Critical Study- of art and design

Visual Communication in Culture

The theory of communication begins with literature. We discuss signs and symbols and semiotics.

Semiotics Definition: The study of signs and symbols and their use or interpretation.

Critical Study involves a personal response, reveals knowledge to be gained and understood by looking carefully and analyzing an artwork. It includes describing, interpreting and judging.

Historical Study defines, compares and explains the artworks meaning or function within the social, cultural, political and historical time in which it was created. It involves what others have said about the artwork. Information is given about the artist and their artistic style and includes statements by the artists manifests and catalogues.

Contra posto

Sculpture you can view from all sides

Materiality- The material of the sculpture.

Critical theory- figure out how it makes you feel, the feel of it, the movement

The Framework and Analysis

1.     The Subjective Frame- the immediate response based on your senses

a)    Critical: How has it been organized and why.

b)   Historical: What do others say.

2.     The Structural Frame- Codes, symbols, signs, elements of line, shape, texture, organization and relationships, composition, scale and materials.

a)    Critical: How has it been organized and what was used and why

b)   Historical: What do others say

3.     The Cultural Frame: Cultural identity, race, class, gender, place, art movements and styles. Influences of scientific and artistic practice, influence of politics and economics, symbols relating to culture.

a)    Critical: What does it show you about the culture or society

b)   Historical: What do other say about the techniques and use of signs and symbols.

4.     The Post Modern Frame: Use of words or images from the past for a new purpose or in a new way; mass media, popular culture, new non-traditional media and methods, diversity.

a)    Critical: Have past artworks been used in a new way? Is it a new form of art?

b)   Historical: What do others say about these and the meaning.

Critical Study- of art and design

Visual Communication in Culture

The theory of communication begins with literature. We discuss signs and symbols and semiotics.

Semiotics Definition: The study of signs and symbols and their use or interpretation.

Critical Study involves a personal response, reveals knowledge to be gained and understood by looking carefully and analyzing an artwork. It includes describing, interpreting and judging.

Historical Study defines, compares and explains the artworks meaning or function within the social, cultural, political and historical time in which it was created. It involves what others have said about the artwork. Information is given about the artist and their artistic style and includes statements by the artists manifests and catalogues.

Contra posto

Sculpture you can view from all sides

Materiality- The material of the sculpture.

Critical theory- figure out how it makes you feel, the feel of it, the movement

The Framework and Analysis

1.     The Subjective Frame- the immediate response based on your senses

a)    Critical: How has it been organized and why.

b)   Historical: What do others say.

2.     The Structural Frame- Codes, symbols, signs, elements of line, shape, texture, organization and relationships, composition, scale and materials.

a)    Critical: How has it been organized and what was used and why

b)   Historical: What do others say

3.     The Cultural Frame: Cultural identity, race, class, gender, place, art movements and styles. Influences of scientific and artistic practice, influence of politics and economics, symbols relating to culture.

a)    Critical: What does it show you about the culture or society

b)   Historical: What do other say about the techniques and use of signs and symbols.

4.     The Post Modern Frame: Use of words or images from the past for a new purpose or in a new way; mass media, popular culture, new non-traditional media and methods, diversity.

a)    Critical: Have past artworks been used in a new way? Is it a new form of art?

b)   Historical: What do others say about these and the meaning.

Week 4

1919

Bauhaus established in Weimar by Walter Gropius.

Freikorps assassinates the Spartacist leaders,

Bauhaus Graphic Design Introduction

-       These designs were knowsn as “New Typography”, no preferred style of type.

-       “We use all typefaces, type sizes, geometric forms, colours etc”- Laszlo Maholy-Nagy in 1923.

-       All attempts at the Bauhaus to design new letterforms were based on strict geometry, in a functionalist attempt tp shun Renaissance designs. "FRAKTUR" and heavy calligraphic typefaces. "Neuland" was designed by Rudolf Koch in 1924 and consisted of marks made a craft tool. Koch designed Cable in 1927, at the same time as the most popular san-serif type, "Futura"

-       The Bauhaus magazine began publication in 1926; this and the fourteen Bauhaus books were important vehicles for spreading ideas about arty theory and its application to architecture and design. Kandinsky, Klee, Gropius, Mondarian, Moholy-Nagy, and van Doesburg were editors or authors of volumes in the series.

Presentations

Over weeks 5 and 6, we did our presentations, which were all very interesting.
Ashley probably spoke for 25 minutes, but it was an interesting topic.

Looking at infographics

Over week 7 and 8 we looked at some infographic books, which were very intense, and pretty much impossible to read, but it did look good nonetheless.


We split into groups to come up with an infographic, and think of ideas on how we would present it. Blake, Richard and myself got together and surveyed the class 'anonymously' on their guilty pleasures. We had written a list for them, including 'Britney Spears", 'Justin Bieber', 'Beards', 'Singing in the shower', 'love stories' and so on, and then calculated how many ticks for each. We started thinking of doing the infographic with heaps of different doors representing the different guilty pleasures, and on each door, depending on how many ticks that particular one got, it would have that amount of 'locks' on the door, and if no one had selected one of the 'guilty pleasures' on the sheet, then the door would be open, as it doesn't seem to be much of a guilty pleasure.

Typography Timeline

First 'completed' timeline without the two main typographers.

Second timeline with an attempt at the idea of using an image behind the 'clothesline of books'

This is the same as above, but wider to show more of the city/image.

This is also the same but enlarged the photo behind and move it up a bit.

After I had decided that the image wasn't working, I decided to try and draw in my own buildings and balconies to match the rest of the timeline. It still wasn't wide enough though because I had to somehow fit in the bigger books with the typographers and more information on each, on each building.

This is the final Typography Timeline, I had widened the buildings to add the 2 larger books with the information of 2 typographers, Matthew Carter and Hermann Zapf.

Week 11