Slide presentation on Postmodern Graphic Design. Based on Megg's History of Graphic Design Chapter 22. For the History of Graphic Design course in the Digital Media Design program at Red River College
Coffee with a Curator: "Photography and Surrealism"The Dali Museum
Coffee with a Curator - Peter Tush: "Photography and Surrealism"
Wednesday, August 3, 2016
Coffee with a Curator is a focused, theme-oriented presentation on a variety of Dali-related topics. The talk is presented by one of The Dali Museum’s Curatorial/Education team or an invited speaker.
Complementary to our current exhibition, Horst: Photographs – Fashion and Surrealism, Curator of Education Peter Tush discusses Surrealism and its relationship with photography. This talk will examine the role of photography within the revolutionary Surrealist Movement, shifting between documentation and the subversion of bourgeois values, and will survey the contributions of key surrealist photographers such as Man Ray, Hans Bellmer, Claude Cahun, Raoul Ubac and Jacques-Andre Boiffard. The talk will conclude with a reflection on the surreal aspects of Horst’s fashion photographs.
For information on upcoming events at The Dali visit: http://thedali.org/events
Coffee with a Curator: "Photography and Surrealism"The Dali Museum
Coffee with a Curator - Peter Tush: "Photography and Surrealism"
Wednesday, August 3, 2016
Coffee with a Curator is a focused, theme-oriented presentation on a variety of Dali-related topics. The talk is presented by one of The Dali Museum’s Curatorial/Education team or an invited speaker.
Complementary to our current exhibition, Horst: Photographs – Fashion and Surrealism, Curator of Education Peter Tush discusses Surrealism and its relationship with photography. This talk will examine the role of photography within the revolutionary Surrealist Movement, shifting between documentation and the subversion of bourgeois values, and will survey the contributions of key surrealist photographers such as Man Ray, Hans Bellmer, Claude Cahun, Raoul Ubac and Jacques-Andre Boiffard. The talk will conclude with a reflection on the surreal aspects of Horst’s fashion photographs.
For information on upcoming events at The Dali visit: http://thedali.org/events
In The 48 Laws of Power, Robert Greene contends that since you can't opt out of the game of power, you're better off becoming a master player by learning the rules and strategies practiced since ancient times. People can't stand to be powerless. Everyone wants power and is always trying to get more.
A slideshow connected to a lecture of Twentieth-Century Photography available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Beth Saunders.
Pictorial Modernism and a New Language of Form presentationChristopher Chuckry
From information found in Megg's History of Graphic Design, Fifth Edition. Chapters 14 and 15. For the course "History of Graphic Design," in the first year of the Digital Media Design program at Red River College.
Slide presentation on the effects of the Industrial Revolution and the development of Graphic Design in England. For a History of Graphic Design course at Red River College. Reference text is Megg's History of Graphic Design
The Digital Revolution in design, based on Chapter 24 of Megg's History of Graphic Design. History of Graphic Design course, Digital Media Design program, Red River College.
History of Graphic Design lecture on The Bauhaus and The New Typography for History of Graphic Design, First Year, Digital Media Design, Red River College
White wonder, Work developed by Eva TschoppMansi Shah
White Wonder by Eva Tschopp
A tale about our culture around the use of fertilizers and pesticides visiting small farms around Ahmedabad in Matar and Shilaj.
Expert Accessory Dwelling Unit (ADU) Drafting ServicesResDraft
Whether you’re looking to create a guest house, a rental unit, or a private retreat, our experienced team will design a space that complements your existing home and maximizes your investment. We provide personalized, comprehensive expert accessory dwelling unit (ADU)drafting solutions tailored to your needs, ensuring a seamless process from concept to completion.
Dive into the innovative world of smart garages with our insightful presentation, "Exploring the Future of Smart Garages." This comprehensive guide covers the latest advancements in garage technology, including automated systems, smart security features, energy efficiency solutions, and seamless integration with smart home ecosystems. Learn how these technologies are transforming traditional garages into high-tech, efficient spaces that enhance convenience, safety, and sustainability.
Ideal for homeowners, tech enthusiasts, and industry professionals, this presentation provides valuable insights into the trends, benefits, and future developments in smart garage technology. Stay ahead of the curve with our expert analysis and practical tips on implementing smart garage solutions.
Book Formatting: Quality Control Checks for DesignersConfidence Ago
This presentation was made to help designers who work in publishing houses or format books for printing ensure quality.
Quality control is vital to every industry. This is why every department in a company need create a method they use in ensuring quality. This, perhaps, will not only improve the quality of products and bring errors to the barest minimum, but take it to a near perfect finish.
It is beyond a moot point that a good book will somewhat be judged by its cover, but the content of the book remains king. No matter how beautiful the cover, if the quality of writing or presentation is off, that will be a reason for readers not to come back to the book or recommend it.
So, this presentation points designers to some important things that may be missed by an editor that they could eventually discover and call the attention of the editor.
Transforming Brand Perception and Boosting Profitabilityaaryangarg12
In today's digital era, the dynamics of brand perception, consumer behavior, and profitability have been profoundly reshaped by the synergy of branding, social media, and website design. This research paper investigates the transformative power of these elements in influencing how individuals perceive brands and products and how this transformation can be harnessed to drive sales and profitability for businesses.
Through an exploration of brand psychology and consumer behavior, this study sheds light on the intricate ways in which effective branding strategies, strategic social media engagement, and user-centric website design contribute to altering consumers' perceptions. We delve into the principles that underlie successful brand transformations, examining how visual identity, messaging, and storytelling can captivate and resonate with target audiences.
Methodologically, this research employs a comprehensive approach, combining qualitative and quantitative analyses. Real-world case studies illustrate the impact of branding, social media campaigns, and website redesigns on consumer perception, sales figures, and profitability. We assess the various metrics, including brand awareness, customer engagement, conversion rates, and revenue growth, to measure the effectiveness of these strategies.
The results underscore the pivotal role of cohesive branding, social media influence, and website usability in shaping positive brand perceptions, influencing consumer decisions, and ultimately bolstering sales and profitability. This paper provides actionable insights and strategic recommendations for businesses seeking to leverage branding, social media, and website design as potent tools to enhance their market position and financial success.
Can AI do good? at 'offtheCanvas' India HCI preludeAlan Dix
Invited talk at 'offtheCanvas' IndiaHCI prelude, 29th June 2024.
https://www.alandix.com/academic/talks/offtheCanvas-IndiaHCI2024/
The world is being changed fundamentally by AI and we are constantly faced with newspaper headlines about its harmful effects. However, there is also the potential to both ameliorate theses harms and use the new abilities of AI to transform society for the good. Can you make the difference?
Between Filth and Fortune- Urban Cattle Foraging Realities by Devi S Nair, An...Mansi Shah
This study examines cattle rearing in urban and rural settings, focusing on milk production and consumption. By exploring a case in Ahmedabad, it highlights the challenges and processes in dairy farming across different environments, emphasising the need for sustainable practices and the essential role of milk in daily consumption.
6. Rosmarie Tissi, direct mail
folder for Anton Schöb
printers, 1981
Rosmarie Tissi, Graphis
cover, 1980
Rosmarie Tissi, poster
for Anton Schöb
printers, 1985
13. Memphis & San Francisco Schools
Michael Vanderbyl Michael Manwaring Michael Cronin
14. Retro & Vernacular Design
Paula Scher, poster for
CBS records, 1979
Paula Scher, Swatch Watch
poster, 1985
15. Paula Scher, “Great Beginnings” spread for
Koppel & Scher promotional booklet, 1984
16. Louise Fili, book cover for
The Lover, 1985
Lorraine Louie, cover for
the Quarterly, 1987
Carin Goldberg, book
cover for The Sonnets of
Orpheus, 1987
17. Daniel Pelavin, book
cover for The
Notebooks of Malte
Laurids Brigge, 1985
Charles S. Anderson, label
designs for Classico pasta sauce,
1985
20. Paula Scher, “Language Is a Deadly
Weapon” graphic for MTV’s “Free Your
Mind” campaign, 1994
Editor's Notes
Within the context of design, the term postmodernism refers to a shift away from the objectivity of modern design toward a more subjective approach to designing. Postmodernism gained a strong foothold with designers who emerged in the 1970s. They turned away from the order and clarity of the International Typographic Style, which had been prevalent since the Bauhaus, and found inspiration in historical references, decoration, and the vernacular as they sought a broader range of design possibilities.
During the 1960s, the terms supermannerism and supergraphics were used to describe work that broke with modern design. Supermannerism stems from the term mannerism, the stylish art of the 1500s that broke with the natural and harmonious beauty of the High Renaissance. Supermannerism was first used as a derogatory label by proponents of modern design in reference to the work of young architects who broke from modern design. Supergraphics describes the application of concrete graphic form to architecture, usually geometric shapes and letterforms that brought vitality and color to the built environment.
Philadelphia-born Robert Venturi, the original and most controversial supermannerist, added large-scale lettering to his architectural vocabluary. He sees graphic communications and new technologies as important tools for architecture, as shown in his proposal for the Football Hall of Fame.
Supermannerist architect Charles W. Moore called on graphic designer Barbara Stauffacher Solomon, who had studied graphic design at the Basel School of Design, to bring vitality and order through supergraphics to his 1966 project, Sea Ranch, a large condominium project in California. By 1970 supergraphics had caught on, and graphic design became more involved in environmental design.
A shift away from modern design began in the 1960s when designers working within the International Typographic Style expanded its parameters as they experimented with a broader range of design possibilities to enhance communication and meaning. Among the pioneers who evolved the International Typographic Style in this way were Swiss designers Rosmarie Tissi, Siegfried Odermatt, and Steff Geissbuhler.
Odermatt and Tissi frequently positioned text type on a background shape, which was defined by the depth of the text block and the lengths of the lines of type, as shown in the 1981 direct mail folder for Anton Schöb printers. Geissbuhler’s work during this period is represented by an engaging complexity; yet complexity is not an end in itself; rather, it is a dynamic visual language that communicates the concept of the message, as demonstrated in his 1965 Geigy brochure cover and 1974 “Blazer” financial services poster.
During the 1970s, practitioners and teachers schooled in the International Typographic Style sought to reinvent typographic design, like Herbert Bayer, Jan Tschichold, and others had done in the 1920s. These new directions, inspired by the experimental work and teaching of Wolfgang Weingart, were labeled new-wave typography.
Weingart began to challenge the objectivity, absolute order, and precision of the International Typographic Style, as well as the time-honored traditions of letterpress typography and the more recent traditions of photographic typography. Weingart questioned everything and broke all the rules. He infused feeling and humor into his work and encouraged his students to do the same.
Weingart invented new typographic forms by combining characters in unexpected and whimsical ways—a colon turned on its side became an umlaut, a comma on its side became a u, a rotated lowercase m became an E, and a bullet over the vertical stroke of a lowercase n became an i-n ligature—or letters simply became concrete, abstract forms.
By the mid-1970s, Weingart began to experiment with collage as a medium for visual communication and a method of combining image with typography. In the process he developed a new technique, which led to complex compositions created by sandwiching layers of film positives containing photographic images, type, and graphics cut from printer’s block-out film.
This method enabled Weingart to compose complex visual information, unify typography and pictorial images, and juxtapose type and image with textures, which were often created by enlarging halftone dots or overlapping halftone screens to create moiré patterns.
Dan Friedman, April Greiman, Willi Kunz, and Kenneth Hiebert, all of whom spent time at the Basel School and afterwards came to the United States to teach and practice, helped spread the new design sensibility. Although Weingart and others who pioneered new-wave typography rejected the notion of style, by the late 1970s and 1980s, their work was widely imitated.
In the early 1980s in San Francisco, Michael Vanderbyl, Michael Manwaring, and Michael Cronin forged a postmodern design movement that positioned San Francisco as a creative center of design. Although the San Francisco designers share gestures, shapes, palettes, intuitive spatial arrangements, and assign symbolic roles to geometric elements, personal attitudes are evident in their work.
Retro, which first emerged in New York in the 1980s and spread quickly throughout the world, was a movement based on historical revival, particularly a revival of modernist European design from the first half of the twentieth century. New York retro began with Paula Scher, Louise Fili, and Carin Goldberg. Scher’s 1979 poster for CBS Records was inspired by Russian constructivist and nineteenth-century wood type posters.
Other retro influenced designers included Louise Fili, Carin Goldberg and Lorraine Louie.
Along with Daniel Pelavin and Charles S. Anderson.
Although it would be a misnomer to label English designer Neville Brody a retro designer who reinvented styles of the past, he did draw inspiration from the geometric forms of the Russian constructivist artists, as well as the Dada experimental attitudes and their rejection of the doctrines of the ruling establishment. Brody emerged as one of the more original graphic designers of the 1980s as he sought to discover an intuitive and logical approach to design.
He designed graphics and album covers for rock music and art directed English magazines, including Arena and The Face, for which he designed a series of geometric sans-serif typefaces and emblematic logo designs. Brody’s work was widely imitated.
Postmodernism heralded a spirit of liberation that allowed designers to respond positively to vernacular and historic forms and to incorporate them into their work. An atmosphere of inclusion and expanding possibilities encouraged designers to experiment.