For now, sketch out some variations on today's date and day. Play with the text. Treat it like it has mass, avoid just stick lettering.
Some doodles of mine:
Due February 6th, class 4
1935 WPA (Works Progress Administration) hires designers and artists for national infrastructure projects
1937 Picasso's Guernica
1939 Illustrated album cover invented by Alex Steinweiss at Columbia Records
1937 Constructivist Poster
1938 Harper’s Bazaar Cover
1941 Walter Landor and Associates established in San Francisco
1949 Palatino font designed by Hermann Zapf
Advertisement: Women in War Jobs – Rosie The Riveter, 9142,1945, J. Howard
Poster: Deutschland Uber Alles, John Heartfield
New York becomes the center of the art world with Abstract Expressionism
Swiss design (aka International Typographic Style) becomes the dominant design form, with an emphasis on clear communication and grid construction
Saul Bass does his movie titles. He designs the first unified design program for a film, The Man With The Golden Arm.
Doyle Dane Bernbach (DDB) creates a revolution in American advertising. They are basically the model for Mad Men
Visual Identity becomes a major force in corporations
Pop Art ascends over Abstract Expressionism
Corporate Identity modernization still a strong trend
Push Pin Studios in NY rises
Haight-Ashbury Poster Designers in San Francisco
The great Herb Lubalin, typographer extraordinaire, is at the height of his career.
End of Modernism, beginning of Post-Modernism
1975 Milton Glaser designs I Heart NY symbol
1975 AIGA Symbols Signs
1980 IBM launches personal computer
1982 MTV logo
1984 Apple Macintosh “1984” TV ad
1988 David Carson designs “Beach Culture” magazine
1988 Damian Hirst and the Young British Artists show of 1988 change the world of modern art
1994 Advertising Campaign: Got Milk
Stefan Sagmeister, Poster: Lou Reed, 1996
Paula Scher, Visual Identity: Public Theater, 1994-96
Technology and new platforms continue to reshape design
Poster: I Love NY More Than Ever!, 2001, Milton Glaser
Poster: Privacy from The Social Justice Series, 2008, Luba Lukova
Poster: Hope, Shepard Fairey, 2008
The main places of employment for a communication design professional are:
We will as we go along be talking about many of the different kinds of formal elements:
And organizing principles such as:
Let's start off with a basic basic, POINT, LINE and PLANE.
A line is the track made by the moving point... It is created by movement—specifically through the destruction of the intense, self-contained repose of the point.
Point, line, and plane are the building blocks of design. From these elements, designers create images, icons, texture, patterns, diagrams, animations, and typographic systems. Indeed, almost any design you can imagine results at some level from the interaction of points, lines, and planes
For Example:
Diagrams build relationships among elements using points, lines and planes to connect and map data.
Textures and Patterns are constructed from large groups of points and lines that repeat, rotate, and otherwise interact to form distinctive and engaging surfaces.
Typography consists of individual letters (points) that form into lines and planes of text.
Throughout the history of image reproduction – woodcut, lithography, modern print (halftones), laserprinting, screen images – points and lines are used to render images.
A point marks a position in space. Understood geometrically, a point is a pare of x,y coordinates. As a graphical fundamental element, it takes its form as a dot, a visible mark. It can be and insignificant fleck of matter or a concentrated locus of power. It can penetrate like a bullet, pierce like a nail, or pucker like a kiss. Through its scale, position, and relationship to its surroundings, a point can express it own identity or melt into the crowd.
In typography, a point is period—the definitive end of a line. Each character in a field of text is a singular element, and thus a kind of point, a finite element in a series.
A line is an infinite series of points. Understood geometrically, a line has length, but no breadth. A line is the connection between two points, or the path of a moving point
A line can be a positive mark or a negative gap. Lines appear at the edges of objects and where two planes meet.
Graphically, lines exist in may "weights": the thickness and texture as well as the path of the mark determine its visual presence. Lines are drawn with a pen, brush, mouse, and event digital code. They can be straight or curved, continuous or broken. Lines can be used to define planes and textures.
In typography, lines are implied as well as literally drawn. Characters group into lines of text, while columns are positioned in blocks that are flush left, right, or both, to an implied line.
A plane is a flat surface extending in height and width. A plane is the pathway of a moving line; it is a line with breadth. A line closes to become a shape, a bounded plane. Shapes are planes with edges. In vector-based software, every shape consists of line and fill. A plane can be parallel to the picture surface, or it can skew and recede into space. Ceilings, walls, floors, and windows are physical planes. A plane can be solid or perforated, opaque or transparent, textured or smooth.
A field of text is a plane built from points and lines of type. A typographic plane can be dense or open, hard or soft. Designers experiment with line spacing, font size, and alignment to create different typographic planes.
Get the textbook.
