Art Noveau and The Advent of 20th Century Design - Module 5

Peter Behrens (1868-1940), German architect, artist and designer whose work for the Allgemeine Elektriztats-Gesellschaft, or AEG, is considered the first comprehensive visual identification program, believed that "after architecture, typography provided the most characteristic picture of a period."  I find this to be very true.  Just as I can usually tell from what period a house or building comes, I can usually tell around what time period a certain font was developed or used  just because that style has become so associated with that period. 

As I read the lecture, when I saw Wes Wilson's poster for The Byrds concert at the Fillmore in San Francisco, I immediately thought, 1960's, rock poster, before I even read or realized that it was, in fact, a rock poster.  I don't know what that font is called formally, but I call it "60's psychedelic font."

But, just as certain typographies/fonts are associated with a certain time period, and some have become "classics", some can just look dated when you look back on them now.

In a similar vein, I found it interesting that the logo for General Electric Company is the same one that has been used since around 1890.  This would be considered a classic, and GE would probably cause an uproar if they decided to update or change it, as just happened recently when The Gap changed their logo.  People were not amused.

But some logos need updating, as times change. And as I have World Series Fever right now, I thought I'd look back on the different logos used in each of the World Series that the Giants have played in since they moved to San Francisco. 

I couldn't find an official logo from Major League Baseball for the 1962 series, but I did find this poster:

As you can see, it's very dated, both the artwork and the font. Even in a fit of nostalgia, I wouldn't want to see this on today's posters.

The logo from the 1989 Series:

Now this is a classic.  The logos for a few years previous to this, and for a few years after are very similar.  This one was different because it was two hometown teams, The Oakland A's and the San Francisco Giants in the series, hence the bridge in the photo and the slogan "Battle of the Bay".  This was also the year that the Loma Prieta Earthquake disrupted the Series.  I really like this logo; the font and the placement on an angle of World Series just screams baseball to me.

From the 2002 Series:

I suppose this is updated, but I don't like it as much as the one from 1989.  There's nothing special about it.

From the 2010 Series:

Okay, now this one really departs from the usual. There is Giants' orange, which I choose to look at as a good omen, but it doesn't have the classic red, white and blue, which are the colors of Major League Baseball.  The font is fine, and I like the little leaves for the "Fall Classic" but it just doesn't look quite right to me.

Unlike GE or The Gap, I don't mind that these are updated and change with the times, but I definitely think that the 1989 one is the best, and if they stayed with this basic logo, I would be okay with that. 

Now, if they will just win this one! Go Giants!

Picture Credits: MLB. All photos were obtained from Google Images.

Graphic Design and the Industrial Revolution/Arts and Crafts Movement - Module 4

Doing the reading this week, the thing that struck me right away was that one, change is inevitable, and two, history repeats itself.


Ch-ch-ch-changes...As each new technological advance comes along, something is gained, but something is lost.  As printing became more mechanized and faster, the artists and designers lost their hold on the process.  As soon as one type of printing process became dominant, and new businesses were formed to perform that process, the next innovation came along, and left those businesses scrambling to keep up. 

Two examples from this century are both related to advent of personal computers.  First, the technology is changing so fast, that as soon as you buy some new technology, it's obsolete in months.  It's hard, and expensive, to keep up.  But he who does, gets a jump on everyone else.  Second, with the availability of software like PRINT SHOP and the ADOBE Design packages, everyone with a computer, at home or at work, has the ability to be their own pseudo-graphic designer.  Now, this doesn't make necessarily make them any good at it, but it does bite into some of the work that would have formerly gone to a graphic designer.  The printing industry has definitely felt the effects of this.  I have a friend who has worked in printing for many years, and he has gone from job to job, as each small company he works for has folded.  They of course still have the big jobs from big companies, but the smaller jobs are fewer and farther between.  My sister-in-law is a graphic designer and she says that even though people can do a lot for themselves on a small scale and for personal use, that companies, even small ones, need a designer who knows what they need and can provide an entire package for them. 


What goes around, comes around...Styles and fashions swing like a pendulum.  Eventually what was popular will come back in style again.  After the industrial revolution ran roughshod over art for art's sake, or beauty for beauty's sake, the Arts and Crafts Movement was formed and art and beauty became important again.  The same thing has happened in my lifetime. 

Okay, I wasn't around in the 50s, but from what I remember, all the new technology, like washing machines and dryers, and other innovations that made housework much easier were all the rage.  TV dinners, in little metal trays, kids, not the pretty plastic ones they have now (although I think they still taste the same) made it easy to just put them from the freezer, to the oven to the table. No muss, no fuss.  TV trays so everyone could eat while watching television.

These conveniences continued to grow through the following decades. But in the last decade or so, we've seen a reaction to all that pre-made, store-bought life.  The reaction has a name, and it's name is Martha Stewart. Martha, and all those like her, have thrived as we yearn to go back to those days when things were handmade, homemade and lovingly crafted by our own two hands. Just look at the proliferation of television channels dedicated to food and cooking, home improvement and the like. The pendulum has swung back.  And that's a good thing.

But what else is good is that as you don't lose the new technology or improvements along the way.  Everything old is new again.

And just as an aside, as I read and recognize names that have stayed with me...I'm dating myself here, but when I was in elementary school, every year we would get a new box of crayons and a new set of Prang watercolors. 

Aside #2 - noticing some of the posters or handbills that would have a lot of small print...back in the day I guess people would take the time to read all that...but we live in the world of the "sound bite" or the "news item"...short little bits of information that we can read quickly and move on...I don't know if many would take the time to read those now.

Advancements in Visual Communication in the Modern Era Module 3

Why do we write?
To communicate.
To transmit information, ideas, a point of view. 


As the invention of the printing press and typography in the 15th century made it possible to print multiple copies of documents, information could be disseminated to more people. Average citizens could be educated and become more involved members of their community and of society in general.  People could hear ideas from someone other than the church.  (In today’s internet-society, anyone with a computer can put their ideas or viewpoints out there for the masses to see and read..sometimes to disastrous or hilarious effect.)

To communicate effectively, everyone in the community must agree on meaning; there must be a collective understanding of what is being communicated. As that pertains to typography, there must be some sort of standardization of letters and letterforms.  Timothy Samara, in his book DESIGN ELEMENTS: A GRAPHIC STYLE MANUAL, states that “Rules exist...as guidelines.  As such, rules always come with exceptions and can be broken at any time, but not without consequence.” (2:9)  He states later in his book, “make it legible, readable, or whatever you want to call it. It should go without saying that type that can’t be read has no purpose.” (2:19).  Today, there are hundreds of examples of creative font design that bend the rules, but don’t quite break them.  Examples of these, from my computer’s font book, include Beyond Wonderland, Ghouly Caps, and Patterns & Dots.

As an aside, although in American schools we’re all taught how to print the same way, as we get older we all become creative with our handwriting, and most people follow Samara’s caveat to bend the rules, but not quite break them.  Most people’s handwriting is different from another’s, but as they don’t break the rules, most can be read by everyone. (Unless it’s in cursive; then my 21-year-old daughter and her friends can’t read it as they only had one year of instruction in the third grade.)   In a real world example, in my work as a nurse, I work with many doctors and their indecipherable handwriting.  They’re rebel rule breakers!  The purpose of doctors writing their orders or a prescription is so that they can communicate to a nurse or pharmacist what they want done for the patient.  Their horrible writing has a very real chance of being misread and this can have catastrophic results.  There have been many cases of patients getting the wrong drug, or the wrong dose of a medication.
I find this the height of arrogance, as if they are too busy and too lofty to take the time to write clearly.  That’s one reason why many hospitals are trying to convert to paperless, or computer, charting.

Legibility is only one issue relating to typography and its purpose of communication. Another issue is design.  Samara, in his book TYPOGRAPHY WORKBOOK, states “typography as a communicative form holds the potential for deeply meaningful and emotional expression.” (3:6)  The choice of both type and layout can affect how well something is communicated to the reader.  It must be pleasing to the eye. If something is too closely spaced or laid out in an unappealing manner, you run the risk of people not bothering to look at it or read it, and you’ve lost the opportunity to communicate your message.  One example of that are the timelines in our textbook, MEGGS’ HISTORY OF GRAPHIC DESIGN, I find they are laid out in such a way that they are difficult to read, so I don’t read them. (1: 2-3, 62-63,132-133, 246-247, and 354-355)

Certain type or design can convey a mood or an emotion.  Things can be perceived as cold, stark, inviting, interesting, eye-catching, or romantic. Personally, I can have a visceral reaction to certain type or layout.  If I don’t like it, again, I won’t take the time to read it.  Or, in the case of a product, I won’t buy it.  If the type or design is pleasing, I’ll take the time to read, observe or purchase.  Such is the power of typography and graphic design!

Sources cited:
1. Meggs, Philip B. and Alston W. Purvis. “Meggs’ History of Graphic Design, Fourth Edition.” Hoboken, NJ: John Wiley & Sons, Inc., 2006:   pp. 2-3, 62-63,132-133, 246-247, and 354-355.
2. Samara, Timothy. “Design Elements: A Graphic Style Manual.” Beverly, MA: Rockport Publishers, 2007: pp. 9, 19. 
3. Samara, Timothy. “Typography Workbook.” Beverly, MA: Rockport Publishers, 2004: p. 6.