The Future of Graphic Arts Essay Example for Free

The Future of Graphic Arts EssayPublic run fors projects were promoted by Lester Be all told during the 1930s. The depiction of this project is describes as this poster for the Rural Electrification Administration juxtaposes a photograph of two preadolescent people against an abstracted Ameri loafer flag to express optimism for a technologically enhanced hereafter (WebCT, 2002). This is similarly a political populaceifestation in the itinerary of life that t here is a presentation of an wager designed to give hope in a time where at that place argon different amicable problems.However, this was non a new move, as in 1917 there was the use of written fine art in the lick of posters as a reaction against the social condition, and offering the revolution (WebCT, 2002). In the country there was support given to the Russian Telegraph Agency (ROSTA) (WebCT, 2002). If we assist at the direction these posters were made we underside compute why thy were so restrai n, with poster bell ringered by lapse, or attentively only with the use of rough stencils (WebCT, 2002). This limited the amount of posters but inactive the pasture of artists such as Gustav Klutsis and Mikhail Razulevich move upment and employ more than mechanistic methods of reproductions (WebCT, 2002).Nearby in Ger approximately politics was similarly the subject of John Heartfield where he was against the rise of the Nazi place though this use of graphic arts, however, this time the images were more direct with the use if graphic art as a political advertising using photomontages as easy as slogans on a superstarness poster (WebCT, 2002). This was a demonstration of how graphic art could be used to let on emotional aspect regarding public issues and to change the opinions of those watching (WebCT, 2002).This has been used again and against throughout history, with the different communicate against the status quo cosmos depict in images relevant to the conte mporary society (McQuiston and Greer, 1997). Here we pretend detectn the beginnings of the phylogenesis, how society and politics have turnd the way that the art has been developed. If we want to catch to what the future whitethorn hold we contain to unsay a leap and distribute how the more recent past has developed with the use of graphic art. Here we crowd out whence see the way that the foundations were built upon.To under resign this there ar many approaches that arouse be developed. The way in which graphic art has development may be seen in many mediums in many countries. , However , in keeping with the theme of looking to the future we give look at an artist of the past that was both prolific, and seen as looking ahead of his time to what the future would hold. To this end we allow foring consider the role of one of the most influential graphic artists of the twentieth century capital of Minnesota Rand. III. capital of Minnesota RandIn considering a specific wo rk of a tumesce kn stimulate decorator we back end realise how the work influence the customer as well as influenced the wider environment of that of graphic design and the way that the influences that are felt in the short term and the long term. In looking at capital of Minnesota Rands work we female genitalia conclude that he influenced not only his knobs, but as well as appreciate the wider influence he has had ion the graphic design industry in general as well as appreciating the uniqueness of his avouch style, as was demonstrated by the design of many countersign including that of IBM.There are many graphic designers that have had a long lasting impact on the way we see the human beings and interpret its meaning. Some designers have been subtle in the influence and the range of designs that have made a divergence have been anything from showcasefaces to landmarks, but one of the best known, if not by name then by his work must(prenominal) be that of Paul Rand, i n like manner known as Papa logo (Lange 1998). Paul Rand has a wide range of styles and worked in the field of advertising, and lav be seen to have made a great impact, his specially was branding, and the specific work we will be considering here will be the well known IBM logo (Hurlbert, 1979).The idea of a logo that was innovative and had meaning as well as a message may have been new and groundbreaking in the days of Rand, but it is partially due to his wide ranging influence that we ignore see the wide practice of branding has distributen the electric current route. It is alike a shame that in this modern world where the forte of Rands talents lay there has been a parking area practice of branding which has be obtain homogenised and bland (Hurlbert, 1979). This is not a criticism that can be seen to have been levelled at Rand, who not only designed this innovative and clam up used logo.Rand was likewise responsible for logos such as the carriers UPS, Cummins Engines, Yale University and Next Computers (Lange 1998). This logo is unique and the style is appreciate widely, even so if the actual company name cannot be read the distinction is very clear. It was Rands intention to design logos and other works which were not only recogniscapable and identifiable very easily, but overly one that can be seen as having a real meaning, which is demonstrated very clearly by the logo designed for IBM.The brief of any designer in looking to brand an organisation will a lot be sooner vague, there will be a requirement for the Logo to be worthy to the corporate culture, but this in itself is an intangible, and as such it very difficult to describe, it will in any case need to indicate the sphere of operation or characteristics that the client wants the logo to bring to mind when it is viewed by the clients own customers. The IBM logo has be go far well known for its blocked design that appear to indicate a exculpated cut image with is both technological and mere(a), with colours that are seen as safe but also bold an innovative without threat.If we look for the way in which the design was inspired then we may be looking for a very difficult element, in other designs this may be more discernible, such as his advert for El Producto poster in 1953 we can see that there was a message of merry Christmas (Rand, 1953). The actual content of the design can be seen as imitating Christmas as the cigars which are depicted in them are cigar shaped but lot a great deal more enkindle due to the fact they appear in Christmas designs such as we might expect to see on Christmas wrapping paper or decorations for the seen.The inlet here is more easily observed, but this inspiration for IBM must has existed, yet describing his talent and style has been described by some as trying to catch buoy up in a bottle, but we can see inspiration in the way that the logo was used once it had been designed (Hurlbert, 1979). His style was simplistic, and he in additionk the inspiration form may sources, but the need for something that was not elaborate but served as functional is very clear in this design. In the way that posters were ulterior designed to advertise IBM we start to see the inspiration of his humour and the way in which he would runaway ion develops.This can be seen as do a great deal of sense as if we look at the way in which other Logos were also designed there was al ways an innovative way of the company initials being used to convey and communicate the idea of the company and to build up associations regarding the company. Therefore it is fair to assume that the play on words and the way in which the letters were all used were not only effective but also consciously used in such a way. With IBM the design is one that appears to be of technical specifications, but the humour was to come out later.In an advertisement where the logo was to be used there was a change which emphasised the way on which the logo could b e immediately recognised, but would nonoperational gain perplexity rather than be fleecy off due to its familiarity, in this Rand left the M, from IBM and replaced the I with and eye, and the B with a bee (Lange 1998). A play on words, but also on the perception of the product and brand as well as inspiration derived from the everyday world around us, but filled will psychological meaning, putting into place the cite from the beginning of this paper.However, the management of IBM prevented it ever seeing the light of day and being subjected to the customers critique as they did not believe if conveyed the IBM message It was not IBM (Lange 1998). The role he had on the industry as a matter of successes like this was not kept to himself but communicated in the same medium as that of his work, through the printed word in many many manuals on how to design logos and polish their appearance (Lange 1998). In his own words the trademark should embody in the simplest form the essential characteristics of the product or institution being advertised (Rand, 2000).However, if also saw it as the designers job to be able to bring the formality level on occasion, and the way in which he is described as an idealist and a realist using the spoken language of the poet and the businessman. He thinks in terms of need and function. He is able to analyse his problems, but his fantasy is unfathomable appears to embody the form and function where they both appear to be of importance, but the realism and the poetry are also very apparent (Hurlbert, 1979).If we try and see if there are any autobiographic aspects to this work this is a more difficult perspective scarce du to the simplicity of the work, however the work in print can be seen as an aspect of his very early work when he was hired by Esquire magazine (Hurlbert, 1979). The humour that is apparent in the rejected IBM advertisement is also autobiographical as the way in which he sees the world was seen by many who met him as one which encompasses a large full stop of humour as well as parking lot sense (Hurlbert, 1979).In his early days there was a need for succinct design produced at a rapid rate for use in mails shoot advertising and magazine copy, but the need for the inclusion of artistic style was also recognised as many of his works were seen on a regular basis as the Art Directors company (Hurlbert, 1979). If we compare this grounding with the IBM logo, there is both the simplistic that comes with the need for speed, but also the style and saving grace which can be seen as an aspect of art and design.The impression we get of the IBM logo is that it has always well(p) been there, associated wit the company on such as basic level that we are apt to parry its origin for a man who started he career in the 1930s (Hurlbert, 1979). The symbolic content can also be recognised by the colours as well as the breezes. / They appear to be very geometrically spaced, with a great deal of precision not only in the outmatch between each line, but also in the way that the letter line up.The white ion the dour background serves to emphasis this contrast and therefore gives an impression of precision that we now associate with the company. If we consider the way that he may have been influenced by others at the same time there is a petty(a) difficulty as he was seen as a leader rather than a follower, but the simplistic design can also be seen as functional for the reproduction as well as recognition. If we consider the work in relation to Rands other work then it is neither relatively momentous or insignificant, it is a typical example of the way in which function and form were combined.From the advertising campaigns for bloom boards and magazine cover designs as well as the logos there are some common characteristics, such as the idea of the simple being better than the complex, the ability of the design being something that the client as well as the customers can relate t o. When we look at the other Logos this common thread is very well illustrated. However, we can argue that this one logo may also be significant as it is probably one of the best known examples of his work, recognised throughout the globe and unsounded used today.The UPS insignia must also come a close second, but this also consists of the same characteristics, the simple designee, although a little more complex, is immediately identifiable, but in this case the symbolism is also more openly apparent. Other logos such as the Yale University one can be seen to have just now the same style of simplistic function, where form is an art, and as such we can argue that the piece of work studied in this paper could have been substituted for any of his other works and the conclusions would be the same.Although he dies in 1996 the influence he has left on the art of graphic design has not reduced, his work is still studied and admired, and perhaps the best and most significant legacy is the continued use of the works from the man also known as papa logo. In many ways his work can still be seen as relevant, yet it was still as a result of the technology changes that he was able to form these images, and the effective nature of many may be seen as a result of the change magnitude art of typography. Therefore, to understand the development of this we also need to consider the development of typography.IV. Typography Typography is seen in everyday life, from the newspapers we read, the television programmes we watch to the numbers on buses and the advertisements on the bill boards. To what typography consists of we need to look at the characteristics that are present in the lettering. There are many typefaces and different ways for those typefaces to be presented. It is in this development of typography we can argue that the computer has been great influence, allowing for more type faces to be developed and for the uses of these typefaces to be manipulated more easily.Th is has been a boon to the graphic artist, and in understanding the ability to develop an image as simple as a letter using the computer then we can appreciate the way that larger images many also be manipulated. These are used in a great deal all manifestations of graphical arts. The use of a type face creates an image, and even in an item as simple as a menu it has been proven to have a discernable effect on customer perceptions and resulting purchases that are made (Heimann, 1998).When we consider the purpose of typography it has to be seen as more than simply a communication of words, however if we break it down into its smallest component of typography can be seen in the following way The basic unit of all type design is the individual letter. Letters come together to form words, and words come together to form stories (Anonymous, 2000). This is the role of the graphic artist, to present an image that communicates, this may be story, a feeling a perception or just an image tha t will be recalled for a later association.It is in this last section off the quote that we can see that way the typography is used can convey a great deal about a story. For example if we see a film being advertised with typography that is jagged and looks like it is dribble with blood then we can automatically assume that it will be a horror movies of some sort. This is the message that is conveyed in the layout and design of the typography. The typography will be different on a crush than on a science fiction film, due to the different perceptions they create.The advances in the use of the computer here can be seen in the aiding of the design by trying out and manipulating designs without the need to keep making mock up posters and by trying out changes speedily at the click of a button. This can be seen as very useful in a number of ways, it reduces the materials used so that there are greater ranges of possibilitys at a lower cost. The time element is also much shorter, and a s such the costs can be seen as proportionately lower.The need for an expert can also be seen as reduced, with the computer there is no longer the need for specific training as the range of programmes that can be used allow almost anyone with a typing skills can retire on the task of a typographer. Therefore, the range of uses of these type faces and the extent of the styles can be seen as no long only the realms of the professional. Small businesses are able to produce their own business stationary and develop their own advertisements and literature, even a local parish or community magazine that used to be hand types can look like a professionally produced publication.However, when these are used there are still some very basic rules that are followed the advantage with the computer and the ability to see the layout in the beginning a publication is printed on a large scale can be to see that in the briny even those without training or specific knowledge will follow them naturall y. The ability to keep the readers attention is a combination of factors. The low will be the content of the schoolbook, and if we are looking at this from a purely typographical or graphical art perspective then this is not in the encounter of the typesetter (Anonymous, 2000).The design of the text and the size of the text are important as illegible text or test that is uncomfortable to read will loose the interest of the reader just as easily as boring content (Anonymous, 2000). The next items that need to be considered are not so obvious unless you look at a piece of typesetting where they are wrong, and then it becomes obvious. There are the line lengths and the spacing between the words and letters. It is these spacing between letters that can make a publications look professional.Until the computer was in many homes and small businesses the typing would be on a conventional type writer where the space between each letter is the same with no sense of proportion as seen in th e courier and the courier new type faces (Anonymous, 2000). This fixed spacing has become associated with the home produced leaflets that were duplicated with duplicating motorcar or by the use of photocopiers has become less apparent as proportional fonts have been used, examples may be seen as the popular times new roman that is a well used font.The difference here is that the proportional basis of a font means that smaller letters, such as a i or an l will take up less rook than a w or an m, similar to the way handwriting takes place and the pattern is easier in the eye as apparent gaps between letters in the same word will all be the same (Will-Harris, 2000). In addition there will also be the element of the actual line spacing. If the lines are too close together the typeface, whatever it is will be difficult to read and there will be a crowding effect (Will-Harris, 2000).Again the use of the computer enable this to be seen and adjusted before any documents are even printed so out rarely becomes an issue (Will-Harris, 2000). There will also be issues such as the actual form of the entire setting as well as the quality of the reproduction, which may or may not be issues the typesetter will be snarly in. However he how of the typesetting comes together to form a message and communicate an issue or an idea so in this way we can see that the typesetting can be as important as the content, get it wrong and people will not read it whatever it says (Will-Harris, 2000).However, if we are going to consider how the computer has influence the development of typography we can also look to the actual type fonts that are used. There are even programmes able now that can scan a persons handwriting and then code it into the computer as a type face or font so that it will be reproduced when typing. In a broader sense, there have been other wide scale developments directly due to the computer. The use of computers and the advent if they Internet have seen the development of a collection of new typefaces or fonts to cut with the individual situations and specific needs of this medium.Two fonts have been developed by Microsoft with this in mind. Mathew Carter was responsible for the development of Verdana which is a sans serif named after the verdant Seattle region (Will-Harris, 2000). The second is atomic number 31, a bright serif label due to a tabloid headline concerning alien heads allegedly found in the area of Georgia (Will-Harris, 2000). Verdana is easier to read on a shield as the x apex is higher than normal natural endowment the type face a larger appearance without the need for more space (Will-Harris, 2000).There is also special attention taken with the letters that are sometimes easily confused on screen such as i, l and j and I where the formations of the letters is slightly different, with slightly different height to distinguish them more easily (Will-Harris, 2000). Georgian is similar as it still has a higher x point, but not ha s high as Verdana, but is still retains an almost times new put feel about it so it can be used in traditional circumstances, and again can be seen as easier to read simply because it has been designed specifically for the screen, yet they also reproduce well in print (Will-Harris, 2000).Therefore we can see how the computer has impacted on the development of typography, in the way it is used, developed and put together to the actual design of the fonts. It has come a long way in a short period of time, and is likely to go further, especially in the hands of the graphic artists, both in the design as well as in the use. There are also computer aided design packages that will develop new fonts, even for an amateur, such as handwriting fonts of an individual that are scanned in. Here we can see that there is a development with a foil over of the many different art forms and the way in which inspiration impacts on the art.To look to the future we have seen how there has been inspirat ion in the past, and how this has impacted on graphic art, The next stage must be to consider the way in which inspiration may be gained in the future. V. Inspiration The first factor we need to consider here is that the cross over of the different art forms is increasing, a graphic artist may use a camera or paints, a typographer may also be a graphic artist. Expression in the arts has always looked for new and innovative ways to be presented.This have often used newer and more radical as the forum for ideas and inspiration in the search for the ways in which to be inspired and find the spark required for creativity to take place. Just as in any other art form graphic design can be inspired or developed from what is seen around us and the every day mediums which we all come across. For example, we can consider the art of contemporary picture taking. The argument for the adoption and acceptance of contemporary photography techniques in graphic design can be that in contemporary pho tographs we may find more contrasts and forms which are suitable for graphic design.The way in which the pictures are framed and made up with different circumscribe and contrasts in colours may also be more suitable to be adapted and changed rather than a traditional countryside view. They may be developed more appropriately. The best way to demonstrate this is to take two contemporary photographs and examine what may be gained from them by a graphic designer. The way in which they add to an idea or be developed to a specific outcome by providing a concept or a form from which the designer can work. Alternatively the way in which the photography may demonstrate to the graphic designer ways of working.The first photograph we will consider is flaxen Trails, was taken in 1999 by Tony Chumak and can be seen at http//tonychumakstudios. com/GallerySeries8/Tcs_Image_144-24X-A-L. asp. This is only on the boarders of contemporary photography. It is a landscape with a difference, in the cen tre of the landscape is a pattern in the sand which would ordinarily be avoided by the photographer. This photograph demonstrates the way in which contemporary photography can capture metric grain and image, which is only available through this one medium.It is often said that art should convey a social message (Rich, 1998). This is true whether it is fine are or graphic design and whether the purpose of the work ids art or even advertising (Rich, 1998). The use of a photograph such as this can be used to convey many different types of message depending on the context n which the graphic designer is working By looking at this picture aspects suitable for graphic use can be seen. The contrast of the shades of sand caused by the lighting cast shadows which can almost appear live(a) and stark.Natural forms and shapes can lead to very pleasing and easy to use or interpret ideas for a designer. A shape formed by the wind of the sea flows and the graphic designer can take this line and simplicity and translate it to all manner of variable uses. Curves flow through the medium which is clean-handed of life forming shapes which approximately can be seen as more than waves, but of forms in the sand which can be placed together with a little imagination and thought. The adaptation of what is normally straight or fixed into a flowing contemporary shape has long been used in design.