Reflection

      From early paintings in caves to modern print on posters, after taking The History of Graphic Design online course I can say that I have learned a great deal about what graphic design is and what it is not. Graphic design pertains to visual art and mass communication as stated by  William Addison Dwiggins. In simplest terms graphic design is visual communication - communication that seeks to effectively and efficiently convey an idea or message through the use of visual aids and cues. Throughout this quarter as I journeyed through history by reading Megg's History of Graphic Design, I learned that we got to where we are today thanks to breakthroughs in the visual communication and design fields - breakthroughs in technology that led to efficiency and ideas that started movements. What I enjoyed most about Professor Manske's class was that it forced us to go beyond the pages of the textbook and delve deeper into related subjects or what we found interesting based on observations outside of class. The learning community fostered in this online course was an interesting concept to me, and in my opinion, it was good to see the research of others and learn from their findings. After reading some of the other field journals, I got a feel for some of the relationships between the present and the past.

       Initially, I thought the history of graphic design was limited to digital revolution era when the computer and creative software allowed artists to fully realize their talents and apply their creations to the commercial world at large; however, I was misinformed. I learned that the world of graphic design had its roots in the early prehistoric era and has traveled through time and evolved to what it is today. The field journals have been a great way of relating what I have learned in the chapters of the textbook to today's world. It is evident that the styles of the past still have their influence in society as they can be seen in the everyday objects around us. My favorite field journals would have to be #6 on De Stijl and #5 Behren's Philosophy. These are my favorite because they are things I have learned about this quarter that directly relate to some experiences in my life. In the future, I will also try to relate what I have learned and taken away from this class to the things I see in the world around me. The field journals are an excellent starting point and practice for this. Each era in graphic design history has its own distinct feel and after reading about the transformation and transitions which occurred, I feel like it is a lot easier to identify certain design aspects and influences in today's world. 


        In all history, it is the past that shapes the present and the present that shapes the future, and with respect to the world of graphic design and its status in the world today, I believe that there are limitless possibilities to be explored. It is hard to say exactly what the future holds for graphic design, but based on the trends found in the textbook, I believe that there will be a reinvention of past styles or call to a past age that fits a modern context. Ultimately, it will be up to the new generation of graphic designers to learn from the past and invent innovative and intriguing design and styles with the technology of their age.

- Jaysen Parmar

Field Journal 10: Where we are today...

What was my perception of graphic design before the class and how has it changed now?

       We are finally finished with Megg’s History of Graphic Design, and it’s been quite a journey! Initially, when I heard about the “History of Graphic Design” course, I was not expecting the origins of graphic design to date back prehistoric times. My notion of graphic design was simply artistic computer graphics. To me, “graphics” meant images pertaining to the computer, and “design” meant the application of these images and their interaction with each other, and this class has changed my whole concept. I used to think that graphic design only dated as far back as the digital revolution and has evolved to what we see in today’s advertisements and artistic creations. After the course, I find it most interesting that graphic design encompasses many objects which we see in our daily lives such as books, newspapers, posters, paintings, and typography. Based on William Dwiggin’s coinage of the term graphic design in 1922 – a term describing a design discipline which combines “visual art” and “mass communication” - graphic design is probably in one of its golden ages with the technology of the internet. Sharing visual art and communication is now easier than ever as the world becomes increasingly connected through the internet. Just as we read in the last parts of the book, new technologies have allowed designers to experiment and push the envelope of graphic design while inspiring others to follow suit and carry out their own ideas and experiments within the field.


Link: Article on the future of graphic design


As I mentioned earlier, and as the article mentions:


“At its best, graphic design can motivate people to do things, try things or make things that they never thought they would or could.”


       To me this quote is very significant because it implies that the only limiting factor is one’s imagination, and with the technologies today, it seems that anyone can be a graphic designer. Considering that the present is the future relative to where the book left off, one is able to see how new technologies have empowered artists and regular people to create extraordinary images which capture emotions and communicate ideas even more effectively. More powerful editing tools have allowed us to create even more spectacular and detailed images. These tools have not only allowed us to make significant advancements in graphic design, but in other art related artistic fields as well:


Link: Typography Portraits


Link: Concept Art


Link: Animation


(You might have to scroll down a little to see the animation) I thought this was interesting in that the artist chose to experiment in the much the same way April Greiman and Louise Fili did by drawing inspiration and reinventing a style. Here the pixel graphics from the age of early computers are used and animated to depict a brief synopsis of Star Wars: The Empire Strike Back.


A final thought about graphic design in general and how it relates to me

       With respect to my major, which is similar to the real of graphic arts, I realized the need to partake in the practice of relevant experience to determine if Design/Media Arts was right for me. Most recently, my experiences include my ongoing employment as a graphic designer under Mobideos, a small start-up company that offers remote video surveillance through mobile devices. Working closely with the CEO, I developed graphics for use in print advertising, on the company’s website, and within its mobile application. My experience has taught me a certain discipline that developed as a result of the close collaboration. In this type of setting, being a graphic designer does not necessarily grant the artist the freedom to develop his or her own visions, but rather it demands that the vision be tailored to suit the needs of the client. Trying to achieve this perfect balance is often challenging, engaging, and descriptive of the steps involved in the creative process, yet through constructive collaboration, my creative vision is able to shine through the given assignment. With respect to this, I feel a sense of pride after completing each task; I hold every creation with the utmost esteem. The feelings of satisfaction and pride are what drive me to continue onward; and as I continue to explore the limitless possibilities that design offers, I look to the Design/Media Arts major to continue drawing enjoyment and pleasure from within the realm of creativity.

Field Journal 9: The Psychedelic Style and Moscoso

       When discussing the poster mania of the 1960s and the psychedelic poster movement which captured the sentiment of the time period, it appears that almost all of the designers who practiced the style were self-taught, yet only one of the major artists, Victor Moscoso (b. 1936), had formal art training, and in my opinion, his art work is some of the best of the era due to his vibrant style.


What is the Psychedelic Style?

A poster by Wes Wilson, the godfather of psychedelic art.
http://www.lysator.liu.se/~wizkid/art/psychposters/

       The brief psychedelic style and graphics movement of the 1960s was representative of a time of war, civil rights, and social activism. Due to these issues, it was only appropriate that a new type of art style emerged onto the graphic design scene, and it had a great effect on those who observed it, for “respectable and intelligent businessmen were unable to comprehend the lettering on these posters”; whereas, “as younger generation…deciphered, rather than read, the message” on these posters (438). The complexity and design of these posters drew inspiration from art nouveau, the brief op-art movement, and the “recycling of images from popular culture or by manipulation” (438). These techniques were obviously a departure from the traditional printing styles and the result was a completely fresh style which defined an era. The works found during this time are highly entertaining and visually appealing as one‟s eyes are drawn into and seemingly trace the sinuous curves while being stimulated and excited by the vibrant colors.

Source: Meggs, Phillip B. and Purvis, Alston W. Meggs’ History of Graphic Design 4th ed. Hoboken, New Jersey: John Wiley & Sons, Inc., 2006


Who is Victor Moscoso, and what did he contribute to the psychedelic movement?

The Miller Blues Band, Moscoso 1968

      Our book devotes a couple of sentences to Moscoso, so I decided to investigate further. Victor Moscoso was born in Spain in 1968, and he grew up in America in Brooklyn, New York. Unlike Robert Wesley “Wes” Wilson who seemingly stumbled into the art scene after high school, Victor knew at an early age that he had an interest in art and pursued it at Yale after graduating from Cooper Union. Joseph Albers, a modern colorist at Yale, was friend of Moscoso and the two studied together. This relationship and studying together would later prove to be invaluable to Moscoso as he took what he had learned with him to the Art Institute of San Francisco in 1959 where he acquired his MFA degree. This move shows that Moscoso was at the right place at the right time just as the psychedelic movement was born in the same region. Later, Moscoso designed promotional posters once the movement picked up for the Family Dog, an organization which promoted dance shows.


Link: Moscoso and Psychedelic Posters


      Moscoso's contributions to the psychedelic movement reaffirmed the resources which the movement used and also took them to a new level in my opinion because the pieces he created are highly jarring visually and very eye-catching due to their extremely vibrant colors.

The Chambers Bros, Moscoso

Vibrating Colors
       “Victor uses the concept of vibrating colors to create the 'psychedelic' effect in many of his pieces.
The vibration is achieved by taking colors from the opposite end of the color wheel, each one having equal value (dark to light) and intensity (brightness). An example is red and green.
Because there is no break between the colors, your eye does not know which one to focus on as the colors 'compete'. This effect only happens along the edges where these colors touch. Special inks are not needed and Victor uses standard printing inks for his work.
Vibrating colors should not be confused with neon or fluorescent colors, as these are entirely different color techniques, none of which are used by Victor.”


Source: http://www.victormoscoso.com/aboutvictor.html

Sphinxdance, Moscoso

       This definition of vibrating colors was exactly what my teacher in a design course I took last semester explained and can be seen on the right picture in the lenses of the woman‟s sunglasses where the vibrant blue and pinkish hues sort of clash creating an interesting effect around the edges of the font. This is also relatable to the op-art style which is associated with this optical color vibration.


Link: More Examples of Moscoso's Work

Field Journal 8: Graphic Design and Identity

       It is obvious that we are all bombarded by a plethora of information each day as we walk out from our houses and start our drive to school or work, and this is evidenced by the many advertisements we see on billboards and the corporate and company brands we see on buildings. All of these devices shape our world and influence our decisions as consumers. With that said, this week I decided to research how brands, logos, and corporate identity have become a part of our everyday life thanks to graphic design. As a future designer myself, I found myself most intrigued by this section in the whole book thus far because it has essentially shaped the world as we know it today. This is the section where commercial interests and art begin to blur and form visual communication. A single image now represents more than just an idea, more powerfully; it has the important function of representing a whole corporation and possibly all of its affiliates. In the mid twentieth century, the logo now has the power to influence how consumers view a particular company and the reputation they associate with the company. In this section of the reading clues are given to what makes a design effective and eternal, and this is where I will start off.


“Good design is good business”, but what makes a "good" design?


        The book mentions that The Colombia Broadcasting System (CBS) was at the “forefront of corporate identity design as a result of two vital assets: CBS president Frank Stanton who understood art and design and their potential in corporate affairs, and William Golden, CBS art director…[who] brought uncompromising visual standards and keen insight into the communications process” (400). Rather than relying on the complexities of an intriguing design, “the quality and intelligence of each successive design solution enabled CBS to establish an ongoing corporate identity” (400). I found that by looking at the CBS design, the quality and intelligence of the design is in its simplicity: a circumscribed form of an eye. I feel like this logo is one of the easiest to relate to simply because of the fact that all humans interact with eyes on a daily basis (looking at people, talking face-to-face with another person, using eyes to watch television or work with the computer). Eyes are one of the more prominent features on a person’s face, and we use it for a basic sense: sight. The implication of this eye in the logo design is also clever in that CBS, a broadcasting corporation, constantly has its eye on the public and uses it to witness world events and report them back to the viewer. November 16th 1951 marks the first debut of the CBS logo on air, and since today is the 59th anniversary here’s a little clip which documents the evolution of the CBS logo.

CBS "Eye" Logo

Link: History of CBS logo montage #2



       Most notably, the logo may have added some slight variations to itself in the form of text and graphic effects; however, the core design surprisingly remains unchanged making a testament to excellent design which has endured throughout over half a century. Moreover, the video demonstrates the fact that this design is “a varying and dynamic corporate design that can shift with company needs and evolving sensibilities” (402). This adaptability trait can be seen in the NBC logo history as the National Broadcasting Company has constantly switched between a snaking font graphic to the more noticeable peacock image we all know today.

NBC "Peacock" Logo

Link: NBC Logo History: 1944 to 1986

Paul Rand

       Paul Rand, perhaps the most genius of corporate identity creators, said that “to be functional over a long period of time, a trademark should be reduced to elementary shapes that are universal, visually unique, and stylistically timeless” (404). This fact holds true to the CBS trademark and its use of curvilinear shapes and it appears to be the same case for the NBC logo which has somewhat struggled to find its permanent identity over the years. Only be simplifying the silhouette of the peacock and its feathers and including nice colors to accent the feathers has the NBC logo become a modern and successful design which is visually unique.






To what extent do these corporate identities play a role in my life?

       Upon further investigation of what makes a trademark or logo of a corporation visually arresting, I found this very interesting and entertaining article on Gizmodo.com a while back and I find that it is very relevant to this chapter. Try and play a little game in which you try to identify logos and corporate identity simply based on minimalist forms and colors used to define the companies seen in this article:


Link: Brand Logos Simplified


Here are some more examples of “unevolved brands” for your enjoyment:


Link: Unevolved Brands


       With these images in mind, it seems that Paul Rand was correct in saying that elementary shapes used to make a visually unique trademark make that trademark functional over a long period of time. Looking at those images and being able to identify many of them made me feel an awkward sensation in which I have become victim to branding and consumerism; it is surprising how we may come across these brands in our everyday life and seem to think nothing of them on the surface; however, these brands, trademarks, logos, and corporate identities have made a lasting impression in our minds sub-consciously.


Source: Meggs, Phillip B. and Purvis, Alston W. Meggs’ History of Graphic Design 4th ed. Hoboken, New Jersey: John Wiley & Sons, Inc., 2006

Field Journal 7: Wartime Posters

       This week I was most interested in examining and analyzing the effectiveness of the posters which were produced during the World War II era. Our book mentions that “America’s wartime graphics ranged from brilliantly conceived posters to informational training materials and amateurish cartoons”; however, as the war approached, it seemed more fitting that these traditional wartime graphics should transform into “propaganda posters to promote production” (344). Thanks to some of the European immigrant designers who were commissioned by government-sponsored organizations such as the U.S. Office of War Information, American graphic design changed its traditional illustration roots and adopted a more modernistic style because the constructivist and Bauhaus influenced European artists sought to create effective designs for their new audience, Americans.

Source: Meggs, Phillip B. and Purvis, Alston W. Meggs’ History of Graphic Design 4th ed. Hoboken, New Jersey: John Wiley & Sons, Inc., 2006


What are some examples of this new approach? Why is it so effective?

Among the most effective posters our book mentions:

 “America’s answer! Production” by Jean Carlu

Ben Shahn’s poster for the U.S. Office of War Information

and John Atherton’s poster for the U.S. Office of War Information

       Created as a response to World War II, all of these examples covey a sense of urgency and directness in their simplicity while calling the American people to rally behind a cause and feel united. All of these posters are similar to those of the Plakatstil variety in that they have very strong yet simple images with their message or meaning encapsulated in a single phrase or word. Carlu’s poster with a gloved hand gripping a wrench and turning a bolt which also serves as the “O” in “PRODUCTION” is extremely effective in that it implores Americans to be more productive and contribute to the war effort. Shahn’s poster seeks to draw emotions of anger from its audience as it depicts an innocent man with a sack over his head and the words “This is Nazi brutality”. This poster also seeks to rally the American people to fight for this man and others like him in an effort to stop the Nazi regime from further asserting its dominance. Finally, the poster by Atherton speaks to its audience by warning the people to speak carefully during wartime, for it could endanger the lives of the people fighting for them. All of these posters clearly demonstrate a message to their American audience by being direct through strong simple images and trying to rally the Americans under a single cause, the war effort. This is typical of the modernistic approach seen on many other war time posters as well because it seems that it is the most effective way of communicating to an audience. The style’s effectiveness comes from the fact that a person can fully comprehend what the poster is trying to depict or the message it is trying to convey after a simple glance. Furthermore, in all of the examples of these war time posters, there is unity between the strong symbolic image and the simple and clear words or phrases. The fact is that these posters had to be strong yet simple so that their messages could attract any person in the public and remind them of the war and its impact and implications on his or her life; propaganda would improve morale and inform and educate people about war topics.

More examples of these war time posters include:

"Scrap" (1941-1945)


     This poster also harkens back to the Plakatstil era as a strong hand rising from a farm has its grip on scrap metal against a contrasting background with the bold red-lettered word “Scrap” at the top of the poster. Clearly this poster’s intended message is for honest working Americans to donate their scrap metal to the war effort so that it may be used for things like supplies or contributed toward production.

"Bonds or Bondage" (1941-1945)


       “Bonds or Bondage” offers Americans a choice: either contribute 10% of their earnings every pay day to Uncle Sam, or suffer the consequences and be jailed. This poster seeks to inform Americans that by doing their part and at least helping the war effort in any way they can, they can aid their fellow Americans, be happy, and avoid the risk of being out-casted from others, and this effect is achieved by the image pictured which offers the viewer a clear cut choice between doing the right thing and doing the wrong thing.

"Soldiers without Guns" (1941-1945)

       “Soldiers without Guns” appeals to the women of America and encourages them to still contribute to the war effort at home by engaging in industry, agriculture, and business. The war called for never before seen amounts of participation, and this modern approach exemplifies this sentiment while also empowering women who work on the home front while the men are away. Another good example of this is seen the infamous poster “Rosie the Riveter”.


Link: More examples of wartime posters


What are some more recent examples of war time posters? How do they compare to the ones from the World War II era?


       As I was doing this week’s field journal, I began to wonder about the current war in Iraq and Afghanistan and why posters or propaganda is not as seemingly evident. I found a site which has many posters designed by an online community, and I think they are worth taking a look at. It was interesting to see how these compare to those from of the World War II era because some of them do still rely on the modern design elements of a strong image and all encompassing word or phrase to convey their powerful meanings to their audience. Most notably, unlike those seen during the World War II era, these images have more of an anti-war sentiment. It goes to show that this method of communication still remains one of the most widely used and efficient way of getting an idea across really quickly.


Link: Modern wartime posters

Field Journal 6: De Stijl

       While reading the section on the De Stijl movement, I was fascinated by the philosophy of Van Doesburg who published De Stijl as a publication which described and sought to spread the movement‟s philosophy and theory. Advocating the abstraction of pure are by applied art, Doesburg „s philosophy was that “the spirit of art could then permeate society through architectural product, and graphic design. Under this system, art would not be subjugated to the level of the everyday object; the everyday object (and, through it, everyday life) would be elevated to the level of art” (300,301). I found this philosophy to be extremely thought provoking and profound, and I remembered last year when I went to Los Angeles to visit UCLA with a group of friends. Being that it was my first time in southern California, I found everything new and exciting and I took an absurd amount of photos of the many interesting things I saw. A Design/Media Arts major, I found myself taking pictures of things which were mainly art related such as graffiti, murals, architecture, and fashion pieces. I learned that there is no shortage of creativity in southern California, and I happened to snap a picture of this modular building:

What’s so special about it? Why did you take a picture of this building?

       I was not aware of it then, but this building clearly harkens back to the stylistic approach De Stijl movement with its geometrical horizontal and vertical arrangements of primary color (with the exception of orange) and flat planes of rectangles and squares. This building serves as a perfect example of “asymmetrical balance, with tensions between elements” achieving absolute harmony (300). I think one of the reasons I took a picture of this building has to be that it immediately captured my attention and begged for me to look at it. What I found most intriguing was its sense of stability supported by the solid rectangle and square shapes. This reinforced, solid, calming, feeling commanded my attention, and the primary colors felt aesthetically correct as my eyes danced across the face of the building.


As a result, what’s the overall impact and feel of this structure? 

       An effective example of De Stijl, this structure also relates to Doesburg‟s philosophy in that it has taken an everyday object, such as a plain dull modular building, and by applying De Stijl principles, has elevated it to the level of art. Taking an everyday object such as a living arrangement and transforming it or elevating it to the level of art is a feat. I remember seeing this structure and immediately regarding it as art before I thought of its utilitarian function as a building, and I believe that demonstrates how Doesburg‟s philosophy can have impact on anyone. The visual impact and influence it would have on a viewer was more than likely the designer‟s intention, for the plain building structure was immediately transformed into a natural vehicle for expressing an artistic style. As I mentioned before, although I was not aware of the De Stijl movement when I took the picture, the fact that I took a picture of this highly interesting building surrounded by other plain apartment complexes proves that the De Stijl style remains an effective and captivating hallmark style in modern design.

Field Journal 5: Bherens' Philosophy

      During the reading for this week I found that I was most interested in German artist, architect, and designer, Peter Behrens and his idea of New Objectivity. His many contributions to designs of the twentieth century have an impact on the way society and companies function today. The book states that “German art critics of the period were interested in the relationship of art and design forms to social, technical, and cultural conditions”. When Behrens joined the Deutsche Werkbund which promoted the blending of art and technology as it recognized the value of machines and “advocated design as a way to give form and meaning to all machine made things”, the reading got me thinking about Industrial Design and how people employed in that field constantly strive to manufacture quality goods while considering form and function. Behrens’ synthesized philosophy of neoclassicism and Sachlichkeit to achieve Gesamtkultur, or “a new universal culture existing in a totally reformed man-made environment”, is still practiced and is evident today.

Source: Meggs, Phillip B. and Purvis, Alston W. Meggs’ History of Graphic Design 4th ed. Hoboken, New Jersey: John Wiley & Sons, Inc., 2006

What are some modern day examples which demonstrate Bherens’ philosophy?
    
       After reading that statement, I was reminded of the time I went to the California Academy of Sciences in San Francisco during the summer where I saw the roof of the rainforest exhibit. Unlike just any protective roof, ‘The Living Roof’ is a living part of the exhibit and regulates the temperature of the rainforest exhibit beneath it while capturing the sunlight it needs. The roof is also shaped like a dome to accommodate the irrigation system and great variety of plants which it houses. In these ways, the roof’s form and function serve very deliberate purposes. 

Link: The Living Roof

      Like the AEG arc lamps Behrens designed which are a testament to the successful meshing graceful form and utilitarian function, many of the devices and products of today demonstrate this convenient quality. Products like those seen on television such as the Closet Hanger Cascader and Dyson Air Multiplier are just some examples.


Link: Closet Cascader
Link: Dyson Fans

What should we expect from the future with respect to Bherens’ philosophy?

       As we move into the future, it will be up to people like innovative industrial designers to come up with revolutionary ideas for products which are better for the environment yet which still serve the same function, and perhaps more effectively. 

Field Journal 4: Albert Bruce Rogers and Altered Books

Who was Albert Bruce Rogers?
     
      After reading the overviews about the  various designers the “A book-design renaissance”  section of  Chapter 10, I found that the designer whom I was most interested in was Albert Bruce Rogers and his aptitude for being one of the greatest book designers of the twentieth century. As we learned from the reading, Rogers tried his hand at a variety of skill-sets. He started off being a newspaper illustrator, to a landscape painter, to a Kansas railroad worker, and book illustrator before he finally settled down and showed a great interest in the “total design of books” (186). Because Rogers was attuned to the strong Arts and Crafts Movement influence which was a response to the Industrial Revolution, Rogers recognized the importance and value in the idea of a rekindled connection between the designer and his or her involvement in a production. Rogers was able to be so successful in “becoming very influential and setting the standard for the twentieth century book” because of his awareness of this new movement (187). The book also describes how Rogers was an “allusive designer” who recalled earlier designs and was able to adapt previous styles to more modern ones. 


Source: Meggs, Phillip B. and Purvis, Alston W. Meggs’ History of Graphic Design 4th ed. Hoboken, New Jersey: John Wiley & Sons, Inc., 2006


What is a modern example of the Arts and Crafts Movement?

       It was this portion of the text which reminded me of something I learned last semester in a Design class about how books are now being transformed into what are called “Altered Books”. Through these Altered Books, we can assume that a newer, yet smaller movement is taking place similar to that of the Arts and Crafts Movement. When looking at these many outstanding examples of Altered Books, one might say that there is evidence that “Design and a return to handicraft [is] advocated, and the ‘cheap and nasty’ mass-produced goods [are] abhorred” (167). After reading about the Arts and Crafts movement, I now view these altered book projects as projects in which artists are taking the ‘mass-produced’ objects of everyday life and transforming or reinventing them to demonstrate a new level of craftsmanship. On the other hand, one might simply choose to see these altered book projects as impressive pieces of art with no connection to any movement whatsoever. In any case, I felt like I needed to share these artistic treasures to those who have not seen or heard about them yet. Do you think this could be a start of a new movement implying the return to handicraft or just a new way to make outstanding pieces of art?

Link: A blog noting an artist and altered books

Field Journal 3: Xylography

         This week’s reading got me interested in xylography, or the relief printing from a raised surface. The book includes images taken from early Europe as printing is being introduced in the area, and just by glancing at some of the pictures I was fascinated by the amount of detail one can achieve even when using different printing techniques.

Xylography Example

What were some of the early roots of Xylography?

        I decided to investigate a little more about the technique of Woodblock printing and came across an interesting article. Originally developed in Asia, the art of crafting a woodblock requires simple tools, a good deal of planning, and skill. Although woodblock printing is an ancient technique, it was an invaluable method used by the European printers in the fifteenth century to transfer illustrations onto a page because it saved a considerable amount of time in much the same way transferring moveable typography did. In early China where the earliest examples of woodblock can be found, “the production of the traditional Chinese print, drawing, engraving and printing were separate processes performed by different people, and with some notable exceptions, the creators of traditional prints were viewed as artisans, not artists”. This is an interesting point because it seems that once this technique was brought to Europe, it served a more utilitarian purpose by merely filling the pages of books with illustrations rather than being regarded as exceptional pieces of craftsmanship. In other words, it seems they served more as prints to be replicated in a book for the sake of reader comprehension in a time where the middle class was growing more literate.

Source: http://www.artgallery.sbc.edu/exhibits/00_01/chinesewoodblock/history.html

    In this way, Lu Xun (1881-1936) of the Creative Print Movement in China said that the Chinese woodblocks which are replicated and duplicated “are European in method and have nothing to do with ancient Chinese woodblock printing”. Rather than trying to promote a revival of the ancient Chinese craft of Woodblock making, Lu Xun promoted a sort of revolution when he suggested that the Chinese woodblocks take on the European approach while still maintaining some Chinese identity. From what I gathered, perhaps Lu Xan was interested in a way to bring an ancient art into a modern context in which it would be revived as a divine craft to younger generations. It manages to cling on to roots while still being able to fit in a more modern setting, and I think this shows a progressive step and new take on an old tradition. 

Is traditional woodblock crafting still practiced?
  
    In a more modern setting with technology constantly changing and improving, it seems that the Japanese still hold on to their traditional roots and this helps define their cultural identity in a modern era. Although the Japanese are known for their technological advancements, there are still those who seek to preserve defining roots and culture in a society where technology merges all nations together. The entire process of going about making a woodblock is still painstaking and a labor of love; however, the results are still remarkable. As seen in the pictures, these craftsmen only have one new addition to their workstations, an electric lamp. 

Link: Modern Woodblock
Link: Traditional Japanese Woodblock History

Field Journal 2: Visual Communication, Then and Now

        As time goes on, it is evident that we become prone to using technology in ways which make communication more standardized and efficient. Without the simple inventions of paper or printing it is possible that we could still be using the cruder forms of communication such as painting or inscribing on stone walls.

What are ideographs?

             Prehistoric visual communications included everything from pictogramjs to ideographs. Ideographs were very important as they were "symbols [used] to represent ideas or concepts" (4). This demonstrates visual communication proficiency among prehistoric humans as they were able to communicate whole ideas through symbols, and this is also very important because it relates to the fundamentals of graphic design: being able to communicate in a visual way extremely effectively.

Source: Meggs, Phillip B. and Purvis, Alston W. Meggs’ History of Graphic Design 4th ed. Hoboken, New Jersey: John Wiley & Sons, Inc., 2006


How has the concept of ideographs evolved today?

        Thankfully civilizations have developed over the years, technological breakthroughs have occurred, and we are where we are today with tools such as the computer and internet. Information has become readily available and is published faster than ever because of these tools, and it is gratifying to know that we can communicate with others across the world effortlessly; however, it seems that the human element has been lost in the translation to this digital era. We seem pretty robotic and standardized in our communication across the internet, and this has led to the development of the internet culture. Now, instead of symbols, we are able to use emoticons and common internet acronyms such as LOL. These are the ideographs of today’s age. Although they consist of text instead of symbols, small Internet acronyms are able to communicate common sayings. Emoticons are more similar to the ideograms of the prehistoric ages because it uses the universal face symbol to communicate whole emotions. I find it interesting how people of different cultural backgrounds from all over the world can come together and talk with ease using “web-talk”. Communicating over the internet has developed its own culture and identity in that anybody can choose to be anonymous and converse in emoticons and acronyms for utilitarian reasons. Utilitarian and ritualistic purposes are why people used pictographs and ideograms in the prehistoric ages. The fact that we are communicating like this today proves that in some cases we all have a need to communicate as efficiently and effectively as possible. I view the internet as its own little world where one can be whomever he or she chooses and where people speak the same language for the most part. Much like the first four chapters of the book described the fascinating evolution of communication throughout the millennia, it will be interesting to see how our communication evolves and what course it takes over the years after the age of the internet.

                                   

Field Journal 1: Start of GID01

After reviewing every picture in Meggs’ History of Graphic Design by Philip Meggs and Alston Purvis, I felt both intrigued and surprised. Posters, book covers, digital images, typography, and advertisements are some of the things I think of when graphic design comes to mind. Up until browsing through the images found in the book, I only thought of the commercial art world when I would think about graphic design. Thinking of graphic design in its modern context as a form of commercial art leads me to believe that I am slightly ignorant or misinformed of what graphic design truly encompasses. From what I observed, an evolution has taken place throughout the years, and the context of graphic design has changed by building upon or borrowing techniques from previous eras and different cultures.  Simply by taking the time to look at each picture in the textbook, one will discover the various styles between cultures and observe similarities and differences. There is no doubt that these different styles and the borrowing of ideas and information between cultures had an immense impact on shaping what graphic design is today. I used to consider what I saw in the early chapters of the textbook as fine art and as belonging to a completely different realm than graphic design; however, I have now come to realize that these unique forms of art served as the visual communication and graphic design pieces to the people of those times. I am absolutely excited to take a journey through time and become more informed about how graphic design arrived to where it is today.