Introduction to Graphic Design Radicalism

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來自 California Institute of the Arts 的課程

Ideas from the History of Graphic Design

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California Institute of the Arts

Ideas from the History of Graphic Design

971 個評分

課程 4（共 5 門，Specialization 平面设计）

This condensed survey course focuses on four key periods or themes from the history of design. Together we’ll trace the emergence of design as a recognized practice, why things look the way they do, and how designers approached specific design problems in their work. Each week, a short quiz will test your knowledge of concepts, and a short reflective assignment will give you the opportunity to analyze the questions designers ask themselves today. This is an essential course for emerging designers entering the field, or for students interested in learning more about visual culture and analysis. No previous experience is required.

從本節課中

Graphic Design Radicalism

Design practice in the late 1950s to early 1970s was new, radical and divergent. To show you just how varied it was, we’ll look at the work of four key players/movements.

Introduction to Graphic Design Radicalism3:01

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Louise Sandhaus
Faculty, Program in Graphic Design
School of Art
Lorraine Wild
Faculty, Program in Graphic Design
School of Art

[MUSIC]

For this last week we're going to focus on a period of design history

shaped by massive change.

These cultural, political as well as technological changes, from the late

1950s to the early 1970s, had a substantial impact on graphic design.

But as you might imagine, the forms that emerged during that time

did not ascribe to a singular style or aesthetic.

It was a time of graphic ideas taking radically different directions.

On the one hand, a group of young designers in Switzerland

became interested in the idea of design as a universal language.

They proposed a rational approach to graphic language embodying ideas

of objectivity and internationalism to counteract the political

passions that had torn Europe apart during the two World Wars.

This graphic vocabulary was simple, bold, abstract, and

was shaped by a disciplined approach to the graphic design process.

For example, using a grid to organize the elements of a page.

When imported into the US, Swiss design or

what became known as International Style took a different turn as

graphic designers adapted it for American corporate branding.

By the 1960s, the style was the ubiquitous face of big biz.

On the other hand, the 60s were also a time when ecstatic new forms were

introduced by those with a passion to communicate counter-cultural and

spiritual messages.

Compared to the slick, refined, purebred Swiss design, this design

was more like a shaggy, rainbow hued mutt, expressive and brimming with personality.

There were bright-hued, trippy psychedelic posters.

There were sophisticated designs using graphic languages from the past.

And there were exuberant flyers and

posters created with imagery appropriated from the culture at hand.

Those with the passion to communicate used graphic design

to take on the social and political issues of the time.

This period was hard evidence that design always reacts to

the culture of its time, giving it a face and a voice.

To help illustrate this, we'll focus on the work and

the ideas of four very different directions from the period.

[MUSIC]

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