raised, if you cannot understand what a picture is, how do you come up with the idea of painting one?

It was thus proven that prolonged time in dark spaces, and trance like states induced the same effect on the human mind. It causes us to see colours and patterns, hich are hardwired into the human brain. This explains the similarities between paintings found on opposite sides of the world.

Milton Glaser, and Frank Gehry exercise

MILTON GLASER

Is an American designer, who was involved in the production of several iconic logos, and designs. His "I Love New York" design probably his most well known one. His style revolves around referencing movements from the past, and making them somewhat appealing within a modern context. He is also known as one of the artists who have renewed the 1964 manifesto which called for designers to be more than commercially driven. The "First Things First Manifesto 2000", was the reviewed version of this "pact" to make a difference in the world through design. He is helping to change the idea that the world has about graphic designers, and move away from being simply driven by monetary gain. He continues to work, promoting these ideals, staying true to himself and what he believes. He always thinks conceptually, and has a new take on each situation.

FRANK GEHRY EXERCISE

Gehry's Disney Hall (top), definitely has its similarities with the Sydney Opera House (bottom). For instance, the obvious pointed, curved structures jutting out from the core structure of the building, most likely for the acoustic purposes of the two buildings where performances occur. Also, the colour scheme of the materials is monotonic, and their structure as a whole building is quite abstract, and extravagant. While at the same time, there's a certain deliberateness about them. Gehry's building does differ slightly, with more geometric angular structures amongst the curves of the structure.

The Memphis Group, MORE Post Modernism

MEMPHIS GROUP

Mainly primary colours were used, yet they were used boldly, creating a great clash of colours. Some designs seemed very simple, but then they are contrasted to vastly different designs originating in this period. Simplified, irregular, organic shapes are used in almost all works from the Memphis Group. Something just doesn’t work within this particular style of design, it appears as if there is a great lack of unity. This is a given, as it was a reaction to the strict rules of modernism, form has nothing to do with the function of the object. However, some form of logic exist but confusion is created through the lack of unity.

THE CRISIS OF MODERNISM

This crisis was due to people taking advantage of the uniformity of post modern design. For instance, in regards to apartment buildings, architects became cheap when constructing the buildings to give them that post modern, simplistic, and repetitive feel. This crisis occurred in many aspects of design during the post modern era.

ALESSI

This is an Italian design company founded in 1921, which specialises in kitchen utensils and accessories. They are known for their post modern, and exclusive designs. They have revolutionised the way that people use and perceive kitchenware, and have made it an exclusive facet of people's everyday life.

PHILIPPE STARCK

Is a French product designer, and is very much a contemporary designer. He is k

nown for his stylish designs, and is very much an all round designer. Capable of designing interiors, and everyday products. He worked with Alessi to revolutionise the juicer into almost a post modern artwork.

Contemporary Designers

ODED EZER

BJORN JOHANSSON

DANIEL GORDON

These contemporary designers, all revolve around typographic based work, and use illustrative type as an image, and are all highly experimental in their work. They all reject the clear cut nature of modern typography, and embrace their own individual styles to deliver their message. Their post modern works are unique, but effective. Their work is emotional and powerful, using inventive lettering to create a fusion of science and design.

Post Modernism

Post modernism, obviously came after modernism, but what are the characteristics of design from this period? Considering that this movement arose out of a rebellion against the clean styles of swiss modernism, post modernism introduced a radically different perspective to society. Firstly, the objective of designs are constantly changing. This movement is a state under which everyone's individual expression is true. in an essence, anything goes. Truth is no longer universal, and there are no strict rules. There is a great sense of individual style within designer's works, and many doors within design as a whole have been opened due to post modernism. It is the contemporary style which we as designers now follow. Anything goes, there are no limits or restrictions to design today.

DAVID CARSON

STEFAN SAGMEISTER

Late Modern, and Swiss International

LATE MODERN

This period spanned from 1945 to 1970, and was dominated by American innovation, and inspired by the European avant guard movement. During this post-war period, German and Russian artists moved to America, which was at the time the cultural centre of the world. Early modern styles of design evolved into promoting the capitalist government of the USA, and the dogma of early modernism was discarded. Most designs followed the principle of function before form. function of the design was the main objective for designers of this period. For example, Frank Lloyd Wright constructed buildings which fir into the landscape, he was all for the merging of natural and man made styles. Wright said that designers can have their own style, instead of simply following the trends, but he still put function first.

Late modernism was a combination of function and simplicity, designs revolved around simple aesthetic elegance. In essence it was a merging of

organic shapes and simple geometry. However, the Italian designers of this era always took things two steps too far in regards to outrageous designs. This was due to their history in fine art.

Art and design cross-fertilise each other. As Paul Rand said, "To design is to add value and meaning...To design is to transform prose into poetry."

In terms of posters of this era, typography and illustrations were generally simple, there was a fusion of image and typography,overlapping shapes, and designers were developing their own styles, within the set norms of design at the time.

SWISS INTERNATIONAL

This design movement coincided with late modernism, starting in 1945, and ending in 1985. This was an international style, which was very austere and simple. The success of this movement was hinged on the adherence to the grid, the grid is god in the swiss international movement. The grid aligns the pieces of work, and everything must fit into the grid. All designs are extremely clean, uniform, scientific, and socially useful. It was extreme abstraction based on pure geometry. All of the typography was minimal, and unity was achieved in designs by repetition of shapes. Many pictograms e use today emerged out of this period of design.

“Don’t confuse legibility with communication”

The statement, “Don’t confuse legibility with communication”, reflects the attitude of post modern artists towards swiss modernism. Basically, the post modern movement brought about a revolution in terms of style and presentation. Artists like David Carson were catalysts for this change of attitude. They were simply fed up with seeing the same typeface and style in almost all swiss modernist works. This attitude brought about the post modernist movement, which introduced “different” and unique styles to society. Not only in regards to typography, but the style as a whole. Where the swiss modern camp would have clean, clear, and simple styles of typography, post modernism challenged this with grungy fonts, and indistinguishable and unique typefaces. This is where the above mentioned statement comes into play.

Through the eyes of a post modern artist, the message to be conveyed, through a piece of art, does not need to be stated in a clear visual manner. In fact, many post modern pieces, are grungy and practically illegible. However, these are still effective pieces of work, as the message does not need to be in the content of the text, but in the visual appeal of the typeface. This is what Carson meant when he made that comment. The revolution against Swiss modernism introduced a new style, and way of thought, through the post modern movement.

In the 50’s, the aesthetics of objects and designs was generally highly intricate, and constructed with purpose. The post modern mindset opted to move towards deconstructive aesthetics. Post modern artists were bored with the modernist ideals, clean designs, and wanted to experiment with many new forms and processes of design.
For instance, a post modern artist, Stefan Sagmeister, even experimented with cutting typography into his own body.

In comparison to the very strict, clear cut ideals of Swiss modernism, post modernism brought forth an extremely experimental mind state, wanting to move away from the so called norms of design at that time. The rational and organised nature of swiss modernism did not fit in with the irrational, and anarchical thoughts of the post modernist designer. The film Helvetica explores this concept, but not in great depth. However, it makes reference to both Carson and Sagmeister, and their revolt against Swiss modernism.

Helvetica as a typeface, represents the modernist movement quite well, with its clean lines and extreme legibility. It is, still used very widely across the world, some would say it is over-used. The precise reason for postmodernism, not the typeface, but the fact that everything starts to look the same, and there’s nothing truly different. This is why, Carson would state, “Don’t confuse legibility with communication”, as communication is the purpose of art and design, the transmission of a message. How we transmit the message does not have to be legible to be effective.