Ch 2.4 (questions)

Chapter 2.4

Visual Communication Design

PART 2MEDIA AND PROCESSES

Copyright © 2011 Thames & Hudson


Chapter 2.4 Visual Communication Design

Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

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Introduction

• The essence of visual communication design is the use of symbols to communicate information and ideas

• Traditional communication design was known as graphic design: the design of books, magazines, posters, advertising, and other printed matter by arranging drawings, photographs, and type

• Advances in printing processes, television, the computer,and the growth of the Web have expanded graphic designto include many more design possibilities

• While based on simple ideas, visual communication design enables us to express our ideas with increasing clarity, style, and sophistication—valuable qualities in a rapidly changing world




The Early History of Graphic Arts

• The ancient Mesopotamians were the first people to employ picture symbols in a consistent language system

• The ancient Egyptians created their own version of picture symbols, known as hieroglyphics, as a written form of communication

• Western alphabets have now lost any of their earliest connections with representations of things

• Calligraphy expresses layers of meaning and feelings by means of the shape of written letterforms

• During the Middle Ages, European artists combined calligraphy and illustration to craft illuminated manuscripts

2.58 Section of papyrus from Book of the Dead of Ani, c. 1250 BCE, British Museum, London, England




Section of papyrus fromBook of the Dead of Ani

• The Egyptians wrote hieroglyphics on scrolls madeof a paper-like substance created from the pith of the papyrus plant

2.59 Rubbing of stele inscription, Preface of the Lanting Gathering, Ding Wu version (Inukai version), original by Wang Xizhi, Eastern Jin Dynasty, dated 353. Album, ink on paper, 9⅝ x 8⅞”. Tokyo National Museum, Japan




Rubbing of stele inscription, Preface of the Lanting Gathering

• The Chinese calligrapher Wang Xizhi defined the art of calligraphy in China during the Jin Dynasty

• Although none of Wang’s originals still exists, other calligraphers copied his work through the ages, perpetuating his ideal of perfect form

• In ancient China, fine specimens of writing were carved on large standing stone tablets, from which visitors could take copies by making rubbings—a rudimentary printing technique

2.60 Dutch History Bible, copied by Gherard Wessels van Deventer in Utrecht, 1443, fol. 8r. National Library of the Netherlands, The Hague




Dutch History Bible

• Illuminated manuscripts were executed in monasteries on prepared animal skins, called parchment

• After being painted and lettered by hand, they were bound as books

• This kind of design was very time consuming and produced only one copy of the book




Graphic Design

• Graphic design is the art of improving visual communication design

• In text design headings, page numbers, illustrations, and the definitions of terms in the margin have all been carefully considered

• In graphic design, the communication is intended to be instantaneous, clear, and direct




Typography

• The visual form of printed letters, words, and text is called typography

• Type, a word derived from a Greek word meaning to strike, first came into existence with Johannes Gutenberg’s invention of the printing press in Germany around 1450

• Gutenberg also created a technique for producing small cast metal letter shapes, known as letterforms, that could be set next to each other in a row, inked, and then printed in relief on paper using his press

2.61 Albrecht Dürer, pages from Course in the Art of Measurement with Compass and Ruler, 1538. Victoria and Albert Museum, London, England




Albrecht Dürer,pages from Course in the Art of Measurement with Compass and Ruler

• Dürer sought to create a set of rules for the design ofletter shapes

• His was the first text to standardize how to create each letter using such geometric elements as squares, circles, and lines

• Through these careful instructions a typographercould create letterforms similar to those used by the ancient Romans




2.62 Some font styles




Logos

• A logo is often simply a carefully designed piece of type, called a logotype, that is unique and easily identified

2.63 Ford Motor Company logo, c. 1906




Ford Motor Company logo

• In 1903 an engineer and Ford executive named Harold Wills created the original logo, which read “Ford Motor Company Detroit, Mich.”, from the lettering style used on his business cards

• His original design was later simplified into a plainer writing style that was common at the time

• This particular font, known as Spencerian script, was derived from the style of handwriting that was practiced in America in the nineteenth century

2.64 Chevrolet logo, first used in 1913




Chevrolet logo

• The Chevrolet logo was first used in 1913 and has been an identifying mark for the company ever since

• Originally, the name “Chevrolet” was written across the simple stylized cross (called the “bowtie”)

• Over time, the symbol became associated in people’s minds with the name, which was then removed from the design

• It now communicates the company name without using one letter of the alphabet




Illustration

• Illustrations are images created to inform as well as to embellish the printed page

• Good illustration is critical in such fields as medicine and science, where it may communicate essential information more effectively than text or a photograph

2.65 William Morris and Edward Burne-Jones, page from Works of Geoffrey Chaucer, Kelmscott Press, 1896. British Museum, London, England




William Morris and Edward Burne-Jones,page from Works of Geoffrey Chaucer

• The nineteenth-century English artists and designers William Morris and Edward Burne-Jones believed society should reject rampant industrialization and restore hand craftsmanship

• Their illustrated book of the works of the medieval poet Geoffrey Chaucer was handcrafted so that each page contained illustrations, illuminated characters, and patterns

• The illustrations allow readers to experience and understand the works of Chaucer more richly

• They support and enhance the written words

2.66 Norman Rockwell, Rosie the Riveter, 1943. Oil on canvas, 52 x 40”. Crystal Bridges Museum of American Art, Bentonville, Arkansas




Norman Rockwell, Rosie the Riveter

• Norman Rockwell drew covers for the Saturday Evening Post magazine for forty-seven years

• One of Rockwell’s most effective and memorable images is a character he created to support the war effort on the home front during World War II

• Rosie the Riveter, a female construction worker, symbolizes the contribution American women were making, working in jobs traditionally held by men

• Rockwell’s Rosie sits defiantly and confidently as she looks down from her lunchtime perch

2.67 Kok Cheow Yeoh, Kiddo, c. 1994. Computer-generated vector drawing




Kok Cheow Yeoh, Kiddo

• Digitally created

• Yeoh’s images, such as Kiddo, can easily be distributed via many different mass-media channels

• He controls color so that his work is relatively inexpensive to print and uses less disk space on a computer




Layout Design

• Layout design is the art of organizing type, logos, and illustrations in traditional print media

• Good layout design is essential if information is to be easily understood

• One of the main considerations in layout design is spacing

• Designers are very aware of white space—the voids that lie between text areas and images—and are careful in its organization and distribution in their layouts

2.68 Henri de Toulouse-Lautrec, La Goulue at the Moulin Rouge, 1891. Lithograph in black, yellow, red, and blue on three sheets of tan wove paper, 6’2½” x 3’9⅝”. Art Institute of Chicago




Henri de Toulouse-Lautrec, La Goulue at the Moulin Rouge

• Toulouse-Lautrec created posters for his favorite Parisian nightspot, the Moulin Rouge

• Uses a free, rounded writing style that is as casual as the spectators in the nightclub scene, as they watch La Goulue (the nickname, meaning “The Glutton,” of the dancer Louise Weber) dance the can-can

• Toulouse-Lautrec’s great skill as an illustrator and typographer is apparent in the excellent hand-rendered text and images

2.69 Hill, Holliday, Connors, Cosmopulos advertising agency, Boston, Massachusetts, Tyco—A Vital Part of Your World, 2005




Hill, Holliday, Connors, Cosmopulos advertising agency, Tyco—A Vital Part of Your World

• The designer carefully controls the color and size of the fonts so that the list of Tyco products and services reveals the face of a young child

• The designer effectively communicates the suggestion that Tyco’s products and services are vital to her and others’ survival




Web Design

• The use of text and image in mass communication has evolved from the motionless design of print publications to the interactive designs used on the World Wide Web

• The Web allows designers more freedom to add interactivity so that text and image can change as the reader progresses through the information presented

2.70 Carolina Photojournalism Workshop, Seth Moser-Katz (design) and Emily Merwyn (programming). Photo Eileen Mignoni. School of Journalism and Mass Communication at the University of North Carolina at Chapel Hill, 2008. http://www.carolinaphotojournalism.org/cpjw/2008/




Carolina Photojournalism Workshop

• The artist, Seth Moser-Katz, has placed a large photographic background image, illustrating the important issue of beach erosion, into the page design

• The central location of the gray text-box combined with the open space around it draws attention to the written message

• Moser-Katz has also cleverly created a series of rectangular images as hyperlinks at the bottom ofthe design

• By employing good visual communication design Moser-Katz makes the message more direct, clear, and engaging




Conclusion• Calligraphy is the sophisticated art of expressive

handwriting and influenced the first Black Lettermachine-made typeforms

• With the advent of the printing press, the new art of typography focused on refining the attributes of movable type, leading to new Roman-inspired letterforms

• Typographers further enhanced the communicative possibilities of their medium by developing the use of bold, italics, varying sizes, and color

• Logos and logotypes identify millions of organizations quickly, powerfully, and memorably




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This concludes the PowerPoint slide set for Chapter 2.4

Gateways to Art: Understanding the Visual Arts By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

Copyright © 2011 Thames & Hudson

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2.58 British Museum, London 2.59 Tokyo National Museum 2.60 Koninklijke Bibliotheek, The Hague, Folio 8r., shelf no. 69B 10 2.61 V&A Images/Victoria & Albert Museum 2.62 Ralph Larmann 2.63 Courtesy Ford Motor Company2.64 General Motors Corp. Used with permission, GM Media Archives2.65 from Works of Geoffrey Chaucer, Kelmscott Press, 18962.66 Printed by permission of the Norman Rockwell Family Agency. Book Rights Copyright ©

1943 The Norman Rockwell Family Entities2.67 Courtesy Kok Cheow Yeoh2.68 The Art Institute of Chicago, Mr. and Mrs. Carter H. Harrison Collection, 1954.1193 2.69 Taesam Do/FoodPix/Getty. Image courtesy Hill Holiday2.70 School of Journalism and Mass Communication, University of North Carolina at Chapel Hill.

Photo Eileen Mignoni

Picture Credits for Chapter 2.4

• 1. Artists who engage in visual communication design must be well versed in the use of ______ because they must use many avenues to distribute their work.

◦ Topic: n/a◦ a. painting◦ b. sculpture◦ c. printmaking◦ d. media◦ e. none of these◦ Feedback/Reference: Page

204

• 2. Even though Wang Xizhi had died long before, many students were able to retrieve specimens of his writing style by ______.

◦ Topic: n/a◦ a. making rubbings from a stone

tablet◦ b. finding copies in ancient

libraries◦ c. paying skilled craftsmen to

make them◦ d. falling into deep dreamlike

trances◦ e. having séances with a medium◦ Feedback/Reference: Page 205

◦ 3. Type is a word meaning "to strike," derived from which language?

◦ Topic: n/a◦ a. Arabic◦ b. German◦ c. Greek◦ d. Swahili◦ e. Mandarin◦ Feedback/Reference:

Page 206

• 4. When a typeface does not have any extra embellishments on the top and bottom of the letterforms, it is called a ______ font.

◦ Topic: n/a◦ a. sans serif◦ b. serif◦ c. logotype◦ d. graphic◦ e. simple◦ Feedback/Reference: Page

207

• 5. The logo that identifies the Ford Motor Company was created using Spencerian script by ______ named Harold Wills.

◦ Topic: n/a◦ a. a designer◦ b. an autoworker with art

experience◦ c. a calligrapher◦ d. a part-time stand-up

comic and autoworker◦ e. an engineer and executive◦ Feedback/Reference: Page

207

• 6. The artists Edward Burne-Jones and William Morris believed that society should reject rampant industrialization and restore ______.

◦ Topic: n/a◦ a. clay tablets◦ b. hand craftsmanship◦ c. incised stone tablets◦ d. rule by the Church◦ e. human sacrifice◦ Feedback/Reference: Page

208

• 7. The illustrator Norman Rockwell introduced Rosie the Riveter on the cover of which weekly magazine during World War II?

◦ Topic: n/a◦ a. The New Yorker◦ b. Reader’s Digest◦ c. Field and Stream◦ d. Stars and Stripes◦ e. Saturday Evening Post◦ Feedback/Reference: Page

209

• 8. The designer and artist Henri de Toulouse-Lautrec created poster designs for which Parisian night club?

◦ Topic: n/a◦ a. Maxim’s◦ b. Moulin Rouge◦ c. Les Folies Bergère◦ d. Traitor Vic’s◦ e. none of these◦ Feedback/Reference: Page

210

• 9. An advertisement for Tyco products integrated image and text by ______.

◦ Topic: n/a◦ a. placing captions under a

picture◦ b. using diagrams to explain

the text◦ c. changing color and size to

create a picture◦ d. incorporating icons that

have specific meanings◦ e. none of these◦ Feedback/Reference: Page

210

• 10. In web page design, text that will immediately link to another web page is called ______.

◦ Topic: n/a◦ a. the URL◦ b. an inverse text◦ c. a domain◦ d. a hyperlink• e. the left margin

Ch 2.4 (questions)

Education

Transcript of Ch 2.4 (questions)