Richard Buchanan, Declaration by Design.:
'The goal of communication is to induce in the audience some belief about the past, present or future.
Appropriation - MOMA Definition:
Taking inspiration, basically .
Collage?
Andy Warhol playing sued for 'appropriating' (stealing) photographers work
Appropriation is to use a past image and manipulate it or alter it to make it your own
Pastiche is more of a satirical hat tip to the original image.
Jamie Reid - Queen poster
Duchamp - Readymade
Amy West founded Grafik BS - trying to catch out people's obsession with style over substance by creating shit.
Monday, 27 April 2015
Helvetica
Helvetica is a typeface created by Swiss typographer Max Miedinger. Created in 1957 it quickly became the most commonly used typeface in the world and was credited by many well renowned graphic designers as the perfect typeface that could be used in almost every scenario.
Today, it is still the most commonly used typeface in all forms of graphic design and can be seen on almost every sign, brand or advertisement you see. It is also the default font for use on Mac computers, the industry standard for graphic design.
While some famous graphic designers, such as Erik Spiekermann protest strongly against it, believing it to be the immediate sign of 'bad design', it is still universally loved for it vast versatility and is still viewed as the iconic typeface for modernism due to it's simple, clean and efficient design.
Today, it is still the most commonly used typeface in all forms of graphic design and can be seen on almost every sign, brand or advertisement you see. It is also the default font for use on Mac computers, the industry standard for graphic design.
While some famous graphic designers, such as Erik Spiekermann protest strongly against it, believing it to be the immediate sign of 'bad design', it is still universally loved for it vast versatility and is still viewed as the iconic typeface for modernism due to it's simple, clean and efficient design.
Art Movements - Dadaism + Appropriation
Dadaism was a European art movement starting in the early 1900's. Originating from the concept of 'Anti-Art', Marcel Duchamp, along with other surrealist artists of the time, creating what became Dada with the intention of being anti-everything, including war, politics and bourgeois.
The perculiar name was the result of one of the members placing a knife into a German/ French dictionary and landing on the word Dada, translating as 'hobbyhorse', which has nothing to do with art, thus making itself the perfect title for a group keen to reject all conventional concepts of what art it. As this story suggests, Dadaists believed strongly in rejecting the notion that words must be related to their meanings, directly contrasting with all principles which build semiotics.
Inspired by modernism and cubism, the Dada artists took great influence from many of the Bauhaus greats, namely Wasilly Kandisky's, theories and beliefs surrounding the order and conventions which controlled art at the time. Based off his principles, they where able to break free of the constraints at the time and strove to create pieces of work which questioned what art truly was. Marcel Duchamp's 'Fountain' is the perfect example of this as he simply took a lavatory urinal and wrote his own name on it to prove that anything he created could be art. Others took this concept to further, more disgusting lengths, to see just how far they could push the boundries of what they thought the public would accept as 'art'.
Dadaism was pivotal to the invention and development of the photocollage and strong advocated of the concept of appropriation. Manipulating and editing others work to create their own, many questioned their artistic talents as the only parts which where viewed as demonstrating genuine talent was 'appropriated' from other fine artists.
The perculiar name was the result of one of the members placing a knife into a German/ French dictionary and landing on the word Dada, translating as 'hobbyhorse', which has nothing to do with art, thus making itself the perfect title for a group keen to reject all conventional concepts of what art it. As this story suggests, Dadaists believed strongly in rejecting the notion that words must be related to their meanings, directly contrasting with all principles which build semiotics.
Inspired by modernism and cubism, the Dada artists took great influence from many of the Bauhaus greats, namely Wasilly Kandisky's, theories and beliefs surrounding the order and conventions which controlled art at the time. Based off his principles, they where able to break free of the constraints at the time and strove to create pieces of work which questioned what art truly was. Marcel Duchamp's 'Fountain' is the perfect example of this as he simply took a lavatory urinal and wrote his own name on it to prove that anything he created could be art. Others took this concept to further, more disgusting lengths, to see just how far they could push the boundries of what they thought the public would accept as 'art'.
Dadaism was pivotal to the invention and development of the photocollage and strong advocated of the concept of appropriation. Manipulating and editing others work to create their own, many questioned their artistic talents as the only parts which where viewed as demonstrating genuine talent was 'appropriated' from other fine artists.
Friday, 24 April 2015
Anthony Burrill
Anthony Burrill is an English designer, graphic designer and print maker. He is famous for his style is notable for his use of vibrant colours and bold text in order to communicate a more upbeat and persuasive message clearly.
Semiotics and messages are incredbily important to all of his work and he has developed a reputation for his incorporation of more subtle, clever meanings beneath the more explicitly obvious ones which subtly enforce his orignal message, i.e. using oil attained from the sea and mixing it with water to produce his ‘Oil and Water don’t mix’ piece.
Every one of his pieces has it's own meaning beneath the meaning which can be found in through his use of semiotics when it comes to picking the materials, colour and layout of his pieces.
While not not created for this purpose, Anthony Burrill's influence can be seen in my work created during a recent process and production lesson wherein we had to create kinetic typography. I go into the process and lesson in more depth on my original blog, but here are the screens from the final result of the lesson
Semiotics and messages are incredbily important to all of his work and he has developed a reputation for his incorporation of more subtle, clever meanings beneath the more explicitly obvious ones which subtly enforce his orignal message, i.e. using oil attained from the sea and mixing it with water to produce his ‘Oil and Water don’t mix’ piece.
Every one of his pieces has it's own meaning beneath the meaning which can be found in through his use of semiotics when it comes to picking the materials, colour and layout of his pieces.
Daniel Eatock - Manifestos
Daniel Eatock is a graphic designer who's most famous work was his creation and development of the 'Big Brother Eye'. A design with very distinctive look which has still allowed itself to be manipulated over the years to keep itself current, something I should look into for my New Visual Language project.
Something that Eatock does, which has influenced numerous other designers, is create a manifesto of what to do in future. Below is his 'Mini Manifesto'
Mini Manifesto
Something that Eatock does, which has influenced numerous other designers, is create a manifesto of what to do in future. Below is his 'Mini Manifesto'
Mini Manifesto
- Begin with ideas.
- Embrace chance.
- Celebrate coincidence.
- Ad–lib and make things up.
- Eliminate superfluous elements.
- Subvert expectation.
- Make something difficult look easy.
- Be first or last.
- Believe complex ideas can produce simple things.
- Trust the process.
- Allow concepts to determine form.
- Reduce material and production to their essence.
- Sustain the integrity of an idea.
- Propose honesty as a solution.
- Start with a some sort of concept
- Allow it do develop naturally
- Don't fear the blank page
- Scribbles are your friend
- Soft Brushes are not
- Believe in your insticts
- Less can be more
- More can be more
- Don't hate it just because you made it
- Let an idea brew
- Don't dismiss something straight away
- Embrace criticism
Semiotics
Semiotics is the theory behind interpretation and understanding of signs. Everything we see can be viewed as a sign if we believe it to be signifiying something other than being simply an object.
The two dominant figures in the exploration of the theory of semiotics is Ferdinand de Sausure and Charles Sanders Peirce.
Saussure believed that there was to parts to a sign:
The letters C.A.T represent the signifier, while the physical cat itself is the signified.
A pheesable combination of these two is what creates a 'Sign'.
Just because one signifier stands for one thing, does not mean that it cannot stand for another. The word 'CAT' could also be seen on a pair of work boots and would be referring to the workwear brand 'CAT', rather than a feline. This means that this is a different sign.
Peirce's approach was that there was three parts to a sign within the boundries of semiotics:
The symbol = Male Gender Symbol ♂
The Icon = The symbol on Male toilets
Index = A man
As well as explicit signs, such as those explored by Peirce and Saussure, there is also something called colour semiotics. While Interpretation of colours is an entirely unique and personal response, here are still numerous recurring themes throughout each culture in the way in which people respond to them. This has helped to create a series of universal visual signs and symbols which mean the same in every culture, regardless of their accompanied text I.e. Road signs and directions.
One of the key aspects of semiotics is colour theory. This is the connection between a colour and it's meaning I.e. Red means stop, green means go. Despite there being some which are viewed as more universal, colours have drastically different meaning in some countries to others, as shown in the image below:
As is visible in the picture above, red, or black, is universal for it's portrayal of anger, or evil, but the definition of which colour represents something which 'repels evil' is far more muddled, with yellows, reds and greens all viewed as the most representative. Colour theory is something which strongly influenced Bauhaus professors, Paul Klee, Wassily Kandinsky and Johannes Itten.
The two dominant figures in the exploration of the theory of semiotics is Ferdinand de Sausure and Charles Sanders Peirce.
Saussure believed that there was to parts to a sign:
- The Signifier - the form of the sign
- The Signified - The thing the signifier is referring to.
The letters C.A.T represent the signifier, while the physical cat itself is the signified.
A pheesable combination of these two is what creates a 'Sign'.
Just because one signifier stands for one thing, does not mean that it cannot stand for another. The word 'CAT' could also be seen on a pair of work boots and would be referring to the workwear brand 'CAT', rather than a feline. This means that this is a different sign.
Peirce's approach was that there was three parts to a sign within the boundries of semiotics:
- The Symbol - The form of the signifier that does not resemble the signified. The relationship between it and the signified must be learnt.
- The Icon - A simplified version of the signified which resembles it and associations could be made on first impression.
- The Index - Where the signifier is not arbitrary but dirrectly related to the signified
The symbol = Male Gender Symbol ♂
The Icon = The symbol on Male toilets
Index = A man
As well as explicit signs, such as those explored by Peirce and Saussure, there is also something called colour semiotics. While Interpretation of colours is an entirely unique and personal response, here are still numerous recurring themes throughout each culture in the way in which people respond to them. This has helped to create a series of universal visual signs and symbols which mean the same in every culture, regardless of their accompanied text I.e. Road signs and directions.
One of the key aspects of semiotics is colour theory. This is the connection between a colour and it's meaning I.e. Red means stop, green means go. Despite there being some which are viewed as more universal, colours have drastically different meaning in some countries to others, as shown in the image below:
What Is Post Modernism?
By the early 1970, it was the general belief that modernism was coming to an end accross all art forms, including graphic design. While is by no means meant an end to the grid system and predominant use of negative space, a lot of designers where moving away from the style.
The post industrial society at the time felt that the modernist style was becoming more and more dated and far less relevant in the environmentally conscious present day, of the time.
Across all art forms, people started to disgard the term ‘Modernist’ and adopted the new style; ‘Post Modernist’, and ironically unimaginative title for such an audacious design style.
The new style was to reflect the diversity of the time as everything was changing; women’s rights where growing and the was far more equality for minorities. These changes resulted in the design themes of the past being viewed as outdated and a part of the old way of things.
More than anything else, though, post modernism is a reaction to modernism, rather than a blatant rejection. While people felt Modernism was refelective of outdated times, it was not immeditely dismissed and rejected. A lot of designers still clung to the old ways and viewed Post Modernism as being ‘undisciplined’ and ‘self indulgent’. A garish jumble of styles with no discernable theme or consistency which was created as a sort of attention seeking ploy by modern students.
It wasn’t until around the 1980’s that the established designers of old started to acknowledge it as a legitimate step forward and it was then, with their former knowledge of Modernism in hand, that it was able to become a true development and reaction to the existing norms, rather than a blatant protest with no merit.
Through post modernims, the boundries between high culture, such as fine art, and pop culture, such as advertisements, where being blurred and destroyed .
Designers stopped seeing themselves as simple messengers of the information they where conveying, but artisst in their own right, wih a message of their own to share with the world. Each piece of work started to become its own sort of protest against one thing or anothers.
In the late 80’s, a design style started to emerge that was a blatant response to the Modernist theory of what was viewed as ‘good design’. It was a strong reaction to the very string guidelines and rules that where laid out to determine what was or wasn’t viewed as a good piece of design. Headlined by David carson, we started seeing a design style that was reckless, garish, chaotic and inconsistent.
This design style was heavily predominant throughout the 80’s and continued onto the 90’s, before settling down completely. While modern design is far less chaotic, the post modern influence is always visible in todays design.
What is Modernism?
Starting in the late 19th, early 20th century, modernism was a pivotal art movement accross all art forms, particularly graphic design. Due to the increasing popularity and importance of machines in all forms of industry, artists where forced to change the way they work. While this scared painters and regular artists into become far more adventurous and abstract, to try and set themselves apart from the more and more accessable ways of creating photographic imamery, it worked strongly with graphic designers and allowed them to completely revolutionise the way they worked. The ability to mass produce work was a huge boon for graphic designers and subsequently, the machines themselves became a key aspect of a lot of the works of art, and their uniform and reliable nature was strongly reflected in the artworks of the time and key to the strong belief around all modernist design that ‘Form should follow function’.
Prior to the foundation of modernism, all artworks of the time where far too overly decorated and complicated, as designers where eager to fill every inch of space available with their designs. While some artists, such as Alphonse Mucha, where able to create beautiful, timeless pieces of art like this, a lot of designers where just left with an over complicated and disorganised mess on the page, which didn’t serve it’s purpose of advertisement.
It was Josef Müller-Brockmann who’s grid system was hugely pivotal and influential on the design style of the era. due to his designs, all work started adhearing to strict grids and guides and started to emphasise the value and importance of negative space and the white page, as opposed to trying to fit as much in as possible.
This all tied into the modernist principles which stood strongly against commercialism, greed, and, most importantly, the cheapness of the designs at the time.
While many people played their part in the development of the modernist movement, none were more important than the founders of the Bauhaus school of design.
Founded by Walter
Gropius in 1919, in the german town of Weimar, Bauhaus is arguably, to this day, still the most revolutionary art school in history. Almost all modernist design and architecture, and even the first Sans Serif fonts, such as Futura (being used in this work), where invented there. Almost every one of it’s tutors could be viewed as a revolutionary in their field and it was there that modernism was truly born. Throughout this research document, I will be looking at almost every one of the key Baushaus professors and analysing their specific role in the development of the modernist era.
Modernism primary goal was that the design should be derived from the fuction, and that it’s subsequent aesthetic appearance should be universally accepted.
Prior to the foundation of modernism, all artworks of the time where far too overly decorated and complicated, as designers where eager to fill every inch of space available with their designs. While some artists, such as Alphonse Mucha, where able to create beautiful, timeless pieces of art like this, a lot of designers where just left with an over complicated and disorganised mess on the page, which didn’t serve it’s purpose of advertisement.
It was Josef Müller-Brockmann who’s grid system was hugely pivotal and influential on the design style of the era. due to his designs, all work started adhearing to strict grids and guides and started to emphasise the value and importance of negative space and the white page, as opposed to trying to fit as much in as possible.
This all tied into the modernist principles which stood strongly against commercialism, greed, and, most importantly, the cheapness of the designs at the time.
While many people played their part in the development of the modernist movement, none were more important than the founders of the Bauhaus school of design.
Founded by Walter
Gropius in 1919, in the german town of Weimar, Bauhaus is arguably, to this day, still the most revolutionary art school in history. Almost all modernist design and architecture, and even the first Sans Serif fonts, such as Futura (being used in this work), where invented there. Almost every one of it’s tutors could be viewed as a revolutionary in their field and it was there that modernism was truly born. Throughout this research document, I will be looking at almost every one of the key Baushaus professors and analysing their specific role in the development of the modernist era.
Modernism primary goal was that the design should be derived from the fuction, and that it’s subsequent aesthetic appearance should be universally accepted.
Christmas Advert Analysis - Semiotics and Propaganda
For this task, we watched a series of well known adverts shown during the Christmas period ask required to answer a series of questions about them.
Questions:
Advert 3 - M&S
Conclusion
Each advert is effective in it's own ways, but some more than others. All have positives, but all have negatives. While not terrible, I believe that the Tesco advert was the least effective as until I rewatched it online, I simply could not remember what happened, which is a strong condemnation of an advert's quality.
I believe the Asda one was probably the most subtly successful advert as it decided to appeal strongly to the mother market which is by far their most important target audience around that time. While it will not have had a hugely lasting effect on everyone, they knew their target audience and exploited them, probably to great success.
But, despite my personal opinions on it, the Sainsbury's advert was by far the most effective of them all. While I feel it blatantly exploited a tragedy for their own gain, it had the strongest impact on everyone and inspired people to give to eachother as well as to buy from them.
Questions:
- What messages are being communicated in each example?
- What techniques are used to communicate these messages/ how do we read them as having a specific meaning?
- What is the relationship between the communicated meaning and the product that the advert is selling?
- Which advert was the most effective and why?
- The messages which is trying to be explicitly stated here is that Christmas is a time for joy and unity, how we all work together and our small contributions contribute to a larger success. While I believe that that is the message they are trying to explicitly portray, I believe that the message being subtly portrayed here is about the materialist nature of christmas and is implying to the viewer that to have a truly great Christmas, it is things like baubles and lights which are important, and you can get them all from tesco. So for a good Christmas, you must shope at tesco.
- The techniques to show this are simply showing everyone as being in a constant state of joy as they put up all the decorations and prepare themselves for the upoming fetivities, all with the help of tesco.
- The relationship between the meaning and the product is that purchasing their product will provide you with happyness.
- The message here is that Christmas would not be anything without the excessive work and effort that is put in by peoples mothers each year. It concludes by stating that Christmas would be nothing without your mum, but your mum wouldn't be able to do it without Asda.
- This is portrayed by showing the mum working tirelessly and looking exhausted throughout, which everyone else is having fun as a result.
- The relation between the advert and product is that while it takes huge effort from the mum to forge Christmas, she still needs help from Asda and their products.
Advert 3 - M&S
- I believe that there are 2 prominent messages being stated here. The first is simply an observation of the magical nature of Christmas, hence the fairies, but the second one is making a point of how difficult it is to get find the right gift and is portraying M&S as the 'Christmas Fairy' who will magically come along and solve your problems.
- This is communicated not only by their use of fairies, but by showing how, despite the time of the year, there are some bleak aspects, such as the man struggling to think of what he can get for his Girlfriend and the washing which is bleak and dull, but the M&S Fairies come along and solve all their problems simply.
- The relatioship is how easily the Fairies solve everything and so M&S can do the same.
- The message here is a sort of satire on their own reputation. It is showing people enjoying their Christmas dinner while eating what they believe to be a very high quality meal wihout knowing who provided it. At the end, it is, to their surprise, revealed to have been Lidl food.
- The relationship between the message and the product is that Lidl does not have a particularly good reputation for providing quality food, but rather cheap things. This advert shows that if people can ignore the stigma surrounding their name, they can be very pleasantly surprised.
- The message being portrayed here is that Christmas is a time for sharing a togetherness and that the even the greatest differences and conflicts can be resolved over this period.
- The technique that is used is, in my opinion, and disgraceful exploitation of the emotional response to the tradgedy of the war. They show you a truly shocking event and they make a subtle claim that Sainsbury's could help.
- The connection is that Christmas is a time for giving and you can acquire what you need to give from Sainsbury's.
Conclusion
Each advert is effective in it's own ways, but some more than others. All have positives, but all have negatives. While not terrible, I believe that the Tesco advert was the least effective as until I rewatched it online, I simply could not remember what happened, which is a strong condemnation of an advert's quality.
I believe the Asda one was probably the most subtly successful advert as it decided to appeal strongly to the mother market which is by far their most important target audience around that time. While it will not have had a hugely lasting effect on everyone, they knew their target audience and exploited them, probably to great success.
But, despite my personal opinions on it, the Sainsbury's advert was by far the most effective of them all. While I feel it blatantly exploited a tragedy for their own gain, it had the strongest impact on everyone and inspired people to give to eachother as well as to buy from them.
Bauhaus - Film & Questions.
While
watching a film about the Bauhaus school, we were each given a sheet
with 3 questions on it which we had to answer during the lecture.
Which key ideas constituted the Bauhaus philosophy?
The key philsophy and mantra of the Bauhaus was Form follows function, a term coined by American architect Louis Sullivan. They believed that the aesthetics of the design was secondary to it's functionality, and to create truly timeless work, we should forget style entirely and ensure it's form endures.
In a time of great changes and developments in technology, they worked towards incorporating the new machines available into their work and and viewing them as a tool to work with, rather than a new threat to fight against. The industrial revolution at the time was hugely influential to many of their designs and practices. While many viewed the new machinery in a negative light, as many traditional painters believed that their realistic style would not become defunct with the development of technologies which could produce, on mass, photographic images, they used the new mass production methods to their benefit and creating designs to work with it directly.
Change the world.
Another key philosophy was that, for the first time, the student was the priority. Students where acknowledges as individuals with their own creative capabilties and where allowed to express themselves in their own unique was, rather than having their works strictly outlines and then marked against a criteria. They where the first to truly encourage a sense of freedom from their students.
In what ways were these ideas innovative or new?
Up until this point, design was often over complicated and ineffective as each designer competed for their work to get the most attention. Every inch of space on a page was taking up, rather than embracing negative space and architecture and crafts where difficult to be mass produced because their focus was on form, not function.
In regards to their teaching methods, this was revolutionary as up to that point, students had, regardless of their creativity, being viewed as drones who where completing a task. Just like in a mathematics class, where there is a question, a correct way of working it out and one potential answer, design was viewed in a same way. The Bauhaus changed that by allowing each student to express their own ways of achieving their own results and so where able to come up with some truly innovative ideas. They believed that when it came to art, all students where equal. They where not judged on their merits by test scores or written works, every student was equal and was able to distinguish themselves through their own way of expressive their creativity.
They helped implement this philosophy by developing workshops, which are now standard in all schools and colleges, so that each student was allowed to work individually with all the tools neccessary at their disposal and subsequently developed the idea of kinaesthetic learning (whereby a student learns by doing, rather than being told) which is still today viewed as one of the best ways of learning.
The result of all this was the development of what is now viewed as the standard 'Art Student'; a creative individual with their own ideas. Until then, everyone was boring and comformist, but the Bauhaus developed the politically radical student who would go out of their way to push the boundries of conformity. People started using household waste and even hair to create work, something which was absurd only years earlier.
How was art education rovlutionised under the Bauhaus principles?
As stated in the previous question, art education was revolutionised by the Bauhaus as they invented workshops, which are now standard and created the philosophy that the student is an individual who should be able to express their artistic side in the way they want, and go about a project in the way they see fit to find the solution ideal for them. It was because of Bauhaus that the briefs that are given out today and so general, to incourage the student to find their own answer rather than regurgitating everybody else's 'correct' one.
Do any of the Bauhaus principles resonate with you and your studio practice? if so, which ones and why?
Their principle that the student should be allowed to express himself is still very prominant today. Like stated in the previous question, we are now given briefs which are very vague and general so that we can express our own interpretations and the result is that you will recieve 100 different, unique responses to a single brief. 100 years ago, you would have been given a brief and everyone else would have had to have tried to achieve the same outcome.
I personally still take huge influence from their style of Modernism and believe that it is the momst aesthetically pleasing design style, which is incredible, as most styles are very shortlived and become dated quickly. For them to have created a style which has endured all this time is truly astonishing.
Which key ideas constituted the Bauhaus philosophy?
The key philsophy and mantra of the Bauhaus was Form follows function, a term coined by American architect Louis Sullivan. They believed that the aesthetics of the design was secondary to it's functionality, and to create truly timeless work, we should forget style entirely and ensure it's form endures.
In a time of great changes and developments in technology, they worked towards incorporating the new machines available into their work and and viewing them as a tool to work with, rather than a new threat to fight against. The industrial revolution at the time was hugely influential to many of their designs and practices. While many viewed the new machinery in a negative light, as many traditional painters believed that their realistic style would not become defunct with the development of technologies which could produce, on mass, photographic images, they used the new mass production methods to their benefit and creating designs to work with it directly.
Change the world.
Another key philosophy was that, for the first time, the student was the priority. Students where acknowledges as individuals with their own creative capabilties and where allowed to express themselves in their own unique was, rather than having their works strictly outlines and then marked against a criteria. They where the first to truly encourage a sense of freedom from their students.
In what ways were these ideas innovative or new?
Up until this point, design was often over complicated and ineffective as each designer competed for their work to get the most attention. Every inch of space on a page was taking up, rather than embracing negative space and architecture and crafts where difficult to be mass produced because their focus was on form, not function.
In regards to their teaching methods, this was revolutionary as up to that point, students had, regardless of their creativity, being viewed as drones who where completing a task. Just like in a mathematics class, where there is a question, a correct way of working it out and one potential answer, design was viewed in a same way. The Bauhaus changed that by allowing each student to express their own ways of achieving their own results and so where able to come up with some truly innovative ideas. They believed that when it came to art, all students where equal. They where not judged on their merits by test scores or written works, every student was equal and was able to distinguish themselves through their own way of expressive their creativity.
They helped implement this philosophy by developing workshops, which are now standard in all schools and colleges, so that each student was allowed to work individually with all the tools neccessary at their disposal and subsequently developed the idea of kinaesthetic learning (whereby a student learns by doing, rather than being told) which is still today viewed as one of the best ways of learning.
The result of all this was the development of what is now viewed as the standard 'Art Student'; a creative individual with their own ideas. Until then, everyone was boring and comformist, but the Bauhaus developed the politically radical student who would go out of their way to push the boundries of conformity. People started using household waste and even hair to create work, something which was absurd only years earlier.
How was art education rovlutionised under the Bauhaus principles?
As stated in the previous question, art education was revolutionised by the Bauhaus as they invented workshops, which are now standard and created the philosophy that the student is an individual who should be able to express their artistic side in the way they want, and go about a project in the way they see fit to find the solution ideal for them. It was because of Bauhaus that the briefs that are given out today and so general, to incourage the student to find their own answer rather than regurgitating everybody else's 'correct' one.
Do any of the Bauhaus principles resonate with you and your studio practice? if so, which ones and why?
Their principle that the student should be allowed to express himself is still very prominant today. Like stated in the previous question, we are now given briefs which are very vague and general so that we can express our own interpretations and the result is that you will recieve 100 different, unique responses to a single brief. 100 years ago, you would have been given a brief and everyone else would have had to have tried to achieve the same outcome.
I personally still take huge influence from their style of Modernism and believe that it is the momst aesthetically pleasing design style, which is incredible, as most styles are very shortlived and become dated quickly. For them to have created a style which has endured all this time is truly astonishing.
I am for a Design
I am for a design
I am for a design that is both implicit and explicit
I am for a design that is brash yet subtle
I am for a design that is minimal and extravagant
I am for a design that makes you think
I am for a design that make you buy.
I am for a design that captures you
I am for a design that informs
I am for a design that deceives
I am for a design that shocks
I am for a design that amazes
I am for a design that is experimental
I am for a design that is simple
I am for a design that is technical
I am for a design that analytical
I am for a design that whimsical
I am for a design that is colourful
I am for a design that black and white
I am for a design that appeals to the old
I am for a design that appeals to the young
I am for a design that appeals to everyone.
I am for a design that annoys you
but mostly, I am for a design that inspires you.
I am for a design that is both implicit and explicit
I am for a design that is brash yet subtle
I am for a design that is minimal and extravagant
I am for a design that makes you think
I am for a design that make you buy.
I am for a design that captures you
I am for a design that informs
I am for a design that deceives
I am for a design that shocks
I am for a design that amazes
I am for a design that is experimental
I am for a design that is simple
I am for a design that is technical
I am for a design that analytical
I am for a design that whimsical
I am for a design that is colourful
I am for a design that black and white
I am for a design that appeals to the old
I am for a design that appeals to the young
I am for a design that appeals to everyone.
I am for a design that annoys you
but mostly, I am for a design that inspires you.
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