IM LOOKING SOMETHING VINTAGE (menumpang kasih sementara takde assigment)

Vintage basically means old (but not yet antique), classic. The basic idea from vintage communication poster inspired me to design some artwork. Here is a wonderful collection of social networking vintage posters:

Vintage Internet Posters - Everything Ages Fast 

(Even Social Networking Sites!)

Sao Paulo based ad agency Moma has created these brilliant posters for Brazil's Maximidia seminar series. With the message "everything ages fast" the latest social networking internet sensations have been depicted as the "next big thing" of the past showing how quickly fad technology can become outdated... I love the retro and vintage style of these posters and they would definitely make a lot of money if they were to sell these posters. 

Skype: The fabulous voice system able to put your family together. Skype lets the finest quality for you and your relatives to communicate via internet. The healthiest, most economical and secure way to keep vigorous family bonds miles away. It's more than a telephone. It's a real audio-visual miracle that will put you in contact with a brand new world.

Facebook: Striking, miraculous social team-up! Share abundantly your photographs, stories and experiences with your friends and families. For leisure or labour, Facebook is the enchantment "next-look" in social team-ups. Eloquent, economical and modern examples of communication adequate for our times.

Twitter: The sublime, mighty community with just 140 letters. A virtual locality with a wide assortment of people. That's Twitter! A notorious new mechanism that lets you maintain virtual contact with family and friends no matter where they are. By following, or being followed, you will enjoy previously unimagined experiences like sharing incredible amounts of information including video, photographs etc. Twitter is a truly magnificent tool!

Your films will last forever on Youtube. The champion address on the internet. Send and watch splendid and captivating films, 24/7. Sports, news, commercials and much more. The most charming and magnificent way to entertain the whole family.

Again new assigment...taraaaaa SECESSIONIST vs LOOS

I have to relate this two of movement SECESSIONIST and LOOS with my background in graphic design yet i have to understand those are the thing first. Congrats to myself coz start writing earlier than last assigment maybe terhantuk or a little bit frustrated tak dpt gi BANGKOK kot.


Vienna Secession - In 1897 a group of Artists, such as Otto Wagner and his gifted students, Josef Hoffmann and Josef Olbrich, with Gustav Klimt, Koloman Moser and others aspired to the renaissance of the arts and crafts and to bring more abstract and purer forms to the designs of buildings and furniture, glass and metalwork, following the concept of total work of art and to do so they tried to bring together Symbolists, Naturalists, Modernists, and Stylists. 

They gave birth to another form of modernism in the visual arts and they named their own new movement: Secession (Wiener Secession). As the name indicates, this movement represented a protest, of the younger generation against the traditional art of their forebears, a "separation" from the past towards the future. The first chairman was Gustav Klimt. 

To pursue their goal they created their own exhibition space: the Secession building just off Vienna's Ringstrasse and the architect would be Josef Maria Olbrich. 

But the Vienna Secession promoted their design aesthetic with exhibition posters and its own journal, Ver Sacrum (Sacred Spring). The journal housed reproductions, poetry illustrations, graphic art, decorative borders, object design, and cutting-edge conceptions for layout. 

it is start with graphic design which is the magazine VERSACRUM...the illustration...the graphic art. Tomorrow I will bring a kind of example of graphic design in this era related with secession movement......

Here are some genuine monograms from the Vienna Secessionists, as featured in Meggs’ History of Graphic Design.

Modernism in graphic design in the early 1900s can be characterized by the popularity of Bauhaus aesthetics and way of thinking: “form follows function”; later on embodied in typography of Jan Tschichold, followed by the Swiss graphic design movement of the ’50s. All of these stages of modernism acted in opposition to the preceding dominance of Victorian sensibilities towards ornamentation and tradition. Every stage of modernism came to its existence as something inevitable and not forced. 

Modernism came to be seen as a set of rules and grids making it easy to distinguish “right” from “wrong” design. Early modernist designers discovered an alternative way to interpret beauty by promoting order and simplicity.

There is no one typeface that defines the Secession, as there is no one style in painting, but the theme in the typefaces is the shared handwritten geometric qualities that begin to transform into more organic forms. 

LOOS MOVEMENT

Adolf Loos’ notorious essay “Ornament and Crime” was published at the outset of the modernist movement, enforcing the Bauhaus thinking and in turn leaving behind the Arts and Crafts movement. 

 

“Shall every age have a style of its own and our age alone be denied one? By style they meant decoration. But I said, don’t weep! See, what makes our culture grand is its inability to produce a new form of decoration." -ADOLF ROOF

His obvious frustration with a disorganized sense of style at that time and culture’s dependence upon early traditions presents itself, as he asserted, “those who measure everything by the past impede the cultural development of nations and of humanity itself.” Such strongly worded view against tradition has eventually proven to be the motto of modernist designers, who believed lack of ornamentation was a sign of intelligence.

Graphic design of the ’80s and ’90s can be highlighted by its experimentations with re-appropriation and deconstruction. In that time, designers were determined to not necessarily break from early modernist rules, but instead wished to create a new set of rules which accommodated recent technological and culture advances. 


“Not just rule breaking, or a discarding of rules, but an exploration, expansion, and redefinition of the boundaries of design as a dynamic self-organizing system of possibilities, instead of a top-down hierarchy of rules.” - Jeff Keedy

Jeffrey Keedy, poster, 1984.

Jeffrey Keedy, spread from Emigre magazine, 1991.

There have been many debates over whether postmodernism was a movement of its own or just a branch of modernism. No matter how it can be categorized, it acted as a shock to a lot of designers at the time and as a result as Keedy put it, “They [postmodern ideas] were called ‘ugly’ and ‘chaos’ and ‘design for designers’ (whatever that means). Today’s renovated Modernism is unlike its original oppositional stance, its existence is only sparked by the fail of appropriation of postmodern ideas, which evidently frightened numerous graphic designers.

Kenneth FitzGerald comments that, “Design continues to be a busy but overly placid, pleasant surface. There are a few signs of what, if anything, lies below that surface. Our pond remains small and shallow.” in his essay "buzz killed".

Rodchenko poster

PIC: The style was characterised by a bold simplicity, limited use of colour, usually black, white, red- and an emphasis on simple, bold graphic shapes, all of which signaled- according to Rodchenko- the end of painting . In order to discuss the origins of the style and the styles aesthetics, it is important to contextualise the movement with the social and political climate of Russia of the time.

Journal magazine - Modernist designs in Germany and Holland

JOURNAL MAGAZINE - The background of this book is an off white but here Rodchenko uses the colour red also which leads to high contrasting visual. The font used is a san-serif heavy type visually produces a powerful mass of red.


It seems that ever since the emergence of modernism in graphic design, designers are accustomed to limiting themselves, once with the grid and now with style; style in a purely external sense. Many designers of today’s generation fail to see many sides to graphic design and instead perceive it as a one-dimensional entity. Design is often either treated as a tool for communication (crudely put) or a shallow display of style that is reproduced and recycled on numerous occasions between designers. Today’s graphic design culture consists of a mix of styles, each desperately trying to stand out, with nothing of substance to offer in return. Beyond the aesthetic exterior core of visual style nothing seems to exist.

PIC: The modernism art of typography

 

PIC: Pic above shown a few era vogue beauty cover magazine (november 1927)which is first picture show the ilustrasion inspired from flapper fashion in art deco style. Second picture and by using women as an element for beauty with extra flower decoration but for new cover vogue beauty show the simplicity idea to show natural beauty of Miranda Kerr

"JoY of WORK" relate to modern thinking

Art Nouveau

The Art Nouveau style draws largely from themes found in nature such as plants, flowers, trees, and insects. Art Nouveau also tends to be more asymmetrical with long flowing sinuous lines. While there is some overlap between the two styles in use of flowers and insects, there are differences in the specifics selected. Art Nouveau would use irises and Art Nouveau might rely on insects such as dragonflies and spiders - perhaps due to the lingering fascination with classification of animals in the 1850's.

Although Art Nouveau fell out of favor with the arrival of 20th century modernist styles, it is seen today as an important bridge between the historicism of Neoclassicism and modernism.

In the visual arts, Symbolism has both a general and a specific meaning. It refers, in one sense, to the use of certain pictorial conventions (pose, gesture, or a repertoire of attributes) to express a latent allegorical meaning in a work of art it shown in iconography.

In another sense, the term Symbolism refers to a movement that began in France in the 1880s, as a reaction both to romanticism and to the realistic approach implicit in Impressionism. Posters were popularized by the mid-19th-century invention of lithography, which allowed colored posters to be produced cheaply and easily. Henri de Toulouse-Lautrec was noted for his poster art, which often advertised Parisian cabaret performers. Poster art flourished with the rise of the Art Nouveau style, as seen in the work of Alphonse Mucha.

Conclusion I find the Art nouveau movement intriguing because it was the movement that gave prominence to the graphic artist whose role was to popularize a commercial product by producing images to reach as wide an audience as possible. This is also the reason why I chose to concentrate more on Art nouveau graphic art painting and poster design because Art nouveau spans a wide spectrum of the decorative arts.

Alphonse Mucha:
design and poster

I think that Art nouveau is probably the art style most synonymous with modernization and elegance, sophistication, class, which will ensure its timeless and classic status. The influence of the energy, excitement, dynamism and modern simplicity of Art nouveau design can still be felt today, and the movement as a whole, is as relevant now as it was then.

I THINK THEREFORE I AM (Cogito ergo sum)

I THINK THEREFORE I AM - Rene Descartes 

“I think, therefore I am” is a philosophical Latin statement used by famous French philosophers, René Descartes. He realized that he could doubt everything he believed. The only thing left was this statement "cogito rego sum". Why this phrase was so famous? What made Descarte famous? 

Many have criticized Descartes. Some pointed out that if you are thinking, there has to be something (reality) that you must be thinking about; so thinking could not be the only thing you know for certain. Others deny that knowledge needs any foundation at all. The issue is very widely discussed and debated in epistemology, the theory of knowledge.

I interpret it as that nothing outside of your own mind exists, or can really be proven to exist. Personally, I cannot see how I can doubt the cogito. I do understand that thinking is not necessarily everything that constitutes my existence though.

I think of it nearly grammatical terms. I think therefore I am. That I think (and do other things like feel emotion and daydream) is beyond question therefore there must be an "I" to do these things. If it could be shown with completely certainty that any noun-verb statement was true, then we could know that the noun existed. A boy farted therefore there is a boy.