final project

Introduction

In the GID 1 Class at Foothill College in the fall semester I learn the Demonstration of Knowledge of Key Concepts. Using the discussion board to discuss key concept allows me to learn from one another and share ideas. When I submit an assignment directly to Etudes, this sharing of ideas is start. The discussion area as great which I barely attended in because of my busy time, but one of the primary reasons for using discussion area is to build a community of learners to help them to share their thoughts and their journals. This tool allows us to become part of a vibrant learning community, rather than a just an independent learner completing & submitting assignments with no real peer interaction. Reflective activities require us to share a synthesis of the learning experience, or to describe how a situation or experience has personal value to us. These kinds of activities should allow for honest and open responses. Also this class and the weekly modules, assignments, test and Journals leads us to critical thinking which encourage us to think deeply about the text.  And the GID 1 is introduction to the concepts of design throughout history. Emphasis will be placed on graphic and industrial design in the Nineteenth and twentieth century. Graphic design is the art and practice of visual communication. Designers use color, typography, images, symbols, and systems to make the surfaces around us come alive with meaning. Today, the field is shifting and expanding as new technologies and social movements are changing the way people make and consume media. Public awareness of graphic design has grown enormously over the past two decades through the desktop computing and Internet revolutions, which have also fueled tremendous growth in the profession. Graphic design is the largest of the design professions, representing more than a quarter million practitioners in the United States. And there are my answers:

What did you learn? How do you see things differently as a result?

At first when I looked it book I truly scared that how can I learn pass this course. However I learnt really quickly and fast as my thoughts. Each part of the book had its own unique charm and informative content. This course was a greater understanding of the graphic arts and how it had evolved throughout the span of human existence. In a shallow sense, this was accomplished. The first couple chapters of the book as it described the origin and growth of written language. I found it interesting how the textbook painted a picture of graphic, representational art evolving alongside language, from the cave painting of our ancient ancestors to the illuminated manuscripts of the medieval era. Specifically I really enjoyed the development of Chinese and Korean languages. I had never really considered the origins of language as the beginning of graphic design and I definitely found it an interesting theory.

What did you not learn? Why was the class not valuable to you? How could it have been more valuable?

Genuinely I learn everything about this book and chapters. The class was really valuable for me. I f I got fair grade; it wasn’t the class or teacher fault .Honestly it was my lower work. I did less.

 What new connections did you make regarding graphic design and the evolution of human culture?

Graphic design has always played an important role around society and the individual as it affects cultural identity, social structures, economies, cultural development and environments. It touches many individuals on a daily basis and encompasses a variety of disciplines, from architecture, to communication, engineering, products, computer-related technology and even contemporary studies in anthropology and ethnography. It has a profound effect on what we do, how we feel, and who we are. Through experience and experimentation, we continually increase our understanding of the visual world and how we are influenced by it.  Relatively speaking, in terms of communication, textual ubiquity is brand new. Thanks to millions of years of evolution, we are genetically wired to respond differently to visuals than text. For example, humans have an innate fondness for images of wide, open landscapes, which evoke an instant sense of well-being and contentment. And thanks to the book of graphic design, it shows how these evolutions shaped to those years.

 What new interests might you have based on what you've been exposed to?

            Though I studied painting a lot as a painter, if feel as if there was an aspect of it that I was missing, and the Book of the history of graphic design shows me the path of hw basic designs and images came from.. And all the pictures and the text of the book have always been fascinating to me and perhaps I can learn something from those who have done it before me.

 How will you apply what you've learned to experiencing life, your understanding of other disciplines, your future career?

  I'm going to apply the different methodologies and concepts at the heart of the art movements we've learned about and apply them to my own work. I hope to broaden my range as a creative force and perhaps by imitating the past and combining it with my own interests and focus I can synthesize great works and vastly improve my skills.
 What is the future of graphic design?

  I feel that in the future this will become more prevalent as information now is catered directly to us using our habits and locations to target us directly as advertisements. The future of the graphic designer will be using these technologies and creating a seamless, aesthetically pleasing experience for the user.

Katherine McCoy

                                              Katherine McCoy

She began her work in design at Unimark International, and was a graphic designer for Chrysler Corporation's Corporate Identity Office, Omnigraphics of Boston, and Designers and Partners, an advertising design studio in Detroit. Other professional practice includes graphic design for MIT Press, Xerox Education Group, and major advertising agencies. As a partner of McCoy & McCoy Associates, projects include graphic and signage design, design marketing, exhibition design, the interior design of furniture showrooms and executive offices, and a television documentary, Future Wave: Japan Design. Recent clients include Formica Corporation, Unisys, Philips Electronics, Tobu Stores Tokyo, International Design Center Nagoya, Detroit Institute of Arts and Cranbrook Educational Community.

She is Past President and Fellow of the Industrial Designers Society of America, and an elected member of the Alliance Graphique Internationale. In recent years she served as President and Chairman of the Board of the American Center for Design, and Vice President of the American Institute of Graphic Arts. She has been a member of the Aldus Graphic Arts Advisory Board, the Design Issues Advisory Board, and a Contributing Editor of ID Magazine. She served on the Design Arts Policy Panel of the National Endowment for the Arts and chaired the Design Arts Fellowships Grant Panel for three years. She was a 1982 IBM Fellow of the International Design Conference at Aspen. In 1987 she received the Society of Typographic Arts Educator Award and the Joyce Hall Distinguished Professorship at Kansas City Art Institute jointly with husband and partner Michael McCoy. In 1994 they were jointly awarded a Chrysler Award for Innovation in Design.

Her work has been published internationally, including the book Graphic Design in America: A Visual Language History by the Walker Art Center and Women in Design, published by Rizzoli International. Her teaching methodology has been featured in the ABC Editions Zurich books Graphic Design International and Graphic Design Education, Eye Magazine, Novum Gebrauchsgraphik and Print Magazine. She recently coauthored and designed the book, Cranbrook Design: The New Discourse, published by Rizzoli International. She curated the exhibition New Dutch Graphic Design, which traveled to thirteen cities including Boston, Chicago, St. Louis, Seattle, Montreal and Vancouver from 1986 to 1990. In 1993 she chaired Living Surfaces, the first national conference in the U.S. on multimedia in graphic and industrial design.

A major exhibition, Cranbrook Design: The New Discourse, traveled to New York and Tokyo in 1991, featuring posters and books by Katherine McCoy, as well as those by her students and alumni. Other exhibitions include Mixing Messages at the Cooper Hewitt Museum of Design, New York; Graphic Design in America: A Visual Language History at the Walker Art Center, Minneapolis, and L' image des Mots at the Centre Pompidou Centre de Creation Industrielle, Paris; the Design Museum, London, the Cooper Hewitt Museum of Design, the American Institute of Graphic Arts, the International Design Conference at Aspen, the Cranbrook Academy of Art Museum, and the Pacific Design Center; the Museum of Modern Art, Rio de Janeiro, Brazil, the Isreal Museum, Jerusalem, and the Cultural Palace, Riyadh, Kingdom of Saudi Arabia.

International lectures include five ICOGRADA and four ICSID congresses, the Stanford Design and Aspen conferences, the Cooper Hewitt Museum of Design, the New York Architectural League, Harvard University, the Rietveld Academy of Amsterdam, and JIDA and JAGDA, Japan. Juries include the AIGA Communication Graphics, STA 100 Show, Interiors Magazine "I" Awards, and 1984, 1988 and 1991 United States Presidential Design Awards.

Awards include the ID Magazine Annual Design Review, the AIGA Communication Graphics Show, the STA 100 Show, the Print Regional Design Annual, the Type Directors Club of New York TDC Show, the New York Art Directors Club One Show, the Society of Publication Designers, the Interiors Magazine "I" Awards, and the Industrial Designers Society of America IDEA Awards.

Marcel Duchamp

Marcel Duchamp

Marcel Duchamp was a French Dada artist, whose small but controversial output exerted a strong influence on the development of 20th-century avant-garde art. He was born on July 28, 1887, in Blainville, France, near Rouen, brother of the artist Raymond Duchamp-Villion and half brother of the painter Jacques Villion. In 1904, he went to Paris, where he met artists who later led modern art movements. Duchamp began to paint in 1908. Some artists at the time were known as Dadaists and surrealists. He was influenced mostly by Paul Cezanne. After producing several canvases in the current mode of Fauvism, he turned toward experimentation and the avant-garde, producing his most famous work, "Nude Descending a Staircase, in 1912; portraying continuous movement through a chain of overlapping cubistic figures, the painting caused a furor at New York City's famous Armory Show in 1913. He painted very little after 1915, although he continued until 1923 to work on his masterpiece. "The Bride Stripped Bare By Her Bachelors," even an abstract work, also known as "The Large Glass," composed in oil and wire on glass, that was enthusiastically received by the surrealists. In sculpture, Duchamp pioneered two of the main innovations of the 20th century--kinetic art and ready-made art. His "ready-mades” consisted simply of everyday objects, such as a urinal and a bottle rack. His "Bicycle Wheel" an early example of kinetic art, was mounted on a kitchen stool. After his short creative period, Duchamp was content to let others develop the themes he had originated; his pervasive influence was crucial to the development of surrealism, Dada and pop art. Marcel Duchamp has changed the history of modern art. His impact on the twentieth century is rivaled only by that of Matisse and Picasso, and no other figure has so directly influenced recent art forms. This book, besides presenting a documented photographic survey of Duchamp's works, offers ten original essays by eminent scholars and critics. The essays cover Duchamp's explorations in the areas of poetry, the machine, alchemy, and the epistemology of art; on a more personal, they treat the milieux and the friendships that shaped his character, the life style to which he adhered, and the influence his example has exerted. Passages from his lectures are included in the book, as well as comments and tributes by more than fifty colleagues, friends, and interested observers. Documentary illustrations, a chronology, and a bibliography complete the volume. First published in 1973 to immediate acclaim, this monograph continues to be a definitive book on Duchamp. Lavishly illustrated, it documents his entire career.He settled in the United States in 1942. Duchamp became an American citizen in 1955. He died in Paris on October 1, 1968.

An overview of the history of Swiss Posters

Most people are excited when they hear that most of the twentieth century posters masterpieces are from Switzerland. There are many reasons to prove the truth of an international tradition and used the best of neighbors program to promote the poster and to print with some of the great masters of the art of the poster series. Many of the big collectors have missed the point of the traditional work that looks extremely elegant and beautiful French poster or a reckless stunt Germans could easily have belonged to the Swiss.

● early 20th century
Located in the center of Europe and having three languages, Switzerland helped to take most of your neighbors. One of the most famous artists in poster orientated Steinlen and working in France, famous disrupted. The first generation of the French poster artists like Cardinaux and Steinlen completed their studies in Paris and Munich.

● Travel and climb Swiss Posters
Swiss posters were rooted in trips. Due to the fact that the Swiss border between the ages 20 and 21, had become one of the popular travel destinations, the need was felt for promotion arose. Emile Cardinaux In 1908, the first modern work Matterhorn posters created in the name of simplicity and contentment with the colors used to draw attention to them. Switzerland for two decades was creating beautiful masterpieces with threads hanging out skiing, hot springs, and the wonders of payment.
In the third decade, Herbert Matter - along with Leger, Ozenfant, Cassandre in his home in Paris, studied and worked in Switzerland, making a new series of photomontage posters for the Swiss tourist office. Despite the amazing works of Matter, Walter Herdeg Swiss travel poster during the late 40’s was decreasing.

● Design Poster

After the First World War, the Swiss graphic design agency a step forward, a new way to satisfy the needs of new era car. Rate it tenets of Russian-Swiss, Dutch De Stijl movement and the Bauhaus experience absorbed.

Jan Tschichold was the key role of creators of new prints, which in 1933 moved to Basel where he taught at the School of Design. And a Theo Ballmer Keller was a private tutor, in Bauhaus school was acquired in 1931 designed to teach Basel payment.

 ● Switzerland in the mid-20th century

Swiss rapturous excitement about the quick Sachplakat or Object Poster demonstrated by Lucien Bernhard was introduced in Germany in 1905. In 1923 Otto Baumberger introduced a masterpiece in object poster for PKZ. The poster painting a full length coat wool fibers, silk lining with PKZ label was natural enough that most visitors think they have photograph. Regardless of the label, poster doesn’t have any text.
In 1934, a poster, button exaggerate the fact that Peter Birkhäuser was designed for PKZ sachplakat its minimalist closer to an end. During and after World War II sachplakat signals through comprehensive language and explicit appeal to the Swiss, the Swiss became the original poster.
Four artists who were living in Basel Birkhauser, Stoecklin, Leupin and Brun operators were way too cute and too delicate to be played with standard lithographic Manst that was the envy of the world. Unfortunately, the 50 endpoints on the pretext of cheaper offset lithography printing said. Leupin, Brun and other artists in Basel sachplakat not very promising method to the rich color lithographic printing began. Leupin in their ability to succeed in portraying the essence of Cappiello's visual form has been sold.

● 60's and 70's

all the designs and 30's, the 50's gave way to new graphic design that went far beyond Switzerland's borders. Because of its strong reliance on typographic elements of the new style became known as the International Typographic Style. In the 70's dominance in the world of graphic design and art Brasar its impact is still observed.
His criteria were used to obtain a mathematical grid system, regular shape, font (sans serif especially Helvetica was introduced in 1961), and black and white photos depicted the observations. System simple, serious, purposeful and is effective.
The method is designed in Switzerland were taught in school. Basel is one of the management and the other in Zurich under the supervision of Armin Hofmann and Emil Ruder Joseph Muller-Brockmann Zurich School of design in all of World War II with Keller had learned.

Hofmann emphasis on differentiating features and design by Muller-Brockmann in rhythm and visually expands the root of this approach are obvious examples. In addition, a completely new approach in the growing global market was established after World War II. Swiss language problem became a global issue and a strong need was felt clear in word and symbol.
They need to identify public issues, international and global events like the Olympics; there will be a print that way. However, teachers with experience in the International Typographic Style spread rapidly. Hofmann at the Basel School of Design School of Design in America, Yale School of exchange of information so that the new style became one of the centers in America.