Evaluation

1. What skills have you developed through this module and how effectively do you think you have applied them?

 I think my theoretical knowledge has broadened from the lectures and seminars. Also my analytical writing has improved and I feel confident that I can now produce a high quality essay. I think the context of practice publication project was good and I think I my understanding of the brief was good. I have done lots of research and I think I am getting better at finding and understanding information fast and interpreting it graphically.

I now understand the significance graphic design plays within society and also the idea of high culture and low culture. 

 2. What approaches to methods of design production have you developed and how have they informed your design development process? 

Again I experimented with embossing with my publication which didn't go as well as I wanted to. I applied too much pressure to the press and the laser cut logo I did crushed. I applied so much pressure because I used the manual presses on Blenheim walk. Although the embossing wasn't as crisp as I would of liked it created a kind of effect which some people said they thought looked good.

 3. What strengths can you identify in your work and how have/will you capitalise on these? 

I feel that my idea was quite strong. I want to try and continue to produce work which is a lot more conceptual and idea based. With my publication I tried to slip in relevant design where ever I could. I know the bible idea was pretty obvious and maybe the cross logo on the front but its still a step in the right direction.  

4. What weaknesses can you identify in your work and how will you address these in the future ?

My time management is still crap. I get dates mixed around my head and my perception of future dates is bad. I find deadlines seem to creep up on me even though they are written in my diary. I will try to make my timetable more visual. I also want to present my work in crits so that it actually shows what I've done off.

5. Identify five things that you will do differently next time and what do you expect to gain from doing these? 

- More design sheets. A larger variety of ideas. This will give me more room to explore and experiment. Hopefully this will give me a more creative final concept. 

- Presentation of my work. I want to present my work on my blog in a more professional way. I might try some grid systems and different layouts for my images. 

- More self organised crits. I need to evaluate my work on a continuous basis and make sure the progress I am making is sufficient. This will make the quality of my work better.

Essay Final

Focusing on specific examples, describe the way that Modernist art & design was a response to the forces of modernity?
Paris 1750 – 1950.

The idea of something being 'modern' is linked to our understanding to the ideas of progress. Progress is central to the modernity. 'Understanding modernism as a selective tradition enables a shift in focus towards examination of the of the ideologies at work – and their relation to sexism, racism, nationalism – which have defined modernist canons, defined what counts as significant art practice, and formed both the implicit and explicit biases for much art criticism and history. Modernism can then productively begin to study in William's terms as a 'signifying system', or set of ideologies , within culture which are constitutive of that culture' Modernity generally speaking took place between 1750 – 1950. The process of modernism is directly influenced by industrialisation and urbanisation. 'Europe was experiencing an extraordinary industrial and financial expansion and this period of prosperity gave him (Napoleon III) the chance to become a builder on an imperial scale.' (Magdalena Dabrowski, French Landscape, The Modern Vision, 1880-1920)

The creation of 'the city' was the birth place of modernity and the 'modern' experience. As more people in France left villages and farms to live in cities such as Paris, social attitudes changed. The rapid growth of the city brought with it new experiences.

Communication and transportation (rail and road), steamship and telegraph greatly improved and the rail network had been fully established by 1840. Train stations linked Paris to the rest of France which played a big part in the rise of the Parisian population. The rail networked was good because it allowed not only the rich to take day trips to explore the countryside and surrounding city, but the poor too. This allowed communication to flourish between people. The availability of printed image and information also helped progression. Printed image and information was seen as the key to understanding and knowledge resulting in a positive change for the people.

Paris was the centre of fashion and people interested in fashion and dress would come from around the world just to purchase Parisian dress and clothing. Parisian fashion influenced all fashion for example American dress and clothing. 'With the help of his perfect Baron Georges Haussmann, Napoleon changed the face of Paris, effectively making it the “City of Lights” we know today.' (Magdalena Dabrowski, French Landscape, The Modern Vision – 1880-1920)

Rationality and reason was the idea that to improve humanity people would have to move away from the old religious ideas and the system of control and rule. The Church began playing a much more minor rule in society with the governments ruling the people instead. scientific progress and intellectual investigations became more popular and mainstream and scientific authority started to displace astrology and alchemy which lost scientific credibility. 'The Age of Enlightenment', many enlightenment writers and thinkers were in favour of free speech and thought, valuing theories such as empiricism which is the theory of knowledge over traditions or innate ideas, preferring sensory perception, historicism and evidence.

Artists and Designers who were seen as 'modern' could be seen to establish themselves with a 'utopian' attitude which consisted of creating a better more equal society. 'Since Utopia is the best Humanity can perceive, Utopia should be Humanity's guiding philosophy. This ultimate philosophy of striving for the best life possible for everyone, can be one global element of common sense and common purpose in an otherwise complex and fragmented world. Utopian philosophy can be the goal that unites the world for good and noble actions.' (Will, 2003) Jon Will explains what a Utopian idea is which explains the vision of the modernists'. 'Modern art does not necessarily mean the same as 'art of the modern period', since not all the art that has been produced within that period is deemed to be 'modern' – only certain types of art are regarded as having a claim to be modern.' (Dabrowski, M. 1999 'French Landscapes',)

Form following function was central to modernist designers. The function of a piece of design was key to its existence, the form should directly be in result of its function. Decoration was against everything modern designers believed it which led to the 'anti historicism' view, replacing old design which generally sourced its style from the past for example gothic and classical style. They replaced this with new, fresh timeless design.

Along with 'Form follows Function, truth to materials was also a philosophy modernist designers had. Just like the utopian truth, truth in design meant not creating false impressions or illusions. An example of this would be concrete in architecture should not be painted but left bare.

Technology was beginning to improve dramatically and modernist artists and designers embraced new technologies. Mass production was now a factor which designers had to be aware of and consider which also supported the need for less complicated designs - 'form following function' and truth to materials.

The mass housing projects lead by Georges-Eugène Haussmann and overlooked by Napoleon saw the demolition of the slums and traditional quarters in Paris. It brought with it a belief amongst modernists that the change of surroundings along with art and design would bring a new understanding and step forward in consciousness. 'The best portrait of modern Paris is probably the earliest, the multi-volume study of the city 'Paris, its Organs and its functions', written at the end of the Second Empire by Maxime du Camp. Like the novels of Balzac and Zola, it transformed the actual Paris into a conceptual paradox; a bounded place without boundary’s, a human realm unknowable by individual men, or, in certain poetic and fictional terms, a seductive and mysterious woman' (Brettell, 1999, p54), Paris used to be full of crime and poverty but following Haussmannization it had apparently become a mysterious woman!

'The sheer instability of the social, economic and physical reality of nineteenth-century Paris had a profound effect on artists' representations of it. (Brettell, 1999, p54), Photographers from far and wide gathered to record the old buildings before they were completely torn down. Photography starting to document urban life during modernism. You can see Charles Marville's work to see Paris before Haussmannization (fig1). “Modernity exists in the form of a desire to wipe out whatever came earlier, in the hope of reaching at least a point that could be called a true present, a point of origin that marks a new departure.” - Paul De Man.

Modernism not only started to dispel religion but had almost become a religion within its own right. Modernism was a belief in which people thought they were living in a 'new age'. “Modernity is the transient, the fleeting, the contingent; it is one half of art, the other being the eternal and the immovable.” - Charles Baudelaire.

George Seurat's Sunday Afternoon on the island of La Grande Jatte, 1884 (fig2). One of Seurat's most famous painting's. He spent over two years creating the painting. The setting is of La Grande Jatte which is in the Seine in Paris Between La Defense and the suburb of Neuilly. The painting denotes typically middle class people relaxing by the river.

If you compare this painting to Bathers at Asnieres 1883 – 4 (fig3) The painting shows workers swimming and watching a boat race which can be seen in both of Seurat's paintings, the two works are both the exact same dimensions and the compositions are very similar. You could say Seurat shows the different contrasting social divisions which existed at the time maybe to highlight the issue in Paris. This may have been a response to modernity and modernism. 'Ultimately La Grande Fatte was about: infinite division, infinite relationships, and the struggle to render them visible, even at the expense of “real life.”' (Hughes, 1991, p118) Although 'the city' carried connotations of freedom and progress and a 'utopian' ideal, there were still urban poverty and a hierarchy within society.

(fig2), Seurat used optical and colour theory; he contrasted small dots of coloured paint in a way which merged together and the viewer could see a single hue from a distance - pointillism. He thought this method would make the colour more chromatic and powerful. Seurat used zinc yellow (zinc chromate) a new technology’s of the time, highlighting the lawn in the paintings but also he mixed it with orange and blue pigments. So here we can see technology allowing painters of the time to experiment with colour and light allowing them to explore possibility’s and outcomes common place today, for example pointillism are very similar to the idea of pixels.

Henri De Toulouse-Lautrec was a French painter, print maker and illustrator. He designed a number of the Moulin Rouge cabaret posters (fig4),(fig5) which originated from Paris. He also showed the provocative, exciting and realistic images of the modern experience within Parisian life. 'From the crowded streets and cafes of Paris, a peculiarly ironic and detached view of life was emerging, based on the sense of dandyist display - “seeming” rather than “being” - disposable and rapidly changing style, fleeting social encounters, impersonal transaction. It found its painter Henri De Toulouse-Lautrec' (Hughes, 1991, p283)

Toulouse-Lautrec like to hang out in Montmartre which was at the time famous for unconventional, art based culture. Artists, philosophers and writers usually grouped around Montmartre because of the interesting location at the centre of modernity which Toulouse-Lautrec documented through his work. (fig5) 'Degas's brothels, and Toulouse-Lautrec's cafes. The fact that these images used new or anti-traditional representational strategies and that they eschew notions of balance, order, harmony and internal unity can be viewed as an expression of the essential conditions of modern urban life.' (Brettell, 1999, p61)

Living as an artist or designer in this era especially in Paris would have been extremely interesting and it would be hard not to be influenced by what was going on in Paris such as industrialisation, urbanisation, social division, new ideas, new practices and new recreation. It would be impossible to escape the environments influence which was extreme modernism from the 1850's onwards. This contributed immensely to the exploration and experimentation with art and design from 1750 – 1950. “Don't bother about being modern. Unfortunately it is the one thing that, whatever you do, you cannot avoid.” - Salvador Dali.

Today our understanding is generally shared as a people and as an international community because of technology such as the Internet for example; we live in a modern international world and our experience in comparison with late 1800's Parisians social experience is obviously very different. Todays society generally experience things together and instantly share experiences and trends in the world with the development of such communications. What is said to be 'modern' today is old tomorrow.

Bibliography

Brettell, R.R 1999 'Modern Art ', Oxford University Press.

Hughes, R. 1991 'The Shock Of The New', London, Thames and Hudson Ltd.

Will, J. (2003) 'Utopian Philosophy' [Internet], Utopia Now Organization, P.O. Box 901, Owings Mills, MD 21117, USA. Availible:
<http://users.erols.com/jonwill/> [Accessed 30th December 2010].

Paul De Man. (N/A). 'Modernism Quotes'. Available: <www.brainyquote.com/quotes/keywords/modernity.html>[Accessed 10th May 2012].

Charles Baudelaire. (N/A). 'Modernism Quotes'. Available:

<thinkexist.com/quotation/modernity_is_the_transient-the_fleeting-the/325191.html> [Accessed 11th May 2012].

Salvador Dali. (N/A). 'Moderism'. Availible:

<http://www.entwagon.com/cgi-bin/quotes/quotes.pl?cat=Modern_And_Modernism&id=2> [Accessed 11th May 2012].

Deepwell, K. 1998 'Women artists and modernism', Manchester University Press.

Dabrowski, M. 1999 'French Landscapes', The Museum of Modern Art, New York.

Frascina F, Blake N, Fer B, Garb T, Harrison C. '1993 'Modernity and Modernism French Painting in the Nineteenth Century', Yale University Press in association with The Open University.

COP Publication - Pressing and Laser cutting.

 

 I laser cut the text using the laser cutter. I used masking tape to secure the letter so that lining them up wouldn't be a problem because they were solely type as well. The first cut I did all of the letters fell everywhere and I was struggling to line them up. So I just decided to cut them again a little bigger and use the tape which worked well.

 

I pressed the wood type too hard and it imploded and spread out which did actually effect the embossing. Luckily it dint look too bad and people said they thought it was an effect when they saw it which actually looked quite good.

COP Publications - Finals

 

COP Publication - Final Crit

 

What is the publication trying to communicate?

People understood what my content was about. They got that it was about the Gutenberg press and the reason I had made it in a Bible style medium. 

 

Strength

The next set of people thought the traditional style was relevant to the topic. 

Improvements

They thought a further booklet could be created to fill the cutout space and increase the content.

How is the format of the publication relevant to the content?

Strengths:

After that they thought the timeline was "effective and the format is stylish and it's a clever idea"

Improvements:

They thought the cutout book needs more of a clarification as to its purpose. They understood after reading the publication, which was good, but they didn't think the concept was immediate - The Bible being the first printed publication. They also said there was too much information and it was a bit intimidating.

Comment on the practical, conceptual and/or symbolic consideration of colour?

Strengths:

Black colour is traditional and recognisable as a Bible. Spectrum colours help understand timeline easily.

Improvements:

Timeline clashes with the rest of black and white theme. Consider toning it down. Also they said to keep the same stock. 

Who is the target audience?

Designers, print fanatics and historians

Assuming role of audience, what is your reaction to the publication?

They said it was interesting content and had a great colour chart timeline. They also said the design theme is suitable and the Bible theme is very strong. 'visually clever!', 'no issues'

Do you think this is the intended response? Explain your answer.

"Yes it is relevant and fun. Also tactile quality adds enjoyment. At the same time the text is serious and historical."

 What context(s) would the publication be appropriate for? Explain your answer.

Type/Design museums, College library and anwhere with the design students who want to know about the Gutenberg Press

Would it be appropriate for this publication to be viewed worldwide? Explain your answer.

 "Target audience should know about this subject worldwide so yes"

I am happy with the feedback I got and agree with most of what has been said. There was a bit of contrasting feedback. I plan to keep the stock the same as I forgot to switch off the background I used as a pretend off-white stock. (Antique White)

 I will also reduce the opacity of the timeline and tone it down a little, just so its not so in your face but without totally changing the colours. 

I wanted the publication to feel quote heavy on the content as I thought the brief was to make the content influence the design. My content idea being the text mimicking the 42-line style of the printed Bible Gutenberg made. Hopefully this will work in my favor - some people got it, some didn't. 

I am going to create another separate page for my references giving me more space for my glossary. 

Overall I am very happy with my feedback and with what I presented I think it was very fair.

COP Publication - Destroying a moleskine?

 

I went down to the wood workshop and asked one of the technicians to cut this Moleskine down to a set of measurement I had marked on which were the dimensions of a standard Bible. The First outcome when he was using a more heavier duty saw were not great. As the teeth were quite big on the saw they seem to chew the paper up too much. After he used a different saw it gave the Bible a cleaner cut. 

I also wasn't to bothered if the Bible wasn't perfectly cut as I was still in too minds whether the final product would look like a traditional used Bible or a new one of the Gutenberg press. 

 

I thought this was funny. You probably wont find it that funny. 

 

Here my hollowed out book with the pages stuck together giving my publication a bed to sit in. I just cant wait to get the front embossed now. Touch wood everything goes well.

COP Publication - Publication Design

 

First page of my publication. Introduction, Johanne gutenberg and background information.

I am trying to mimic a 42- line Bible style. The two boxes containing my content like this:

 

I decided to use ManuskriptGotisch a blackletter typeface for the tile. A style of which Gutenberg used. This was the obvious choice as the previous style I was attempting to used just looked too modern. 

I used Chaparral Pro for the rest of the content as the serif typeface looked like a history book style of typeface. Something I wanted to connote to the audience.

 

I really tried hard to keep the design and layout of the publication simple and almost to me boring. Bit it fits my idea of a history revision book. I still tried to make it a easy read by condensing my content down a lot.

 

 

 

 

 

The more interesting facts I made larger obviously because they are the most interesting. Hopefully everyone will find the content interesting. I did!

 

 

 

 

COP Publication - Timeline

To be honest this was really the first idea I had which just came to me when I was messing around with the gradient tool in photoshop. I thought this could represent the passing of time and the important print dates I chose for my content. From there I also decided on this slanted stretched rectangle.

 

Custom Gradients

 

 

 

The 'What happened after Gutenberg' was Chaparral Pro. I really like this typeface especially when the tracking high. Tracking = 2120.

 

 Colour Tests. 

I reduced the opacity and removed the off white from the background as I know ill forget to take it off before printing. I also changed the Gutenberg rectangle to black because it made sense as their wasn't colour printing in 1454.

 I also tried a black and white gradient acting on what I got from some people in the crit but personally I didn't like it and felt with the colour it serves a function of showing the invention of colour print technology. Just thought I am going to add a label to explain this.