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Influences of art
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Josef Muller Brockmann was born in Rapperswil, a city in Switzerland, on May 9th, 1914. After the completion of his secondary education in Rapperswil, he started working in Zurich as a designer in 1930. Being one of the leading pioneers, he was considered one of the most talented and very influential design artists. In 1936, Muller established his own design practice in Zurich where he specialized in design, graphics and photography. His first poster was designed in 1950. He succeeded Ernst Keller in 1957 as a teacher of graphics design at kunstgewerbeschule of Zurich. He later founded the Muller-Brockmann in 1967. He lectured the international design conference, the world design conference and the University of Osaka.
Muller Brockmann is the author of the several other books like the graphic artist and his design problems, The History of Visual Communication, and The History of the Poster and Grid System in Graphic Design. Muller was influenced by several other designs and art like Constructivism and the Bauhaus. With his reputation and the known experience, Muller was regarded the best designer earned his reputation in Switzerland and other parts of the world. In his design explaining the friendly hand sign, Muller had the attraction of the accidents that were quit common. The design is very attractive in the sense that all the elements that can easily cause accidents are covered in it (Philip and Alston 2011). It gives a clear tableau of the typical accident cause scenario. Equally, the design creates an awareness of the proper road use since it shows the cyclists and the motors using the little space for a very dangerous operation. Accidents had since been considered the most death cause in the country. In his bid to control ...
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...y find its solutions from the simple given design. It cuts across every problem. The indicated problem is of direct effect to the society and requires their attention. The explicit motive and attraction of the given design are well considered in the design itself (Carter et al.2012).
Works Cited
Ellen Lupton. Thinking with type: A Primer for Designers: A Critical Guide for Designers, Writers, Editors and Students. New York: Association of American Publishers, 2004. Print.
Ellen M. Thomson. The Origin of Graphic Design in America. New York: Yale University Press, 1997. Web. 20 December, 2007.
Philip B. Meggs, and Alston W. Purvis. Meggs’ History of Graphic Design. New York: Association of American Publishers, 2011. Print.
Rob Carter, Ben Day, and Philip B. Meggs. Topographic Design: Form and Communication. New York: Association of American Publishers, 2012. Print.
Drawing on Bauhaus methods, Bayer supported the concept of a total work of art and the unity – painting, typography, and information design were all connected to each other. In addition, every element in design was there for a purpose – to inspire, inform, or both. The atlas was “an example of how Americans had adapted Bauhaus design principles to communicate simply, directly and possible forcefulness. Atlases of world resources produced before Bayer’s publication hardly utilized a modernist graphic language. This would change with environmentally informed atlases of the 1970s that borrowed extensively from Bayer in their integration of color, graphic and symbols.”
Lawson, Bryan. How Designers Think: The Design Process Demystified. 4th ed. Oxford: Architectural Press, 2006.
Josef was born on March 19, 1888 in Bottrop, Germany. At the age of 17 he became an elementary school teacher. By 25 he studied in Berlin to expand his skills and become a certified art teacher. Through the years he continued to build his education attending several art academies; The School of Arts and Crafts, Munich Academy, and Franz von Stuck. In 1922 he enrolled to Bauhaus, a teaching institution in Weimar, Germany. Here at Bauhaus is where his achievements began and where he met his lifetime partner, Anni. In 1925 he was the first student invited to join the faculty staff and pronounced “Jungmeister” or “Young Master”. Josef taught various art classes and developed his own techniques as a figurative artist studying printmaking, stain glass, furniture as well as writi...
Lawson, Bryan. How Designers Think: The Design Process Demystified. NY: Architectural Press, 1980, 2007. Massachusetts: NECSI Knowledge Press, 2004.
Osborne, Harold. The Oxford Companion to Twentieth Century Art. New York: Oxford University Press, 1981.
The purpose of this Essay is to discuss an example of design from the late 1800s, I will relate it to the social, economic, technical and cultural context of that time. . I intend on delivering details of the artist and his life experiences as well as his style and possible interests. I will also evaluate the subject with my own opinion, likes and dislikes, with comparisons of work and artists from within that period up to the present date
Stokstad, M., Michael, W. and Asher, M. F. (2010). Art History, Volume 1. California: Prentice
Robertson, Jean, and Craig McDaniel. Themes of Contemporary Art: Visual Art after 1980. New York:, Oxford UP, 2013.
Graphic designer and typographer Stefan Sagmeister has always had a unique way of viewing the world, therefore has created designs that are both inventive and controversial. He is an Austrian designer, who works in New York but draws his design inspiration while traveling all over the world. While a sense of humor consistently appears in his designs as a frequent motif, Sagmeister is nonetheless very serious about his work. He has created projects in the most diverse and extreme of ways as a form of expression. This report will analyse three of Stefan’s most influential designs, including the motives and messages behind each piece.
Wicked Problems in Design Thinking Author(s): Richard Buchanan Source: Design Issues, Vol. 8, No. 2 (Spring, 1992), pp. 5-21 Published by: The MIT Press Stable URL: http://www.jstor.org/
Josef Albers was a German artist whose art laid the foundation of one of the most influential styles of the 20th century. Albers’s roots lead back to a town named Bottrop in Westphalia, Germany. From the time of 1908 to 1913, Albers worked as an educator in his town. In 1918, Albers got his premier public commission, Rosa mystica ora pro nobis, which was a stained-glass window for a local place of worship. He studied art in many major German cities before becoming a student at the prestigious Weimar Bauhaus school in 1920. Despite the fact that Albers was also studying painting, his preferred method was to make stained glass. He joined the ranks in 1922, and used his preferred medium as a part of architecture and as a form of art.
At the beginning of the nineteenth century, political discomfort had spread over France, and posters became the dominant aspect of visual philosophy in Paris. (MiR appraisal Inc. (2011) Father of the modern poster: Jules Cheret) Posters were an expression of economic, social and cultural life, competing for entertainment audiences and goods consumers (Jeremy Howard (1996), Art Nouveau: The myth, the modern and the national, Manchester University press, The Art poster From Graphic art to design 1890 to 1914). Furthermore, poster design was an outlet for the innovative energies of gifted artists (David Raizman (2003), History of Modern design, Art Nouveau and Cheret, Lawrence King, London, P.56). This was apparent because of the progression and transformation of technology, such as colour lithography.
Many do not consider where images they see daily come from. A person can see thousands of different designs in their daily lives; these designs vary on where they are placed. A design on a shirt, an image on a billboard, or even the cover of a magazine all share something in common with one another. These items all had once been on the computer screen or on a piece of paper, designed by an artist known as a graphic designer. Graphic design is a steadily growing occupation in this day as the media has a need for original and creative designs on things like packaging or the covers of magazines. This occupation has grown over the years but still shares the basic components it once started with. Despite these tremendous amounts of growth,
NA, . "A Critical Analysis of Robert Frost's "Design"." Academic Help. Academic Help, 08 October 2010. Web. 16 Feb 2012. .
Hegeman, J. (2008). The Thinking Behind Design. Master Thesis submitted to the school of design, Carngie Mellon University. Retrieved from: http://jamin.org/portfolio/thesis-paper/thinking-behind-design.pdf.