Wikipedia talk:Ambassadors/Courses/History of Design and Digital Media (Michael Mandiberg)
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[edit]This is a place where you can ask questions, talk about problems, and discuss the Wikipedia assignment with classmates and other Wikipedians.--Theredproject (talk) 15:42, 18 August 2011 (UTC)
So, I'm a bit concerned with a particular page I've been working on. Nicolas Jenson's page is in quite a mess, and I did a few edits just now. But I've come across something interesting...apparently the page used to be quite different - I found a fb page dedicated to Jenson that uses an old wikipedia entry under creative commons law, and the entry is quite good actually. [1] I used some of the sentences from the previous wiki-page verbatim. Is this, like, not okay to do? Sabinajm (talk) 22:08, 20 September 2011 (UTC)
Notes for the final
[edit]Review for Final COM 232 Chapters 1-4 Graphic design: The arrangement of words shapes and images. Three places where language originated: Mesopotamia, Egypt, and China. Pictograph: Looks like the thing it represents. The cuneiform: first abstracted form of writing. Writing comes from law and religion. Code of Hammurabi (law), Books of the Dead (religion) Rosetta Stone: Translation of hieroglyphics, demotic, and Greek Paper: originated in China Woodblock printing Second Lecture: Illuminated Manuscripts The Book of Kells year 800 Diminuendo: Hierarchy of letters Spacing between words Frames: First grid Carpet: A type of elaborate, symmetrical decoration with a lot of detail. Gothic Design: Concerned with the symbolic value not the representational value. Marked by hard edges, symmetry is not realistic, often bright colors. Coronation Gospels year 800 Realistic illustrations: desiring to represent reality. Shading, no hard lines, less concerned with symmetry. Start to see depth Deuce Apocalypse: origin of textura, two column layout The Book of Hours 1413 Elaborately illustrated Meant for personal use. Demonstrations of wealth Chapter Five Playing Cards: First printed materials in Europe. Woodblock prints. Gutenberg: 1450-1455 Gutenberg created Moveable type, special metal that would melt easily. The punch, the matrix, and the mold. Used the punch to pound into the matrix to make an impression, put matrix into the mold, pours in lead alloy to create a piece of type. Created oil based ink, printing press. Gutenberg bible: Typeface is black letter (textura). Chapter Six Albrecht Durer 1515: turn of woodblock print to engraving, etching, allows for more subtle control through crosshatching. Chapter Seven Erhard Ratdolt: use of borders. Borders were cut, not hand drawn, so they could be re-used. Use of three dimensional space in frames. Chapter Eight Romain Du Roi 1702: Transitional type. Geometric rather than hand written. Three epics of typography: Old Style, Transitional, Modern Old Style: Handwriting, even thickness, dense. Transitional: Geometric, varied thickness, serif use. Modern: Extreme variance between thick and thin. William Caslon 1734: Transitional, very heavy font. John Baskerville: Transitional. More elegant than Caslon. William Playfair 1786: origin of charts and information design Giambattista Bodoni 1793: Modern. Thin slab serifs. Happens right after the French revolution. Chapter Nine: Industrial Revolution Automation, standardization, mass communication Thomas Cotterell: Twelve line pica, using wood type. Robert Thorne: Fat face Vincent Figgins: Two lines pica, shaded fonts, and outline. Makes sans-serif font popular. Ornamental serifs. Decorative fonts, Tuscan. William Thorowgood: Six-line reversed Egyptian Italic. Steam powered presses Photography 1840s Edward Muybridge: Set the stage for film with The Horse in Motion Pencil of Nature 1844 uses style similar to book of Kells. Printed, not hand made. Latter half of 1800s color printing is created. Late 19th century, packaged goods. The rise of the childrens book, late 1800s The Rise of newspapers and magazines. Form of mass culture (political cartoons) Chapter Ten: Arts and Crafts starts in 1880. Reaction to the standardization of the industrial revolution. Movement that spans: design, architecture, furniture, text, etc. Arthur H. Machmurdo, hand drawn nostalgia The Hobby Horse showed many hand drawn pieces William Morris, important figure in the arts and crafts movement. Golden Typeface reminiscent of hand written. Frederic Goudy designed old style revivals. Chapter eleven: Art Nouveau Symbolic representation of women, hair, and nature. Hokusai, Hiroshige 1830s: Represent scenes of nature and women. Have compositions which are a-symmetrical but balanced. Simple but dynamic. Jules Cheret: Central illustrator. Toulouse-Lautrec: hand lettering, abstract, a-symmetrical, expressive. Concerned with symbolic value. Alphonse Mucha 1898: Filled total space, symbolic value. Chapter Thirteen: After 1910, before communist revolution. Photography frees painting from having to accurately represent reality, so painting is free it become more abstract. Picasso: Painting from multiple angles, breaking forms into other forms Duchamp: Renames industrial items. Fernand Leger 1919: Worked as a designer, using primary colors and expression. Futurism: The celebration of machines. The celebration of the speed and violence of machines. DaDa: Modern war is senseless, impossibly violent, grotesque, has broken down any sense of reason, thus DaDa made nonsense in protest. Make works that are collage. Hannah Hock: collage. About the chaos of explosion and machinery and war. John Heartfield: Uses photo collage to make political cartoons. Surrealism: fascinated by dreams and representing alternate realities. Suprematism: Takes ideas of breaking down forms and makes them just shapes, mostly rectangles and circles. Chapter Fourteen: Plakaststil 1905: German for “poster style”. Posters were primary form of advertisements at the time. Simplified forms, right lettering, flat, bright colors. Heavily used in war posters. A.M Cassandre 1932: used puns in poster design. Chapter Fifteen: Constructivism El Lissitzky: Beat the whites with the red wedge 1919. Mayakovsky 1923: Russian Poet. A strong sense of grid and gridded layout. 1924. Mondrian: Grids. Moholy-Nagy 1927: Radical in use of grid and putting type vertically. Bold type inside of regular type. Chapter Sixteen Bauhaus 1919-1933: Founded in an effort to unify the arts and to explore new technologies. Moholy-Nagy 1923: integrating photography and design. Using photography as a tool for exploration. Jan Tschichold New Typography: puts out a set of rules for design. The layout of the grid. Negative space is as important as positive space. A-symmetry. Generally san serif font. Chapter Eighteen: International style: Objective photographs, rigorous grid structure, left alignment, san serif. Uses Helvetica the most. Chapter Nineteen: New York School: illustrations and visual puns. Editorial illustrations. Semiotics: Sign, signifier, signified, referent Whimsical The New York School: 1950s-1960s Chapter Twenty: Corporate Design: Simplicity, timelessness, ability to adapt to different context, surpass language barriers. William Goldman 1951 CBS. Simpler shapes are used for television. Reducing logos to their core shapes. Chapter twenty three: Post Modernism: rising out of architecture. Decoration, vernacular, personal expression. Historical citation. April Greiman: post modernist. Paula Scher 1985: historical citation. Parodying modern style posters. Nostalgic for the 50s Chapter Twenty Four: Post-modernism/ digital revolution Post modern typeface design: Decorative, vernacular, expressive, historical. Émigré magazine: Designers had access to their own computers, were starting to design on computers. Émigré magazine highlighted and showcased that work. Katherine McCoy 1989 Rules are taught to be broken. David Carson 1991: Grunge design Fred Woodward: Rolling Stone. Picking historical styles to suit specific material. His style is that he appropriated other styles. Stefan Sagmeister: Return to handletter text. Paul Scher 1994: Gird constructivism.