Design Grade 11 Learner's Guide 10506r

GRADE11

SAMPLE COPY

© Future Managers 2012 All rights reserved. No part of this book may be reproduced in any form, electronic, mechanical, photocopying, or otherwise, without prior permission of the copyright owner. To copy any part of this publication, you may DALRO for information and copyright clearance. Any unauthorised copying could lead to civil liability and/or criminal sanctions.

Telephone: 086 12 DALRO (from within South Africa); +27 (0)11 712-8000 Telefax: +27 (0)11 403-9094 Postal Address: P O Box 31627, Braamfontein, 2017, South Africa www.dalro.co.za

ISBN 978-1-920540-38-8 First published 2012 Every effort has been made to trace the copyright holders. In the event of unintentional omissions or errors, any information that would enable the publisher to make the proper arrangements will be appreciated.

Please note that this is a sample draft copy and may still undergo minor changes.

FutureManagers Published by Future Managers (Pty) Ltd PO Box 13194, Mowbray, 7705 Tel (021) 462 3572 Fax (021) 462 3681 E-mail: [email protected] Website: www.futuremanagers.net

CONTENTS Design and style timeline of the 20th century

Page 2 - 3

MODULE 1 Time line 8 - 9

1. Theory: 1

a. Introducing the history of type 11 b. Ancient societies and the birth of the alphabet i. Mesopotamian civilisation 14 ii. Egyptian civilisation 18 iii. Ancient Chinese civilisation 24 iv. Greek and Roman alphabet 28 v. The Middle Ages 32 c. Industries and new technology 35 d. 1960s – first digital typeface 39 e. 1980s – 1990s: type becomes an integrated design element 39 f. The Bauhaus 43 g. Universal Design 45 h. Wars, revolutions and propaganda 50 i. WWI and WWII propaganda 53 ii. Russia and China 56 iii. Cuban Revolution 59 iv. South Africa 62 i. The basics of Typography as we know it today 64 j. Helvetica 70

2. Design in a business context: 1 74 - 83 3. Practical Projects: 1 84 - 115 a. Section one: 2D i. Project 2 – Type is everywhere 88 ii. Project 3 89 iii. Using type as image 94 iv. Project 4 97 v. Project 5 101 b. Section two: 3D i. Project 6 – The found or readymade alphabet 103 ii. Project 7 – Let’s get personal 107 iii. A cardboard building technique 109 iv. Project 8 – 3D type-furniture that “SPEAKS OUT”. 113

4. Drawing programme: 1 116 - 126

///// I

DESIGNGRADE11

MODULE 2 Page

Time line 130 - 131

1. Theory: 2

a. Industrial Revolution 134 i. Part one: 1730 - 1840 136 ii. Part two: 1860 – 1914 139 b. The Arts and Crafts movement 1860 - 1900 139 i. Overview 140 – 144 c. Art Nouveau 1890 – 1905 145 i. Influences 146 ii. Characteristics 148 iii. Discussion of examples 155 - 161 iv. Wiener Werkstätte 1897 – 1932 161 d. The Bauhaus 1919 – 1933 165 i. Influences 168 ii. Characteristics 169 iii. Discussion of examples 170 – 177 iv. What importance does the Bauhaus have today? 178 e. Art Deco 1925 – 1939 179 i. Influences 180 ii. Characteristics 185 iii. Discussion of examples 189 - 192 f. Glossary 196 - 197 g. Explanation of 20th Century Art styles 198 h. Web links 199

2. Design in a business context: 2 200 - 217 3. Practical projects: 2

218 - 257

a. Section one: 2D i. Arts & Crafts movement 219 ii. Project 12 221 iii. Art Nouveau 222 iv. Project 13 223 v. Bauhaus 228 vi. Project 14 230 vii. Art Deco 233 viii. Project 15 235 b. Section two: 3D – building diorama/miniature period room 238 i. Project 16 239 ii. Project 17 249

4. Drawing programme: 2 258 - 266 II /////

MODULE 3

Page

Time line 270 - 271

1. Theory: 3 a. De Stijl 1917-1931 (Holland) 273 i. Influences 276 ii. Characteristics 278 iii. Discussion of examples 280 - 282 b. Modernism 1932 – 1955 283 i. Influences 288 ii. Characteristics 290 iii. Discussion of examples 299 - 301 c. Scandinavian Design 1950 - the present 304 i. Influences 305 ii. Characteristics 307 iii. Discussion of examples 313 - 315 d. Glossary 317 e. Web links 319

2. Design in a business context: 3 320 - 325 3. Practical projects: 3



326 - 355

a. Section one: 2D i. Modernism 327 ii. Scandinavian Design and its impact today 331 iii. Project 6 333 iv. De Stijl and its legacy 339 v. Late Modernism, moving towards Port-modernism 341 vi. Project 7 341 b. Section two: 3D – cardboard houses 342 i. Project 8 343 - 351

4. Drawing programme: 3 356 - 376

MODULE 4





Time line 380 - 381

1. Theory: 4

Introduction 383 a. What is Popular Culture and how does it relate to Generation Y? 384 b. International Popular Culture 391 c. Subcultures vs Popular Culture 393 d. Revival and Retro trends 394 e. Popular Culture from History i. Glamour, Jazz, Hollywood and the Bauhaus 395 ii. Roaring twenties 396 iii. Pop Art – 1950s 400 ///// III

DESIGNGRADE11

iv. Op Art – 1960s 401 v. Space race – first moon walk 402 vi. Hippies of the 60s 403 vii. 1970s – Alternative ideas and Street Culture 404 viii. Start of global awareness of environmental issues 404 ix. Youth culture, disco and punk 405 x. 1980s, fashion, music and Hip Hop 406 xi. AIDS awareness became a global focus 406 xii. From Popular Culture to environmental concerns 409 xiii. Victor Papanek: The Founder of responsible design 410 xiv. Julie Bargmann: How can DIRT change the planet? 413 xv. Blue Marmalade & Animal Farm: How to make cool products responsibly 417 xvi. Adriana Bertini: Fighting AIDS through fashion 422 xvii Illustration and hand quality in South African Popular Culture 426 - 428

2. Design in a business context: 4 – revision 3. Practical projects: 4

430 - 431

432 - 473

a. Section one: 2D i. Design leaders: 434 1. David Berman 434 2. Victor Papanek 435 ii. Project 2 440 iii. Project 3 441 b. Section two: 3D i. Project 4 448 ii. Project 5: Option one 454 iii. Project 6: Option two 467

4. Drawing programme: 4 474 - 483

GENERAL GLOSSARY

484 - 497

Look OUT!

This ICON is used to identify the inclusion of South African or African references OR the practical application within a local context.

IV /////

FOREWORD Your choice subject Design in Grade 10 taught you all about the basic ingredients and building blocks of the exciting world that the design industries consist of and how design is integrated in everything we do. We have acknowledged that design is usually “perceived as luxury items, for example, extravagant jewellery, clothes and expensive cars”, but together we have also discovered that design has a much bigger and more valuable role to play in the improvement of our standard of living, the economy and the planet. “The human species has always, ever since the Stone Age until the present day, expressed certain basic needs in order to survive, communicate, travel and feed, not to mention basic medical care and protection against the elements”. So, now that you have a better understanding of how design is integrated into society, it will be a lot easier for you to investigate, recognise, communicate and understand the historical context that influenced trends and even the design products, environments, systems and processes we use and see today. Once you can grasp a more holistic understanding of all the influences, characteristics or even trend indicators of a specific time/era, and learn more about how creative thinking can be used today to design a more sustainable world, you will realise that the world of design is one of the most fascinating and rewarding industries. So we are still sticking to our guns – “No culture or country can just exist without even the very basics that the Creative Industries provide. Design is therefore not a luxury but rather a necessity that reacts on basic human needs.” – Design Grade 10 In your Grade 11 year we are certainly going to

push the issue even further and not only teach you about the history of Design, but we have also incorporated a more holistic approach by teaching each movement within a more worldly context. This approach is more inclusive and clearly highlights unsustainable decisions that were influenced by that time’s hype of new technology, and the rise of different social and political movements. This of course also reveals the rise of consumerism. Using the history of Design as a valuable vehicle to learn from the past and to inform the present, we see that the importance and added value of integrating design thinking across industries have never been this evident. Today the role of the designer has changed dramatically and it is not good enough to design yet another luxury item for an exclusive few. Yes, the new age creative thinker/innovator/entrepreneur has to develop into a much more responsible and informed citizen that embraces change and takes on a more responsible role. It is for us to learn how to mobilise our creative skills in a variety of sectors so that we can develop more sustainable cities, communities, environments and economies for a more prosperous tomorrow. We call this looking after the triple bottom line. (People, planet, economy) We trust that you are ready to take on another exciting journey with us. South Africa will always be a land of great possibilities. Let us give you the tools through creativity to build a better South Africa for all.

May your Grade 11 year be everything you design it to be.

The Authors

Design and Style Timeline of the 20th Century 1921

Aesthetic Movement

1930

Constructivism 1932

Art Nouveau 1925

Arts and Crafts Movement 1919

Victorian Design 1917

Industrial Revolution

1880 1900 1901

1890

Streamlining

1905

Art Deco

Bauhaus

De Stijl

WW1 Start WW1 End 1914 1918

1931 1933

1910

Arts and Crafts

Art Nouveau

De Stijl

Bauhaus

1870 - 1900 United Kingdom

1860 - 1900 United Kingdom

1890 - 1905 Europe

1917 - 1931 Holland

1919 - 1933

(furniture designer and architect)

Christopher Dresser (product designer, textile designer and theorist)

Charles Lock Eastgate (artist, gallery director)

Bruce J Talbert (furniture designer and architect)

Aesthetic Icon

Christopher Dresser, 1880, Teapot

Style key words: Decorative; organic; romantic; whiplash lines; flat shapes; feminine quality; stylisation. Designers: Antoni Gaudi

Style influences: Machine aesthetic; Cubism; Constructivism; work of Piet Mondrian; Schoenmaekers; Modern architecture. Style key words: Abstract; geometric; smooth; no individualism; honour machine; straight lines; primary colours; logical; ordered.

(architect)

Designers: William Morris (textiles, artist, furniture design, book design, typography, visual communication, surface design)

Victor Horta (architect & interior designer)

Gustav Klimt (artist & illustrator)

Louis Tiffiny (product design)

Phillip Webb

Aubrey Beardsley

(architect)

(illustrator)

John Henry Dearle

Alphonse Mucha

(surface design)

(artist & communication design)

Charles Voysey (architect & textile designer)

Gustav Stickley (furniture designer & publisher)

Designers: Gerrit Rietveld

Style influences: Cubism (1907-1924); Constructivism (1915-1940’s); De Stijl (1917-1931); WW1; Industrial materials and processes. Style key words: Simplified; geometric; ‘Form follows function’; truth to materials; unadorned. Designers: Walter Gropius

William Morris, 1870’s Sideboard

Marcel Breuer

Bart van der Leck

(furniture designer)

(artist, designer, ceramicist)

Gunta Stölzl

Vilmos Huszár

(textile designer)

(graphic designer)

Marianne Brandt

d au

i

Rudolf Baschant (graphic design)

Wilhelm Wagenfeldt (product design)

(architect; textile & product designer)

Mariano Fortuny

Antoni Gaudi, 1905, Casa Batllo,

rris

(product designer)

Charles Rennie Mackintosh

Art Nouveau Icon

Mo

(architect)

(architect, designer)

(Fashion)

Arts & Craft Icon

iG

t

Designers: Edward William Godwin

Style key words: Organic; hand crafted; minimum adornment; truth to materials; nature inspired.

Style influences: Japanese prints; Arts & Craft; Aestheticism; nature; Symbolism.

An to n

Style key words: New materials; simplified shapes:mass production, pre-fabrication, Japonism.

Style influences: Social and environmental decline in Britain due to industrialisation; reacted against bad quality of most Victorian design; and the Gothic guild system.

Ge rr i

Style influences: Industrial materials;technology;in dustrialisation; international and exotic travel; production and process developments; reaction to decline in quality of Victorian produced goods; Oscar Wilde.

m

Wi lli

a

Aesthetic Movement

WWII Start 1939

De Stijl Icon Gerrit Rietveld, 1918, Red & Blue Chair

Bauhaus Icon Joost Schmidt, 1923, Exhibition Poster

eld e tv Ri

1965

Modernism 1960 1958

1978

Optical Art

Postmodernism 1988

Space Design

Deconstructivism

Pop Art

1950

Scandinavian Modern

1999

WWII End 1945

1955

1950

1969

1972 1973

1970

Re ne ue liq La

Modernism

1925 - 1939 , EUR, America

1932 - 1955 International

1950 Finland, Sweden, Denmark

1958 - 1972 United Kingdom, America

1965 - 1973 Europe, America

Style influences: Cubism; Bauhaus; New materials; Surrealism (1924-1930’s); Abstract Expressionism (1940-1960’s).

Style influences: Modernism; Bauhaus; machine; new technology and new materials; climate.

Style influences: Reaction to abstract painting and high art; everyday life; mass production; the factory setting; use of new materials (plastics).

Style influences: Movement; abstract expressionism; optics; colour theory; 1960’s advertising and interior design.

Style influences: Fauvism (1904–1908); Cubism (1907-1924); Futurism (1909–1916); Constructivism (1915-1940’s); Ancient cultures; Ballet Russe; travel.

Mi es ohe er R nd va

Style key words: Stylised; geometric; decorative; eclectic; glamorous; exotic. Designers: Cassandre (visual communication)

Madeleine Vionnet (fashion designer)

Donald Deskey Ro

Optical Art

Art Deco

Style key words: Formal; ‘Less is more’; grid like buildings; geometric; mass production; skeletal building method; tear drop forms; unadorned. Designers: Marion Mahler (textile designer)

Ray & Charles Eames

stein ten ich yL

(furniture designer and textile)

(furniture designers, textile designers, artists and film makers)

Violetta James

Roberto Grippa

(surface designer)

(textile designer)

Clarice Cliff

Lucienne Day

(ceramics)

(textile designer)

William van Alen

Eero Saarinen

(architect)

(furniture design and architect)

Raoul Dufy (artist and textile designer)

Mies van der Rohe

Gabrielle Chanel

(architect)

(fashion designer)

Le Corbusier (Architect & furniture designer)

Pop Art

Scandinavian

Style key words: Simple; elegant; graceful; affordable; functional; neutral or bright colours; abstract/stylised; clean lines; organic; minimalistic; unpretentious. Designers: Alvar Aalto

Style key words: Bold; stylised; low art; metalanguage; everyday object reference; bright colours; repetition. Designers: Roy Lichtenstein

Style key words: Geometric; graphic; limited colour pallets; black and white renderings; optical illusions. Designers: Bridget Riley

Andy Warhol

(artist, set design - her work was translated into graphic and interior designs)

(artist; film and textile design)

Victor Vasarely (artist)

(furniture designer)

Jasper Jones

Larry Poons

Arne Jacobsen

(artist)

(artist)

(furniture designer and architect)

Verner Panton

(visual communication)

(furniture designer)

Verner Panton

Stig Lindberg

(product designer and architect)

(ceramic designer)

Maija Isola (textile designer)

Anders Beckman (visual communication)

Robert Rauschenberg (artist)

Richard Hamilton (artist)

Companies: Volvo, Ikea, Saab, Electrolux, Bang & Olufsen, Marimekko, Lego

Br i et R idg ley

Art Deco Icon Rene Lalique, 1930’s, L’Oiseau de Feu

Modernist Icon

Mies van der Rohe, 1929, Barcelona Chair

Scandinavian Icon Arne Jacobsen, 1955, The Butterfly Chair

Pop Art Icon Roy Lichtenstein, 1965, M...Maybe

Optical Art Icon Bridget Riley, 1963, Blaze 1

THEORY BUSINESS CONTEXT PRACTICAL DRAWING

DESIGNGRADE11

CONTENT THEORY: 1 Time line

8 - 9

INTRODUCING THE HISTORY OF TYPE

11

ANCIENT SOCIETIES AND THE BIRTH OF THE ALPHABET

• • • • •

Mesopotamian civilisation Egyptian civilisation Ancient Chinese civilisation Greek and Roman alphabet The Middle Ages





INDUSTRIES AND NEW TECHNOLOGY









14 18 24 28 32

35

1960s – FIRST DIGITAL TYPEFACE 39 1980s – 1990s: TYPE BECOMES AN INTEGRATED DESIGN ELEMENT 39

THE BAUHAUS 43 UNIVERSAL DESIGN 45 WARS, REVOLUTIONS AND PROPAGANDA 50 • • • •

WWI and WWII propaganda Russia and China Cuban Revolution South Africa













53 56 59 62

THE BASICS OF TYPOGRAPHY AS WE KNOW IT TODAY 64 HELVETICA 70

Visual Communication, Typography & Propaganda 80 The Colosseum is completed in Rome

c. 1500 BCE Oldest example of European wool textile

Technology & New Materials

c. 507 BCE Greeks establish Democracy

World Events 743 BCE Mythological founding of Rome

Social Impact

221 BCE Start of Chinese Imperial Period

3150 BCE c. 3000 BCE

476 Fall of Rome and Empire

44 BCE Gaius Julius Caesar dies

0 c. 800 BCE

c. 2100 BCE

c. 600

27 BCE

Roman Republic & Empire

Ancient Egyptian Civilization 332 BCE

476

Dynastic Mesopotamian Civilization 331 BCE

Ancient Greek Civilization 27 BCE

Ancient Chinese Civilization 221 BCE

Ancient Rome 118 - 125 The Pantheon Rome

Ancient Communication c. 1780 BCE Code of Hammurabi Basalt Stele

Ancient China

Development of Chinese Characters

Islamic Calligraphy Mosaic Tile Design

Ancient Greece Early Greek Writing

Ancient Egypt Weighing of the Heart Manuscript

Timeline Module 1 1440 Johannes Guttenburg invents Printing Press

1981 IBM produces first personal computer 1901 British Queen Victoria Dies

1822 Rosetta Stone translated 1798 French Revolution

c. 1750’s

1959 End of Cuban Revolution

1917 Russian Revolution

1798

1914

1939

1919

1968

today Islamic Calligraphy & Manuscripts Bauhaus

Industrialization & Victorian Era 1901

1933

WWI 1918

Digital Typography

WWII 1945

Revolution: Images & Propaganda

Revolutionary Images Ministry of Interior Building Surface image of Che Cuba

Victorian Mass Communication Poster, Huyler’s Cocoa

Digital Age & Beyond 1980’S April Greiman Snow White... Poster

Revolutionary Images Revolutionary Images

1985, History Archive Collection Troops out of Townships South Africa

Russian Poster Vladimir Lenin and ers

Digital Age & Beyond Brody, Bounce for Nike, USA

MODULE1

MODULE1THEORY

INTRODUCTION Introducing the history of type How do visual elements and typography relate to communication and communication design? Our world is filled with visual elements – all around us there are posters, ments, blogs, e-mails, magazines, billboards and many more. There is so much information around us that we often don’t really take note of the information, but rather just scan over it. This is because it has become impossible to process all the information we see on a daily basis. For a good designer it is important to open your eyes and really look at the world around you because every design decision, every image and every piece of text has been constructed to communicate a specific message. The purpose of the message may be to inform you; get your attention to buy a product or use a service, or to a campaign. Designers, who are using appropriate visual elements such as images and text, successfully manipulate various design elements and design principles to create successful “messages”.

BEATRICEWARD (AMERICAN TYPOGRAPHER) said: “Good typography is like a crystal wine glass, thin as a bubble and just as transparent, its purpose to reveal rather than hide the beautiful thing it is meant to contain. Good graphic design and typography should help people communicate with all the clarity an idea deserves”.

“ ///// 11

DESIGNGRADE11

The following section will look at the history and development of typography and how design can be used to communicate specific ideas and how the message of a design can even be altered through a different choice of imagery and typography.

?

DIDYOUKNOW Design is to formulate a plan for; to plan out in

systematic, usually graphic form; to create or contrive for a particular purpose or effect; to create or execute in an artistic or highly skilled manner; to visually communicate; to produce products, systems, services or environments that impact on our daily lives.

Let’s have a closer look at the history of typography from its earliest beginnings Typography, as a discipline and an art form, is one of the oldest design activities and can be traced back to the Sumerian people of Mesopotamia in 3200BC! Today we adapt the way in which messages are communicated through the choice of appropriate typeface, alignment and typographic alterations such as kerning and leading. Our modern-day understanding of typefaces and the role they play in the construction of a design is staggering but where did it all begin? How did we develop from pictures on rocks and in clay, to the vast number of alphabets and typefaces available today?

“Germs of writing obviously have to be searched for in drawings, a basic medium to record and spread ideas by visual means before the invention of writing.” ZDENOKOLESAR

“

The history of human communication can be traced back before the development of an alphabet and writing, as we know it. Some of the earliest human markings are over 200 000 year old but most of the markings we study today are found in Africa and Europe and date back to the Palaeolithic and Neolithic periods (35 000BC – 4000BC). The Palaeolithic period refers to the people and culture which developed during the Old Stone Age. The Old Stone Age is characterised by the production of early examples of formed stone tools such as arrowheads. The Mesolithic period followed the Palaeolithic period and finally the Neolithic period. It is during the Neolithic period, starting about 10 000 years ago, that we began farming and settling. Other key events during the Neolithic period were the domestication of animals and the development of various artistic practices like weaving, pottery and painting. One example of these early markings can be found in the Franco-Cantabrian triangle, which spans a large area of Spain and . In the famous caves of Lascaux (found in the French part of the Franco-Cantabian triangle) there are almost 2000 figures painted on the walls including humans, bulls, bison, horses and other animals. Besides the human and animal figures there are also intricate geometric patterns. These images were painted on the wall using fingers, reeds and hair as brushes, and using various natural pigments such as charcoal extracted from fires and oxides from iron, while some images were carved into the walls. In the earlier paintings the surfaces of the caves were just a blank background but in later works the physical bumps and curves of the wall surface were considered and integrated into the paintings.

12 /////

MODULE1THEORY

Lascaux a + b: Various wild animals are depicted on the walls of the Lascaux caves in rich reds, browns and black.

Lascaux c: dramatic large spaces decorated with hundreds of figures and animals, such as the "Hall of Bulls" in Lascaux, gives modern society a glimpse back into time when cave drawings were the only method of visual communication.

In the famed Hall of Bulls the four most imposing bulls are painted with a black outline. Around the main bulls are a vast number of slightly smaller bulls and horses painted in such a way that they appear to be running along the side of the wall. The purpose of early cave painting is still under debate as scientist and *archaeologists try to figure out what these images meant to people at the time. Many believe that the paintings were part of a “magical” rite to gain power over certain animals to ensure a good hunt but others believe that these paintings were a teaching aid to help younger of the community to prepare for the hunt. Although we still can’t say for sure what prehistoric man’s intention was with these paintings, it represents the first steps toward developing a standard alphabet.

*

An archaeologist is a person who studies the history of human life and culture by looking at the ancient artefacts, like pottery, tools and painting, and other material evidence.

///// 13

DESIGNGRADE11

In South Africa In South Africa we also have a great number of examples of cave paintings. One region which has fascinated archaeologists and historians alike, is the San rock paintings in the Drakensberg region of South Africa. In this region erosion and hundreds of years of weathering has led to the formation of caves throughout the area. Until the end of the 19th century the San people lived and hunted in this area and found shelter in the caves of the Drakensberg. The San people left behind one of the largest collections of rock art in Africa, more than 35 000 individual works of art, some dating almost as far back as 2 500 years. The main subject matters of the San rock paintings are animals, humans and various other objects. Eland is one of the most prominent animals featured. The animals and humans are represented in shades of red, orange and brown along with black and white. Most of the animal and human figures are painted in only one colour but the eland is often painted using two or more colours – this, together with the number of eland painted, indicates that the eland was a very special animal to the San people. The San medicine man, or “shaman”, was also very important in San culture and many believe that their rock art depicted, among other things, the travels of medicine men between this world and the spiritual world.

What is left today? Unfortunately the San rock art of the Drakensberg and the paintings found in the Lascaux caves face common problems. Our fascination with these works of art has meant that thousands of people visit these sites. In Lascaux the lighting, air-conditioning and large numbers of visitors have caused mould and fungi to spread over the walls and in the Drakensberg many pieces have been destroyed by uninformed visitors. Whether in South Africa, India, Russia or Europe, rock art is an important link between many other generations from the past and us. Early man felt the same need to communicate and to visually express ideas, rituals and history in the same way we e-mail and text-message one another and write history books. Our communication today often contains words that represent our ideas and thoughts but our forefathers used images taken from their environment and belief systems.

Ancient societies and the birth of the alphabet So when did pictures become letters and when was what we know today as the alphabet, created? The development of the alphabet as we know it today has been a slow process influenced by different cultures and people along the way. The beginning of this journey starts in Mesopotamia, where one of the first human civilisations could be found. Attention should also be paid to the early writing systems in Egypt and China. If you look closely at these three early civilisations you will see how man’s desire to communicate and document information and events led to the creation of basic writing systems.

Mesopotamian civilisation Ancient Mesopotamia is where Iraq is today, between the Tigris and Euphrates rivers, which flow into the Persian Gulf. Although the Near East is mostly semi-desert, the area between the two rivers was fertile and nomadic people began to settle in the *alluvial strip of land. The climate in Mesopotamia was extreme with very hot summers, often with droughts. People living in this region had to fight for survival and they realised that nature was incredibly powerful and that they had to work together to survive. As a result numerous cities developed where people farmed, worked and lived as a community and thus a social order developed as a very natural next step.

* 14 /////

Alluvial: a layer of clay, silt and possibly sand left by the flooding of a river valley leaving behind very fertile soil.

MODULE1THEORY

Mesopotamian map: The early Mesopotamian civilisation developed between the Tigris and Euphrates rivers. The city of Ur was one of the largest city-states in the Sumerian region.

At first small communities developed with little regard for one another. This was mainly due to each individual community’s focus on survival. As time went by and these communities developed into larger city-states, competition for power and land became fierce. The height of the Mesopotamian civilisation occurred between 3000 – 331 BC. Because the region was vulnerable to attack, small isolated communities developed. These communities would often attack one another in order to determine who would rule next. Although we often talk about the culture of Mesopotamia, it is important to note that Mesopotamia was not one continuously unified country but saw many different eras characterised by different rulers. These eras included the Sumerian, Acadian, Babylonian, Assyrian and Neo-Babylonian periods. It is the early period in Mesopotamian history, that of the Sumerians, that shows the earliest examples of an organised writing system. By the middle of the 4th millennium BC, the Sumerian people were settled in the Mesopotamian region. The effect of nature and changing climate conditions influenced not only the physical life of Mesopotamians but also their spiritual life. Various nature gods formed part of the earlyMesopotamian culture; these were headed up by Anu, the supreme god. Religion dominated Sumerian life and at the centre of religious life in a city-state was the temple, or ziggurat, dedicated to the city-state’s patron god or goddess. At the temple priests would have to calculate and document who supplied what foodstuff, how much food was in storage, amounts traded with other city-states, etc. This istrative task became more and more of a burden as the city-states grew and there developed a need to be able to document activities and label food supplies. In the Sumerian city of Uruk, temple priests had to find a physical way to represent their language. The first *pictographic tablet from Uruk dates back to c.3100 BC. On this basic tablet information is represented in a more simplified manner and is organised into quadrants on the tablet. Early pictographic communication systems were based on simplifying pictures into signs by dragging a writing tool, often a reed or stick (stylus) through the base of the wet clay tablet.

*

Pictograph: an element in a writing system that uses representational pictures which are often simplified.

///// 15

DESIGNGRADE11

This pictographic tablet from Uruk contains some of the oldest written symbols.

As the community in Uruk developed, so did their method of representing ideas and objects through *pictographs, which led to the development of the Mesopotamian writing system known as cuneiform. As you can see on the cuneiform tablet below, the individual symbols have become more abstract and simplified. This meant that symbols could be “written” more quickly. Just think to yourself, how long would it take you to write a sentence if you have to draw a picture for each word? Although cuneiform was much easier than drawing pictures for each word, it was by no means an easy system to master. During the Sumerian period there were literally hundreds of cuneiform letters. Even when the Acadians simplified the system to only 560 individual characters, only a few people were able to master the art of writing. Because writing was so difficult, and because very few people could do it, the act of writing was considered magical by the Mesopotamians. As the civilisation developed through the ages and new kings and rulers appeared, the cuneiform system continued to develop. Notice the change in form from the early cuneiform examples, such as those from Sumeria, and the later examples. (See page 17.)

Creating a cuneiform To create a cuneiform letter they took a split reed, which formed a V-shape, and pressed it into wet clay to create the characters. In later eras cuneiform was also carved out of stone – a much more durable material than clay. Once such example is the Code of Hammurabi. Hammurabi was a king who ruled from 1795BC to 1750BC. He conquered most of Mesopotamia and was the greatest king of the Babylonian era. Hammurabi left us many wonderful artefacts but it is the laws he created and had inscribed on a *basalt stele that he is mostly ed for, even today. The Code of Hammurabi contains 282 laws that all the people in Mesopotamia had to adhere to. At the very top there is a picture in the stone, which depicts Hammurabi and the sun god Shamash who told Hammurabi to write down the laws. After the death of King Hammurabi, Mesopotamia broke into smaller city-states again and the glory of the Babylonian era disappeared. Even though this early civilisation finally fell into the hands of invaders, it left us many wonderful objects and the earliest examples of writing. Not too far away from this region between the two rivers, another early civilisation was developing with its own writing system – the Egyptian civilisation.

* 16 /////

Cuneiform Tablet: Cuneiform is the name given to the early writing style which developed in Mesopotamia. This tablet clearly shows how the wedge-like shapes of cuneiform symbols pressed into the clay form horizontal bands.

Basalt Stele is a fine-grained dark rock that has been exposed to high temperatures – most common volcanic rock usually formed from solidified magma.

MODULE1THEORY

This table shows the development of cuneiform writing from the early Sumerian period to the Late Babylonian period. One can clearly see the process of simplification of letterforms.

Code of Hammurabi: Hammurabi was a King who ruled Mesopotamia between 1795BC and 1750BC. This basalt stele is one of the few Mesopotamia artefacts from this period.

Code of Hammurabi text detail The cuneiform text which is found on the main body contains 282 laws noted down by Hammurabi for the Mesopotamian people.

///// 17

DESIGNGRADE11

Egyptian civilisation The Egyptian civilisation dates from c. 3150 – 322 BC. Although there were many different wandering tribes who started settling along the Nile from about 5000 BC we classify the start of the Egyptian civilisation as c. 3150 BC because this is when King Namer unified Egypt under one rule and a single cultural establishment. The unification of Egypt under King Namer resulted in a stable government system integrated with the religion of the kings. King Namer became the first king to wear the “double crown” of Egypt, called “pshent” in Ancient Egyptian. Before unification Egypt was divided into Upper Egypt and Lower Egypt. The symbol of Upper Egypt was the lotus flower and the symbol of power was the white crown. In Lower Egypt the red crown was the symbol of power and the papyrus plant represented the region. King Namer combined the two crowns into one, which became a visual symbol of a new unified region under the total control of the king, called the Pharaoh, who wore it.

Alphabet Evolution: The Egyptian writing system, hieroglyphics, was based in the pictographic representation of elements in the real world. Throughout the next 2000 years various systems would influence the evolution of writing, changing the way the symbols look and how they are used.

18 /////

Code of Hammurabi - top detail: At the top of the stele is a beautifully carved image of King Hammurabi and the god Shamash.

Ancient Egypt and Mesopotamia were similar in a number of ways. Both civilisations had developed around a life-giving river – in Mesopotamia this was the Tigris and Euphrates rivers and in Egypt the mighty Nile. These rivers allowed early man to move away from their nomadic hunter tendencies to more settled lifestyles. Due to the development of irrigation systems it was possible to agricultural development and have livestock. The climates of the regions were also similar and both civilisations faced the same challenges with harsh changing climates and the fear of drought and food shortages, which desert regions bring. One of the main differences between Egypt and Mesopotamia was how the social structure of these early civilisations developed. In Mesopotamia the guarded city-states were mostly self-ruled and often declared war against one another. The various rulers and eras of the Mesopotamian civilisation reflect the unstable social structure and competitive nature of city-state inhabitants. In Egypt civilisation developed under one ruler. The rule of a single person gave Egypt a more stable social foundation and instead of fighting amongst one another like the Mesopotamians, the Egyptians focused on developing a single army and their crafts, science, building techniques and agriculture.

MODULE1THEORY

Religion Another similarity between the civilisations which developed in Mesopotamia and Egypt, was the role religion played in their daily lives. In Egypt religion dominated society. The gods and goddesses from Egypt were grounded in nature. Ra was the main god of Egypt and represented the sun while Amun was the supreme Egyptian state god (often they were worshipped through a single god, AmunRa). The sun, which left the sky every day only to return again the next, represented the concept of continuity and rebirth – they believed that the sun was reborn every day. Egyptians also believed that when someone died they went from this life to the next – the afterlife. The life in the afterlife was believed to be a continuation of the life that was experienced on earth. What they did while they were alive affected their chances of getting to the afterlife so prayer and sacrifices to Ra and the other gods were very important in ancient Egypt. The gods often had a human and animal form or would be part animal and part human. Each town or village in Egypt respected and believed in all the main gods but had specific gods which were important to them. These gods were seen as protectors of the town or village and they would have temples and priests dedicated to them. To make sure that nothing bad could happen, like crop failures or illness, it was very important to make sure the gods were happy. Besides Amun-Ra, other important Egyptian gods included Anubis, protector of the tombs and overseer of mummifications who took the form of a jackal, and Horus, the falcon-headed god who was god of the sky and protector of the pharaoh. The pharaoh of Egypt was also worshipped as a god, which means that the royal families had tremendous power over the people of Egypt.

The *hereditary line of Egypt’s leaders There were many different pharaohs during the long history of Egypt – usually a son would become pharaoh after his father’s death, thus establishing a hereditary line of rulers was vital. Although this is how it usually worked there were also a number of famous female kings (in ancient times even if the rulers of Egypt were female they would still be called a king). Female pharaohs like Hatshepsut and Cleopatra, the last Egyptian pharaoh, made a tremendous impact as leaders of this powerful ancient civilisation. Hundreds of pharaohs ruled Egypt before Greeks and Romans finally conquered it. The period of rule of a single family in ancient Egypt is called a dynasty and the history of Egypt is often described in relation to these dynasties.

?

DIDYOUKNOW that Cleopatra’s family was Greek not Egyptian? She was the last Pharaoh of Egypt and after her suicide Egypt became an official Roman state.

Cleopatra VII as she may have looked during her reign. This bust clearly shows the difference in appearance between what Cleopatra really looked like and the Hollywood version, which has captured the imagination of people across the globe.

*

Hereditary line: A series of rulers or kings where the crown is inherited as a birthright by a suitable, usually male heir.

///// 19

DESIGNGRADE11

Elizabeth Taylor played Cleopatra in the movie adaption of her life, which was released in 1 July 1963 and won four Oscars.

The poster for the 1963 Cleopatra movie. The poster includes angular typography, which reminds one of the early Mesopotamian and Egyptian scripts, and an illustration, which depicts the lead characters: Cleopatra, Marc Anthony and Julius Caesar.

There are 30 dynasties if you exclude the rule of Cleopatra. To make it easier to research and document events and achievements in Ancient Egypt the various dynasties are divided into “kingdoms” and the intermediate periods between them. These kingdoms were not places as we know them today, for example the Kingdom of Swaziland, but rather periods of time. There is still a debate between historians as to the exact dates of Egyptian kingdoms and phases. With new research helping us understand more about Egyptian history we constantly have to re-evaluate what we thought was fact. One way of dividing the history of Egypt into kingdoms and intermediate periods is depicted below:

Dates Kingdom/Period

20 /////

5550 BC – 3050 BC

Predynastic Period

3050 BC – 2686 BC

Early Dynastic Period

2686 BC – 2181 BC

Old Kingdom

2181 BC – 2040 BC

First Intermediate Period

2040 BC – 1782 BC

Middle Kingdom

1782 BC – 1570 BC

Second Intermediate Period

1570 BC – 1070 BC

New Kingdom

1070 BC – 525 BC

Third Intermediate Period

525 BC – 332 BC

Late Period

MODULE1THEORY

Hieroglyphics Many of the greatest Egyptian achievements happened just before and during the Old Kingdom. It was during this time that the first pyramid-like structure was built at Saqqara for King Zoser (also spelt Djoser) by this period’s great architect/engineer, Imhotep. Note that the great pyramids of Giza were also built in the same kingdom. The biggest of the three pyramids at Giza was constructed for the Pharaoh Khufu and was meant to keep his remains safe for the rest of eternity. Another incredible achievement of this phase of Egyptian civilisation was the development and use of a pictographic writing system called hieroglyphics. The pyramids were designed to keep the body of the pharaoh safe and represent his power to later generations; hieroglyphics were used to tell his life story to future generations and the gods. Unlike the Mesopotamians who developed their early pictographic writing system into a more complex, abstract system (cuneiform), Egyptian hieroglyphics stayed the same for thousands of years. The concept of a writing system is one of the many inventions and crafts which early Egyptians may have learnt through with Mesopotamians. Hieroglyphics and two-dimensional (flat) art from Egypt were created with very specific guidelines. Every picture had an outline and was simple and flat. The Egyptian style of illustrating figures and objects, stayed exactly the same for the entire history of their civilisation – a figure painted on a tomb during the 1st dynasty looked identical to a figure painted on a tomb during the 13th dynasty. In all this time there was no development in style. Only the most important elements of a picture were shown because the most important function of Egyptian images and hieroglyphics was to communicate an idea or explain a story, not to make it look realistic. When a pharaoh died, his tomb would be filled with images and writing telling his life story and listing all his achievements. This was one of the most important functions of writing in ancient Egypt and therefore the writing system had to be clear and informative. It was believed that the formal hieroglyphic system used for religious purposes, had been given to the people of Egypt by Thoth, the god of knowledge and writing who was known as the “lord of divine words”. This was called mdwt ntr (god’s words). The system consisted of approximately 800 characters during the times of the Old and Middle Kingdoms. Each “letter” was an individual drawing of something from the Egyptian’s natural world; each would have represented a specific sound and a specific meaning (although it could have had more than one meaning). The hieroglyphic system consisted only of consonants (no vowels are indicated in hieroglyphic writings). One of the earliest examples of hieroglyphic writing can be found on the Palette of King Narmer, also known as the Great Hierakonpolis Palette. The Palette of King Narmer is believed to depict the unification of Upper and Lower Egypt by Narmer and dates to c. 3100 BC – 3000BC.

Palat Narmer: One of the earliest examples of hieroglyphic writing can be found on the Palette of King Narmer, also known as the Great Hierakonpolis Palette.

///// 21

DESIGNGRADE11

“Weighing of the heart”, a page from the Book of the Dead Another example of formal hieroglyphics can be seen in the "Weighing of the heart" page drawn on papyrus. (See Weighing of the heart below.) This page comes from the Book of the Dead – a book of Egyptian funerary information which was meant to help a deceased person get to the afterlife. In the image the person’s heart is weighed against the feather of truth, an ostrich feather worn by Maat (the goddess of judgement). If the heart is lighter than the feather the person continues to the afterlife but if the heart is heavier it is eaten by Ammit (a beast which is part lion, crocodile and hippopotamus). Between the imagery you can see formal hieroglyphics – the writing is not separated from the image but is rather part of the image as a whole. Hieroglyphics were also used to create nameplates for gods and pharaohs, called cartouches. A cartouche is a series of hieroglyphs in an oval frame with a line drawn at the bottom. The line indicates which way the cartouche should be read.

“Weighing of the heart”: Formal hieroglyphics can be seen on the papyrus scroll featuring the mythological weighing of the heart ritual. This page comes from the Book of the Dead. The ritual revolves around weighing the deceased’s heart against the feather of Maat, the goddess of judgment. If the heart is lighter than the feather the person continues to the afterlife but if the heart is heavier it will be eaten by Ammit (a beast which is part lion, crocodile and hippopotamus).

Cartouche: A cartouche is the representation of Egyptian names in the hieroglyphic system. It consists of a series of hieroglyphs in an oval frame with a line drawn at the bottom to indicate direction when reading.

The Egyptian goddess Maat with her iconic symbol, an ostrich feather.

22 /////

MODULE1THEORY

Memphis was one of the great religious cities in Egypt. The mighty statue of Ramses, which has fallen over, has a cartouche carved into the shoulder area.

From Hieroglyphics to Hieratic Script Apart from its religious purpose in telling the gods the stories of the deceased, writing had a very important istrative function in ancient Egypt. Records had to be kept of food supplies, trade and other information relevant to an organised society. Formal hieroglyphics, used for religious purposes, took very long to chisel out of stone or draw on *papyrus and were not suitable for everyday writing needs. The Hieratic script (from the Greek meaning priestly) developed at about c 1500 BC and was a more simplified system, which could be used for everyday religious writing. Between c 650 – 400 BC a regional interpretation of Hieratic script called Demotic script or sekh shat was even more simplified and was used for everyday purposes and istrative documentation. The development of Egyptian writing styles into ones which were easier to use, shows us that the most important part of writing is the meaning and the ease with which you can communicate it. Hieroglyphics are however not the easiest system to understand. By the time archaeologists were uncovering examples of hieroglyphic writing we had completely lost the ability to read them. As the Hieratic and Demotic script became more popular the use of hieroglyphics became less popular until it finally disappeared. For years we believed that we would never be able to read the messages carved on ancient Egyptian tombs or painted on papyrus scrolls. Luckily for us in 1799 a black slab with hieroglyphics, Egyptian Demotic and Greek was found in Rosette. In 1822 Jean-Francois Champollion's found the key to deciphering the hieroglyphic inscriptions on the slab, which became known as the “Rosetta Stone”. Finally archaeologists and linguists could uncover the mystery of this early civilisation at the very top of Africa.

*

Papyrus: A thick paper like substance made from the inside of the papyrus plant stem.

///// 23

DESIGNGRADE11

The hieroglyphic system was very difficult to master. Writing with the system took very long. The Hieratic script (from the Greek meaning “priestly”) developed about c 1500 BC as a simplified version of hieroglyphics to make using the system easier.

Ancient Chinese civilisation

Rosetta Stone: The Rosetta Stone was key in deciphering ancient hieroglyphics. Found in 1799 the black stone contains sections of hieroglyphics, Egyptian Demotic and Greek writing. Jean-Francois Champollion used the Greek and Demotic sections to decipher the hieroglyphics found on the stone.

24 /////

In the east another ancient civilisation developed the need to communicate and record ideas. The ancient Chinese culture was quite different from the civilisation developing in Egypt and Mesopotamia. We do however use the same term used in Egyptian history to differentiate between various periods in its history, “dynasties”. Chinese dynasties reflect the rule of individuals or the sets of events, which define a specific period. The main ancient dynasties were the Shang dynasty (c. 1766 – 1050BC) and the Han dynasty (c. 206BC – 220 AD). Although the exact origin of Chinese writing methods are not know for sure, what we do know is that they developed from paintings into a pictographic writing system. It is estimated that the Chinese writing system is at least 4000 years old and in that time the system has developed from a pictographic system (with elements of *phoneticism and *rebus principles, i.e. where the image, representing a tree, looked like a tree), to a more sophisticated logographic writing system, which means that a series of symbols represent words. It is said that a Chinese gentlemen named Ts-ang Chieh in c. 1800 BC first practiced the art of calligraphy. It is from these early characters that a full writing system developed.

MODULE1THEORY

From Oracle Bone script writing to the development of Li Writing, still used in modern China today The earliest form of Chinese writing is referred to as Oracle Bone or Bone-and-Shell script and was used in the Shang dynasty. Ancient Chinese civilisation was superstitious and people often wondered about the world around them and their role in the natural world. Often, before great events or actions, ancient Chinese would consult elders who claimed to be able to see the future. As time progressed a need arose to document these sessions for future reference and symbols were developed which could be scratched into shells or animal bones. The Oracle Bone inscriptions represent a sophisticated writing system as early as 1200 BC, but the origin of this writing system is still unclear. After, Oracle Bone writing, a more developed style of writing emerged on cast bronze vessels and figures. The function of this style of writing was closely linked to religious practices and worship, as most of the vessels which feature these inscriptions, had ceremonial purposes. Although most of the bronze inscriptions were only a few words long there are a few examples of longer inscriptions.

Chinese type evolution: The diagram represents the evolution of Chinese characters through the years. Starting with Oracle Bone writing, through the simplification cycles of Big Seal and Small Seal to contemporary Chinese styles.

The writing styles, which had developed in China, were quite intricate. Each symbol could have multiple meanings and pronunciations. A Chinese official studying history was able to combine a number of the variations found in the early writing styles to develop a more unified style of writing. His new, more simplified writing system, became known as Greater Seal writing or Big Seal script and became very popular to use. The simplification of the Chinese writing style was a tremendous development, yet regional differences in the use of writing styles and language still made communication across China difficult. When emperor Ch’in Shih-Huang conquered and unified six states of China he wanted a single language and writing system. The regional differences were considered and standardised and Big Seal writing developed into Small Seal script. If you look at the examples, you can clearly see how Chinese characters evolved over time, becoming more abstract and moving away from their pictorial origin.

///// 25

DESIGNGRADE11

Although Small Seal script was already a more standardised writing style, it was still quite timeconsuming to use. Cheng Miao, a very famous Chinese calligrapher, was concerned about the amount of time and effort required to use Small Seal script for everyday purposes like the writing of istrative documents. He spent years researching the possibility of a more simplified writing style and finally developed Li Writing. The development of Li Writing represents the third main revision of the ancient Chinese writing styles and is still used in modern day China. Li Writing was not the final revision of Chinese writing systems. Block Writing and Free Writing are two more variations that are in use today. Chinese writing styles started to develop rapidly, always focusing on harmonious and beautiful letterforms. Writing was however limited by the material available. Ancient examples of writing are often found on bamboo pieces (these would often be tied together to form a book-like product). Silk was also a possible material for writing on but was very expensive. For this reason most silk writing was completed for rich patrons, such as emperors, and for religious purposes. With the invention of paper, a new and affordable material, the act of writing was changed forever.

An example of earlier type: woodblocks. Wood block on paper is one of our earliest printing techniques and existed in Korea and China in as early as the 8th and 10th centuries.

Paper, developed by T’sai Lun in approximately 105 AD, was easier and cheaper to make and offered artists and writers new opportunities to explore and experiment with form and character size. T’sai Lun’s achievement was so great that he became the “god of the papermakers”. With paper being less expensive and easier to work with, the art of calligraphy became increasingly popular. One aspect shared by all Chinese writing systems is a focus on the proportion and balance of letters. The Chinese scribes understood the need to develop a system of writing which would be easy to use but they never compromised on the visual appearance of letterforms or characters. Chinese letterforms tend to have an asymmetrical construction with a clear sense of balance – this means that the one side of the character doesn’t necessarily look the same as the other, but when you look at the character it has a sense of balance and proportion. The development of Chinese writing, much like Chinese culture, was very contained as China had little with the outside world. This isolation led to the refinement of Chinese writing styles with almost no foreign influences. But for the Phoenicians it was travelling, trade and with other civilisations that helped develop their writing style.

26 /////

MODULE1THEORY

The Phoenician alphabet From approximately 3700 years ago Semitic-speaking communities in the western Mediterranean areas of Europe came under Egyptian rule. Even though their early writing systems were influenced by Egyptian pictographs, the Semites wanted to create their own alphabet. Since the understanding of a pictographic alphabet is imbedded in the language itself, the Semitic people had to develop new meanings and symbols which made sense in their own language. North Semitic Writing is a term, which is used to describe the development of a new alphabet in this region. They based their new alphabet on Egyptian hieroglyphics and almost 90% of Semitic letterforms can be traced back to a hieroglyphic origin. But unlike the Egyptian writing system, which had hundreds of characters, the new alphabet had only twenty-two letters. Because the oldest example of this alphabet was found in Phoenicia, a region on the western side of the Mediterranean, the alphabet is referred to as the Phoenician alphabet. The characters in the Phoenician alphabet, all consonants and vowels, were only put into words to help with grammar. The letterforms are simplified with intercepting lines and visually the shapes of letterforms almost remind you of the cuneiform alphabet from Mesopotamia. Very few organic shapes and lines were used in the creation of letters.

Phoenician writing: There are similarities between early Phoenician, Egyptian hieroglyphics and Mesopotamian cuneiform but the Phoenician writing system and alphabet, because it was easier and faster to use, became the basis of all European writing styles.

The Phoenician alphabet, named after the region where the oldest examples of the alphabet were found, is based on Egyptian hieroglyphics but consists of only twenty two letters.

The Phoenician alphabet is very important because it created a link between the alphabets of ancient civilisations and our own alphabet we still use today. The main reason for this is linked to one of the defining characteristics of the Phoenician people – they were traders. Phoenician traders sailed along the Mediterranean coast, trading with communities along the way. It is their trade that brought them into with the developing Greek civilisation and in return their alphabet became a huge influence on the Greek writing system. As mentioned previously, the Phoenician alphabet is based, at least partly, on Egyptian hieroglyphics, and it is this alphabet that the Phoenicians ed on to the early Greek civilisations. The alphabet we use today was developed from the alphabet and writing systems developed by the Greek and the Romans.

*

Phoneticism: A system based on how things, like words, sound. Rebus principle: Many words, or parts of words, which sound the same are written with the same picture or sign. So if you have a picture of a bee and a leaf they could mean “bee” and “leaf” or they could be read together to form “belief”.

///// 27

DESIGNGRADE11

The Greek and Roman (Latin) alphabet The Greek alphabet, which was influenced by the Phoenician alphabet, can be traced back to approximately 1000 BC. The Greek civilisation did not however have a single method of developing their alphabet and during the early periods of Greek civilisation there were many different writing styles (called epichoric) which fell into three main categories: the archaic alphabets, the eastern alphabets and the western alphabets. In 403 BC the Athenians accepted the Ionic alphabet as the general Greek alphabet, which represents the basis of Modern Greek. The main difference between the Phoenician and Greek alphabets was the development of vowels. Traditional Phoenician consonants were used as a basis for developing vowels, for example, the vowel “i” was developed from the letter “j”. With the addition of vowels the Greek alphabet became the first alphabet in which each letter represented a different sound. The classic Greek alphabet consisted of 22 letters from the Phoenician alphabet and the 5 letters, which were converted into vowels. Each letter in the alphabet had a name – starting with alpha and ending with omega. At first the Greek letters were only written in capital letters (upper case) and it wasn’t until the Middle Ages (approximately c. 800 AD) that a lower case was developed. In the early development of the Greek alphabet a sentence or paragraph would be written from the right side to the left side with no spaces between the letters. This style of writing changed in about c. 400 BC when sentences were written from left to right (the way we read and write English today).

Early Greek writing: In this example of early Greek writing you can notice the focus on geometry and letterform simplification. This example shows the practice of boustrophedon writing – where you read in a zig-zag patter; the first sentence from left to right and the next one right to left.

During the past 2000 years the basic structure of the Greek writing system has not changed much with only minor changes to the appearance of the letters. In the early example of Greek letters (c. 600 BC) the characters had already become more stylised with a focus on geometric letter construction, using geometry to create letters which gave a sense of balance and proportion to the letters. This however also shows the practice of boustrophedon writing – where you read in a zigzag pattern; the first sentence from left to right and the next one right to left. In the other example of Greek writing (see page 29) you will notice the clear structure and focus on precision. We have very few examples of Greek documents left today because most of them were written on papyrus, which disintegrates over time. Most of the existing examples of ancient Greek writing can rather be found carved in stone or on Greek vases (pottery).

28 /////

MODULE1THEORY

Most of the examples of ancient Greek writing can be found carved in stone or on Greek vases (pottery).

The classic Greek alphabet was based on the Phoenician alphabet and each letter in the alphabet had a name – starting with alpha and ending with omega.

The Greek language, as spoken and written today, has kept most of the ancient alphabet and spelling, with most of the words in Modern Greek deriving directly from Ancient Greek. All European alphabets, ancient and modern, have been influenced by the ancient Greek and Latin alphabets. The Latin alphabet was developed from a Greek version that was used by a specific community of ancient Greeks called the Etruscans. Taken from the Etruscans and adapted about c 600 BC, the early version of the Latin alphabet had 21 letters. At this point the Italian peninsula was home to numerous communities who, when unified, were referred to as the Romans. The Roman civilisation was one of the most powerful ancient civilisations, conquering Europe as well as part of Africa and the near East. After the Roman Empire conquered ancient Greece, a number of changes were made to the Latin alphabet. One such change was the addition of two new letters to the alphabet. When the Romans conquered the Greeks the Roman alphabet did not contain the letters “Y” or “Z”, which are both essential to the Greek language. In order to add and use Greek words in Latin these letters had to be included.

///// 29

DESIGNGRADE11

The Roman Empire The Roman Empire stretched right across Europe, which required a great deal of istration and communication. As a result the Latin alphabet spread across Europe and when the Roman Empire fell in 476 AD the Latin alphabet carried on being the main writing style used in Europe, as it was the language of the Roman Church. Latin was used in so many different ways, from inscriptions in stone to Latin variations developed for handwritten alphabets applied to *parchment and papyrus. Monumental Latin writing styles were used mostly for inscriptions on stone, which celebrated the victories and greatness of Rome and her people. It is this style of writing which people today associate with the Roman Empire and the ancient Latin alphabet. This letterform style was very precise and controlled and mainly capital letters were used. Examples of monumental letterforms can be found on Roman relics and ruins everywhere in Europe. Inscriptions on the Pantheon, a Roman temple, and The Arch of Constantine are good examples of this alphabet style. The Pantheon is a round temple dedicated to all the gods of Rome, which dates back to 118 – 125 AD.

Pantheon façade : The Pantheon is an architectural triumph and a celebration of Roman concrete construction. The temple has a large round opening at the top of the central dome, which forms the main light source for the interior.

Pantheon inscription: M. AGRIPPA. L. F. COS. TERTIUM. FECIT

* 30 /////

Parchment: a creamy or yellowish material made from dried and treated sheepskin, goatskin, or other animal hide, formerly used for books and documents.

MODULE1THEORY

The inscription reads: "Marcus Agrippa, son of Lucius, having been consul three times, built it”. An important aspect of the Latin alphabet, which you can see very clearly in this example, is that the monumental alphabet style had serifs. (Go to page 67 to find out the meaning of a serif) Another example, which clearly shows the controlled and rigid nature of monumental type, is the Arch of Constantine, which was built to celebrate his victory at the Battle of Milvian. The arch was dedicated in 315 AD and is one of the last triumphant arches to be constructed in the Roman Empire.

The Arch of Constantine which was built to celebrate his victory at the Battle of Milvian

At the top of the Arch of Constantine is the following inscription in clear monumental type Latin: IMP • CAES • FL • CONSTANTINO • MAXIMO • P • F • AVGUSTO • S • P • Q • R • QVOD • INSTINCTV • DIVINITATIS • MENTIS • MAGNITVDINE • CVM • EXERCITV • SVO • TAM • DE • TYRANNO • QVAM • DE • OMNI • EIVS • FACTIONE • VNO • TEMPORE • IVSTIS • REM-PVBLICAM • VLTVS • EST • ARMIS • ARCVM • TRIVMPHIS • INSIGNEM • DICAVIT

///// 31

DESIGNGRADE11

The inscription translates as: “To the Emperor Caesar Flavius Constantinus, the greatest, pious, and blessed Augustus: because he, inspired by the divine, and by the greatness of his mind, has delivered the state from the tyrant and all of his followers at the same time, with his army and just force of arms, the Senate and People of Rome have dedicated this arch, decorated with triumphs”. Both the Parthenon and Arch of Constantine represent the formality of the monumental style of Latin inscriptions. Today Latin, in its original form, is mainly used in professions such as science and law but it forms the foundation of many European languages.

The Middle Ages After the fall of the Roman Empire, Europe entered a period known as the *Early Middle Ages. Throughout Europe the Latin alphabet remained the main writing system but the monumental serif style typeface, which was so characteristic of Rome, was replaced with handwritten typefaces. The best examples of these typefaces can be seen in the various illuminated manuscripts which were produced during this period. The term “illuminated manuscript” refers to an illustrated hand-produced book or manuscript which had gold leaf decoration added to the images or type. The gold leaf would reflect light off the page creating the impression of illumination. These manuscripts were mostly religious and were produced in monasteries. Examples of the intricate style of writing which was used during this period can be seen in examples such as the Book of Kells (produced in, what is today known as Ireland). The Book of Hours (this version of the Book of Hours was produced in Flanders for a British patron) and a page from a French copy of the Book of Hours. The characteristics of Western European illuminated manuscripts included very stiff, frontal poses of figures that often didn’t have noticeable expressions and backgrounds, which became minimized with added gold leaf to create a sense of spiritual beauty. All the text was written by hand and a single manuscript could take years to produce.

Book of Kells: This beautiful manuscript is a wonderful example of Medieval geometric patterning. Enlarged capitals and complete decorative pattern pages, know as “carpet pages” were illuminated through the application of gold leaf.

* 32 /////

The Early Middle Ages: Also know as the “Dark Ages”, this period began with the fall of the Roman Empire, c.500 – 1000 AD

MODULE1THEORY

Islamic letterforms and calligraphic styles During the Middle Ages a number of Islamic manuscripts were also produced. Early Islamic manuscripts were mostly scientific writings but later manuscripts included literary works such as poetry and historical s as well as many religious themes. The Islamic holy book, the Koran, was produced a number of times during this period. The Koran did not have any illustrations of figures instead the decorative element of the manuscript was the calligraphy used to write the text. The development of many early Islamic letterforms and calligraphic styles is a direct result of hand-produced Islamic manuscripts during this period. Islamic artists were also introduced to Chinese calligraphy and art through traders and this had an impact on the development of their style. Islamic calligraphy is truly an exercise in balance between message and appearance, and is one of the most prominent elements in Islamic art and design. Calligraphy is not bound to paper and books, but can be seen as part of building surfaces and even integrated into mosaic tiles.

Book of Hours: This perusal spiritual book was produced in Flanders for a British patron in 1420. The manuscript is produced on vellum (treated calf skin)

Islamic manuscript: This undated copy of the Koran was produced during the Middle Ages. A key characteristic of Islamic design is the use of non-figurative design elements. In this example gold clouds with vine and bud patterns create a decorative cohesion across the double page spread.

///// 33

DESIGNGRADE11

Islamic Art Tiles Friday Mosque: The non-figurative nature of Islamic design led to a strong geometric and calligraphic style. In this example calligraphy has been used to create a decorative element as part of this mosaic.

Johannes Gutenberg’s new printing press With the invention of movable type and Johannes Gutenberg’s new printing press in 1440 the European tradition of handmade books came to an abrupt end. Within only a few years the production of European books had almost completely moved to the new printing press method of production. A few European cities, like , still produced a number of handmade books but this style of production became a scarcity. The process that Guttenberg invented remained the main standard method of printing until the end of the 20th century. It is interesting to note that the concept of movable type was not new and can be traced back to China in c. 1040 AD. In China, however, this process never became more successful than hand production methods. One possible reason for this is the number of Chinese characters – with thousands of characters to produce, movable type wasn’t as beneficial and time efficient as when using Latin-based alphabets. By the 1500s there were printing presses in most Western European cities and the production of books became synonymous with the spread of knowledge and information.

34 /////

Movable metal type, and composing stick, descended from Gutenberg’s press.

Printing press from 1811, photographed in Munich, .

MODULE1THEORY

Booming of industries and new technology The birth of advertising and the need for having a competitive edge Throughout the next few centuries the development of typography would become not only an art form but also a profession. During the late 1800s and early 1900s new industries and technologies boomed in Europe and America. Because Queen Victoria ruled the United Kingdom, this period in the history of Britain is referred to as the Victorian period. As a result there was a mass production of products which needed to be sold. Competition was tough as many producers tried to undercut and outbid one another and from this the need for advertising grew. Great posters, billboards, newspaper ments and flyers were created to inform possible customers about the benefits and unique characteristics of products or services. As the amount of advertising grew, so too did the number of typefaces. Elaborate design with bold and decorative typefaces became the norm as can be noted in the posters, packaging and ments of the time. ments for fairs, circus performances and products such as cocoa, beverages and toiletries covered the walls of cities and towns in the Victorian age.

Victorian ments such as this poster for Huyler’s Cocoa used typographic elements as a frame around the central figure.

///// 35

DESIGNGRADE11

Coca-Cola was first produced for medicinal purposes. In this image Coca-Cola is described as the “The Wholesome Temperance Beverage”. Although the ment is relatively plain the decorative nature of the Coca-Cola logo forms a focal point with an arrow forming a circular border.

Bold, decorative and plain typefaces could all be found in a single poster or ment. Although this visual overload of images and typography did cause many designers to review the quality of design and move away from the Victorian style, the elaborate use of typography and the integrated combination of illustration and text used in this period has inspired many contemporary designers and styles.

Victorian poster for fair & Victorian Astleys: Victorian design is characterised by the use of multiple and decorative typefaces. Posters advertising circus acts and fairs often used a great array of typefaces within a single design.

36 /////

MODULE1THEORY

Steampunk, a modern alternative subculture, which revisits the great inventions and style of the Victorian period, focuses on using Victorian steam power technology in a futuristic or fantastical way. In graphic designs and the selection of typography, Steampunk designs are created to resemble the Victorian posters from old – in truth, the only way you can often tell whether it is an original 19 th century poster or a modern Steampunk version is to find a date!

Steampunk design is grounded in Victorian tradition. This 2010 poster for the “Victoria Steam Exposition” uses Victorian typography, traditional fashion and photographic styles fused with a technological edge, as well as decorative border and design elements.

///// 37

DESIGNGRADE11

Contemporary Victorian-inspired poster design often draws on the characteristic typography of the Victorian age; using multiple decorative typefaces, various sizes and decorative border elements.

38 /////

MODULE1THEORY

1960s - first digital typeface called DigiGrotesk The development of the printing press and movable type combined with the creation of hundreds of typefaces, established the original and highly decorative typefaces of the Victorian era. Technology played a major role in this development because the faster and better one could print, the bigger the demand for printing. During the 1960s technology again changed the way we designed and used typefaces but this time the change was revolutionary. In 1965 Rudolf Hell developed a way in which type could be used on a computer screen (what was then called a CRT, or Cathode Ray Tube). This development led to the design of the first digital typeface called DigiGrotesk in 1968, designed by Hell Design Studios. It is not possible to tell whether the early digital type designers realised how computers would change the use and design of typography.

1980s – 1990s: exploring digital design; transforming typography as integral part of conceptual design-embedded type to become an integrated design element One designer who was inspired by digital possibilities was April Greiman. From the 1980s Greiman used digital images and typography in new, and often shocking ways to explore the possibilities of digital design. Her posters and magazine designs challenged what we thought good typography should be. In posters such as Snow White and the Seven Pixels (see page 40) she used a digital style typeface which was not completely legible and merged it with images and areas of colour. The move toward using typefaces that are a conceptual part of a design became more prominent from the 1980s and 1990s. Designers used typefaces and lettering as a key component of the design and not merely as a method to show the message. It was rather the way in which they used typefaces and letterforms that became the message – transforming typography into an integrated design element, not merely an added block of text. Designers such as Neville Brody and David Carson’s work represent this move in design. (See page 41.)

///// 39

DESIGNGRADE11

This poster “Snow White + the Seven Pixels” was designed by April Greiman in 1986. The design reflects her digital inspiration.

In “Your Turn, My Turn” Greiman uses type that is slightly blurred, which seems to be out of print registration. This idea is ironic, as digital prints are not produced with printing plates.

40 /////

MODULE1THEORY

During the 80s and 90s designers such as David Carson started exploring the boundaries of typography. The focus on clean legible type was replaced with a sense of experimentation.

Neville Brody’s work has an almost chaotic style, with typographic elements and imagery manipulated and overlapped. His style is more conceptual, the way in which he uses typography relates to the message of the design.

///// 41

DESIGNGRADE11

This ment was part of a campaign designed by Brody for Nike.

Today every single person who works on a computer has the ability to change typographic elements and characteristics. From the type of font you want to use to the exact leading, kerning and line spacing. But the fact that you can alter and manipulate type on your computer doesn’t make you a typographer, or a designer for that matter. To use typography as a powerful element in design, which s the concept of the design, requires practice, experience and technique. Graphic designers and typographers are trained how to create and manipulate type to communicate exactly what they want. Whether you look at the history of the ancient Mesopotamian civilisation or the conquering Romans, man’s need to communicate and document is universal. We want to communicate with one another, gain new knowledge and leave behind a legacy. Think how strange your day would be with no writing? No information on the box of cereal, no way to know which toothpaste your using, no road signage to get you to school, no SMS’s, no e-mail and no social media. The development of a writing system allowed humans the ability to ister a newly expanding society and allowed for the collection and recording of knowledge. The development of the printing press made communication and information available to all. And since then we have invented new ways of printing and new ways of sharing information but one thing has remained the same, our alphabet. Today, if you Google search the word “alphabet” there are more than a billion results and if you searched the word “typography” over 41 million results are found. Typography in a modern sense has evolved from a basic alphabet for communication to a visual feature in our world. In modern design the selection of a typeface is based on a number of factors: is the typeface appropriate, does it visually convey the right emotion and does it the concept of the design? With thousands of fonts available the visual appearance of your text can now your message instead of merely stating it. Communication and “getting the message across” is one of the key features of design today. But, how do you manipulate and create a message that will appeal either to everyone or to just a selected few?

42 /////

MODULE1THEORY

The Bauhaus Our world has become more inclusive, which means that a design should relate, and be useful, to as many people as possible. This is not a new idea. In the early 21st century designers such as Le Corbusier, Mies van der Rohe and Herbert Bayer wanted to create designs that have no basis in culture or nationality. Their designs were meant for everyone no matter where you lived in the world – so we guess we can also refer to their designs as universal designs. They worked, along with many other prominent designers, at a school in called the Bauhaus, which was open from 1919 until 1933.

Herbert Bayer’s controversial typeface designed in the 1920s. The typeface was constructed using geometric principles and lacks any reference to culture or tradition.

Herbert Bayer, a student and later teacher at the Bauhaus, caused quite a bit of upset with his revolutionary type design in the 1920s. Bayer wanted to design a plain, clean type that could be used by anyone. He believed that the main function of a typeface was communication and that the plainer the type the better it would be able to communicate the message. Posters designed at the Bauhaus clearly show the influence of geometry on layout as well as on typography. Designs are relatively simple with limited colours and shapes and typographic elements are placed to ensure readability. The German public did however not like these ideas very much as the heavy, traditional German style designs and typefaces were popular during this period. Bayer’s revolutionary type design moved away from a design, which was grounded in German tradition to a design, which was more universal, and therefore not culture specific.

This traditional German font that was designed by Johann Friedrich in c. 1800 entitled Unger Fraktur

///// 43

DESIGNGRADE11

The Bauhaus poster, designed by Bayer, was for a Kandinsky exhibition. The poster focuses on information hierarchy (make the most important information stand out by using colour or making the letters bigger) and contains clear, legible type.

This poster was designed by Joost Schmidt for the 1923 Bauhaus exhibition in Weimar, . It was the first real exhibition of work produced at the Bauhaus. The influences of geometry and solid shapes on the layout can clearly be seen.

44 /////

MODULE1THEORY

*Universal Design The idea of deg for a global audience is also popular today. Universal Design (UD), as a framework for contemporary design, helps designers make their communication, products, services and environments suitable and accessible to as many people as possible. Universal design, also called inclusive design or barrier-free design, can be applied to objects, systems, environments and communication. A group of designers and researchers developed seven main principles of Universal Design: 1. EQUITABLE USE 2. FLEXIBILITY IN USE 3. SIMPLE AND INTUITIVE USE 4. PERCEPTIBLE INFORMATION 5. TOLERANCE FOR ERROR 6. LOW PHYSICAL EFFORT 7. SIZE AND SPACE FOR APPROACH AND USE

But what do these principles mean, and how are they applied to design? The role of the principles is to develop design solutions which take into as many different kinds of people as possible. Do you know that many left-handed people struggle with normal scissors? Can you imagine how someone in a wheelchair must feel if there are only stairs in a building, with no ramp or elevator? How do people with weaker eyesight use remote controls with tiny symbols and numbers, or frail people push open heavy doors? In design there has in the past been a tendency to design for the “normal person”, which has led to exclusionary practices in most fields of design. In recent years the practice of design has been reviewed and we are now considering many more s (people who use the design) in the design stage of products, buildings, applications, etc. •

The principles linked to Universal Design give designers a practical list of things they need to consider while they are producing a design. For example, when you look at the first principle, Equitable Use, it simply means that you should try to create the same method of use for everyone and if it simply isn’t possible, that you create an equivalent design for those who can use the other. Good examples of this are automatic doors at shopping centres, as the doors will open for everyone, whether walking or in a wheelchair.

• The second principle, Flexibility in Use, is often seen in products such as scissors especially designed to be used, with the same accuracy, by both right-handed and left-handed people. • The world we live in is often far too complex so the third principle, Simple and Intuitive Use, requires designers to remove unnecessary complexity from designs so that the design is easy to understand regardless of the person’s language, age, literacy level, etc. •

Another principle which addresses the complexity in our world is Perceptible Information, which simply means that the designer must make the most important information stand out so that the s can immediately know what they are supposed to be doing with the product or system or what it should do on it’s own.

• Principle 5 a Tolerance for Error, requires a design to be as safe as possible. Designers should consider all safety aspects of a design and make sure that any possible problem areas are addressed and that appropriate safety information is available to the .

*

Universal: Including, relating to, or affecting all within the world or affecting all of the class or group under consideration

///// 45

DESIGNGRADE11

• Opening a fridge door may be easy for you but imagine someone with two broken hands or an ailment like arthritis - the simple task of opening a door can be very challenging. Low Physical Effort, as a principle of Universal Design, takes into how much effort a must put in to use the design and tries to keep it at a minimum. • The final principle, Size and Space for Approach and Use, states that a design should allow for enough space to reach and use it regardless of the ’s body size or level of mobility. The seven principles of Universal Design are guidelines, which designers can use to review and improve their designs. It is not just products and buildings, which benefit from Universal Design, but also various communication systems. In their book Universal Principles of Design, William Lidwell, Kritina Holden and Jill Butler, describe ways in which designers can enhance the usability of their designs, how they can make them better and increase their appeal. Below are three of their design considerations relating to information and typography, which a designer can use to improve visual design and communication.

How to make typography and information more universal Information from: Lidwell, W., Holden, K. and Butler, J. 2003. Universal Principles of Design. Massachusetts: Rockport Publishing

Lidwell, Holden and Butler (2003) highlight a number of typographic considerations in making information easier to read and understand. Three of these concepts are alignment, iconic representation and legibility. The first concept, alignment, refers to a basic typographic element. (See the heading “The basics of typography as we know it today” later in this section for a complete overview of the different typographic elements.) Iconic representation and legibility are ways in which information can be manipulated and represented to make it easier to read and understand. ALIGNMENT

This refers to how blocks of text are aligned by looking at the edges of the block of text. A block of text could have all the sentences arranged so that either the left or right hand side of the block has a straight horizontal edge or the sentences are arranged around a central point. All the various components in a design or layout should be aligned to one another or to the page. By aligning elements you can create a visual unity in the design. Of course, the opposite is also true, and you can place items in an unaligned manner to communicate chaos, or to avoid having a sense of cohesion in the design. Just , before you manipulate design elements, make sure you understand clearly what their function is and how they affect design. When you decide to align certain items the viewer will “read” these items as belonging together. In this way you can plan how information is read and understood. ICONIC REPRESENTATION

This is a very simplified image, which represents the action or object referred to, e.g. a fishing rod which represents the idea of fishing or a knife, fork and plate representing a restaurant. There are many different types of “icons” such as music icons, religious icons and icons which convey important information. Icons which convey information are a very important part of our lives. Think about cell phones; even if you were given a brand-new phone, which you had never seen, you would be able to answer the phone if it rang. Why is this? Because we know that the icon of a green phone means “answer a call” or “make a call” whereas the red phone icon means “end a call”. Icons can also be used in advertising and logos, e.g. the Nike “swoosh”. In the digital world of computers the use of icons has become very prominent: think of the various icons on your desktop or even the exclamation icon, which appears when there is an error.

46 /////

MODULE1THEORY

In Universal Design reference is made to 4 main types of icons that help make information more accessible and easier to understand by people from different backgrounds and who may speak different languages. These icon types are similar icons, example icons, symbolic icons and arbitrary icons.

Similar icon When the icon visually resembles the object or action, e.g. tunnel ahead.

Example icon When the icon is generally visually associated with an action, object or concept, e.g. two children walking to indicate a children’s road crossing.

Symbolic icon The link between what the icon looks like (what is being depicted) and what the icon means is more abstract, e.g. the figure of a man and woman, which represents a bathroom.

Arbitrary icon The icon has very little relationship to the object, action or concept and the meaning would need to be learnt, e.g. that an exclamation mark means danger, or the symbol for radioactivity you can see in the example on the right.

///// 47

DESIGNGRADE11

LEGIBILITY

This refers to how easy something is to read. By selecting specific typefaces and making adjustments to the size and spacing, it is possible to make headings and large blocks of texts easier to read. Developments in computer technology and digital design tools have meant that almost anyone can produce visual media with text and images.

“The rapid growth and advancement of modern desktop publishing, Web-based publishing, and multimedia presentations continue to compound the confusion with increasing font and layout capabilities, display and print options, and the need to effectively integrate with other media.” LIDWELLETAL,2003:124

“

As designers it is very important to always consider how your design decisions will influence the legibility of the information or text in your design and you should always consider the following: Text Size

The size of your text is dependant on what you are doing and who your target market is. If you are deg something for the elderly it is important to use a bigger size type. Usually most blocks of text are printed in a type size of between 8-10 points. This however depends on the x-height of the typeface you are using. Some fonts appear to be smaller than other typefaces of the same point size and this is due to a smaller x-height. The opposite is also true when typefaces with a larger x-height appear to be larger than other typefaces of the same point size. The most common mistake designers tend to make with body copy is that the text is too large. Not only is this unnecessary as people who read magazines and newspapers have the text close-up, so they can easily read the copy, but also it wastes space. We always have to strive to be responsible and not waste resources. (More visual examples are available on page 67) Typeface

Decorative typefaces may be visually exciting but they are very difficult to read as a block of text. It is best to use a plainer serif or sans serif font for large blocks of text and decorative typefaces for headings and single words. It is generally accepted that printed body copy reads easier when a serif typeface is used, whereas headlines appear clearer when designed in a sans serif typeface. This is illustrated when we look at newspapers and magazines; nearly all of them have a serif typeface for the body copy. In the few instances where a sans serif typeface is used, it is used with a large heading and in situations where there is not too much text. On road signs you will only see sans serif typefaces used as they are much more visible on a larger scale. Interestingly enough, the direct opposite is true when we design for a screen. Body copy on a website reads easier when we use a sans serif typeface – some sans serif typefaces have even been designed for this purpose, e.g. Tahoma and Verdana. Decorative typefaces are often called display fonts as they are commonly used for display purposes and to attract a lot of attention. Display fonts work best if the headlines are not too long and should preferably not be used in only capital letters unless there is no lower case in the typeface used. Something to is that display fonts or decorative fonts are often fashionable and their “freshness” and allure or appeal fade very quickly. If you need to design something that needs to last a while e.g. a logo, it is often best to stick to the classics. They are called classics for a reason! (Again, look at examples on page 67)

48 /////

MODULE1THEORY

Contrast

Contrast refers to the difference in colour between the background and text. Printing dark blue letters on a black piece of paper is much less visible than printing black letters on white paper. It is also important to avoid a background which contains a pattern or image. When the background of a design is very busy it becomes more difficult to read printed text. A contrast difference of 70% is suggested between background and text. It is really difficult to read large chunks of body copy on a dark background both on paper and particularly on screen. This should rather be avoided unless it is only a few lines and you would like to attract specific attention to this text, e.g. a pull quote. Large type, on the other hand – again we refer to road signs – reads very well on a dark background, and you will often find signage in shopping centres, and movie theatres on a dark background. We call this style of typography “Reversed-out-type”. Spacing

When sentences or words are too close together they become difficult to read. It is important to consider enlarging the space between sentences to improve legibility – but be careful; if your spacing is too big the sentences won’t read as a single idea.

The global world we live in today The techniques outlined above are practical measures that can be taken to assure a universal usage and understanding of your design and message. The way in which we read and understand a message is based, however, on who we are: our nationality, our culture, our language, our literacy levels and so many other aspects. To create designs that speak to as many people as possible, a designer must be able to review the content, language, colour, imagery and typographic elements. As a designer, and with a brief to communicate a specific idea or concept, the ultimate universal challenge is to design a message that can be understood by all. The phrases “The world is getting smaller” and “We live in a global village” indicate how small the world has become in the last fifty years. Universal Design and other theories and methodologies which aim to develop design solutions for a global audience, all relate to the condition of the world in which we live. With technologies like the Internet and smart phones you can now instantly speak to someone on a different continent. The idea of a universal message is however countermanded by very specific and highly precise messages that are meant for particular audiences. Concepts such as propaganda, stereotyping and bias are in direct opposition to universal principles. Propaganda targets a select audience instead of trying to reach as large an audience as possible. Propaganda often focuses on our fears and tries to highlight the differences between people and their ideas. Instead of representing people as they really are, stereotyping and prejudice is used in propaganda to focus on selected, often unreal, characteristics of people and are often filled with unsubstantiated hatred towards a single group. The idea of peace is bound up in a rational understanding and acceptance of differences. Peace is not about people who are all the same – it is about people who are very different finding ways to live together in non-threatening ways. The rational quality of peaceful existence is strengthened by concepts such as inclusion and participation by all.

///// 49

DESIGNGRADE11

Universal symbols A symbol can became much more than just a picture when people connect ideas, concepts or emotions to it. If you think of universal symbols in the world today, many represent complex ideas and associations: a red heart meaning love, a cross often associated with Christianity, and the crescent moon often associated with Islam. Humans have the ability to transfer ideas, emotions and beliefs to symbols and pictures. The ability to manipulate these symbols and images also plays a role in propaganda and visual media such as posters become power representations of hopes, fears, attitudes, etc.

Wars, revolutions and propaganda War functions on the separation of people, the establishment of an “us” and a “them”. The “them” are not represented in a true, neutral, rational light but rather in such a way that you dislike or even hate “them”, with the ultimate goal of getting you to the idea of going to war with “them”. War messages are carefully considered and very strategic. It is important to guide the thoughts and emotions of the public to ensure . In today’s world the control of war images and messages are becoming less possible due to the Internet and the use of and exposure to technology. Today it is difficult to manipulate an audience because we can see for ourselves what is happening and we do not need to rely on messages from an external source.

The history of the Swastika symbol In 1949 World War II (WWII) ended. It had been a global conflict which had cost millions in currency and lives. One of the most iconic symbols from WWII is the Swastika used by the German forces and, more specifically, by the Nazi political party. The Nazi party started using the symbol in 1920, however the history of the symbol goes back thousands of years. The "swastika" is at its core a cross-shaped symbol with extended bent arms at right (90 degree) angles. Its name has its origin in the ancient Sanskrit language and is linked to the idea of "good luck and wellness." The symbol would often be placed on objects or figures to benefit from the symbol’s lucky association.

This Roman lamp, dating to approximately the 3rd century, has the swastika imprinted into the clay before baking. The symbol originally represented good luck.

50 /////

MODULE1THEORY

The swastika, as a good luck symbol, was used throughout the ancient world. Examples can be found in ancient Rome, the Far East as well as in the Eastern Mediterranean region. These coins were found in what was known as ancient Mesopotamia.

The Tian Tan Buddha sits in the meditation position with his right hand raised (on his palm is a Buddhist wheel) and on his chest you can note the swastika. The Tian Tan Buddha is one of the largest outdoor statues.

The symbol was used by many ancient civilisations including the Greek and Roman civilisations which developed around the Mediterranean; the ancient Bronze Age Indian civilisation from the Indus Valley; as well as the civilisation from Mesopotamia. There are also examples of the symbol being used in Neolithic China and Africa. The symbol was however more prominent in the works of the early Mediterranean and Indian civilisations. Examples of ancient products which feature the swastika are the Roman lamp, which dates to approximately 200 – 300 AD, and coin from the near East region, close to the region of ancient Mesopotamia. The coin dates to c. 200 – 225 AD and is one of the many coin design examples that features the swastika. The swastika is a widely-used symbol associated with numerous Indian religions including Hinduism and Buddhism. Even though the swastika, in modern culture, is often associated with hatred and assumed racial superiority it is still a feature on statues of Buddha. The Tian Tan Buddha was completed in the early 1990s and is one of the largest Buddha statues found outdoors. The Buddha is represented in a meditative position with a raised right hand, palm facing out, and a left hand resting on his leg, with palm facing up. The swastika can be seen on the centre of his chest. The exact origin of the symbol may be unclear but the original meaning is positive and filled with hope – the hope of good luck in life and activities. It is strange to think that the meaning of a symbol such as the swastika, which represents so many good things and which has been in use for so many centuries, can be changed in only a few years.

///// 51

DESIGNGRADE11

During the 1920s ad 1930s the Nazi party in , under Adolf Hitler, adopted the swastika as the symbol of the party. The meaning of the symbol became distorted and many now associate the symbol with the evil actions of the Nazi party.

The Nazi party adopted the symbol in 1920 and in the 1930s, after Adolf Hitler came into power, the symbol was integrated into the Nazi flag. At the height of Nazi rule the symbol became an icon of assumed Arian supremacy and the anti-Semitic attitude of the ruling party. The swastika was used on uniforms, armbands, and flags as well as on banners, which would be used at political rallies and parades. Hitler understood the power of recognisable icons, media and spectacle. In 1933 Hitler appointed Joseph Goebbels to the Ministry for Public Enlightenment and Propaganda. The ministry was tasked to ensure that all communication, public broadcasts, visual elements (such as flyers and posters) and public spectacle (such as the major military parades) were conveying the “correct” messages. The messages were designed and controlled by the Nazi party. This control of information and allowing of only selected and approved messages is called propaganda. Propaganda is a key feature of communication during times of conflict. In actual fact any person or group of people who want to convince others that their views are correct, and who are willing to control and even alter information to assure this, are using propaganda. Information supplied through propaganda usually leans incredibly towards, and in of, the group who produced it. After WWII the use of the swastika, in relation to Nazi activities, was banned. Yet even today many people have negative views regarding the use of this symbol. There are also groups who have decided to continue using the symbol as an icon for racial and cultural superiority, such as the Neo-Nazi groups in America and Europe.

52 /////

MODULE1THEORY

WWI and WWII propaganda Posters from WWI and WWII are great examples of *propaganda. During WWI posters and visual media produced in focused on the “evil out there”. Posters portrayed how bad the world had become and how correct and fair the German system and government were. German posters from WWI have a strong illustrative quality and dark colouring. These elements the “dark” nature of the subject matter. These posters aimed to develop a prejudice against the people and group depicted in the posters. Prejudice is when you have an unfavourable opinion of someone, which is formed before you have even met or spent time with the person. Instead of focusing only on developing prejudice against specific groups, German posters from WWII communicated two different concepts. On the one hand posters were being produced that showcased Jewish people and other groups in a terrible light. On the other hand, posters were also being produced to celebrate the German family and Hitler as the father figure of the nation. Traditional German type is often used in WWI and WWII posters to benefit from the strong patriotic culture of German citizens.

As part of the propaganda campaign used by the Nazis’ large-scale rallies and parades would be held. The might of the German forces would be shown through these rallies with the swastika used as one of the most visual symbols.

*

Propaganda: The control and spreading of only specific information, ideas, rumours to help a specific person, group or organisation or to harm a specific person, group or organisation.

///// 53

DESIGNGRADE11

This German poster has the words “The danger of Bolshevism” at the bottom and shows a cloaked skeleton holding a bloody knife. The term Bolshevist is in reference to revolutionary Soviet (Russian) political activities, which would finally lead to the adoption of communism.

A recruitment poster for the Hitler Youth. The slogan reads “Youth serves the leader. All ten yearolds into the Hitler Youth”.

54 /////

MODULE1THEORY

British interpretation In contrast to the dark, raw quality of German posters is the more sleek and colourful poster from Britain. Many British posters manipulated the audience into agreeing with the content through guilt or a sense of responsibility. In the 1915 British poster “Daddy, what did YOU do in the Great War”, two children are sitting with their father asking him about his role in the war. The concept behind the poster was linked to a traditional British gentleman’s sense of honour as no gentleman would be able to look his children in the eye had he not done his part.

British posters from WW1 and WW2 used emotional phrases and slogans like “Daddy, what did you do in the Great War?” to encourage of and enlistment into British armed forces.

An example of a British war time poster encouraging enlistment through he evocative slogan “Woman of Britain say Go!”

In comparison When comparing the German and British posters they are visually quite different but the message and context is identical: all of the posters aim to convince the viewer of a truth or get a reaction from the viewer. Fact was that the greater the reaction to the poster, the greater the chance was that the viewer would take action. Posters that call people to action are a standard part of wartime advertising and propaganda. The same recipe has been used for posters during revolutionary periods.

///// 55

DESIGNGRADE11

Revolutions that shaped the world The term “revolution” means a complete and sudden change in something. During the late 19th century the world experienced rapid change with the development of new machine processes and industrial technology, referred to as the Industrial Revolution. During the latter part of the 20 th century the world was changed again with the development of computer technologies referred to as the Digital Revolution. The word is however most often associated with social revolutions when there is an overthrow and replacement of a government, ruler or political system. The idea of a social revolution goes back to the ancient times but some of the most prominent revolutions in history include the French Revolution of 1798, the American Revolution between 1775 and 1783, the Russian Revolution of 1917 and the Cuban Revolution, which ended in 1959. Social revolutions occur when the population of a country, or part of the population, are unhappy with the social and environmental conditions. This could be due to extreme social class differences as was the case in when, in 1798, the population turned against the wealthy aristocrats, beheaded the King Louis XVI and Queen Marie Antoinette and created a new system of government.

Social revolutions occur when the population of a country, or part of the population, are unhappy with the social and environmental conditions.

The Russian Revolution was not a single uprising, as was the case during the French revolution, but it was rather a series of events during 1917 which led to the end of the Tsarist rule and the formation of the new Soviet Union. The American population were revolting against taxes levied against them by Britain (America was a British colony). This resulted in a revolutionary war with Britain losing large portions of land and America developing a new form of government. People may speak different languages, come from different cultures and have different beliefs but what we share is a desire for freedom, fairness and the opportunity to build a respectable life for ourselves. When people are placed in social structures that are characterised by inequity and oppression they will eventually react. The only factor that is always unpredictable, is knowing how much people can endure before they revolt. Visual communication in a period of revolution is characterised by the use of propaganda and intense emotional response. Whether this emotion is hatred, patriotism or pride, revolutionary posters, flyers and other visual materials/media will always aim to connect with the viewer on a personal level.

Russia and China During the Russian Revolution posters were a powerful means of communication. This was partly due to the lack of other means of communication and also because posters were accessible – every person who saw them understood and was called to action. Simple slogans and stylised figures were characteristic of poster design during this period. Figures shown in many posters are everyday people like the factory worker, the elderly and the youth. Through the depiction of these characters the posters seem to “talk” to the everyday person, calling him/her to arms while promising a new and brighter future. Poster from the Russian Revolution features a dramatic red and black colour pallet. Russian posters during the revolution and war use bold areas of colour, illustrations and block-like typography.

56 /////

MODULE1THEORY

Russian Revolution poster: This poster features a one-point perspective and a formal composition with a rectangular illustration forming the main focal point.

Similarly to German propaganda posters during WWII, Russian posters represented key revolutionary figures, such as Vladimir Ilyich Lenin, as strong, dominant and trustworthy. Lenin was a key figure of the revolution and the creation of the new *communist Soviet Union. In one poster Lenin is depicted wearing a suit and pointing to the distance, which could represent the idea of “moving forward” or even “attack!” At the bottom of the poster a number of people are depicted as followers of Lenin and communist ers, running in the direction that Lenin is pointing. This poster represents Lenin and the communist followers as fighters for freedom and equality against the imperial forces. There is a clear sense of urgency in the design of the poster, which encourages the viewer to the fight. In another poster (see page 58) Lenin himself is not depicted but rather the Leninist Youth League of the Soviet Union. This poster features young who appear confident and resolute, quite literally flying the flag for communist ideals. The traditional red, black and white colour scheme, which is associated with Russian design, can be noted in most of the posters from this period.

*

Communism: A Social system or theory of organisation in which all property and economic activity is controlled by the state or the community as a unit.

///// 57

DESIGNGRADE11

A Russian poster featuring Vladimir Ilyich Lenin above a storming crowd of ers.

A Russian poster featuring individuals of the Leninist Youth League.

Because the colour red is often associated with communist design, China, another prominent communist country, also uses red as a focal design colour. This can be seen in the poster featuring General Mao (see below). China came under communist rule in 1949 following a series of revolutionary activities which had already begun in 1911. Traditional style typography adds a strong masculine quality to poster designs from Russia and China. Stylised and simplified images were characteristics of poster printing during this period and this strengthened the clarity of the communication of the posters.

This Chinese poster features General Mao with a sunburst pattern emanating around him.

58 /////

Guns and roses Shepard Fairey, OBEY: This poster designed by Shepard Fairey for his project Obey, used similar design elements to that of the Chinese revolutionary poster. His colour palette for Obey was red, white and black and the project focused on highlighting social and political issues through showing them on stickers, street walls and through popular media.

MODULE1THEORY

This poster designed by Shepard Fairey for his project Obey, used similar design elements to that of the Chinese revolutionary poster. His colour palette for Obey is red, white and black and the project focused on highlighting social and political issues through showing them on stickers, street walls and through popular media.

Cuban revolution The main goal of the Cuban Revolution, led by Fidel Castro, was to remove Fulgencio Batsta from power, who happened to be an American ed dictator. The use of posters during the Cuban Revolution was not as popular as during the Russian Revolution. Many of the revolutionary activities that took place in Cuba happened as guerrilla attacks, executed by small groups of soldiers who would attack and quickly retreat. However, there is a rich culture of revolutionary Cuban posters that were produced after the revolution when Fidel Castro came into power. During this period many posters were produced to celebrate the revolutionary victory as well as propagandistic posters, which warned the Cuban people to be vigilant against another American invasion. In 1963 the Russian people printed a poster of Fidel Castro to celebrate the bond between Russia and Cuba. (See below.) Again you can note the use of minimal colour, red and black, with a strong illustrative quality. The main figure is represented in the foreground while in the background great numbers of ers are depicted, clapping and smiling. Although there were not a vast number of posters printed during the Cuban uprising, the period did produce one of the most iconic photos in history: an image of an Argentinean doctor and revolutionary, Ernesto “Che” Guevara taken by Alberto Korda in 1960 (see page 60). This poster was created in 1963 by the Russian people to celebrate the work of Fidel Castro and the political bond between Cuba and Russia.

///// 59

DESIGNGRADE11

The iconic “Che” or Guevara s the revolution Ernesto Guevara, simply known as Che, was born in Argentina in 1928. He studied medicine and travelled across South America. He was concerned about the quality of life in many South American countries and believed that most of the poverty, lack of education and social decay was a result of the capitalist systems. Capitalism is the opposite of communism and represents a system where individual people or companies can own the rights to the production and distribution of goods and services and can benefit individually from the success of the ventures. The western world, including other countries such as South Africa, works with capitalistic systems. Guevara saw capitalism as a system in which the poor would always be oppressed. After meeting Fidel Castro in Mexico City he ed the revolutionary movement which aimed to take Cuba back from Fulgencio Batista, whom the American government ed, and give it back to the Cuban people under communist rule. The revolution was successful and in the years that followed he played a key role in the new Cuban government. This also included investigating various methods of social reform and the training of militia forces within Cuba. He also wrote extensively and acted as a Cuban diplomat.

A graphic reproduction of the photographic image of Ernesto Guevara using red and black.

60 /////

This photo of Ernesto Guevara was taken by Alberto Korda in 1960.

MODULE1THEORY

Cuba-Che-Guevara-Chucks-byBobsmade: Sneakers produced by Bobsmade featuring the iconic image of Che.

It is doubtful that Alberto Korda could have known that the photo he took of Guevara at a memorial service in 1960 would become a cult icon. Today this image of Che, and the multi-variations that have been created, can be seen on coffee mugs, sneakers, hoodies, cigarette lighters and any other product you can possibly imagine. Without knowing who he is or was, Che seems to be the ultimate image of cool, and people continue to wear clothing, which features his image. For some the Che image represents freedom and to others, death. So no matter all that, while people worldwide continue to use this image on drink coasters and a variety of other trivial merchandise, the real meaning behind this iconic figure has to a great extent been lost and replaced with association. Today the image of Che has become part of popular culture and is often used with very little consideration of appropriateness.

Bobblehead Che.

///// 61

DESIGNGRADE11

South Africa South Africa also has a strong revolutionary history with numerous pieces of resistance art being produced, in the form of paintings and sculptures. When you analyse the posters associated with the resistance movement in South Africa a number of similarities can be identified with the posters of Cuba. Both have a strong illustrative quality that adds a distinctive “hand” quality to the posters. The colour is limited, with mostly three or fewer colours being used in one poster. This was a conscious decision to keep production costs down. Typography was often hand-constructed and the irregular qualities enhanced the “handmade” quality of posters. When you look at a poster, which is meticulously laid out on a grid with standard typefaces and photography, the effect can often be quite mechanical and even “cold”. Visual communication with a strong human element, e.g. drawings or hand-rendered typefaces, acknowledges the person who made it. This is completely lost when printing is done by machine. The connection between viewer and designer, artist or creator is direct and intimate. This is not to say that visual media which does not reflect a hand-produced quality is not engaging, but merely that the person who created it is not clearly visible. Examples of poster design in South Africa from the 1980s reflect a number of subject matters including a call to arms, demanding equality, requesting boycotts, etc. These posters represent a time in South Africa’s history which was characterised by inequality and racial prejudice and the visual media used reflected this raw and emotional atmosphere.

SA Resistance - mining: This poster is in remembrance of the 177 miners who died at Kinross. The poster aims to use this event as a platform to push for for the struggle to ensure the safety of all miners.

62 /////

MODULE1THEORY

Interpreting some of South Africa’s political posters from 1980s The 1985 “Troops out of the Township” poster (from the South African History Archive Collection) shows an illustrated figure in the foreground with her hand raised in what could be interpreted as an emotional plea or a cry of outrage or anger. In the background a military vehicle becomes a representation of the army troops and patrols. There are two areas of type, having one at the top and a horizontal strip across the bottom of the poster, only using simple sans serif capitals as type. The poster is rendered in red and black. The same colours can be noted in the United Democratic Front’s (UDF) “Don’t Vote in Apartheid Election” poster. The poster shows a row of everyday people holding a banner which says “Forward to freedom” with the title of the poster positioned above their heads in a flat red block. Behind this row of individuals you can see a background filled with more ing figures. The use of additional figures lends credibility to the message, i.e. “all these people are not voting, and neither should you”. The use of type is similar to that of the previous poster, in that sans serif capitals are used. However, characters are less precise. ,

SA Resistance - UDF: This poster produced by the United Democratic Front urged viewers not to vote in Apartheid elections.

SA Resistance - boycott: This poster forms part of a larger campaign aimed at exposing the conditions and exploitation of workers. The aim of the campaign was to get for the boycott of goods and services from identified companies.

SA Resistance - Apartheid: This poster is from the South African History Archive Collection and was produced in 1985.

Another UDF poster from 1985 calls on consumers to boycott products and services from numerous companies with the title “The People Shall Govern” underneath the phrase “We Demand” which is placed in the page-frame.

///// 63

DESIGNGRADE11

The poster is part of a larger campaign that aimed to raise awareness about labour conditions and exploitation. The campaign was successful and had an enormous impact on the South African economy. The poster features what we assume to be the arms of workers and ers carrying pick axes and bricks and a flag that states the title or call to action. The illustration is highly stylised and the typography is once again sans serif capitals. A strong visual feature in many resistance posters is the idea of “the many” rather than the individual. This concept is clearly displayed in both UDF posters through the use of multiple figures. By suggesting that the viewer will protest, boycott and fight alongside others, the viewer is assured that they will be part of a community and that many share their views and hopes. The Sharpville Six poster draws on the concept of community and calls the viewer to action to object to the death sentences of six protestors who were wrongfully convicted of murdering the deputy major of Sharpville, K. J. Dlamini. The imagery used in the poster creates a triangular composition with text framing the image at the top and the bottom. The phrase “We Will Not Allow Them to Hang!” is added in an informal style reminiscent of handwriting.

SA Resistance - Sharpville: This poster was a call for . The poster depicts the individuals wrongfully convicted of the murder of K.J. Dlamini and urges the viewer to object and protest against their death sentence.

The basics of typography as we know it today Whether the message is specifically crafted for a few individuals or whether it is created to be universal, fact is, it must be appropriate. Understanding the elements of design and how those can be used to produce different meanings is a very important skill for a designer. The selection of a medium like illustration for a poster can be a powerful tool to connect with the viewer, however there are so many different forms of illustration that a designer must understand exactly what needs to be communicated to be able to select an appropriate style. Typography is an important aspect, which can really impact on the success of a design. Did the designer select a typeface which s the concept, is it readable, is the placement of text appropriate and most importantly, does the typography help to make the message more believable? As a young designer you must become critically aware of the world around you and the visual messages that fill this world. You have to immerse yourself in the world of imagery, typography, architecture, graphic design, fashion, photography and all the other creative fields because design shapes the world we live in.

JOHNHESKETT IN

HIS BOOK “DESIGN” : “A Very Short Introduction” said:

“Design is one of the basic characteristics of what it is to be human, and an essential determinant of the quality of human life. It affects everyone in every detail of every aspect of what they do throughout each day. As such, it matters profusely.”

64 /////

“

MODULE1THEORY

“Design is the fundamental soul of a humanmade creation that ends up expressing itself in successive outer layers of the product or service.” STEVEJOBS (FOUNDER OF APPLE & NEXT)

“The only important thing about design is how it relates to people.” VICTORPAPANEK

“ “

Humans have the ability to create and produce and it is this ability that allowed man to draw images and document his world on the sides of cave walls. We still document our lives but the method has become much more complex and sophisticated. Today our world is filled to the brim with thousands if not millions of messages – some are targeted at a specific group and some are for everyone. Though using appropriate design elements and making responsible design decisions you can ensure that your message reaches the right people and that the right people receive the correct message; a disregard for these elements may lead to your message being misunderstood, or worse unnoticed.

Cape Town based photographer Ed Stutter has found inspiration in the “homemade” style design and typography, which can be seen on South African shop fronts and ments. His range of placemats and coasters celebrate this rich part of South African visual heritage.

Typography is one of the main elements of visual communication and as a discipline and an art form, one of the oldest design activities. It can be traced back to the Sumerian people of Mesopotamia in 3200BC. It is therefore essential to understand the main characteristics of a letterform and of specific typefaces.

///// 65

DESIGNGRADE11

Typefaces Typefaces consist of a number of letterforms including lowercase alphabet letters, uppercase or capital alphabet letters, numbers and symbols, all of which were designed together to belong to one family. A typeface family may have more than one version of the typeface within the same type family, for example there is a very narrow version and a very thick, or bold, version of the same typeface. The Arial type family consists of a number of typefaces including

Arial, Arial Narrow, Arial Black and Arial Rounded. The first things you need to take note of are the key used to describe different aspects of the design of a letterform, which include: 1.

Aspects which relate to an individual letterform a. The x-height, ascenders and descenders b. Serifs c. Typeface categories d. Roman, italic and bold

2.

Aspects which relate to the relationship between letterforms a. Leading and kerning b. Ligatures c. Alignment

Measurement units •

The measurement unit in typography is known as a “point”. This measurement unit is quite old and as such makes use of an "inch" reference. There are 72 points in an inch which converts to 72 points in 25.4 mm. When selecting an appropriate typeface size you will have to indicate what point-size you would like to use.

• The point-size of a letterform is not the only important measurement. When analysing a typeface or individual letter it is important to identify the x-height. Taking the x of a typeface and measuring that from top (mean line) to bottom (baseline) will give you the x-height, hence the use of the term. Of course the following letters can also be included in this measurement: u, v, w, and z. It is important to know that the curved letters such as a, c, e, m, n, o, r and s mostly tend to exceed the x-height slightly and cannot safely be used to determine the x-height. This is because the roundness of these letters usually extends beyond the “mean and base line”. The reason for this difference is very interesting. Typographers have realised that as soon as they use the rounded letters within the x-height they usually tend to look much smaller in point size than the rest of the letters. So this is the reason why typographers usually design these letters slightly bigger than the rest. •

66 /////

Once you have established the x-height of your letter you can use it to identify the ascenders and descenders of the typeface. To identify the ascenders of your typeface, draw a line parallel to your top line of your x-height that makes with the top of the vertical stroke of the “b” letterform. The ascender of your typeface is the distance from the top of the x-height line to the very top of the “b” letterform. In the same way, to identify the descender of your typeface, draw a line parallel to the bottom of the x-height, which makes with the bottom of the “q”.

MODULE1THEORY

The ratios between the x-height, ascenders and descenders of typefaces vary greatly and influence the balance and structure of a typeface.

///// 67

DESIGNGRADE11

Once you have established the ratios of your letterform you need to identify it as either a serif or sans serif typeface. A serif typeface has fine strokes added to the main horizontal and vertical strokes of the typeface. Famous serif type families include:

Times New Roman Garamond Rockwell Book Antiqua San serif, literally meaning without serif, refers to typefaces that do not have these added strokes. The result is that sans serif typefaces are cleaner and seem more modern. Famous sans serif type families include:

Arial Calibri Helvetica Verdana Helvetica is one of the most famous typefaces and has been used for logos, ments, books, layouts and many other applications. Chances are great that you have seen this typeface a number of times without even noticing it. Helvetica is so inspiring that Gary Hustwit made a feature length movie about the typeface to coincide with its 50th birthday. (http://www.helveticafilm.com/index.html)

68 /////

MODULE1THEORY

Helvetica is one of the most famous contemporary typefaces. Products and logos in countries across the globe benefit from Helvetica’s clear and legible design.

///// 69

DESIGNGRADE11

Helvetica: The typeface for all The following text has been done in the Helvetica typeface. Note how different it is from the other typefaces. Which do you prefer? The Helvetica typeface recently turned 50 and to celebrate this Finlo Rohrer wrote an article for the BBC New Magazine called Helvetica at 50. It is strange to think that people would get so excited about a typeface. It is after all just a way to represent letters? Why is Helvetica so special; why are there articles about it, and why is there even a movie about it? The answer is in a comment made by Finlo Rohrer in his article: “Helvetica's message is this: you are going to get to your destination on time; your plane will not crash; your money is safe in our vault; we will not break the package; the paperwork has been filled in; everything is going to be ok”. If one Typeface can communicate all that, it is even more vital to select the correct typeface for whatever it is that the designer needs to communicate. Max Miedinger designed the typeface, inspired by the 1896 font Akzidenz Grotesk, in 1957 in conjunction with Eduard Hoffmann for the Haas Type Foundry, in Muenchenstein, Switzerland. It is impossible to know if Miedinger or Hoffmann could have known how famous the typeface would become. If you walk around a shop or in your home you will see the typeface everywhere, on your electronic equipment, on your plastic containers, on your clothes and in the magazines you read. It literally fills the world you live in. You may ask, “How is this possible?” Helvetica is used as the logo type for Panasonic and Tupperware, clothing brands like Gap use Helvetica in their branding and even Jeep, BMW, Post-It, The North Face and Nestlé use Helvetica or adapted versions in their logos and branding. The success of Helvetica can be attributed to the design of the typeface. It is a sans serif typeface with a geometric inspiration which works as well in a heading as it does in a block of dense text. The individual letters are well-defined with a strong visual cohesion between words and sentence. Magazines and companies use the typeface to ensure legibility and to draw on the concept of trustworthiness which has come to be associated with the typeface. In short, if it is in Helvetica you can trust it. Lars Mueller, who wrote the book “Helvetica: Homage to a Typeface” noted that “Helvetica is a corporate typeface, but on the other hand its the favourite of hairdressers and kebab shops.” This comment really speaks to the universal application of the typeface, and one of the characteristics that has made it so popular. In the 1980s Neue Helvetica was launched ensuring that the typeface will be used for another 50 years if not more.

The strong message of confidence and reliability that Helvetica conveys is also prominent in other sans serif typefaces. Certain types of typefaces communicate certain and very specific ideas or messages, which can visually be linked to the “categories” of typefaces. In 1962 The Association Typographique Internationale (ATypeI) adopted a typeface classification system developed by Maximilien Vox in the 1950s. This system became known as the Vox-ATypeI classification and placed typefaces in eleven main categories according to their main characteristics such as x-height, serif details, etc.

70 /////

MODULE1THEORY

The general typeface families, such as those categorised by the Vox-ATypeI classification system, include:

Sans Serif

Serif

Ab

Ab

This typeface category does not have any serifs. Often there is little differentiation between the weighting of strokes.

Serif, or Roman, typefaces are named after the additional element at the ends of their strokes.

Display

Script

Ab

Script typefaces have a more handwritten or calligraphic element. Often these typefaces are not used for large sections of text, as they can be difficult to read.

Ab

Display typefaces are used for decorative purposes, and have some of the most distinctive designs elements of all typefaces. Display typefaces are difficult to read and are not used for long sections of text.

Non-Western

Symbol

Ab Symbol typefaces consist of symbols instead of normal text characters such as letters and numbers.

Slab

Ab Slab serif typefaces generally refers to the typefaces where the serifs are design as solid block like strokes which are equal in weighting to the stokes used in the body of the letterform.

Blackletter

Ab Blackletter fonts are often associated with and other European countries and resembles the heavy calligraphic style of that time.

Non-Western typefaces refer to a large group of typefaces which include Chinese typefaces, Arabic typefaces, etc. These typefaces do not stem from the Latin alphabet system.

///// 71

DESIGNGRADE11

Selecting the right typeface When selecting an appropriate typeface for your design you need to consider what the typeface needs to communicate and what the physical limitations of the design will be. For example, if you were asked to design a “box” label for a fruit juice range you might want to consider a more organic and decorative typeface for the logo on the front of the packaging; however at the back, where you would need to list the ingredients, state the details of the producers, indicate recycling information and possibly also include a promotional write-up, your space becomes very limited. The main aim of text on the back of your juice box is to communicate certain important messages and inform the customer – the requirements of a typeface used for this purpose would thus be clarity and legibility (when something is easy to read). Your selection of every visual element, including which typeface to use, should always be based on the requirements of the design, the limitations of the brief and the main concept of the design. Have a look at the design of packaging examples in your everyday life, from your breakfast cereal to medicine boxes, from jams to cleaning products. You will find that when clear communication is necessary, designers use sans serif and unadorned serif typefaces. Learning how to use the appropriate typeface is very much like learning about the design process – you will have to research the requirements of the typeface to understand what message the typeface will have to communicate - is it fun or a more serious one and will it be a small section or a large block of text? These questions and many more will help guide your selection of an appropriate typeface, which should the design concept and work well together with your other visual elements. Besides having to work with other visual elements in a design, letterforms from the same typeface must often be altered to look more balanced or to fit in a pre-established size. In typography this adjustment usually relates to one of two concepts, namely leading and kerning. Leading (pronounced “ledding”) refers to the space between one sentence and the next, or more precisely the distance between the baseline of one letter and the baseline of a letter below it. This practice is often referred to as line-spacing. The word “leading” derives from the period when all type was placed by hand before printing. To ensure that there was a thin gap between sentences the typesetters would insert a thin strip of lead between the sentences, hence the use of the term, "leading".

Below is a section without leading adjustment – notice how difficult it is to read:

Design is to formulate a plan for; to plan out in systematic, usually graphic form; to create or contrive for a particular purpose or effect; to create or execute in an artistic or highly Below is a section with a 50% leading adjustment – notice how much easier it is to read:

Design is to formulate a plan for; to plan out in systematic, usually graphic form; to create or contrive for a particular purpose or effect; to create or execute in an artistic or highly

72 /////

MODULE1THEORY

The problems surrounding legibility and balance in typefaces are not only found between the sentences but also within single words. The term "kerning" refers to the adjustment of spaces between individual letters. The main aim of kerning is to achieve a more balanced and visually pleasing result. You must be careful not to confuse kerning with tracking. Tracking is when you automatically adjust the spaces between a series of letters and words. Kerning refers to adjustments made to individual spaces. It is especially important to review the kerning of text used in banners, logos, headings and large format displays to ensure that the words look balanced. In some cases the appearance and spacing of two specific letters is so problematic that a new single combined letterform is created, called a ligature. A ligature, such as “æ” instead of “ae” is an easy solution to the uncomfortable shapes created by certain letter combinations; however, many designers prefer working with the separate letters. The spacing between letters and words are also linked to the alignment, which you select for the section of your text. Alignment refers to the relationship between the text and the page or a smaller section in which the text is placed. Alignment to the page can be centred, (flush) left, (flush) right or justified. See examples below.

Centred

Left

Text is placed around a central axis at an equal distance from the left and right margins. Centred text does not work visually when combined with other styles of alignment. A centred alignment can decrease the legibility of a section of text.

When text is aligned to the left only the alignment to the left is considered and the resulting space on the right hand side is not considered. This style of alignment is highly legible.

Right When text is aligned to the right only, the alignment to the right is considered and the resulting space on the left hand side is not considered.

Justified A justified alignment refers to the section of text which is equally aligned to both left and right side margins. Justification has a more formal appearance but does influence legibility.

Alignment, as in all other aspects of typography, must be a carefully considered action. The size and purpose of your text is crucial when deciding on a specific alignment. Newspapers and many magazines work with a justified alignment – in this case your alignment is predetermined but you would still need to resolve any legibility issues, which arise through appropriate kerning and leading. For the design of corporate stationary, posters, digital content and other design elements, the alignment of text must link to the concept and feel of the project. For example, if you are deg a brochure for a bank or website content for an investment agency, you may choose a justified alignment because it appears more formal.

///// 73

MODULE1

DESIGN IN A

CONTEXT

DESIGN IN A

MODULE1BUSINESSCONTEXT

INTRODUCTION To understand design in a business context, we are going to ask you to look at some local company campaigns. You will have to analyze and evaluate the success or failure of these campaigns and you will be required to motivate your answers.

To start off you need to know how an advertising campaign works. The advertising agency would be briefed thoroughly by the client. Questions that the client needs to answer are:

Who am I talking to? What am I trying to say? How will I go about saying it? ///// 75

DESIGNGRADE11

Last year you learnt what a target market is. Can you still the details? Write down a definition of a target market to see how much you can .

Target market A target market is a specific consumer group at which a company may aim their services and products. These are the people who would be most likely to buy from them. In far too many cases agencies try to be too general hoping to gain more market share. The problem about an approach like that is that your message goes all over the place and misses the most important consumers. Successful campaigns are very specific in focus. The designers/advertising agencies should try to determine the target market as accurately as possible, based on all the information they gather from the client, the product, in-depth market research and prior knowledge.

YOUR BASIC TOOLKIT -

ask the right questions.

Here are some basic questions you could ask:

Who am I talking to? • Is your target market male or female? • How old are they? • Where do they live? Is geography important: are they city dwellers or do they live in rural areas? • What do they do for a living? • How much money do they make? Can they afford the product or not? This is important to know especially when you have a product that falls within the luxury market. • What other aspects of their lives matter? Are they homeowners, do they drive cars or do they use public transport? Do they have children? Do they have pets?

76 /////

DESIGN IN A

MODULE1BUSINESSCONTEXT

What am I trying to say? This seems easy – obviously the client would like the campaign to portray the product or service in the most positive way possible; it must seem desirable and necessary. But the more difficult aspect of this question is what we call a USP – or a "Unique Selling Point." This USP is the single strong message, which will distinguish this product/service from its competition. A product or service may have many good points or attributes, but you have to identify the one message on which your selling campaign will be built.

How will I go about saying this? The last question you should ask for an advertising campaign is the how. This in particular is where creativity plays a vital role in building a successful campaign. The previous two questions have to do with research and the product, which already exists. They are fact-based and in most cases there is no dispute over, e.g. the target market; it only has to be defined. But the how is different every time. The agency has to brainstorm to find the most interesting and memorable way to “tell the story”.

The role of the ment The ment needs to do a few things for it to be considered great. So here are a few questions you need to ask when analyzing or deg an ad. Firstly, it needs to portray the product is always “King”. You must never forget that. It needs to be memorable! And then we mean for the right reasons. Sometimes we laugh at an advert on the TV, tell it to a friend and when we want to recall which product it was advertising, we can’t. We ed the advert for the humour, but not for the message/product. If an advert is particularly bad, we may also it – again for the wrong reason. It should evoke an emotion. We all know the toilet paper adverts with puppies and babies that make us feel all maternal, but emotion can also include anger about an injustice; discomfort or shame, happiness and joy; peace and contentment, or laughter because of the satirical content.

///// 77

DESIGNGRADE11

It can also be considered successful when it causes you to think, maybe you realise for the first time that certain issues aren’t as easy to solve as you thought? It may be compelling, gripping, persuasive and forceful and may influence your behaviour. On a more commercial level, it may motivate you to change your consumer behaviour or to buy something you did not know existed before the ment. To the consumer… Advertising is about giving the consumer the opportunity to make informed decisions and choices. In the world of business the advertising industry plays a vital role because it is the "body" that positions a brand or a service in the eyes of the public and prospective investors. Advertising, marketing and every other aspect of the commercial sector of any business, are all vehicles that are used to communicate to the correct target market/consumer. Advertising has the power to add a competitive edge that can lift a business above the rest and simply put, gain more shares in the market and make more money. Of course, due to its powerful hand on the public, this industry dictates the behaviour of the consumer and definitely plays a vital role in shaping the current state of consumerism. Reshaping consumer behaviour towards developing a more sustainable attitude will depend heavily on the messages that this powerful industry conveys. Ofcourse the ingredients of the products and services they have to also need to undergo some major changes if we want the outcome to be more sustainable. We will discuss consumerism and sustainability a little later in the year.

1 PROJECT Your teacher is going to show you three different ments. Two were produced in South Africa. It is important to note that all three these commercials require prior knowledge to fully understand them. Watch all three and choose your one favourite, which will become the focus of this exercise. You need to do thorough research to enable yourself to do a proper analysis and evaluation of each commercial. The advertising campaigns we are going to focus on are done for Kulula, a low cost flying service in South Africa; Allan Gray, an investment company in South Africa and Mercedes Benz, a German luxury car brand. The first step in this project is to do a thorough investigation into the brand of the advert of your choice. Find out all you can of the existing brand without focusing on any specific ment campaign. We would like to see how the aspect of prior knowledge comes into play. Explain how certain facts about topics like movies, folklore and popular culture are needed before viewers will understand the “story” that is being told.

78 /////

DESIGN IN A

MODULE1BUSINESSCONTEXT

1 COMMERCIAL

KULULA.COM MENT “TOP GUN” CLIENT: Kulula.com AGENCY: King James Advertising COPYWRITER: Michael Wilson DIRECTOR: Slim AGENCY PRODUCER: Caz Friedman CREATIVE TEAM: Alistair King, Michael Wilson, Damian Bonse Information courtesy of King James Advertising http://www.youtube.com/watch?v=U8V5dWzsgX0

2 COMMERCIAL

ALLAN GRAY MENT CLIENT: Allan Gray AGENCY: King James PRODUCTION: Velocity Films DIRECTOR: Keith Rose CREATIVE TEAM: Alistair King, Karin Barry-McCormack & Paige Nick Information courtesy of The Loerie Awards http://www.youtube.com/watch?v=U9iXjXxsCDA

///// 79

DESIGNGRADE11

3 COMMERCIAL

MERCEDES BENZ MENT CLIENT: Mercedes Benz AGENCY: Jung von Matt/Neckar, Stuttgart, COPYWRITER: Robert Herter AGENCY PRODUCER: Vanessa Fischbeck PRODUCER/PRODUCTION COMPANY: Bernd T. Hoefflin/Element E, DIRECTOR: Alex Feil D.O.P/LIGHTING/KAMERA: Marc Achenbach EDITOR/EDITING COMPANY: Timo Fritsche/firsteight MUSIC: Artist/Title: Maximilian Olowinsky, Felix Müller, Florian LAKENMACHER/SUPREME MUSIC SOUND DESIGN/ARRANGEMENT: Ben Meinhof/A.R.T Studios POST PRODUCTION: firsteight/Acht Frankfurt http://www.youtube.com/watch?v=A6NP6pzl_ss&feature=fvst

I N S T R U C T I O N S WHAT TO DO NEXT?

STEP1 Write an essay Please write an essay about the brand of your choice. Evaluate and research the brand and the brand identity. In other words we are not asking you to evaluate the individual advertising campaign but rather the qualities of the brand itself. Your essay should include the following formal elements: A CONTENTS PAGE

Listing the main sections of your research. AN INTRODUCTION

Introducing the topics that you are covering, e.g. some historical background about the specific brand. BODY

Which can be broken into chapters: look at their products, their mission statements and work ethic.

80 /////

DESIGN IN A

MODULE1BUSINESSCONTEXT

VISUAL IMAGES

You may take photos of the items or find other visuals that you are using to your research. FORMAL ANALYSIS

Use your formal elements and principles of design to evaluate the brand status. What is the USP (see page 77 for definition) they use? Who is their target market? MOTIVATE

Why these campaigns are successful or unsuccessful. CONCLUSION BIBLIOGRAPHY

STEP2 Essay aside for a while – let’s analyse the ad You are now required to look more specifically into the commercial you were shown. Firstly consider the three questions we discussed earlier:



Who am I talking to? What am I trying to say? How will I go about saying it?

Define the target market, discuss the use of their USP and evaluate if you think the commercial stands up to the criteria for a successful advertising campaign. Here you should also discuss the value of prior knowledge in the understanding of the specific advert you are analyzing. Note that any extra resources used for research should eventually be added to the bibliography in your research essay. Finally add this analysis to your essay.

STEP3 Compile a questionnaire to target the target market Now that you have determined the target market for your chosen commercial, you need to compile a questionnaire about the brand, which you need to pose to of the target market as well as non-. Write a list of at least 10 questions about the brand, and target ten individuals that love the brand and ten that are not so keen on the brand.

///// 81

DESIGNGRADE11

Questions could include: Do they have a positive impression of the brand? Why do they respond to the specific adverts you may have shown them? Are they positively impressed, or are they offended or bored? Can they recall other adverts done for this brand? (Here they can include advertising in other media such as print or outdoor advertising). Do they understand the relevance of the prior knowledge they needed so they could interpret this specific message that is conveyed through the commercial?

!

The more variety you have amongst your group, the more interesting the will be – so don’t only ask 10 of your friends. Be specific about your questions, e.g. ask a question about that specific commercial, and do not ask questions with only a “yes” or “no” for an answer. They need to motivate their answers. We call these openended questions.

STEP4 How to do a data analysis Now that you have all the answers to your questions, you need to do a data analysis. Take all the answers, question by question, of the one group (target market) and merge the answers, repeating the same exercise with the non-target market group’s answers. Taking all of the answers into consideration, consolidate the findings and prepare a one-page . Add this page to your essay and analysis. Incorporated into one essay, now you are ready to hand in all three components.

82 /////

DESIGN IN A

MODULE1BUSINESSCONTEXT

“The secret of all effective originality in advertising is not the creation of new and tricky words and pictures, but one of putting familiar words and pictures into new relationships.” LEOBURNETT.

“

///// 83

MODULE1

PROJECTS

In this module it is vital for your development to do most of the 2D projects to equip you with the skills needed for the 3D project/s.

MODULE1PRACTICALPROJECTS

INTRODUCTION Good typography is invisible, bad typography is everywhere

Let’s re-cap the following

?

WHATISA... Character? Individual letters, numerals, punctuation marks and symbols Typeface? a set of characters that is of the same design. Popular typefaces include Arial, Helvetica, Times Roman and Verdana. There are thousands of typefaces available, although some are best avoided. Font? not to be confused with the term typeface. A font is a specific size and style of a particular typeface. An example would be: Arial is a typeface, while Arial 10 pt bold is a font. It’s a small difference, but a difference none the less – and important.

///// 85

DESIGNGRADE11

You have probably realised by now that wherever we go in life we are surrounded by typography. In fact, you will find it very difficult to avoid typography. We find it on items we use, e.g. brand names on our clothing, the numerals on our watches and also on all packaging we use, on road signs on our way to school or work – virtually everywhere we look. But we are so familiar with what typography looks like, that we hardly take a second to really look. Because of this, we think type only serves to inform or instruct us in a particular language. In other words, we read the words, understand them and then act on the instruction. But in reality, typography is much, much more than a mere instruction, even though this is its vital function.

Example of a few photographs taken by a variety of photographers across the globe. Just look how beautiful they become when used together in such a creative way.

Like each one of us, every typeface has its own personality and style. One of the most difficult things for a designer is to find the right typeface or combination of typefaces for a particular job. A very simple illustration of this could be that most people would not be overly confident in a firm of attorneys if their logo looked like a kid’s TV logo – the fun typography works really well for kids, but would not impress prospective clients of a serious businesses such as banks, financial institutions, attorneys and insurance brokers. This is a silly example but you would be surprised at how many of these mistakes are made by designers every day. This is a silly example but you would be surprised at how many of these mistakes are made everyday by bad designers or companies who don’t believe designers can add value to their business and opt to rather do it themselves.

86 /////

MODULE1PRACTICALPROJECTS

Similarly, if a designer were to use a typeface which has the style of a certain era, e.g. a Victorian style typeface, in another context, e.g. the sixties, it would not ring true; would initially attract the wrong target market; people would find it confusing and just not understand it. Sound knowledge of the history of typography, stylistic references, trends and fashion is essential for good use of typography. For successful projects you can’t use any old typeface, or your favourite one, or your teacher’s favourite and expect it to be a successful choice. The random selection of a typeface within the tight context of a brief is taboo for any worthy and talented designer. Let’s have a more detailed look at the interesting world of type. Designers learn the “personality”, the stylistic reference and the historical significance of typography by studying the history of design, looking, observing and researching it every day. This knowledge, coupled with a good understanding of your brief will enable you to make a sound and appropriate decision with regards to your type use. A designer never stops learning about typography!

Often, when type or imagery is taken from “real” objects – for example using a photograph of textures you found on a wall – the type has an authenticity which is very difficult to emulate or recreate on, e.g. a computer

Last year we looked at a great example that illustrates the above image very clearly. Do you the section on Garth Walker and his typographic design for the Constitutional Court? He was inspired by the environment and history of the Court and selected typography from the surroundings that was authentic to his subject. No computer-generated type would have given the same honest portrayal of the subject matter. The following activities and exercises will give you a number of choices. It might be a great idea to first read through them all before you make your final choices. The first half caters for 2D and the last half for 3D projects. Of course a combination of 2D and 3D projects can also be great for building your portfolio and gaining a variety of skills. Let’s see what your teacher suggests. Whatever you eventually end up doing we hope you will have loads of fun. All these projects are pretty challenging. Good luck!

///// 87

DESIGNGRADE11

TYPE IS EVERYWHERE

Section one: 2D 2 PROJECT Let’s examine the use of typography in our daily lives. This exercise will make you more aware of the typography around you. It will ask of you to look for interesting and appropriate type-use in your immediate vicinity, and make you aware of how different and wonderful the world of type really is. This activity will also sharpen your observational skills, which is a powerful skill to have if you want to become a great designer.

STEP1 Walk around your neighbourhood and really look for the different uses of different typefaces. You might notice the style of the signage on the side of a construction vehicle, and then notice a different style of type used in a window of a shop selling fashion. Look at the type which is used on street names and road signs. See how they differ in style? Now look for more examples of typefaces that suit a specific application. Document different examples. If you have a cell phone or a camera; you may take some pictures of different applications and paste them in your workbook. If you do not have access to a camera or cell phone do some sketches as you walk around while investigating your neighbourhood or look for examples in magazines.

STEP2 Select 6 different examples of type from amongst your photos or magazine clippings Draw a set of blocks 80 mm x 80 mm and crop these images so they fit exactly in the different blocks. Look at the example on the following page if you need help. This is a wonderful way of using typography in a fresh and new way without using a specific typeface. For example, you could use a collage of characters (letters or numerals) to make a poster for a music concert at your school. But, it probably will not be as successful or appropriate if you are making a poster about for example abuse against woman or another serious subject. You always have to be aware of the appropriateness of the use of your selected type.

88 /////

MODULE1PRACTICALPROJECTS

Artist Michael Gibbons did this collage of several individual characters. Find out more about his photography and art at http://www.alfabetfotos.com

TYPE HAS SHAPE AND WEIGHT

3 PROJECT

STEP1

This project will help you understand that typography is not only the use of characters (letters and numerals) to make up text that we can read, but that it has an emotive quality and stylistic context too. Type has weight, creates negative space and can be used in many interesting ways and so type becomes a really important design tool. Look at the “e” character/letter on the following page. Now take a piece of paper and make your own “viewmaster” by cutting away a square of approximately 40 mm × 40 mm.

///// 89

DESIGNGRADE11

Shift your “viewmaster”/cutaway square over the “e” character. By trying out different positions you are effectively cropping the “character” (e) in different ways. See our three examples above. You will also note how positive and negative spaces change every time you move the square. Can you see how beautifully you can use the same character in different ways when you are not concentrating so much on the literal meaning but rather on the shapes, curves, negative and positive spaces? See what happens when you try this same technique with other characters/letters.

STEP2

Let’s raise the bar and take this exercise to the next level. Choose any one character from the alphabet, it can be a letter or a number, and look for different examples of this one character in magazines, old photographs or on packaging. Note that although you are only using one letter or number for example “b” or “4”, you will end up with many different typefaces / styles of the same character which is exactly what we want you to have.Use your view master in exactly the same way as before and see how many interesting crops you can identify. If your cropped images are very different in size, you can redraw or photocopy them until they are roughly the same size. Now draw a set of 10 blocks as shown in our example of the character “g” below and arrange your different blocks of cropped characters in a visually pleasing and balanced way. Pay specific attention to the positive and negative shapes and how you are arranging the overall layout to create this balance. Squint your eyes while doing this, as you will find it easier to spot blocks that are heavier or lighter in weight than others so that you can move things around to create a visual balance. Stand back and look at your creation. Can you see a pattern/ rhythm emerging? At this point you start to realise the overall pattern rather than the individual letter or number even though you will still recognise the characters in some of the blocks. Do you the Gestalt theory from Gr 10? If not, it might be a great idea to refresh your memory as this knowledge can greatly assist you with this project.

90 /////

MODULE1PRACTICALPROJECTS

STEP3

Let’s raise the bar even further. The play between positive and negative spaces is even more obvious when we remove the lines (a) that defined the original blocks. (b) Now add a block of colour as background (b), or even more than one colour! (c) Use your original design (a/b) in a repetitive way and create a repeat pattern. See if you can spot the original design and its repeat in our example (c) below. a.

b.

c.

Don’t you think the above design could make beautiful wallpaper, fabric or any other surface design where a repeat pattern can be very effective? Can you see that some of the original blocks are “heavier” than others? Squint your eyes if you struggle. type has weight too, which is really important, especially when we look at the examples later on where type is being used as an image.

///// 91

DESIGNGRADE11

And why not decide to only use the outlines of our characters? This causes us to see the characters as textures rather than shapes. Up to now you have associated texture as a means of indicating dimension or surface finish, but a visual texture can be many things. If you should hold an area of cross-hatching up against this image below and you squint your eyes, chances are you won’t be able to distinguish one from the other. If we forget that they are letters, they are only lines that are crossing one another and by doing so, they are creating a visual texture.

The above example is an outline of the original design – have another look if you don’t see it.

“Designers can create normalcy out of chaos; they can clearly communicate ideas through the organising and manipulating of words and pictures.”JEFFERYVEEN

“

The example on the left is a repeat pattern of the original design/layout of our 10 blocks. This is a texture created purely with type. Squint your eyes and you will start to see the heavier outlines emerge and the thinner outlines recede.

92 /////

MODULE1PRACTICALPROJECTS

STEP4 1. You have created your 10 blocks using only one character with different typefaces/styles. 2. Now make a photocopy of your design and remove the lines of your blocks with type corrector (Tippex) or white paint, and make another photocopy. You have now removed the boundaries between the shapes and your pattern should now start to emerge. You will notice all the interesting negative spaces too. 3. Now you can start a process of duplicating your design. Reduce the design on a photocopier to about a third of its original size and make a few (at least four) copies of this smaller version. Stick them close together on another A4 page (neatly in a grid formation, otherwise you may lose the idea of a pattern) to make a more detailed pattern, which could eventually be applied onto fabric or a scarf, wrapping paper or a gift card. See how easy it is to create something quite beautiful from a simple character taken from the alphabet. 4. Hand in your two A4 designs neatly and professionally presented.

?

DIDYOUKNOW Paper is a necessity for many tasks and

projects, but it also has an environmental cost. Making paper requires a lot of environmental resources such as trees, water and energy. It takes more than 1, 5 cups of water to make one sheet of paper and more than 40% of all wood-pulp goes to the making of paper. To reduce the amount of paper you use is to reduce greenhouse gases because for every 40 reams of paper you save (1 ream = 500 sheets) you save 1, 5 acres of pine trees per year and those trees can absorb carbon for that year. So if you can reduce the amount of paper you use, or re-use paper, it makes environmental as well as financial sense.

///// 93

DESIGNGRADE11

USING TYPE AS IMAGE Let’s take this even further. In the following examples, type is used as an image (you are not necessarily supposed to be able to read the words) but the artists have used type to create pattern, shape, texture and tone, and they have manipulated the weight and characteristics of the type to create images. Look how appropriate the choice of typography is; compare the softer, lyrical type chosen for the woman as opposed to the more masculine and weightier type for the boxer.

94 /////

MODULE1PRACTICALPROJECTS

///// 95

DESIGNGRADE11

The poster below touches on the different values or personalities of different typefaces. Note the description before the title of each. Now that you can understand the value of using the correct style within the correct context like a fashion magazine versus a newspaper versus a get-well card, maybe now you can feel more confident to voice your opinion about whether you think it was a successful choice or not? Give it a shot!

96 /////

MODULE1PRACTICALPROJECTS

Linking to examples on the previous page, why don’t you do the following fun exercise in class? You could select a few well-known personalities, or even friends with different personalities and try to find a typeface, which would describe their personalities. If you can’t find an appropriate typeface, you are welcome to design one, which would adequately describe them. Have fun!

4 PROJECT As mentioned before, each typeface has its own personality and “flavour”. Some are bold and heavy (you have probably seen examples of these on, e.g., construction vehicles); some are light and flirty, some are loud and in your face, and some are quiet and reserved. Some are angry (often associated with graffiti or tattoos) and some are happy and friendly. See if you can point out the personalities of the following fonts and also makes suggestions as to where you could appropriately apply them. Examples of application could be a box of chocolates, mechanic workshop, etc.

Draw a row of 8 blocks 100 mm x 100 mm. Use the same techniques you used for the previous activity (digital camera/cell phone/magazines/sketchbooks) and do the following exercise. Search for examples of typography (it could be any word or letter – here we are just looking at the typography, not at the meaning of the word), which would represent the list below and paste each example in a block. Write the caption, e.g. "Type that Shouts." above the relevant block and paste your example into that block. Complete each of the 8 blocks. • • • •

Type that “SHOUTS” Type that “DANCES” Type that “WHISPERS” Type that “SINGS”

• • • •

Type that “MARCHES” ENERGETIC

type

LAZY type FEMININE type

///// 97

DESIGNGRADE11

You may also consider the scale, colour and placement of the type you choose, e.g. type that "shouts" may be big (in scale) as well as bold (in style) or even a bright colour to convey, for example, the “SHOUT” personality. Now that you are hopefully convinced that type surrounds us and we cannot avoid it; we begin to see typography everywhere. Look at the following example. The entire typeface was “designed” by taking photographs in built-up areas, using the sky as the positive shape and architecture as the negative space. How cool is this? It seems as if we do not only need to look, but we need to really SEE.

Typeface designed by photography of built-up spaces

“It’s not what you look at that matters, it’s what you see.”HENRYDAVIDTHOREAU

98 /////

“

MODULE1PRACTICALPROJECTS

Satellite technology (e.g. Google earth) has also opened new options to designers. The following “letters” created from stills from aerial shots over Berlin have not been manipulated in any way.

Typeface created, using aerial shots of landscapes of Berlin

///// 99

DESIGNGRADE11

And lastly, here is a fun example that combines all the different aspects we have discussed so far. There is so much potential for the use of type, which transcends just using it purely for the meaning of the words. See how the designer of this poster gets her idea across by using a combination of the actual meaning of the words (this is a ransom...) and executing it in a technique which s the idea. As budding designers you may well pay attention to the call in the message of this designer. Can you read the message in the poster below?

100 /////

MODULE1PRACTICALPROJECTS

5 PROJECT

The brief/project 1. For this project, you are required to design a poster where you are going to use a combination of words (with meaning) and a collage technique to communicate a specific message. 2. First find an issue that is close to your heart. This can be anything from the plight of abandoned animals to domestic abuse, to any other social or environmental issue you can relate to. Because your message can be one of hope, it does not have to be sad. You may also use your poster as a communication tool to make people aware of a problem they may not know exists. 3. Now, look for a quote by a person who spoke about the topic, which puts your point of view across. For example, if your chosen topic is one of poverty and hunger amongst the poor communities in our society, you may use words of Mother Theresa to explain your point of view. Knowing about and relating to your issue will help you to find a powerful quote that addresses it. The quote might be taken from a politician, humanitarian, religious leader, a teacher in your school, a friend or family member or anyone with an insightful and motivational opinion on this issue. 4. Before you get started, please the following. The main thing you have to keep in mind during this project is the APPROPRIATE use of type. Even though this is a collage, it will still be inappropriate to use letters with little hearts or fun typefaces when your quote relates to topics such as rape, child abuse or war. 5. On an A3 sheet of paper, draw a grid; the blocks need to be about 40 – 50 mm square. Leave approximately 20mm open at the bottom (reason to be revealed later). You may use a landscape or portrait format. 6. Once you have your grid in place, in pencil, write the quote in the grid, one letter per block. Try to space the words so they are spread equally throughout the grid. Look at the example on the previous page. There are often no spaces between the words. Do you think it makes a difference? Do you think it has more impact because of the difficulty it creates for the person trying to read it? Your pencil words are purely for placement, so don’t spend too much time doing it neatly as your collage of letters will soon cover it. 7. Now you have your own poster idea, filled with blocks and letters. Hunt down examples of these letters to place in each block. So, if one block has been marked with an “r”, you will have to find an “r” in a magazine so it can be pasted in its rightful place. Before pasting down any letters, keep in mind that you are working as a designer and you need to pay attention to balance, colour balance and all the other design principles you have been taught up to now. You do not want all the orange letters in one corner, or all the “heavy” type that is huge and bold, collected at the top. Spread the weight and colour around until your completed collage functions as a balanced whole.

///// 101

DESIGNGRADE11

8. Each block needs to be filled with the allocated letter that was determined by the words in your quote. Even if the letter is smaller than the block, you need to keep enough of the background or negative space to fill the entire block. Your ultimate aim is to have no white paper visible anywhere. Once all the words are pasted down, turn your attention to the remaining open blocks, if any. Some of you will have filled all the blocks but there will be some of you with a few open ones dispersed throughout your poster inbetween the letters. These blocks may be filled with appropriate imagery. If your poster topic was “waste in our society”, an image/or a few images of rubbish lying around (cut to the size of the block) may be pasted in the blocks to complete the collage. 9. Once all the blocks are filled with pasted letters and images, you have to credit the person who spoke these inspirational words. So, at the bottom, in the 20 mm strip you left open, write the name of the person, and if you have the information, the date and place where he or she spoke those words. 10. If you are lucky enough to have access to a colour photocopier, make a copy and hand that in as your final piece. Keep your original in your portfolio or workbook. This will just add a clean and more professional finish to your piece and will protect the original poster from wear and tear. If you don’t have access to this technology handling in the original piece of work is still first prize. BUT the question is, is making a colour copy, just for the sake of having a good finish, the most sustainable option? Always try to make the most sustainable decisions!

“Design, in its broadest sense, is the enabler of the digital era - it’s a process that creates order out of chaos; that renders technology usable to business. Design means being good, not just looking good.”CLEMENTMOK

102 /////

“

MODULE1PRACTICALPROJECTS

Section two: 3D 6 PROJECT

The *“found" or *“readymade" alphabet INTRODUCTION

The alphabet (Greek: alpha and beta) dates back to the Egyptian era and forms the basis of our language. Through the years people have experimented and created a wealth of interesting and unique alphabets. Brief CLASS ACTIVITY

As a class create a unique alphabet by using a variety of “found" or "readymade” objects as letters taken from the natural or manmade world. Divide the 26 letters amongst all classmates so that you eventually and collectively present the whole alphabet at the end of this activity. For documentation purposes you may use your cell phone or camera or alternatively you can draw the found/readymade letters. The letters can for instance be sourced from packaging, signage, fashion, furniture, architecture, nature, etc. : You may not alter the “letter” or the original shape of your found/readymade object in any way. Challenge yourself to study the objects from different viewpoints; take photos at different angles to strengthen the legibility of the letter. It is important that you focus strongly on the form or shape of all objects in this activity. The following examples are part of a collection of ready-made objects. Why are they readymade and not found objects? Can you the difference between found and readymade objects?

Designed by The Butler Brothers for High Fashion Home (HFH), the ABC home décor furniture typeface is a great example

*

A readymade object is a manmade object that has been taken out of the context it was originally designed for and placed in a different context. A found object on the other hand can be something from nature, or manmade that has lost its function by being discarded either by nature or by humans . A found object is thus given a new meaning by being included in this new context.

///// 103

DESIGNGRADE11

Next step is to print or draw your letter(s) on an A4 format in either full colour or black and white. not to alter the original object. Once this is done, collect all the different letters from the class and display the group effort of 26 alphabet letters on a wall. to take a photograph of the completed found/readymade alphabet. One photo of the completed alphabet could be photocopied for the whole class and handed out for each learner to add to his/her workbook. It is important that all final works should be documented to be included in your workbook or journal.

Marcel Duchamp, Fountain and L.H.O.O.O Mona Lisa

?

104 /////

DIDYOUKNOW History of the “found object”: The term “found” here refers to the application of the art term “found object” (French: objet trouvé) or readymade — a term that describes art created from undisguised, but often modified, objects that are not normally considered as art. A “found object” can be a natural or manmade object (or image) found (or sometimes bought) by a designer and kept because of some intrinsic quality the designer sees in it. Found objects may be treated as works of art or design in themselves, as well as providing inspiration for the artist or designer.

MODULE1PRACTICALPROJECTS

HERE ARE A COUPLE OF EXAMPLES OF “EXPERIMENTAL” AND “UNCONVENTIONAL” TYPOGRAPHIC ALPHABETS CREATED FROM FOUND OBJECTS OR IMAGES.

Photographer Eric Tabuchi photographed trailer trucks on empty highways, each bearing one letter of the alphabet. The “Alphabet Truck” photos are perfectly uniform in scale and composition.

///// 105

DESIGNGRADE11

Kalle Hagman created this “Industrial alphabet” entirely from photographs of industrial items, locations and landscapes.

Butterfly wings alphabet – just another stunning example that proves that all answers are to be found in nature

Michael Gibbons’ alphabet photos inspired by manmade objects

106 /////

MODULE1PRACTICALPROJECTS

7 PROJECT

Let’s get personal Understanding and gathering the following information will eventually play a vital role in the success of your final product. So don’t lose your focus! OBJECTIVES

The development of conceptual skills is very important if you want to become a great designer. In this activity you are going to continue to develop these skills by matching your personality with a typeface that you believe strongly reflects the qualities and characteristics of your personality. Later on you also need to select materials and a method of construction so stay focused. that all your choices in this activity, no matter if we are selecting a colour, texture or material, should emphasise the traits of your personality.

STEP1 With such a challenging project it is always comforting to start with what you already know. So first things first. Let’s explore a little of YOU. Write down the following information in your workbook: •

A short description of yourself.

•

Other people’s viewpoints of your personality (e.g. your parents, class mates).

•

A few descriptive nouns that you believe describes the traits of your personality/ character. (e.g. shy/outgoing; funky; social or a loner; cheerful or quiet; a leader or a follower; bold; dark; active; sporty; etc.).

•

Choose one of the words you listed as a personality trait and go and find a typeface that you believe embodies the energy and style of this word. For instance, you won't select a very soft and curly typeface to embody a personality trait such as “active, bold or funky”.

“For most graphic designers typography is a mathematical science and for most artists a frightful and daunting task. Going 3-d is certainly a hair-raising moment for both.” WILNACOETZER (VISUAL ARTIST & TEACHER)

“ ///// 107

DESIGNGRADE11

STEP2 Carefully look at the characteristics of your selected typeface and draw your word in this typeface. Standing back and looking at your final drawing from a distance, do you still think that this typeface embodies and enhances the energy of the word you have selected? If yes, let’s continue to Step 3. If no, use this opportunity to have another look at some of the other typefaces available and see if you cannot find a better match.

STEP3 TECHNICAL DRAWING OF 3D SHAPES

At this stage you need to know that your final product will be a 3D representation of your selected word done in the style of the typeface you have selected. It would be advisable to go back to your workbook and make a couple of 3D technical drawings of the letters so that you can carefully plan the construction of each. MATERIALS, COLOURS, AND TEXTURES

A careful selection of building materials, textures, colours and size can all start playing a vital role in your success or failure. So take your time and don’t lose track of the look and feel of the word and the typeface you want to reflect. This in itself should help you a lot with decisions re colour use, materials, etc. Also consider that, depending on the detail in your typeface and the letters of the word, you need to choose a material that won't restrict your ability to manipulate it in order to arrive at the desired result. CONSTRUCTION

Another important component would be to investigate different methods of construction and eventually select the most appropriate one that will really enhance the desired “look & feel” of the final product. Once you have constructed your word and all is done and dusted, explore how you would exhibit your masterpiece.

!

To follow are a number of tips and inspirational ideas to consider when you are investigating construction methods for your project.

BASICS FIRST

Use a pair of scissors or NT-cutter (craft knife), 1m ruler, cutting board and strong glue to make these 3D letters. It is strongly advised to make a few “glue swatches” on different types of paper. Some glues can have an unwanted, untidy or bubble effect on paper. One of the things you can first try, is to create a hollow A4 or A3 prototype of your first letter. Use thick paper or mounting board. If you don’t have these resources, use cardboard boxes instead, e.g. food packaging. Always work neatly and adhere to safety guidelines at all times.

108 /////

MODULE1PRACTICALPROJECTS

A medium thickness paper and an origami or paper folding technique was used here. The end result was a 3D block type with a linear pattern.

A CARDBOARD BUILDING TECHNIQUE

For those of you that are in need of a more solid and durable prototype, try out this highly effective cardboard technique. Glue 4 – 6 (or more) layers of cardboard together. You can use cardboard sheets or ordinary brown boxes for this. Some good advice: Ask for a donation from Mondi paper or Nampak or any other firm that produces cardboard sheets, or collect your own boxes. Use diluted wood glue (a 50/50 ratio of water to glue) and please to add sufficient weight on top of the layered cardboard and leave overnight. Once the layers are firmly bonded together, use a 1 metre ruler and draw the letters onto the prepared cardboard. The size of your letters will be determined by the size of the cardboard you are using. Go as large as you can! Please work neatly and be accurate with your measurements.

///// 109

DESIGNGRADE11

Cut each letter out. An adult or teacher should supervise this stage. Once the letters are cut out you can use some of the wood glue again to ensure that all layers are well stuck together. The glue can be brushed over the whole cardboard surface, as it dually strengthens and varnishes the cardboard in one easy step. Then you can use fine sandpaper to finish off the edges of the letters. This technique is almost like working with wood and very rewarding. Finally display the words or sentences either against the wall or on the floor. See examples below.

We hope that you will continue to explore the wonderful world of unconventional, experimental "found" and "readymade" type, and yes, the amazing world of 3D typography.

Enjoy!

110 /////

MODULE1PRACTICALPROJECTS

To follow are two great examples of personalised or customised ABC typography. Of course these examples might be too advanced for some but if you are interested in taking your project to a different level you are welcome to take these examples as inspiration to design your own typeface that embodies your selected word. Please note that you will most probably have to make use of photography to document and construct the initial style for this typeface. Another way of course would be to make use of a collage where you somehow manage to combine and fix all these readymade or found objects onto a flat surface in the shape of the style of your proposed typeface.

Dutch Graphic designer Yvette Yang designs “Fashion Font” typefaces that showcase the combination and integration of fashion images taken from different fashion magazines. Since 2007 she has designed two sets of Fashion Fonts per year to fit with each season. To date she has five sets of “Fashion Fonts” in her collection. For this type of technique, cut up the taken photos, re-assemble and take a photo again.

///// 111

DESIGNGRADE11

Illustrator R. O'Sullivan stacked books. Look at the repeated use of a red book or spine that added contrast and rhythm to an otherwise dull display. http://www.brainpickings.org./index.php/2010/04/09/book-sculptures

Question: Why not take a shot at psychology? By looking at both examples, what do you believe are the personality traits represented by each: one on page 111 and the given example above? Write a paragraph for both and explain the personalities you believe are hiding behind these masterpieces.

“A Type designer does not draw letters. A type designer designs words and words are structures that contain patterns, form/shape, colour and texture. It is a game that deals with space and rhythm.”CYRUSHIGHSMITH

112 /////

“

MODULE1PRACTICALPROJECTS

8 PROJECT

3D type-furniture that “speaks out”! Brief

This project was sparked by a learner who said: “What if H could be a chair”. With that in mind, why don’t you give it a shot and create a chair, table, divider or 3D wallpaper that originates from the shape of a letter?

!

Whatever you choose to create, use an appropriate material for your final design - permitting that they are strong or durable enough of course. You may also continue to use any technique used before.

STEP1

Start by doing visual research. Once you have collected enough visual references, draw a concept drawing. Make use of thumbnail sketches and more detailed tonal drawings.

STEP2

Create a miniature prototype to see if your design is workable. If you skip this step, you might end up with a disaster. This could impact on the viability of your project in of final costs and time used on this project. SIZE

Do not work larger than A4 or A3. CRITERIA

Make sure that your miniature design or prototype adheres to the following assessment criteria: • creative and original design • creative and functional use of materials • neat finish and creatively presented On the following pages are a couple of examples of 3D type-furniture that “speaks out”.

///// 113

DESIGNGRADE11

Graphic designer Roeland Otten created 26 typography wooden chairs that can be arranged to form words or sentences. The only problem here is that you need a huge place for this, that is to say, if you buy the whole alphabet. http://www.oddee.com/ote, 97798. aspz http://bescenemag.blogspot. com/2010/06/alphabet-chairs.html

The firm Walking-Chair created a line of boxy plywood and 3D typeface chairs and tables that when constructed, can be folded to speak the words, “hello”. The designers of the Hello Furniture are Fidel Peugeot & Karl Emilio Pircher. http://mocoloco.com/archives/001037.php

The above image presents “Destinations” 3D wallpaper where patterns consist of scattered letters. Here you need to “read between the lines”. The designer Perswall was inspired by cities such as Stockholm, Hong Kong, Sydney and Singapore. This is a more abstract and cryptic result

114 /////

MODULE1PRACTICALPROJECTS

We love the above Font tables and Alphabet tables designed by Alexandro Canepa and Andrea Paulicelli. Their designs are playful and encourage you to re-organise the composition. Their designs are more conceptual and make a strong statement about the role of typography in our complex world of communication.

///// 115

MODULE1

DESIGNGRADE11

116 /////

MODULE1DRAWINGPROGRAMME MODULE1DRAWING

INTRODUCTION A short introduction to your drawing programme If you are not a keen artist that constantly walks around with your sketchbook we urgently need to start up those creative juices after such a long holiday. , developing your drawing skills is not only about drawing but also about sharpening those skills that help you become a great designer, namely; observational skills, attention to detail and last, but certainly never the least, the development of conceptional skills. So….we see the act of drawing as a vital tool to teach you all these other skills too. The first few activities can thus be seen as a warm-up, getting you into one of the most powerful creative acts that will stand you in good stead if you want to apply to a design or architectural school after matric. You must , no matter what creative discipline you eventually want to specialise in, you will always need to hand in a great drawing portfolio if you want to be considered as a candidate to study further. Someone’s drawing skills communicates a lot of that person's abilities and potential. So.… better get those drawings tools ready and sketchbook open if you are seriously considering taking your creativity to the next level.

///// 117

DESIGNGRADE11

As we have already told you in Grade 10, the act of drawing gives us the ability to really see and document what we see. Another “chicken and egg” situation, because as much as our enhanced sight will train us to draw better, we have to practise the skill and act of drawing more and more to develop our sight. We invite you to experience each exercise as if you are seeing for the first time. The selected drawing exercises are crucial for improving and developing hand-eye coordination, observation skills and technical skills. With consistent practice you will be able to record information realistically, develop your own style, create your own ideas, work with your own preferred tools and media and be able to apply your skills confidently to any of the four design categories. We are all familiar with the saying: “All great ideas start on paper”. So grab your sketch pad (A4 or A3 size will do) and carry it with you at all times.

The general idea

Continue to do lots and lots of thumbnails and sketches.

The aim

Drawing should become second nature to you and will stand you in good stead if you want to become a great designer and observer.

!

Always discover the real world through drawing it. Work as far as possible from real life and limit yourself from copying objects out of books and magazines. To draw everyday and anything will enable you more to design anything. Have fun while you become a master of the art of drawing. Make this a lifelong commitment!



The ability to draw will stand you in good stead as an emerging designer and will also assist you in preparation for that very important portfolio needed in Grade 12 when the quality of your drawing skills will determine your acceptance into a design or architectural school.

Can you some of the qualities of line we discussed in Grade 10? Here are different qualities you can achieve with line. Of course there are many more! • • • • • •

Controlled versus spontaneous Mark-making versus loose Fine versus bold Varied and crisp Outline versus expressive Fluid versus linear

Line can also express emotions and states of mind through, for instance, its character, direction and movement. Here are a few examples: • Horizontal lines can express a calm and restful feeling. • Vertical lines can suggest spirituality. • Diagonal lines can suggest movement and speed. 118 /////

MODULE1DRAWINGPROGRAMME

• • • • • • •

Horizontal and vertical lines in combination can represent stability and solidity. Deep curved lines can suggest turbulence. Soft curved lines can suggest comfort, safety, and relaxation. Descriptive lines/outlines or contour lines define edges and suggest shapes. Sensitive contour lines can even suggest weight, volume and form. Hatching and crosshatching of individual lines creates shadows and tonal values that suggest the 3D quality of a form. Increasing the number of lines will create a darker tone. Repetition of line develops a decorative element in a design and can therefore also suggests rhythm and movement.

9 PROJECT

Observational line drawings Choose any 3 objects as subject matters for this drawing activity: for example, a school shoe or any other shoe with laces; bottle opener; tin opener; egg beater; a cut green pepper; any other kitchen utensils, equipment or tools you might have access to. It is important to select an object that has a variety of textures and detail. Select at least 3 objects to draw and practise the following: •

Carefully look at your 3 objects and then decide from which angle you want to draw them. Note that you need to select 3 different angles for each object you are going to draw. In other words you will eventually do a total of 9 different drawings.

•

it is important to train yourself to spend more time looking at the object while drawing, than at the paper you are drawing on.

•

Slow down; do not rush these drawings otherwise you won’t develop vital observational skills. Try to spend at least 3 minutes on doing each line drawing. Note that drawing a comb might not take as long as drawing a shoe or a hairdryer. But then the idea never was to choose a simple object to begin with, so this is no time to show your lazy side!

•

While you observe all the details of your object, also take note of how the light falls on the object and where you find shady darker areas. Now try to manipulate your control over the use of the pencil/pen/drawing tool. Release pressure on your pencil/pen when you draw a part of the object that has a lot of light and seems to be lighter and brighter in colour. The opposite is true when you do a line drawing of a darker shady area. Increase the pressure on your drawing tool so that you can draw a darker line to indicate where the shady areas are.

///// 119

DESIGNGRADE11

•

!

Sensitive line drawings as described in (d) are vital for further development of your drawing skills. Make sure that you master this.

Don’t draw what you think the object looks like. Really draw the shape and other details that you see in front of you. Take your time. This is not something that should be rushed.

Try and fill the A4/A3 page. Do not draw a miniature version of your object. Might be a great idea to consider the blank page before you start.

At the end you will hand your teacher 3 different line drawings of 3 different objects. Note that it might be a great idea to rotate between two sketch pads so that you can always continue to sketch even when your teacher is busy marking your previous work. NOTE: It will all depend on the existing workload your teachers have planned for this semester. You will have to take their lead in this decision. They might decide that you complete three drawings per week as homework over the next 3 weeks or they can ask you to do all the drawings as a class activity in one go. Whichever way you go, make sure that you get it done even if it means that you do it in your own time, so that you can progress onto the next level of your drawing programme.

120 /////

MODULE1DRAWINGPROGRAMME

10 PROJECT

Contour drawing

STEP1

Make a contour drawing of your non-dominant hand. Before we start, can you what a contour drawing is, and why it is important for you to learn this if you do Design and not Art? To become a good designer you really need to develop and sharpen your observational skills and attention to detail. It is all about learning the habit of observing and having the correct mindset, which will stand you in good stead in reaching your full potential and eventually help you excel in your future career. This is also a vital part of developing your drawing skills, which are as important to develop as any of your other skills. Don’t think for a moment that because you do Design and not Art you won't need good drawing skills. As we have mentioned before, to get into any design or architectural school you first need to show off your drawing skills and hand in a portfolio that should include a number of quality sketches. The decision makers make a lot of your potential and abilities by simply looking at the quality of your drawings. This could mean the difference between enrolling into a design or architectural school or not.

A contour drawing is also known as a continuous-line drawing. In other words, once you have placed your drawing tool on the page you are not allowed to pick it up until you have completed your drawing. You are going to sketch the contour of your hand, by drawing continuous lines that result in a drawing that is contorted/distorted and or abstracted. In other words your drawing is not meant to look like the real thing. It is more important that you follow the rules. You might think that drawing the contour of your hand means to draw only the outline. It is important to note that any 3D object does not only consist of an outer shape or outline. There are actually many shapes within a shape and a contour drawing is supposed to also convey the length, width, thickness and depth of the object; in other words we refer to the “body and weight” of the object or in this case the hand itself. When you draw the contour of a 2D shape, you are drawing the outline of a flat shape as there is no “body” to draw.

///// 121

DESIGNGRADE11

Have a look at the two examples below. Now let’s see how you do with your own contour drawing.

Let’s do it.

The exercise itself is more important than the end result. One's hand has very interesting shapes, detail and a variety of textures. Keep your A4 piece of paper and your drawing tool ready. Now place your non-dominant hand in front of you and start investigating by looking, and observe all the different shapes, line, detail and maybe even repetitive patterns created by textures and lines. Make sure that you have placed your hand in an interesting composition in front of you and start drawing. , a contour drawing is a continuous line drawing and you are not allowed to pick up your pencil or pen once you have started to draw. It is more important to slow down and really look at what you are drawing than to worry about what your drawing looks like. So try to avoid looking at your drawing. One way of developing your general drawing skills is to continue doing contour drawings. This will also teach you to draw what you really see and not what you think you see.

STEP2 Let’s swop the whole shebang around! Yes, we want you to now place the drawing tool in your non-dominant hand. So if you are right-handed, you will now draw with your left hand. Repeat the above process and do a contour drawing of your dominant hand. Once completed, don’t forget to label your drawings. Clearly indicate which drawing was done with the dominant and which with the non-dominant hand.

Have fun.

122 /////

MODULE1DRAWINGPROGRAMME

11 PROJECT

Line creating texture, tone & pattern Can you how to do your own examples of the template below?

A WARM-UP

Draw three rows of six blocks as per the template above and do your own example of tonal, crosshatching and linear examples that collectively showcase the gradual changes between different tones of the same colour. Let’s see how you have improved your ability to use your drawing materials before we move onto the rest of this activity. Now we want you to come up with your own three techniques. First play around a bit on a piece of paper until you are happy with three different techniques you feel comfortable to use in a repeating format the same as above. The crosshatching and linear examples are two techniques you are now not allowed to use. Devise any other techniques that will show off your special abilities including the ability to control your drawing tool. Show off the gradual tonal changes you can achieve within the six blocks, using the same technique.

///// 123

DESIGNGRADE11

PART1 This activity will seem familiar to you and even though you have already done this in Grade 10, that your skills have since improved a lot. This activity is a great exercise to build these skills even more. Take an A4 piece of paper and fold it into eight equal blocks. Open the A4 paper. Now place the paper over a texture and rub a pencil over the texture. Experiment with different types of pencils like HB, 2B, 4B or 6B pencils. Each pencil will give you a different result. Make sure that you try to find as many different textures possible and use each block for a different texture. A darker pencil like a 4B or a 6B will work best. The challenge is to see if you can outdo your classmates in of the uniqueness of your selection. Be creative and take up the challenge! Don’t forget that this technique, used to reproduce or copy the textural quality of a surface, is called “frottage” also referred to as a “rubbing”.

PART2 Now take a second piece of A4 paper, draw eight equal blocks and copy each texture from the first exercise into a block. You may only use a pencil to re-draw the textures. This activity will help you a lot in preparation for the next two activities as you are experimenting with not only your ability to use the different drawing tools, but you are also manipulating and pushing the tools to their limits while finding out what you can and cannot do with each. All this will stand you in good stead when you are asked to become more experimental in the next activities.

12 PROJECT

Mastering the use of design elements To master the use of the design elements and principles successfully is quite an achievement. Your conceptual and problem solving skills will be challenged. Let’s test your competency in this field. This activity will also challenge your ability to take risks and experiment with what you have at hand. Using the principles of design successfully can result in a composition or end product that reflects or symbolises a visual image which communicates a certain “look & feel” and message, for instance:

124 /////

MODULE1DRAWINGPROGRAMME

• CLASSICAL STYLE • FRESH • MILITANT • FORMAL AND CONSERVATIVE • CAREFREE AND PLAYFUL • ROMANTIC • AGGRESSIVE • FEMININE • MUSCULAR • FANTASY

STEP1 Choose any six themes from the above list. Explore the use of a variety of drawing materials and drawing techniques.

STEP2 In your sketchbook draw six 15 cm x 15 cm frames for each theme you have selected. Now try to create the “look and feel” of each, through experimenting with textures, lines and shapes within each frame. this is not a literal interpretation but you are rather creating an overall effect that you believe reflects the “look & feel” of the theme at hand. You may only use the drawing materials you have selected and different drawing techniques. You may not use words or recognisable shapes to describe your theme. Only texture, colour, line and form may be used. You are free to use any drawing method to achieve the result. This is a very abstract activity that can be very challenging. Don’t restrict yourself – just go for it! this activity is about your personal interpretation and imagination of the themes you have selected. There is no right or wrong.

* that a designer does not only interpret the design brief but, at the same time, he/she also identifies the target market. A good designer is able to identify with a variety of target markets. This includes an understanding of their likes and dislikes, and their style that is created through their choices of clothing, accessories, hairstyles, music, etc. Using and manipulating the design elements and principles, a good designer is able to achieve a design and a result that will appeal to the identified target market. This activity will help you a great deal to develop this ability. We also think it a great idea if you revisit your Gr 10 textbook and revise what we said about the manipulation and use of principles and elements of design.

///// 125

DESIGNGRADE11

13 PROJECT

Blind continuous contour drawing Can you still how to define the meaning of a blind contour drawing and a continuous or contour drawing? Both techniques imitate or trace what the eye sees. The main difference between the two techniques is that with blind contour drawing you may never look at your drawing and for this it will take quite a bit of practice because it has become habit to constantly look at the paper as we draw. If you keep to the rules, your observation skills and eye-hand coordination will greatly improve as you continue to do these activities. It is not important that the end result is not a true representation of the real thing. What is important is that you exercise self-control to keep within the rules of this activity so that you can develop the skills it was meant to develop. You might find that small portions will be very specific and detailed and far better drawn than when you were looking at the paper.

Let’s get cracking

Make a study of your hand in four different positions. Divide your A4 or A3 paper into 4 squares or thumbnail (small) sketches. Write underneath each exercise the name of the exercise and the time spend on producing each sketch. Draw your hand in four different positions by focusing on the outline of the objects and the different shapes and not to lift your hand from the paper when drawing. What is different to this exercise in comparison to the previous activity is that you are NOT allowed at all to look at your sketch while drawing. It is therefore very important that you do these exercises very slow so that you can be sure to observe every detail while blindly imitating what you see on paper. Do not finish ahead of the time limit. Use a timer or stopwatch. THE STOPWATCH SAYS

Spend 5 minutes on the first drawing and reduce the time as you progress onto the next drawing. So it could be something like this: 5 minutes on the first drawing and then: 4; 3 and 2 minutes on the other three. Don’t forget to eventually add the minutes you used for each as part of each label!

! 126 /////

Focus more on your line quality while drawing, controlling the pressure on your pencil to show darker and lighter parts of your hand. Also start to experiment with a variety of lines combined to create a more fluid quality.

THEORY BUSINESS CONTEXT PRACTICAL DRAWING

DESIGNGRADE11

CONTENT THEORY: 2 INTERNATIONAL DESIGN STYLES Time line

130 – 131

INDUSTRIAL REVOLUTION

134





• •

Part one: 1730 - 1840 Part two: 1860 – 1914









ARTS AND CRAFTSS MOVEMENT 1860 - 1900







•

Overview















136 139



139



140 – 144



ART NOUVEAU 1890 – 1905 145













146 148 155 - 161 161

THE BAUHAUS 1919 – 1933











165









168 169 170 – 177 178



• • • •

• • • •

Influences Characteristics Discussion of examples Wiener Werkstätte 1897 – 1932

Influences Characteristics Discussion of examples What importance does the Bauhaus have today?

ART DECO 1925 – 1939













179















180 185 189 - 192













196 - 197

EXPLANATION OF 20TH CENTURY ART STYLES



198

WEB LINKS





• • •

Influences Characteristics Discussion of examples

GLOSSARY

















199



From the birth of industry to the Machine Age Technology & New Materials

1752 Benjamin Franklin discovers electricity

World Events

1844 1st Telegram sent by Samuel Morse 1830 1st Railway line built

1876 Alexander Graham Bell invents telephone

1851 Great Exhibition in London

1890 London Subway

1889 Eiffel tower completed

1896 1st Garden City movement, London

1847 Start of Communism

Social Impact

1901 Frank L. Wright publishes ‘The art & craft of the machine’

1893 Rudolph Diesel invents diesel motor

1900 Sigmund Freud and dream interpretation

1760 1840

Industrial Revolution: Phase 1 1840

Industrialisation of cities and urbanisation. Invention of machines of mass production. Mass production of chemicals. Start of middle class, big factory bosses and child labour.

1860

1890

Art Nouveau

Industrial Revolution: Phase 2 1890’s

1905

Arts and Crafts Movement 1900

Arts & Craft architecture often featured turrets The film Oliver Twist gives some insight into the plight of many kids during the Industrial Revolution

The Kiss by Peter Behrens

Arts & Craft architecture often featured turrets

INTERNATIONAL DESIGN STYLES 1913 1st Ford Motor factory

1920 Woman granted vote in Britain

1914

1934 Chrysler Airflow by Carl Breer

1925 1st television demo in & England 1925 Great Industrial exhibition, Paris

1917

1919

Timeline Module 2

1927 1st Solo flight by Charles Lindberg

1945 1st digital computer developed, USA 1945 Hiroshima and Nagasaki bombed

1929 World Exhibition in Spain

1920- 1930 Woman enjoyed more freedom and wore shorter garments. Life marked by carefree modern living and escapism; Jazz Era

1925

1939

1950 De Stijl

Mechanised warfare. End of war also start of human rights.

1931

Chemical warfare

Bauhaus

WWI

WWII 1933

1918

1945

Art Deco 1939

Art Deco Club chair by Donald Deskey

Bauhaus poster featuring the new Bauhaus typography

Bauhaus logo

Cassandre’s poster of the luxury cruise liner, Normandie

Adolph Hitler the German leader, who was responsible for the persecution and death of millions of Jewish people

MODULE2 132 /////

DESIGNGRADE11

The Industrial Revolution was a period from the 18th to the 19th century when major changes in agriculture, manufacturing, mining, transportation and technology had a huge effect on the socio-economic and cultural conditions of that time. It was also the start of industrial design. The Industrial Revolution marks a major turning point in human history. Almost every aspect of daily life was influenced in some way. Most notably, the average income and population started to show an unforeseen sustained growth. Industry became mechanised. Some designers embraced this, while others had a strong reaction against this.

In your Grade 10 book you were already introduced to the Industrial Revolution and the Arts & Craft movement.(Gr 10: pages 294 – 295) Let us have a quick look again at both these movements to remind you of some of the most important facts before we go on to the movements that followed. It is important to understand this so that you can have a better understanding of the history and development of Design and the world we live in today.

134 /////

MODULE2THEORY

The 19th century was a time of great change as it was the time of the Industrial Revolution. The first steam railway lines appeared; the first steam ship crossed the Atlantic in 1838; the telephone and the light bulb were patented. It was also a time of many wars, e.g. American Civil War, and Anglo Boer war. People moved from rural areas to cities to work in factories where the machine took over the production of handcrafted items made before. The social status of women changed in the 19th century. Women’s rights expanded and thus also the activities in which they participated.

ACTIVITY 1 Do the following in your workbook Create your own fun colour palettes While being introduced to the characteristics of each movement, jot down the characteristics as well as the colours that were very typical of each movement. Then use this information to construct colour palettes representative of each movement. Some of you might even see the need for more than one palette per movement. This is completely up to the individual’s interpretation. You may also consider a relevant title for each palette. If you do, don’t forget to consider the style of the typeface you will use. The chosen style should enhance the style of the movement and what you decide to present in its totality. You can make your own colour blocks by cutting out appropriate colours from magazines or you could collect colour blocks from any hardware store that sells Plascon or Dulux paint. You can use the colour palettes as valuable reference when you do a practical project inspired by any of these movements you will do in Grade 11. You will be reminded of this again at the start of each movement.

///// 135

DESIGNGRADE11

THE INDUSTRIAL REVOLUTION PART ONE 1730 – 1840

• Up until the Industrial Revolution objects were hand-crafted by craftsmen either working on their own, or collectively in rural cottage industries, or in town Guilds or Societies. • The majority worked at a low level of skill and design, crafting simple objects, furniture, buildings and crockery. This was often a family business in which they crafted the same things over and over again. It was as if time had stood still. Designs stayed the same for generations! •

There were a few craftsmen/artisans however, who worked for the nobility. They produced objects and designs based on designs and technology taken from other countries. They often developed their own design styles, but only produced a limited number of designs, which can be viewed in museums today. Hence also the reason why this small range of designed objects sold at a high price.

• The invention of machines of mass production occurred at a time when wealthy merchants and bankers gained legal and political rights over the nobility who owned land. This resulted in a new business class. • Labour started to move from the rural areas to the towns. Everything changed. For the first time it was possible to produce large quantities of a simple object cheaply enough for most people to afford. •

Designs were the result of the technology available at that time, but plain white plates, for instance, still needed to be decorated by hand. As this was an expensive method, a transfer printing method was developed. This method was limited to blue ink, as this was the only colour that could withstand high temperatures.

• Design led by existing technology was of a very low standard. No money was spent on beautifying the objects. • Designers at the time were either architects or artists and Industry felt no need to employ them. They were out to make money and there was no competition. Factory owners were more interested in profit than producing good design.

Two factory girls at a hosiery mill in Tennessee, by Lewis Hine (Library of Congress)

136 /////

MODULE2THEORY

CHARLESCOCKEREL said: “The attempt to supersede the work of the mind and the hand by mechanical process for the sake of economy, will always have the effect of degrading and ultimately ruining art” THE ARCHITECT

“

Social and environmental implications of the Industrial Revolution • Overcrowded cities and towns and a shortage of homes resulted in large scale slum areas. • Poor sanitation led to diseases. • Workers worked long working hours for poor wages. • There was no compensation for injuries. • Child labour exploited children. • There was large scale pollution. • There was poor air circulation and poor safety measures in factories and mines. • Factory workers, especially in the cotton mills, were likely to get lung diseases due to cotton dust.



• Workers had no rights and were easily replaced. • Manufacturing of products increased but often inferior products were manufactured as profit was more important than quality, aesthetics and usability.



• However, most people could find jobs and a strong middle class was established.

///// 137

DESIGNGRADE11

?

DIDYOUKNOW Boys as young as 8 years worked in coal mines as they were small enough to crawl along narrow tunnels.

The above image shows a young “drawer” pulling a coal tub along a mine gallery. In Britain laws were ed in 1842 and 1844, improving working conditions in mines.

How did the Industrial Revolution impact on our world today? • It introduced faster production by machine. • Industrialisation is still ongoing. • It created awareness of human rights and the basic rights of workers. • It highlighted the importance of safety in the workplace. • It created large scale pollution – something we are trying to address today. • It created a shortage of housing and sanitation for the masses in the cities. Today we are reintroducing handmade products that can create jobs for many people.



• Introducing handmade products is also a very valuable way to preserve indigenous knowledge and systems that will ensure the preservation of cultural heritage for generations to come. •

138 /////

Today handcrafted items are very sought after because they present a unique and special quality that reflects the opposite of a cheap mass produced item. Understanding history will always highlight the mistakes of the past. This knowledge should empower us to constantly develop contemporary technology and design that can address these pitfalls in a more conscious way so that a more sustainable world can be designed that not only addresses the economy, but also considers people and the planet.



MODULE2THEORY

1 PROJECT Do the following in your workbook. List the pros and cons of the Industrial Revolution. In your opinion, state which of these are still of major concern today.

?

DIDYOUKNOW that in 1837, a government School of Art was established to train designers to work for Industry but it failed? It only started to change with the Great Exhibition of 1851 and the Arts & Crafts movement.

THE INDUSTRIAL REVOLUTION PART TWO 1860 – 1914 The Arts and Craftss

movement was the beginning of socialism and protection of the rights of craftsmen. (1860 to 1900 AD)

The Craftsman 1901 William Morris

Example of Newcomb Pottery New Orleans, Louisiana

///// 139

DESIGNGRADE11

The Oregon Chair Company’s king craft furniture, dresser, circa 1914

?

John Henry Dearle’s Compton. 1895

DIDYOUKNOW that there was an explosion of scientific inventions in the second half of the 1800s, such as electricity, chemicals (such as bleach), and Portland cement?

The large scale production of chemicals was an important development during the Industrial Revolution. This led to several large scale industries on a scale never seen before. This included industries such as the production of the telephone, cars, electric motors, radios and plastics. During the early part of the Industrial Revolution, manufacturers completely overlooked the necessity of good design. It was natural for them to rather make use of the ever-increasing technological advantages that became available and to focus on the increase of production and profits. Good aesthetic design was never considered important. The Arts and Crafts movement was a belated 19th century backlash against the forces of industrialisation in Britain. The Arts and Crafts movement revived the interest in handicrafts and sought a spiritual connection with the surrounding environment, both natural and manmade. A group of artists, including William Morris, were against the machine, the Industrial Revolution and mass produced articles flooding the markets. 140 /////

William Morris, of ceramic tiles, 1873.

MODULE2THEORY

Morris Sussex Chair 1865-1910.

A design for a small cottage from Andrew Jackson Downing’s Cottage Residences in 1842.

Red house by Phillip Webb for William Morris

John Henry Dearle, Compton, 1895 Illustration for book

///// 141

DESIGNGRADE11

to go back to your Gr. 10 book pages 296 – 298, for a quick recap about the life and work of William Morris.

What did this movement try to achieve? • The Arts and Crafts movement revived an interest in handicrafts and sought a spiritual connection with the environment, both natural and manmade. • Their ideas of good design were linked to their ideas of a good society. • They stayed “true to materials” in domestic arts (they kept materials unadorned). • There was an honesty of form and of decoration in their work. • They went back to using printing blocks and embroidery. • Architecture had to be rational and materials locally sourced and available. • Plants, animals and birds were used as subject matter for decorating wallpaper and textiles. • Decoration was only used to enhance a design and never just for the sake of decoration alone. • Heraldic detail and Gothic pointed arches were also included. • They used cast iron as the standard component in buildings as well as glass and steel. • They mixed diverse elements such as turrets, pointed arches and Georgian windows. •

They hoped to ensure that the quality of goods improved, and also hoped to improve the working conditions of man by encouraging a type of craft industry.

• They aimed to use skilled artisans and craftsmen to produce high quality works for the home. • They produced handcrafted designs such as jewellery, furniture, metal works, textiles and wallpaper.



• They were striving to recreate the beauty of Medieval crafts. • They wanted to create a style that was romantic and that would reflect the old ideals of craftsmanship with artistic form, shape and colour.



• They depicted figures from medieval sources in stained glass windows, furniture s and book illustrations.

? 142 /////

DIDYOUKNOW that there is currently a revival of traditional handcraft techniques especially in products used for interior decorating? Knitting and crochet techniques are used to create porcelain, lights, cushion covers, etc.

MODULE2THEORY

ACTIVITY 2 Do the following in your workbook. Put together a colour palette for the Arts and Crafts movement. You can make your own colour blocks by cutting out appropriate colours from magazines or you could collect colour blocks from hardware stores or from Plascon or Dulux at the paint section of stores like Game. You can use these as a valuable added reference when you do a practical project that is inspired by the Arts and Crafts Movement.

Famous Arts and Crafts structures include the Eiffel tower in Paris and Crystal Palace in London.

Crystal Palace in London where the big exhibitions were hosted.

The Eiffel tower in Paris – at the time a technological wonder.

///// 143

DESIGNGRADE11

Why did this movement not continue? The problem was that they were more focused on the past and found it difficult to transform the movement towards a more modern style. Another reason was the high price tag. Handcrafted products are very expensive, which made their market only accessible to the rich who could afford it. Due to the fine nature of these handcrafted products, the production process was time-consuming and not suitable for mass production. All these products were not financially viable. Eventually it failed to address the issue of ugly mass produced goods, by concentrating on unsustainable ideals. It simply became outdated.

How can we relate this to South African design objects of today? For class discussion Around the world there is a revival of handcrafted objects. Have a class discussion and motivate your findings of this revival in a South African context with specific reference to the use and integration of indigenous knowledge to develop high-end design products and environments as well as craft products that reflects uniquely South African design.

2 PROJECT Do the following in your workbook. Paste in some examples of mass produced chairs or products as well as their prices if available. Look at catalogues or take photos at shops of the cheapest on the market. ( to ask permission if you want to take a photograph.)

Next, you need to look up some designer chairs or products done by designers that you are familiar with and include their pricing. Now do a comparison of the differences and similarities if any. Compare the prices, form, colour, texture, functionality and cost effectiveness. Discuss your findings and compare notes with your classmates. Note down all your findings and compare them with similar observations of handcrafted designs from the Arts and Crafts movement as opposed to mass produced goods at the time. *Your teacher can provide you with the names of designers whose products are produced and sold here in South Africa.

144 /////

MODULE2THEORY

ART NOUVEAU

1890 – 1905

Art Nouveau was also known as Jugendstil in , Sezessionstil in Austria and Style Guimard in .





Detail of Casa Batlló by – Antoni Gaudi

Mosaic detail – Antoni Gaudi

Art Nouveau lamp by unknown designer

“There is hardly anything in the world that some person cannot make a little worse and sell a little cheaper and people who consider price alone are this person’s lawful prey.” JOHNRUSHKIN

“

Aubrey-Beardsley’s Peacock and flowers

///// 145

DESIGNGRADE11

The name Art Nouveau was taken from a shop opened by the art dealer Samuel Bing in Paris in 1895. Sameul Bing displayed art and objects made in this new style. The style originated in Belgium and . It was a romantic and highly decorative style found in Europe and America. It developed from the British Arts & Craft movement of Morris and was also against the unrefined mass produced articles of the late 19th century. They wanted to influence the design of utility objects and to put a strong stamp on interior design. This movement can be seen as a bridge between the eclecticism of the 19th century (a mixture of copied styles) and the modern movements. The designers/artists of this movement advocated nature as the true source of all good design. They differ however from the Arts and Crafts movement in that their products were overly decorative and opulent. In short, they sometimes went completely overboard with decoration. This style was applied to the surfaces of many products that could range from buildings, posters, home products, wallpaper and textiles. A major characteristic was the use of sinuous curving lines that flowed in undulating and intertwining patterns, similar to vines. This is often referred to as a ‘whiplash’ line. Objects were richly embellished with ornamentation. It was not a unified style.

?

DIDYOUKNOW that two styles developed? • Rectangular style found in Britain and Germanic countries. • Flamboyant style found in Paris.

It was popular in Europe but not so much in Britain as they followed Morris’s Arts and Crafts ideals. A well-known designer was Mackintosh who made use of simplified shapes. Nouveau designers objected to the borrowing of design ideas from the past, and even from other cultures, although the Japanese approach to nature was much ired and imitated This can especially be seen in the posters of that time. For your reference please also refer to the following examples.

Influences Alphonse Mucha was a major influence with his poster style and his portrayal of the female figure with shapes framing the upper body. They were also inspired by nature, especially the meandering trails found in climbing plants. In an example on the next page you can see tiles with typical meandering plants and curvy lines. Japanese art, popular at the time, inspired them to use flat shapes of colour. This can be seen in the example of woodblock print from Japan (page 147 bottom left). The artist Gustav Klimt was another great influence with his great use of decorative pattern as seen in the work “Tree of life” (on the next page, bottom right).

146 /////

MODULE2THEORY

The whiplash line on a tile design.

Painting by Alphonse Mucha

?

DIDYOUKNOW Alphonse Mucha helped to shape the Art Nouveau

movement through his own stylish illustrations, which captured classicallydressed women in full length poses set off against a curved shape. Many of Alphonse Mucha’s prints and illustrations had extremely detailed backgrounds. At the start of his professional career, Alphonse Mucha produced many posters and ments to promote various businesses that had offered him valuable commissions. These posters quickly gained attention within Paris where contemporary art was popular and encouraged.

Flat areas of colour seen in Japanese prints



“The Tree of life”, a decorative work done by Gustav Klimt.

///// 147

DESIGNGRADE11

Characteristics Line Abstract lines and shapes were widely used as a filling for recognisable subject matters. The whiplash line and free form curvilinear motifs often derived from the dynamic stem structure of plants, buds and other organic forms, such as lilies, orchids, tree roots, swans and peacocks. The use of meandering, sleek and asymmetrical curves became floral patterns in Belgium and , but geometric ones in Scotland and Austria.

This Art Nouveau advertising poster was done by Dutch artist Jan Toorop.

148 /////

A simplified version of a Cyclamen shows typical whiplash style lines.

MODULE2THEORY

Rose window by Mackintosh.

Staircase in Tassel House by Victor Horta.

Chairs by Charles Rennie Mackintosh, Scotland, showing a simpler style.

Jugendstill design showing less colour.

///// 149

DESIGNGRADE11

Form/shape Intertwined organic forms of stems or flowers and curving lines characterised Art Nouveau, as in the example of the Art Nouveau textile design, “Lilies” done by Felix Aubert in 1897 which can be seen in the example on the right (printed cotton, The Design Library, New York). Right-angled shapes are also typical especially in the works of chairs, which had a more angular appearance as in the examples designed by Mackintosh (see page 149). Figures were often placed against a framed shape such as a circle. In fashion the waistline was narrow to form an hourglass silhouette.

Art Nouveau textile design, “Lilies” done by Felix Aubert in 1897. The emphasis was on flat decorative pattern and flowing lines.

The kiss by Peter Behrens showing typical curving lines.

The hourglass silhouette.

The face is placed in a frame.

150 /////

MODULE2THEORY

Colour Colours were muted or dusty in appearance. Gold, green, beige, black, silver and some maroon. Blues were light with a tint of green. Pink too was muted to almost a salmon colour.

ACTIVITY 3 Do the following in your workbook. Do your own Art Nouveau colour palette. You may collect your own colour blocks by cutting colours from magazines or visiting a hardware store or paint shop and collecting your own colour blocks. Having your own colour palette will be a great advantage when doing any future projects that are inspired by this movement.

They used flat areas of colour and strong defining outlines were very popular.

Austrian bowl by unknown designer

Alphonse Mucha - Art Nouveau stylebook Furnishing Fabric, by Christopher Dresser

Alphonse Mucha - Biscuits-Lefevre

///// 151

DESIGNGRADE11

Space They used flat perspective as in Japanese prints. Designers preferred to concentrate on the detail of the design rather than the space. In the examples on the right and below, the lack of rendering space can be seen in the flattened colour areas. The colours were applied with little or no shading on a flat background colour, thus creating no spatial depth.

Above “Champenois Imprimeur-Éditeur”, a lithograph, done by Mucha in1897 and an advert for a book cover on the left.

Charbook poster by unknown designer

Balance A book- cover done by Arthur Mackmurdo for ‘Wren’s City Churches’ (1883) is often cited as the first example of Art Nouveau. This example is an asymmetrical arrangement of forms and patterns. The shapes symbolise purity, beauty and freedom.

A book-cover designed by Arthur Mackmurdo

152 /////

MODULE2THEORY

Subject matter The principal subjects were lavish birds and flowers, insects and polymorphic, sexually enticing women. (Polymorphic refers to a fusion/combination of a human form and an insect or animal as in the dragonfly brooch by Lalique in the example below.)

Bird ring with gold, enamel & peridot designed by Rene Lalique

Silk scarf, unknown designer, 1900

Lalique. Dragonfly woman in gold, enamel, chrysoprase, moonstones & diamonds

///// 153

DESIGNGRADE11

Materials Jewellery contained various stones while diamonds played a secondary role. For textiles they used expensive materials like silk, velvet and embroidered cloth. They also used lacquered wood, inlaid with other materials, for furniture pieces. Mosaics and stained glass were also popular. In architecture they exploited the possibilities of cast iron and plaster that could be moulded into organic shapes. They also liked mosaic and Gaudi applied this to many of his buildings.

“Cabinet Vitrine” by Gustave Serrurier-Bovy in 1899.

Victor Horta. Stairs in the Van Eetvelde House in Brussels, Belgium, C 1896. Lotus Tale Lamp designed by Louis Comfort Tiffany in c 1905.

Objects They created beautiful objects of art, but not necessarily very functional ones.

Art Nouveau decorative bowl with flowers and butterfly.

Antoni Gaudi bench seat for Casa Calvet 1898

154 /////

MODULE2THEORY

Antoni Gaudi, Cornet dragon gate 1884

VISUAL COMMUNICATION Graphics A unique graphic design style developed, which included typographic styles as well as a very distinct manner of drawing the female figure.





A unique graphic design style is evident in the poster above, on the right and the one at the top of the next page.

///// 155

DESIGNGRADE11

Aubrey Beardsley – “The Peacock skirt”.

This example is recognised as an Art Nouveau piece: • The lines made by the hair are free flowing and curved. • The whiplash line, a main feature of this style, is seen in the flowing hair. • The picture is framed by a decorative border in a zigzag pattern. • The woman is depicted as very feminine and sensual. • The poster has an asymmetrical balance as the arrangement of hair and figure are not the same on both sides. The frame is however, symmetrical. • The lines create a rhythmic movement. • The letters are in an old style and have a dotted outline; they are partly obscured by the curved top of the hair. • Mostly organic lines have been used, which refers to the relationship between figure/nature. • Colours are soft and gentle with no strong contrast, adding to the natural feel in the poster. • There is no attempt to convey volume and depth as the hair, figure and background are all flat with no shading or change in tonal value. • There is therefore no indication of space and depth (no back, middle or foreground) as it is all flat. 156 /////

Alphonso Mucha – Pen poster c 1897

MODULE2THEORY

PRODUCT DESIGN

Claret jug designed by the German company, WMF in 1906

Art Nouveau chair by an unknown designer.

Metal work showing lots of curvy meandering lines.

Entrance to Paris Metro, Art Nouveau Architecture, Paris.

///// 157

DESIGNGRADE11

Art Nouveau brooch designed by Winifred Green

An Art Nouveau Brooch designed by Winifred Green In this silver brooch above, the preference for nature as a source of inspiration can be seen in the use of birds and vines. The vines twist and curl in the typical whiplash style lines of this period and the birds are portrayed in a very naturalistic way. The birds are placed diagonally to create rhythm. Although the texture is smooth, the pattern is 3-dimensional, allowing the raised pattern to create the texture. The balance in this brooch is symmetrical and based on a mirror image. The whole design is ornate and this adds to the look and feel of a very expensive piece. (“Ornate” refers to a highly complex design).

SURFACE DESIGN Rene Beauclair, Decorative pattern, 1900 This is another beautiful example of curved lines expanding and contracting to create this pattern of vines, leaves and lilies (page 159 top right). The movement is generally upwards and showcases the use of a half-drop repeat pattern. See if you can spot the half-drop repeat pattern. Colours used here are muted greys, beige and pink on a dark background. Shapes are treated flat, showing no tension, focus or variation in colour.

158 /////

MODULE2THEORY

The composition is very busy with very little background. The repetition of lines creates rhythm and tension where they expand and contract, creating more teardrop shapes in which the flowers are positioned.

Decorative pattern designed by Rene Beauclair

ENVIRONMENTAL DESIGN Architecture The purist form of this style can be found in the work of the Spanish architect, Antoni Gaudi, with his “organic” architectural style. He created complex buildings and had a style that was considered to be more sculptural than that of other Art Nouveau architects. Gaudi’s organically-shaped buildings can be interpreted as a rejection of the ‘coldness’ of machineproduced geometric objects.

Sculptural, ornate entrance of a French Art Nouveau building.

The Casa Batlló , already built in 1877, was remodelled in the Barcelona interpretation of Art Nouveau , by Antoni Gaudí and Josep Maria Jujol during 1904–1906.

Antoni Gaudí, Interior of Casa Batlló Barcelona, Spain 1905-1907. Here the organic, sculptural qualities are very visible in the ceiling and treatment of the windows.

///// 159

DESIGNGRADE11

The towers of Casa Batlló by Gaudi.

Sagrada Famillia detail and full view by Gaudi. Sagrada Famillia

Architects and designers of this period 1. Robert Oerley – Austrian architect 2. Edvard Voicey - Textile designer 3. Charles Rennie Mackintosh – British-Scottish textile designer and architect. He was the main representative of Art Nouveau in Britian. See page 149 4. Louis Tiffany – American designer - see page 154 5. Victor Horta – Belgian interior designer and architect – see page 154 6. Alfhonse Mucha – Czech artist and graphic designer – see page 156 7. Paul Poiret – French fashion designer 8. Jeanne Paquin - French fashion designer 9. Jeanne Lanvin - French fashion designer 10. Mariano Fortuny – Spanish fashion designer 11. Charles Frederick Worth – British fashion designer 12. Peter Behrens – German architect and designer – see page 150 13. Charles van der Stappen – Belgian sculptor

Casa Batlló designed by Antoni Gaudi In this exterior we see Gaudi’s use of organic shapes very clearly. The building has a skeletal organic quality and is known as the bone house. The ground floor, in particular, is rather astonishing with tracery, irregular oval windows and flowing sculpted stone work. Antoni Gaudí, Casa Batlló Barcelona, Spain, 1905-1907.

160 /////

MODULE2THEORY

The designer has avoided straight lines completely. Most of the front is decorated with a mosaic made of broken ceramics. It starts in shades of golden orange moving into greenish blues. The roof is arched, ending in small towers and can be compared with the back of a dragon or dinosaur. The interior space shows the typical organic shapes that are so characteristic of the Art Nouveau movement. An example of the interior space can be found on page 159.

Wiener Werkstätte (1897-1932) Under the leadership of Gustaf Klimt, a group of artists broke away from the established artistic order to start the Vienna Sesession. They did not want to be associated with the academic, historically orientated traditions of the city. In 1903 the Wiener Werkstätte opened as an extension of the Secession. It was led by Josef Hoffmann and Koloman Moser. They declared that their aim was the “pursuit of art and quality in all crafts”. They set out to produce limited lines of furniture, metalwork, textiles, glass and ceramics. Inspiration came from the Arts & Crafts movement of William Morris. Their work however had a greater sense of luxury than the work of the British. .

Josef Hoffmann - Autumn Leaves

Carl Otto Czeschke, untitled 1912

Above is the logo for the Wiener Werkstätte. Take note how familiar the symbol in the middle looks. Does the logo remind you of a company you know?

Chair by Josef Hoffman

///// 161

DESIGNGRADE11

The Wiener Werkstätte was seeking a new style that was in tune with other European cities of that time.

Characteristics The use of rich colours with a linear approach to Graphic design

Wiener Werkstätte typography Koloman Moser Secession 1902 Above are a few examples of the use of initials, and the use of figure and ground principles are visible in the layouts.

?

DIDYOUKNOW Art Nouveau had an influence on some posters of the 1960s. See if you can find some examples.

Josef Hoffmann, Cigarette case adorned with semi precious stones, 1912

162 /////

MODULE2THEORY

• • • • • • • • • •

They generally rejected the overabundance of floral ornament found in the contemporary French Art Nouveau style. They had a controlled sense of line and decoration. Used rich materials such as gold leaf and semi prescious stones. Used metallic and coloured inks. Wide borders and had a clear sense of the open page. Used decorated initials and chapter headings. (illuminated letters – see practical section of this module page 224). Highly decorative illustrations. The square is a consistent motif which appears in both Secessionist and Werkstätte’s work with the initials, WW - The idea being to teach a sense of figure and ground (otherwise known as negative and positive) in a picture, as is clear in their logo (see on page 162). This linear approach in the decoration of all their objects across various media. They used a strict yet vigorous geometry.

Unfortunately Art Nouveau failed to reconcile 20th century art and industry. Because it could not be easily mass-produced, they did not address the problem of ugly mass produced products.It was over decorative and expensive and so eventually fell into disfavour with the public. Designers from other parts also began to reject superfluous surface ornament as it was often applied simply for the novelty of its effect.

3 PROJECT So before we move on, do a quick revision of Art Nouveau in your workbook by using the following as a guide: • What did the Art Nouveau movement try to achieve and why? • Name at least four influences on Art Nouveau and motivate your answer. • Choose from the scrambled words below the ones that best describe the works from this period. Unadorned; organic shapes; decorative; straight lines; curved lines; truth to materials; ornamental; mosaic; strong shading: whiplash line; mass produced; nature inspired; used perspective space; cast iron; machine-produced; strong colours; muted colours; most basic forms; lacquered wood; asymmetrical balance; primary colours; symmetrical balance; strong defining outlines; cubes; seductive women; flat perspective; intertwined vines; no outlines; framed shape; cheap; expensive; stained glass; detail; geometric objects; meandering lines; clean lines; complex designs; expensive materials; form follows function; recognisable subject matter; impersonal; flamboyant; flat shapes; honesty of form; overly decorative and opulent; spatial logic

///// 163

DESIGNGRADE11

WORLD WAR 1 (1914–1918) In the 19th century, the major European powers had gone to great lengths to maintain a balance of power throughout Europe, resulting by 1900 in a complex network of political and military alliances throughout the continent. This was a war that began with the assassination of Archduke Franz Ferdinand of Austria, the heir to the throne of Austria-Hungary. It ended with a series of revolutions that involved several countries. This time also marked the end of the major empires.

164 /////

MODULE2THEORY

THE BAUHAUS





1919-1933

A collection of products that are reflecting the Bauhaus characteristics

“Not only is ornament produced by criminals, but also a crime is committed through the fact that ornament inflicts serious injury on people’s health, on the national budget and hence on cultural evolution.”ADOLFLOOS

“ ///// 165

DESIGNGRADE11

Background The Bauhaus occupies a special place in the history of 20th century culture, architecture, design and art. It was one of the first schools of design and brought together a number of the most outstanding architects and artists of that time. This movement had a significant influence and impact on design as it stood for a philosophy that many designers are still applying today. The Bauhaus was founded in 1919 in the city of Weimar by the German architect Walter Gropius (1883–1969) as the first director in post World War 1 . The machine age was already in gear, making way for the era of modernism. It was not only a pioneering training centre, but also a place of production. They aimed to all art and craft as a functional whole. The idea of applying basic design as a scientific method in art was developed. Art products could be broken down into their most basic elements: a cube, sphere and cylinder. They tried to find solutions for the problems faced by the working classes during the depression years of post World War I . Their concerns included urban planning, housing and the development of high-quality, useful, mass produced consumer goods. They wanted to give the artists a meaningful and practical place in society by allowing them to experiment with form, colour and materials as well as receiving training as craftsmen and industrial designers. They tried to find a solution to master the modernisation process by means of design and tried to solve the social problems in an urban context. These are all methodologies that we are still using to solve modern day problems. So the thinking process behind the Bauhaus movement was way ahead of its time and has also proven to be timeless as we are still using and applying a lot of this on a daily basis. Walter Gropius explained his vision for a union between art and design in the Proclamation of the Bauhaus (1919). He wanted to reverse the split between art and production, by returning to the crafts as the foundation of all artistic activity. Gropius developed a craft-based curriculum that would turn out artisans and designers capable of creating useful and beautiful objects that would be appropriate to the new way of living. Due to lack of funds and the changing political scene, the Bauhaus had to move several times, first from Weimar to Dessau and finally to Berlin. In Dessau Gropius designed a new Bauhaus school. The style was later adopted as characteristic of modernist architecture. This Bauhaus building had many features such as: • • • • • • • •

166 /////

Steel-frame construction A glass curtain wall Reinforced concrete An asymmetrical pinwheel plan throughout which Gropius distributed studios, classrooms and istrative space for maximum efficiency and spatial logic. The clean lines, “curtain” walls, reinforced concrete and cube-like structures were later to be echoed in the modernist movements. The use of prefabricated units and movable inside walls Machine-made components Purity of form.

Walter Gropius, Bauhaus building, 1925-26

MODULE2THEORY

Master house, Bauhaus, one of several designed for the masters by Walter Gropius in 1925. These houses were furnished with Bauhaus furniture and products.

Gropius was succeeded by the Swiss architect Hannes Meyer (1889–1954) whose work sought to shape a harmonious society. It is important to understand the existence and development of the Bauhaus within the turbulent political climate of that time. Due to his Marxist convictions, which became a problem for the city council, Hannes Meyer was removed from his post despite his successes. Meyer was succeeded by Ludwig Mies van der Rohe (1886–1969). From 1930, under guidance of van der Rohe, the Bauhaus developed into a technical school of architecture with additional art and workshop departments. When the Nazis came into power, the Bauhaus was forced to move in September 1932 to Berlin, where it lasted only for a short time. Hitler forced the closing of the Bauhaus in 1933. Many of the Bauhaus were assisted to flee to the United States, where the characteristics of their style spread like wildfire. It impacted on the shape of buildings, chairs, the lines on sports cars, the look and feel of commercials and graphics at the time as well as the cut and styling of clothes.

///// 167

DESIGNGRADE11

Influences They were influenced by the simple unadorned furniture produced by the Arts and Craftss movement. They were also influenced by the Cubist movement which believed in reducing objects to their most basic forms, namely the cube, the cylinder and the sphere. This the Bauhaus adopted. Another movement, which had an influence on the Bauhaus was the Dutch movement, De Stijl which created impersonal, abstract works of squares and rectangular blocks of primary colours separated by vertical and horizontal lines of black or white. All their works had smooth surfaces which looked as if created by machine and were based on mathematics. They were influenced by the American architect Louis Sullivan through his quote: “Form follows function.” This meant that objects adhered to the principle of purity of form and were left unadorned.

What did they do? Under the guidance of Walter Gropius, Paul Klee, Marcel Breuer, Josef Albers, Mies van der Rohe and Wassily Kandinsky, the students of the Bauhaus jumped at the opportunity to rethink buildings, furniture, film, photography, theatre, music, toys, appliances and fashion. The Bauhaus set out to address the need to provide healthy housing for a growing urban population under difficult economic conditions. This they did with an imaginative and practical solution. They wanted to take advantage of new technologies and to achieve a breakthrough for rational and functional form in design. Cost-cutting industrial mass production was to make products affordable for the masses under guidance of Hannes Meyer. Although they stressed the importance of deg for mass production, they also put a lot of people out of work by choosing this route. The Bauhaus combined elements of both fine arts and design education. Masters and students developed exemplary designs for objects and spaces that were to form part of a more human future society. The curriculum started off with a preliminary course that immersed the students, who came from a diverse range of social and educational backgrounds, in the study of materials, colour theory and formal relationships in preparation for more specialized studies. This preliminary course was often taught by visual artists, including Paul Klee, Wassily Kandinsky (1866–1944), and Josef Albers among others. After studying Bauhaus theory, students entered specialized workshops, which included metalworking, cabinetmaking, weaving, pottery, typography, and wall painting. At this time the school adopted the slogan "Art into Industry." The main objective of the Bauhaus was a radical concept: to re-image the material world and to reflect the unity of all the arts. In 1923 the staff was asked to present their work in an exhibition to justify the financing of the school. This exhibition showed the Bauhaus school’s transition from experimental craft to a concentration of prototypes for mass production. This is the basics of industrial design.

168 /////

MODULE2THEORY

Characteristics of Bauhaus Design • • • • •

Foundation courses included experimental work in basic form, colour and composition. The students were introduced to different materials and techniques in simple, practical projects. As a consequence, abstract ideas of texture, volume, form, space, colour, transparency became a shared visual language across different media. This helped to shape a recognisable “Bauhaus approach”. They were then introduced to the workshops to gain further knowledge of materials, and design prototypes for mass production. Some of the most successful items produced at the Bauhaus were lamps, industrial glass, woven textiles, wallpaper, and furniture as well as graphic designs. By 1927 the licensed industrial production of Bauhaus designs were in full swing. Bauhaus light fittings of pressed metal and opalescent glass were mass-produced. The Bauhaus staff were divided up into masters of form and masters of craft. The latter were master craftsmen.

From 1924 they concentrated more on machine and industry.

Workshops Under the direction of Marcel Breuer (1924 to 1928) the cabinetmaking workshop predetermined or defined furniture design. • • •

They dematerialised the conservative forms of furniture, e.g. chairs must be in their most basic and essential forms, stripped of decoration. Inspired by the extruded steel tubes of his bicycle, Breuer eventually created light weight metal chairs that could be massproduced. These tubular steel chairs were light and airy and were used throughout Bauhaus buildings while the school existed. They produced prefabricated furniture.

Cantilevered chair designed by Mart Stam.

Cradle designed by Peter Keler (1920)

Wassily chair designed by Marcel Breuer.

///// 169

DESIGNGRADE11

• • •

They learnt some or other craft: metalwork, weaving, woodwork, etc. and industrial design. They emphasised functionalism and rationalism. They were responsible for the idea of: Form follows function by stripping the product of unnecessary decoration and showing the natural beauty of the materials. They placed the emphasis on examining the formal and physical properties of materials in order to find principles of design that would respect the idea of truth to materials.

PRODUCT DESIGN

Gropius Tac tea-pot.

Weimar teapot designed by Kenne, 1924.

Alma Siedhoff-Buscher was the first Bauhaus practitioner that took design for children seriously with this new product called Naef Bauhaus Bauspiel. This design could possibly have been an early idea that could have influenced the well known Lego of later years.

For class discussion Divide into a few groups. Read the following remarks, note the questions, do some research and have a few very interesting and informative discussions. Then, share with the rest of the class. What do you know about the use of specific colours in modern context? 1. Ever notice that toys, books and children’s websites usually contain large blocks of bright, primary colours? Don’t you sometimes wonder why? According to studies done, young children prefer these colours and respond to them more positively than they would do to pastels or muted blends. See if you can find out more.

170 /////

MODULE2THEORY

2. Can you think of situations where a specific colour could influence customers to buy a certain product on a shelf or not? Collect a few examples and present the scenario to the class. Might be a good idea to bring some real examples to class or you can use a few commercials you find in magazines or even in the newspaper.

?

DIDYOUKNOW that colours can actually have an effect on a person’s state of mind and cognitive ability? This was proven by numerous research studies done on children. According to research, pink has been shown to increase a person’s appetite and calm prison inmates.

3. Are you aware that colours can have different symbolic meanings (and not all positive) in different countries and cultures? Therefore a designer needs to be aware of this before marketing his/her design in another country. Go back to your Grade 10 textbook to refresh your memory with regards to the symbolic use of colour (see pages 70 - 71 in the Grade 10 book). 4. Discuss the importance of colour and our ideas around certain colours in groups. Certain colours can be spot on for specific products and a disaster for others. See if you can find examples, discuss them with your group and finally share with the rest of the class. 5. Can you associate certain colours with specific emotions and flavours? You might need to do some research to motivate your discussion around this issue. Again a good idea to go back to your Grade 10 textbook to refresh that memory. 6. Ever noticed what colours are used mostly in restaurants and why? See if you can find out what is cooking in this arena!

TEXTILE DESIGN Under the direction of designer and weaver Gunta Stölzl (1897–1983), students created abstract textiles suitable for use in Bauhaus designed environments. All women had good basic training from master artists and craftsmen and were known for their high quality weaving skills. The weaving workshop encouraged experimentation with different threads and dyes as well as different materials.

Weaving done by Gunta Stölzl.

///// 171

DESIGNGRADE11

Women were encouraged to experiment with unconventional materials, including cellophane, fibreglass, and metal. They tested materials for sound absorption, light reflection and colour fastness. The students studied colour theory and design as well as the technical aspects of weaving.

Weaving done by Anni Albers, influenced by the use of vertical and horizontal lines of De Stijl.

Two linen weavings done by Gunta Stölzl.

METALWORK AND PRODUCT DESIGN Metalworking was a popular workshop at the Bauhaus. Together with the cabinet making studio, it was the most successful in developing design prototypes for mass production. Designers such as Marianne Brandt, Wilhelm Wagenfeld and Christian Dell created beautiful, modern items such as lighting fixtures and tableware in this studio as well as flexible and adjustable reading lamps. These products were simple and unadorned and followed the idea of Bauhaus that:

form should follow function.

172 /////

MODULE2THEORY

Tea strainer by Wolfgang Tumpel 1924. Photograph from the Bauhaus archive museum, Berlin. Josef Albers Tea Glass 1926. Heat resistant glass, porcelain, nickled steel, Ebonite, 57 x 90 mm.

Marianne Brandt - Tea-extract pot, 1924, Brass, silver, ebony.

Christian Dell lamp 1924. Roots of contemporary lighting. Bauhaus lighting design from the Metal Workshop.

Desk lamp designed by K. J. Jucker and Wilhelm Wagenfeld 1924.

Bauhaus brass tea set.

VISUAL COMMUNICATION Typography The typography workshop became increasingly important under lecturers like Moholy-Nagy and the graphic designer Herbert Bayer. At the Bauhaus, typography was conceived as an important means of communication and artistic expression. They stressed visual clarity above all else to convey visual communication. They also developed new typography in the Bauhaus style, which is still in use today.

Illustration For illustration they preferred the medium of photography and photomontage. The idea of “form follows function”, promoted by Gropius, was intended to show that the school would not adhere slavishly to one style. Poster by Joost Schmidt, 1923.

///// 173

DESIGNGRADE11

Magazine cover designed by Bauhaus instructor Herbert Bayer 1928.

Bauhaus graphics by El Lissitzky .

*Photomontage by Hannah Höch Photos were used in this Bauhaus poster.

?

* 174 /////

Photography was used in this Bauhaus poster.

DIDYOUKNOW During the turbulent and dangerous years of World War II, many of the key figures of the Bauhaus emigrated to the United States. This was made possible by a foundation of rich Americans who wanted to save the many Jewish writers, musicians, artists and designers in wartorn Europe. They were assisted in their escape by an American known as The American Pimpernel, named so after the famous French Scarlet Pimpernel, who helped people to escape imprisonment and beheading during the French Revolution. In America, the work of the Bauhaus figures and their teaching philosophies influenced generations of young architects and designers. Marcel Breuer and Joseph Albers taught at Yale, Walter Gropius went to Harvard, and Moholy-Nagy established the New Bauhaus in Chicago in 1937.

The term pho-to-montage refers to a 20 th century technique of creating a picture by assembling pieces of photographs or photocopies. The technique is similar to collage or a cut-and-paste technique.

MODULE2THEORY

Costumes for dance Oskar Schlemmer was responsible for the deg of the costumes as seen in the pictures below. Most of these costumes were used in ballet performances at the Bauhaus auditorium.

Ballet costumes by Oskar Schlemmer

Costume for the “Triadischen Ballett”

Dance costumes by Oskar Schlemmer

PRODUCT DESIGN Marianne Brandt. Teapot 1924 This teapot is a typical example of Bauhaus functionality. It has clear and simple lines without any decoration and therefore is a representation of a pure form. The teapot consists mainly of a combination of half circles that have been repeated in the bottom and top section as seen in the base and in the handle and lid. Contrast in colour and material is emphasised through the use of the silver colour of the metal and the dark ebonite handle and lid. In this example function clearly determines the form while selected materials are used for their own properties and left unadorned. This product therefore showcases the philosophies of “form follows function” and “truth to materials”. The pot is asymmetrically balanced with the handle strategically placed off centre while at the same time balancing the delicate shape of the spout.

Teapot designed by Marianne Brandt, 1924

///// 175

DESIGNGRADE11

COMMUNICATION DESIGN Blue-circle designed by Rudolf Baschant in 1923 Line: mostly straight lines of horizontals, verticals and diagonals are used. Lines vary in thickness and are repeated throughout. Texture: created by cross-hatching in the triangles. Colours: black, red, blue Shapes: only geometric shapes like triangles, squares and circles are used. Balance: asymmetrical as the two sides differ. There are no organic forms or decoration. This design together with the Bauhaus font communicates simplicity, which is very typical of this movement.

Blue-circle designed by Rudolf Baschant, 1923

SURFACE DESIGN Abstract carpet design by Gunta Stölzl A typical example of work done in the textile workshop. This example was woven in 100% wool. It is an abstract design as there are no recognisable images. This design shows interplay between lines and shapes. The colours are very subtle greens, blues, pink, yellow and red. Overlapping lines and dots breaks up the dark lines. This creates an interesting play of pattern, shape and lines. The lines vary in thickness, width and colour.

Abstract carpet designed by Gunta Stölzl

It is asymmetrically balanced with the sides and divisions differing from top to bottom and left to right. The materials used create texture.

176 /////

MODULE2THEORY

ENVIRONMENTAL DESIGN Masters house, Dessau, Marcel Breuer, c 1926 Bauhaus buildings are usually cubic and favour right angles, (although some feature rounded corners and balconies). The buildings have smooth facades and an open floor plan. Bauhaus shuns ornamentation and favours functionality. The designers used asymmetry and regularity instead of symmetry.

Masters house in Dessau, designed by Marcel Breuer

Bauhaus architecture was concerned with the social aspects of design and with the creation of a new form of social housing for workers. It grasped architecture in of space versus mass.

ACTIVITY 4 Do the following in your workbook. Put together a colour palette for the Bauhaus movement. You can make your own colour blocks either by cutting out appropriate colours from magazines or you could collect colour blocks from hardware stores or from Plascon or Dulux at the paint section in stores like Game. You could also use inks or any other materials available to you. These can become valuable resources when you do practical projects you do practical projects that are inspired by the Bauhaus..

?

DIDYOUKNOW World War II

was a global conflict lasting from 1939 until 1945. Following World War II the style broadened into what became known as the International Style, or Modern Style. The pure form and honest use of materials continued to define architecture and interior design following World War II. However, some designers began to explore the broader structural design potential of industrial materials, and broke with the strict rectilinear forms of the pre-war era.

///// 177

DESIGNGRADE11

What importance does the Bauhaus have today? They developed a completely new typographic style that is still used today especially on many record covers. They did not reject the industrialised world but strove to find ways to use technology and mass production to address the problems facing their world. They used technology to create adequate housing, furniture, textiles and household goods that were well made and aesthetically pleasing. They had a huge influence on modern design as well as on how Art Schools approach teaching in a modernised world. We even see this in our new curriculum in the way you have to solve design problems by exploration and experimentation. Many of the building methods they developed are still used today. Their influence spread world wide as many of the teaching staff moved to America. A new Bauhaus opened there and continued to spread its influence.

Bauhaus Designers Walter Gropius – German architect and founder of the Bauhaus Mies van der Rohe – German born American architect Gunta Stölzl – German textile designer - weaver Anni Albers – German born American textile designer and printmaker Marianne Brandt – German painter, sculptor, photographer and designer - metalwork Marcel Breuer – Hungarian architect and furniture designer Mart Stam – Dutch architect, urban planner and furniture designer - metalwork Josef Albers – German born American artist and educator - product design Oscar Schlemmer – German artist, sculptor, costume designer, choreographer Wilhelm Wagenfeld – German industrial designer Herbert Bayer – Austrian born American graphic designer

4 PROJECT Do the following in your workbook. Draw a mind map in your workbook on the Bauhaus using the following as a guide: • • • • • • • • • • • • 178 /////

When did it start, where, why and by whom was it started? Who coined the phrase: “Form follows function”? What does it mean? What did they aim to achieve? Influences that shaped this movement Form/shape/colour/line/texture Popular materials that were used Typical techniques of this movement Technology used Production/prototypes They used abstract or sometimes recognisable images, especially in posters and toys Major designers from different design disciplines and a work by each Their impact on, and contribution to, the modern industrial world

MODULE2THEORY

ART DECO

1925-1939

The Charleston dance

Tile by unknown designer

Egyptian influence

Josephine Baker

Art Deco started a few years after World War 1 came to an end. In some way this was a kind of escapism from the dreary life that followed the war. This style was applied to every creative discipline, for instance architecture, interiors of shops, objects and products, textiles, luxury cruise liners and movie theatres. Art Deco was about sensational, carefree modern living and daring new designs. The artists/designers were fascinated by speed, technology and ancient cultures. So they borrowed freely from these cultures as well as early modern artistic movements preceding World War 1. Art Deco got its name from the large “Exposition Internationale des Art Deco ratifs et Industrial Modernes”, held in Paris in 1925. It was also sometimes referred to as Traditional Modernism or popular Modernism. At first it was a style for the rich, but after 1925 it spread to a much larger market. In it quickly developed into an international design trend, interior decoration and architecture. In the USA it was referred to as the “Jazz Age”. If you watched the cartoon series “Batman the Animated Series” on TV, it will give you some idea of Art Deco shapes and forms. This you can see in the angular shapes and the general drawing style that was used. Another film that shows off the typical lifestyle of that time in America is “The Great Gatsby”. Here you will find typical “Flapper style” dresses that were worn during this time as well as the Charleston dance style that was a hit amongst young and old. Josephine Baker was considered the ultimate Charleston performer.

///// 179

DESIGNGRADE11

Art Deco had a large influence on architecture and the applied arts between the two world wars and absorbed many influences of the Bauhaus and the International Style. Although it enjoyed a great deal of popularity it was criticised by architects such as Frank Lloyd Wright and le Corbusier of the International Style. They believed that decoration should not be merely a surface decoration but should be a direct result of the materials used and the function of the design. Art Deco made a reappearance in the 70s as a reaction against the endless use of steel and glass. It also influenced the Post Modern movement.

Lloyd Triestino Victoria designed by Giuseppe Riccobaldi c.1930s

Sérodent ment designed by Charles Loupot. 1935

“Flapper” style dresses celebrated the new freedom of women.

Influences Art Deco is a combination of many styles. It is therefore eclectic. (Definition. Choose the best or a selection of variety of sources or styles) It was influenced by a number of early artistic movements of the early 20th century such as Cubism, Futurism, Fauvism and Expressionism. • • • 180 /////

From these movements they used elements of abstraction, simplification and distortion. They were fascinated with speed and technology (influence from Futurism) They were also influenced by the bright colours, flat shapes and lack of spatial rendering of the Fauvists and Expressionist movements.





MODULE2THEORY

Influences

Fauvism: bright colours, flat shapes and flat spatial rendering.

Cubism: angular simplified shapes.

Futurism: movement & speed

Expressionism: use of expressive colours.

Technology: Chrysler Airflow sedan by Carl Breer, 1934

///// 181

DESIGNGRADE11

Influences

Chinese Lacquer ware.

This Old Trails Building was built in 1928 and features an American Indian motif.

Aztec designs often appear in designs. They also borrowed from Egypt and Africa.

Decorative motifs borrowed from Aztec and Mayan sources adorned cinemas, hotels and private houses, as well as jewellery and ceramics.

George Barbier’s illustration for for the Russian ballet.

Africa and Ancient Egypt (discovery of Tutankhamen’s grave in 1922 helped) and Chinese civilisation (when there was a preference for smooth lacquered surfaces) influenced design. Russian Ballet had an influence especially on clothing and figurines.

182 /////

MODULE2THEORY

Scarf by an unknown designer showing their love of speed.

Cassandre’s ‘Normandie’ poster shows the foreshortened, looming shape of a cruise liner.

The posters and the scarf all show the Art Deco stylisation of transport that completely fascinated them.

By Giuseppe Riccobaldi 1929-1935. This advert shows their fascination with speed

From 1925 the growing influence of the machine played an important role as can be seen in the poster of the car (middle right). Art Deco posters were greatly influenced by Futurism, note the inclusion of diagonal lines that indicate movement or speed in both of our examples on the right. From 1930 sleek shapes from aerodynamics appeared in designs as seen in the poster with the train on the right. In the background you can see the sun burst pattern often seen in similar posters. Also note the shape of the train that narrows towards the back to emphasise speed. In the Normandy poster above, there is also the looming foreshortening of the ship, a typical characteristic of all these posters.

Cassandre’s Fast Forward poster shows their love of speed. Note the sunburst in the background.

///// 183

DESIGNGRADE11

Madeleine Vionnet designed this dress on the right which shows Greek influence in the simple lines and scroll patterns similar to that which can be found on Greek pillars (far right). The design for the dress was published in the French magazine La Gazette du Bon Ton in 1924.

Greek scroll pattern.

The “chiton” worn by Greek women had an influence on some fashion designers such as Madeleine Vionnet. This style had straight simple lines and broke away completely from the waistclinching styles of Art Nouveau.

Egyptian pillars influenced some designs.

The “chiton” worn by Greek women

Tutankhamen

A clock showing the influence of Tutankhamen’s head dress.

184 /////

MODULE2THEORY

Characteristics Three periods/styles appeared • Angled lines, sunbursts, stylised animals and sharp-edged motifs, characterised the Zigzag Modern style of the 1920s. • The Streamlined Modern period of the early 1930s was characterised by straight lines and smooth, curved points, almost as if swept by the wind. • Firmly based on the stylisation of Neo-Classical forms after the depression, a more classical and sober approach characterised works from the late 1930s and early 1940s. This was the most simplistic style of all.

This dresser comes from the Chrysler building and features Egyptian influence in the stylised image of the papyrus flowers. The same design can be found on the elevator doors of the same building.

Metal screen with stylised pattern of plants.

Art Deco is characterised by the use of materials such as aluminium, stainless steel, lacquer, inlaid wood, sharkskin (called shagreen) and zebra skin. The bold use of zigzag and stepped forms, sweeping curves (which are so different from the continuous curves of the Art Nouveau period), arrows and streaks of lightning, chevron patterns and the sunburst motif are all typical of Art Deco.

Richly decorated ceramic tiled entrance showing stylised plant shapes and trellises.

///// 185

DESIGNGRADE11

Art Deco furniture was streamlined in design. It had a modern and sleek look, but was comfortable. Many items of furniture were designed with a flat bent chrome base, which gave the furniture a rocking effect. Wood furniture was often lacquered in black. Woods included exotic Brazilian rosewood, ebony, birds-eye maple and light maple veneers.

Desk and chair by unknown designer showing a sleek modern shape.

Embroidery in typical Art Deco style

In the example on the left, you can see decorative lacquered s used as a screen divider for a room. Highly lacquered wood frames were upholstered in lustrous white leather. Due to its popularity, a stepped effect was also included, giving the stark form a comfortable and sensuous look. They used velour (a plush, knitted fabric) or textiles, (usually made from cotton) for upholstery. Decorative lacquered s used as a screen divider for a room

Art Deco used symmetrical balance, especially in architecture. They had a preference for massive, angular shapes which had well-defined horizontal and vertical lines decorated with sculptural motifs.

Examples of symmetrical balance of Art Deco architecture

186 /////

MODULE2THEORY

Colours for Art Deco interiors were minimalistic and were used sparingly. The colours included black, a combination of green and black, red and black, and white and black. They used chrome and gold for accents and highlights. Pale blue or dove grey was used to create a softening effect. Form was important in Art Deco interiors. Mirrors made of nickel, chrome, or silver were decorated with motifs of deer, peacocks, roses, and geometric shapes Flooring included classic white or black marble tiles set in a chequered pattern.

Brooch by Jean Després, 1937. Influenced by Cubism and Futurism showing purity of form and modernity.

Advert of a dress designed by Sonia Delaunay Terk in 1923/24

Textile piece “Woodcutters” designed by F Gregory Brown 1931

Art Deco used bold colours (influenced by Fauvism) and simple lines. Art Deco was an eclectic style (combination of style), with smooth, elegant lines and stylised shapes. Individuality and craftsmanship were praised. They used minimalistic designs of trains, motorcars, stylised animals, flowers and people.



Art Deco Club chair in cherry red leather designed by Donald Deskey in the 1930s

Carltonware Jazz set c 1940 showing stylised clouds and geometric shapes typical of the 1940s

Art Deco Bakelite and white metal teapot circa 1930

///// 187

DESIGNGRADE11

Art Deco often combined circular and angular shapes in furniture. Art Deco furniture is very ornate and noticeable. Abstract motifs and bold colours can be seen on the tea set on page 187. You will also note that the following colours worked especially well with chrome, polished steel and glass: • - mustard, navy blue, sea green, tan and white • - grey, coral-red, navy blue, gray-blue and black

ACTIVITY 5 Do the following in your workbook. Put together a colour palette for the Art Deco movement. You can make your own colour blocks either by cutting out appropriate colours from magazines or you could collect colour blocks from hardware stores or from Plascon or Dulux at the paint section in stores like Game. You could also use inks or any other materials available to you. You can use these as a valuable reference when you do other practical projects.

Highly lacquered surfaces together with the sunburst motifs are also features of some furniture design pieces The animated series on Batman was done in a typical Art Deco style of the 1930s and 1940s

188 /////

Cabinet with inlaid floral motif designed by Emile Jaques Ruhlmann in 1926

MODULE2THEORY

Combining round and straight lines is a feature of this style.

Gazelle jukeboxes for music were very popular

An Art Deco stained glass window showing sunburst design.

Fonts used by Cassandre in 1939

Forceful diagonal lines express speed and the simplified stylised shape of the train echoes technology.

Typical angular shapes appear in this advert of a motorcar.

SURFACE DESIGN Discussion of Dalmation textile by Violetta James In this example of a textile done by Violetta James we see that • • •

stylised shapes of dogs run across the design field. While images of trees and clouds have been simplified, stylised and streamlined she used minimal colours of browns, light green and grey the repetition of shapes and lines creates rhythm

Violetta Janes, Dalmatians, 1930 This textile shows stylised dogs, clouds and tree shapes.

///// 189

DESIGNGRADE11

• • • • • •

they had a love of the outdoors - the dogs are running in a park the shapes used are flat with no tonal values to create the illusion of form the running dogs also show their love of speed and a carefree lifestyle there is no indication of space as everything is flat and two-dimensional. texture throughout this design is smooth diagonal lines are formed by the positions of the dogs and the curved lines which can be seen in the negative spaces between the clouds.

PRODUCT DESIGN Art Deco Silver Tea Set with Ivory Handles. Designer, Edward Vines. This smart sterling silver 4 piece tea service has Art Deco geometric styling and ivory decorations and handles. The coffee jug is from Sheffield (1947). This set has the typical angular planes found in Art Deco tableware. Fairly big angular handles balance the piece out. As in this set, the use of precious metals and expensive ivory is typical of this period. The tea set has a sleek and smooth look. Texture is smooth. It appears to be machine made and reflects the Art Deco obsession with the machine age and modernism.

Art Deco silver tea set designed by Edward Vines

Clarice Cliff “Fantastic Conical Early Morning tea set” 1929 This set shows a typical abstract geometric pattern in yellow, orange, blue and black with black outlines. The oranges and blue are complementary colours. The handles are a solid triangular shape, which repeats in the spout of the teapot. The texture is smooth. Only angular shapes and circles are used in the design. The background is white and contrasts with the strong colours used.

“Morning Tea Set” designed by Clarice Cliff, 1929

Environmental design This is the Chrysler building in New York designed by William van Aalen At 304 meters, it was the world's tallest building for almost a year before it was sured by the Empire State Building in 1931. The Chrysler building is also renowned and recognised for its terraced crown. The building is composed of seven radiating terraced arches.

The Chrysler building in New York designed by William van Aalen

190 /////

The building has a stainless steel tower with overlapping projections with sharp, pointed, triangular windows placed in it.

MODULE2THEORY

The stainless steel cladding in the tower is ribbed and riveted in a radiating and typical sunburst pattern with many triangular vaulted windows. On the thirtieth floor is a frieze in brick. This shows an abstract design of cars with decorative wheel caps and huge radiator caps. The water spouts, visible in the detail in the example, were modelled after Chrysler automobile products like the eagle used as a hood ornament on the Plymouth car. These are placed at the corner of the building and serve as water spouts. Details of the Chrysler building

?

Symmetrical balance of windows and other features can be seen in the detail of the Chrysler building.

DIDYOUKNOW South Africa has a number of Art Deco Buildings? S.A. examples: Old Mutual building – Cape Town; Shell House (Greenmarket square); Sun- building (Greenmarket Square); Holyrood flats – Queen Victoria Street; Ansteys in downtown Johannesburg; Chamber of Mines building, Johannesburg; Jubilee Court, Durban; Sayed Fakroodeen building, Durban. There are also good examples in Steytlerville and Worcester.

COMMUNICATION DESIGN Discussion of Art Deco poster done by Cassandre. It is in the Art Deco style because it contains the following features: • • • • • • .

Shapes are simplified/stylised. The subject matter refers to modern conveniences such as the plane, train and car to make travel easy. There is no reference to nature, only the man-made world. The train and car are seen in perspective projecting towards the viewer. This technique was often used in Art Deco posters. Colours are strong and flat with little shading and detail. Lines are mostly straight except for the circles in the train and headlights.

Poster designed by Cassandre

///// 191

DESIGNGRADE11

• • • • •

Some indication of space is created by severe foreshortening of the train, car and plane. Different angles are shown: some objects seen from the front and some from below. The objects have a mechanical feel. The letters are simple and arranged at the bottom on straight lines. The spacing of the letters, and the thickness, varies. The spacing of the font is unusually spaced to fit the poster and is placed horizontally.

Art Deco architects, artists, designers & photographers Adolphe Mouron Cassandre – Ukrainian-French graphic and typeface designer Clarice Cliff – British ceramicist John Storrs – American sculptor Edward Steichen – American photographer Raoul Dufy – French artist and textile designer Sonia Terk Delaunay – Russian-French fashion designer and artist, well-known for her layered clothes and bright colours that were almost like architectural compositions. Fortunato Depero – Italian sculptor, writer, graphic designer. He was the Futurist designer of the man’s vest. This was done in elegant geometric designs and lively colours and was worn under a white shirt. His 1932 bottle design for Campari Soda is also still in production Paul Poiret – French artist and fashion designer William van Alen – American architect (Chrysler building. NY) William f. Lamb – American architect (Empire State building, NY) Gabrielle Chanel – French fashion designer, better known as Coco Chanel and founder of this brand. Madeleine Vionnet – French fashion designer Émile-Jacques Ruhlmann - French designer of furniture and interiors Sonia Delaunay - French artist Alfred Latour – French painter, printmaker, poster designer and French Raoul Dufy – French Fauvist painter. He developed a colorful, decorative style that became fashionable for designs of ceramics and textiles, as well as decorative schemes for public buildings Mariano Fortuny – Spanish fashion designer Robert Bonfils – American illustrator Duncan Grant - British painter and designer of textiles, pottery and theatre sets and costumes.

5 PROJECT Do the following in your workbook. Circle the words that are typical of Art Deco. This style can be described as: Simple shapes; unadorned; decorative; massive angular shapes; purity of form; eclectic; expensive; blocklike; exotic materials; dull colours; strong colours; deep space; flat space; speed and movement; natural forms/shapes; stylised imagery; organic; stepped shapes; whiplash lines; diagonal lines; curved lines; borrowed from ancient cultures; flat shapes; expensive; cheap; sunburst motifs; meandering lines; foreshortened, looming shapes; technology; form follows function; truth to materials; elegant; heavy; sleek shapes; lively colours; modern conveniences; natural; technology; symmetrical balance; abstract geometric patterns; inspired by nature; triangles; streamlined; organic; obsession with the machine age; abstract motifs; natural motifs; simplified; ornate; luxurious; geometric shapes; adorned; minimalistic colours; polished steel; chrome; sculptural motifs; prototypes; asymmetrical balance; undecorated.

192 /////

MODULE2THEORY

6 PROJECT Do the following in your workbook. Compare the styles of Arts and Crafts, Art Nouveau, Bauhaus and Art Deco. 1. Which of these movements, in your opinion addressed the problems of

its time the best? Motivate your answer.

2. Using the table below, jot down the relevant information asked. Movements

Arts and Crafts Art Nouveau Bauhaus

Art Deco

Aims of each At least 4 influences 6 characteristics of each

Now that you have completed the above table identify the style/ movement in the following visuals and explain why each is typical of a particular style/movement.

Figure A

Figure B

Figure C

Figure D

///// 193

DESIGNGRADE11

By now you have studied many examples of European design styles. Though they differ slightly from the original European examples, a number of well preserved examples of Art Nouveau, Bauhaus and Art Deco are scattered across South Africa.

7 PROJECT Study the following examples of South African buildings and identify the design style in each. • Motivate your choice by referring to the example as well as the

characteristics of the original style.

• In what way, do you think the South African examples deviate from the

original styles?

A The Palace, Durban

B Old Mutual building and details, Cape Town

C Norwood, Johannesburg

D Chancellor House, Johannesburg

194 /////

MODULE2THEORY

E Casa Natale Labia restaurant, Muizenberg, Cape Town

F Mimosa Lodge in Oudtshoorn, (Karoo) shows the eclectic Karoo architectural style where strong Art Nouveau influences can be noticed.

G Here are two examples from the Ardmore pottery studio in KwaZulu-Natal. Which style could possibly have influenced these two examples? Motivate your choice and explain how the style had been adapted to fit a uniquely South African style.

///// 195

DESIGNGRADE11

?

DIDYOUKNOW World War II saw the genocide of approximately

six million European Jews, while millions of others were executed by the Nazi regime under Adolf Hitler. This was a mechanised war that divided East and West. We can also relate to this war in of the human rights that we enjoy today. See pictures of World War 2 below (1939 to 1945).

GLOSSARY Abstract – nonrepresentational arts not aiming to depict an object but composed with the focus on structure and form Aztec – (Native American people of Mexico.) Native Middle American people whose empire dominated central Mexico during the 14th and 15th centuries as well as having highly developed artistic, musical, astronomical and mathematical skills, the Aztecs were excellent engineers and architects (Courtesy – windows online dictionary) Bakelite – type of hard plastic that was used especially in the 1930s and 1940s for making things such as radios and telephones Crysophase – (bright green quartz) a bright green semiprecious stone that is a variety of chalcedony. Used in gems Curtain walls – a thin non-load-bearing wall such as the large expanses of glass which cover many modernist buildings

196 /////

MODULE2THEORY

Dematerialise – become or make something immaterial: to disappear, or cause something to disappear Domestic arts – relating to or used in the home or everyday life within a household Also: not foreign, commerce-produced, distributed, sold, or occurring within a country Distortion – reconfiguration from correct shape by the bending, twisting, stretching, or forcing of something out of its usual or natural shape Eclectic – choosing what is best or a collection of a variety of sources or styles Form follows function – the function determines the form of an object or building with nothing obscuring its primary function Fore shortening – having a position at or near the front of something, especially a ship, an aircraft, or an animal and you are seeing a perspective view of an object Geometric shape – conforming to the laws and methods of geometry using straight lines and simple shapes such as circles or squares Mayan – a member of a Native American people of Central America and southern Mexico whose classical culture flourished between the 4th and the 8th centuries AD Minimalist – providing only the least amount that is needed Opalescent – (showing or possessing shimmering milky colours) Ornate – having elaborate or excessive decoration Ornamentation – the addition of decoration that enhances beauty or visual appeal, especially in the arts Organic shapes – relating to, derived from, or characteristic of living things Peridot – a pale green or yellowish green semi-precious stone that is a transparent form of olivine; used in gems Simplification – to make something less complicated or easier to understand. In art it is to remove unnecessary detail to arrive at a simpler shape Shagreen – the rough skin of some sharks and rays, used as an abrasive or as leather and dyed green Stylised – to design something in a particular artistic style or give something a particular style Streamlined – to design or build something with a smooth shape so that it moves with minimum resistance through air or water Unadorned – something that is plain and simple without any decoration

///// 197

DESIGNGRADE11

EXPLANATION OF 20th century art styles which had an influence on design Fauvism

() An early 20th century painting style using strong vibrant, often opposing colours

and flat, two-dimensional shapes often with strong outlines shapes often with strong outlines. (See the work of Henri Matisse)

Cubism

() A conceptual style of the early 20th century that had a profound influence on

modern architecture, design and art. The idea or concept became more important than the actual physical appearance as we perceive it. Objects were simplified to their most basic forms (cube, sphere and cylinder) or the objects were turned “inside out” and were multi-faceted shapes like a broken mirror. (See Picasso, Braque and Cubism).

Futurism

1914-1919 (Italy) An Italian movement in architecture and painting, which worshipped the machine and speed, and was not inhibited by the industrial tradition. Its art and architecture exhibited all the dynamic, streamlined qualities of the new aeroplanes, liners, motorcars and motorcycles. It was influenced by the fragmented shapes of the Cubist Movement.

Constructivism 1912 – 1921 (Russia)

• They translated the 'spirit' of the machine age and the new society into a practical visual form, i.e. geometric shapes and patterns such as squares and triangles. • It shifted its emphasis toward deg functional constructions which could benefit the emerging Soviet Union. • They ventured into the production of items beneficial to the new Russia. The materials used were appropriate to the product and process, whether ceramics, clothing, posters or architecture. • They were interested in an immediate application to create a new civilisation in the Soviet Union, with art becoming the motor of the propaganda machine. • The works are mostly abstract and geometric to reflect Soviet ideals. • Some later works include images of tanks, smokestacks and factories. • It was supposed to reflect a classless society. • The ideals of the party had to be adhered to even in design. • Designers: Varvara Stepanova, Lyubov Popova, L Raitser.

198 /////

MODULE2THEORY

LINKS http://www.infobarrel.com/Art_Deco_Furniture#ixzz1YU45E0Eh http://www.modernsilver.com/ artnouveaudeco.htm Wikipedia, the free encyclopedia http://www.all-art.org/history580-2a.html http://wordsandeggs.squarespace.com/imported-20100206003717/2009/9/25/french-friday-the-posterdesigns-of-am-cassandre.html http://www.posterfix.com/bios/cassandre.htm http://www.victorianweb.org/authors/morris/wmbio.html *Link: The full wiki & wiki answers & wiki Encyclopedia http://www.sultaneantiques.com/styles/browse http://barefootedcontessa.blogspot.com/2010/12/master-of-french-jewelry-rene-lalique_10.html http://www.dexigner.com/news/14027 http://www.artyfactory.com/art_appreciation/graphic_designers/william_morris/william_morris.html http://designhistorytimeline.com/ http://timelineindex.com/content/select/347/912,1,347 http://www.artyfactory.com/art_appreciation/graphic_designers/william_morris/william_morris.html http://www.artyfactory.com/art_appreciation/graphic_designers/cassandre/cassandre.htm http://inventors.about.com/od/timelines/a/Nineteenth_3.htm http://timelineindex.com/content/select/347/912,1,347 http://www.southafrica.info/business/trends/innovations/inventions.htm http://lisamaione.com/ongoing/solace-magazine/ (timeline of furniture design) http://www.metmuseum.org/toah/hd/dsgn2/hd_dsgn2.htm

///// 199

MODULE2

DESIGN IN A

CONTEXT

DESIGN IN A

MODULE2BUSINESSCONTEXT

PART 1 Earlier in this module we touched on the consumerism as well as hyper-consumerism. Consumerism is the name of the theory which maintains that it is economically beneficial to a society if it continues to buy more and more goods. It also refers to the materialistic attachment of consumers to things and possessions and their pre-occupation with the buying of consumer goods. Consumerism also refers to the movement that seeks to protect and inform consumers. They do this by insisting on practices such as honest and responsible packaging and advertising, including guarantees for products and safety standards, which is vitally important. In other words, they are there for the promotion of consumer interests and to keep us safe and happy.

“You work in a job you hate, to buy stuff that you don’t need, to impress people that you don’t like.” FIGHTCLUB

“

Hyper-consumerism means the lifting of consumerism (consumption of goods and products) to abnormal levels, or in other words, being obsessed with buying products and goods. For the last decade and up to the start of the economic recession, it is probably safe to say that society at large has been in a state of hyper-consumerism. Think of the endless commercials on television that encourages you to pick up the phone to buy something you know nothing or very little about, no matter if you really need it or not. Sometimes they even beg you to buy on credit! The messages are presented in such a way that you as a consumer are left with the impression that if you do not react and buy this product immediately, you will be left feeling inferior on all human levels possible. Some commercials can even be quite aggressive, loud and intrusive. How can this be justified?

///// 201

DESIGNGRADE11

A good example of materialism that’s reflected through hyper-consumerism is illustrated in the following bumper sticker

“He who dies with the most toys wins.”

“

But let’s look at the flipside of the coin. Good, responsible advertising is about helping you make informed decisions about your lifestyle and the products you wish to purchase. There is no reason for this approach to be boring; it can instruct, amaze, challenge and entertain you. The moment you are left feeling inadequate, insulted or manipulated by a commercial, it has not done its job effectively.

Some of you may have heard that the advertising or design industry is a harsh working environment. You may have heard that you have to do things you do not like or market products or services you do not believe in. Fortunately the industry has made major inroads into becoming a more responsible messenger for big industry and major players and the advertising and design industries have made it their ion to use the talents they were given to do good, rather than manipulate, lie (yes, it happens!), or make consumers feel inadequate. Gravitating towards accepting work which addresses a social injustice or makes consumers aware of a social problem or invites society at large to become involved and make a difference, was unheard of a few years ago. Five to ten years ago the social awareness projects were always given to the youngest or most inexperienced person on the staff, and then only accepted because of the tax relief they brought. Today many of the larger advertising houses or design companies fight for these projects and even often do them pro bono (meaning they do the work for free). It is awesome to find that so much change can happen over such a short period of time. How the industry has changed!

?

DIDYOUKNOW that South Africa has a body which regulates the advertising

industry? It is called the Advertising Standards Authority of South Africa (also known as the ASA) and is an independent body set up and paid for by the marketing and advertising communication industry to ensure that its system of self-regulation works in the public interest. The ASA has a president independent of the industry. If you ever feel that an advert is not truthful or honest, here is where you can lodge a complaint. The ASA says in short that: 1.1 All ments should be legal, decent, honest and truthful. 1.2 All ments should be prepared with a sense of responsibility to the consumer. 1.3 All ments should conform to the principles of fair competition in business. 1.4 No ment should bring advertising into disrepute or reduce confidence in advertising as a service to industry and to the public. Taken from www.asasa.org.za

But being a responsible designer does not only relate to the messages you convey and the fact that they should be honest and truthful; it also refers to work ethics. Especially in the print media, there are many things a designer can do to be more responsible. Just by being aware of the principles of recycling, knowing how to prevent industry-related pollution; using biodegradable materials and reducing your ecological footprint, you can make a great contribution to our environment. And there are many ways of doing this. Here are a few examples that designers can follow other than the normal things everyone can do like switching off lights at night and recycling your waste paper, plastics and glass.

202 /////

DESIGN IN A

MODULE2BUSINESSCONTEXT

Much has been written ing recycled material for packaging. This, however, is not nearly as effective as the concept of reducing packaging altogether. So many products on our shelves are packaged in plastic, then in a cardboard packaging, them covered in yet another layer of plastic, cardboard or foil. We call this over-packaging and this is even more irresponsible and dangerous than using paper that’s made from virgin pulp only. (Paper made from “new” pulp with no recycled pulp added.) These days designers need to think whether certain projects need packaging at all. It is also a very elegant solution if you design the package to be re-used after its original usage. This way the discarded package is prevented from ending up in a landfill site. This is a much more responsible approach which can be considered even during the initial design process. Many designers do not use printers or paper for their projects. Does it really matter whether your staff letter is on paper, or on a computer screen? Can your employees still read it? Think of all the paper that can be saved if we only make use of electronic letterheads. Printing practices such as using oil-based inks instead of soy-based inks, using special effects such as foiling (silver or gold especially on packaging) or varnishing (making a page or package glossy by means of a varnish treatment) excessively and using unusual paper sizes can all increase the environmental footprint of your design. Just advocating the use of safer inks, limiting the special effects and using standard paper sizes, can make it really easy to help solve some of the environmental impact concerns. Much has been said about working in the advertising and design industry. It is hard work, but it must be one of the most gratifying and rewarding careers there is. How many people do you know that can honestly say that they are really ionate about their career? One thing is for sure: it is not that difficult to find ionate designers, which makes working in this industry an interesting experience.

So, how do you go about studying to be a designer? Like any big decision in your life, you need to do your homework. Many tertiary institutions across the country offer design as a study option – you just need to decide which one is a good fit for you. And yes, it is one of the biggest decisions you will make during your lifetime, so it is good to take your time and make sure you make the correct decision. The best way to see whether you will be happy at a specific institution is to organise a visit to a design department at one or more of the tertiary institutions you are interested in. You will also find that most, if not all, institutions have websites that will explain their studying requirements. Most campuses also have open days and it is always a great idea to attend these. Not only will you be able to look at designs produced by students from that institution, you will also be able to ask questions of the lecturers and current students. This experience can be a great indicator of whether their environment could work for you and if what they offer meets your expectations. Normally a whole set of information is available for you to take home. You should not leave these decisions too late and that closing dates for applications to tertiary institutions are quite early in your matric year, as a selection process also needs to take place before students can be invited to enroll. Another sensible way to see whether you will be happy in the profession is to visit either a design studio or agency or a place of training for any other line of creative study on which you would like to embark. As all studios and agencies and many of the private training facilities have websites, it should not be a problem to find information.

///// 203

DESIGNGRADE11

8 PROJECT Choose three tertiary institutions in your area, or the area where you would like to study. Within this selection include one University, one University of Technology and one independent college. Draw up a table with the following information for each of your chosen institutions: • • • • • • •

Correct name Address and details Description of qualification Duration of qualification Main subjects from 1st year to 3rd or 4th year (depending on the duration of the qualification) Requirements for study at these institutions Approximate annual cost at each institution



This kind of information can be obtained telephonically, by visiting the different design departments, through looking at the individual websites, talking to currently enrolled students (but beware, student information is not always reliable) or you write a polite letter to the heads of department and ask for the relevant information. They will most probably send you all the relevant literature and brochures, which should give you all the information you need. Once you have all the relevant information you need to decide which ONE of the three institutions would be the best and most comfortable fit for you. to motivate your selection. Be critical and honest. To make such a decision without doing any research is almost as dangerous as deciding to marry a girl or a boy after meeting them for the first time. That would simply be irresponsible, so make the effort and take care. It will save many tears and probably lots of money later. Hand in a neat table with all the necessary information, as well as your assessment and written decision and motivation. It would be wise if you treated this exercise with the attention it deserves. To assist you in this activity we have included an example list that includes only some of the tertiary institutions that offer Design as a study option. For much more information, career guidance and design schools visit www.sabs.co.za/Destitute

INDEPENDENT SCHOOLS AAA School of Advertising Visual Communications www.aaaschool.co.za

204 /////

DESIGN IN A

MODULE2BUSINESSCONTEXT

College Campus Graphic Design & Web Development www.collegecampus.co.za Greenside Design Center Graphic Design www.designcenter.co.za Inscape Design College Graphic Design www.inscape.co.za Open Window School of Visual Communication www.openwindow.co.za Red and Yellow School of Advertising www.redandyellow.co.za Ruth Prowse School of Art Graphic Design www.ruthprowse.co.za Style Design College Graphic Design www.styledesigncollege.co.za Stellenbosch Academy of Design & Photography Graphic Design www.stellenboschacademy.co.za Vega, School of Brand Leadership www.vegaschool.com

UNIVERSITIES North West University School of Communication Studies www.puk.ac.za University of Johannesburg Faculty of Art, Design and Architecture www.uj.ac.za University of Pretoria Department of Visual Arts www.up.ac.za University of Stellenbosch Department of Visual Arts www.sun.ac.za

///// 205

DESIGNGRADE11

UNIVERSITIES OF TECHNOLOGY Cape Peninsula University of Technology Faculty of Informatics & Design www.ut.ac.za Central University of Technology School for Design Technology and Visual Arts www.cut.ac.za Durban University of Technology Arts Faculty www.dut.ac.za Tshwane University of Technology Faculty of the Arts www.tut.ac.za Vaal University of Technology Department of Visual Arts and Design www.vut.ac.za

PART 2 Within an advertising agency or design studio there are many roles. Some are creative roles but there are also ive roles, which are there to make the business wheels turn smoothly. The following are the more common and prominent roles you will find. Note that not all agencies or studios, especially the smaller ones, have all these role-players. Often the bigger companies with more employees and clients can afford to have more of these role-players.

CREATIVE ROLES WITHIN AN ADVERTISING AGENCY Creative director/design director or senior media creative

A creative/design director is the creative head of a design firm, advertising agency or an in-house corporate design department. His/her responsibilities include the development of graphic design, advertising, communications and industrial design publications but mostly he/she functions as a leader in the design process, leading the visual design and concept of assigned work forward. After having completed a qualification in the visual design field, creative directors have many years of experience in the industry. Like anyone else in the industry, they start at the bottom as designers and work their way towards the position of creative director.

206 /////

DESIGN IN A

MODULE2BUSINESSCONTEXT

Art director

The art director oversees the conceptual and stylistic direction for the creative teams and co-ordinates their work. He/she also distributes jobs within the department and therefore needs to understand the staff and know their strengths and weaknesses. He/she also co-ordinates the work of production artists, photographers, illustrators, prepress technicians, printers and anyone else that might be involved in the development of a project. Vendors are generally selected by the art director and, if there isn’t a creative director, the art director will also have final creative authority.

Copywriter

Copywriters usually function as part of a creative team, but increasingly they operate as free-lancers and are drawn into the agencies when their services are required. This makes for a wonderfully flexible job. In the advertising industry, advertising agencies partner copywriters with art directors. Copywriters take responsibility for the verbal or textual content of ments, which often includes liaison with the client from whom the creative brief is received. Copywriters are able to write, edit and proof copy for print or digital publications and they are responsible for telling the story, writing it in a way which resonates with the audience and ideally evokes an emotional response in the process.

Senior designer

A senior designer is responsible for the original conceptualization and the deg of solutions right through to the end product. In some firms, a senior designer oversees and helps direct the work of one or more junior designers, who generate scamps, create layouts and final artwork. Senior designers are not always in charge of juniors but are designated “seniors” because of their authority within the context of decision-making throughout the creative process. Although outstanding designers can move through the ranks much faster, a senior designer normally has three to five years’ experience.

Middleweight designer

This designer is responsible for conceptualization and the design of graphic applications such as promotions, packaging, environmental graphics, books and magazines, corporate identity, multimedia interfaces and the like, from concept to completion. He/she is usually briefed and directed by the art director.

Junior designers/Entry-level designers

An entry-level designer is appointed directly after obtaining a qualification and requires mentoring on all aspects of design conception and implementation.

Layout artists/Print production artists

A print production artist has a good understanding of layout, type and colour, and is able to take instructions from a designer to create a complete layout. They are very well-skilled to work in software, e.g. InDesign, QuarkXPress, Photoshop and Illustrator. Other responsibilities include producing final files that translate properly to film or that are print-ready.

Print production manager

These managers are responsible for managing the complete process: the scheduling, production and delivery of producing publications. They see it through from concept through production, including photography (contracting photographers), colour separations, 4-color presswork and the digital production of the work. Print production managers are very strong project managers with nerves of steel, managing many jobs and people simultaneously. Most of them are also proficient in software such as InDesign, QuarkXPress, Illustrator and Photoshop.

///// 207

DESIGNGRADE11

Illustrators and photographers

Many agencies employ their own illustrators and photographers but more often than not they are contracted in when needed. Many designers also have a love of illustrating and/or photography and they find that it becomes part of their job description once they have been employed and they have succeeded in proving themselves.

Web designer

A web designer determines and develops the look and feel for sites, in other words, how the site will look, which includes a colour palette, typography and the responsibility to design the navigation systems and visual execution.

Web developer (“front end” – the part of the website that the audience can see)

A front-end developer uses HTML/JavaScript/ASP/ColdFusion and other tools to develop static and dynamic web pages. They put into practice what the web designer originally designed.

Web programmer (“back end systems” – the parts of the website the audience cannot see) A back end programmer works with web server systems and web databases, develops web queries to databases and programmed web applications. They are not trained as designers but rather to write the programmes that will make the whole lot work.

Web producer, senior producer, and executive producer

A web producer oversees and organises web development teams and ensures compliance to budget, schedule and design of website development.

Business development/ management roles

These jobs require strong people skills, good sales skills, negotiation skills, listening and organising skills, plus the ability to learn quickly and to be able to translate ideas between client and creative teams, effortlessly and efficiently.

executives

Advertising executives contribute to and develop advertising campaigns. Tasks and responsibilities typically include meeting and liaising with clients to discuss and identify their advertising requirements, working with other agency colleagues to devise an advertising campaign that meets the client’s brief and budget and then finally presenting alongside agency colleagues, in particular the manager, the campaign ideas and budget to the client.

Media planners/buyers

A media planner’s job is to ensure that the client can maximise the impact of the advertising campaign through the use of a range of media options like print media, radio, television and social media to mention but a few. He/she applies knowledge of media and communication platforms to identify the most appropriate vehicle for building awareness of the client’s brand.

planners

planners are concerned with research, analysis and strategic thinking. They are the consumer’s representatives at the agency that ensure that a campaign receives relevant input from its target market concerning the products and marketing of the campaign in general.

208 /////

DESIGN IN A

MODULE2BUSINESSCONTEXT

9 PROJECT Later on in this module, in project 11, you will be required to formally plan and execute an interview. If you are able to go to an agency, firm or studio and can conduct an interview as required in option 1 below, you are welcome to combine the two exercises and use the interview conducted at your visit here for the completion of project 11. The interview has to comply with the requirements of project 11.

!

If the advertising industry is not your thing, you will get the opportunity to explore your dream design career in project 11.

We would like you to use the previous information on the different roles in an agency as a guide and to expand your knowledge of how an agency or design studio works. Choose one of the following options:

OPTION1

If you live in a city, you may be lucky enough to be able to visit a big agency and see these roles within the agency or studio firsthand. If you are able to do this, to make an appointment beforehand and go armed with all the questions you would like to ask them. They are very busy and you would not want to waste their time. Make the most of the visit by finding out how this specific company does its thing, maybe asking about the typical opportunities for a young person entering the industry, awards and prizes they have won, and each member of the team’s role in the success of the campaign. What type of problems and challenges do they face daily? What makes a good design team? What type of personalities do they look for that can function well in such an environment? Which personal characteristics are important in this stressful environment? Once you have done the interview(s) you need to expand on the information on the previous page and write an essay about your experience at the studio or agency. Write down the information you gathered and explain why you think you may or may not be well suited to this environment and for a specific role within the agency or studio. If there is one specific role within the company you feel you are particularly suited for, see if you can set up a separate meeting with such a person, either during your visit or at a later stage.

OPTION2

If you do not have the opportunity to visit a company to experience the environment firsthand, you can approach this in a different way. The aim is to collect as much information as possible so that you can also make an informed decision about your future if this is your dream. This involves doing a bit of research. Visiting the company is one way of doing research, but there are many internet sites that will explain in more detail what each role player does. All the major companies have their own websites, which can also be investigated. Here you will also find all their details. You may them telephonically for a short few questions.

///// 209

DESIGNGRADE11

You can also visit the website of South Africa’s prestigious Loerie awards by browsing www.theloerieawards.co.za or www.loeries.co.za for more information.

Recognised as the most prestigious award in our region, ‘the Loeries’ has become far more than a single awards ceremony and now includes several activities promoting creative excellence throughout the year, such as the travelling exhibition, Migrate magazine, seminars, and the hard-cover printed annual and DVD that is the ultimate historic stamp of the who’s who of that year’s leading brands and agencies.”

“

Have you ever wondered who was responsible for the making of some of your favourite commercials? The Loerie awards is a one-stop shop where you can find every year’s winning entries archived on the website. Listed with each winning entry are the different role-players and the client or brand it was intended for. This is an exciting way to find out which companies in South Africa deliver excellent work and the specific people responsible. Once you have all the information you require, select one or more agencies and write an essay about the work they do, explain your findings and motivate whether this may be the career for you or not. Also consider if there is any one specific role within the industry that you feel will be a good fit for you. Write down your thoughts and your conclusions. Optional extra A very interesting way to take this exercise to the next level would be to have a group discussion in class about the different roles within the companies we have discussed earlier. Then try and identify classmates that you believe are suitable for each role. Make use of the list of characteristics and personality traits of each role-player, taken from your research. It is always interesting how other people perceive you, especially when your friends notice a special quality within you that you were not aware of. How exciting - have fun!

After all the excitement, hand in your research and findings to your teacher.

PART 3 YOUR CURRICULUM VITAE Towards the end of your school career you may make the big decision to become one of the next generation of designers that eagerly wants to the design industry. Most application forms for tertiary study will be able from the Internet, or be available if you ask that specific department. You may also decide to write to the department and request that the application be posted to your home or school address. The application is a formal document and will require specific information about you like your school and academic achievements. This is a common process everyone needs to go through. They may also require you to send a CV or Curriculum Vitae with your application.

210 /////

DESIGN IN A

MODULE2BUSINESSCONTEXT

A Curriculum Vitae (CV) provides an overview of a person’s experience up to that stage of his or her life. In most countries, a CV is typically the first item that a potential employer sees regarding the job seeker and is often used to screen applicants before being invited for an interview. A CV can also create a more accurate impression when you apply for a course at a tertiary institution as it can contain information that reveals more about your character than will usually be communicated through a formal application. At this early stage of your life your CV will not be very long. This is something that will progress and grow in content as you proceed through life, adding every job and achievement. Pretty soon you will need to edit and list only the most important and most recent achievements and jobs. There is no single right way to construct a CV. This is a document that you can structure to list your personal details and achievements as you see fit, but it is advisable to find different formats and examples to learn from before you construct your own CV. As you move on in life and start using your CV for many job interviews, you will find that you can pretty much tailor each submitted CV to each position you are applying for.

10 PROJECT Write your own CV taking the following pointers into consideration. What information is important when compiling a basic CV? • • • • • • •

A title page that usually includes only your name and ID number. All your personal details. Most CVs start with these, but do not add unrelated information like your religious affiliation, your pet’s names and so on. Education and qualifications. You will obviously include your school academic record but you can also include certificates you received for short courses, e.g. first aid or photography courses etc. Work experience. Most probably the only work experience you will have had up to now will be casual jobs over holidays or weekends. These are also important to list at this stage as it shows that you are eager to work and it also says something about your character if you have had the same job for a reasonable time. Note that you should always list your work experience from the most recent to the oldest. Then make sure that you list achievements and responsibilities against each role/job. In other words what did your job description include? More emphasis/information should be put into the more recent jobs. Skills. Include your computer skills, your proficiency in language especially if you are able to speak more than one language. Be specific. Add any other recent training/development that could be relevant – you may have been lucky enough to be an exchange student. Hobbies and Interests. Keep this section short.

///// 211

DESIGNGRADE11

•

Referees or references. Two or three people that will vouch for you are normally listed here. These can include an employer (one of your holiday jobs) or your art teacher – no grannies or boy/girlfriends! You can also simply state ‘Available on request' which means that if they want to follow up on your references, you will gladly supply them with their details.

General tips • • • •

Your CV should preferably be printed in black ink using a plain typeface or VERY neatly written, on good quality A4 white/cream paper. This is your first chance to make a good impression and a dirty, scruffy CV could land you on the “NO” heap very easily. Decorative borders are not necessary and photographs of you should be included with great care. Make sure the photo is of good quality and that it will be a positive addition to your CV. Even later in your life your CV should ideally cover no more than two pages and never more than three. Time is very important and prospective employers do not have a lot of it. These days, if a potential employer has to wade through ten pages filled with anecdotes, photos and unnecessary information, you have most probably already ended up at the bottom of the pile of applications. Aim to ensure the content is clear, structured, concise and relevant. Using bullet points rather than full sentences can help keep it short and to the point. The completed CV needs to be checked carefully for grammatical errors and spelling mistakes and to ensure that it is all making sense. Ask someone you trust to review the whole document before it is sent out. This is so important; imagine what it says about you if your CV is riddled with spelling mistakes? A good covering letter should always accompany your CV. A covering letter is on a separate page and will be attached in front of your CV – the person who receives your CV will read the covering letter first before moving on to your CV.

The covering letter allows you to introduce yourself; mention it if you have previously spoken to him/her on the phone and quickly state the purpose of the submission of your CV. You may also add things you didn’t state in your more formal CV, e.g. “I am a fun loving person who loves interacting with people, I am eager to learn and am ionate about studying design. Thank you for your consideration.”

Good luck with your application! Write a CV and covering letter as you would when applying for a place at a University, University of Technology or Independent College. Hand it in to your teacher, neatly and professionally.

212 /////

DESIGN IN A

MODULE2BUSINESSCONTEXT

PART 4 It is of the greatest importance that you have as much information about a career as possible before you commit to it. It has been said that your career is one of the three most important decisions you will make during your lifetime (The others being your life partner, and your choice of mattress seeing as you will be spending approximately 7 to 8 hours per day on it!). So it really is up there as one of the most life-changing decisions you will make. Today, a large percentage of students studying at tertiary institutions realise halfway through their first year that they have made a wrong decision. This is a very expensive mistake, not to mention the time wasted. Most of these students agree that lack of information and too little research into their career choice was the reason for making the wrong decision. To help you make the most of your opportunities and find out more about a career, we are going to send you on a field trip with the instruction to interview someone who is already practising the career which you are considering. Many learners are very shy to ask questions or to conduct interviews with people they may not know, but if you do this exercise you will gain confidence and hopefully carry on finding out more and more until such time when you are ready to make that very important decision. If you don’t ask, how will you ever know?

11 PROJECT You are required to organise a fieldtrip where you will be conducting an interview with a person who is practising a career that you are considering. If you were lucky enough to visit a studio or agency in project 9, you may use the information gathered there for this project. Your fieldtrip can be anywhere where a design-related or craft product is produced or sold, as long as you use this opportunity to investigate a career you are interested in. These venues could include flea markets, craft workshops, jewellers, architectural firms, interior design, industrial design and product design studios as well as fashion and furniture studios and maybe even textile printing companies. Choose carefully so that you can really gain from this experience to eventually assist you to make an informed choice when you do select a career and a course to study. General tips for conducting interviews: • Arrive prepared. • Start each interview by introducing yourself and then explain why you want to interview the person. • Speak clearly and make sure the person can hear you. • You can ensure you keep the person’s attention and focus by using his/her name regularly. • Be direct, short and focused with your questions. : you want to find out more about career and tertiary opportunities in the art/design world.

///// 213

DESIGNGRADE11

• Order your questions in a logical way. • Be sure to include some general, open-ended questions to give the person being interviewed the opportunity to share individual opinions and views. Open-ended questions are questions for which there are no predetermined answers. • A good open-ended question should be neutral, avoiding the implication of any preconceptions or bias on your part. Avoid expressing your own opinion either right before or embedded within a question, e.g. “I think… What do you think?” Also, be sure to balance your questions to tap different sides of a topic. If you are asking the person to think about the successes of a project, you also should ask him/her to think about the weaknesses of that project or how the project could be improved. • Sometimes the person may start talking about someone or something you are not familiar with. The best approach is to be direct. Let the person finish the answer and then ask him or her to explain the reference, e.g. “You just described how you received extra funding from …. I don’t know about this group. Please tell me more.” • Be courteous and respectful at ALL times. • Avoid questions that could lead to bias or uncomfortable situations. • Be conscious of language preferences too. This is a suggested guide for putting a questionnaire together from which an interview can be conducted. It can be used as a template for interviews and will help you in putting together a basic set of questions to be used in interviews with individuals who share similar roles. For each interview, however, the interviewer (the person conducting the interview) has to be responsive to the interviewee’s (the person being interviewed) desire to talk about other related topics or issues. In such a case the interview can be more productive and enriching in identifying issues unknown to the interviewer. If you do have access to a voice recorder, first ask their permission. Today it is much easier to gather information as you do not have to struggle to write it all down. As voice recorder can be a great help. Have a look on your cell phone. Most products these days actually have a voice recorder. One more tip, if you do use a voice recorder: test it beforehand. It is one of the worse things that can happen when you happily think that you have documented everything, just to find out later that you have nothing. You would not want to have to go back and do the interview all over again. This can seem unprofessional on your side. Just try to avoid it all together.

INTERVIEW GUIDE TEMPLATE Background information on the interviewee: • • • • • • •

214 /////

Date of interview Place/venue where interview takes place Name of interviewee Name of his/her business Materials and techniques used by the interviewee Training and/or experience of interviewee Details of employees, if applicable

DESIGN IN A

MODULE2BUSINESSCONTEXT

General questions relating to the interviewee: • Challenges • Possible solutions • Marketing strategies of the interviewee (business card available?) • Measure of success/achievements • Any environmental/social issues involved • Future plans of the interviewee • Advice to up-and-coming artists/designers • Open-ended question to give the interviewee the opportunity to add anything he/she might want to, e.g. “Can you tell me about…?” • to make use of questions that will invite longer, more elaborate responses, e.g. “What prior experiences do you have?” instead of “Do you have any prior experiences? “. The second question can be answered by a quick yes or no and you will not gain any insight from that. With the first question it invites a descriptive answer from which you can learn a lot.

Once your interview or questionnaire has been worked out, test it with other learners in your class. Tests can provide valuable about how to improve the wording of the interview. Also, the interviewer may recognise the need for revisions in the structure of the interview before he or she uses it in a true interview situation. Reference: Field trips to explore career & tertiary opportunities for visual arts and design learners. A programme for arts & culture focus schools 2010. The following are templates you can use. The first one is to help you construct your interview and decide on questions and approaches, and the second template is where you can consolidate your interview(s) and write down your conclusions.

Happy interviewing!

///// 215

DESIGNGRADE11

ON SITE VISITS On site interview Date of interview Place of interview Name of interviewee Name of business Business Card?

If yes, take one

Questions Answers/responses



216 /////

DESIGN IN A

MODULE2BUSINESSCONTEXT

ON SITE VISITS On site analysis Name of artist/designer:

Name of work:

Material/s and technique/s used:

Short description

Quick sketch

Discussion of 3 elements/principles/conclusions:

///// 217

MODULE2

PROJECTS

In this module you have a choice between 2D, 3D or a combination of both.

MODULE2PRACTICALPROJECTS MODULE1PRACTICALPROJECTS

INTRODUCTION Section one: 2D We hope you can enough about the Industrial Revolution you were introduced to last year and during this semester! To recap quickly; we discussed the many changes in the late 18th and early 19th century (agricultural, manufacturing and transport) which caused a major upheaval in everyday life in Britain. Collectively, all these changes are called the Industrial Revolution. Because of new inventions, new and emerging markets, changing raw materials and ever-changing needs of consumers, this process still continues today. As machines took over the work of more and more people, production could happen faster and more cheaply and so everyday items, often of inferior quality, could be bought for less money. This movement towards cheaper, mass-produced goods signalled the end of the master craftsman in many ways. This also started a process known today as consumerism. We will discuss consumerism and hyper-consumerism in much more detail later in this section.

ARTS AND CRAFTSS MOVEMENT In preperation for Project 12 In the latter part of the 19th century and in the midst of the industrialisation happening in Britain, the Arts and Craftss movement tried to reintroduce the beauty and importance of craftsmanship. William Morris founded a firm of interior designers and craftspeople who produced amongst other things, hand printed textiles, books and wallpapers.

///// 219

DESIGNGRADE11

Wallpaper designs by William Morris

They celebrated the art of manufacturing something of high quality from scratch, made use of honest materials and old techniques and valued simple, useful products taken from bygone eras. This was in response to the Industrial Revolution and the frivolous excesses of the Victorian age.

They linked good design to good society. This was a vision of a society in which the worker was not brutalised by the working conditions found in factories, but rather could take pride in his or her craftsmanship and skill.

from GRADE10BOOK

“

Today, many of the principles of the Arts and Crafts movement are starting to ring true again.

220 /////

MODULE2PRACTICALPROJECTS

12 PROJECT Take a walk through a shopping mall or local shop, or page through a lifestyle magazine. Look around at the types of non-consumable products on display and think critically about the following statements. Once you have formed an opinion, please complete the table below:

Statement

Your opinion after thinking about the statement. There can be many valid opinions, try to be honest and insightful. Can you add an example to your opinion?

The unique, handcrafted piece of furniture or decorative item is becoming more important. There is still a need for useless “pretty” items which consumers buy to decorate their homes or spaces. There is a re-awakening of interest in the local craft and product industry. The material used for a particular product is not very important. An example could be a chopping board used in a kitchen. It doesn’t really matter significantly whether it is made of plastic, wood, local wood or a sustainable material such as bamboo. If you have the budget, it would be a good idea to pay a little bit more, but know that the product is well-made and of material which does not damage the environment.

It will be even more useful to collect visual examples from magazines, or to photograph items which will your opinion. to ask for permission if you want to take photos in a shop.

///// 221

DESIGNGRADE11

ART NOUVEAU Towards the end of the 19th century the Art Nouveau style appeared. This style was also in response to alarming urban growth and the technological advances caused by the Industrial Revolution. Contrary to the traditional division of art into the separate categories of fine art (painting and sculpture) and applied arts (e.g. ceramics, furniture design); Art Nouveau embraced all forms of art and design. The distinct characteristics of Art Nouveau can be seen in architecture, furniture, glassware, jewellery design, painting, metalwork, ceramics, textile design as well as graphic design. Artists and designers understood that the handcrafted legacy of the centuries before could be lost forever and decided to reclaim this craft tradition, but at the same time moved away from the traditional art styles towards new organic forms that emphasised humanity’s interaction and relationship with nature. The line between fine arts and applied design was blurred and they applied good design principles to all aspects of living. This integrated approach influenced to many movements, including the Bauhaus school, in the 1920s and 1930s.

Some beautiful examples of stylised plant and organic subject matter used for wallpaper design in the Art Nouveau Style

Despite the examples shown above having been designed in the late 19th century, there is a familiarity about them, particularly regarding the textile and wallpaper industry of today. This is exactly the reason why we study the history of design. You have all heard the old adage: “..There is nothing new under the sun..”. This is particularly true in the world of design. As fashion goes in and out of vogue, so do design trends. And much as at the end of the 19th century, there is a merging of the different art categories happening right now. This of course is the result of what has happened in the past few decades – everything in our world is constantly changing and adapting to the world around us. Once we realise that everything in our visual world happens for a reason and in reaction to a previous state of affairs, we become more confident in being trendsetters rather than trend followers. As designers we need to be ahead of the rest, not part of the herd that follows. Look at the following examples. They are contemporary examples of wallpapers on the market today. Can you see the familiarity that we were referring to? Although they are not exactly the same – the new ones have a contemporary edge – we can clearly see the reference made to the Art Nouveau style.

Examples of contemporary wallpaper from the Hertex collection

222 /////

MODULE2PRACTICALPROJECTS

The characteristics and stylistic elements of Art Nouveau could therefore be summarised as follows: • • • • • • •

Use of stylised, winding and flowing, long, undulating, organic lines Elongated, lyrical lines used either in an elegant and graceful way or infused with powerfully rhythmic and whip-like forces Vertical lines and use of a taller format Using moderate and darker colours; the most frequently used colours were mustard yellow, dark red, olive, brown and, sporadically violet and blue Asymmetrical designs Often used flower stalks, buds, insect wings, vine tendrils and various natural, often delicate objects Female figures with long flowing hair frequently used

13 PROJECT Now you are a lot more familiar with the Art Nouveau style and know that even though the style occurred at the end of the 19th century, we still today take inspiration from it as many aspects of the movement can still be of relevance today. Today there is a movement away from mass production, and an awakening respect and appreciation for simpler living and craftsmanship. In the light of this we would like you to design your own Illuminated letter, using the Art Nouveau style as inspiration. First you need to that Art Nouveau is a style of stylisation. Are you sure you know what this means? According to the Cambridge Advanced Learner’s dictionary: If something is stylised, it is represented with an emphasis on a particular style, especially a style in which there are only a few simple details, e.g. rock drawings depict a variety of stylised human, bird and mythological figures and patterns. (Definition of stylised adjective from the Cambridge Advanced Learner's Dictionary) This style also has an aspect of simplification to it and unnecessary details are left out. You can probably see how the term “stylised” relates to Art Nouveau . It simplifies and reduces complex and detailed objects from nature to the style of the day: Art Nouveau . In other words, natural, organic objects such as leaves, buds, vines and flowers are stylised to adhere to the characteristics of the Art Nouveau style. Other styles also made use of the process of stylisation but the results may look nothing like Art Nouveau.

///// 223

DESIGNGRADE11

Next question! What does an illuminated letter or illuminated manuscript mean? An Illumination is an embellishment, or additional decoration that enhances the pages of a written, or manuscript page. The term “illumination” comes from the term “illuminate”, or to fill with light. This effect is achieved by the application of gold leaf to the letters and images, which reflect light and appear to glow. An Illuminated letter was usually the first letter of a page or paragraph. It was always enlarged and in colour with gold applied in areas, while the rest of the text remained black. The images used to enhance the letters include animals, plants, and mythological creatures. These images were modified to fit into or around the letter, or in some cases took on the shape of the letter itself. Because the recording of historical events was such an important task, illuminations were ordered by Kings and religious leaders to be added to various pages in order to add interest

and importance to their appearance. As written languages developed, various countries adopted the idea of illuminating their manuscripts and carried on the tradition for hundreds of years into Medieval Europe during the Middle Ages. By the 7th century, Illuminations became a highly respected art form. At this time some of the most beautiful and famous Illuminations were being created in Ireland and England. Illuminations defined a time in history when the ability to read was sacred and reserved for religious leaders or those born of royal blood. Because it took great skill to create such items of beauty and because these creations were so important, it was a great time in history for artists. For without their skills and talents such beautiful images might not have ever existed. Amy E. Bruce http://www.fs.edu/DIS/OHSICS/ FineArts/pdfs/Illuminations1.pdf

Your project You are required to design your own personal Illuminated letter. The letter you will be using should be your own initial, or the initial of someone close to you. The reason for this is because you are going to use organic and natural objects as a reference to make this letter very personal and the organic reference will be meaningless without the personal connection. So, for example, if you choose your granny’s name, Mary and you know she loves peaches and pears and smells of lavender, it makes the creative process so much more personal and it becomes easier to choose creative motifs to include that can symbolise her personality. It is so much easier to imagine creating a beautiful capital “M” embellished with designs derived from peaches, peach leaves, peach blossoms or pips if you know the person. Dispersed amongst the peaches and peach references, you could add some references to pears, all bound together with long stalks of lavender. Can you see how personal it can become? We want stylisation of this design to refer to the Art Nouveau style, using all the information you have gathered thus far. But, and this is important, you are living in the 21st century, not the end of the 19th century and your design needs to reflect this. So, much like the wallpaper we looked at earlier, where contemporary designers referred to the style of the Art Nouveau (as opposed to copying it), you should try to make your illuminated letter contemporary, in other words, of our time. Do not copy an original Art Nouveau design. You may study and learn from these examples but it is important that you personalise the design and as well as produce an original one.

224 /////

MODULE2PRACTICALPROJECTS

Examples of Illuminated letters from the Art Nouveau period

Beautiful jewellery designed after Illuminated letters

Modern take on Illuminated letters – look how neat and professional it is

STEP1

Decide which person you would like to represent with your illuminated letter. Make a list of organic or natural objects that you can associate this person with. Collect visual references of these objects. You are welcome to source the real objects, like peach blossoms you have picked from the tree, or, if that is impossible, you may use photographs or images from magazines. to stick to organic reference.

STEP2

Take an A4 piece of paper, a pencil and a black marker. Don’t forget to take the characteristics of the Art Nouveau style into . Take your organic references and start to stylise and simplify these shapes until you are happy with the result. Do not use any colour at this stage. You should now have an A4 paper full of stylised organic shapes and forms, which represent the person you chose. These sketches may also include leaves or flowers from different angles and of different sizes.

///// 225

DESIGNGRADE11

STEP3

Take a new A4 paper and draw out the initial or letter you chose. Illuminated letters were mostly upper case (capital letters) as they were always used at the beginning of a sentence, but if you want to, and the shape of the letter is strong enough, you may use the lower case (small letters). It is really important that if you choose lower case, you use a really strong letter as some letters that are not strong and bold enough may disappear amongst the organic details of your stylised images. Make sure it is strong enough to still make a visual impact and statement. As in all typography that’s particular to a specific era, the characteristics of Art Nouveau typefaces clearly reflect the characteristics of this time. Since this is your personal interpretation you do not have to use a particular font or typeface for this project. If you really want to be more accurate in of this style you will find many references in your library or on the Internet. For the success of this project it is not compulsory that you work from a specific Art Nouveau reference. As long as the motifs, shapes and lines of the visuals reflect the stylistic characteristics of this movement you can pretty much choose whatever you want. So take another look at the characteristics of the style, and apply it to the letter you are using. Here are some obvious examples of Art Nouveau typefaces.

226 /////

MODULE2PRACTICALPROJECTS

STEP4

Now that you have a beautifully pencil drawn letter on an A4 page, carefully start to draw in the organic shapes. Some of your organic shapes might eventually drape themselves over your letter. For this reason we prefer to do the letter in pencil first. It is important that you manage to integrate and marry the organic shapes with the shape of the letter. It must seem as if they were never apart. Distorting and weaving the organic shapes, either around the letter or inside the letter, and using the outline of the letter as the border, it is possible to achieve this level of integration. Have another look at our examples of illuminated letters. You may also decide to draw a shape behind the letter, almost like a frame that will then contain your organic motifs. You can use these or any other methods you can think of to ensure that you see the letter and the decoration as one entity, yet don’t forget that it is still important that the letter remains strong enough and doesn’t disappear amongst all the detail. Once you have your entire design on paper, make sure to apply the design principles and see that there is a good balance, rhythm and composition and that your illuminated letter resulted in an aesthetically pleasing overall design.

STEP5

Use your black marker (or any other good quality black fine liner that won’t leave ink blotches, if you prefer a more sensitive line) and draw the outlines of your shapes. Make sure that you which vines or leaves go over, or under parts of the letter and draw them accordingly. Pretty quickly, your illuminated letter will be completed.

STEP6

At this stage no colour has been used. If you are serious ing colour, rather make a photocopy of the original design so that you can preserve it and add a black and white version to your portfolio. Now you can use the original and add colour to your design. If you want to use watercolours or any other method that involves a liquid, please make sure that the original ink you used for the black outlines are permanent. Otherwise you will smudge your beautiful design as soon as you add colour. Bear in mind the media choice and colour choice should also reflect the Art Nouveau style. It is also super if you want to just leave it black and white.

STEP7

Write a short rationale about the decisions you made during this project. Early decisions such as why you chose the person; which organic references were chosen and why; you worked with a brush or marker, and why; you added colour or not. All of these decisions were part of the DESIGN PROCESS. None of these decisions should have been made without thought and you should be able to justify all of them. The design process and thoughtful decision-making are important parts of being a good designer. No random decisions are made and no accidental choices either. To “feel” like it needed it, or to be “inspired” to do something without being able to motivate your decision will just not cut it in this industry. Reflect on the decisions you made and state whether you would change any of your decisions if you were given a second chance.

STEP8

Collect all the work you did and add your final design(s) (black and white and/or colour) together with the rationale and present your project in a professional manner.

///// 227

DESIGNGRADE11

BAUHAUS An introduction to Project 14 As you already know, The Bauhaus School was founded by Walter Gropius in Weimar, in 1919. Despite its name, and the fact that Gropius was an architect, it is ironic that the Bauhaus had no architecture department for the first few years of its existence. The main motivational reason for its inception was the idea of creating a platform for all arts, including architecture, to exist as a unity – no one discipline was to be more important than any other. It was shaped by the 19th and early 20th century movements such as Arts and Crafts which also tried to even out the distinction between fine- and applied arts and then to re-unite the creative and manufacturing aspects of products and buildings. The students included artists, potters, architects, weavers, sculptors and designers who studied and worked together in workshops similar to the artists and artisans of the Renaissance period. Pitching themselves as a medieval craft guild at first, reinforced this Renaissance idea. By the 1920s they started to move more towards a focus on uniting art and industrial design. The Bauhaus felt unhappy about the soullessness of massproduction and manufacturing. There was a great fear that art and the creative process would lose its role and purpose in society. As a movement they also stressed intellectual and theoretical pursuits. So fine art and craft with a strong theoretical foundation were brought together with the goal of solving problems for a modern industrial environment and society. Like the Arts and Crafts movement, their creations also needed to be practical and affordable enough for use by the general public. A simple, geometric and highly refined style characterised the Bauhaus, which eventually became a major influence on modernist design and architecture. It also had a profound impact upon later developments in art, architecture, graphic design, and interior design, industrial design and also typography too! So what legacy did Bauhaus leave us? Stylistically it stripped away the decoration, and left only the remaining clean lines of function. Functionality was really important to them and they also decided to make no reference to the past. Bauhaus recognised industrial design as a vital industry that would address and set the tone for the development of product design and consumerism as we know it today. While there were movements similar to Bauhaus (e.g. de Stijl), Bauhaus happened to become the ultimate symbol of modern design. It did achieve many of Gropius's goals and even after the school was closed, it left a legacy as Gropius’s model is still being used in many visual communication programmes, and art and design school courses today.

Gropius’s model for his courses

228 /////

MODULE2PRACTICALPROJECTS

In the biography of Steve Jobs (founder of Apple computers), Walter Isaacson (author) mentions that Jobs started attending the International Design Conference in Aspen in 1981. Here he was exposed to the spare and functional design philosophy of the Bauhaus movement. He made no secret of his enthusiasm for the Bauhaus style and in a speech he gave at the 1983 design conference, he predicted that the industrial dark style in computer technology would make way for Bauhaus simplicity. What he proposed was a new approach, one that was more true to the function and the nature of the products they were deg. Steve Jobs understood that the product and it’s aesthetics, must be interwoven – the best products that look scruffy or unfinished will never get off the ground but a bad product will also not be saved by flashy packaging and design. He believed that the one should be an extension of the other. And he was so right! This absolutely follows the ideals

of Bauhaus where they promoted the unity between art and industrial design with the overriding emphasis on functionality. Apple will always live up to its design slogan: “Simplicity is the ultimate sophistication.”

APPLE Because you are all familiar with Apple products, and by now with the characteristics of the Bauhaus, you should be able to understand and see the reference to the Bauhaus style. Make an effort and see if you understand this statement. For you this in itself is a great lesson on so many levels. Apple is seen as the ultimate brand. It looks so good that no one can resist the temptation to desire it, but it also fulfils its promise by being a range of exceptional, functional and top quality technologically advanced products. Knowing that Apple worked with the philosophies of the Bauhaus, one could argue that Apple is probably one of the most influential legacies to have been inspired by this movement.

Evolution of the design of Apple computers - http://ccatechnohistory. blogspot.com/2010/09/ evolution-of-computers.html

///// 229

DESIGNGRADE11

14 PROJECT This exercise takes the essence of the Bauhaus and applies it within a contemporary context, function and environment. Considering how architecture played a huge role in the Bauhaus, we are going to use this environment for this project. Using the basic principles and approach that characterised the Bauhaus movement, design a “Wayfinding system” for a building in your vicinity. But what is a Wayfinding system? In “The Wayfinding Handbook - Information design for public places” written by David Gibson, he says the following: Where am I? What can I do here? Where can I go from here? How do I get out of here? Consciously or not, we ask such questions every day as we continue to navigate to, from and around the places and spaces of our lives. Whether we find ourselves in a museum, hospital, airport, mall or street in an unfamiliar city, we depend on systems of clear visual, audible and tactile cues not only to lead the way, but also to keep us safe. They are the fundamental questions of wayfinding: a process that encomes both the experience of choosing a path within a built environment and the set of design elements that assist us in making such decisions.

More about Graphic Wayfinding There are four main categories of graphic wayfinding elements: • Orientation - Where am I? • Directional information - How do I get from here to where I want to go? • Destination identification - Where do I want to be? • Situation and object identification - Exits, entrance, rubbish bins, etc. Graphic information is the most common and easiest way for people to find their way around spaces and environments. Typical graphic wayfinding information includes systems made up of combinations of text, pictograms, maps, photographs, models and diagrams. Visitors observe, read, learn and understand these systems as they navigate their way through a building – even if it is in a language they do not understand. So one can actually call graphic information or information design a universal language that is understood across different language barriers and literacy levels. This is one characteristic that makes graphic design so powerful. For this exercise we are not going to use icons, maps, pictograms or designs, but only typography. The style of typography we want you to use should echo the philosophy of the Bauhaus – no decoration. Using only essential basics and simplified typography is well suited for wayfinding systems. Working with the essential basics makes the signage easy to read and understand.

230 /////

MODULE2PRACTICALPROJECTS

Here are some guidelines for deg successful wayfinding systems: • Be consistent with type and the location of signage throughout the system – people should know where to look for signs and there should be a consistency and continuity in your approach. • Use upper and lower case letters for highest legibility except in the case of single word signage – when using a single word sign, you may use only capital letters, but you do not have to. • To increase legibility, avoid single line spacing – the leading should be of such a size that it reads easily. • Try to group information on complex signs to increase comprehension. • Design your type so that it aligns on the left. Right or centred alignment will make your signs difficult to read. (See Module 1’s discussion on type alignment if you are unsure.) • In signage, use colours that are different enough so as not to confuse your viewers (Two shades of green indicating two different floors in a building may be just too difficult to distinguish). • Reserve the colours red, yellow and green for communicating public safety messages. • Avoid blocking signage with building elements such as lights and air vents.

STEP1

Identify an interesting building in your neighbourhood. It should be a building which would normally use, or already has, a wayfinding system - such as an office building or a small shopping centre. Walk through the building and take note of your surroundings. Does the building have a wayfinding system? Is it visible? Is it interesting? Can you read the signs from any angle? If you quickly wanted to find the toilets, would you be able to do so without any problems? Does it tell you where the entrance, emergency exits, ATM’s and telephones are? Write an analysis of the current system, using the pointers above as reference. Take photographs if you can to illustrate your points. Divide the signage components into the categories of orientation, directional, destination and situation/object identification. Make sure that you enter all your research into your workbooks.

STEP2

For this exercise you need to design 6 different components/signs that will form part of a bigger wayfinding system. Note that we want you to design one sign that fits into each of the different wayfinding elements (as listed in the beginning on page 230), and then 2 more of your own choice. There will be many signs to choose from, and some may be trickier than others. Choose carefully and be brave. You may design the signage to scale, but this is not compulsory.

STEP3

The best way to present a wayfinding system is by putting it in its environment. So, you need to do a line drawing of the shopping centre and add in the signage to the scale of the drawing and in the correct position in context to its surroundings. These drawings should be either one- or two point perspective drawings (depending on your specific interior and the angle of the interior you want to show). Please refer back to your Grade 10 textbook where perspective drawings were discussed in detail. If you have a camera, you may also use a photograph or photostat and add your signs to this, as long as you can see the positioning and scale of your wayfinding system clearly.

///// 231

DESIGNGRADE11

to take note of the following: You need to follow the philosophy of the Bauhaus – simplification and functionality is very important. But, this does not mean boring. Choose a typeface – the section in the first module about specifications for signage on larger surfaces and that a sans serif typeface will work best. Something else you were made aware of was that on that scale, typography reads more easily when we reverse out the type – that means, having a darker coloured background with white or a light colour typography on it. what we said about the contrast? – that there needs to be a very good contrast between foreground and background, otherwise the readability is compromised. Spacing between letters should also be relaxed (more space) so they can be read more easily. The four different wayfinding elements/categories (orientation, directional, destination and situation/object identification) all have different functions. They therefore cannot look identical! There needs to be a slight difference in your handling of the sign when it shows direction, or when it shows a destination. Think about the function of a particular sign: directionality needs to show a specific direction. The most obvious solution is an arrow. Can you think of any other clever ways of showing which way to turn? Always keep in mind the economy of your design. It needs to stay simple and functional without boring the audience to tears. Make use of your design elements; put into practice your understanding of scale, cropping and angles while keeping in mind that you need to ensure that a strong continuity is running through all your designs. Two examples of cropped signs. Not all of the typography appears on the sign; some parts of some of the letters are cropped off. But as you can see, the cropping was done in a way that does not compromise the readability but visually it has a more dramatic effect.

Ask yourself what solution will be best suited to your building. Do signs always have to hang from the roof ? Many very successful wayfinding systems appear on the floor, or are painted on the walls. Look at the style of your building – your wayfinding solution needs to also echo the style of the building. So there are a lot of things you need to consider. Make detailed notes so that you can use this information to motivate the style and application of your final signage. As always, the best designers in the world never stop looking and learning, so do lots of research and really try to understand the problem before you jump in and try to solve it. Don’t copy someone else’s work. Most wayfinding systems use colour as a way to, e.g. differentiate between information on different floors (you all know where to look for a car in a parkade if you the colour and the number of the floor where you left it!) Also, when a building has different departments, colour can be a wonderful way to aid orientation. Choose colours carefully, they have to be different enough from one another so as not to lead to confusion, but the palette you choose should also relate to the type of building you are deg for. When deg a wayfinding system for a school with young children, you would handle it differently from when you design for a major airport or corporate building. Your decisions must always be appropriate. When doing your sketches for presentation purposes, the signage at least needs to be in the correct colour, but preferably the entire presentation should be in colour as this will be a better reflection of the real environment. Once you have designed your signs, and you have done a sketch or sketches of the interior, present it in a professional manner to your teacher.

232 /////

MODULE2PRACTICALPROJECTS

ART DECO In preparation for Activity 6 If you saw the movie “Chicago”, you will have a good idea of what the Art Deco era was all about. It was an era of undiluted and unapologetic luxury. It was born from an era of economic slumps and war, social inequalities and unrest, hunger marches and the battle between Fascism and Communism. how we discussed earlier how everything happens as a result of, or reaction against, something else? The influences on the style were many and the artists of the era created its unique identity by borrowing liberally from many styles. It emphasised modernity; rejoiced in the use of the latest technical developments and materials. It was essentially a world of energy, vitality and beauty but really was a form of escapism, a wonderful world of make-believe. What it left us with is a legacy of great craft and imagination. The beauty of work created in this era has fascinated us for almost a century and will keep on doing so for many years to come. As you know, Art Deco is characterised by geometric patterns, sleek design and many experimental forays with materials like glass, plastics and Bakelite. Towards the end of the 30s, visualisation and personification of speed and technology became more and more important. Emphasising the use of glossy materials and surfaces naturally progressed to the use of beautiful, aerodynamic lines. This era, known as Moderne, replaced the earlier more familiar patterns of Art Deco. Art Deco represents a moment in modern history… the age of jazz, slick, streamlined cars, flappers, costumes, and the beautiful skyscrapers we came to know well in cities like New York, Johannesburg, Cape Town and Durban.

ACTIVITY 6 The following examples are of packaging and designs influenced by both Art Nouveau and Art Deco. See if you can identify which belongs to which style. Bear in mind that Art Deco borrowed from other styles, and this included Art Nouveau as well!

///// 233

DESIGNGRADE11

This activity is all about being observant about stylistic references when going about your everyday life. Some of the examples on the left and below are of notebooks on sale in stationery shops, some are taken from lip-gloss containers which you can buy online or in pharmacies, but you can also look at luxury soaps, wine labels, film references, e.g. the movie “Chicago” and so many more. The challenge is for you to look for and identify stylistic references so you will never fall into the trap of using a typeface or style reference out of context. Because now you know better!

Look around you in a shopping mall, in your local pharmacy, in magazines or on line and identify 5 products where the designers used Art Nouveau or Art Deco as a reference. Document your five references on an A4 paper by using photographs, print-outs or magazine cut-outs. Together with your visual documentation, write down the specific style of your find, and motivate why you classify the style as being derived from Art Nouveau or Art Deco. When done, hand this document to your teacher.

234 /////

MODULE2PRACTICALPROJECTS

15 PROJECT

Let’s get practical! We are going to create our own Art Deco pattern! In this exercise you will prove that you understand the stylistic references of Art Deco, and that you are able to use this knowledge to create a beautiful, original and exciting design which could be applied to many surfaces. Some of the recognisable characteristics of Art Deco are that they made use of straight horizontal or vertical lines, or clean curves and diagonals. It also made use of symmetry and drama. Designs were also often in black and white with limited accent colour. You are going to use these characteristics to make your own design. For this project you need two pieces of good quality A3 paper.

STEP1

Draw 12 blocks on the paper as is shown in the example. The blocks need to be exactly 90 × 90 mm. In the first vertical row of four blocks, draw, very accurately, horizontal, vertical and diagonal lines, and quarter circles (with a com), each in a block. These vertical and horizontal lines need to be 10 mm apart. The diagonal and quarter circles will then continue from where the horizontal and verticals meet the end of the blocks they are in. See our example on the next page if you are unsure. They can be in any order but it is really important that you are very accurate. You will see that the first row is really simple; if you are accurate you cannot make a mistake!

STEP2

In the adjacent row repeat the vertical, diagonal, quarter circle and horizontal lines, but not directly next to the same pattern in the first row. Now we want to complicate things a little more and really set you a challenge. Draw over the lines you have just drawn with a different pattern so that you end up with double patterns. If you have been accurate, you will see that your lines at the borders of the blocks will start to up. After this, move over to the third row. Here you can go crazy by adding yet another layer of a different pattern. Things will start to look very busy but this is exactly when the exciting part of this project is going to start.

STEP3

Use a fine black pen, ruling pen or drafting pen and carefully draw exactly over the lines. It is important that you do this very accurately. Next, using only black on the white paper, start in your first row by colouring every alternative shape you have created. You can use black khoki pens, markers or black ink or paint. The decision is yours! You can also decide whether you want to have the coloured bars flow into each other when you cross from one block to the next, or if you want to interrupt the coloured blocks and rather decide to “change lanes”. Whatever you decide the results will still be great! See how creative you can be within the simple rules of the exercise.

///// 235

DESIGNGRADE11

Once you have added black areas to the first lane, move onto the second and third. Your design should look less busy on the left and more complicated on the right. If you feel confident you may add more patterns, or even some patterns you have found which are in the style of Art Deco, as long as the whole represents the style of Art Deco.

STEP4

Your design is now completed and so we will be moving on to the next stage. Cut a viewfinder of 200 × 200 mm. Move the viewfinder freely over your new design and find a beautiful cropping which to you personifies the Art Deco style. When you are satisfied, take two small pieces of masking tape and tape your viewfinder to your design. And it’s off to the photocopiers! Make a copy of the design with the viewfinder stuck to it. Now you have isolated your design and you can use your second piece of paper to neatly reproduce the design you have made. Carefully draw or trace the design onto your second piece of paper and execute neatly and accurately. Make sure to place your 200 mm × 200 mm design neatly and squarely on the second piece of paper. Because the design is a cropping, the lines in your design may not be parallel to the edges of the block. Your design does not have to be overly complicated if you do not want to make it so. You need to to keep it within the framework of the Art Deco movement, and even though the intensity of the design will not be equal everywhere; it should still work as a whole. You have now finished your design and we can just imagine how stunning it looks.

This is an example of how one of the more complex blocks in the third row could look once some of the small sections are coloured black.

 

In the above illustration (fig 1) you can see three vertical rows of blocks, numbered from one to three. In row one you can see blocks filled with only horizontal, vertical, diagonal and quarter circle lines. They can be in any order, as long as they are very accurate. The next step is in row two, where you can see the two overlapping layers of line in each block. Again they can be in any order as long as they are accurate. Can you see where the lines from row 1 and 2 are ing? Row 2 is starting to become an interesting pattern! With row 2 completed, start on row 3, where you will add yet another layer of lines – going in a different direction from the first 2. There will now be three different layers of lines. It’s getting complicated! In the illustration only one block in row 3 is complete, just to show you what we are aiming for. The patterns will be different for each of you and that is what makes it so exciting. Of course this is only in line at this stage; once all your rows have been completed, you will start creating the final design by adding black in the pattern you have created. In the second illustration (fig 2) we have added black to the patterns we created in the one completed block in figure 1.

236 /////

MODULE2PRACTICALPROJECTS

STEP5

Design a set of four post cards that reflect different human emotions like anger, joy, sadness, etc. Postcards are A6 in size and you may use them landscape or portrait format. Choose and eventually crop different sections of your beautiful design that you believe expresses your selected emotions. For example a very busy area with sharp angles in your design may very well communicate ANGER. When you design these postcards that you also need to include type. For this project you need to specifically select a style that projects the human emotion at hand. Refer back to Module 1 if you need some help, and design a postcard for each emotion. Try to stick to typefaces that echo the stylistic characteristics of the Art Deco style and use the weight of the type, the angle of the placement, etc. to indicate the meaning of the word. Look at the example if you are unsure. “Anger” is expressed by using the very bold typeface at a steep angle and with very little inter-letter space but the typeface is simple in design with straight lines and no decoration or detail. Neatly draw out the four postcards on an A3 paper. All four should fit on one page, but make sure that you place them some distance apart so they each have some “breathing” space – in other words, do not place them too close together. Use your prior knowledge to decide on the typeface, one per emotion and together with some photocopies or drawings of the selected section taken from your main design, complete the postcards that each represent an emotion. Being a budding designer you should not forget to make use of the basic design principles. Because your postcards represent different emotions, they cannot possibly look the same! Further applications of your original design will always be possible. Just imagine some of the blocks taken from your original design used for a range of individual cushions or a repeat pattern of the same design used on a tablecloth

Only your own imagination will hold you back.

An example of a postcard design, where cropping of the design was used to express an emotion.

///// 237

DESIGNGRADE11

Section two: 3D

Let’s go 3D! A blueprint for dioramas of different styles

The above image is an excellent example of a life size diorama or what we call a ‘museum period room’ in America. There are many styles of dioramas. This is a typical historical display imitating a kitchen from approximately 1910. Strong influences from the Victorian age are still seen, but the majority of furniture is of the Art Nouveau style, e.g. the Thonet Bentwood chairs.

238 /////

MODULE2PRACTICALPROJECTS

16 PROJECT Building a diorama or a miniature period room

?

DIDYOUKNOW A di•o•ram•a (Noun) can be defined as a model representing a scene with three-dimensional figures, either in miniature or as a large-scale museum exhibit. A diorama is also a miniature movie set used for special effects or animation.

The construction of a diorama can be an interesting way to illustrate stories or to help bring history to life. A diorama is a scene that portrays a time, place, and people. It can be used to illustrate a scene from a book, a natural environment, or a historical period.

The Brief Your design class has been appointed as the decor and set/model builders for the coming school play. The creative director has requested the following 3D paper theatres/dioramas/ miniature models for the set and decor crew to work from. Don’t underestimate the skills that you can learn through making your own paper theatre. If you are in any way interested in getting involved in an industry where you will work mostly in 3D, this project could teach you a lot of different skills that will stand you in good stead if you are interested in pursuing a number of creative options like architecture, working in the movie and animation industry, product and furniture design, to mention but a few. Working with paper theatres specifically could also spark an interest in deg period props and costumes for movie sets and music videos. Creativity is not enough to be successful in a 3-dimensional environment as this is not every designer’s cup of tea. So best you give it a shot. Who knows? This might spark a different interest in you and encourage you to follow a more 3-dimensional career where you could successfully serve the movie or advertising industry or get involved in theatre and set design. This project will also teach you a lot about the authenticity of working with all the associated details of a specific period or era – from learning how to use the correct colour palette to using appropriate shapes and textures, lines and dimensions. Successfully using all these elements as a whole will develop your ability to work with balance, composition and rhythm. Your attention to detail, technical skills and abilities, and true understanding of the complexities of working in 3D will be challenged on a much more advanced level than before.

!

SOMETHING EXTRA

For those of you that are really interested in the workings of real theatre: take your model to the next level. Use it as a base to carefully plan the sequence and use of props on the stage as well as the use of stage lights in one or more scenes. To have a more effective final presentation you might want to consider placing your paper theatre inside an enclosed area or bigger box and add LED lights to create the light effect you want for that specific scene. Provide the viewer with a peephole so that they can experience the whole effect you have created on the inside.

Enjoy ///// 239

DESIGNGRADE11

PART1 Each of you will first build a *proscenium, after which you will create ONE scene or room

in a specific style that will be allocated to you by your teacher. The characters on stage must be included. Your proscenium will be set in England and has to be a reflection of a time between the years 1850 and the 1940s. In other words you might choose to create a floral fantasy proscenium typical of the Art Nouveau style OR the style of the unadorned industrial Bauhaus OR the glamorous and theatrical style of Art Deco.

?

DIDYOUKNOW A proscenium is the frontal view or façade of a

theatre stage in front of the curtain and forms a frame around the stage. It usually remains untouched during performances, in other words it usually does not change during scene changes and usually reflects the exterior style of the theatre building.

Following a performance of the opera “Carmen” at the Royal theatre, Fritz Kannik, a model-builder and judge for model-building competitions, views a model that was built of one of the scenes taken from Carmen, which was on exhibition at the Danish Model Theatre club. This is an excellent example of a paper theatre and a peek view into the construction and workings of this creative genre. As seen in this example, many of these paper theatres make use of a classically inspired architectural style for their prosceniums or facade/front of the theatre.

On the next page are a few more examples of prosceniums used in paper theatres

240 /////

MODULE2PRACTICALPROJECTS

The above and on the left are an excellent examples of a classical 1900s proscenium inspired by the return to nature. It was also the main inspiration for the Art Nouveau style at that time with its “ ” philosophy.

This is a stunning example of a 1920s Art Deco inspired paper theatre. It was truly a time of opulence and glamour.

?

DIDYOUKNOW Paper theatres have a long tradition. It is difficult

to name an adequate date for the earliest paper theatre, but examples that date all the way back to the 18th century can be seen in certain European museums. At the beginning of the 19th century European art printers began publishing theatre prosceniums. The “legitimate” theatre inspired these and it is apparent that the first paper theatre productions tried to copy scenes from existing theatre productions. The paper theatre soon found its own independent publishing format and spread rapidly throughout Europe. The first complete paper theatre production with sets, figures, and script appeared in 1811 in England. About ten years later the first prosceniums appeared from German publishers, followed by publishers in Austria, Spain, , and Denmark.

///// 241

DESIGNGRADE11

After the World War I, the interest stagnated until the charm and magic of paper theatres was revived in the 60’s and the practitioners of this centuries-old ‘hobby’ still operate world-wide. In today’s modern world of computers and electronics playing an even greater role in all cultures, the paper theatre can be a welcome relief, away from the stress and demands of a technological world. There are still many places in Europe where paper theatres are designed and constructed. In and Denmark there are guilds that are engaged in exploring the abundant possibilities of this medium. There is also an annual paper theatre event in Preetz (see image above) in that clearly shows that there are still thousands that are inspired by this ancient practice that adds so much reminiscence through its creative discipline. For them it is still worth keeping this old European tradition alive. The Preetz Paper Theatre Event is the largest international gathering of paper theatre performers in Europe - and probably in the world. First held in 1988, it still happens each year during the month of September and is organised by a school that offers adult evening classes that can provide enough space for the performances to happen. The event is publicly ed by the district of Schleswig-Holstein, the region Plön, and the town of Preetz and by private selectors and sponsors.

!

Please do the following activities step-by-step before you set off to create the final room/scene! Also to follow the director’s (your teacher!) guidelines!

STEP1 Thorough visual research Always start with collecting visual research. It is of the utmost importance that each of you should have a thorough and in-depth understanding of the use of colours, textures, forms and lines associated with the particular style you will be working with, and be knowledgeable of the designers that stood out, and know their best designs – almost a bit like being an art historian! You should create an A4 or A3 workbook filled with visuals for this project and constantly add visuals as you progress to more levels of this project. this workbook is evidence of all your hard work - a documentation of every thought and bit of research you have done that eventually will inform the decisions you make concerning the final product. Without this you can never make informed choices and your end product will be a disaster! Now be selective and translate all this information onto mood- and storyboards.

242 /////

MODULE2PRACTICALPROJECTS

!

Do research on the following: prosceniums, paper theatres, vintage paper dolls, vintage paper furniture, Victorian toys, etc. or anything else that’s vintage and fits with your selected style. Of course your research does not only have to include stuff from paper theatres. Any research that will inform you more about the period you will be working with will be of great value.

Do not leave any stone unturned! For example, if you decide to create a proscenium in the Art Deco style you will need in-depth knowledge of Art Deco architecture to be able to draw and design the Art Deco proscenium. Study a variety of iconic examples of Art Deco buildings, e.g. Chrysler Building, Empire State Building etc. Do not forget to study theatres as many were built in the Art Deco style. Study all the eclectic influences in their designs, from Africa, Egypt, Aztec, etc.

STEP2 Drawing/drafting blueprints for your own proscenium Create a draft or concept drawing of the facade of the proscenium based on your visual research. Use A4 or A3 grid paper, a pencil and ruler for this drawing exercise. Your work has to be extremely neat and precise.

The above image is a good example of a concept drawing on grid paper. This proscenium has an Art Deco styled facade. Typical of Art Deco, the design is symmetrical and strongly based on geometrical shapes. One can clearly see the influence taken from Egypt - the top central motif shows influences inspired by the papyrus reed and the step pyramid formation. Certain African or Aztec warrior headpieces could also have influenced it.

///// 243

DESIGNGRADE11

Below is a final draft for an Art Deco facade for the proscenium that was done by Joseph Musil. The drawing also shows some of the materials the designer was influenced by for instance a combination of marble, glass, mirrors, chrome and bronze.

Above is a final draft for an Art Deco facade for the proscenium that was done by Joseph Musil. The drawing also shows some of the materials the designer was influenced by for instance a combination of marble, glass, mirrors, chrome and bronze.

Above is the set designer, Joseph Musil. He believed that a scale model should be as exciting and entertaining as what is presented on the real stage.

244 /////

MODULE2PRACTICALPROJECTS

STEP3 Let’s start building But first… what’s in a name? Don’t forget to give your paper theatre a name. When choosing a font for this name, use a font that is typical of the style you will be working in, e.g. Art Deco, Bauhaus, etc. To follow are a few tips and suggestions for building a small size paper theatre. The following decisions are vital in ensuring a successful end result.

SIZE & SCALE

A manageable size would be: Width (30cm) × Height (25cm) × Depth (15cm - 20cm). Don’t go too big because these paper theatres are labour intensive! Work with a scale of 1:2.

BASIC TOOLS

Before starting to build any models, the first item to address is a work area and basic tools. If nothing else, a small off-cut of wood slightly larger than the cutting mat will be adequate as a work station and this will mean the “work station can be easily transported if you don’t have a dedicated place to work and you are forced to work on the floor or kitchen table. However, a dedicated room with a work area is better if you are lucky enough to have one. Another alternative would be to make use of any flat and sturdy surface as a work station, e.g. masonite or chipboard. The cutting can then be done on this surface if you do not have a cutting mat.

ESSENTIAL TOOLS ARE

Water-based varnishes, Pritt or Bostic clear glue, a NT-Cutter or tile knife, 30cm – 60cm steel ruler, HB pencil, eraser, black fine liner that is permanent or waterproof, scissors, tweezers, cocktail or sosatie sticks, a set of water-based felt tip pens, a set of water colour paints and a set of colour pencils. Alternatively you can use any object with a straight edge in the place of a steel ruler, e.g. Perspex cut-offs, aluminium, etc. If you do not have colour pencils you can ask your teacher for some ordinary colour chalk. You can then grind it into a fine powder, mix it with a little water and paint with your own mixture. If you add sugar it will ‘fix’ the paint and make it more permanent.

BUILDING MATERIALS NEEDED

For the base or floor of your paper theatre it is suggested that you use hardboard or balsa wood - materials that are not too heavy, but strong. It is also suggested that you use balsa wood or wooden rods for the ‘roof ’ structure on which the ‘ walls’ and backdrop would be attached. For the different walls, it is suggested that you use thick mounting board, cardboard or chipboard. The cardboard layering technique you were introduced to in Module 1 can also be an alternative way of making your own walls, base etc. If you don’t have any thick mounting board, use the back of a breakfast cereal box instead. It is important that the structure is fairly strong to prevent the theatre from wobbling! As with the cardboard, the cereal box board will also have to be layered in order to make it stronger.

///// 245

DESIGNGRADE11

STEP4 Making the structure and attaching the proscenium Carefully follow all the steps in the drawings below so that you can be sure to create a sturdy paper theatre, but also to adapt to your own specifications.

Figure 1 Create a folded structure similar to this figure. If you need more side s just add more. Once in place, the top bar can be folded along its centre-line to provide a firmer structure.

Figure 2 To attach the front of your stage or proscenium, you need to fold the sides inwards to create a 3D effect. Look at the green lines in this figure. Follow the same instructions for both the left and right sides and score along these lines as indicated. Figure 3 Next you need to score along the red and blue lines as shown in this figure. Scoring means that you do NOT cut through the surface – you only cut halfway into the surface so that the folding process can be easier and more precise.

! 246 /////

that you always cut from the side where you will fold downwards. You cannot score and then fold towards the scored area but rather away from the direction you have scored from. A good idea is to experiment beforehand.

The red lines should be

scored on the printed side.

MODULE2PRACTICALPROJECTS

Figure 4 Fold the triangular parts outwards so that the rectangular tab ‘A’ moves to position ‘B’, as shown in this figure.

Figure 5 Now you can glue the triangular parts together and glue the tab into place to create a 3D stage front/proscenium as shown in this figure



!

The bottom corners of the side wings and the backdrops can be trimmed off to allow them to be inserted into the structure more easily.

Figure 6 The proscenium can now be glued to the structure. See in this figure where the shaded part represents the front or proscenium or façade. Glue the side wings to the top-frame. The frame should be folded along its length to make it more stable.

STEP5 Suggested finishing techniques - hand coloured photocopies and cut-outs Use good quality photocopies printed on thicker paper OR make your own drawings. For example, use Reviva paper, which is a recycled paper of 105mg that can be fed through a photocopier machine, or any other thicker paper available. If you have a colour copier use the copy only as reference, but do not use it for your final work. Use only black and white copies and then colour them in with colour pencils or watercolours. If you are interested in given it an aged feel you can paint antique glazes or a variety of wood stains over the surface to achieve the required effect. If you do not have access to a copier you will have to hand-draw your own. After you have collected all the details you want to include in your proscenium, carefully work out exactly what is going where and fix it into position on a surface or piece of paper.

///// 247

DESIGNGRADE11

Then take tracing paper and place this over your rough proscenium. Do a line drawing of your final proscenium on the tracing paper. This drawing will now be your master copy. Now you can take a better quality paper and do a final and more precise drawing overlapping the tracing paper on a window so that you can see exactly where to draw what. Where you do not have access to a copier or printer you can make use of magazines, newspapers, brochures, flyers, catalogues, ments, community and property guides, etc. You can then cut your architectural structures or features from images or visuals obtained from these sources. It will be a safe option to first experiment with this medium before you apply it to your final work. The above suggestion is a traditional technique used for creating and finishing paper theatres. The objectives here are to master the techniques of ‘photocopy printing’ and watercolouring. Making use of photocopies for collages is not a new technique. The main objective is to create a good quality print - and it all starts with selecting good quality images which might be sourced from the Internet or taken from a book. All stages in producing a paper theatre demand a thorough and critical eye. Colouring of photocopies is also nothing new.

!

Can you imagine a time when colour photographs did not exist? In those days the photographer had to use a variety of inks to hand colour the black and white photographs. Today you can still find these photos exhibited in museums. And you never know – you might even find a few examples amongst your grandparents stuff. For this project we would like you to learn how to master the colouring of these photocopies and become technically skilled in the use of colour and the application of watercolours, glazes and or stains. The drawing programme and the exercises for Module 2 would also help because here you will experiment with some of these techniques. The example below is a good example of a photocopy that has been toned through the application of watercolours. Joseph Merrick’s “A Three Act Tragedy”, a play that was based on the life of the Elephant Man, inspired this toy paper theatre.

PART2

A CURTAIN CALL… Creating the interior, characters and stage setting for your diorama or miniature paper theatre : The construction of a diorama can be an interesting way to illustrate stories or to help bring history to life. A diorama is a scene that portrays a time, place, and people. It can be used to illustrate a scene from a book, a play, a natural environment or a historical period.

248 /////

MODULE2PRACTICALPROJECTS

17 PROJECT PART 2 You have now created a proscenium or façade for your miniature paper theatre or diorama. Where as your proscenium reflected the style of one of the movements you did in theory like the Arts and Crafts Movement, Art Nouveau, Art Deco or Bauhaus – you may now choose a different style for the interior of your stage, still inspired by one of the above-mentioned four movements.

STEP1 Thorough visual research Once again start with visual research. It is of the utmost importance that you should have a thorough and in-depth understanding of the dominant characteristics of the movement you have chosen for your scene/interior. Your knowledge will determine your success in of your use of colours, textures, forms and lines associated with that particular style. Continue in your workbook and constantly add visuals as you progress or feel the need for more sorting and guidance. Then, the same as before with your proscenium, translate this information into mood boards and storyboards. Do research on the following: paper theatres, vintage or modern paper dolls, vintage or modern paper furniture, etc. or any other research that is relevant to the style you have selected. A lot of the time one can get inspiration from unexpected sources.

STEP2 Setting the stage Creating the side wings and backdrop Once created, the side wings and the backdrop should easily slide in and out of the structure as seen in figure 8 on the right.

///// 249

DESIGNGRADE11

SOME INSPIRATION FOR THE BACKDROP AND/OR SIDE WINGS

Above you can see an example of one of William Morris’s wallpaper designs (from the Arts and Crafts Movement). Here you can clearly see the use of a stylised technique through the flattening and outlining of forms. which were then coloured in with watercolours. Judging by the amount of detail, working in this fashion requires patience and a lot of skill and control. It would be wise of you to work slowly and systematically so that you can produce an accurate and neat design. You might have to re-apply some of the watercolour layers so that you can have certain colours less transparent and more opaque. The distribution and application of colour can lend more dramatic weight to your final piece. Imagine if everything looked the same and there were no contrast in line, colour and shape throughout your whole design. This would only result in a very plain and boring piece of work. Created by careful consideration and application of colour, texture and shape, the contrast, drama, rhythm, and movement overall contribute to an interesting and exciting composition that will keep the interest of the viewer. It is always a good idea to save up for your own set of good quality watercolour brushes in a variety of sizes so that you can confidently work on finer and more detailed work.

250 /////

MODULE2PRACTICALPROJECTS

STEP3 Once the backdrop and side wings are done and fitted you need to fill the empty stage with furniture, props (abbreviation or short for stage PROPerties: objects like furniture, cutlery, crockery, weapons, etc. used by the actors and actresses onstage during a performance) and characters to complete your scene. Obviously you cannot just choose any props, furniture or characters. Every decision you make must fit with the style and mood of your stage. So your research continues. On the right are paper cut outs that can be used to suggest a family room. We ed this example from the Internet so if you do enough research and you do have access to the Internet you will find a lot that can guide you so that you can make up your own set of designs and characters suitable for your design. You will use the same techniques that you used when you coloured the proscenium. Go back to page 247-248 to refresh your memory. It is a traditional technique that is used to make and give the finishing touches to paper theatres. The goal is to master the technique of water paint. The use of photocopies, your own drawings or pictures of collages isn’t a new method – and it starts with the choice of your images on the computer or in books to print or draw. However, all stages need to be controlled properly and critically. Colouring-in is also not an unknown technique. Before colour photos existed, the photographer had a variety of ink with which to colour in black and white photos. You can still find examples of photos like these in museums, and perhaps also in your grandparents’ house! The goal is to become technically competent in the use of colour and application of water paint, enamel and/or pigments. The drawing programme as well as the exercises that need to be completed in Term 2 could be helpful too as they work specifically with these techniques. There are numerous websites where you could find examples of paper cut out furniture, toys, costumes and other props. The examples included below are good examples of the use of watercolour techniques for a final piece. Check out the following links: http://www.skyglass.com/gayle/ANNIEK.jpg www.freewebs.com/laia/victorianpaperdolls/victorianpaperdolls.html www.papergoodies.com

///// 251

DESIGNGRADE11

STEP4 Play with a few ideas to make the paper characters or objects stand on their own. On the right are a few illustrations showing some of the methods used by paper theatre builders This is an old, effective and easy method. All that it involves is a slight bend on the dotted line before you fold in inwards. So the part that you have folded away from the figure becomes the stand. Depending on the strength of the material you are folding, you might have to reinforce the fold or the figure in totality to ensure a stable stand and character that is sturdy and does not flop all over the place.

Front and back of a paper character

Another technique is to create both a base and a stand. Fold the stand in half so that it forms a triangular shape. Make a slit in the base (the area to which the doll will also be attached). By interlocking the base and the stand (see illustration on the right) your character will be able to stand.

How to asseble the sand

Now, with the paper theatre complete, you can write a script that can act as an introduction to your scene, reflecting the period or time of your diorama. Then you can follow this script with a dialogue for this specific scene if you want to. Your characters are ready and waiting in the wings.

Let the show begin! Examples of different paper characters

252 /////

MODULE2PRACTICALPROJECTS

The above example gives you a sneak peek into how your final paper theatre could look.The included example also shows you the workings of a paper theatre. Here you can clearly see the layering effect that creates the illusion of a 3D model. The model builder made use of printed s that were cut out and glued onto a thicker mounting board. A wooden base and structure were created to attach all layers to, which included the proscenium, curtains, the walls and the backdrop. You can clearly see that the colours were added with watercolours and the surface finished with a layer of varnish.

?

DIDYOUKNOW During the 1920s a series of cutout postcards were created. The

series was called “Toy Town” and commemorates the First World War era. Most of the postcards in this series are signed “Geo”. These postcards became collector’s items. The idea behind these postcards was that the lucky recipient would cut out and assemble these images.

///// 253

DESIGNGRADE11

Finally you should always connect the dots no matter what you are working with! The postcard series (pages 255 – 256) to follow is a little extra, not only to give you more ideas on how to construct your characters for your paper theatre, but we want to use this postcard series and the other characters as examples of a products that were actually trendy those days, of course for a very specific target market. We know within your context this might seem like a very strange trend and line of business, but at the time these products were collectors’ items. By now you know that every era has its unique characteristics, highlights and lowlights and within the context of gathering knowledge it is always a good idea to learn about the past. To design a successful and desirable product for people, you need to understand their likes and dislikes so that you can figure out what can start a new craze and create a demand. For some reason this series was very successful – so much so that grown-ups collected them. Can you imagine your mom or dad collecting these? A bit of a long shot – not to mention very strange – but do you wonder what about this product made it so desirable? You might find a few clues if you relook the icons of this time, especially Charlie Chaplin (page 256). Today we are surrounded with unnecessary but desirable products. You see the Industrial Revolution glorified the use of the machine, which eventually influenced the development of philosophies for movements such as Art Deco, Bauhaus, De Stijl, Modernism and Scandinavian design that collectively glorified mass production. Consumerism effectively became more and more powerful. No one really cared about making environmentally friendly and sustainable choices. If they could make money, who cared! This collectable postcard series is just another brilliant example of a product that no one really needed deg just for the sake of deg to make a buck. One can argue that products of necessity should be functional products like kitchen and home appliances; medical tools and transport but today it should not only be about the ‘why’ we design but also ‘what’ and ‘how’ we design, manufacture, distribute, use and discard the product once it has completed its life cycle. We have inherited a world addicted to consuming any stuff and a planet that is at risk because of it. Today it is not enough to make money without considering the impact of all our choices on people and the planet. The make-up of modern consumerism has to change, as we cannot continue to design for the sake of deg just because we want to make money. It is now more important than ever before to also consider the full lifecycle of a product and, from the details of all the processes involved in the production, distribution and usage of a product, determine the holistic impact all of this has on the triple bottom line – people, planet, and economy.

254 /////

MODULE2PRACTICALPROJECTS

ACTIVITY 2

LET’S CONNECT SOME OF THESE DOTS Try to answer the following three questions QUESTION1

Looking at the choice of characters on the following postcards one could assume that people those days loved theatrical characters, storytelling and the theatre. Why do you think that was? What was so significant about this time that an environment was created for people to be fascinated with this stuff ? And why was Charlie Chaplin such a hit during this time? See if you can find more information that could be the reason why these postcards were such marketable products. See all these examples on pages 255 – 257.

QUESTION2

In deg a series of character postcards that will be best sellers today, which characters do you believe would be popular today and who do you believe would be the target market for such a product?

QUESTION3

Today we can think of a number of products that are collectable items and usually popular with a young market. We also see a number of products on the market that contain a very cheap selfbuild toy on the inside. Although these are usually silly little cheap toys, everyone, young and old, usually love it because of the surprise element it holds. It’s like a lucky packet. These are all products we really don’t use but still continue to buy even though it is actually a waste of money and adding more and more to landfills. • • •

So…which products do you believe we are referring to? List a few, there are many. Secondly what is it about these products that make them so desirable? Lastly, which human characteristics and behaviour do you think these products tap into and appeal to?

On the left are a few examples from the Toy Town cards collection. See if you can recognise some of the characters illustrated in them.

///// 255

DESIGNGRADE11

The actor and comedian Charlie Chaplin was also featured in this postcard collection and in other paper doll collections or tributes.

256 /////

MODULE2PRACTICALPROJECTS

A music star of the 1930s and 1940s used, what might seem to you an unusual marketing tool to establish herself as a fashion icon, and it worked!

!



Can you still define the role of an icon and a number of the icons we dealt with in Gr 10?

Believe it or not, by the 1930s and 1940s it was a golden age for paper dolls. They were cheap, often came within fashion magazines, and were a great resource for girls planning their wardrobe so that they could match the style of their favourite Hollywood star. Doris Day, one of the most popular stars of that time, sold millions of records and songs like “It’s Magic!” and “Secret Love” became ever-popular standards. Her long movie career began with trivial musicals such as “Lullaby of Broadway” and moved on to sexy comedies such as “Pillow Talk.” Paper dolls of Doris Day

The Paper Doll Book authorised by the star herself, features yet another dimension of her success and role as a fashion icon. She was a star whose every look was copied by millions of women everywhere. Eight pages of clothes were especially designed to showcase timeless chic Doris Day pieces. Below and on the right are more pages taken from the paper doll book that shows some of the costumes worn by Doris Day between the years 1930 – 1950. Even though this might seem to you to be a book with little significance, it is still a valuable resource for learning about the styles and trends of the 1930s and 40s.

Examples taken from “The Paper Doll Book” of Doris Day

///// 257

MODULE2

DESIGNGRADE11

PROGRAMME

258 /////

MODULE2DRAWINGPROGRAMME MODULE1DRAWING

INTRODUCTION During Term 2 you will complete one drawing project. The main objective of this project is to promote or a theatre show in the style of a movement that you have explored in design theory. For this project you need to design and draw a black, white and *sepia poster. Different mediums and techniques will be introduced throughout this project. The main emphasis however will be on the use of black and white or grisaille drawings with the addition of a brown or sepia colour. Techniques that were introduced in term 1 are re-introduced but in different combinations and applications, e.g. different line qualities, line creating texture, tone and pattern, as well as communicating a certain ‘look or feel’. to revisit some of the drawing exercises introduced in the grade 10 Design Textbook to recap on some of the technical aspects, terminology and drawing processes. Don’t ever stop experimenting! If you want to become an extraordinary designer and thinker consider ‘thinking without the box’ and not ‘outside the box’, while simultaneously and continually pushing the boundaries.

*

The term sepia refers to a reddish-brown colour, obtained from the ink like secretion of cuttlefish, associated particularly with monochrome photographs of the 19th and early 20th centuries.

///// 259

DESIGNGRADE11

18 PROJECT

ADVERTISING AND A POSTER The director (in this case your teacher!) has emphasised the importance of advertising and marketing a theatre production and has asked that a poster be designed as the chosen marketing tool. He/she has specifically stipulated that you should make use of a style or movement you learnt about in theory, e.g. Arts and Crafts OR Art Nouveau OR Bauhaus OR Art Deco, for the style of the poster design. The brief from the director also suggests collecting visuals of the most featured architectural buildings and the best-known actresses or singers or dancers of that time and era. Once you have found all your images, you need to select the most suitable ones to draw. You may even replace the faces of your found actors and/or actresses with portrait drawings of real people like your classmates. These drawings will now be used to create a photomontage before you create the final drawing for the poster. The purpose of this is to finalise the design or compositional layout before starting the drawing of the poster.

260 /////

MODULE2DRAWINGPROGRAMME

SECTION1

Let’s create a *photomontage for the poster

?

DIDYOUKNOW The first photomontages were created by some of

the best-known European artists of the 20th century. The Cubist painters such as Picasso and Braque used the technique in an attempt to bring some clues back into their too abstracted and fragmented works. It was also the Dada artists such as Raoul Hausmann and Hannah Höch who created photomontages in a rebellious attempt to protest against conventional techniques and medium. Their photomontages show a surreal or fantasy world often filled with bizarre elements. Artists such as these mentioned above have transformed the way people look and think about art. Because of their endeavours they have shown the way forward and left a legacy behind for all new artists and/or designers to learn from – how to push the boundaries and ‘to think outside of the box’.

Above and right photomontages were done by Raoul Hausmann

*

The term pho-to-montage refers to a 20 th century technique of creating a picture by assembling pieces of photographs or photocopies. The technique is similar to collage or a cut-and-paste technique.

///// 261

DESIGNGRADE11

Above photomontages were done by Hannah Höch

To be successful with photomontages, the following steps are suggested 1 2 3 4

262 /////

Collect an A3 backing for the photomontage to be pasted on. Your material for the backing or can be anything from re-used chipboard, cardboard or any thick paper or boxes. Just that whatever you choose as the needs to fit in with the grisaille (grey scale drawing) and sepia colour scheme. So you can’t go and find a cerise pink or neon colour . That would not be appropriate for this monotone design. Make at least TWO black and white photocopies of each drawing to be used in the photomontage. Please ensure that the copies are of a good quality. Alternatively use any carbon paper or tracing paper to duplicate your drawings. Carefully select your drawings. Also consider enlarging and reducing some of the images. Please to include all relevant information on the poster, e.g. theme or title, the venue, the date and time, the ticket price and where to buy the tickets for the show or exhibition. For this you will need to find a suitable typeface that reflects the style of the movement you will be using. Be creative with your drawings. The drawn images can be either cut or torn. This will ensure the use of soft and hard edges in the photomontage that can add interesting contrasts and textures.. Images can also overlap. It is also advisable to consider both the positive and negative of the image. Can you still from your Gr 10 textbook what negative and positive shapes are? Whilst you are cutting images out, do not throw away the rest of the cut-offs. At some stage you may even consider using as the actual image the cut-away background (negative image) that outlined the shape of the image you cut out originally. Just consider all your possibilities.. There are no rules for using the photomontage technique and you will only find the best options if you try out many different things.

MODULE2DRAWINGPROGRAMME

5 Use glue that is not too liquid and will not create a bubble effect at the back of your images. Pritt glue or similar brands are still your best option for photomontage techniques.

!

Before you glue the images onto the backing, first arrange the images and then observe if the layout or composition is successful. Another good tip to follow is to first put some Prestick at the back of your images. This way you can still move your images before gluing them permanently to the backing/.

Once the teacher and you are satisfied with the photomontage, you may start with the final drawing for the poster.

SECTION2 Black and white drawing For your drawing it is important to create an exact duplicate or copy of the photomontage. To be able to do this, it is advisable to use the artist Albrecht Dürer's grid. Make a copy of the photomontage and create a grid pattern on top of the work. The desired effect will be achieved by copying the image block-by-block.

The image on the right explains how the artist Albrecht Dürer used his grid system by placing the grid between him and the objects he wanted to draw. Today we don’t need to make use of a grid screen. We simply need to add the grid system to our drawing or image as seen in the image below.

Albrecht Dürer developed a system to accurately copy an image. It was referred to as Dürer’s device.

///// 263

DESIGNGRADE11

MEDIUM AND TOOLS

Use an A3 paper of about 205mg thickness. Use your selection of HB pencils for final drawing. A step-by-step suggested working method

STEP1

Before you start with your drawing, it is suggested to first use very coarse sandpaper over the paper surface. This will ensure an etch-like quality (scratch marks on a surface). First check if you like the result by doing a little experiment on a smaller piece of paper. If not, then start drawing on the non-sanded surface.

STEP2

Draw block-by-block to ensure an exact copy of the photomontage. Keep your pencils sharp and never to smudge the pencil marks to create a soft effect. You need to learn how to control your pencils to create and draw softer textures. The only tools allowed here are pencils and an eraser. Put your focus on quality mark making. Can you still the mark making library you created in Gr 10 if you are unsure you can consult term one’s drawing projects where you experimented with different marks to create different textures.

STEP3

When you are satisfied with the drawing, make a photocopy of the drawing. If possible it is advisable to make the copy on a better quality paper, preferably on paper of 160 – 205mg thickness. If this is a problem, the following suggestion needs to be followed: make a quality photocopy of the drawing. Place the copy in your visual diary as a record of the black and white drawing. Now use the original drawing for the sepia addition.

SECTION3 Poster in sepia Use a watered down mixture of black and brown ink to create tonal values and enhance the old vintage or sepia-look. Water-based wood stains and antique glazes or shoe polish mixed with turpentine, tea, coffee or Soya sauce can also be used as your ink medium. Do a few experiments beforehand to see the different visual effects and to become acquainted with the medium. Either use quality watercolour brushes or earbuds or feathers. The included example on the opposite page gives you a good idea as to how your end result could look.

264 /////

MODULE2DRAWINGPROGRAMME

Black and white pencil drawing



HB pencil drawing with ink sepia colours

The above Art Nouveau poster clearly illustrates the sensual, organic and curvaceous nature of the style. The inclusion of the classical female sculpture further enhances the feminine characteristics of this movement. See if you can spot and identify the buildings in the background and the names of the architects. To follow are a few other examples of well-known artists that used a combination of pencil and water colours

Ali Abbas

///// 265

DESIGNGRADE11

Leonardo da Vinci

266 /////

THEORY BUSINESS CONTEXT PRACTICAL DRAWING

DESIGNGRADE11

CONTENT THEORY: 3

INTERNATIONAL DESIGN STYLES Time line

270 – 271

DE STIJL 1917-1931 (HOLLAND) 273

• • •













276 278 280 – 282

MODERNISM 1932 – 1955













283















288 290 299 – 301

• • •

Influences Characteristics Discussion of examples

Influences Characteristics Discussion of examples

SCANDINAVIAN DESIGN 1950 - THE PRESENT 304

• • •

Influences Characteristics Discussion of examples













305 307 313 – 315

GLOSSARY 317 WEB LINKS

















319

Modernism and the Scandanavian Style 1932 1936 Splitting of 1st Broadcast BBC the atom televsion (UK)

1918+ Machine important symbol for De Stijl period

Technology & New Materials

1925 Chrysler Corporation USA and Alessi (Italy) founded

World Events

1929 Wall Street Crash NY, USA

1918+ The Netherlands(centre of De Stijl) neutral during war; developed ordered society

Social Impact

1914 1919

1917

WWI

1932

Bauhaus 1918

1933

De Stijl 1931

De Stijl poster Grid organisation of windows in Modernist high-rise buildings

Angelo Testa, Skyscraper, 1942

Red blue chair by Gerrit Rietveld

INTERNATIONAL DESIGN STYLES

Timeline Module 3 Scandenavian materials include form-pressed wood, anodized or enamelled aluminium, laminated bent-plywood, glass, wood, rubber, plastic, vinyl and plywood. 1958 Samuel M. Highberger patented the copy machine

1950+ Modern designs include the Volkswagen Beetle, juke-box, Sony portable TV, Valentine Typewriter and Hoover vacuum cleaner. Modern materials included the plastic, Bakelite, reinforced concrete and glass, fiberglass, plywood.

1940 1st Broadcast of commertial television (US) 1941 Pearl Harbour (USA) bombed by Japan

Scandinavian countries enjoyed social equality; accepted urbanisation & industrialism

1950

1939

today WWII 1945

Modernism 1955

Scandinavian Design

The Volksvagen Beetle

Marimekko’s Poppies

Modern convenience, the fridge

The Egg Chair by Arne-Jacobsen

MODULE3 272 /////

MODULE3THEORY MODULE1THEORY

DE STIJL 1917-1931 (The Netherlands) Introduction

In this module, we are going to look at three movements which pursued the idea of purity, harmony, functionality and affordability as well as promoting the use of new technology.

Historical context IN THE MAINIFESTO PUBLISHED IN 1918

VANDOESBURG stated the following There is an old and a new consciousness of time. The old is connected with the individual. The new is connected to the universal. The struggle of the individual against the universal is revealing itself in the world war as well as in the art of the present day.

“

De Stijl was founded by Theo van Doesburg, Piet Mondrian, Bart van der Leck and Georges

Vantongerloo. Their aim was to make modern man aware of the new ideas of “plastic art”, which for them was the personification of a pure form of abstraction and a direct expression of worldwide tendencies. De Stijl forms part of a formalistic trend in Modernism.

///// 273

DESIGNGRADE11

Piet Mondrian and Neoplasticism inspired RayBan’s New Colour-Block Wayfarer Sunglasses

? 274 /////

DIDYOUKNOW Formalistic trend means that the design had to be created according to strict rules governing balance and harmony in composition.

MODULE3THEORY

The name De Stijl is a Dutch word that means “the style” and was also the name given to a publication produced in 1917 by van Doesburg. De Stijl had the same intentions as other modern movements in that it wanted to create a new reality based on logic and order and not based on visually recognisable images. They wished to make man aware of new developments in art and technology. The movement’s abstract style was not negotiable and greatly influenced future movements even five years later and beyond. They used only primary colours, together with grey and white, in square or rectangular planes enclosed by black horizontal and vertical lines. Sometimes the primary colours were separated by white spaces. The surfaces of their designs showed no texture, pattern or tonal differences. The colours appeared as a unity of rectangular planes with smooth flat surfaces. This movement could be seen as the breach between modern man and nature. Their art or design work did not portray anything in nature as they tried to create something as if it was manufactured by machine and not the designer. At that time the machine was seen as a symbol representing something of great strength and beauty. The designs, therefore, had to be stripped of individuality and emotion to represent the uninvolved, cold and impersonal quality of machine-produced goods. that the 20th century was known as the era of the machine which was seen by many as a technological wonder. The machine was at first rejected by some movements but embraced by others, as you learned in Module 2.

At that time the machine was seen as a symbol representing something of great strength and beauty. The designs, therefore, had to be stripped of individuality and emotion to represent the uninvolved, cold and impersonal quality of machineproduced goods.

De Unie, Headquarters of De Stijl

Gerrit Rietfeld, Wheelbarrow

Theo van Doesburg, interior for dance hall

///// 275

DESIGNGRADE11

Between 1918 and 1933, Jacobus Oud, a Dutch architect and follower of De Stijl, became Municipal Housing Architect for Rotterdam. During this time a lot of labourers started to move closer to the city for work, which created a different need within the field of architecture, hence the reason why Oud focused mostly on socially progressive residential projects. To suit the psychological needs and aesthetic expectations of the s, a ‘scientific’, cost-effective construction technique became a matter of urgency. Oud’s answer to this problem was “to practise a poetic functionalism” - beautiful, or elevated and uplifting. In 1927, he was one of fifteen architects that greatly contributed to De Stijl and influenced the modernist movement.

Primary of De Stijl Piet Mondrian – Dutch artist from Amersfoort. Founder of De Stijl Theo van Doesburg – Dutch artist, poet, architect from Utrecht. Founder and leader of De Stijl Gerrit Rietveld – Dutch architect, furniture designer from Utrecht Bart van der Leck – Dutch painter, designer, ceramacist from Utrecht Georges Vantongerloo – Belgian abstract sculptor, painter from Antwerp. (founder member)





J. J. P. Oud – Dutch architect from Wassenaar

Robert van ‘t Hoff – Dutch architect and furniture designer from Rotterdam Vilmos Huszár – Hungarian born graphic designer that lived in Netherlands. (founder member)

Influences • • • • • • •

276 /////

They were influenced by the Dutch tradition of logic, severity and clarity. The Dutch philosopher and theosophist, Schoenmaekers, influenced them. It is interesting to note that both Mondrian and Kandinsky, who were pioneers of abstraction, were theosophists following a popular spiritual movement originating from India. Schoenmaekers worked out a system of positive mysticism which he called plastic maths, whereby nature could be simplified to basic relations and opposites. For instance: active/ive, male/female, light/dark and horizontal/vertical. His maths reduced everything to the simplest forms, e.g. sunrays would be vertical and the earth’s movement around the sun, horizontal. Harmony could only exist if you give up individuality. Lines for instance, were used as symbolic of something else: a vertical line could symbolise male – space – statics – harmony; a horizontal line could symbolise female – time – dynamic – melody. Cubism gave De Stijl a springboard to develop their ideas from. Analytical Cubism was an influence, especially its use of centralised images and horizontal and vertical lines. De Stijl started in a neutral country, set against the background of World War I. De Stijl was against individualism. Togetherness in harmony for them could be the way to a utopian future. Simplification in modern architecture as seen in the work of Oud and Rietveld was also a great influence.

MODULE3THEORY

Influences

The block-like shapes are derived from Cubism.

Mondrian’s plastic maths applied to this painting by Mondrian himself.

Martin House designed by Frank Lloyd Wright in 1903. The distinct horizontal and vertical lines in his work influenced them.

///// 277

DESIGNGRADE11

Characteristics • • • • • • • • •

They did away with the individual; works are impersonal. Abstraction and simplification were used. There were rules in art, such as that art had to be created by the mind and not inspired by things around one; therefore without any reference to the visual world. Works were therefore very abstract. Colour: only the three primaries red, yellow and blue, and the three non-colours black, grey and white were used in their work. Line: only horizontal and vertical lines were used - and in some exceptions, diagonals. (Only straight lines were used.) Texture: both visual and tactile surfaces were smooth and individual marks were lacking. They were against any form of tradition. They believed in balance, harmony, order, logic and purity. Architectural spaces were arranged according to a system to create function and harmony.

Overall, De Stijl’s artists, designers and architects had a large influence on the development of the International Style of architecture.

Side table designed by Gerrit Rietveld

Geometric purity dominated De Stijl as in this high chair designed by Rietveld.

High chair designed by Gerrit Rietfeld

278 /////

MODULE3THEORY

Interior of Schröder house designed by Rietveld

Cafe de Unie in Rotterdam designed by JJP Oud between 1924-1925

A house in Stuttgart designed by JJP Oud, in 1930

Cinébal designed by Theo van Doesburg is a reconstruction of the dance hall/cinema at the Aubette in Strasbourg.

Vilmos Huszár’s graphics

Graphic design from De Stijl done by Vilmos Huszár

///// 279

DESIGNGRADE11

PRODUCT DESIGN The Red Blue armchair is the most compact visual statement of the De Stijl movement. It has an open frame structure with each end extending beyond where the parts , reflecting the idea of probing the space around it. The backrest is the only diagonal plane, otherwise the rest of the chair is a perfectly balanced composition of horizontal and vertical lines. The legs seem quite short compared to the back. The framework of the chair is in black with each point ending in yellow. The seat is a dark blue and the backrest is red. The texture of the surfaces is smooth as with all De Stijl works. Each part is worked out to balance the other. The chair however appears heavy and uncomfortable for seating.

Red Blue Chair designed by Gerrit Rietveld

ENVIRONMENTAL DESIGN Rietveld originally planned to construct this house from concrete, but it would have been far too expensive. Eventually he only used concrete for the foundations and the balconies. The walls were built of brick and plaster. The window frames, doors and the floors were made from wood and the floors were ed by wooden beams. To the building Rietfeld used steel beams with wire mesh. The house has two levels and the façade look like a composition made up of a combination of planes and lines resembling the paintings from this movement. He deliberately detached the different components (horizontal and vertical lines and shapes). This gives the idea that they all seem to glide past one another. This helped Rietfeld to create several balconies for the house. Just like his Red & Blue chair, each section has its own form, position and colour. The primary colours used are typical of De Stijl and were chosen to strengthen the smooth quality of the façades. The surfaces are in white and shades of grey. Black was used for the window and doorframes, and a number of the linear elements in the building were painted in the primary colours. Rietfeld made very little distinction between interior and exterior spaces. The straight lines and planes which flow from the outside to the inside have the same colour range and surfaces. He painted some of the door handles black because he thought they would not show up dirt too easily. The inside space is open and fitted with sliding s. Schröder house designed by Gerrit Rietveld in1924

280 /////

MODULE3THEORY

Schröder house

Schröder house interior

De Stijl has inspired many designers and companies in the sixties and beyond. Above and on the left are some examples of the application of this style later in the century. Dresses desighed by Yves Saint Laurent in the 1960’s.

L’Oreal (left) also used De Stijl as inspiration for their skin range.

///// 281

DESIGNGRADE11

COMMUNICATION DESIGN This poster shows the typical font favoured by the De Stijl movement, which seems to look almost like the LED lettering that we find today. Only the primary colours red, blue and yellow have been used as well as black on a white background. Only squares and rectangles have been used in accordance with De Stijl principles of not portraying recognisable images. The blocks vary in size and colour and are placed in such a way that the overall composition can get the best possible harmony of shape and colour. White lines appear where the blocks are spaced closely together. The same size horizontal and vertical lines of the font are repeated in two places and this creates a greater balance in the composition of this poster than there would be without this repeat. Huszár used an asymmetrical composition consisting of coloured blocks. The black rectangles the composition but also form a strong contrast with the white background. The texture is smooth which suggest a very impersonal application and approach. Poster by Vilmos Huszár

ACTIVITY 1 Can you still what the meaning of asymmetrical is? If not, revisit your Grade 10 book. In conclusion draw a quick mind map in your workbook that summarises the De Stijl movement in which you include the following: Name De Stijl + at least 2 designers and a design example of each + influences on De Stijl + characteristics of this movement

282 /////

MODULE3THEORY

MODERNISM 1932 – 1955







to put this into perspective - Late Modernism or Just High Tech in the 1970s is a continuation of Modernism but obviously taken to the extreme

Lover come back poster

Untitled textile

Joseph Muller-Brockman’s “Olma Cow” poster

Schematic drawing of a Modernist building showing cantilevered floors

Teach your children that a house is only habitable when it is full of light and air, and when the floors and walls are clear. LECORBUSIER

“ ///// 283

DESIGNGRADE11

?

DIDYOUKNOW The South African born, Allan

MacLeod Cormack practiced as an American physicist and won the 1979 Nobel Prize in Physiology or Medicine for his work on X-ray Computed Tomography (CT).

Historical context Modernism developed from the ideas of the Bauhaus, which moved out to America when Bauhaus designers like van der Rohe fled to America during the Second World War. Generally the term Modernism includes the activities and output of those who felt that "traditional" forms of art, architecture, literature, religious faith, social organisation and daily life, were becoming outdated in the new and more modern economic, social, and political conditions of an industrialised world. Though the end of WW II in 1945 brought peace, it did not immediately restore pre-war levels of supply and demand for goods. Europe took somewhat longer to recover than America and in some cases up until the 1950s. Countries experienced an economic boom during the 60s and early 70s. The transition from the formality of the 1950s to the hedonistic or self-indulgent pleasure-seeking wild 1960s, turned the prevailing fashion on its head in a very short space of time. Among the well-known personalities who gave character to this period and who had some influence on the trends at the time were James Dean, Marilyn Monroe, Audrey Hepburn, Coco Chanel and the French philosopher, Jean-Paul Sartre.

New scientific discoveries informed many of the new developments. During the 1950s many new products were invented such as the jukebox. Rock and Roll music became very popular during this time period and the invention of the jukebox made it easier to access this style of music. In product design and architecture they followed the idea of a phrase used by van der Rohe: “less is more” and “truth to materials” This meant that they followed the Bauhaus ideals which suggested that materials must be used for their own specific properties and not covered up with decoration. Less is more meant that clean lines and form, without unnecessary details, are preferred. A form should be able to stand on its own without the of extra detail and therefore objects and architecture had a very minimalist quality.

“less is more” and “truth to materials” Marilyn Monroe

284 /////

MIESVANDERROHE

MODULE3THEORY

1950s diner jukebox

James Dean

As countries recovered, designers, detained and held by a new optimism and new materials, created a world unlike anything that had been before. Coco Chanel, Fashion icon

?

DIDYOUKNOW that this was a further development of consumerism

and an unsustainable world as we know it today? Mass production and making money was the order of the day. No one really considered the lifecycle of products and choices of more sustainable materials or production methods. And just maybe it was because of the urgency to mass produce and make more money that the quality of products started taking the back seat and cutting corners became the norm. Deg products with a short life-span creates more demand. So badly designed products later on became acceptable because it was creating a demand and therefore making the producers more money. Can you see where this attitude has got us today?

///// 285

DESIGNGRADE11

The new designs were easy to mass-produce and soon became mainstream designs. Designers were enthusiastic to work with new materials being made available to them. The beginning of a youth culture opened up a new market for modern fashionable goods. It must be said that the youth was never targeted by designers in any significant way before the 1950s. A prominent youth culture only started to develop from the 1950s with popular icons such as the film star, James Dean, and the singer, Buddy Holly, who was an American singer-songwriter and a pioneer of rock music. These iconic figures were idolised by the youth at the time and led to the development of popular culture in the 1960s, which you still know today. The youth started to enjoy a lot more freedom as attitudes of parents towards young people changed.

?

DIDYOUKNOW Popular culture refers to cultural activities or commercial products reflecting, suited to, or aimed at the tastes of the general masses of people. This includes popular music, popular films, cartoons, food products, etc.

A shortage of materials after the war resulted in a need for simple functional objects that would be easy to manufacture. (This gave rise to the idea of good design coined by Phillip Kaufman.) The age of technology had eventually arrived and many of these products developed due to wartime inventions. Amongst these were the new synthetics and alloys.

?

DIDYOUKNOW Synthetics are materials produced

by a chemical process. Alloys are a mixture of two or more metals or a metal mixed with a nonmetallic material.

Design owes much to fine arts because it was influenced especially by some of the style inventions in painting and architecture prior to World War 2. This is noticeable, for instance, in the continuing evolution of the International Modernist Movement which developed from the Bauhaus School of Design. You may from Module 2, that many Bauhaus designers moved to America during and after the war to continue with the Bauhaus ideals. These ideals spread worldwide especially in architecture and created a certain likeness in the look of buildings across the world. The first move towards a more organic modernist direction came from America through the architecture of Frank Lloyd Wright as well as the American-born Charles and Ray Eames and Eero Saarinen who were of Scandinavian descent. Charles Eames was influenced by Frank Lloyd Wright’s ideas. This more organic approach can be seen in Frank Lloyd Wright’s Solomon R. Guggenheim Museum which was completed in 1958.

286 /////

MODULE3THEORY

Solomon R. Guggenheim Museum in New York designed by Frank Lloyd Wright (above and inside on the left)

Johnson Wax Headquarters designed by Frank Lloyd Wright

///// 287

DESIGNGRADE11

Influences In the late 1940s and 50s the influence of the Surrealist movement was visible in the biomorphic forms of furniture designed by Charles Eames in 1948 and Carlo Mollino in 1952. Can you the meaning of Biomorphic? It is the fusion of abstract forms with forms found in nature. You can also refer to your Grade 10 textbook in Module 1 just before the section on Biomimicry where we also referred to Biomorphic, as well as Module 2 of this book where we discussed Rene Lalique’s “Dragonfly Brooch”. Natural forms were stretched and warped to achieve an effect that seemed familiar, dreamlike and strange – some characteristics of the Surrealist movement. Textiles were influenced by a variety of things like contemporary movements such as Abstract Expressionism and Surrealism, as well as concepts like molecules and space. Scandinavian and Japanese influences can be seen in wooden furniture. Scandinavians had already influenced American design as early as 1923. The Finnish architect and designer, Eliel Saarinen, the father of Eero Saarinen, moved to America in the early 1920s and influenced the furniture designs of Charles Eames.

?

DIDYOUKNOW Charles Eames and Ray Eames

were American designers, who worked in various fields of design and made major contributions to modern architecture and furniture. They also worked in the fields of industrial, textile and graphic design, fine art and film. Though born in America they were descendants of Scandinavians who moved to America earlier in the century. Their work and the work of Eero Saarinen showed the more organic and clean forms associated with Scandinavian design.

The soft modern approach by Scandinavian designers such as Bruno Mathsson and Alvar Aalto had a large influence on the development of furniture design worldwide. You will be introduced to Scandinavian design in the next section. Scandinavian designs were inspired by, natural forms and materials and good craftsmanship, which greatly appealed to the comfort- loving post-war consumers. (See the sculptural Ant & Egg chair designs by Arne Jacobson in the section on Scandinavian design.) page 314 Miró’s “Harlequin carnival” shows amoeba type shapes which informed many modern designs.

288 /////

MODULE3THEORY

Calder mobiles influenced textiles.

Abstract expressionism had an influence on textiles.

Charles Eames designed this chair which shows the influence of Surrealist shapes. It was made in fibreglass (a new material at the time) and wood.

Ray & Charles Eames designed the Rocking chair in Fibre glass and molded plastic, wood and rubber in 1950. The seat of this chair was used in American fighter planes.

Eames designed this plywood chair for Swiss company Vitra in 1947.

In 1947 this couch was covered in an Eames’s print called, Beaufort, a simple dot and cross design which complemented the simple square form of their furniture. This design appeared in upholstery material as well as carpeting and came in various colours.

///// 289

DESIGNGRADE11

Characteristics They experimented and designed totally new forms, and explored aerodynamics and space. Forms had a smooth teardrop or shell-like shape – look at the Volkswagen Beetle for instance. They explored and experimented with new materials and new technology. Modernism was hugely consumer-driven and especially focused on the younger generation as they were seen as a viable market for all the new products. Young couples could have all sorts of new products for the home to make life easier. This is a market that likes to experiment, explore and take risks other than the older generation for whom the new stuff might not have such a great appeal as they take longer to adapt to change and new technology. They developed all sorts of modern conveniences for the modern home. The designs of the 1950s were based primarily on ‘organic or biomorphic modernism’ showing amoeboid, boomerang, molecule and kidney shapes in textiles and products.



A 1950 KNR radio made made from *Bakelite, a hard plastic

Sony portable TV designed in 1950

* 290 /////

The popular Volkswagen Beetle originally designed in the 30s as a family car for Hitler’s .

Bakelite - a trademark for any of various synthetic resins used in many manufacturing applications.

MODULE3THEORY

The fridge was truly a modern convenience.

A 1950s electric mixer, which made mixing much easier.

1950s coat hanger that used the new acrylic colours. The mobiles of sculptor Alexander Calder influenced this hanger.

///// 291

DESIGNGRADE11

A 1940 Dell Koranda desk lamp

?

A 1959 Stuart Devlin coffee service

DIDYOUKNOW Stackable chairs are something we take for

granted today but at the time they were something of a novelty. This was a brilliant example of a product that not only follows function but also considers available space and storage capabilities, which definitely influenced the development of stackable chairs. So you don’t just design a chair for the sake of deg a chair. It is a trait of a great designer to consider more than the original function of the product by also considering a variety of environments in which this chair needs to function to make it more -friendly. The Scandinavians took this even further by creating beautiful sleek shapes that were not only available in different colours but also lightweight. You can look at these when you are introduced to Scandinavian design in the next section.

A pendant made from sterling silver and moonstone, designed by Sam Kramer

292 /////

Stack chairs in metal and plywood designed by James Leonard in the 1940s.

The shape of the Buick 8 Super, designed in 1951 as a great example of the teardrop form.

MODULE3THEORY

As mentioned before, textiles were influenced by a variety of things, for instance, contemporary movements such as Abstract Expressionism and Surrealism, as well as concepts like molecules and space. Exuberant colours dominated in textiles. Rules on colour harmonies were ignored and dull colours were seen as old-fashioned. These colourful textiles were to complement the stark interiors of Modernist buildings.

This textile called ‘Molecules’ was designed in 1950. Science and discoveries clearly had some influence on this piece. Designer unknown. This textile called Giotto was designed by Roberto Grippa in 1950. It was influenced by Abstract Expressionism, a painting style of the 1940s.

Skyscraper-inspired textile designed by Angelo Testa in 1942.

The Esquire (essential) look for men

Dress from the 1950s Audrey Hepburn in the new sleek style of the fifties

///// 293

DESIGNGRADE11

Form & Function The culture of convenience encouraged the design of highly specialized goods. Designers questioned traditional design in everything. Old techniques such as steam-bending wood and old glass techniques were reinterpreted and infused with new colour and variety. See the examples below and on the right.

The 1950 Arabesque table by Carlo Mollino. The organic shapes of some Surrealist painters inspired new streamlined furniture.

Elka porcelain set designed by Jaroslav Ježek in 1957

Consumers were enticed by a huge array of labour-saving devices and bright new abstract patterns. There was mass-produced tableware and a product like the hostess trolley. The principle form follows function became a motto of Modernist architects after the 1930s.

294 /////

The hostess trolley

Bakelite phone, 1950s. Bakelite was a kind of hard plastic that became available through industry.

MODULE3THEORY

As a consequence of this principle, most of the Swiss style craft was devoted to the minimal elements of style such as typography and content layout rather than to textures and illustrations.

Ettore Sottsass,Valentine Typewriter 1958

Hoover vacuum cleaner.

New materials included plastic materials such as Bakelite, a hard plastic used for radios, as well as tubular steel for furniture, reinforced concrete and reinforced glass used in buildings. Plastics such as Bakelite, celluloid, acrylic, nylon and PVC were used for raincoats, stockings and film. They used polyurethane, which was a type of rigid foam, as well as laminated wood, reinforced concrete and reinforced glass. Tufflex, aluminium and different alloys or mixture of metals were used.

Furniture for Knoll designed by Van der Rohe. The chairs are covered in the new material technology called plastic, and the frames are made from tubular steel.

Reclining chair designed by the architect Le Corbusier

///// 295

DESIGNGRADE11

?

DIDYOUKNOW Plastic was a new invention at the time and

came in many forms. It was used in toys, telephones and all kinds of products. It was an extremely versatile synthetic material which could be moulded into any form for use in commerce and industry. A hard form of plastic, called Bakelite was for instance used to make telephones and alarm clocks.

Eero Saarinen designed the Ice Arena in the example on the right. His buildings form part of the more Organic Modernism, a sub-division of Modernism. His buildings showed how concrete could be moulded into any shape. You can see similar rounded shelllike shapes in the roofs of the Sydney Opera House in Australia. This building reminds you somewhat of Japanese architecture though more curved, modern and sleek.

Ingalls Ice Arena at Yale University (1958) New Haven.

The John F. Kennedy airport terminal building and lobby was designed by Eero Saarinen during the 1950s and 1960s. Saarinen created a very original design which featured a prominent, thin, shell-like roof (almost like two wing shapes) over the main terminal. The terminal building has unusual tube-shaped departure/arrival corridors. These were originally covered in red carpets, which he thought were necessary to retain the spirit of the design. The terminal had large windows from which you could view the departing and arriving aeroplanes. The shell-like shape is in concrete and this inspired Saarinen to develop special curved edge ceramic tiles to fit the curvilinear shapes of the building. The terminal building has two wings which remind you somewhat of a bird on the verge of taking flight. The lobby shows sleek organic lines, an influence of his Scandinavian ancestry. The textures are smooth and inside you will find beautiful curved lines that form the ceiling and staircases. This creates the feeling of finding yourself inside a shell.

296 /////

The JF Kennedy terminal building and lobby

MODULE3THEORY

In mainstream Modernist architecture the forms were kept simple and undecorated, block-like, often with windows arrangedin a grid pattern. This style eventually became known as the International Style, because of the uniformity it created worldwide. That meant that no matter where you were in the world buildings, especially in central business areas, looked almost identical.

Services of the building were put in the centre with cantilevered floors jutting out like branches from a tree. Because of the fact that there was no more need for load bearing walls the buildings could have a “glass skin”.

Reinforced concrete was very strong and allowed for cantilevered floors.

Windows were arranged in a grid pattern. There was no particular front or back as buildings looked the same all round,

Concrete could be casted into any form as seen in the Sydney Opera house above and the work of Eero Saarinen discussed earlier in this chapter.

Glass house designed by Phillip Johnson, 1949.

Mies van der Rohe designed the Seagram building in Chicago, 1973.

///// 297

DESIGNGRADE11

Crown Hall in Illinois, designed by van der Rohe, shows the typical square or rectangular footprint of Modernism. The s were spaced at regular intervals in a symmetrical composition, using the design elements.

Van der Rohe designed the Lake shore drive apartments in 1949. All façade angles are 90 degrees and suggest a typical skyscraper, as we know it today.

Le Corbusier designed Villa Savoy, which was referred to as “a machine to live in”. Simple cubic “extruded” rectangle forms were used.

The buildings shared the following characteristics • • • • • • •

298 /////

Windows ran in broken horizontal rows that formed a grid-like pattern. Ribbon windows, corner windows and bands of glass were used. Buildings often had thin, metal, vertical window dividers and smooth, rectangular enclosed s that separated large, single-pane windows. Buildings had no distinct façade and looked the same all round. Emphasis was on space rather than volume. Occasionally a skeleton frame construction was used, which exposed the structure of the buildings. Because they believed in purity of form, all nonessential decoration was rejected. Balance and regularity of design elements are typical of these buildings.

MODULE3THEORY

It would be a good idea to look at how they have applied the design elements. Look up the ‘Elements of Design’ in your Grade 10 book. Analyse a few buildings in class and explain how these elements have been used to create perfect balance. • • • • •

Buildings had flat roofs, without a ledge. Concrete could be cast into any shape as in the roof of the Sydney opera house, for instance. They created multistorey buildings called skyscrapers. These tall buildings created what was then and is today referred to as ‘concrete jungles’ because they are close together almost like tall trees in a jungle. As they used prefabricated units, buildings were quick to erect. They used reinforced glass, steel, cantilevered floors and balconies; a skeletal structure with thin walls and very light materials for interior walls. The interiors were a reflection of uninterrupted space.

Let’s have a closer look at how these characteristics manifested themselves in specific creative disciplines.

COMMUNICATION DESIGN In the poster on the right, the designer has made use of simple geometric circles and straight lines. The focal point is placed off-centre in the textured showerhead. All the lines seem to jut outwards from the offcentre circle. This circle is surrounded by a larger circle and smaller circles spiralling outwards, which creates a dynamic composition. The negative spaces between the circles vary in tonal values of grey, balanced by a brownish colour in the middle that overlaps the larger white circle. This is a good example of the application of the Gestalt principle of continuity as the poster appears to be cut from a larger area into which the circles seem to continue to radiate from. In the third row from the centre, light seems to filter through in curved lines of light grey. Diagonal lines project out towards the corners ending in black circles. The name Triga appears in white font at the top left corner. At the bottom the same font appears in black in a horizontal band. The balance is asymmetrical as the focal point is off centre with more circles on the right. There is a minimal use of colour i.e. grey, black and white and a touch of brownish beige/ochre. Repetition of the same elements has been used throughout the poster to create harmony and balance.

Poster Illustration designed by Eric Nitche for Triga General Atomic in 1958

///// 299

DESIGNGRADE11

SURFACE DESIGN This textile print on the right with its bright colours is typical of the Modernist era. As mentioned before, the idea was for designers to create bright and colourful fabrics to complement the simple stark interiors of modernist interiors. In this textile the dominant colours is red with grey, dark yellow and black. All the shapes are flat and treated as 2-dimensional. Shapes of birds and containers have been simplified into stylised line drawings done in black and white. These will remind you of the wire products that we often see on the street and at local South African markets. The textural quality of a line drawing within this context appears to add texture to this length of textile. The drawings have been placed on simple flat geometric shapes of triangles, circles and squares varying in size and in colour from white and grey to yellow. The lines have the same thickness and quality throughout. Horizontal lines in grey and black appear here and there in the background. Contrast is achieved by placing the drawings on flat shapes of colour. The design is a scatter design in a full drop repeat. Can you find the full drop repeat in this design? Find out what repeat design is and bring some examples of your own to class for discussion.

Printed rayon by Marion Mahler. 1950s

PRODUCT DESIGN The new aesthetic of the 1950s was based primarily on ‘organic or biomorphic modernism’ such as amoeboid, boomerang and kidney shapes. Margret Craver, from the Towle Silversmith Company, responded to the above tendency with her beautiful Contour set, on the left, with its “swollen bodies,” raised handles and drawn-out spouts. This set with its beautiful clean shapes is unadorned and similar of the Bauhaus examples. The shape of the jugs is slightly curved and they appear to be leaning slightly forward. The large jug sports a large, comfortable handle in black, which creates a visual balance with the large shape of the bold body of the jug. The texture is smooth and the silver forms a contrast with the dark handle. Gentle curving lines are used in the curves of the rims and handles. This set personifies the modernist ideal of aesthetics and form follows function. Margret Craver designed the Contour Beverage Set in 1950

300 /////

MODULE3THEORY

The Farnsworth House designed by Ludwig Mies van der Rohe, in 1951.

ENVIRONMENTAL DESIGN This above house is a good example of the Modernist “machine” aesthetics. The ing parts are repeated at regular intervals. The raised floor makes the building appear as if it is floating above the soil. The house is built almost entirely from glass and steel; also referred to as ‘skin and bone’ architecture. It is a rectangular structure with eight steel columns placed in two parallel rows. Between the columns there are two s framed in steel for the roof and floor. On each side the roof and floor jut out past the columns. Between the two floating s is a glass-enclosed living space, which is a single room subdivided into sleeping space, living room and kitchen. The floor is of Italian sandstone. The rest of the structure is painted white. The steel frame was polished before it was painted to create a smooth machine-like finish. This house shows the purity of form that Mies van der Rohe was striving for. A lot of attention and detail went into this house. This house personifies the Modernist idea that form follows function.

DESIGNERS Isamu Noguchi – American sculptor, landscape architecture, furniture designer George Nelson – American industrial designer, architect, author, teacher Marion Mahler – Austrian textile designer Ray & Charles Eames – American furniture and textile designers, artists and film makers Lucienne Day – British textile designer Eero Saarinen – Scandinavian born American furniture designer and architect Mies van der Rohe – German born American architect – one of the pioneers of Modern architecture Le Corbusier – Swiss born French architect - one of the pioneers of Modern architecture

///// 301

DESIGNGRADE11

What were the disadvantages and advantages of this style? Because of the material usage and stylistic structures, it was too expensive to heat the buildings in winter and cool them in summer. The constructions were also a health hazard as materials were inadequately tested before usage. The buildings had no specific façade and were too rigid and regular in appearance with little aesthetic appeal to the general public. Overall it was a social and cultural failure, as the cities resembled a “concrete jungle” in which the citizens felt isolated. The designers were inventors who gave us the opportunity to reap the benefits of their genius. They brought in new techniques, methods and materials technology that changed the world forever. In spite of the disadvantages, it changed the way people looked at design and product development. This does make it easier to improve on further development and set the pace for new inventions. In creating better designs we need to know about and learn from past designs and mistakes. This is one reason why the knowledge of design history is so valuable if you want to become a great designer. So don’t lose your focus.

1 PROJECT In your workbook make your own summary of the meaning of the following phrases: Form follows function Less is more Truth to materials Explain how these phrases apply to the visual sources below marked A, B and C. Please use full sentences.

A

302 /////

B

C

MODULE3THEORY

2 PROJECT Modernism had a wide spread influence across the globe and was an important movement of the 20th Century. The examples featured here are all South African examples of Modernism. Study the examples and explain how A & B express the Modernist idea of “Form follows function” and the idea of “Truth to materials.” C & D are South African examples of visual communication used during the 1950’s. Compare these local examples with some of the modernist examples from Europe and America that you studied during module 3. Refer in your comparison to the placement of visual images, balance, colour and font.

B. CR Swart building, Bloemfontein

A. Trust Bank Building, Johannesburg

D. Cover for South African music



C. Drum Magazine, Johannesburg

///// 303

DESIGNGRADE11

SCANDINAVIAN DESIGN 1950 - the present





Scandinavian furniture in a shop display

Marimekko textile design

Historical context The Scandinavian design style developed during the 1950s in Denmark, Norway, Sweden and also Finland. This is a design movement which was generally characterised by simple designs, minimalism, functionality and low-cost mass production of furniture and other products. It had the look of Organic Modernism. This organic approach was not new to the Scandinavians as it was taken to America by Scandinavian architects such as Eliel Saarinen, the father of Eero Saarinen, who moved to America after World War 1, he influenced many of the Architecture students through his teaching. Bruno Mathsson and Aalvar Aalto, with their soft modern approach, had a large influence on furniture design. Their designs were based on natural forms and and they paid attention to good craftsmanship. This found huge appeal with the comfort-loving post-war consumers. This approach is visible in the sculptural Ant and Egg chairs which were designed by Arne Jacobson. 304 /////

Cone chair by Verner Panton

Eames‘s leather plywood chair for Vitra

Scandinavian Design is associated with simplicity and elegance. Another major characteristic was that goods that were functional and affordable but massproduced. This was done without sacrificing the quality, grace and beauty of the products.

MODULE3THEORY

?

DIDYOUKNOW that no movement in art and design, taking

place from the second half of the 20th century, can be isolated from influences from design styles in another country at the time. More regular and improved means of travel by plane, allows for migration of designers easier. For this reason design styles and approaches are enriched by movements taking place elsewhere in the world. This is called globalisation, whereby means of communication and travel have improved and the import and export of goods have increased drastically. This should also be familiar to you as television, cell phones and the Internet have made it possible for us to know what is happening in any part of the world within seconds.

Scandinavian design is synonymous with simplicity and elegance. It is characterised by functionality and affordable mass production. It was done without compromising on quality and without losing grace and beauty. The idea of creating beautiful and functional everyday objects that could be afforded by everyone, and not only rich customers, was a central theme in the development of Modernism and functionalism. The Post-war Scandinavian movement, though in tune with other design advances around the world, adapted the emerging technologies and materials in a uniquely North European fashion. This concept was probably best realised in Scandinavian design in the time immediately following World War II. The availability of new low-cost materials and methods for mass production, made this concept possible. Armi Ratia founded Marimekko textiles in 1951. She was the wife of the failed Printex oilcloth factory owner. The textiles were at first abstract but later incorporated recognisable imagery. Armi Ratia’s huge success with Marimekko was due to the fact that her artistic friends helped to design graphic prints for her new fabrics. With this she managed to convert the failing oilcloth factory into one of the most successful Scandinavian design companies. The dresses, manufactured from these new textiles, were completely new, fun, simple items at the time and very unlike anything else available on the market then. Today, Marimekko is still a vibrant and relevant textile design company. The company is still producing its characteristic textiles in bold colours and patterns for clothing, bags and the home.

Influences • The Modernist and Bauhaus movements largely influenced this style. The middle of the 20th century was characterised by artistic innovation as well as technological and social progress. The evolution of modern furniture designs was a combination of art, technological progress and architectural theories. • This movement started because of a specific Scandinavian form of social democracy, which developed during the 1950s. • The machinery, new technology and new materials that were available after World War II also influenced them. • At some stage the designs became less "craft"-looking and more machine-like. They had elegant forms, sometimes inspired by the Surrealist movement. • It could be claimed that the long winters and few hours of sunlight inspired Scandinavian designers to create bright, light and practical environments with clean lines. ///// 305

DESIGNGRADE11

Pelican chair designed by Finn Juhl, 1940

Moon bird sculpture done by Juan Miro Can you spot the similarities between the moon bird sculpture by the Surrealist painter and sculptor Juan Miro and the Pelican chair of Danish designer, Finn Juhl?

306 /////

MODULE3THEORY

Characteristics Colour They used light coloured wood, and the structures were often exposed to add a dramatic elegance to the furniture pieces. Simple and artistic printed designs characterised Marimekko textiles. These designs were printed in exciting, bright and cheerful colours on ordinary cotton fabric, using a lot of dots and stripes. Colours used in textiles were bright and cheerful. Form/shape They combined biomorphic forms with harder-edged geometric tendencies. They also did not shy away from newer plastics and embraced their design and manufacturing possibilities completely. The furniture was simple in shape and had clean lines and smooth textures. Textiles showed abstract or stylised forms, dots and stripes. Line Right from the beginning the Marimekko Company set out to produce a line of simple, A-line skirts and dresses to show how the bold new fabric prints could be used in loose fitting dresses. This was new at the time if we look back at the tight-fitting, hour-glass fashions that were popular before. Furniture had clean smooth lines with organic as well as straight lines Textures were mostly smooth. New materials Materials that were often used included fibreglass, wood, rubber, plastic, vinyl and plywood. Scandinavian designers often made use of form-pressed wood, anodized or enameled aluminium or pressed steel. Verner Panton designed the “Panton chair” or ‘stacking chair’ in 1960. He was an innovative designer and he had a remarkable desire to experiment and play, and due to him, new shapes, new colours, new materials and new ways of perceiving space were tried out and experienced with. He broke away from the tradition of handcrafted wood furniture. Panton made a determined effort to distance himself from preconceived ideas of how a chair should be designed or look. He concerned himself with the potential of new materials and how they could be made into new forms. Panton was especially interested in the possibilities of the new plastics and how they could be used to create inexpensive products.

Plywood was often used. Aalto experimented with different materials, which also led to a number of patents, for example, he invented a new form of laminated bent-plywood furniture in 1932 as seen in the photo above.

Charles and Ray Eames, inspired by European designers such as Le Corbusier, created designs which were based on the awareness of how functionalism in design products led to their being successful. These were devised to benefit society by adding value through the production of high quality design pieces at low cost.

///// 307

DESIGNGRADE11

Aalvar Aalto designed this Auditorium of the University of Technology in Helsinki, Finland (1949-66)

The Paimio Chair designed by Aalvar Aalto in 1949, is a typical example of Scandinavian furniture. It features delicately slightly curved legs and a slightly sloping backrest. The frame was manufactured from teak as well as oak respectively. This degree of bending wood was very advanced for technical abilities of that time. The wood contrasted with the woven seat, to create a simple mass-produced product. A cantilevered birch wood chair, this is his best-known piece, especially designed for patients with tuberculosis that needed to sit for long hours each day. He said that the angle of the backrest is perfect for more easy breathing.

Aalvar Aalto designed the House Riihitie in Helsinki. This shows the interior of the house furnished in typical Scandinavian furniture with their beautiful simple shapes.

Butterfly chair designed by Verner Panton.

Tea-cart designed by Aalvar Aalto.

308 /////

The Ball chair designed by Eero Aarnio.

A 1950s bowl designed by Stig Lindberg.

MODULE3THEORY

The Egg Chair designed by Arne Jacobsen and manufactured by Republic of Fritz Hansen, reminds one of the shapes created by Juan Miro of the Surrealist movement

Side table designed by Aalto

Stacking chairs designed by Verner Panton. Many Scandinavian chairs have organic shapes. Stacking chairs were something new and these beautiful chairs, manufactured in a variety of colours, had a strong appeal.

?

DIDYOUKNOW The Finnish furniture company Artek,

founded by Alvar Aalto and his wife Aino Aalto, manufactured the High Stool and the Stool E60, which were used in Apple stores across the world for their customers at the Genius Bar as well as in other areas of the store. Both stools were done in black lacquer. They were used mainly at times for product workshops or special events. Many of the original designs by Scandinavian designers are still manufactured and sold today

///// 309

DESIGNGRADE11

Unikko’s (big poppy flower) pattern designed by Maija Isola in the early 60s

Marimekko fabric designed by Maija Isola

Bright colour and bold patterns are typical of Marimekko fabrics.

Brightly coloured Marimekko fabrics designed by Maija Isola

310 /////

Jacky Kennedy made Marimekko fabrics popular when she wore it during her husbands campaign trail. On the far right is Sarah Jessica Parker also wearing a Marimekko dress.

MODULE3THEORY

Flower lamp designed by Panton

Teak & Limba wood monkey designed by Kay Bojesen in 1951

Scandinavian teapot designed by Georg Jensen

Poster by unknown designer. Poster designed by V. Vagnby 1958, Denmark

///// 311

DESIGNGRADE11

Scandinavian logos

Many of the independent design ideals that were the central theme of the movement have survived and can today be found in contemporary designs by Scandinavian and international designers.

Here are some Scandinavian design companies that may sound familiar to you:

312 /////

•

Bang & Olufsen, Denmark

•

Electrolux, Sweden

•

IKEA, Sweden

•

Iittala, Finland

•

Marimekko, Finland

•

Saab, Sweden

•

Volvo, Sweden

MODULE3THEORY

SURFACE DESIGN Siirtolapuutarha-fabric from Marimekko This design called Siirtolapuutarha was designed by Maija Louekari. This is a good example of Marimekko textiles. It is a somewhat later design as Marimekko did not at first favour plants but rather abstract designs. Cool colours of blues and greens appear in this design. The flowers are stylised to simple circular shapes so typical of Scandinavian designs. Line is used to create interest and texture and is repeated across the design. The lines vary in quality and thickness and are repeated in different ways. Mostly the circular shape is repeated in smaller and larger formats throughout the design. The smaller circles add texture and detail. Rhythm is created by repetition of the lines and circles. Contrast is created by the dark lines against the white back ground.

Siirtolapuutarha-fabric from Marimekko

ENVIRONMENTAL DESIGN Helsinki Cultural Centre by Aalvar Aalto The Cultural Centre features a simple red brick shell and serves as a centre for the cultural work of different trade-union organisations. It was originally designed for the Communist party in Helsinki, which was in power at the time. The building consists of different parts: offices, lecture and conference rooms and a concert hall. The office section features five storeys with offices, meeting rooms and two flats. In the middle of the U-shaped complex, lecture and conference rooms are located as well as a lecture hall, study rooms, discussion rooms, a library and a records room. The main part of this group is the concert and congress hall. The hall can seat 1500 people and has a large stage. This is mainly intended for concerts, but it can also be used for lectures. Helsinki Cultural Centre by Aalvar Aalto, designed in 1952 and completed in 1958.

///// 313

DESIGNGRADE11

A long canopy alongside the street links the various parts of the buildings. The main entrances are located under this canopy. The hall has an asymmetrical form. To create this free-form, curved wall Aalto developed a wedge-shaped brick as a new facing element. This brick made it possible to create all the curves of the irregular exterior of the hall. To do this, he arranged these wedge-shaped bricks with their shorter edges facing inside or outside. The curved shape of the main building is in contrast to the horizontal lines of the canopy and the other buildings in the complex. Contrast is achieved by the rough texture of the wedge-haped bricks and the smooth texture of the canopy and windows. The main colour is the red of the bricks which contrasts with the smooth white of the canopy and other buildings which are in white and green.

?



DIDYOUKNOW Dr. Mulalo Doyoyo, born in Limpopo

Province, is known for his invention of a material made out of coal ash called Cenocell. He has published over 30 scientific publications and holds 2 patents

PRODUCT DESIGN The Ant chair, 1952 by Arne Jacobsen This chair is elegantly shaped. It was at first not very popular as it had only three legs and no arm rests when it was first manufactured. It was at first not very popular as it had only three legs and no armrests when it was first manufactured. Originally designed for the use in a canteen of a Danish pharmaceutical firm. It was a revolutionary design in 1952 because of the shell-shape design used for the backrest and seat. This was made out of one piece of laminated wood. The laminated wood was moulded with 9 layers veneer and 2 layers of cotton textile in-between. The chair appears lightweight and features simple curved outlines and straight legs, which remind one of an “ant” lifting its head - therefore the name Ant chair. The 3 legs were manufactured from chromed or satin-chromed steel. In the later 1980 model, the Ant chair featured four legs. Today it is available in quite an extensive range of new colours. It is also available in lacquer, maple, beech veneer or dark-stained oak. The base is still chromed or satinchromed steel. This chair, with its organic, ant-like shape, shares some similarities of shape with the work of Juan Miro of the Surrealist movement. 314 /////

MODULE3THEORY

COMMUNICATION DESIGN Anders Beckman, Swedish airlines 1939 This example shows the Scandinavian simplicity and economic use of elements in conveying a message. The designer used mostly the cool colours of the northern countries. The massive type used for the letters ABA dominates the lower part of the poster. The sun is a circular disc surrounded by a white ring. The aeroplane enters the poster from the top left in a diagonal line. Both the plane and the huge letters show some shading. The blue in the background at the bottom gradually lightens as it moves higher up, ending in light blue and soft green. ABA is bold and in a simple font. The yellow disc is repeated in the yellow letters placed horizontally below ABA. The white of the disc and clouds is repeated in the white continuous writing in the bottom. The words “Swedish air lines” are done in an elegant flowing type. Contrast is achieved by contrasting dark with light colours and warm with cool colours. The focal point of the poster is on the aeroplane to emphasise the airline company. Poster designed by Anders Beckman, 1939

3 PROJECT Look at the chart below and circle the words applicable to this movement. You can circle the words horizontally, vertical, diagonally, backwards and forwards. C H F L C I H P R O M O I B S I O G M A R I M E K K O L P G E N N B C M E C S I P A N T O N L E C E U I E G H A L O S I H C E N R E R N Y T I C I L P M I S G I E C V A E A E K I T G P S E A R T H E T V O T H G I L H Y M N A E C D E D C H R O M E Q T A T A D E S I L Y T S O T C R L E O S

Find the solution by finding the following words in the above grid: biomorphic; elegant; Isola; simplicity; Marimekko; chrome; stylised; poppy; light; curved; Saarinen; Panton; Eames; ant; concrete; Ikea; laminate

///// 315

DESIGNGRADE11

4 PROJECT Scandinavian influence on South African design Study the following South African products below and write down the similarities and differences between the South African designs and the Scandinavian examples you have studied in Module 3. Refer to shape/form, colour and line.



A. Stools by Pederson & Leonard

B. Products by Heather Moore of Skinny Laminx

C. Forbidden fruit by Glimt in collaboration with local craftsmen

316 /////

D. Interior of Bridle house by Antonio Zaninovic, Cape Town

MODULE3THEORY

GLOSSARY Abstract Expressionism - A school of painting, originating in New York in the 1940s, that combined abstract forms with spontaneous artistic expression. The artists emphasised emotions and reactions to things rather than showing objects as they really appear. Acrylic - A paint containing acrylate resin, used especially in painting pictures. Something containing or made from acrylic acid. This also led to the discovery of certain colours that no-one had ever been able to obtain before. The first acrylic paint was invented by Leonard Bocour and Sam Golden between 1946 and 1949 under the brand name ‘Magna paint’. Alloys – A mixture of metals. In metallurgy a substance that is a mixture of two or more metals, or of a metal with a nonmetallic material. Amoeboid – It refers to single-celled life-forms characterised by an irregular shape. "Amoeboid" and "amoeba" are often used interchangeably, even by biologists. Aesthetics - An idea of what is beautiful or artistic when you look at something. Bakelite – A type of hard plastic that was used especially in the 1930s and 1940s for making things such as radios and telephones. It was a trademark for various synthetic resins used in many manufacturing processes. Biomorphic – Relating to a form, pattern, or mechanical system that resembles a living organism in shape, appearance, function, or motion. It could also be an insect or animal combined with a human. Boomerang – A curved missile – a flat curved piece of wood used as a weapon by Australian Aboriginals. It is designed to return to the person who throws it. Cantilevered – In buildings it is a projecting structure that is attached or ed at only one end. Concrete jungle – A place full of colourless buildings or an urban area completely covered with walkways, roads, and buildings, and perceived as a hostile environment. Celluloid - A flammable transparent plastic made from nitrocellulose and a plasticizer such as camphor used for photographic film and another version used for dolls in the 1950s. Extruded rectangle - to make something by forcing a semisoft material such as plastic or molten metal through a specially shaped mould. Formalistic trend – A strong or excessive emphasis on outward appearance or form instead of content or meaning. Form follows function - Refers to simple pure shapes that are unadorned. Laminated wood – Wood veneers were laminated to produce a cheap and durable alternative to expensive hardwoods for furniture-making. A way to bond sheets or layers together so as to produce a strong and durable composite material. Less is more - A phrase coined by Mies van der Rohe. This meant that less decoration is better as it does not distract attention from the pure form.

///// 317

DESIGNGRADE11

Mainstream Modernism - In general, the term modernism encomes the activities and output of those who felt the “traditional” forms of art, architecture, literature, religious faith, social organisation and daily life were becoming outdated in the new economic, social, and political conditions of an emerging fully industrialised world. Minimalism - The term minimalism is used to describe a trend in design and architecture wherein the subject is reduced to its necessary elements. Organic Modernism - Relating to, derived from, or characteristic of living things. A trend in design that makes use of shapes, lines and forms relating to nature as opposed to a more rectilinear approach in design. See explanation of Rectilinear lower down in the glossary. PVC – A tough synthetic material such as a hard-wearing synthetic resin made by polymerizing vinyl chloride. Use: flooring, piping, clothing. Plasticity - The qualities that will allow a substance to retain its change in shape after being bent, stretched, or squeezed or keep the three-dimensional quality. Rectilinear - Formed from or consisting of straight lines. Reinforced concrete - Concrete made with metal wire or rods embedded in it to increase its strength. Ribbon windows – Windows placed in a long thin horizontal band. Surrealism – A 20th century literary and artistic movement that attempted to express the workings of the subconscious and dreams and is characterised by fantastic imagery and inappropriate juxtaposition of subject matter. Synthetics – Something made artificially by chemical synthesis, especially so as to resemble a natural product. Truth to materials - Materials must be used for their own qualities and not covered up with decoration. Tufflex – A totally flexible and seamless, Solvent-Free Membrane used for deck coatings, deck membranes, sundeck coatings, patio deck membranes, waterproof membranes, etc. Unadorned - Not adorned : lacking embellishment or decoration : plain, simple, bare, undecorated style. Veneer - A thin surface layer, as of finely grained wood, glued to a base of inferior material. Any of the thin layers glued together to make plywood.

318 /////

MODULE3THEORY

LINKS http://gdpsu.typepad.com/354/2011/05/type-history-images-from-futurism-de-stijl-constructivism.html Wikipedia, the free encyclopedia http://factoidz.com/modernism-in-design/wikipedia.org/wiki/Modernism http://en.wikipedia.org/wiki/Modern_architecture http://domino80904.blogspot.com/2011/05/importance-of-history-of-modern-design.html

///// 319

MODULE3

DESIGN IN A

CONTEXT

DESIGN IN A

MODULE3BUSINESSCONTEXT

ENVIRONMENTAL RESPONSIBILITY

Group project about up cycling and recycling

5 PROJECT A recurring theme throughout this module is environmental responsibility, and this exercise is no different. We are going to conceptualize, make and market a product from discarded material. Most people will call this recycling, but a much better word for it would be upcycling as we will be making use of materials which offer no use to anyone else, and produce something which will no doubt be really appealing and desirable. This is a fantastic idea for job-creation without spending too much to get started, and, as an extra bonus, so many materials which would just be lying around or end up in landfills will be used instead.

You are required to conceptualize and produce an accessory out of discarded or found materials. It can be any appropriate material, any scale – the only criterion is that it needs to be wearable. Think a bit wider than earrings or bangles, although you are welcome to make them too. Don’t think of an accessory as something only a female would wear, there are many options for males. Some examples could include key rings, belts, wristbands, rings or some funky bags. There are so many interesting things which will make a statement and surprise potential customers. Be brave, not boring. This project is a group project; the ideal size of the group should be four or five . The idea is that this prototype you will be making will eventually be income-generating. Here are some examples, but we are sure you can do even better than this if you put your “groupie” minds together.

1. Headband made from old t-shirts

3. Brooch from old soft drink tin

2. Cuff links from old circuit boards

4. Hair clip from off-cut leather

5. Small purses from recycled plastic

///// 321

DESIGNGRADE11

6. Bag from dog food packaging

8. Scarf from fabric off cuts. 7. Cuff made from wire and soft drink can tabs

Identify your groups Look around in your class and identify learners who will complement your skills set. Not all of us have the same talents and one of the trademarks of a well-oiled team is that each member of the team brings another skills set to the table. Each member of the group plays to his/her strengths and so the best possible outcome is virtually guaranteed. However, a group needs to make decisions as a team and consensus should be aimed for at all times. Should this not be possible (and sometimes, it is not, despite your best efforts) should also be prepared to compromise and then still give their best, despite the decision not being their first choice. In industry, working as a team is the norm and designers who fiercely defend their territory and reject input from other of the team create big problems and unhappiness with the result that they are excluded from future projects. Every member of the group should conceptualize at least three ideas to bring to the table. As a group you will discuss the proposals and narrow them down to three strong contenders. Please document everything in detail. The very first step is that of concept development. If your decisions here are taken without thought or the proper research, chances are your whole plan and product will struggle.

STEP1

Concept Development • IDENTIFICATION OF THE NEED • DEFINING OF TARGET MARKETS AND LEAD S • IDENTIFICATION OF PRODUCTS WHICH WOULD COMPETE WITH YOUR PRODUCT

Analyse these initial findings, and then it is time to make a final decision as to which product out of the shortlist of three will be chosen. Write a brief introduction to your proposed design or product and a motivation for your product decision.

322 /////

DESIGN IN A

MODULE3BUSINESSCONTEXT

STEP2 Process

You have identified your proposed product. You have made initial decisions with regard to your market, the need that exists in the market and your analysis of your competition. Before any production can start, research needs to be done on a great many aspects of your product. In this specific project the materials used for the manufacturing of the product are very important. You need to find out about the availability of the material. How will you manage to access and source the material, and how will you use the material – do you, e.g. need special tools? Are there any safety measures you need to consider due to your materials or tools usage? Do you need safety equipment? Is it labour-intensive – will you need to employ people to help with cutting, building etc.?

Cut down on surprises. Ask the right questions. The product you produce will only be a prototype, with the understanding that you need to make many products if this product should ever go into production, so make sure it is something which can be mass-produced. It will be critical for you to show and explain in your workbook the possibility/feasiblity of mass-production. It will not be good enough to just mention it. Your teacher needs to be convinced that this prototype can be massproduced. This will be a vital criterion for a successful project. Analysing your product at hand, can you think of any more possible challenges this project will hold for you and for the group? Can you come up with solutions for these challenges? The more problems you can identify and solve at an early stage of production, the closer you will get to a successful end product. It minimizes the nasty surprises that can become very time-consuming and depending on the severity of the surprise, can even cause you to miss the deadline completely. So be proactive and visualise the process on all levels.

STEP3

Production We are now moving closer to the actual making of the prototype. Here your labour will be divided, as each member of the group will take responsibility for an aspect of the remainder of the exercise. Everyone should come up with a role within the group and it would be advisable that you match these responsibilities with each individual’s strength and talent they bring to the team – it will be different for every group as the products will all be different. Think of an area where you can use your specific talents.

Identify roles and be clear on job descriptions. Find an area where you can contribute to the group success and make a difference that will ultimately add to the strength and success of the production and marketing. Knowing up-front who will be responsible for what will ensure a well-oiled group effort and will greatly add to the quality of the end product in its totality. that even marketing tools, press releases, websites, possible packaging and whatever else you design within the group, forms part of the end product.

///// 323

DESIGNGRADE11

Some ideas for these roles • Writing skills: In the previous module you were asked to research the role of a copywriter. Here you will be able to put into practice all the different aspects a copywriter has to cover. These include providing information in obvious applications such as brochures, posters or ments, which will become marketing tools, but also in less obvious ones such as press releases that could introduce this new product/range of products and possibly entice the public to attend a launch event – it could also be published in the local newspaper or on any other social media platform like Facebook. There is a huge amount of text that accompanies any campaign; this may come as something of a surprise, but also a wonderful opportunity. If you include packaging, this is also a canvas where you can include creative writing and important information about the product. This may include some background on the product, how to use it or safety instructions. to include the person with the writing skills as your copywriter. Copywriters play a huge role in the success of a product. Think of all your favourite ads – clever wording and taglines can be very catchy for your audience. • Maybe you want to be the packaging designer and this project will give you the opportunity to research this process. • Maybe you are a keen photographer or filmmaker and you want to document the complete process. You can then investigate the logistics of material collection, production line if there is one, and the different markets where you may eventually sell your product. A short movie about the process could be used as a documentary which could eventually also be used as a marketing tool. Again this person should work together with the copywriter if they want to include a script and voice-over. • Making of the actual product – depending on the complexity of this product and/or the different processes involved during the production process, you might need more than one person to get involved at different stages. But this will be entirely up to you as a group to decide. • If you can draw really well you could consider doing the production drawings. • As a website designer you could produce a small web-site where you could introduce the product and have details. • There are many other roles to include and every project will require a different arrangement of people to suit the product at hand.

324 /////

DESIGN IN A

MODULE3BUSINESSCONTEXT

Other areas which could serve the project are advertising, logo design, promotional material, point-of-sale material and so on. Every group will have different solutions and the challenge is that you have to find the perfect solution for YOUR product. Every person on the team should document clearly how they contributed to the group and the final product. Despite everyone having different responsibilities, there should be a continuity running through the project. Every member will be evaluated on his or her individual contribution. Every member will be evaluated on his or her individual contribution as well as the success of the final product. Organise a small presentation for each group where you will have the opportunity to display your product and discuss the process as well as the production and conclusions to the class. Finally, each group should have an evaluation within the group so that each member’s contribution and participation can be evaluated beyond the success of the group itself. Each person should clearly indicate his/her contribution as well as where the collaboration happened. Hand in all your references, research, interviews, observations, deductions, data analyses, conclusions, evaluations and a bibliography.

Enjoy

///// 325

MODULE3

PROJECTS

In this module you have a choice between 2D, 3D or a combination of both.

MODULE3PRACTICALPROJECTS

INTRODUCTION Section one: 2D Modernism In broad , when we speak about Modernism (a term sometimes referred to as the Modern Movement) we speak about an overarching movement that started as early as the last years of the 19th century, which tried to break free from the past, and has, in one form or another, been very important in the way we practise design, design production as well as design theory in the 20th and 21st century. When we think of Modernist design, we think of the manipulation of abstract forms; use of shiny, modern materials like glass, metal and chrome, and a very limited colour palette, usually monochrome. The function of whatever is designed is more important than what it looked like, but the highest standards of design were always applied and thoughtless decoration was just not tolerated.

IMPORTANT OPINION MAKERS OF THE TIME LIKE

ADOLFLOOS

MADE THE PHRASE

POPULAR, AND

Ornament and Crime

LECORBUSIER

THE STATEMENT

Trash is always abundantly decorated.

“ ///// 327

DESIGNGRADE11

Important opinion makers of the time like Adolf Loos made the phrase “Ornament and Crime” popular, and le Corbusier the statement, “Trash is always abundantly decorated.” What they were saying was that if you needed to overly decorate something in order to make it look acceptable, it most probably was trash to begin with and not worthy to be considered as a viable and good quality product. When surface decoration was used according to their specifications, it was always supposed to be restrained and was never supposed to interfere with the function of the piece, whether it was a building, jewellery piece, painting or furniture. The function or purpose of the piece overrode everything else. They argued that a designer should never just decorate something to make it ‘pretty’, even the decoration should have a reason and purpose. Surfaces were generally quite plain because of this belief. Despite deg with these “restrictive” principles in mind, they found expression through new materials, new production techniques, and new developments in science for a contemporary lifestyle market that was powered by electricity. Modernism eventually entered popular culture around the start of the 1930s. (Learn more about popular culture in Module 4.) It was seen as the answer to problems resulting from urbanisation (a process which started with the Industrial Revolution) and promised new ways of communicating with masses of consumers. It could solve a lot of problems because of the love affair it had with contemporary materials; its knowledge of how to communicate successfully with mass markets, as well as its determination to produce well-designed items and designs. The London Underground logo is a good example for the need for clear, instantly recognisable visual symbols. It was designed in 1919 by Edward Johnston, almost 100 years ago, and it is relevant, functional and so recognisable still today – quite amazing, don’t you think? The sans-serif Johnston typeface was originally used throughout the underground system.

With some minor tweaks through the years, this roundel is recognised everywhere and has almost become a symbol and icon of London itself.

Some of the biggest and most obvious changes that happened during this time were the integration of modern technology into everyday life. The motor car, telephone, electricity and everything that came as a result of this, changed the social make-up of the world forever. Speed and the need to go and do faster became a way of life. The period just after the first World War ended; the tendency to utilize simple, geometric designs with little or no decoration and no historical reference at all, later on gave shape to the existence of the International Style. As we move on, you will see that many movements and styles underwrote in broad strokes what Modernism or the Modern Movement stood for and a multitude of cultural and aesthetic movements grew from that.

328 /////

MODULE3PRACTICALPROJECTS

So, characteristics of Modernism can be summed up as follows It was a movement that wanted to remove the borders between aesthetics (how things look), technology (how things work) and society (how things are perceived and received by public). They did this to ensure that the best design solutions, of the highest visual and practical quality, could be produced for the masses. Stylistically they favoured simple shapes, limited palettes and honest materials (wood, metal, etc.) and embraced the newest technological advances for their designs. Designed items always had a purpose and frivolous, unnecessary decoration was frowned upon. This movement turned its back on history and did not make historical references in their work.

ACTIVITY 2 Can you spot which items below subscribe to the Modernist point of view? Have a careful look at all the pieces in the following table and make a tick or cross in the block provided to show whether you think it is Modernist or not. Then, in the space provided, please clearly motivate and state your argument. REASON OR MOTIVATION FOR MAKING THE DECISION

///// 329

DESIGNGRADE11

REASON OR MOTIVATION FOR MAKING THE DECISION

330 /////

MODULE3PRACTICALPROJECTS

Scandinavian Design and its impact today

As you already know, Scandinavian Design emerged in the 1950s from the Nordic area. The three Scandinavian countries (Denmark, Norway and Sweden) as well as Finland (Finland was still then considered to be part of Russia) were seen as partners in this style. Their careful craftsmanship; the sense of perfection with which they worked; the harmony achieved, and the influences of their natural environment, were all seen as the dream of a better world after the tragedy of World War II. The aesthetics of these Scandinavian countries were always similar but when they all adopted a Modernistic approach the style of the region collectively became known as Scandinavian Design. These countries were all, to a lesser or greater degree influenced by the international practice of Modernism in (Bauhaus), the Netherlands (De Stijl) and amongst individuals like the architect Le Corbusier (). This design movement was characterised by simple designs, minimalism, functionality and the aim was lowcost mass production. You should clearly be able to see how Modernism influenced this line of thinking. The idea that beautifully designed, functional everyday objects should not only be affordable for the wealthy people of society, but for everyone is a fundamental theme of Modernism. The ideology which created the platform for this style in Scandinavia was the emergence of social democracy in the 1950s. On a technological level there was the increased availability of new low-cost materials and processes for mass production. Typical materials used in Scandinavian Design were form-pressed wood, plastics, enameled aluminium and pressed steel. Many of the ideals have survived and even today can be found in contemporary design in Scandinavia and the rest of the world. Here are some of those very recognisable Scandinavian brands again:

• Bang & Olufsen - Denmark • Georg Jensen - Denmark • IKEA - Sweden • Marimekko – Finland

Georg Jensen watch Bang & Olufsen speakers

///// 331

DESIGNGRADE11

IKEA nest table and chairs

Assorted Marimekko fabric designs

Of all the influences on contemporary design of today, Scandinavian Design must be one of the most important. What makes Scandinavian Design so relevant today? It is not only the beautiful aesthetics and let’s face it, their designs are beautiful and have a timeless quality to them. Nor is it only the ability to insist that everyday items can be beautiful and affordable and because of that, accessible to the masses. People often call Scandinavian Design ‘democratic design’, because of its aim to appeal to the massmarkets through products that are accessible and affordable. But the Scandinavian idea of ‘beautiful things that can improve life’ is certainly of even greater interest and importance today. Today we can learn a lot from them in of life-improving products, systems and environments due to their huge focus on doing everything more sustainably with a great focus on people and the environment. All of the above is true but the fact that we can relate so much to Scandinavian Design stems from something much deeper than that. Scandinavian designers were influenced by everything around them. With their tradition of craftsmanship over hundreds of years and the efficient use of limited material resources (due to their relative geographic isolation and long winters), they combined the best of both worlds. In line with their democratic social views, availability to everyone was really important. The enjoyment you get from doing the work you do has always been more important than all the money they were going to make. Beauty, humanism and democratic ideals were always big motivators. Moving into the machine age, survival became easier, and functionalism evolved into also meeting the emotional needs of people. This gave Nordic functionalism a more natural and humanistic side. It was also sympathetic and responsible to both people and the environment. Scandinavians as people are today still really strong on social responsibility, humanistic (human-centred philosophy) enterprises as well as environmental issues. They have a society where they care for their children, the elderly and the infirm. They are very outspoken about injustices (they were very vocal in rejecting Apartheid) and try to live and design with morality and with responsibility. Scandinavian Design has changed over the years, starting out as deg mostly products and furniture but to applying moving on the principles and processes they believe in to current issues, challenges and opportunities. It is to this humanistic approach that we are responding today.

We have to use these opportunities to make a difference, and it starts with you.

We have had a few decades of war, terrorism and hyper-consumerism (can you what this is?) and people and consumers are now naturally gravitating towards simpler lives and more stability amongst the chaos. As a society we eat better food, we exercise more, we long for more time with family and friends, we buy less useless feel-good stuff because we’ve realised that it does not, in fact, make us feel good. The philosophy of Scandinavian Design resonates with us because of its simplicity and the fact that it is focused on humanistic values. The philosophy of Scandinavian Design resonates with us because of its simplicity and the fact that it is focused on humanistic values. That does not mean that all South Africans can relate.

332 /////

MODULE3PRACTICALPROJECTS

As designers we have also come to understand that we have a huge responsibility towards not only our clients, but a social responsibility and a responsibility towards the environment. Essentially designers are communicators and we have the voice to make a difference. Often it is a small role we play but designers can make a huge impact. We have to use these opportunities to make a difference, and it starts with you!

6 PROJECT In the light of what we have discussed above, we would like you to identify an environmental issue or problem which you can tacklein order to improve your immediate environment. It may be relatively simple like a campaign to keep your school grounds clean, or it can be much more complicated e.g. mobilizing your neighbourhood to recycle. Spend a little time on deciding on your theme, firstly because this should be an issue which means something to you personally and secondly because it will also be carried across to form part of the work you will do in term four. This drive you are going to create will need an identity. We call this first step in deg an identity, a logo.

WHAT IS A LOGO? We are going to spend some time on this, as logo design is hugely underestimated and is a lot more difficult than it might appear. A logo is a recognisable graphic design element; it could be a name, symbol, trademark or a combination of these and it represents an organisation, product or service. It actually attempts the near impossible by condensing the total ‘personality’ of a product, business or service into one small entity. A good logo will distinguish the company from others, will be recognisable, will inspire trust and iration and be appropriate for the specific company and industry. In other words, the logo represents the best image of the company in an appropriate and concise way. The logo does not have to show what exactly the company does or sells, but rather the ethos and image it wants to convey. What we mean is e.g. Apple computers do not show a computer in its logo and McDonald’s does not have the best burger and fries in its logo. Yet they are both hugely successful logos.

So, what are the characteristics of a good logo? •

It should be simple. This is by far the most important rule. Complicated logos age very fast, are very difficult to reproduce and chase up costs when you need special techniques to e.g. embroider or print a logo on a baseball cap. This rule applies to the use of typography in a logo as well. Fashionable type, which may be the frenzy right now, will be old news next month. Keep it simple.

///// 333

DESIGNGRADE11

•

It should always reflect the positive of the company, product or service. This seems obvious, but if you want to beautify a city by clearing up all the rubbish in the streets, you may not want the rubbish you are about to remove as part of your logo. Rather use the promise of a pristine city as a much more positive approach.

•

It should be unique and recognisable. Some logos in specific industries often start to look the same, e.g. the music websites or the computer industry often make this mistake. Make your logo stand out by being different – but not so different that there is no relation between the logo and the industry it represents. So ensure that it is relevant to the industry in question. You wouldn’t want your customers confusing your computer shop identity with that of the ice cream shop on the next corner.

• It should be memorable. If people forget the logo or the name of the company, it would be money wasted don’t you think? • It should be versatile and be able to adapt to lots of applications. Many companies have 30 or more different pieces that form their corporate identities, anything from stationery to key rings, clothing, carpets, signage – the list goes on. •

It should work in both colour and black and white. The reason for this is that sometimes because of cost restraints, certain items such as an invoice book can be printed as a single colour- even though the logo may have more than one colour. The logo should also be able to work on a fax. A lot of logos that don’t take faxing into consideration have an unrecognisable blob of black ink at the other end of the fax line – losing the opportunity for brand recognition. This could look very unprofessional.

•

Should be scaleable. Your logo may have to work on a badge worn by employees, or on the side of a bus. It needs to work equally well on all scales and the typography you use should be legible at all sizes.

•

The best logos in the world are timeless. Fashions change every season, but your logo should stand the test of time and do its job for a number of years.. Look at the example on the right. This says it all.

STEP1 Identify your cause. Decide on a name which communicates your aims, ideas or ideals for this project. (Friendly tip: Keep it short, people don’t long names). Make sure you have a clear understanding of what you would like to accomplish with your project. We call this your aims and objectives and this could also be written as a mission and vision for the drive you want to start.

334 /////

MODULE3PRACTICALPROJECTS

Being specific will help you define what your logo for your project should look like, and later on, what it could be used for and where it could be applied. Look at examples of logos you can find in your environment and evaluate them according to the characteristic of good logo design.

Write everything in your workbook.

An example could be:

Identify cause or problem: School yard unattractive and unhygienic because of rubbish lying everywhere. Decide on a name: CLEAN-UP. What would we like to accomplish and how are we going to do this? Learners do not like using the school grounds because of the bad state due to the rubbish. If we clean it up we can enjoy the sports facilities, enjoy lunches on the grass and enjoy the fresh air outside. Include a mission statement and vision. Design a logo which to you embodies what you want to achieve. Because this project is about the environment, you could think of nature as one inspiration. the characteristics of a good logo, and also refer to Module 2 where stylisation and simplification were discussed. You could also be brave and try interesting techniques like painting an actual leaf and making a print of it on paper, using this print as a starting point from where you could start a process of simplification. Draw a few rough ideas on a small scale (we call them scamps) and with the help of your teacher decide on the best one. Develop your chosen design with your teacher until you are satisfied and then redraw this design on good quality paper, execute and hand in a beautiful and professional logo. Stick to a maximum of 2 colours. Your logo should be roughly the size of an A5, positioned neatly on an A4.

Some examples of logos with an environmental theme. You may look and be inspired, but you may not copy.

///// 335

DESIGNGRADE11

STEP2 Now that you have a cause, a clear idea of what you want to achieve and a name and logo for your project, how are you going to achieve the rest of your goals? Are you going to stage an event? Are you going to have a competition to mobilize people? The type of decisions you make now will determine your future steps during this exercise. Write down your plan of action. You could even have a class discussion to thrash out the most appropriate way for each learner to proceed. Try to find new and clever ideas. For instance, if every cause in your town has a fun-walk, you might not attract the necessary attention to your cause if you do the same. So think again. Whatever your decision as to how you will be achieving your goals, chances are you will need funding. You will have to companies for sponsorships and for this you will need a letterhead as well as a business card.

So here is your next task: design a letterhead and business card with which you could approach companies for sponsorships or donations. A business card is usually the first item someone sees of your company, project or business, and people you hand it to put it away for future reference. It should therefore be something of a showstopper. A business card is always either 80mm × 50mm or 90mm × 50mm. Odd shapes don’t fit into regular business card holders and just get thrown in the wastepaper bin. It can be landscape or portrait format. Portrait format is considered to be more formal but that need not be the case. More often than not the shape of the logo can determine the format of the business card. Information that needs to go on the business card is the following: • • •

Your logo and company name Your name and title – besides the logo the name of the person is the most important (largest) on the business card, and the title normally appears smaller directly below the name of the person details – telephone number, cellular phone number, fax number and email as well as a physical address should be on the card

Typography should be simple as it will end up being very small in order for everything to fit. Anything too decorative will be difficult to read. A letterhead is almost always on A4. The reason for this is that the content of most letters is printed on letterheads on a computer printer and some are faxed and they need to be a standard A4 in order to fit in the printer and fax machines. Information that needs to go on your letterhead is the following: • • •

336 /////

Your logo and company name details – telephone number, cellular phone number, fax number and email as well as a physical address For now we will not be using names of directors or company registration numbers, but bear in mind that these are normally required by law.

MODULE3PRACTICALPROJECTS

• Some companies add a slogan somewhere on the letterhead, but this is only when it really adds to the function of the letterhead. Do a few scamps of both your business card and letterhead, trying something unusual but not too weird – there must still be space for the actual letter. THE FOLLOWING ARE NOT GOOD IDEAS:

• • • • • •

Lines that run the length of the paper lining up the logo and the address. Soft images/tints in the background. Scattering of information over the entire letterhead/business card – keep the organisation of your information logical. Big, heavy abstract shapes used as design elements – when deg a letterhead, it will often look a bit empty, but the content of the letter needs to be typed in the empty space – then it will be perfect. Choose paper which is light in colour, especially for the letterhead. Dark colours won’t show up the text you are going to print on the letterhead and darker paper also doesn’t photocopy or fax well. The biggest mistake most budding designers make is to make the type on a letterhead too big. This information is important, but will always be read by someone holding the letterhead or businesscard, not like a poster where people whizz by in their cars and the type has to be big for them to be able to read it. Keep the type small, about as big as the body copy (text) in a classy magazine, or about 8 pt, if you have a way of measuring it.

Execute your business card and your letterhead perfectly and hand the final product to your teacher. If you want to you can mount both your business card and letterhead on a portrait format A3. Because the letterhead and business card will be on light-coloured paper or cardboard, they will show up nicely if you mount them on a dark background. If you mount them on white, the borders between the end of the paper and the start of the mounting board will disappear.

STEP3 To create awareness of the project and more momentum and drive, you are required to design three additional pieces selected from the list on the next page. Take care when you choose them as your approach to your project will determine which ones will be best suited. Apply the same principles as you did for the logo, business card and letterhead and you want to create a stir. People must not forget about your project, you must make sure of that. All your different pieces are not going to look the same, and nor should they because they have different functions. The application of your logo will differ on the different formats e.g. the business card and the letterhead. Even though the pieces look slightly different, ultimately there should be continuity in style and logo. Everyone should recognise the different parts of your project as being part of the whole.

///// 337

DESIGNGRADE11

Select your three additional pieces from the following list of design ideas: • • • • • • • • •

Bumper sticker Bandana Badge Sticker for walls, school books, lunch boxes Poster Design for a bag – can be carry bag, rubbish bag; you can decide how it will best fit in your campaign Flag Bunting Any other appropriate item, which you have to discuss with your teacher first before starting



All of the above items are there to create extended awareness. Tell the audience about your project and give them teasers about what they can expect. You do not have to create the ‘real thing’ in other words, the sticker does not have to be on ‘sticky paper’, etc. You can present your finished designs on paper. Here is a word of warning though, work out a time schedule so you can spend enough time on each piece. Problems arise when you spend too much time on one or two pieces and then have to rush the rest. Make sure that your pieces are all of the same quality and standard. To complete your project, hand the extra three pieces to your teacher in a neat and professional manner. A detailed motivation should be included stating the reasons for choosing those specific items. Keep on thinking about this project because we will continue with this in the fourth term.

338 /////

MODULE3PRACTICALPROJECTS

De Stijl

and its legacy While the rest of Europe was fighting World War I, artists in Holland were able to keep on working uninterruptedly. As a result of or reaction (see, there it is again) against the chaos and destruction of the war in the other countries, a group of artists organised themselves under the name De Stijl or “The Style”. What sets De Stijl apart from other contemporary movements was that it was not a political or social movement, but a collective project between major artists. As you already know, main artists included Theo van Doesburg, Gerrit Rietveld and Piet Mondrian. The most well-known of these, Mondrian, drew from his personal journey through Cubism and Analytical Cubism and then documented most of these as the theoretical principles of De Stijl. Eventually this journey brought him to a complete and pure abstraction that consisted only of lines and rectangles. These lines and rectangles were arranged at right angles and the only colours he used were “pure” primary colours and black and white. There was a reduction of everything to the essentials of form and colour. In other words, all representation and emotion was stripped from the work until only geometric abstraction remained. He titled this method of working neoplasticism. According to the principles of the De Stijl movement, the artist should present the essence of the subject without actually giving any detail. Any elaboration with detail would result in moving away from the “divine purity” of the subject itself. They felt that if their art had any amount of detail it would be dictating or manipulating the viewer’s understanding of it rather than letting previous experiences in life allow each person to interpret the work individually. Stylised to the point where only the bare essence remains, non-representative so as not to dictate what someone has to read in the work, could be considered the main aspect of De Stijl’s influence on graphic design. As we discussed earlier, the logo is supposed to be a simple image that does not show actual appearance but produces a representation of the product, company or service – condensing the broad personality and all the positive attributes of a company, or service into one single, strong symbol or logotype. The simpler and more non-specific the image, the more it says. By being too direct and prescriptive (by adding unnecessary detail) you leave the viewer no chance to see all the possibilities which the logo could signify. Many designers apply this rule, that if they can remove detail from a logo without changing the message, it should rather be removed. This helps to ensure that what remain are the essentials. Today it would be silly to think that design in any form could be limited to right-angled lines and shapes or only primary colours. Instead, numerous shapes in many styles in all the colours you can think of are used every day, but the ideals of ultimate representation (essence of a concept) are still widely applied.

///// 339

DESIGNGRADE11

ACTIVITY 3 You now understand the principle of simplifying and removing all detail from an image to be left only with the essential, pure, simple and clean message. You are now required to go and find 3 examples of logos where you think they have applied these principles. See if you can find logos which are nonrepresentative (you can’t see the car or the mountain, etc.) but by the strong symbol used, the idea of speed (the car) or majesty (the mountain) can be understood. We have included an example so you can see what is required. Use the table provided, or draw a new table on a new piece of paper with the following columns: the first column will have a cut-out example, or a drawing of the logo in the second column will be the interpretation of the logo, in other words – what do you understand the logo to symbolise? The last column will be your analysis of whether you think it is a successful logo which portrays the company, product or service in the best possible way, as well as your analysis of the stylisation.

Example

340 /////

What do you interpret or understand? How does it relate to prior knowledge you may have about the business, product or service

Do you think it is successful in what it achieves; do you think it portrays the message as it should? Lastly, how does it apply De Stijl principles?

The swoosh has come to symbolise Nike, “the winged goddess of victory”. It is a “symbol of victorious encounters, the goddess Nike presided over history’s earliest battlefields… who inspired the most courageous and chivalrous warriors at the dawn of civilisation for a whole feeling of achievement and power” (Nike). This logo shows an element of flight or lift and movement and makes a positive and also elegant impression. It has become so recognisable that often the logo is used without the name Nike. Only the swoosh is necessary for brand recognition.

The swoosh in the logo of Nike subscribes to the principles of De Stijl because it embodies the spirit of the winged goddess without any physical reference to her– there is no detail at all. The wings are simplified to its essence and while you can’t really say the goddess is obvious in the design you could easily infer the idea of flying or soaring. This is enough of a reference that, together with the name Nike, we get the idea of the winged goddess. On the basis of this suggestion of the goddess, we can definitely say that content is present. It is therefore not just something beautiful but meaningless; it has a concept and a message. The logo has been very successful – it is one of the most recognisable and valuable brands in the world.

MODULE3PRACTICALPROJECTS

Late Modernism

moving towards Post modernism 7 PROJECT Modernism was the result of society having big ideals and hopes for the future, a sort of utopian underpinning for society at large. The development of the newest technology and new and exciting materials as well as how to use these in production fired up new dreams for an ideal society. They denied their historical past and had hopes for a new future where every person could fulfil his/her potential. Unfortunately the dream could not last. Modernism attracted more and more criticism from the generations of designers, architects and artists. They felt that the abstract design vocabulary that had its roots in the early decades of the 20th century was now irrelevant in the new era of speed and drastic change, of television and other radical technological advances. They were inspired by, and found expression in, the exciting and vibrant movement of Post Modernism. Money was becoming more and more important and the social democratic ideology was starting to crumble. Modernists were completely disillusioned by this: the wars, consumerism and the fact that the younger generation discarded their ideals of science, universal values, organisation, objectivity, simplicity, elegance, principles and cause and effect. Today we too have many ideologies. According to Cambridge Advanced Learner’s Dictionary & Thesaurus an ideology is a theory, or set of beliefs or principles, especially one on which a political system, party or organisation is based.

YOUR PROJECT Design a poster in any medium to illustrate your opinion on one of the following ideologies: GLOBALISM | FEMINISM | MULTI-CULTURALISM | ECOLOGISM | CAPITALISM

Find the definitions of all of the above ideologies. Once you understand them all, decide on one to use as a topic for your poster. Your opinion on the ideology may be positive or negative, in other words you may be inspired by or be disillusioned by the ideology, but your point of view must come across very clearly in the way you communicate through your poster. You may use any medium or a combination of media and your poster should be on a minimum of A3 format. The name of the ideology should feature somewhere on your poster, but try to integrate it in your design and not just place it on top as an afterthought. Hand in your neat and well executed poster – if you made use of collage or photomontage and want to make sure it still looks neat, you may use a colour copier to make a final print, but this is entirely optional.

This haunting image makes the artist’s view on Globalization very clear. Your opinion obviously does not have to echo her opinion.

///// 341

DESIGNGRADE11

Section two: 3D Cardboard Houses Any future architects and engineers amongst you? 3D projects have an amazing way of teaching you a variety of skills especially if you are thinking of following a career in architecture or engineering. If so, then this project is really a good fit for you. INTRODUCTION It is a well-known fact that for many centuries paper, cardboard and rice paper or shoji have been used in the construction of domestic housing especially in earthquake-prone areas in Japan. Although Japan has traditionally used cardboard as a cheap and safe option, the use of cardboard as a conventional Western building material does not exist. However, with the introduction of innovative bonding, cutting and structural techniques, architects and engineers all over the world are now re-considering using this extremely low cost, transportable, lightweight, flexible and recyclable material to create a variety of durable designs, from houses to bridges… Cardboard Houses can be seen as a prototype that may serve to meet future housing demands in a way that is socially and environmentally responsible and aesthetically pleasing. For many architects and engineers, the use of cardboard as a building material is the answer to solving the housing problem across the world. For this project you will look at cardboard as a substitute building material for housing in South African townships and informal settlements. The Cardboard House project further involves working out a detailed written proposal, drawing up a detailed business plan including a future marketing plan, working out a financial statement that would give any investor a thorough insight as to costs and also any other unforeseen expenses for the investor. Each of you has to create a blueprint of the design and then make a prototype or model of the cardboard house. You also have to provide a list of ideas on ensuring waterproofing solutions. If you feel that you have what it takes to create a life-size model, please feel free to go for it but this is in no way compulsory. Throughout this project you are encouraged to look at a variety of ways to create a stronger cardboard by experimenting with different structural possibilities. These exercises can be quite challenging but highly rewarding. We have seen that there isn’t much you can’t do with cardboard. Cardboard is indeed a “wonder” material. For anyone who still thinks that cardboard is inferior to live in, sink your teeth into this – living in a cardboard house might be our future reality.

342 /////

MODULE3PRACTICALPROJECTS

Living in a cardboard house might be our future reality.

8 PROJECT

Cardboard housing Although statistics indicate that nearly 3 million houses have been build in townships all over South Africa, the reality is that more than 1 million South Africans still live in shacks. The desperate need for residential housing in township areas has furthermore been increased by unparalleled industrial growth, a sharp rise in the number of first-time buyers and a severe shortage of stock of residential property. Now more than ever, the provincial governments are aware that township dwellers are anxious, depressed and angry. For these reasons, the ruling government has called on developers to take action to effectively develop affordable housing. Their first stage is to implement temporary cardboard houses, which can be used later on as prototypes for houses made from other building materials. The ruling government has also stipulated that all proposed prototypes should be (1) constructed of cardboard, (2) a flat-pack design, (3) based on De Stijl and/or Scandinavian Design characteristics and lastly, (4) contain a detailed proposal and business plan.

///// 343

DESIGNGRADE11

STEP1 Research You have to start with a thorough investigation of the following: • visual research based on the main characteristics of De Stijl and Scandinavian Design styles • research based on a variety of flat-packed cardboard housing solutions • research based on a variety of structural or engineering uses for cardboard The following examples are architectural and structural engineering projects that can be used as inspiration for your company in creating a prototype house made of cardboard:

The Gifu Prefecture Regional Disaster Management Centre has come up with a rather novel idea to make emergency shelters for earthquake and other disaster prone sites. The latest in their modern emergency shelters comprises a cardboard box puzzle house called the Octagon (see images on the right). The short-term flat-pack (in other words it can be folded up into flat packs for easy transport before being unfolded and constructed on site) housing solution come fully packed in two boxes weighing 41 kilograms each. All you have to do is to open the boxes, assemble the pieces according to instructions, tape the roof together, cut out windows if you like, use the boxing that was used for packaging to make a floor, cover the house in waterproof sheets, and you’ll have yourself the swankiest emergency house in the neighbourhood.

344 /////

MODULE3PRACTICALPROJECTS

You might just also find the following examples revolutionary and a worthwhile read. Use their ideas to further develop similar ideas yourself.

Participants at the “Big Bang” Competition

Details of one of the constructions

The Institute of Structural Engineers took part in this year's Big Bang Competition which attracted more than 1,300 students from 60 secondary schools worldwide. The Big Bang Competition entitled “Think, Make, Test, Play”, brings 70 organisations from business, industry and government together to engage with young people taking science, technology, engineering and maths subjects. Students pitched against one another to build the most innovative and creative structure using 1,500 interlocking cardboard octagons. This challenge can certainly bring out the kid in all of us. It is interesting that they don’t invite designers to these teams. Somehow people still seem to underestimate the value that creative thinkers can add to such an innovative and problem-solving process. Maybe you should try to run your own competition at school where you invite teams that are representative of all four subjects: maths, science, technology and design and/or art. The designer Aza Raskin, turned to his childhood for his idea below. He developed the Bloxe, interlocking pieces of cardboard that click together like a life-size lego or puzzle. The cardboard puzzle pieces lock together to form sturdy life-sized building blocks that can be assembled into a variety of shapes and structures including office dividers, walls, play forts, benches, chairs, tables and houses. In fact, they are so strong that a car can safely drive over a large form capped by plywood. Wow! Aside from being a green product, the air spaces within the Bloxes help to dampen sound. Bloxes are flat-pack and fold up in modular building blocks in less than 10 minutes and best of all they are inexpensive.

Bloxes aren't ideal for outdoor-use, however similar shapes in plastic or another water-resistant material could work outside.

///// 345

DESIGNGRADE11

Credit to all pics: Bloxes Read more: http://news.cnet.com/8301-11128_3-9888750-54.html#ixzz1XBFCsEoV\

The Shellhouse, or temporary shelter above is a living portable design that can be used for addressing mobile communities. It is a collapsible cardboard shelter that comes in a variety of colours. This is a sensible solution for homeless people, migrant workers and nomadic societies. You should also investigate a similar concept to the Shellhouse, namely the “wearable architecture” designed by Lucy Orta. Very interesting indeed.

The following concrete building blocks are one of the most creative solutions we have seen in a long time. This may be the biggest invention since that long-standing, still-universal staple of the construction industry: the red clay brick. A single identical unit, multiplied by four, forms a rigid structural element – stack these and set them side by side, and you have nothing short of a material revolution.

346 /////

MODULE3PRACTICALPROJECTS

Created by Dror Benshetrit after years of toying with related geometries and building methods, this super-simple, gravity-driven block system has as many applications as one can imagine. It could be used for short-term emergency shelters, or to hold up bridges. The possibilities are endless. The interlocking L-shaped structures that make up the QuaDror system can be made thin for a trestle structure or thick for a solid . Either way, the structural integrity of the system is impressive thanks to its unique geometry. The system is collapsible, allowing QuaDror to be deployed, assembled and shipped quickly and easily, similar to flat-packed furniture.

Concept drawing of the QuaDror system

QuaDror, designed by Dror Benshetrit is a collapsible construction system that makes use of an interlocking L-shape structure.

///// 347

DESIGNGRADE11

Look at these material options on the right. The shape is not limited to the use of concrete – wood, books, even cardboard can be constructed around this geometrical concept and stand upright without risk of collapse.

Paper Tiger Products are home furniture items designed by Australian designer Anthony Dann. These cardboard chairs are inspired by origami and seamless construction. These flat-packed chairs take advantage of the deceptive strength of triangular folding and they are designed or engineered to withstand all the rigours of heavy use – making these designs very suitable for building housing or bridges. See if you can think of other design possibilities where this building structure can add great value.

Paper Tiger products

348 /////

MODULE3PRACTICALPROJECTS

?

DIDYOUKNOW The “paper architecture” by Japanese

architect Shigeru Ban, comprises an ongoing series of structures using paper tubes as the main building material. Spanning a number of uses from multiple refugee housing solutions for disaster zones in Rwanda, Japan, India and Turkey, the use of paper by Shigeru Ban has been a pivotal design solution with a firm ethical footing.

The paper bridge that stretches across the Gardon River in

Shigeru Ban designed a paper bridge which crosses the Gardon River in southern . Shigeru’s cardboard-tube structure is strong enough to carry 20 people at a time. It took 25 French and Japanese architecture students a month to build the bridge using 281 cardboard tubes. The steps are recycled paper and plastic and the foundations wooden boxes packed with sand. The bridge is open to the public for six weeks. The bridge is well designed and eco-friendly, but not waterproof.

Another design by Shigeru Ban is his Paper Tea House, made entirely out of paper and cardboard.

?

DIDYOUKNOW The above tea house, constructed

of square paper tubes, is a structure designed for indoor use measuring just over 5 metres long. Housing a table and four stools, the house also features a waiting area with a bench in keeping with Japanese tea ceremony.

///// 349

DESIGNGRADE11

8 PROJECT continue...

Your proposal, your blueprint

STEP1

Research (see page 344)

STEP2

Your proposal

Write a short proposal explaining why the De Stijl and Scandinavian styles had the most noted influence on your design style. Also explain why you think these styles where the best suited for your cardboard house.

STEP3

Your blueprint

Create an architectural blueprint of your design. A blueprint is a term used by architects for the final technical drawing of the 3D building before construction. It is done on scale and was traditionally done in white lines on a blue background, hence the term blueprint we still use today. It is expected of you to include the following in your blueprint: • an exterior view of the front (on scale and in perspective) • an exterior view of the side (on scale and in perspective) • an interior view (on scale and in perspective) Carefully look at the following example of this cardboard house in Australia. Feel free to source your own examples:

Exterior and interior views

350 /////

MODULE3PRACTICALPROJECTS

Architectural blueprint drawings of the Cardboard House

This cardboard house designed by Australians, should be a good investment. It is low cost and transportable. The roof is waterproof, made of durable HDPE plastic (used for water storage tanks). These houses are used as emergency housing, short-term accommodation or when permanent houses are being renovated or re-built. The cardboard house is conceived as a kit of parts comprising a flat pack of frames, and infill floor and wall s. It uses minimal fixings: nylon wing nuts, hand-tightened polyester tape stays and velcro fastenings are used to assemble the frames and protective skin system. The building can be assembled by two people in six hours. A series of repetitive portal frames are both spaced and stabilised by a standardised secondary structure, similar to the interlocking spacer sheets found in wine boxes. Once assembled, the structure provides a creative architectural frame from which the house derives its aesthetic. Fixed and moveable furnishings, floor systems, door and opening frames, lighting and other services all relate to the structure and layout. The roof covering is a lightweight material. Similar to a tent fly, the roof fabric assists in holding down the building, providing a diffuse light in the day and a glowing box at night. Water is collected in “bladders” underneath the floor which double as ballast to firmly hold-down the lightweight cardboard house. Which design styles do you believe had the greatest influence in the above design? Also think of other possible influences.

STEP4

Prototype

Create a prototype OR life-sized model of your design.

STEP5 Other

Also include in your proposal: • A list of possible to ensure a waterproofing solutions • A detailed business plan addressing funding, a swot and pestle analysis and a future marketing plan • Costing and pricing, setting-up time and any other expenses foreseen PUT THINGS INTO PERSPECTIVE: your architectural firm has decided to pitch

their idea to the government – a short-term flat-pack cardboard housing solution that can be constructed fast and with ease. The design has been patented and is ready to be manufactured. All that is needed is a green light from the government and some financial funding. FOR THE FINAL PRODUCT YOU CAN USE THE FOLLOWING CRITERIA:

• Creative, original and durable use of cardboard. • Flat-pack packaging idea incorporated in a do-able and easy to assemble fashion. • Exploring the structural strength of the design – through mathematical structures, e.g. octagons and pentagons or origami construction ideas. • Practical and workable waterproofing suggestions included. ///// 351

DESIGNGRADE11

ACTIVITY 4 For class discussion IS THIS ART OR DESIGN? Debate in class whether you would market the following examples as art or design? Justify your opinion and give reasons.

Artist and designer Luise Valdes collected many unwanted cardboard boxes for his latest installation Casa de karton or Cardboard House. The project is a life-size re-creation of Valdes’ apartment using cardboard tape and lots of white paint. All the objects in the apartment are made from old boxes that have been cut out and assembled into the form with a sketch-like outline for smaller details. All the boxes are whitewashed to give the space a surreal quality of a drawing that has come to life.

352 /////

MODULE3PRACTICALPROJECTS

///// 353

DESIGNGRADE11

Another good case study is Chris Gilmour who creates realistic life-sized sculptures of everyday objects. See the examples below. He is a master craftsmen and designer using only cardboard and his attention to detail makes his work unique and memorable. He uses only cardboard, cardboard tubing, strong glue and cutting equipment. He uses no ing structure or any metal frames. What was once disposable is now worthy, re-purposed and displayed in major exhibitions and museums.

Life-sized bicycle sculpture made completely from paper by Chris Gilmour

354 /////

MODULE3PRACTICALPROJECTS

Life-sized sculptors made from paper by Chris Gilmour

///// 355

MODULE3

PROGRAMME

MODULE3DRAWINGPROGRAMME

INTRODUCTION

?

DIDYOUKNOW that most colours carry with them

physiological, cultural, personal, emotional, and expressive implications and that certain colours can be so powerful that they can change the shape and size of a room itself, stimulate a range of feelings, provoke drama, and create a sense of warmth or cold.

Without colour, life as we know it would be like a black and white TV commercial. Colour is the number one element in a spruce-up world and adds beauty and diversity to all great designs. ONE OF THE MOST PROMINENT DE STIJL ARCHITECTS AND DESIGNERS,

PIET MONDRIAN HAD THIS TO SAY ABOUT COLOUR: My art was always intimately related to my spiritual and philosophical studies. I construct lines and colour combinations on a flat surface, in order to express general beauty with the utmost awareness. Nature (or, that which I see) inspires me, puts me, as with any painter, in an emotional state so that an urge comes about to make something, but I want to come as close as possible to the truth and abstract everything from that, until I reach the foundation of things…

“ ///// 357

DESIGNGRADE11

358 /////

MODULE3DRAWINGPROGRAMME

Piet Mondrian interpreted in a cool, calculated and mathematical way the foundation of all things as vertical and horizontal lines that create a grid filled with red, yellow and blue. In his own way he has created an “ordered universe or utopian ideal of spiritual harmony and order”. And why not? He did live though a devastating war-torn environment. Whereas Mondrian used colour and line to create harmony and balance in his life, Scandinavian designers used warm and cheerful colours. But have you ever wondered why? For a period of nine months, Scandinavians experience a dark and cold winter and for a short period of only three months per year, a bright and glorious summer. These climatic factors led to designers being influenced by the delightful natural world and the concept of a warm and homely atmosphere. Today we still see many contemporary designers fascinated by Scandinavian Designs and using these to create exciting and new interpretations. This project for term 3 are based on reinterpreting De Stijl and Scandinavian Designs and more specifically their use of colour and colour theory. And hopefully, after completing these exercises, you will come to realise and understand the complex scientific nature of colour, but more importantly, become intrigued by the vast and diverse uses of colour.



Note that both project 9 and 10 consist of two parts.

9 PROJECT

PART ONE A STAMP COLLECTION IN RED, YELLOW, AND BLUE.

The 50 and 65 cents stamps above were designed by Prof. Wim Crouwel from Amsterdam. The paintings Composition 1922 by Piet Mondrian was used as the main inspiration for the 50 cent stamp. Theo van Doesburg and his contra construction from the “Maison particuliere” (1923) was used as a strong reference for the 65 cent stamp.

///// 359

DESIGNGRADE11

Brief Create 3 commemorative stamp designs dedicated to the life and work of (1) Piet Mondrian (2) Gerrit Rietvelt and (3) Theo van Doesburg. Decide on an appropriate size for your stamps and carefully select your paper for this exercise.

Let’s experiment with the following drawing technique:

STEP1

Choose an iconic work from each of the above-mentioned De Stijl designers. Start by creating grey-scale drawings using a variety of HB pencils. We want you to use a stylised approach and a “flat” application for these stamps.

STEP2

Add colour by using only the 3 primary colours – red, yellow and blue. Yes, we want you to use the primary colours on top of the HB pencil drawing so that you can blend the colours in with the grey tones of the drawing. All three primary colours can be used in each stamp but we do want you to choose one different one per stamp, to be the more dominant colour. You may if you prefer, “flood” the whole background in a primary colour or stay with the grey tonal drawing and add the primaries as spot colours. NO SMUDGING IS ALLOWED.

STEP3

As with the HB pencil drawing, apply the colours as flat, even and solid on the surfaces.

!

A great tip is to always make sure that you use sharp and rigid lines and incorporate a linear perspective to create dimensional depth in your composition.

Do not forget to draw the outside perforated edge that is typical of stamps – see example below. Also that the typeface you select for your stamps must be a typical De Stijl typeface.

360 /////

MODULE3DRAWINGPROGRAMME

Presenting your final design Carefully consider how, in a creative way, you will present your final collection of stamps. It is advisable that this is done in an appropriate fashion. You might want to use a grid formation similar to what Mondrian created. You might even decide to present your final stamps as a full sheet of stamps. Use the included examples below to inspire you. To present a sheet of stamps would obviously mean that you either redraw each stamp which will be too timeconsuming or you can rather scan in your originals so that you can have repeat copies can be done on the computer. In this way you design a sheet of stamps before you print a colour copy of the full sheet.

Anel Dippenaar a Grade 12 student created these A4 stamp sheets. She first created one stamp and then duplicated the stamp to build up the stamp sheet / collection.

SUGGESTIONS: It is

possible to do this by using the Photoshop programme but we do know that you won’t all have access to this programme. So the best way is still to do the copying by hand and alternatively, to copy each with a photo or photocopy. If you do use Photoshop or any other computer programme make sure that the actual design of the stamps is first done by hand. You are not allowed to start the original design on the computer. Doing it by hand will give you a stunning hand quality you cannot mimic on the computer and you will deprive yourself of continuing to develop your hand and drawing skills.

///// 361

DESIGNGRADE11

A

B

Piet Mondrian, Composition with Red, Yellow and Blue (A) was influential in the sheet of stamps (B), both using a primary colour scheme typical of De Stijl designs.

9 PROJECT

PART TWO A POSTCARD FROM…

Brief Design a standard size postcard with some similar De Stijl characteristics. Glue your stamp designs onto the card. Design the front and the back of the post card - include all the standard details on post cards and don’t forget to include your personalised post office stamp.

362 /////

A post office stamp clearly seen on this old stamp above

MODULE3DRAWINGPROGRAMME

Do more research on vintage post card designs and “First Day Envelopes”. You will be amazed at the creativity and thought that went into the deg of these timeless and sometimes highly emotional and sentimental cards. Continue using HB pencils, colour pencils, and watercolour pencils for this exercise. Please select a thicker paper or cartridge for your postcard. Address the postcard to yourself, post it and after you have received it, scan the postcard in and start to think of other decorative or functional applications.

Examples of vintage postcards and even a Scandinavian “moose” post card.

///// 363

DESIGNGRADE11

Shown below, are a few amazingly functional and decorative design examples where stamps were clearly used as inspiration.

The rugs that are used as wall hangings were inspired by the stamps belonging to the Royal Mail in England and features Queen Elizabeth II. Machin produced the stamps and these carpets. They are available in various sizes and colours - purple, yellow, green, gray and pink.

364 /////

MODULE3DRAWINGPROGRAMME

Stamp with anti slip – on the left and above are playful and cheerful felt carpets designed by the German felt manufacturer Hey-Sign. These carpets have been inspired by the perforated edge and pinched markings found on stamps. Interesting how something that might seem so insignificant can inspire a new product.

The stamp jewellery on the left and below called Marianne of the Republic of Hope was designed by Louis-Charles Muller.

///// 365

DESIGNGRADE11

Designer Steven Shailer used the idea of stamps to create the map of the world on this divider and bookshelf on the left and below.

The above Bon Journal Cushions were inspired by vintage postage stamps and post cards

366 /////

MODULE3DRAWINGPROGRAMME

Postal Seance written by Henrik Drescher is another fantastic book. It is a “scientific investigation into the possibility of a post-life postal existence”. It explores, with a series of beautiful post cards, the possibility of sending post cards to dead people through a postal portal. A bit eerie, don’t you think?

?

DIDYOUKNOW The light reflectance value [the lightness

or darkness of a colour] is one of the most important areas in any composition as the effective use of tone in a scene helps create the drama or mood of the scene. The use of different tones and colour (hues) not only alters the mood of a design but it also effects our perception of size and form.

///// 367

DESIGNGRADE11

10 PROJECT

PART ONE SETTING THE SCENE FOR A GREEN TONE OR MOOD PABLOPICASSO IS QUOTED AS SAYING: They’ll sell you thousands of greens. Veronese green and emerald green and cium green and any sort of green you like; but that particular green, never.

“

For this exercise you have to produce 3 tonal scales: (1) gray tonal scale (2) a green tinted tonal scale, and (3) a tonal scale of shades of green.

1) To understand how a range of tones is created, you have to be able to create first a gray tonal scale. Create at least 12 different tints and shades of grey. The preferred technique here would be to use a variety of HB pencils ranging between 2H – 8B. Most learners would have an HB. It is suggested that your teacher supply 2H and 2B or 4B to the class if possible, of course. Use the included example below as guidance. 2) Repeat the same idea, but this time using only colour pencils. You may also use watercolour pencils, OR if you prefer, watercolour or ink. Mix your own green and then create as many tints as you can by adding white and yellow to create each tonal variation. (3) Lastly, repeat exercise (2), but this time using black and blue with the green to create the shadows. Create as many shadows as you can. Continue using for both (2) and (3) the same medium.

1

2

3

368 /////

MODULE3DRAWINGPROGRAMME

: Creating a tint doesn’t necessarily mean adding white, or for a shadow, adding

black. For instance - the type green you mix will depend on which yellow(s) you mixed with which blue(s). To get a lighter tone green, try adding yellow, not white. To get a darker tone green, try adding blue and not black.

!

When using black– try adding a blue or a green to it. Black can be very “dull” and “flat” and by adding a colour it becomes more vibrant.

THE IMPORTANCE OF TONE AND COLOUR If you don’t get your tones right, you will only be creating visual noise.

A

B

C

The painting of the Mona Lisa in A – has no hue [colour] values, but gives a sense of form and modelling. The painting in B is created with using only pure colour – no tone, tint or shade was used, creating a flat and lifeless feel. The final image (C) used tone and colour and subtle blending of many different tones. Tone refers to how light or dark a colour is, rather than what the actual colour or hue is. It's important to realise that tones are relative, that how dark or light they seem depends on what's going on around them. A tone that's obviously light in one context may seem darker in another if it's surrounded by even lighter tones. Also go back to your Grade 10 work when you discussed colour in more detail. This knowledge will greatly help you in this project.

?

DIDYOUKNOW The number or range of tones that can be

produced also varies. Lighter hues (such as yellows) will produce a smaller range of tones than darker ones (such as blacks). You might think that this is a boring activity, but if you do these basic colour theory exercises you will be able to apply the colour theory knowledge to any type of product, imaginable. That is exciting!

///// 369

DESIGNGRADE11

Here are a few amazing examples of designers who used the actual colour pencils to create amazing sculptural designs. Their inspiration was clearly the colour wheel, colour schemes and tonal values. Felissimo designed the below pieces by using 500 coloured pencils. These pencil designs are based on reinterpreting the colour wheel and the tonal scale of each colour. You can use your imagination here and stretch or roll out the design, creating new shapes.

The colourwheel interpreted by Felissimo using 500 coloured pencils

Maria Cristina Bellucci is a jeweller who has developed her own style in making jewellery from coloured pencils. Bellucci’s use of colour and contrasting geometric forms are effective in creating modern and unique jewellery. The way in which she slices and sands the pencils back exposing the interior lead, creates distinct interest in and curiosity about each piece. Jewellery these days is usually made from precious materials, gems and wire, so the fact that these works are composed mainly of pencils adds another dimension – sustainability, playfulness and surprise.

Jewellery designed by Maria Cristina Bellucci, using coloured pencils as her main choice of material

370 /////

MODULE3DRAWINGPROGRAMME

OGILVY’S CAMPAIGN FOR GREENPEACE Greenpeace has earned a global reputation for environmental activism. One of their campaigns is to petition the United Nations to turn 40% of the planet’s oceans into marine reserves to preserve sea life for future generations and for sustainable fishing. To encourage people to sign the online petition, the agency, Ogilvy, created a series of posters featuring sculptures of various sea creatures – anemones, starfish, sponges - made from pencils. In a literal sense, each pencil represents the difference each signature can make to the preservation of various forms of sea life.

Jennifer Maestre turned her obsession with pencils into awesome pencil sculptures. Her works were originally inspired by the form and function of the sea urchin. Here, pencils are the common objects that were used to create these anonymous structures.

This campaign for Greenpeace “Save our seas” eventually won Ogilvy a Craft Gold at the Loerie Awards in 2008. www.theloerieawards.co.za

///// 371

DESIGNGRADE11

The following examples were also part of the Greenpeace “Save our seas” campaign done by Ogilvy and all 3D pieces designed by Jennifer Maestre

372 /////

MODULE3DRAWINGPROGRAMME

11 PROJECT

PART TWO SETTING THE SCENE FOR A GREEN TONE OR MOOD A Scandinavian cup of coffee In Scandinavia, drinking coffee is a very important social and personal activity and interaction. Coffee is essential for a variety of events to be “hyggeligt”, a Scandinavian word meaning ‘cosy.’ Similar to the Dutch word, “gezellig” - a warm, homely and inviting atmosphere. Taking into these facts, create in the true Scandinavian sense, a coffee cup wrapper by re-using styrofoam, paper or plastic cups and creating a simplified, minimalistic design that is functional, relatively cheap and can be mass-produced. to try to find out if the materials you want to use are all environmentally friendly and therefore a more sustainable choice. If not, styrofoam or plastic cups for instance can be upcycled by using them as materials to design a brand new functional product with a much longer life-span than the original cups. It is all very possible if we put our creative thinking and problem solving skills to work. Build up at least two pages of visual information that includes prominent Scandinavian patterns. Use these patterns to created your own Scandinavian design. Your interpretation can be geometric or organic, abstract or figurative. : Use only line and the tonal values of one secondary colour to show how these

elements can alter our perception of size and form. See grade 10 text book on the use and effects of vertical and horizontal lines. If you decide to use other secondary colours, please to mix them and not to use the existing colour, in other words, for orange (red and yellow) or for purple (blue and red). TECHNIQUE: Use a good quality paper to create your cup wrapper. Use only HB pencils,

colour pencils and/or watercolour pencils and a black fineliner for this exercise. Create the first designs in black and white fineliner to see the effect of vertical and horizontal linear patterns on size and form. Use the example by Filippa K included below for guidance.

Filippa K, a leading Scandinavian designer created these ceramic Espresso cup designs. A far more environmentally friendly material than styrofoam cups.

///// 373

DESIGNGRADE11

On the right you can see an example of a paper coffee cup wrapper. The design was clearly inspired by a Scandinavian pattern (Designer unknown). The use of vertical lines and tonal values of orange created an elongated illusion.

Many Scandinavian designs make use of strong outlines. Keeping this in mind, create outlines in either white or black. “Flooding” the background with a colour would strengthen the contrast and create positive or negative lines. to use a waterproof fineliner that does not “bleed” when you start to use watercolours, ink or any other liquid colour.

A South African designer, Heather Moore created this drying cloth. Adding more tonal values to this already creative design, would add more dimension to this Scandinavianinspired design.

Here are a few innovative 3D uses of paper and Styrofoam cups Using reclaimed cups, a group of Japanese designers created a honeycomb wall. The designers Chengyuan Wei, Guanyun Wang, Ye Tao, Jianxing Cai, Chao Chen and Xuanxing Yang came up with this up-cycled lamp.

374 /////

MODULE3DRAWINGPROGRAMME

Each paper cup was first cut in half length-wise, and then arranged in a scalloped roof-tile pattern held together with glue. Resembling a fish-scale pattern, the lamp’s shape slopes into an organic half-egg shape. Go to Vimeo.com/m/22938952 and watch “Rays” to find out another unique quality of this lamp.

Tara Donovan is an inventive sculptor whose site-specific sculpt ural installations bring wonder to the most common object of everyday life. Her works transform ordinary accumulated materia ls into intriguing visual and physical installations. Choosing a single object – such as a Styrofoam cup – Donovan experiments w ith assembling it in different ways.

///// 375

DESIGNGRADE11

Sensitive to the specific needs of her materials and the nature of her exhibit spaces, her installations are often arranged in ways reminiscent of geological or biological forms. A perfect example is the “Untitled” cloud formation that you can see in the images on the left. This she created in 2003 from Styrofoam cups and glue.

A Cloud formation designed by Tara Donovan

?

DIDYOUKNOW Although we are fascinated by these

styrofoam designs, we should never lose sight of the fact that these recycled designs address our social responsibility. The basic problem with styrofoam, paper or plastic cups is the environmental problems associated with them. The problem is further enlarged by their widespread usage among coffee drinkers. According to the paper industry, Americans alone use up to 23 billion paper cups per year. We know that a lot of coffee cups are used and thrown away every year. When you take into consideration the amount of natural resources and waste that comes with this widespread use, the numbers can be staggering. So next time you are drinking your coffee from a styrofoam, paper or plastic cup, think about your contribution to a more, or less, sustainable world. Are you a leader or follower?

376 /////

THEORY BUSINESS CONTEXT PRACTICAL DRAWING

DESIGNGRADE11

CONTENT THEORY: 4 GLOBAL TRENDS/INFLUENCES Time line

380 - 381

INTRODUCTION 383 WHAT IS POPULAR CULTURE AND HOW DOES IT RELATE TO GENERATION Y? 384 INTERNATIONAL POPULAR CULTURE 391 SUBCULTURES VS POPULAR CULTURE 393 REVIVAL AND RETRO TRENDS

394

POPULAR CULTURE FROM HISTORY

•

Glamour, Jazz, Hollywood and the Bauhaus









395



•

Roaring twenties















396



•

Pop Art – 1950s















400



•

Op Art – 1960s















401



•

Space race – first moon walk













402



•

Hippies of the 60s













403



•

1970s – Alternative ideas and Street Culture









404



•

Start of global awareness of environmental issues







404



•

Youth culture, disco and punk



•



















405

1980s, fashion, music and Hip Hop











406

•

AIDS awareness became a global focus











406



•

From Popular Culture to environmental concerns







407



•

Victor Papanek: The “founder” of responsible design







409



•

Julie Bargmann: How can DIRT change the planet?







413



•

Blue Marmalade & Animal Farm: How to make cool products responsibly



417



•

Adriana Bertini: Fighting AIDS through fashion





422



•

Illustration and hand quality in South African Popular Culture



426 – 428



The Rise of Pop Culture and Eco-Design 1912 Titanic sinks

Technology & New Materials

World Events

1896 Maison de l’Art Nouveau opens in Paris

1922 Tomb of King Tutankhamun found

1910 Union of South Africa

1929 Wall Street crash. 1928 Mickey Mouse invented

1906 Kelloggs Corn Flakes launched

Social Impact

1890 1919

1914

Art Nouveau

1932

1925

Bauhaus

WWI 1918

1905

1939

1933

Art Deco 1939

Reviewing Gender Roles at the Bauhaus

Beese, Lotte. c.1927. Women weavers at Bauhaus

Art Deco Freedom The Flappers

These new independent women, who were referred to as ‘flappers’, lived in a free manner, unconcerned about what society expected of them.

Art Deco Glamour & Escapism Tamara de Lempicka, 1928, Potrait of Arlette Boucard

Alphonse Mucha’s Poster One of the main design elements in popular culture during the Art Nouveau period is the depiction of women as creatures of beauty and inspiration.

380 /////

GLOBAL TRENDS / INFLUENCES 1940 Commercial TV launched (USA)

Timeline Module 4

1945 Microwave Oven

1989 Internet commercialised 1969 Neil Armstrong walks on moon

1941 Japan attacks Peal Harbour 1942 Walt Disney’s Bambi released

1969 Woodstock

1955 1st McDonalds opens (USA)

1958

1973 Energy Crisis 1989 Destruction of Berlin Wall

1971 Green Peace founded

1978

1965

2001 1st Generation iPod launched

2004 Facebook launched

1988

today Pop Art

WWII

Postmodernism 1972

1945

Deconstructivism

Op Art

Modernism 1955

1973

80s Colour & Excess

60s Alternative Views

50s Conformity

Modanna has been an icon of popular culture for over three decades. Her career was launched in the 1980’s,

Bridget Riley, Current

There was no room for experimentation or rebellion and popular culture of the 50s reflects this conformity and family orientation.

Social Media 60s Rebellion & Psychedelia McCLEAN, B. 1960’s Concert Poster

Papanek & the Environment

Facebook and other platforms like Myspace changed the way people communicate.

The 1st edition of Design for the Real World in English published in 1971.

60s Rise of the Consumer

Richard Hamilton’s 1956 ‘Just what is it that makes today’s home so different, so appealing?’

Popular Movies 70s UK Punk

John Lyndon, lead singer for the famous punk band Sex Pistols in the 1970’s

Movie franchises form an inportant part of popular culture, like the Harry Potter series.

///// 381

MODULE4

MODULE4THEORY MODULE1THEORY

SUCCESSFUL DESIGN IS GROUNDED IN AWARENESS

Designers must develop a keen responsiveness and sensitivity to the world around them. This doesn’t only refer to new technologies and new trends but also to the social and environmental factors that influence an individual, community, region or country. This level of awareness will result in successful designs that not only reflect the hopes and needs of the target market, but also designs that are non-harmful on social and environmental levels. This final chapter will discuss two different elements that a designer should always consider, which are the social and environmental impact of everything they think and do. So, on the one hand, popular culture is discussed as one aspect of social awareness and this will help you understand why there are popular ideas and products in our world. On the other hand, we introduce the triple bottom line, an awareness of environmental, economical and social awareness through sustainable design and introduce the work and vision of four influential designers.

///// 383

DESIGNGRADE11

But, what is Popular Culture and how does it relate to Generation Y? Before we can look at examples of popular culture, or pop culture as it became known, it’s important to understand what pop culture is and what it represents. Pop culture is all around us, represented by the movies, television shows, artists, music, fashion and even vocabulary which is used and accepted by the *mainstream. Pop culture goes even deeper and can also include beliefs and attitudes. Popular culture doesn’t refer to what you as an individual may like or dislike – it is much bigger than that and often represents the elements, people and media which are recognisable from a particular period. Popular culture, as an idea, dates back to the 19th century, but really became a better defined concept from the 20th century. Many historians believe that popular culture, as we understand it today, began during the Industrial Revolution. Before the industrial period people lived on farms or in villages and led very traditional lives which didn’t change much over the years. With the start of the Industrial Revolution people moved to cities and for the first time in history large urban centres were formed. People from many different villages, and even countries, lived and worked together in the city. Collectively certain tastes developed due to the mixing of popular ideas and objects of people from a variety of different backgrounds and cultures. In cities, people moved away from the traditional and very stable culture to one which changed quickly and was accepted by the majority. The driving force behind spreading new ideas was the mass media of the industrial period – flyers, newspapers, posters, ments and many other forms of media informed people of new ideas, trends, fashions, products, etc. A key thing to is the idea of change. Traditional culture doesn’t change much but popular culture can change in an instant. This is what makes popular culture what it is. Originally the term popular culture had a negative connection, suggesting that the popular culture was not as developed or refined as the culture of the wealthy and educated. Although it is not always true, you can generally align popular culture trends with specific generations; in this sense popular culture will always refer to the culture of the people at that specific time in which they lived. At the moment we refer to the predominant generation as Generation Y, also known as Gen Y, Millennials, and the Net Generation. Individuals who belong to Gen Y were born between approximately 1980 and 2000, and differ greatly from the generation born before, called Generation X. Gen Y individuals are digitallyminded and consider technology and digital devices as part of their everyday existence. They are also more environmentally aware and tend to be more accepting of others. These are just a few characteristics of Gen Y. Defining a generation like this makes it easier to understand events, behaviours and preferences of a collective. This knowledge is very important for a product designer as the design of a new MP3 player for teenagers will be determined by that generation’s characteristics which will also determine how complex or simple the interface should be made. In fashion, for instance, the designer can determine trends in patterns and fabrics. The teenagers and young adults of a generation tend to follow popular culture, ed by the media, which encourages what is considered fashionable and “now” in magazines and on radio and television. The general acceptance of popular culture is what makes it mainstream, but various groups and individuals will go out of their way to avoid mainstream elements and form part of what is known as *subcultures.

* 384 /////

The noun “mainstream” refers to the general and dominant trends in society with regard to opinions, fashion, entertainment, the arts, media, technology, etc. Mainstream represents the ideas and opinions of the majority in society. A subculture refers to a group of individuals who have opinions and interests, which differ from those of the majority and general culture. A subculture can be seen as those who do not adhere to mainstream culture.

MODULE4THEORY

The Last Two Decades of Popular Culture You are part of today’s popular culture – it is all around you. Look at the musicians featured in music stores, look at the clothes and shoes your friends are wearing, listen to the radio and watch TV. Musicians and bands like Eminem, Britney Spears, Lady Gaga, Katy Perry, Beyonce, Christina Aguilera, Girls Aloud, Kanye West, Black Eye Peas and Rihanna are all part of popular culture because most people know who they are and many listen to their music.

Girls Aloud, a British-Irish female Pop group.

Lady Gaga wearing a dress made from meat at the VMA awards. The dress is merely one of the bizarre costumes that the performer had worn. Her strange fashion sense is one of the elements which is recognised in popular culture.

Britney Spears

The debut solo album, Dangerously in Love, by Beyonce in June 2003 established her as a dominant solo artist.

Eminem

///// 385

DESIGNGRADE11

In the 90s bands like Nirvana, Alice in Chains and Sound Garden formed part of the influential grunge movement – then a major element in popular culture. On the less rebellious side of popular music in the 90s were boy bands such as Back Street Boys and Boyz II Men.

Photograph of Kurt Cobain, from the 90s band Nirvana, taken by Mark Seliger. This photograph was featured in Seliger’s curated show Celebrity Icons.

“Boyz II Men”

Some artists, like Madonna, manage to stay part of popular culture even through decades and generational change.

Madonna then and now (on the left and above), at the 1985 American Music Awards and on promotional material for the 2005 Confessions

“Confessions on a Dance Floor” album by Madonne.

386 /////

It is not only the music of these musicians that filters into popular culture, it is also what they do, wear and say. Music and film celebrities play a key role in determining what will become part of the larger popular culture.

MODULE4THEORY

Today movies like Harry Potter, Pirates of the Caribbean and Avatar enjoy international success.

The Pirates of the Caribbean movie franchise starring Jonny Depp.

The Harry Potter series of books by J.K. Rowling and the movies based on the books were an international success.

The Vamipre Diaries, based on books by L.J. Smith

The Twilight Saga based on books by Stephenie Meyer

Many Gen Y individuals grew up with the Harry Potter franchise. Television, just like films, contributes greatly to popular culture. In the 2000s animated shows like Pokemon and Dragon Ball Z were, and many still are, incredibly popular as well as investigative programmes (CSI, Law and Order, Bones, etc.) the vampire revolution (Vampire Diaries, True Blood, Twilight, etc.) and numerous reality television programmes. The 2009 movie Avatar, by James Cameron, is one of the most iconic science fiction movies in current popular culture.

///// 387

DESIGNGRADE11

In South Africa shows like Idol keeps viewers glued to their screens for weeks. An interesting development in popular culture is the increase in audience participation. Reality shows such as Idols, Big Brother South Africa, You think you can dance, Master Chef and a number of American and European television shows link the outcome of the contest to votes from the audience. This is an incredible marketing strategy because if the show offers you the opportunity to get involved you will be more likely to watch it, thus it becomes more popular. Besides the ‘talent’ based reality shows like Idols, there are a number of reality shows which tap into the darker side of human nature. Cosmetic surgery, crime re-enactments and medical procedures are all shown in detail, like the American reality programme Bridalplasty in which women take part in wedding-theme challenges in order to win various cosmetic procedures. Whether it is strange, funny or dramatic, reality television programmes are a core element in today’s popular culture. During the 90s popular television programmes were focused on social interaction. Programmes like Friends, Seinfeld and Melrose Place all offered viewers an opportunity to share in the lives and relationships of the characters.

The cast of Friends, a popular television programme in the 1990s and 2000s.

Although the programmes may have changed, the power of television to drive popular culture remains. During the last two decades technology has established itself as a key player in the development of popular culture through the Internet and improved digital devices. In popular culture from the 1980s and 1990s some of the most impressive and successful digital devices include the portable CD player (launched in the mid 1980s) and the Tamagotchi. A Tamagotchi is an egg-shaped portable device containing a virtual pet in which you have to feed, play with and tell to sleep. Believe it or not, Tamagotchi sold more than 40 million units after it was launched. Digital developments in the 2000s have been more dramatic and more frequent. With the launch of the first generation iPod in 2001, Apple succeeded in producing a music device that made listening truly portable. The portable cassette player, such as the Sony Walkman, and the portable CD player from the 1980s and 1990s, required a cassette or CD to function.

388 /////

The Tamagotchi, originally launched in 1997, became an international sensation in the late 1990s selling more than 40 million units. The device simulates a pet – you have to feed it, let it rest, etc.

MODULE4THEORY

The iPod made it easier to listen to music on the go, had space for more songs (the first generation was launched to put “1000 songs in your pocket” and was designed to be sleek, portable and friendly). The bulky design and often confusing interfaces of digital devices in the 1990s was a thing of the past. Jonathan Ive, an industrial designer designed the first generation iPod, and is credited for Apple’s design approach since the early 2000s. Apple has continued to develop and expand their ranges, which today include mobile phones, portable music and storage devices, all with a major focus on the design aspect on all levels might it be the interface or the aesthetics of these products. Both the Apple devices and the Apple visual media and ments form part of current popular culture. The flat, silhouetted figures used in Apple’s campaign became instantly recognisable.

First generation iPod

The Apple ment for the Ipod. Apple chose a very simple vector style for ments which was easy to understand and highly recognisable.

The development of various digital devices forms only one part of the effect that technology has had on popular culture, the other relates to digital environments. For the first time in history we are communicating more through devices than face to face. Cell phones, e-mail, blogs, Tweets, updates, etc. form part of modern communication. The digital environments in which we engage like Facebook, Twitter and My Space (referred to as ‘social media’) have changed the way we interact and communicate. The Internet has also changed how we interact with information – no longer do we rely on newspapers, television and radio to tell us about the world, we can information ourselves making it instantly available to everyone. The instant access that we have to information from across the world makes our world a very small place, a *global village. Although what we watch and listen to, as well as which devices and technologies we use, form part of our popular culture, it is our fashion that represents the most visual aspects of our popular culture. Our clothing, hairstyles and accessories tell the story and form the visual expression of our ideas, opinions and taste. Fashion trends are influenced by iconic figures such as musicians, actors, sport heroes and other popular figures. Although we don’t know these individuals personally, we live as though we do. Magazines and entertainment programmes tell us about their relationships, hardships and the problems they face. Not only do we love to know who is dating whom and who recently broke up, we often mimic their fashion trends. This concept links to association – through dressing and styling yourself like a famous person you hope to create an association.

*

Designer jeans have become a fashion standard. Guess from the 2011 Berlin Fashion Week

A Global Village: This phrase was made famous by Marchall McLuhan and refers to the idea that, through the Internet and new technology, distance and time difference become irrelevant. Due to technology, information is instantly available no matter how far people are from one another – almost as though the whole world was only a small village.

///// 389

DESIGNGRADE11

Leggings from various 2009 collections.

Alternatively, there are those individuals who go against popular fashion trends, referred to as antifashion, thus making a rebellious statement regarding popular or mainstream fashion, ideas or culture (links to subcultures). Mainstream fashion from 2000 onwards has made reference to a number of previous styles, added together in an *eclectic manner. Vintage clothing, Bohemian style fashions, “hobo”-style fashions (a trend in fashion that mimics layering and colours of clothes worn by homeless individuals), skinny leg tros, the “designer” jean, hipster fashions, leggings and bright retro 1980s accessories all feature in contemporary popular culture. Many fashion designers collaborate with others to strengthen or expand their brands. John Varvatos is a well-known fashion designer who used the famous British band Franz Ferdinand in his 2009 campaign.

2009 John Varvatos ment featuring British band Franz Ferdinand.

* 390 /////

Eclectic: Eclectic refers to the practice of taking elements, characteristics or ideas from different sources. In fashion, for example, if you combine a dress from the 1950s, a 1980s synthetic jacket and jewellery from the 1920s Art Nouveau period you would have an eclectic outfit.

MODULE4THEORY

Varvatos’s fashion designs represent a number of popular culture trends including hipster and “hobo” trends. It is often difficult to clearly define the popular culture of the era you are experiencing. We can clearly define popular culture of the 1980s or before because we view the era as a whole. If you want a clear understanding of popular culture today, observe everyday people between the ages 15 and 35 around you: what are they doing, saying, listening to, reading, thinking about and wearing? That is contemporary popular culture.

Hipster/Hobo fusion in John Varvatos Fall collection at the 2011 Milan Menswear Fashion week.

International Popular Culture Two of the main characteristics of popular culture are firstly, that it is constantly changing and secondly, that it is specific to a region or country’s general population. It is important to note that popular culture may differ from one country to another. There are international trends and iconic figures (such as musicians, film stars, television stars or sport personalities) which form part of popular culture on a global level and there are specific elements which relate to individual countries or regions such as Eastern countries like China and Japan. Hello Kitty is an example of Japanese kawaii

Contemporary Japanese culture is an integration of traditional Japanese ideas, beliefs and practices with those from Europe and America. An interesting aspect of Japanese popular culture, which is unique to the East, is kawaii. Kawaii relates to the idea of ‘cuteness” and can be seen in numerous characters in Japanese culture. Modern kawaii is rooted in typography from the 1970s. Young Japanese, mostly females, began using a more informal style of writing with a decorative characteristic. A Hello Kitty notebook launched in 2009 by Epson Japan.

///// 391

DESIGNGRADE11

The Hello Kitty theme park in Kawaii Paradise in Tokyo

The concept became ingrained in Japanese culture during the 1980s when many teenagers and young adults rebelled against the traditional and harsh concepts of adulthood. Today kawaii can be seen on numerous products, packaging, toys and as mascots for companies. Hello Kitty is one example of Japanese kawaii which has now also become popular within Western cultures.

Another element of Japanese youth culture is street fashion. The elaborate style of traditional Japanese clothing merged with Western concepts or ideas like kawaii is often referred to as the Harajuka style. Harajuka refers to the area around Harajuka station where Japanese teenagers and young adults express their personalities and ideas through fashion. There are a number of styles that can be identified within Harajuka such as Kawaii style, Gothic Lolita and Kei (or Visual Kei).

Japanese Kawaii or “cute” street fashion

Japanese Kawaii elements and street fashions are only two elements which form part of Japanese popular culture. *Anime and *Manga are two other art forms which are associated with Japanese popular visual expressions. Both are depictions of life and adventure in fantasy or science fiction worlds, the one uses traditional print as a medium and the other uses film. At one stage Manga and Anime were unique to Japanese culture, but over the years these art forms have become popular in Western cultures as well. 392 /////

MODULE4THEORY

Gothic Lolita refers to a female style of dress consisting of frills, dresses, hats, hair bands, etc. Outfits can be light and almost childlike or more elegant and sophisticated. This cover for the book “Gothic & Lolita” depicts typical light Lolita wear.

Visual Kei Street fashion, often worn by musicians is characterised by elaborate make-up hair styles and clothing. Versailles is a Visual Kei metal band. (the name and the costume selection is taken from the Rococo period in )

As designers it is important to understand the popular culture and how it impacts on products and design in general. It is also important to be aware of the fact that not all people have the same cultural perspectives. A successful designer always analyses this situation and does thorough research before making reference to popular culture in their design – it is vital to first understand it, before you can use it successfully.

Subculture VS Popular Culture A key aspect of being human is the desire to express our individuality. This can be very subtle or extreme, and is represented through our choice of clothes, accessories, music, beliefs, use of language, etc. When we conform to the general ideas and practices around us, we are part of the mainstream. Many individuals and groups however do not conform to the mainstream and express themselves in a unique (often extreme or bizarre) manner. These groups of individuals form their own subcultures. Well-known subcultures include Punk, Goth, Emo, Rock-a-Billy, Rave, surf and skateboard cultures, etc.

*

John Lyndon, lead singer for the famous punk band Sex Pistols in the 1970s He is wearing a Ben Sherman shirt with lettering stenciled on like an escaped convict with added safety pins

Manga: Japanese graphic novels, comic books and cartoons with mostly science-fiction or fantasy subject matter meant for more mature readers. Anime: Japanese animated film and television programmes. The subject matter is mostly science-fiction or fantasy based with explicit content.

///// 393

DESIGNGRADE11

Subculture offers individuals and groups an opportunity to freely express what makes them different, however subculture elements can become part of popular culture. Skateboarding, graffiti and tattooing use to be completely taboo practices, but over the years advertising companies and fashion designers have started using the images and ideas from these and many other subcultures. As these ideas and images become part of the everyday world as we see it in magazines and in shopping centres, their elements of rebellion are displaced and so they start to also form part of popular culture.

Revival and Retro trends We live in a world that is obsessed with the “new”: a new model car, a new cell phone model, a new range of clothes, any new product really. It is important to note that many of the “new” items and trends in our modern world relate back to past styles or concepts. The bohemian fashion styles, the “skinny” pants, neon colours, bold geometric prints, sustainable materials and many more modern design elements are inspired by styles from the past. The inclusion of these past styles in modern design means that elements from historic popular culture can be reintroduced into contemporary popular culture. Past styles can either be revived or they can simply be used again, which is referred to as “retro”. “Retro” is the Latin term for “backwards”, as can be noted in the meanings of both *retrograde and *retrospective. Retro styles and designers mimic design styles from the past. There is usually at least one decade or more between when the style was originally produced and the modern reproduction. Retro styles can be specific, for example, just using a pattern or a single design element from product styling, or it can be a more general introduction, in which case the total style comes back in fashion. Retro can be applied to fashion, product design, advertising, music, etc. Examples of retro styling that use 1950s and 1960s style characteristics include the Mini Media Centre, designed by Thomas Thomassen, The Teac CD/Clock-radio and refrigerators produced by Big Chill.

A Mini Media Centre designed by British design student Thomas Thomassen is an example of retro styling.

Big Chill, an American company specialising in retro styled refrigerators.

* 394 /////

The 2006 The SL-D900 CD/Radio/Clock from Teac is designed using inspiration from 50s styled appliances and automobiles.

Retrograde: The practice of focusing on past experiences and history rather than moving forward and embracing the future. Retrospective: This refers to “looking back” or contemplating the past. An artist can have a retrospective exhibition in which works from his/her past are exhibited to showcase his/her body of work.

MODULE4THEORY

These products all make reference to the curved edges, smooth lines and horizontal design that were characteristics of 50s and 60s design. When a style is revived, designers and artists are inspired by the style and use elements and concepts from that previous style. Revival style design can include actual design elements which are re-used or it can use the previous style and combine it with modern elements to create a new style. The new style has key characteristics from the historic style or period, but it is a development of the old style. Revival is very similar to retro, but the term is generally used to describe a longer period of inspiration (mostly dealing with furniture design and architecture). So, whether you are producing a single “retro style clock radio” or, whether you produce furniture in a “revival style”, history remains the inspiration. , there is a difference between creating a retro design and copying a design. Simply copying someone else’s design is a form of *plagiarism and can have severe consequences concerning your design integrity and you might very well be facing legal action against you. So be warned.

Popular Culture from history We have already discussed the inclusion of historic styles in modern design through revival or the creation of retro elements. Designs from the past tell the story about the people who created it and the era in which they lived. Visual expression is very much shaped according to or because of the social conditions at hand. This means that our visual expression, our art and design, are influenced by what we are experiencing. This is further influenced by a number of factors including war, financial insecurity, prosperity, political issues, etc. Everything that influences you as a designer will have an impact on your visual expression and will also play a role in the development of popular culture. Popular culture is not a new concept – it is merely the accepted culture of the majority of people at any given time. A brief discussion on trends within popular culture over the last century will help explain the impact of social factors on popular culture and the changes in trends during the 20th century.

Popular culture is not a new concept – it is merely the accepted culture of the majority of people at any given time.

GLAMOUR, JAZZ, HOLLYWOOD AND THE BAUHAUS The beginning of the 20th century was a period of change and experimentation. It began with Art Nouveau, a term that refers to the European movement that was highly productive during the last part of the 19th century. This movement began around 1890 in Europe, peaked during 1900 and began fading just before WW I. The name Art Nouveau comes from the interior design gallery called Maison de l’Art Nouveau that opened in Paris in 1896. This movement was characterised by its defiance of accepted aesthetic values and disgust at the social and moral standing of society during this period. The world had started to change, woman were given the right to vote (the first independent country to give women the vote was New Zealand), technological developments were constant, industries were developing and anything seemed possible. This viewpoint was shared with of the Arts and Crafts movement, and a cross pollination between theories and ideals can be noticed between the movements.

*

Plagiarism: Plagiarism is when you take an idea, design, concept from someone else and pretend that it is your own work.

///// 395

DESIGNGRADE11

1800s One of the main design elements in popular culture during the Art Nouveau period is the depiction of women as creatures of beauty and inspiration. ments and designs featuring women during the 1800s were all very conservative and restricted, but during the Art Nouveau period women were represented as sensual creatures, free and rather mysterious. One of the most famous graphic designers during this period, was Alphonse Mucha, a Czech designer that was working in . Mucha produced prints, posters, paintings, ments, illustrations as well as theatre set pieces and various product designs. In his works women are depicted in flowing gowns with long flowing hair. Art Nouveau posters represented a new style for a new world; however the start of WWI changed everything.

Mucha’s An ment design for Moët & Chandon champagne Own collection A Mucha poster for actress Sarah Bernhardt who ed him to produce the graphic media , sets and costumes for all her plays. Own collection

THE ROARING TWENTIES The Great War, as WWI is often referred to, was supposed to be the “war to end all wars”. This statement unfortunately turned out to have no value. The Great War began in 1914 and came to an official end with the Treaty of Versailles in 1919 (fighting stopped in 1918). The world had changed: new countries were formed, people were displaced, soldiers had to return to a normal life after seeing friends and family being killed on the battlefield, women had to leave their wartime jobs and go back to being housewives, and economies were crippled. After the war popular culture did not have the rebellious quality that pre-war Art Nouveau had; instead it was a sense of *escapism that drove pop culture in the 1920s. Jazz clubs across Europe, America and other countries were filled with people dancing the night away, contributing to this decade being called the “roaring twenties”. People wanted to be entertained. Hollywood movies offered individuals the chance to loose themselves in the stories on the big screen and this became major and popular entertainment media in the 1920s and 1930s. Epic movies like Gone with the Wind and stories of fantasy and science fiction offered viewers an opportunity to escape, even if just for a few hours. Promotional material for Gone with the Wind

* 396 /////

Escapism: The phrase refers to seeking distraction from trouble or unpleasant situations. Often escapism is found in entertainment.

MODULE4THEORY

This element of *escapism can also be noted in design from this era through reference to the ancient past or to the exotic. Inspiration and styles from ancient Greece and Rome, Africa, Egypt and the Aztec civilisations are all present in 1920s and 30s design, creating an eclectic style called Art Deco.

The top section of the Chrysler building features sunburst patterns from Aztec and Mayan culture and gargoyles from Gothic tradition.

The elevator doors of the Chrysler Building in New York, an American Art Deco icon, feature Egyptian motifs.

For those who could afford it, escape was a real possibility and travel became a popular activity. Cruise liners and rail transport offered engers the opportunity to visit foreign destinations in comfort and luxury.

Art Deco in Durban: Willern Court (1931)

*

Travel posters became very popular during the Art Deco period and the work ofCassandre was highly regarded. Here his poster for the Normandie ocean liner.

The 1920s was characterised by “glitz and glamour”. Glamour became a key word in European and America design: from automobiles to products and clothing. The concept of glamorous travel and speed, combined with the impact of technological development, led to the extensive use of *streamlining in the later Art Deco period. In South Africa there are a number of Art Deco buildings which clearly showcase the streamlining and glamour of the Art Deco period.

Streamline: Design that is streamlined in produced to offer the least amount of resistance to air or water flow to increase performance and speed. Design elements which adhere to this have rounded edges and smooth lines.

///// 397

DESIGNGRADE11

Art Deco Cape Town: The Old Mutual Building.

Art Deco Johannesburg: Normnadie Court (1937), named after the famous French ocean liner.

1920s AND 30s FASHION Female fashion during the 1920s was glamorous, but changes from the “form hugging styles” of previous eras to a more rectangular, shapeless style – created a less feminine silhouette. The looser style reflected the general attitude of many young women in the 1920s who moved away from their traditional roles in society, like being a housewife. These new independent women, who were referred to as “flappers”, lived in a free manner, unconcerned with what society expected of them. The flapper style of dress and general attitude towards life became ingrained in 20s and 30s American and European popular culture. In designers and artisans struggled during and after the war. The Bauhuas design school, which was founded in 1919, became a place of new and progressive design and thought.

The Bauhaus Building in Dessau opened in 1925.

398 /////

MODULE4THEORY

At the Bauhaus, established ideas about “good” traditional design and established gender roles were being challenged. Young people from across Europe travelled to the Bauhaus to be part of this design revolution. The need to acknowledge the role of technology, to experiment, to question the role of traditional culture and to work collectively forms the foundations of popular culture during the Bauhaus period. Across the globe the 1920s and 1930s represented a period in history when traditional ideas were challenged. Popular culture in America included an obsession with escapist entertainment, a focus on glamour in design, eclectic styling, fast-paced music and questioning of traditional gender roles. Many of these concepts were also relevant to European popular culture. In these concepts were explored in a slightly different way, mainly because was struggling socially and financially after the war. The free spirited “age of experimentation”, fun and social challenge however did not last, and in 1939 World War II broke out. The German nation, under the rule of the Nazi party and Adolf Hitler, along with Italy and Japan stood in a war against the rest of Europe, which eventually included most nations of the world.

FAMILY ILLUSIONS AND YOUTHFUL REBELLION OF THE 1950s World War II lasted until 1945 and had a dramatic impact on the social, political and economic landscape. Europe suffered the worst: millions of people died, family were scattered over the continent and cities were devastated by war-time bombing. Thousands of people were displaced either because they fled from their home countries or because they were forcibly removed. The Bauhaus closed its doors in 1933 due to political pressure during the build-up to the war and many teachers fled to America. In America the effects of the war were more social and psychological – soldiers returning home found it difficult to adjust. The world and society had once again endured a truly horrible period in history: one of concentration camps, death marches, and brutal warfare. The after effects of the war were felt for a number of decades through political situations like the *cold war. Soldiers returned home to begin new, or rebuild old, relationships and families wanted to have a perfect life. Wives and girlfriends who had been left behind also dreamt of having a perfect family when their loved ones returned. This need for a perfect life and world influenced the atmosphere and culture of the 1950s. Family became the most important aspect in 1950s culture – a happy family, living in a nice house (from there the concept of a perfect family home symbolised by a white picket fence), in a beautiful suburb. Another important aspect was the focus on technology and how it could be used to enhance the quality of life.

A “7 Up” ment featuring the prefect family.

*

ment for Bendix washing machine highlights the focus on technology in the 50s

The cold war: A hostile period of political tensions, propaganda, threats, espionage and nuclear armament between the West (America, Europe, etc.) and the Soviet Union (Russia) from 1945 to the late 1980s. It wasn’t a war in the sense that any battles were fought; it was rather a clash of ideologies.

///// 399

DESIGNGRADE11

There was no room for experimentation or rebellion and popular culture of the era reflects this conformity and family orientation. The uncertainties created by situations like the cold war made people cling to their ideals even more. ments, television and radio programmes, fashion and product design all reflected a happy family. Gender roles were stereotyped with women as housewives and men as the breadwinner/provider and head of his family/house. Teenagers and young adults were expected to listen to their parents at all times, do as they were told, act in a respectful manner and above all else smile and look happy. The ideal life that people created was however an illusion; an escapist attitude very similar to those of post WWI. But by the end of the 1950s young people started rebelling and questioning the values, culture and superficial nature of the world around them.



POP ART – 1950s In 1956 a British artist by the name of Richard Hamilton created a collage art work titled Just what is it that makes today’s homes so different, so appealing? The piece was created using items of everyday life (popular culture) and shows how the items had come to define the age. The piece includes a body builder, a TV, a canned ham, a lolliepop, a woman with a vacuum cleaner and reference to popular magazines. The use of elements of popular culture to create art, was revolutionary. Art had always been considered a very refined and cultured art form that was meant for the educated, but Hamilton’s piece was created to be accessible to the everyday man on the street. Hamilton’s piece began an entire new movement focused on showing elements of popular culture as the art of the new consumer world. This movement was called Pop Art, short for popular art.

Richard Hamilton’s 1956 “Just what is it that makes today’s home so different, so appealing?”

Pop Art example by Roy Lichtenstein who made reference to the popular medium of comics

400 /////

MODULE4THEORY

Campbells Soup can print by Pop artist Andy Warhol

Pop Art was one of the first creative fields to look critically at 50s society and question the validity of the era’s culture, but it would be a different creative field that would spark a youth rebellion – music, more specifically Rock ’n Roll. Elvis Presley, Bill Hailey, Jerry Lee Lewis, Little Richard and many others broke every rule of 50s accepted music and behaviour and spearheaded the youth rebellion which would change society and popular culture for ever. The 1960s became known as a period of change, when teenagers became self aware and the driving force behind advertising and consumerism as well as belief systems and attitudes of the period. With the rise of youth culture the traditional functionalist design styles of the 50s were replaced with styles that embraced colour, expression and the concept of change. Design was no longer static and conservative – but rather elaborate, decorative and anti-functionalist. Designs became popular in fashion, products, furniture and interior spaces, drawing on popular culture as a reference. Exploration of non-functionalist visual expression like optical illusions became part of the norm and formed the foundation for a design movement called Op Art.

OP ART -1960s Op Art, or “optical art” derived its name from an article in Time magazine published in 1964. Brigit Riley became one of the most influential artists within this movement. The main purpose of optical art was to fool the eye into believing the illusion created by placing colours and lines in mathematical compositions. The style was revolutionary in that it did not represent a traditional object or subject - no portraits, landscape or still lives - the work only represented a concept and an experience. Throughout the mid 1960s Op Art was absorbed into popular culture and became a feature on interior walls, advertising, clothing and theatre set design.

Op Art piece titled “Current” by Bridget Riley. The focus of Op Art was to create a visual illusion using form and colour.

///// 401

DESIGNGRADE11

SPACE RACE; FIRST MOON WALK Another key feature during this decade was the conquest of space. The space race captured the minds and imaginations of people all over the globe and ended when Neil Armstrong finally walked on the moon in 1969. Images of space and space exploration flooded popular culture, from numerous movies and books, to PVC clothing and clinically white environments meant to resemble futuristic interiors. Advertising quickly picked up on the fascination with space and during the latter part of the decade everything from make-up to cars was d using space and futuristic concepts.

Frigidaire ment from 1966. Heimann, J, 2002. All American Ads, 2002. Taschen GmbH. 876

Ford playing on the concept of “innerspace” in this 60s ment.

402 /////

MODULE4THEORY

HIPPIES OF THE 60s During the second half of the 1960s the protest lifestyle became popular. Although the youth had embraced a new view on society and politics the world was not as quick to change. The hippie movement rose from the alternative youth culture, embracing “love not war” ideals, various drugs and promiscuous behaviour. Called the “flower children” these individuals took to the streets to make their voices heard, and no part of culture was unaffected by their revolutionary views. The 1969 Woodstock music festival defined the lifestyle, views, rebellion and future vision of the youth. Psychedelic art formed the visual expression of the later 1960s. Bright and contrasting colours, intertwining designs, Art Nouveau style typography and organic compositions characterised psychedelic design which became a popular choice for posters, flyers and album covers. Today psychedelic design is still present, mainly within the trance subculture.

The poster for the Woodstock festival

POPULAR AND ICONIC MUSIC OF THE 60s

Psychedelic poster art by Wes Wilson in 1967 ( Poster / Concert flyer printed by West Coast Litho Co. )

The later 1960s produced some of the most influential musicians of the century including The Beatles, The Rolling Stones, Janis Joplin, Jimi Hendrix and The Doors to name a few. Towards the end of the decade many young people became disillusioned as their protests and rebellions did not cause the change they had hoped to achieve. The decade did however represent a unique popular culture, which was directly linked to the youth culture, and which celebrated new ideas, conceptual styles, new materials such as plastic and the concept of disposable design. These ideas would be carried forth into the 1970s and would form the foundation of another new rebellion, this time against poverty and environmental decline.

///// 403

DESIGNGRADE11

1970s - ALTERNATIVE IDEAS AND STREET CULTURE The 1970s can be viewed as a period of contradiction. On the one hand, ‘disco’ offered a fun escapist alternative to real world problems whilst on the other hand, anger and instability influenced mainstream thought. A number of key events impacted on the era including the energy crisis, the Cuban missile crisis, the women’s liberation movement and the first environmental conference. These events influenced popular culture and design styles of this era in a great way.

ENERGY CRISIS LEADS TO ALTERNATIVES The energy crisis that hit America in 1973 was devastating to the economy and had ripple effects around the globe. This situation was caused by the sudden halt to oil imports from various Middle Eastern countries belonging to OPEC (Organisation of Petroleum Exporting Countries) to America. America, like the rest of the Western world at the time, was dependent on oil imports from the Middle East. The effect was that oil costs increased dramatically and across a number of countries oil shortages became a reality. The effect of this crisis on financial levels was devastating, however the situation did bring to the forefront the need to find alternative energy sources. Wind, solar and hydro (water) became the new frontier in energy production, which impacted greatly on the design and construction of products and interior environments. The concept of “alternative” became a characteristic of popular culture during the 70s, including alternative healing, alternative exercise methods such as yoga, and Eastern philosophies. A major alternative view at the time was that of equal rights and moving away from gender stereotyping.

WOMEN DEMAND EQUALITY The woman’s liberation movement was the culmination of decades of struggle. From the beginning of the 20th century the dissatisfaction with gender roles and classing had been a thorn in the side of many women. In the 1970s the movement took to the streets to demand equality and as noted by Gloria Steinem, a key figure in the Movement, "The Women's Lib Movement would benefit … society, by dissolving the sex role stereotypes and expectations”. The image of women changed from the 1960s housewife to a working professional, respected as an equal member of society in the 1970s. This had a tremendous impact on popular fashion and advertising during the decade.

A START OF GLOBAL AWARENESS OF ENVIRONMENTAL ISSUES Another major change in traditional views was effected by the United Nations Conference on the Human Environment which was held in Stockholm in 1972. The conference was attended by representatives of 113 countries and is considered by many to be the start of global awareness of environmental issues. The conference also led to the Declaration of the United Nations Conference on the Human Environment, a document that outlined basic principles regarding the environment and human activities. Included in this declaration are a number of principles such as: Man has the fundamental right to freedom, equality and adequate conditions of life, in an environment of a quality that permits a life of dignity and wellbeing, and he bears a solemn responsibility to protect and improve the environment for present and future generations (1st principle). These events, along with many others, created a more environmentally aware consumer culture, especially among the youth.

404 /////

MODULE4THEORY

YOUTH CULTURE, DISCO AND PUNK Youth culture varied greatly throughout the 70s, with the two major streams being disco and punk. Punk, although it was considered a subculture during the 70s, influenced popular culture in the 1980s. In the 1960s the hippie movement rejected middle-class values & social problems by focusing on “peace and love”. The flower prints and flowing fashions, as well as the organic quality in design, which were popular during the late 60s, flowed across into 70s styling. In fashion halter-necks, hot pants, cat suits, bell-bottom pants and platform shoes became part of disco popular culture, as well as music from artists like The Bee Gees, Donna Summer, The Jacksons and KC & the Sunshine Band. Although Disco began as a counterculture, the upbeat quality of the music and the freedom associated with dancing and clubbing quickly moved it into mainstream popular culture. Movies such as Saturday Night Fever increased the popularity of disco even more and represented the fashion, culture and attitudes of the age. Star Wars and The Godfather are two other movie franchises which began in the 1970s. Star Wars would not only become part of mainstream popular culture, but would eventually generate its own subculture under science fiction fans. The mainstream culture of the 1970s retained a sense of escapism, as can be seen in design and social activities, which directly relates to the political and financial instability of the decade – instead of dealing with the issues at hand, people escaped into disco, video games, movies and illegal substances. In Britain a different youth culture, called punk, chose to express its anger and frustration instead. Punk culture in Britain was the result of social problems caused high levels of unemployment that resulted in a number of financial issues. Punk culture is characterised by aggressive aesthetics and attitudes. The Mohawk hairstyle, created with wood glue and dyed bright colours, as well as torn and reconstructed second-hand clothing, became some of the most important characteristic visual elements of punk. Their aggressive lifestyle, behaviour and music (mainly the Sex Pistols in Britain and the Ramones in America) were a reaction to the difficult social and economic situation as well as an expression of individuality as opposed to mainstream conformity.

The 1977 Star Wars: New Hope movie poster

Saturday Night Fever movie poster featuring John Travolta in what would become an iconic disco dance move

An image of Johnny Rotten, singer of the iconic punk band The Sex Pistols

///// 405

DESIGNGRADE11

Many design styles of the 1970s echo the aggression of this period. ments and graphic design became more “in your face”, confrontational and shocking, while products often became angular and geometric - as opposed to the soft edges of the 50s and 60s. The Lamborghini Countach, designed by Marcello Gandini at Bertone in 1971, is an example of the hard edge design style, which became popular in the 1970s.

The 1971 Lamborghini Countach featuring the distinct hard edge style.

1980s Economic hardships and social problems continued into the 1980s. Wars, like the Iran-Iraq war, became international news, and many Western countries experienced debt problems and economic recessions. In 1986 the Chernobyl Nuclear Plant exploded, the most devastating nuclear accident in history and the NASA spaceship Challenger exploded seconds after lift-off. Ethiopia experienced droughts throughout the 1980s, which led to widespread food shortage and starvation (famine). The South African war against Angola, Zambia and Namibia continued throughout the 80s, finally coming to an end in 1989. These events are only a few of the major social, economic and political hardships endured during the 80s, but the decade is also filled with amazing advances and realisations which would become part of popular culture.

AIDS AWARENESS BECAME A GLOBAL FOCUS The world became aware of AIDS during the 1980s, and the disease, possible treatments and awareness have been part of popular culture ever since. In South Africa, the country with the highest HIV-infection rate, awareness of HIV/AIDS has remained crucial. The popular Live Aid music concerts which aim to raise awareness of and money for those in need were launched in 1985 when the first concert focused on raising awareness for the suffering of Ethiopian people due to famine. In the early 1980s the Commodore 64 and the Macintosh computer, created by Apple, became the first two computers to successfully move into the personal computer market. The impact of this technology and further developments created the world we live in today. Popular video games also benefited from technological advances and games like Donkey Kong, Tetris and Pac-Man formed part of popular culture. Pac Man

406 /////

MODULE4THEORY

80s MUSIC AND HIP HOP Music is a key component of 80s popular culture. Icons like Madonna and Michael Jackson didn’t just entertain us with their music, they became inspirational fashion icons. MTV was launched in 1981 and introduced a new dimension to music namely the music video. Madonna, with her lace gloves, layered outfits, teased hairstyles and abundant accessories, and Michael Jackson with his leather jacket and single glove, became visual icons through their elaborate music videos.

A still from Michael Jackson’s short film “Thriller” from the album with the same name.

Madonna

The 80s also saw the rise of hip-hop artists and culture. Groups like the Run DMC, DJ Jazzy Jeff and The Fresh Prince, Public Enemy and the Beastie Boys contributed to the establishment and recognition of the genre. Hip-hop refers to the greater culture and includes reference to rapping, DJ’ing, MC’ing, sampling, beat boxing, dancing (breaking) and graffiti. Hip-hop dancing, also referred to as breaking or breakdancing, and graffiti form part of physical and visual hip-hop expressions. This Hip-hop culture and graffiti spread during the 80s and 90s and crossed over into mainstream popular culture. Today graffiti is used in various ments and artists like Banksy have become world-renowned for their graffiti. As a result of mainstream acceptance, the rebellious and anti-authoritative message of hip-hop music has lost its edge due to commercialisation. Hip-hop, as a music style and culture, has diversified into many sub-genres and is still hugely influential today in fashion, music, graffiti and multi-media. Hip-hop fashion from the 1980s consisted of branded clothing and accessories like sportswear, sneakers, oversized sunglasses and heavy jewellery (mainly gold but, during the 90s and 2000s other precious metals and especially diamonds became popular). Many hip-hop fashion items and styles still form part of popular culture today. Run DMC

///// 407

DESIGNGRADE11

FASHION OF THE 80s Popular fashion from the 1980s has enjoyed a number of revivals during the 1990s and 2000s, either as single items or complete outfits. Shoulder pads, oversized tailored jackets, stone washed jeans, leg warmers, off the shoulder dresses and shirts as well as layering are all characteristic of 80s fashion which can be described as an eclectic style. Colours were bold, bright and neon, often paired with animal or other prints. Other elements of popular culture in the 1980s include aviator/pilot-style sunglasses that were for instance worn in movies such as Top Gun and An officer and a gentlemen, headbands, leg warmers, jelly shoes (plastic) and Swatch watches.

Various Swatch watch designs from the 1980s

PRODUCT DESIGN OF THE 80s Design during the 1980s also had eclectic elements and used bright, bold colours. The postmodern designs produced during the 80s represented the rejection of functionalist modernist styles and products. Postmodernism became an expression of the social and environmental instability experienced through the 70s. Rather than focusing on a modern, almost futurist design concept that was popular during the 1960s, postmodern design draw inspiration from the past. Postmodern design was not based on functional principles but rather on the fun, meaningful and playful elements of the design. This quality of postmodern design is not shared with Eastern designs from the 1980s. In Japan, technology and industrial production methods formed the foundation of design.

The Carlton room divider by post modern designer Ettore Sottsass was designed in 1981.

At the end of the day it is always about understanding people To understand popular culture is to understand the era in question and the people who lived during that period. Popular culture is the general composite of our visual culture, including fashion, products, graphics and environmental design. It relies on the mass media to globalise an idea or product. Our visual culture in turn is grounded in our social, economic, environmental and political situation. It is important to the economic implications of popular culture and the link between consumerism and popular culture. A product does not become popular if it isn’t available for a purpose. For example, the Star Wars franchise which started in the 1970s is not only based on the movies. This franchise consists of a collection of merchandise like cups, books, DVD’s, games, figurines, festivals and many more commercial items that helped spread and reinforce the concept and thus heightened its popularity. Popularity however, is fickle. One of the defining aspects of popular culture is that it is not static. As humans we crave new things or updates of old things we love. The world around us is filled with change and unprecedented choice which really drives popular culture. You probably would not be caught dead in an outfit from the 1940s but who knows, in a few months or years it might become the new craze and you will also rush out to get your 40s type outfit. As designers it is imperative that you realise how popular culture is constructed and understand how popular culture concepts change and renew. If you can develop a clear understanding of your own popular culture you can look ahead and analyse future trends, making sure your idea or product is relevant, appropriate and a pioneer in its field.

408 /////

MODULE4THEORY

From popular culture to environmental concerns The social elements described above do not necessarily take into environmental concerns. The production and consumer lifestyle that has characterised our world until now can not continue if we hope to survive on this planet. When you look at the world around you, you will notice a consumer culture of people who all want the latest gadgets, newest brands and a wide selection of products to choose from. The sheer number of product ranges available today is often blamed on the Industrial Revolution – a period in the history of the Western world, which focused on mass production and technological developments in industry. Placing the blame only on the Industrial Revolution does not seem fair when you consider the impact of the digital revolution and the attitude of modern brand conscious consumers. The truth is we all like to have new and up to date products. Be honest with yourself, if someone offered you a new iPod or a new pair of expensive branded jeans for free you would not hesitate to take them, even if the iPod and jeans you currently have is perfectly fine. On the environmental side we also often turn a blind eye. Ask your friends how many of them recycle or how many of them consider a product’s *carbon footprint before purchasing it. The success of world industries and economies is linked to the spending habits of people, but, is it really in our best interest to buy, buy, and buy some more without considering the impact that our purchases will have on both social and environmental levels? We all know that the planet is suffering due to over-population and our lifestyle decisions but are we doing anything about it? Design can play a leading role in addressing the problems facing the world today. Design thinking, as a specific way in which we can think about problems and propose solutions, is becoming very popular when trying to resolve social and environmental issues. Practical design decisions like rather using recycled or less environmentally damaging materials to make products, or rather buying products produced locally, can affect the condition of the world we live in. After all, designers make the products we buy, the clothes we wear, our food packaging, the signage we follow, the ments we love, the furniture we use and so on. Design is a key component of our physical world and as such designers can play an enormous role in changing our bad habits. We might not be able to influence consumers to buy less, as to aspire and to buy are very much part of the human condition. But designers can make a world of difference if we start to design more sustainable and environmentally friendly products. Over the last few years a number of great designers and design thinkers have written, lectured and influenced design thinking through their actions and ideas. These design pioneers understand one very important thing, that design is powerful and that it can be used to improve our world or it can help destroy it.

THE DESIGNER AND DESIGN CONSULTANT

ROBERTPETERS

understood the important role of design in

Design creates culture. Culture shapes values. Values determine the future.

society when he commented that:

“

Individuals who actively promote socially and environmentally conscious design, through their writing, lectures and practical designs, include Victor Papanek, Julie Bargmann, the product design companies Blue Marmalade and Animal Farm, as well as Adriana Bertini to name but a few.

*

Carbon Footprint: A carbon footprint represents the amount of greenhouse gases (carbon dioxide and methane) which is emitted by a person, group of people, activity or system. Your carbon footprint can be measured for a single activity, like going on holiday, or you can measure your general day to day footprint. You can determine a product’s footprint by considering how it is made, stored, transported and destroyed. For the electronic version students can visit http://www.carbonfootprint.com/carbonfootprint.html to work out their own carbon footprint.

///// 409

DESIGNGRADE11

Victor Papanek

The “founder” of responsible design Victor Papanek was born in 1927 in Vienna, Austria. He completed his school education in England before emigrating to America to study architecture and design. He studied at Cooper Union in New York as well as the prestigious Massachusetts Institute of Technology. During his career he focused on the design of products as well as the education of future designers. He lectured at a number of institutions including the University of Toronto (Canada), The California Institute of the Arts, the Rhode Island School of Design and the University of Kansas. Although most of his teaching career was spent in North America, Papanek travelled the world, spending time and consulting in Britain, Switzerland and Australia.

Victor Papanek teaching at the Kansas City Art Institute, where he was head of design from 1976 to 1981

Victor Papanek often lectured about the over-production and quality of products in North America and the impact that this mass manufacturing and consumerism has on the environment. He understood the importance of responsible design and foresaw the problems that our society’s production and consumption habits would have on the environment. Papanek cared about social and environmental issues and was not afraid to talk and write about his views. During his career Papanek wrote and cowrote, many books but it was one of his earliest books, which would become his legacy. In the preface of his book “Design for the Real World: Human Ecology and Social Change” (first published in 1971)

VICTORPAPANEK WROTE: There are professions more harmful than industrial design, but only a very few of them. And possibly only one profession is phonier. Advertising design, in persuading people to buy things they don’t need, with money they don’t have, in order to impress others who don’t care, is probably the phoniest field in existence today. Industrial design, by concocting the tawdry idiocies hawked by rs, comes a close second. Never before in history have grown men sat down and seriously designed electric hairbrushes, rhinestonecovered file boxes, and mink carpeting for bathrooms, and then drawn up elaborate plans to make and sell these gadgets to millions of people. Design for the Real World, 1st English edition published in 1971

For the electronic version students can visit http://www.robertlpeters.com/

410 /////

“

MODULE4THEORY

“Design for the Real World”, front and back cover (this edition published in 2009)

You can only imagine the impact that such a statement had in the early 1970s. Designers during the 1970s did not consider the impact that their designs had on the environment or on the consumer. Consumers in the early 1970s didn’t think about global warming, they were not exposed to the impact of mass production nor did they understand their role in all of it. In that sense “Design for the Real World” and the ideas in the book were way ahead of its time. Many designers at the time despised Papanek for pointing out that designs of the time were flawed and even dangerous and that many products were completely unnecessary. Papanek did not understand how designers could knowingly produce products which were unsafe, unnecessary or designed to have a short life span to create bigger demand, and produced in such a way that it had a negative impact of the world as a whole. To him every consumer had to consider whether or not they really needed the product they were purchasing or if it was merely d so well that they believed they could not live without it. The idea that a product has a history and a life cycle was also a concept explored by Papanek – the waste produced when we throw an old product away is not the only waste produced by the product. One has to also consider all the materials, resources and waste associated with the product during the manufacturing process, transport and shipping (this idea would develop into a product’s Life Cycle Analysis).

Victor Papanek

To Papanek design was a method to improve necessary products and systems or create ideas which would improve the lives of people. Papanek believed that designers should produce items, which could be used by many different s including the elderly and the disabled. This focus in his work can today be linked to modern inclusive design practices. The British Standards Institute described this as the design of products and services used by as many people as possible irrespective of their age, gender, physical ability, etc. For electronic version students can visit http://www.inclusivedesigntoolkit.com/

///// 411

DESIGNGRADE11

Inclusive design theories, such as Universal Design, acknowledge that design is for everyone not just for the able-bodied. Papanek designed a taxi for disabled people for the Swedish division of Volvo as well as products for World Health Organization (WHO) and the United Nations Educational, Scientific and Cultural Organization (UNESCO). His design outlook and social considerations led to the design of a number of products for developing countries. These include a transistor radio made from food cans and the Batta-Koya project, a very basic cassette player used in Nigeria and Tanzania to communicate vital information, like governmental policy and medical information, to rural communities.

The Batta-Koya project focused on supplying illiterate rural communities with important government issued information. Papanek’s solution was an adapted and simplified cassette recorder.

The way in which Victor Papanek worked reflected his personal views on life and design. He believed that all designers have an ethical duty to really understand their target market and to design products which are appropriate, functional, safe, and that take social and environmental impact into consideration. During the 1970s many designers were not ready to consider his ideas but, as the world moved in the 1980s and 1990s, the negative impact of mass production and consumerism became more noticeable. During this period the views and theories of Papanek became more than just ideas, they became a foundation for future design theories and methods. Victor Papanek was awarded, amongst others, the Distinguished Designer fellowship in 1988 and the IKEA Foundation International Award in 1989. He died in the late 1990s leaving behind the early frameworks of contemporary design theories including Universal Design and Sustainable Design.

During February 1968 a group engineers, designers and architects facilitated a seminar on the future of design. Victor Papanek is pictured here, during the seminar, exploring the learning environments of children.

412 /////

MODULE4THEORY

Books written and co-written by Victor Papanek • • • • • •

Papanek, V. 1971. Design for the Real World: Human Ecology and Social Change. New York: Pantheon Books Papanek, V. & Hennessey, J. 1973. Nomadic furniture: how to build and where to buy lightweight furniture that folds, collapses, stacks, knocks-down, inflates or can be thrown away and recycled. New York: Pantheon Books . Papanek, V. & Hennessey, J. 1974. Nomadic Furniture 2. New York: Pantheon Books. Papanek, V. & Hennessey, J. 1977. How things don't work. New York: Pantheon Books. Papanek, V. 1983. Design for Human Scale. New York: Van Nostrand Reinhold. Papanek, V. 1995. The Green Imperative: Natural Design for the Real World. New York: Thames and Hudson.

Julie Bargmann

How can DIRT change the planet? Fresh drinking water is one of the world’s most precious resources. The pollution of rivers, dams and lakes threatens not only our survival but the survival of all *fauna and flora that’s dependent on the water source. The pollutants found in rivers can be tracked back to human activities of the last century – our factories, mines and industries pumped waste and even toxic materials into the river systems. Although there is strict policy regarding river pollution today, we still sit with the effects of the past. One designer who has taken up the challenge to improve our water systems is Julie Bargmann. She is an innovative landscape designer who specialises in revitalising eco-systems and urban spaces of decay, as well as interdisciplinary design education.

Water pollution in South Africa is reaching disastrous levels. If we don’t do something immediately we face running out of fresh drinking water within the next decade.

Bargmann obtained a masters degree from the Harvard Graduate School of Design after which she completed a fellowship at the American Academy in Rome. As an associate professor at the University of Virginia, Bargmann focused her research on the upliftment and redesign of urban landscapes through the Design Investigation Reclaiming Terrain project (the D.I.R.T. research project). The D.I.R.T. project has a social, environmental and technological focus. The social element of the research can clearly be noted in the level of community involvement in projects and the consideration of the site’s social and historic relevance. The focus of many of her seminars includes a review of current policy and traditional methods of spatial regeneration.

*

Fauna and flora: The word “fauna” refers to all the different types of animals which are found in a region while “flora” refers to all the different plant types.

///// 413

DESIGNGRADE11

According to Bargmann it is essential to acknowledge the history of places, the people who live and work in the spaces and the relationship between the community and the area. The environmental and technological elements relate to her focus on landscape development and investigations into ecotechnologies. Eco-technology is a field of applied science which sets out to evaluate how the needs of individuals and communities can be met with the least amount of environmental impact. Often eco-technology is used to utilise nature’s own forces for production and construction. Bargmann’s D.I.R.T. research project focuses on the investigation and implementation of eco-technologies because she is ionate about conserving the environment and lessening the negative impact that urban landscape design can have.

Julie Bargmann

To apply practically the research she founded the Dump It Right There or D.I.R.T. studio in 1992, a small design studio which focused on the fusion between her design research and practical application. The reason for the D.I.R.T. studio is clearly expressed on the studio’s website

“We are surrounded with detritus left by two centuries of industry. Mines and factories relentlessly churn out raw materials and products making our country rich and powerful. It’s taken an environmental crisis for us to finally face all the nasty by-products -- dumped in the river, or in a landfill, or just out back.” (WWW.DIRTSTUDIO.COM).

Although the studio is based in America, and mostly works on American projects, this comment is true of most countries in the world. In today’s economy it is important to produce and sell and we often lose sight of the impact that our habits have. The work model for D.I.R.T. studio is collaboration. The D.I.R.T. studio team works with the client and field specialists like historians, scientists and researchers to conceptualise, design and reinvent spaces like quarries, factories and deserted city train stations. In 2001 Julie Bergmann was awarded the National Design Award by the Smithsonian’s Cooper-Hewitt Museum.

414 /////

“

AMD is a threat to South Africa as well. In Johannesburg the threat of AMD poisoning is quite real as toxic water runs from old and abandoned mines.

MODULE4THEORY

Projects that Bargmann has worked on include the creation of the Vintondale AMD&ART park in Pennsylvania. Over the years an old coal mine and manufacturing plant had poisoned rivers with various metals through acid mine drainage (AMD). AMD covers the bottom of streams with orange sediment which is poisonous and can be found in many old mining areas. The AMD&ART project was a multidisciplinary project that communicated the effects and causes of AMD in collaboration with the community. As a result an extensive eco-filtering system was created to filter and clean water in the area. The redesign of the area however went much further than just environmental intervention. Public art pieces can be found throughout the park to celebrate the area’s heritage and the idea of sustainable development. One such piece is the “Great Map”, a large mosaic map which was inspired by a 1923 map of the area.

Images above and below, showing the difference you can notice in the landscape before the launch of the AMD&ART project and after

The “Great Map” is an enormous mosaic map of the park which is based on a map from the 1920s. By referencing a historic map the designers and artist wanted to acknowledge the history of the area.

The recreation area of the AMD&ART park. This space brings people into the park and creates a link between the space and community

///// 415

DESIGNGRADE11

Other projects that Bargmann has collaborated on was the exterior landscape design for the new Urban Outfitter’s head office in the Philadelphia Navy Yard and the landscape design for the Brooklyn Navy Yard’s new museum and visitor’s information centre. There is a strong focus on sustainability in the redesign and construction of buildings in both of these areas. The Urban Outfitter’s project, which was completed with Meyer, Scherer & Rockcastle architects, was awarded a 2010 American Institute of Architects’ Honour Award for Architecture.

Brooklyn Navy Yard landscape design.

The knowledge generated through D.I.R.T. studio projects is fed back into Bargmann’s lectures and seminars. This approach ensures that there are links between current project possibilities, what students are learning and ideas for the future. The need for fresh water and social spaces is universal and these two concepts have been the driving forces behind all Bargmann’s projects.

Above and left Urban Outfitter’s Head Office in the Philadelphia Navy Yard

416 /////

MODULE4THEORY

Blue Marmalade & Animal Farm How to make cool products responsibly AS

VICTORPAPANEK SAID: “There are professions more harmful than industrial design, but only a few of them.”

“

Industrial design, or product design as it is often referred to, has been blamed for modern society’s need to consume and have new, better and faster products. But can we really put the blame on industrial design? From the Industrial Revolution during the 1700s and 1800s, when the production of products became machine based instead of hand-based, we have been spoilt for choice when it comes to products. Advertising, which also boomed during this period, informed customers of the value of new products and why they “just had to have it”. The demand for products kept growing as technology developed and as a result new products, like the microwave, were steadily being produced during the 1950s and 1960s. This mindset still exists today, as many consumers will buy an upgraded version of cell phones, seasonal fashion or new models of vehicles even though the ones they own are still fine. Our reasoning for these purchases is often justified with statements like “my e-mail and Internet will be faster on the new phone” or “but I can’t wear clothes from the previous summer.” But do we realise the price we are paying for over consumption? The Greenhouse effect, which is causing the planet to get warmer; polluted oceans and rivers; deforestation; air pollution, and the extensive use of raw materials are all side effects of our habits. Industrial design may have played a key role in the development of our “bad” consumption habits but today many industrial designers are leading the way to a sustainable and environmentally friendly future. Two groups of contemporary designers who promote responsible design practice are the Scottish studio Blue Marmalade and the Cape Town based Animal Farm.

The Blue Marmalade stall at the 2005 International Contemporary Furniture Fair (ICFF) held in New York

///// 417

DESIGNGRADE11

BLUE MARMALADE Tom March and Trent Jennings who both started their careers in the furnishings industry started this company. Trent Jennings came from a background of traditional fine cabinetmaking and Tom March from a more corporate background in office and boardroom furniture design. When they were searching for an appropriate name they wanted to link the quality and excellence of traditional British manufacturing and design with the idea that their company offered something new and different. The word ‘marmalade’ was selected because it reminded them of a true British concept and blue because it added a unique and rather unusual element. Blue Marmalade has a clear environmental outlook and aim to have a 0% landfill policy. This means that very little, or no waste is produced during the production of their designs. Having almost no waste is also a great economic benefit. The Blue Marmalade designs are sleek, simplified and functional. Being environmentally responsible does not mean that the products look handmade or irregular – actually the opposite, as Blue Marmalade products and furniture can easily be added to modern interiors. As stated on their website, the idea behind their design style is:

…to create and produce products that reflect its designer’s ions: simplicity, fun, functionality & eco-friendliness. (HTTP://WWW.BLUEMARMALADE. CO.UK/EN/ABOUT.HTM). These ideals can be noted in the products like the Cog Pendant lampshade, the Crease magazine rack and the Low Cut Stool/Low Table. The Cog pendant lampshade has a simple striking design, which reminds you of origami (the Japanese practice of creating animals and flowers from paper through different and very detailed folding methods). The entire lampshade is produced from a single sheet of recycled material and is easy to assemble and disassemble. The ease with which you can disassemble the lampshade also makes it easier the recycle at the end of its life cycle. The lamp has also been designed to use both traditional and energy saving light bulbs up to 100W.

“

The Blue Marmalade Cog pendant lamp

The Crease magazine rack and Low Cut Stool /Low Table are stylish additions to any space. The Crease design is produced from a single sheet of plastic and is available in a range of colours. As the size of modern living spaces become smaller and smaller it is important to consider the storage of products when not in use. The Blue Marmalade Crease magazine holder

* 418 /////

Product Life Cycle (PLC): The idea that a product or range of products have a life cycle similar to that in nature i.e. first the product is developed, then it is launched into the market; once the product is established in the market it enjoys a period of stability before it starts to decline until it is withdrawn or production stops. In sustainable product systems it is important to consider the whole life cycle of a product; this means that when you are deg a product you need to consider what will happen to it when it reached the end of its life cycle. Will it be recycled? And if so, how can design changes at the beginning of the process make the product easier to break down and be recycled?

MODULE4THEORY

The chair design is incredibly useful as it allows for extra seating when needed and can be used outdoors. The Crease magazine rack and Low Cut Stool/Low Table can easily be dismantled and can be stored flat, making both designs space efficient. As final designs they are produced from 90% recycled materials and break down very easily to recycle at the end of their product life. The Blue Marmalade Low Cut Stool/ Low Table

In 2010, at the Edinburgh International Marketing Festival, Blue Marmalade won the ‘Brands of the Future’ competition. Their achievement highlighted the global focus on sustainable products and systems and proved that environmentally responsible design is not only good design, it is great design. This idea is shared by many local designers.

ANIMAL FARM In 2007 Porky Hefer started Animal Farm, a Cape Town-based design agency and consultancy, which set out to solve design problems through collaboration. Hefer worked in advertising for over a decade, spending time at agencies like TBWA Hunt Lascaris as well as, Ogilvy and Bozell in New York. He worked on projects for Nike, Coca-Cola, Nando’s, BMW and many more. But as time ed Hefer became restless in the corporate world of advertising. After he left he started work on individual projects and collaborated with other creative individuals through Animal Farm projects. Creative thought and expression should not be limited to the professional designers nor should clients always propose projects or new ideas. If the normal design process is followed with no creative interpretation or “out the box” inspiration the product tends to be similar to what has already been produced. At Animal Farm, groups of people from different disciplines work together with clients to add a different, freer, dimension to their marketing and advertising campaigns and projects are proposed and completed by of Animal Farm simply for the joy of it. Projects that express the ion and sustainable mindset of Porky Hefer and Animal Farm include Lite, the Weaver’s Nest and the Cratefan.

Porky Hefer: artist, designer, entrepreneur and environmentalist

Lite by Animal Farm

///// 419

DESIGNGRADE11

Animal Farm’s Lite, designed and manufactured in collaboration with Doug Banfield

Above and left, Weavers Nest by Animal Farm

Animal Farm’s Lite, designed in collaboration with Doug Banfield, is an interesting play on the traditional light bulb. In essence it is a lampshade shaped to look like a normal light bulb. Lite is produced using sustainable wood from plantations and can only house an energy saving light bulb. The material choice and lack of any additional dyes makes Lite a sustainable and environmentally friendly option. Lite is also highly functional and can be used in groups or as individual units. Another product produced by Animal Farm which resembles an object is the Weaver Nest. Instead of resembling a man made product it mimics the actual weaver bird’s nest found in nature. The idea of basing a design or process on a natural model is known as *Biomimicry. The Animal Farm nest, designed and created in collaboration, is a massive woven structure around a steel frame, which can house at least two adults and a child depending on the size of the model. The nest is constructed from invasive plant species such as the Poplar and Port Jackson trees, which s a number of environmental initiatives that try to remove alien vegetation. Access to the Weaver Nest is through the bottom of the structure, which hangs approximately 3 metres from the ground using a rope ladder. Both the Weaver Nest and Lite address the real need for environmental considerations when deg and have been features in many magazines and exhibitions.

* 420 /////

Biomimicry: The analysis and investigation of natural patterns, systems, structures and designs that can be imitated, or mimicked, to help solve human design problems. Biomimicry is becoming a very popular design theory and methodology as it promotes design solutions that are in harmony with nature and sustainable. Visit www.biomimicry.net to learn more.

MODULE4THEORY

Cratefan in Cape Town, which became known as ‘Elliot’

Cratefan, may not have been produced from natural materials like the Weavers Nest but the impact it made was just as impressive. The project was linked to Coca-Cola’s Live for a Difference campaign, which aims to re-use 50% of Coca-Cola packaging by 2015. Cratefan was produced for the 2010 World Cup and was made from over 2 500 basic CocaCola crates. The giant crate “fan” towered over visitors and locals in Cape Town and Johannesburg during the World Cup and stood as a visual reminder of the importance of re-using and recycling materials. The social and environmental impact of product production has to be acknowledged. For many contemporary designers, working in ways which are environmentally responsible this is the only option. Companies like Blue Marmalade and Animal Farm are showing consumers that there are beautiful, stylish and functional designs available for which the environment does not have to pay the price. Cratefan in Newtown, Johannesburg

Visit http://www.dedaba.com/video/porky-hefer-interview-yvette-lambrecht to watch an interview with Porky Hefer about the Cratefan project

///// 421

DESIGNGRADE11

Adriana Bertini

Fighting AIDS through Fashion Sub-Saharan Africa (the Southern part of Africa) has the highest number of individuals infected with HIV (human immunodeficiency syndrome). We live in Sub-Saharan African. Most people in South Africa know this fact but do we really understand what it means for our future? AIDS is the disease associated with the viral infection HIV, however many individuals’ live full and productive lives for many years before developing symptoms of AIDS. According to Avert there were approximately 5.6 million people who are living with HIV or AIDS in South Africa in 2009 (www.avert.org). Every day we see posters and flyers requesting for AIDS related programmes and ments on our television set asking us to dream of an HIV free generation. AIDS is one of the most horrific *pandemics our world has ever seen. HIV/AIDS is a very real threat to the future of South Africa and as such it is an issue, which needs to be addressed in social wellbeing campaigns as well as health care and educational campaigns. Design has never had a greater opportunity to help, educate and contribute. From the creation of informative packaging, educational booklets and testing equipment to programmes aimed at rebuilding the self-esteem and confidence of HIV positive individuals, design has been a key tool and communicator in the fight against HIV/AIDS. There are still, however individuals and communities who do not understand how the disease is contracted or controlled. This lack of basic knowledge, or often simply believing that “it will never happen to me”, needs to be addressed through thought provoking campaigns, which are appropriate to the target market.

ADreach and Red Storm Visuals poster for raising HIV/AIDS awareness on World AIDS Day, 1 December 2010

* 422 /////

Nicolaas Maritz’s designs that won the French Dessine l’Espoir competition, This design will be used in campaigns to educate people regarding HIV/AIDS discrimination in South Africa and other African counties.

Pandemic: According to the World Health Organisation a pandemic is a severe human illness found worldwide, to which man has no immunity.

MODULE4THEORY

We have all seen the South African HIV/AIDS campaigns aimed at the youth, pregnant woman, men and the general community. These campaigns have a true South African edge often using illustrations and very little copy or text as the basic framework for the visual design. In other counties HIV/AIDS campaigns are different in approach and content. Adriana Bertini is a Brazilian artist and designer who is trying to raise awareness for HIV/AIDS through fashion. Instead of the fashion you would normally expect, Bertini uses quality test-rejected condoms instead of fabric. Antwe poster “Women against AIDS”

Adriana Bertini in front of a picture Marilyn Monroe she created of out of condoms.

Bertini spent time volunteering for the GAPA, an organisation that raises awareness of AIDS and helps people who suffer from this disease. As she worked with various groups and individuals, especially children who were HIV positive, she decided to create an awareness campaign that people simply could not ignore. In 1997 Bertini started her “Dress Up Against AIDS” campaign, which uses alternative fashion as its marketing media. The pieces she created were colourful and fun, and from a distance you would never expect that they were produced using condoms. Shirts, skirts, formal evening wear and even a wedding dress were all produced using condoms that were rejected during quality testing. The choice of materials may seem strange but Bertini uses her fashion creation to highlight the issues which surround HIV/AIDS and carries her message that “condoms must be a basic everyday accessory like a pair of jeans and as necessary as a great love”. Bertini has exhibited work in galleries and at fashion shows around the globe. Besides the fashion items she also produces sculptures and other images. Thousands of condoms can be used in a single piece. Besides the social aspect connected to her work and the awareness that it raises, the production of these items also fulfils an environmental function by preventing these rejected condoms from landing up in landfills.

///// 423

DESIGNGRADE11

Bertini, Condom Fashion exhibited at the BSB MIX Fashion Show and exhibition, held in Brasilia, 2006

The process of destroying the condoms which do not the quality test is not a simple matter. Condoms are produced from either latex or polyurethane. Latex condoms may eventually break down in nature but not if they are under water. Flushing a condom may cause it not to bio degrade and it is possible that it get pushed all the way into the ocean. Condoms that are thrown away land up in rubbish dumps, adding to the already overflowing landfills where animals often mistake them for food. The incineration of condoms is also not an environmentally friendly process as the process contributes to *greenhouse gases. The use of condoms fulfils an important role in population control and the spread of diseases and you could weigh this benefit against the environmental impact. Because condoms are an environmental threat if not disposed of correctly, the large amount of unused condoms which fail the quality test is a real concern. Bertini’s innovative use of unused condoms means that they are taken out of the distribution cycle and re-used to create a new object. This practice ties in to the “reduce, re-use, recycle” concept ed by environmental organisations.

* 424 /////

Bertini, Condom Fashion, 2006 entitled “Gabrielle” produced with condoms and fabric

Greenhouse gases: are gases in an atmosphere that contribute to the greenhouse effect by absorbing and reflecting radiation – causing a rise in temperature, carbon dioxide and methane.

MODULE4THEORY

Bertini, Dress Up Against AIDS: Condom Couture December 1, 2006 to March 11, 2007 - Fowler Museum at UCLA, Los Angeles

In the end all we have is one planet Environmental threats, illness, social issues and many other factors have placed our planet and all species at risk. We are the cause of our current situation but we are also our best hope of finding solutions to the problems facing our world. It is the responsibility of every person on the planet to start asking, “How I can contribute to environmental and social development?”– because it does start with you. A first step is to understand what the “real” cost of a product is. The “real” cost of a product doesn’t refer to the price tag, it refers to the cost to the planet of producing the item: power, materials, waste, transport, packaging and storage are just some of the elements, which need to be considered. Why buy fruit and vegetables flown in from half way around the world when you can go and buy local produce that is in season? Local is lekker has never been a more true statement and we know the planet would agree. Great thinkers like Victor Papanek saw the danger of over-consumption and inferior product designs over 40 years ago and tried to warn us. Today designers are at the forefront of environmental and social development, making a difference and finding solutions to global problems. It is the designer’s ability to think critically and creatively through each stage of every situation often referred to as ‘design thinking’, which will make you a complex problem solver. Our world needs problem solvers and individuals who are ready to fight for our planet and our own survival.

///// 425

DESIGNGRADE11

ILLUSTRATION & HAND QUALITY IN SOUTH AFRICAN POPULAR CULTURE. Hand drawn images, lino cut prints and illustrations have a prominent history in the visual media of South Africa. The anti-apartheid posters, pamphlets and visual media produced during the 1970’s and 1980’s are examples of this ‘hand drawn’ or illustrated quality (discussed in Module 1). The lino cut ‘Pregnant Maria’ by John Muafangejo is a wonderful example of the dynamic graphic style which can be achieved using this hand produced medium. Many contemporary designers in South Africa are inspired by the ‘human’ quality which is communicated by hand produced typography and graphics. One other example is the 2012 posters produced for the ‘Locals Only’ exhibitions. A different poster was produced for each of the hosting cities: Cape Town, Johannesburg and Durban. The poster features a series of repeated silk screen prints, many of which resemble the strong hand quality of linocuts. The use of illustration and hand production methods (sometimes real and sometimes simulated) can today be found in ments, posters, flyers and on T-shirts to name but a few. Another example of hand produced typography and illustration is signage produced in townships for shops and services. Simon Weller’s book ‘South African Township Barbershops and Salons’ (published by Mark Battey Publishers) celebrates the developments, artistic skill and social importance of hand produced signage. With very little means and often no formal training artists convert bland shop fronts into vibrant spaces which showcase the goods or services on offer and often reference popular figures form America. Characters were rendered in a two dimensional style with clear outlines. Flat areas of colour built up clothing and other details. Typography was irregular and often followed the outline of other images of barriers such as windows, doors and walls. The style was organic, dynamic, attention grabbing, bold, simplified and represented what is means to be African. The ability of these artists to produce inspired works from limiter or found or second hand resources represents a key characteristic of South African art and design: the ability to make something wonderful from almost nothing.







WorkingClass and Volcom Stone, Cape Town’s ‘Local Only’ Poster, 2012

John Muafangejo’s linocut ‘The Pregnant Maria’




Images and cover page from Simon Weller’s ‘South African Township Barbershops and Salons’

426 /////







MODULE4THEORY

In the last decade the style, images and hand produced quality of township design and art became referenced by many diverse industries and designers, including the fashion industry and graphic design. As more people became exposed to these styled images and designs the popularity grew, elevating the style to popular visual culture. Bold, flat images and message which celebrates South Africa. Popular uses of this style include motifs used by Darkie Clothing and Shine Shine. Themba Mngonezulu is the creative mastermind behind Darkie clothing: ready to wear street clothing celebrating African colours, patterns and motifs. The brand was launched at the Johannesburg fashion week in 2002. During 2006 Mngonezulu began collaborating with Azaad Carrim and together they opened a Darkie boutique and launched a second range, called Regime.













The Darkie boutique, logo and T-shirts.

Shine Shine fabrics was founded by Tracy Rushmere. She collaborates with other designers, notably Heidi Chisholm, to produce fabrics and products inspired by traditional African textiles and motifs ranging from social to political. Shine Shine have also produced a number of products including bags and trays and have also collaborated with photographer Ed Suters to create a range of placemats. The designs use bold, strong outline and flat colour areas. Images and meaning are combined in eclectic designs, grounded in the ‘now’. Inspiration and motifs range from glamorous black woman to American Shine Shine motifs on trays 
 president Barack Obama, and from popular icons like the Vespa scooter to technology like cell phones and laptops. The fabrics tell a story through vibrant images and text banners intertwined with flowers. Shine Shine fabric designs celebrate the illustrative Africa tradition.










Various Shine Shine fabrics: Jackie So, Julie Juu and Obama

Fabrics and fashion represents a visual media which promotes itself. Often, however, designs and ideas need to find a method to reveal themselves to the general public in the hope of becoming popular. Magazines are a very successful medium to spread ideas, trend and concepts tied to popular culture. In South Africa two magazines stand out: Drum (originally called The African Drum) and Huisgenoot, two of South Africa’s oldest popular magazines. Drum, was launched by Robert Crisp in the early 1950’s and the first edition of Huisegenoot was published in the 1910’s. Today both magazines are still popular. ///// 427

DESIGNGRADE11

South African Magazines & Popular Culture The role of mass media in the creation and spread of popular culture is crucial. Mass media, like radio, television and magazines showcase the popular musicians, ideas, fashion, technology and artists of any era through text, visuals and audio (sound). Throughout the history of South Africa magazines and music were important mediums of mass media. Magazines like Huisgenoot and Drum date back to the 1950s and 1910s, respectively, and have kept readers up to date with current events as well as showcased the latest fashions, explained new and exciting technologies and commented on the lives of famous people nationally and internationally. Besides commenting and reflecting on popular culture magazines can also help spread social and political messages. Magazines are a powerful method of communication because the reader interacts with the magazine in a personal way – the reader choose when and where to read the magazine and they can page back or forth, taking as long as they want to read it. Magazines are also topic specific so readers can choose a magazine which reflects their interests.




A major influence on popular culture are celebrities like musicians and actors who are often featured on magazine covers. The covers of magazines can almost be seen as tiny capsules of history; whether it is the 1955 Drum magazine cover featuring Dolly Rathebe in a typical 50s swimsuit, the iconic 1957 Miriam Makeba Drum cover, The 1980s Huisgenoot cover stating that ‘JR has been shot’ (a key event in the then popular television series Dallas) or a more recent You cover featuring the actors from the Twilight book and movie franchise.




Today many magazines are also available on-line, benefitting from the massive impact that the digital world has on our lives. Completely new magazine, specific to the internet, called e-zines are also becoming more popular as are other forms of digital journalism such as blogs and on-line commentaries. The physical format of a magazine, whether it is printed or digital, isn’t really important, what is important is the impact that this medium has on informing popular opinion.

YOUR TURN! A WEEK OF SOUTH AFRICAN POPULAR CULTURE




South Africa is a diverse country with people from many traditional cultures which all contribute to popular culture to a greater or lesser degree. To complicate matters further South Africans are also inspired by American and European trends and culture. Most would say that this diverse range of influences are too broad to be interpreted into a singular popular culture but in South Africa, Western influences mix with ‘local is lekka’ and African tradition to create a dynamic, rich popular culture reflective of the diversity of South Africa and her people. To really understand the South African popular culture and the power of magazines and e-zines in influencing popular culture, it is important that you spend some time investigating the latest ideas, fashion, technology, gadgets, products, colours, trends, famous individuals and world events which are documented in magazines. 428 /////

Various Covers from Drum Magazine, Huisgenoot and You




MODULE4THEORY

1 PROJECT

Create your own A2 “SA Pop Culture” visual reference board. For one week read through as many current printed magazines as you can, and visit as many South African e-zines and popular culture blogs as possible. Note down aspects and find images of popular culture under the following headings: • Fashion and accessories: Look at what celebrities are wearing (national and international), ment pages for brands or fashion outlets, specific hairstyles, accessories, particular colours or motifs. • Products: furniture and product styles, specific appliances, product styling, incorporated theories such as sustainability or biomimicry. • Important people and their activities: musicians, film stars, sporting heroes and general celebrities • Technology: document new technological improvements and any new popular gadgets • Current views: Ideas like recycling and responsible living, AIDS and other views. • World events: Note down key political, social and environmental issues that are repeatedly making the headlines. Feel free to discuss your findings with friends and family – ask them if they have noticed any specific element of popular culture that stands out and get them to add to your notes and images if possible. Use your comments, images and cuttings ( to only cut out of a magazine if you have permission!) from your week long exploration to create an A2 visual reference board reflecting current popular culture in South Africa. Include as many examples as you can but make sure to consider the overall flow and appearance of your board. After you have completed your board reflect and discuss the various popular elements that are noticeable on your board in relation to other learner’s boards.

///// 429

MODULE4

DESIGN IN A

CONTEXT

DESIGN IN A

MODULE4BUSINESSCONTEXT

For Module 4 you are required to

revisit all the projects you have done this year. You have

additional insights and much more knowledge, so be critical and see how and where you can improve your projects. Once they are complete, they may be handed in for a re-mark. Module 1

• Essay • Analysis of ment • Questionnaire and

Module 2 • • • •

Research on tertiary institutions Research about different roles within a design company Curriculum Vitae Field trip and interview

Module 3

• Group project: Recycled or up-cycled accessories

///// 431

MODULE4

PROJECTS

In this module you have a choice between 2D, 3D or a combination of both.

MODULE4PRACTICALPROJECTS

INTRODUCTION Section one: 2D Have you ever fumed with frustration when you can’t find the right replacement blades for your very expensive razor? What do you do with all your disposable pens that just don’t want to write or toothbrushes that have done their dash? Do you think any of this has anything to do with the actual design of these articles? Keep thinking. We will come back to this a little later. Up to now we have discussed many things about design: principles and design elements, influences and inspiration. You will know by now how to do basic designs and why you make certain important design decisions as well as the importance and relevance of understanding the historical context of movements and styles. We will now get to more serious things you need to know about design, and how we as consumers AND designers can make a difference. Previously we have discussed issues such as how the design decisions you as a designer make can influence the social and environmental impact of your designs. In other words we have become aware of the knock-on effect of everything we do. A holistic thinker has a powerful insight and this ability can stand you in good stead when it comes to deg innovative products and systems that will really make a difference. As a consumer we will truly make a difference and greatly add to the development of a more sustainable future if only we become more aware that every decision we make has repercussions (knock-on effect) and change our behaviour accordingly.

///// 433

DESIGNGRADE11

Here are things we as designers of the future can do to be more responsible. Designers can become environmentally sensitive by specifying plant-based inks for printing jobs. Not using heavy-metal inks will prevent this metal from ending up in our landfill sites and eventually ending up in our drinking water. Today, the special effects on packaging that usually add that more exclusive and glamorous edge to a product should seriously be reconsidered. Effects like foiling, which is the thin layer of metal often added onto packaging, or varnishing, a thin layer of varnish to add glossy areas to packaging and other printed matter, are examples of the many special effects added that eventually prevent packaging from having the ability to degrade or be recycled this ensuring that the packaging will end up in a landfill site. In our country where packaging is often used as fuel for fires (sometimes even indoors), it is even more dangerous because when these packages or paper are incinerated, the dangerous fumes created by the burning of special effects and varnishes, are inhaled by those in the vicinity and these fumes can cause major health problems. We should thus encourage people to recycle or re-use existing packages, or to be creative and to start turning disposable items into something useful (up-cycling) to keep them from landing in our landfills. It is shocking to realise that almost every single piece of plastic ever created by mankind is still on this planet. It is obvious that if we can re-use, recycle or up-cycle anything that is potentially hazardous or a pollutant, we have an obligation to do so. In only five years (1999 - 2004), the amount of waste dumped at landfill sites in Cape Town grew by 43%. On average, each person threw away 1.8 kilograms of waste every day (660 kg per year) in 2004. The problem is escalating everywhere in our country. We must all reduce the amount of waste we produce because landfill space is severely limited. One way to make a huge positive contribution is to stop buying cheap stuff that is designed to have a short life span so that you are forced by this system to continue replacing “second grade” products. At the end of the day you are wasting money too. These products are designed to break to create a greater demand for a product. If we want to contribute to a more sustainable lifestyle we need to seek for those products that are well designed and designed with a long life span so that we don’t need to buy regular replacements that continue to this unsustainable world. This means reducing what we consume, re-using and repairing items, and recycling waste. http://www.ekapa.ioisa.org.za

Two design leaders Let’s have a look at two very inspirational design leaders and see how they try to make design a responsible as well as empowering career choice. IN THE WORDS OF DAVIDBERMAN: In this time of unprecedented environmental, social and economic crises, designers can choose what their young profession will be all about: inventing deceptions that encourage more consumption – or helping repair the world.

DAVID BERMAN

“

David Berman is a Canadian designer who has over 25 years experience in design and communications and a great ion for a sustainable approach to both the practice and consumption of design. Whichever design career you wish to pursue, or even if you don’t, his philosophy about design and how we interact with it is really important. Since 1984 David has worked to establish a code of ethics which embraces social responsibility for certified graphic designers throughout Canada and the first draft was ratified in May 2000. He has served as the national Ethics Chair for graphic design in Canada

434 /////

MODULE4PRACTICALPROJECTS

since 2002. In November 2005, David was elected to the board of Icograda, the world body for graphic design and visual communications. He was re-elected to a second term in 2007, and a third term in 2009. In 2009, David was appointed a high-level advisor to the United Nations. David is dedicated to realising graphic design’s potential to help improve the human condition and the global environment. He speaks at international and local conferences and writes about the important role graphic designers can play in enhancing social conditions around the world, as opposed to applying their skills to help organisations mislead their audiences or manufacture false needs. (Taken from http://www.davidberman.com/about/index.php ) In 2009 David Berman wrote a book, which set out his ideas concerning the role of designers in today’s society. The book is called: Do good Design. The strikethrough in the title simply means that it is not enough to just design well, but that you need to make a difference with your designs, in other words, also do good with what you design. The core thoughts he sets out in his book are as follows: • Designers have far more power than they realise: their creativity fuels the most efficient (and also most destructive) tools of deception in human history. • The largest threat to humanity’s future just may be the consumption of more than is necessary. We are caught up in an unsustainable frenzy, spurred by rapid advances in the sophistication, psychology, speed and reach of visual lies designed to convince us we “need” more stuff than we really do. • Human civilisation, trending toward one global civilisation (globalisation), cannot afford to make even one more major global mistake. • The same design that fuels mass overconsumption also holds the power to repair the world. • We live in an unprecedented technological age, where we can each leave a larger legacy by setting in motion our best ideas. • Designers can be a model for other professionals in identifying one’s circle of influence, and then embrace the responsibility that accompanies that power to help repair the world. • So don’t just do good design, do good. (Paraphrased from Do good Design)

VICTOR PAPANEK You have already been introduced to Victor Papanek. The problems he identified more than 20 years before you were born are still with us today, only worse.

VICTORPAPANEK WROTE, AMONGST OTHER Design has become the most powerful tool with which man shapes his tools and environments and, by extension, society and himself. THINGS THAT

“ ///// 435

DESIGNGRADE11

Essentially this means looking at real-world problems and trying to solve them in an ecologically-sound and efficient, forward-thinking way. The best way to do this is with the help of the stakeholders: the people who are actually affected by the design problem and its potential solutions – they are after all the people who are going to use the product. This is directly opposed to today’s practice of profitdriven design (selling anything as long as it makes money), which uses planned obsolescence (you have to throw them away when you are done, or when it breaks it is not worth fixing it because it is cheaper to buy a new one.) and the fickleness of fashion (where companies sell the same old rubbish year after year, making only superficial changes or even just using a different marketing strategy). We only have to imagine the stores around Christmas time to see how true this statement is. For every fantastic new low-cost, low-impact cool tool that is produced, accessible and useful to consumers who really need it, there are millions of new, very expensive, mostly ugly and possibly dangerous items flooding the market simply to turn a profit. This is what Papanek addresses in his book, and his message still holds true today. The design world, despite so much potential and many improvements, still continues to produce many useless things in an endless repetition of bad ideas. After all it is because of bad design that the world is flooded with waste. The following image is part of a flow-chart which appears in Papanek’s book. He does not give the answers to solve the dilemma; he only makes suggestions, and relies on us to sort out the problems of our day. Look at the bold type at the top and see if you agree with his analysis. You are the next generation of consumers and designers. Much of what can change depends on you.

A flow-chart from Papanek’s book

436 /////

MODULE4PRACTICALPROJECTS

ACTIVITY 1

Evaluation essay What do you think young people of today really need, what do they really want, and what are they told they want and need? These realities are always very different so let’s see how you perceive everything. Draw a table like the one below and in the first column write down what you think the youth in this country really NEED. You may look at the above chart for direction, but make it personal, in other words, what do you as a young person in South Africa really need today. In the second column stick as many examples as you like: cutouts from magazines about what the youth today really WANT. It can be certain products, it can be a lifestyle, it can be a state of mind or anything else that is concerned specifically with what you and your friends WANT. In the third column write and stick examples from magazines on how you are told what you should buy, what you should wear or what you should use. Focus on the message. What, according to the adverts will happen if you don’t use, wear or buy what they say?

What do I as a young person in South Africa really NEED today?

What do I as a young person in South Africa really WANT today?

How am I instructed by the media about what we need and want? How am I pressured to conform to a certain way of looking, what to use and what to buy?

You may use as much space as you need and if you feel like making three separate pages to represent the different columns, you are free to do so. Once your three sections are completed, write a reflection on your findings while completing this activity. Were you surprised by the difference in the content of the three sections? Or do they more or less look alike? Have you come to a certain awareness about how we are influenced by the media and the culture of wanting more and more in order to feel good about ourselves? Please hand in your activity with the reflection essay to your teacher in a neat and professional manner.

///// 437

DESIGNGRADE11

Action We have now seen that to make a better future for us all, design must become an innovative, highly creative, cross-disciplinary tool tuned into the true needs of mankind. It must be driven by research, and we must stop destroying our planet by filling it up with poorly-designed objects and structures. Design must be meaningful. We cannot continue to design simply for the sake of deg yet another object. Today this is far from enough. To become a great designer is fast becoming a multidisciplinary career. To simply be a good graphic, fashion or product designer is not going to cut it anymore. You seriously have to also be a problem solver, analyst, and strategic and holistic thinker with a great insight into the workings of people and their environments. At the beginning of the module we asked whether you have ever wanted to replace the blades for your expensive razor only to find out that they are nowhere to be found because there has been an upgrade and the new blades don’t fit your old razor (and you now have to buy a new razor as well). What happens with, e.g. all the ballpoint pens and toothbrushes we so casually toss out once we don’t want them anymore? In David Berman’s book, Do good Design, he has the following information which may just cause you to take a few deep breaths.

Every day the following happens around the world: 1, 200,000,000 882,000,000 41,000,000 14,000,000 6,200,000 43,000 26,500 7,400 3,000 2,800 600 160 73

doses of Coca-Cola ingested Marlboro cigarettes shipped outside the U.S. McDonald’s customers served BIC pens disposed of kilos of plastic moulded for bottled water hectares of ancient forest destroyed human children under the age of 5 die due to poverty humans infected with HIV virus promotional messages seen by average American African children killed by untreated malaria reported deaths in car accidents in China HIV babies born in South Africa species made extinct

SHOCKING, ISN’T IT?

There is so much human suffering happening every day because of completely treatable or preventable diseases. Compare this to the excesses in the top few lines. Surely there must be a way to obtain a balance in our world? Can you imagine how much damage 14 million plastic pens per day released into landfills must do? Surely this is not sustainable. One of the biggest aims we have as responsible designers and consumers is to put an end to this and to start developing a better world through developing more sustainable options in everything we do and buy. If we could manage to design products, systems and environments that can destroy the planet, so we can design exactly the opposite. Not so farfetched is it?

438 /////

MODULE4PRACTICALPROJECTS

Fortunately around the world there are concerned designers and consumers who have come up with ideas to counter this madness and you can find pens manufactured from paper or wood; toothbrushes made from recycled wood; even recycled, condemned dollar bills; razors made from recycled plastic yoghurt tubs (which are notoriously difficult to recycle); water bottles made from recycled paper and the list goes on. But we don’t hear about these products because the manufacturers do not have the budgets, nor do they want to spend obscene amounts of money to make the products look sexy and fashionable in ments. The consumers who go for these types of products have an environmental and ethical desire to use them and are not convinced by big, colourful and sexy adverts instructing them to use something else or be a loser. Here are some examples of these more sustainable products. Not bad looking products at all.

Pens made of throw away paper, refills are recyclable

Pens made from recycled wood and recyclable metal

Toothbrushes made from recycled dollar bills, wood and flax. The bristle end is the only part which is replaced – you can order a replacement to be sent to you every 2 or 3 months. The old front end can be recycled.

A disposable water bottle made from recycled paper pulp Reusable razors made from old yoghurt tubs with biodegradable (plastic) and recyclable (metal) blades

///// 439

DESIGNGRADE11

2 PROJECT You are required to design a poster to promote one of the 5 products mentioned on the previous page. Go back to Module 2 and look at the points that were made about successful advertising campaigns, but now, armed with your new knowledge, you need to find a more responsible way to promote these products.

It is not so much the novelty value of something made of, e.g. dollar bills which is going to drive your design, rather that it needs to change potential consumer opinion and buying patterns. In other words, your poster should not focus on what it is (product made from interesting and responsible materials) but rather on what the manufacturers are trying to do, which is trying to make people aware of the danger of not being responsible which is trying to make people aware of the danger of not being responsible. The focus is more on the advantages of responsible design..

STEP1

Decide on a product and start brainstorming how to approach this message. The brand name and the manufacturers are not important in this exercise; you need to motivate consumers about why it is important to steer away from the known, overly sexy and flashy products and consider the (maybe a little more expensive, but ultimately far more sensible) recycled products. You may choose a fictitious name for your product and also think of a catchy slogan or tagline, which will make consumers your message.

STEP2

Refer to Module 2 where the characteristics of a successful campaign were discussed. Think about your USP (can you what an USP is?) and how you are going to communicate this USP in one strong message. You may consider facts (but don’t bore people), humour (but beware, it is not a frivolous topic), or even use historical or social references to make consumers sit up and take note. You need to be fresh and interesting without reverting to the methods used by the manufacturers of the usual products which pollute our world. Draw small scamps and have little buzz-groups in class where you can evaluate one another’s approach. Sell your ideas/concepts to your class, but remain responsible in doing so. Because this is a new product it is very important to show the product somewhere on the poster. You may use any technique to showcase it but take care that it looks professional. , the product must be KING!

STEP3

Once you are satisfied with your concept, start deg your poster on an A3 paper. You may use any appropriate media. Once you have completed your poster, hand the finished A3 in to your teacher, neatly and professionally.

Characteristics of a successful poster

A poster is generally a simple method to attract attention and communicate basic information about an event or a product. It should be: • original – eye catching to make the public want to stop and read it.

440 /////

MODULE4PRACTICALPROJECTS

• • • • • •

quite simple – if it is too complex your audience will walk away and you will have done all the effort for nothing organised – if you want to convey specific information especially if it is about a new product without too much information on the poster – one strong single message will normally do the trick readable – this does not mean predictable or boring, but make sure the important message gets across. mobilising and encouraging – you want consumers to change the way they think. Product (like in advertising, see Module 1) should be KING!

Quite difficult to do all this on an A3, but we are sure you will live up to our expectations. It all may seem like a story of doom and gloom, but it’s not. Lots of great, inspiring, empowering design work is happening all over the world every day, but the point is at the same time too much bad design is happening too. Because the world community is ecologically with its back against a wall, today designers carry a huge responsibility to design a better world through decisions we make every day and through using our power responsibly We cannot justify the following four stages of pollution anymore: • • • •

The destruction of raw materials Pollution created by the manufacturing processes Too many useless products Pollution created by disused products rotting away in landfills all over the world.

Obviously you would like to be a successful designer, and make a good living from it, and of course this is your right. There will always be difficult decisions to make in a world that wants to make everyone conform, but if you are guided by your sense of responsibility to do good design, and use your sensitivity and knowledge towards helping the environment by doing it more sustainably, you will be heading in the right direction.

3 PROJECT

Second part of your Module 3 project In Module 3 you came up with a concept to solve or address an environmental problem in your immediate vicinity. You conceptualized what it was you wanted to achieve and then designed a beautiful logo, letterhead and business card. You also, with careful consideration, added 3 extra appropriate pieces to create awareness about your campaign.

///// 441

DESIGNGRADE11

In this module you are going to put your plans in motion. You do not have to do this for “real”, in other words, you don’t actually have to organise and promote a fun walk, but the plan you will present must be feasible and workable. It is impossible to stipulate what each learner should do for this exercise because each of your projects will be different. You therefore have to research your plan to such an extent that the things you choose for your event or plan will be the best possible solution for your problem. You as a designer will have to take responsibility for these decisions and be able to motivate and defend them. So make sure that you make well-informed decisions. Organize a drive or event to either solve the perceived problem (rubbish on the school premises – can be cleaned up in one event) or a drive that will kick-start your solution. A fun-run will generate money to start, e.g. a recycling project and we therefore see the funrun as a way to a means. The fun-run won’t solve the recycling problem, but the awareness created and the money raised, will make it possible to mobilise your project. The drive can be as small or as big as you like, but make sure you select the best possible idea which will make the biggest impact.

THE MINIMUM AMOUNT OF WORK WILL BE AS FOLLOWS: You need some material to create awareness of your event/drive, which could include a variety of options. You can write a radio ment if you like writing and working with sound; you could place an advert in your local newspaper or even write an advertorial (article which is much like an advert but with a lot more information); you could design and place posters at your local shopping centres, and hand out flyers to residents or place them under car wipers at your local store. The list is endless but you should consider only the ones that will be the best fit for your campaign and create the most awareness of what is about to happen. On the day, consider the environment where you will be hosting the people. Things to consider could be signage for gathering points, information stalls or areas for refreshment stalls if that fits in with your concept. Will the organisers or helpers have/wear something to distinguish themselves from the rest of the people? Maybe participants can create something to indicate that they are part of the drive – funny hats out of discarded paper or cardboard – with a prize for the best one? The possibilities are endless. Lastly you need to think of what people will need to accomplish the result you want. Will they need bags? Will they need gloves, stickers, or a hat? What tools will they need? All of these can be branded in some small way to indicate that they are part of the drive. Because of your heightened sensitivity towards all things responsible and sustainable, you may want to avoid glossy stickers on implements, and rather be in favour of handcrafted posters on, e.g. recycled fabric. Hand painting can of course be too time-consuming and work against your drive of reaching as many people possible. Maybe investigate other printing methods like doing a linocut which will enable you to do a quicker print run. It still, however, has to be professional, incredibly neat and well-crafted. Doing this by hand by no means gives anyone the green light to produce a lesser quality product. Use the following table to do your planning for the drive. Allocate time to execute each and every aspect. Time management is an indispensable tool for designers as our world revolves around the completion of work before deadlines.

442 /////

MODULE4PRACTICALPROJECTS

Example:

PLANNING: MY DRIVE TO CLEAR OUT THE RUBBISH FROM OUR SCHOOL YARD

How will I create awareness for this drive? Minimum 2 pieces.

How will I prepare the environment for the drive? Minimum 2 pieces.

What will volunteers and participants need to accomplish the aims of the drive? Minimum 2 pieces.

1.

1.

1.

2.

2.

2.

Rationale for the above decisions I made:

Rationale for the above decisions I made:

Rationale for the above decisions I made:

After the planning stages you need to start your design process. Start with scamps in your workbook, re-work and refine your ideas until you are sure they cannot be improved on and then start with your execution. All pieces will look different because of their purpose, context and nature, but it is very important to still have a sense of continuity, identity and a common thread running through the whole campaign. You cannot afford to create any confusion. Once you have a captive audience make full use of it. Don’t waste their time, don’t waste your money and resources and certainly don’t waste this opportunity. By doing your research and having a sustainable business plan and structure, your chances of success are great. Once all the pieces have been executed, present the whole project, together with your designs from Module 3 to the class and invite . Eventually the class can decide if they want to vote for the most successful, believable and cost-effective project. Hand the project in to your teacher in a neat and professional manner.

///// 443

DESIGNGRADE11

SO… what now? Finally, please read this excerpt from David Berman’s book Do Good Design. He calls it: ‘Shopping tips for agents of social change.’

“Have a personal mission. Rethink. Know what you need, then seek out products that will fit you for a long time. Demand objects that are designed to last. Avoid disposables. Carry one great pen. Carry your own shopping bag. Be happy with your hair. Give ideas as presents more often, things less. Eat less junk. Eat fewer animals. Avoid bottled water. Seek simple entertainment. Have fun. that you are already beautiful (and embrace those who have told you so). Avoid style magazines; fashion is declawed rebellion, and a weak substitute at that. Entertain yourself simply. Don’t leave your car idling. If you don’t have democracy, fight for it. If you do have democracy, fight to keep it. Then vote for lawmakers who will make laws that control visual lies and will regulate products that steal dreams. Shake off the excessive amount of stuff you have in your life, and then see how much lighter you feel. Plan more carefully, so you can consume more efficiently. Resist all messages that seek to convince you that you need to consume in order to feel good. If shopping is your hobby, find a more sustainable hobby. If shopping is your habit, figure out why. Avoid products made with PVC, the hazardous waste of the display industry. Buy products that tell the truth. Resist designer products unless you see the value the designer has contributed. Resist being manipulated by visual lies. Don’t get too comfy. Stay alert. Demand truth. Share your truth. Speak out when you see visual lies. Lead by example. Teach it. Live it. Share it. Design your better future, and then help us all design ours.”

Be aware, educate yourself and do what designers do best and that is to solve problems.

ACTIVITY 2 You now know what problems hyper-consumerism, thoughtless production and our throw-away culture have caused. As a young consumer, and being part of the new generation of creative thinkers who are going to rescue us from our past, we would like you to write down five practical things you as an individual can do at this very moment to make a difference. Once you write it down, we would like you to see this as a pledge to try and uphold. It can, and will make a difference.

444 /////

MODULE4PRACTICALPROJECTS

Pledge

I, ( insert name here ) would like to make the following changes in order to help be a responsible consumer and designer: 1. 2. 3. 4. 5.

If you would like to know more about what was written in this module, these websites may be worth looking at: http://www.designcanchange.org http://c20thdesign.wordpress.com/ http://c20thdesign.wordpress.com/page/3/ http://www.rainforestinfo.org.au/good_wood/wfr_papr.htm http://www.upandup.com.au/ - a zero carbon company which goes to show that you can be ethical and make money. http://www.colalife.org/about/ - a wonderful campaign using the fact that Coke-Cola is available across the globe. ColaLife is working in developing countries to bring Coca-Cola, its bottlers and others together to open up Coca-Cola’s distribution channels to carry “social products” such as oral rehydration salts and zinc supplements to save children’s lives. www.greengraphicdesign.net/ - a great book to read if you are interested in working towards a sustainable future in design. http://www.dothegreenthing.com – seven things you can do to lead a greener life http://www.lovelyasatree.com/ - a website that gives you all the details to practice design with an environmental impact http://gogreengraphicdesign.com/is-soy-ink-better-than-conventional-ink/ http://www.adobe.com/designcenter/thinktank/xd_sustainability.html - 3 part video series Part 1: Deg for sustainability Part 2: Towards sustainable design: a discussion Part 3: Building a sustainable design movement

///// 445

DESIGNGRADE11

Section two 3D

446 /////

MODULE4PRACTICALPROJECTS

INTRODUCTION It should be clear to you by now, that each generation of designers has been presented with their own set of problems, challenges, inspiration, materials and technology - and because of this any given design becomes a reflection of its time, place, and space... During term 3 you have been introduced to cardboard housing as a possible solution to alleviate social and environmental problems. We have also seen that cardboard has basically unlimited applications and because of its versatility designers have looked at the structural engineering properties of cardboard to create designs that are nothing short of a revolution. Cardboard as a medium has indeed proven itself to be a “wunder” material. Term 4 will continue on this road of discovering “wunder” materials and through the process of “reused, recycled and upcycle” show to you how many materials can be equally resourceful and inventive if applied creatively. We will be working with paper as a “softer” option to cardboard and create paper dresses that will leave you breathless. BUT you also have the option to use found or readymade objects to create a variety of products - from cupboards, to pots, to lamps, to chairs; the choice is yours to create. This term will also briefly introduce display techniques and will hopefully teach you how to utilise display methods that will in the end ensure that even a weaker design will shine like a star. This is a very important section of your work and should be used as a practice run for the Grade 12 endof-year final retrospective exhibition next year. Just as you would create a compositional layout for any single design, composing a display space would also mean using design elements and principles to unify a specific look/feel or ambiance and thereby creating an appropriate interpretation of your design brand. It would be advisable to: • study the latest display trends by studying window, shop, and design expo displays. • decide on a binding colour or texture for your display area, which you may plan for indoors or outdoors. We will return to this project in the Grade 12 Design Textbook and provide you with much more advanced display techniques.

///// 447

DESIGNGRADE11

4 PROJECT The planning of the use of found objects & upcycled materials to shape a window display area: Should you have to display the designs you have created throughout the year, plan a window display area for your designs on an A2 or A3 paper, You may include the following to create the required ambiance, look or feel: • The use of found or readymade objects • The use of recycled materials for your display area You can make use of your prior knowledge of building dioramas and cardboard housings to assist you here.

STEP1

Create a rough concept drawing of your background (Study the included examples as guidance.) A good start would be to re-use some of the design movements you loved the most from Arts & Crafts to the Modernist Age. Suggestion: If you have designed wallpaper or a divider during the year you may re-use these as your background.

STEP2

Create an A3 storyboard or a mood board. to include the latest display trends and current style influences.

STEP3

Plan a focal point. Choose your best design for this. Instead of putting something “slap bang” in the middle, place it slightly off centre. Integrate or unify the exhibition by repeating a colour, form, or texture throughout your display.

:

Placing your designs does not mean placing them all in one area, e.g. a wall or a table. Use the floor and roof areas. Never cluster the designs – you might even consider a variety of heights to elevate some of the designs because it can enhance the point of view of that specific design. Ensure that you plan enough light, viewing and walking space.

STEP4

Create a final tonal drawing of your proposed display space in colour.

448 /////

MODULE4PRACTICALPROJECTS

Below is an example of the end-of-year exhibitions of a Grade 12 design student as well as two of the works that inspired her work.

FIGURE A The student Kaylin Ball was inspired by the cutout Peacock dress designed by Alexander McQueen (FIGURE C), the painting “Liberty Leading the People” by Delacroix and the monumental performance pieces by SA sculptor/ performance artist Mary Sibande (FIGURE B). Her monumental, sculptural and recycled potato bag costume (FIGURE A) is illuminated from below – giving it the elevated position in the exhibition.

FIGURE B: Mary Sibande

FIGURE C: McQueen

///// 449

DESIGNGRADE11

Danica van der Merwe, a grade 12 student created a display by re-using her grandmother’s closet as background. The Victorianinspired costumes were all made from teabags and even stained with tea. Throughout the display she has used a monochromatic colour scheme that unified the exhibition.

Another student, Charné Hugo, was inspired by Vintage French and Victorian sentimental images. The contemporary French designer Jean-Paul Gaultier inspired Hugo’s strong linear direction for the background. The background was created with metres of black satin ribbon. Everything else was carefully painted to create the perfect environment for the display.

450 /////

MODULE4PRACTICALPROJECTS

Jean-Paul Gaultier’s use of lines created an optical space that can only be described as visually astounding.

///// 451

DESIGNGRADE11

The following two examples really stand out because of this professional designer’s display techniques and use of found objects and/or recycled materials. How beautiful and striking! Maybe these displays remind you of characteristics of one or two of the movements you studied this year?

Zoe Bradley is known for her feminine but dramatic window displays and installations. Here she used recycled paper to create these amazing huge roses. Look at the purple handbag display below.

452 /////

MODULE4PRACTICALPROJECTS

In these predominantly white window displays, Zoe Bradley has made use of recycled paper and cardboard. The white paper costumes are displayed against a classically inspired backdrop that was cleverly resolved with the use of cutouts and needle-poked images. The window display reminds us of a bizarre or a “make-believe world” of musical boxes, wedding cakes and Snow White on ice. She has created a world of paper art that shows beauty, harmony and great intellect. With tributes that have placed her as the best window display artist in the world it is no wonder that she is referred to as the Michelangelo of window display.

The design company Ibride specialises in a wide range of vintage-inspired flat packed designs made from recycled compressed softwood. What makes their displays so amazing is their creative and often witty integration of 2D with 3D products. Ibride prefer using a gray scale print for the background and the products adds a dash of colour to their play-play world.

///// 453

DESIGNGRADE11

5 PROJECT

OPTION ONE: FASHION Eco-dresses inspired by *biomorphic images BRIEF A botanical association close to you has invited a few SA designers to create eco-dresses inspired by the fauna and flora found in South Africa. In their brief they highlighted two important factors: • The final costume must be couture or an evening dress made entirely from recycled paper. • All paper materials have to be creatively manipulated and reworked to a stronger or more durable material.

STEP1

Build up a visual library of recycled evening dresses and use these examples as references for your own costume. Include examples of costumes specifically inspired by nature or biomorphic shapes.

STEP2

Create a few thumbnail drawings that include the front and back views of the costume.

STEP3

Create a more detailed or tonal drawing and show the actual colour of the final dress.

STEP4

Source materials and start experimenting with these materials. Write down your findings of the qualities of these materials. Show your experimentation processes and manipulation of these materials on an A4 or A3 page. Also study the examples we included on the right.

STEP5

When you are satisfied with the outcome of the manipulated material(s), start making big sheets of this material. If your material is not durable, you can iron Vilene material onto the back or alternatively add diluted construction glue or wallpaper glue to the material. Cut out the different sections of the pattern and sew together by hand or sewing machine.

* 454 /////

Biomorphic: The term refers to any design that is inspired by nature – forms and patterns that resemble any living organism in shape or appearance. Most inspiration is taken from Biology, Anatomy, Entomology, Histology, Fauna and Flora.

MODULE4PRACTICALPROJECTS

Below are some paper manipulation techniques to consider for this project Design students in high school did all the below examples.

Ink stained paper sewn together

Folded newspaper

Photocopies cut, folded and sewn together (front)

Paper cutout

Modular origami surface

Price stickers folded

Needle-poked surface

Teabags stained with transfer print

Both the front & back can be used simultaneously (back)

Scribbled or continuous line drawing

///// 455

DESIGNGRADE11

?

DIDYOUKNOW The first paper costumes were made

in 1916 by the Dada and Surreal artist, Hans Arp and his sister. Even Andy Warhol got in on the trend in the 1960s and created a paper dress based on his famous Campbell’s soup can print.

Katchina costumes made in 1922 by Sophie Taeuber-Arp, Swiss artist, and wife of artist Jean Arp, with whom she collaborated during their long marriage http://www.improvisedlife. com/2010/10/

Andy Warhol’s Campbell’s Soup can dress

Here are some of the most inspiring paper dress designers. We hope they also “rock” your world.

ISABELLE DE BORCHGRAVE Isabelle de Borchgrave is an artist/designer who lives and work in Brussels. She is known for her intricatelydesigned garments using only paper. In 1994, she met Canadian costume designer, Rita Browne, and together they conceptualised a collection of garments called "Papiers a la Mode." The results of Borchgrave's talents are truly astonishing. She can create with paper what many designers never fully achieve with fabric. She pleats, handpaints, and manipulates the paper into re-creations of designs from fashion greats like the House of Worth, Fortuny, Dior, and Poiret. With a single sheet of paper, she creates the most beautiful dresses, the finest costumes, shoes, hats or even a few strings of pearls… If you love her paper costumes, get hold of “Paper Illusions”. This is a remarkable book documenting most of her works.

456 /////

MODULE4PRACTICALPROJECTS

Isabelle de Borchgrave created this couture costume entirely from paper. Look at the creative manipulation of paper that was used in the hair and at the back of the top. Even the “pearl necklace” is made from paper. The costume is made from printed paper with a floral motif.

///// 457

DESIGNGRADE11

ZOE BRADLEY Zoe Bradley is from the UK and she is known for her unique and bold paper sculptures that combine craftsmanship with dramatic silhouettes. She graduated from Middlesex University in 1997 and then went to work with Alexander McQueen. Her works are best described as “Fashion meets Theatre.” She creates highly-crafted, fashion-based showpieces for advertising campaigns, photo shoots, and catwalk shows and window installations. Her works have been shown in the world’s most famous and prestigious storefronts, from Louis Vuitton, Tiffany & Co., Donna Karan, Christian Louboutin, to Harvey Nichols. If window displays were art then Zoe Bradley is the Michelangelo of the Window Display industry. We are sure you can see why. Be sure to check the rest of her portfolio on www.zoebradley.com

458 /////

MODULE4PRACTICALPROJECTS

Every paper dress by Zoe Bradley turns into monumental, sculptural and theatrical pieces. You cannot but stand in awe.

///// 459

DESIGNGRADE11

SUSAN STOCKWELL Susan Stockwell is a London-based artist who creates non-wearable and delicate dresses made of dirty coffee filters, used tea bags, and worn maps. It’s an interesting display of “upcycling”, the practice of taking something disposable and transforming it into something of greater value. Her dresses boast details like rosettes, sashes and ruffled collars and call to mind the fashions of centuries past. http://cdn.webecoist.com/wp-content/ s/2009/01/stockwell-recycled-paper-dresses.jpg

460 /////

MODULE4PRACTICALPROJECTS

ALEXANDRA ZAHAROVA and ILYA PLOTNIKOV Alexandra Zaharova and Ilya Plotnikov are two Russian fashion designers who have collaborated on a series of black and white dresses. The dresses are all entirely made of paper and both the delicate and stiff nature of the material is embraced in these sleek, sculptural and modular origami designs. The silhouettes are surprisingly flattering, and while not wearable, are certainly innovative and beautiful. http://www. gradientmagazine.com/wpcontent/s/2009/07/ alexandra-zaharova-ilya-

///// 461

DESIGNGRADE11

PETER CALLESEN Peter Callesen has turned an ordinary craft technique into an extraordinary art form. He uses primarily a cutout technique to create amazing 2D and 3D forms. Paper and paper cutouts are used to create delicate sculptural forms. Most of his works are biomorphically inspired.

462 /////

MODULE4PRACTICALPROJECTS

CARIN STANDFORD and CASPER FRANKEN from SHOTOPOP Raised on the streets of Johannesburg and on a milk farm in the Free State, both designers were trained at the University of Pretoria. Shotopop is based in Brighton, UK and their work includes print-based designs, motion graphics, art direction and illustration for an impressive list of international clients. They were responsible for the design of the sets and the making of the motion graphics for the music videos All of me for local musician Chris Cameleon and Because of you done for international fame Skunk Anansie. Carefully look at the design ideas and models that were build out of paper and eventually used as props to create the animated and special effects music video for Chris Cameleon. http://vimeo.com/2162383 - “All of me” by Chris Cameleon http://vimeo.com/6097812 - “Because of you” by Skunk Anansie http://issuu.com/deformation/docs/design_ed_1/33? To read more about Shotopop

///// 463

DESIGNGRADE11

Props and sets for local musician Chris Cameleon’s music video All of me. These images below and on the right show different models built out of paper, that were eventually used as the scenes in the music video. The red arrows might suggest some movement that will be added with animation.

Props and sets for Chris Cameleon’s music video All of me

464 /////

MODULE4PRACTICALPROJECTS

Design boards for Chris Cameleon’s ‘All of Me’ video

///// 465

DESIGNGRADE11

Screen grabs of the final video for Chris Cameleon’s ‘All of Me’

Huge learning curve for you Against popular belief, most top designers still do a lot of work by hand. There is a lot to be said for these hands-on skills that each of these top creatives have mastered. Do not ever think that you can do and learn everything by using the computer alone. This will not set you aside from the rest. If you want to be great in your field you should also develop a lot of other skills.

466 /////

MODULE4PRACTICALPROJECTS

5 PROJECT

OPTION TWO: FUNCTIONAL PRODUCT From trash to treasure Surely it is clear to you that words such as re-use, recycle and upcycle are buzz words in the 21st century. If any designers want their designs to be considered, they have to start following more sustainable rules and regulations. But to quote Kermit the frog:

“It is not always easy to be green”.

BRIEF Create a functional object by re-using waste materials in an upcycled fashion so that the end product is valued higher or of a better quality and value.

:

Upcycling refers to the process of converting waste materials or useless products into new materials or products of better quality or a higher environmental and economic value.

STEP1

Always research. Build up a visual library of waste materials upcycled into functional objects and use these examples as references for your own work.

STEP2

Create a few thumbnail drawings that include the front/side/back views of the object. that if you do these well it will assist you greatly when you start constructing your product. A number of times designers also note possible complications because of the initial drawings they make and can thus solve the problem before it can present itself.

STEP3

Create a more detailed or tonal drawing in the actual colour of your final design.

STEP4

Source materials and start experimenting with these materials. Write down your findings. Show your experimentation processes and manipulation of these materials on an A4 or A3 page or in your workbook.

STEP5

When you are confident with the manipulation of the material(s) you want to use, you can start producing your upcycled functional object.

///// 467

DESIGNGRADE11

?

DIDYOUKNOW The potential in re-using waste materials was first realised in the 1930s. The first known designer who made furniture using waste materials was the De Stijl furniture designer and architect Gerrit Rietveld. During these years the world was in an economic crisis - nothing was wasted. Rietveld made furniture using waste materials for his “crate furniture” in 1934. He used wood from crates that were usually used as packaging containers. Trash isn’t worth anything, but in 2008 these upcycled chairs were sold for R110 on a Christie’s auction.

Crate furniture designed by Gerrit Rietveld (1934)

Since the times of De Stijl, many designers have seen the potential in using waste in a creative and productive way. SA environmental designer Heath Nash who built his company with trash and was quoted as saying: "One man’s trash is another man’s treasure". Taking the current perspective and economic crisis into consideration, a designer does not have much of a choice other than to re-use, recycle and upcycle stuff. Here are a few ideas that you might want to consider for this project.

RAIMONDI MALERBA MARCANTONIO DESIGN STUDIO MARAMA Italian company MaRaMa constructs furniture by reusing a variety of materials taken from old wood and shipping crates.

Designed by Rupert Blanchard

468 /////

MODULE4PRACTICALPROJECTS

PIET HEIN EEK Piet Hein Eek, another Dutch designer, reuses the materials he collects from renovated houses. His end result is creative and functional upcycled cupboards that naturally have a historical narrative due to the heritage of the materials used.

These handmade teapots are inspired by British foods packaging. Each teapot is wellproportioned and complements the original packaging design. The Lyles syrup container was tastefully transformed into a creative upcycled and trendy teapot. These teapots were made in England by Diamond Print Ceramics under license from Tate & Lyle.

///// 469

DESIGNGRADE11

LAMPONI Lamponi lamps are created from old Vespa Scooter parts and other 1950 car and garage parts.

Lamponi lamps

FERNANDO and HUMBERTO CAMPANA

The Brazilian brothers Fernando and Humberto Campana are brilliant eco-designers who love making use of offcuts. Carpet, plastic, rubber, and those lovable soft toys that would eventually end in landfills are lovingly transformed into crazy, artful chair designs. See the awesome crazy designs below and on the next page! It is amazing what can be done if you really put your heart and skill into it.

470 /////

MODULE4PRACTICALPROJECTS

Their designs are like a celebration of normal everyday materials, which would never be appreciated otherwise. Abandoned scraps are reborn. In addition, there would be little energy put into the making of these chairs - all ing the idea of eco-friendliness.

///// 471

DESIGNGRADE11

TOKUJIN YOSHIOKA Tokujin Yoshioka, from Japan, is another designer who creates chairs entirely out of paper. Amazing!

472 /////

MODULE4PRACTICALPROJECTS

These chairs can even be flat-packed as they open up just like traditional Chinese lanterns. Yoshioka has created the seat by simply sitting on the cortena-folded paper and sculpting the form around him – the paper gets squashed and crumples until it settles into a quite strong seat for the sitter. The paper is lightweight and completely recyclable.

///// 473

MODULE4

PROGRAMME

MODULE4DRAWINGPROGRAMME

INTRODUCTION In Grade 10 you were introduced to the amazing animated world of “the ink monsters” by Stefan Bucher. Now you are about to be introduced to the equally amazing “surreal” worlds of the cartoonists, Ben Heine and Julian Beever. Although their approach, style and medium vary, they have both used “optical illusion” to create a “reality” that would make you stand in awe. The pencil versus the camera - a battle between real and surreal For this drawing project, you have to use your imagination and create a fantasy or surreal cartoon world filled with “optical illusions”. You have to choose between the cartoon styles of either Ben Heine OR Julian Beever and use their specific approach, style and medium. It is also important to choose street and sidewalk scenes that clearly show a strong use of linear perspective.

///// 475

DESIGNGRADE11

Ben Heine

Julian Beever

Suggestion

Revisit the linear perspective exercises in your Grade 10 design textbook.

476 /////

MODULE4DRAWINGPROGRAMME

6 PROJECT

OPTION ONE: BEN HEINE TECHNIQUE If you opt to use the Ben Heine technique it is suggested that you follow these activities:

STEP1

Do research on Ben Heine and select some of his images. Use your visual research for guidance and inspiration. Create at least two pages of visual research in your workbook.

STEP2

Take photos of the exact area you are about to redraw. Alternatively you may make one or more drawings of the chosen area. Please that the scene you are about to draw should include strong use of linear perspective. Print and keep these photos or drawings as you will need them throughout the project.

STEP3

Decide on the photo or drawing you like most and choose a section in the photo or drawing that you would like to re-draw. Tear or cut a piece of paper and use a HB pencil and start drawing. Your drawing should show strong use of line and tone. Use a ruler to lightly draw all the perspective lines and to go over all these “ruler lines” with your free hand. The initial idea is not to see the original “ruler” lines but rather the lines you have done free hand.

STEP4

Go back to the original scene; hold your drawing in the correct spot to see if it matches and take a photograph. Of course someone else may also take the photo for you. that Ben Heine blends pencil, photography, imagination and reality - and the results are truly astonishing. Part of his method is to ensure his hand is visible in every picture - to represent the connection between reality, the viewer, the artist and the artwork. He always makes sure the sketch is in black and white (or grisaille/grey tones), while the photograph is often brightly coloured to maximize the contrast. On the right and on the following page are a few inspirational drawings done by Ben Heine ///// 477

DESIGNGRADE11

Ben Heine www.benheine.com/index.php

478 /////

MODULE4DRAWINGPROGRAMME

6 PROJECT

OPTION 2: JULIAN BEEVER APPROACH If you prefer the style or approach of Julian Beever instead, it is suggested that you do follow the following activities: Julian Beever is an English chalk artist who has been creating *tromp-l’oeil chalk drawings on pavement surfaces since the mid-1990s.

?

DIDYOUKNOW Beever first designs his work on paper.

Once that is finalised, a camera is placed at a distance from the art on the pavement, which he returns to in order to observe the image through the lens a number of times. He then uses the camera’s wide angled lens to create an optical illusion which distorts the actual size of objects, thus helping to maintain perspective. He then uses a projection technique called anamorphosis to create the illusion of three dimensions when viewed from the correct angle. It is often possible to position a person within the image as if they were interacting with the scene.

STEP1

Do research on Julian Beever and select some of his images. Use your visual research for guidance and inspiration. Create at least two pages of visual research in your workbook.

*

Trompe-l’oeil is a French term meaning “trick of the eye”.

///// 479

DESIGNGRADE11

STEP2

Selectively choose your work space which can be a street, a pavement, a wall or a building. : when working outside you have to take the weather into consideration. As far as possible choose an area under roof or inside a building in case it is raining or too windy. It is also advisable when choosing your work area to choose a site that is not so busy. If you choose to work on pavements, you might even need permission from the municipality.

STEP3

Choose a scene that you would like to re-draw OR you might even want to create your own scene. Use the grid formula of Albrecht Dürer and re-draw the grid on top of your scene or your own drawing. Now that you have completed this stage you might choose between the two following techniques: • Copy your design block by block onto your chosen surface. It is advisable to redraw the blocks (lightly) onto the surface before you start with the actual detailed drawing. Please use a scale of at least 1:10 OR •

Copy your design (with the grid) onto acetate. Take a fineliner and redraw all the lines (on the acetate) so that they appear bold and strong. Use a projector and throw the image onto your work space or surface. You are now ready to start re-drawing the image.

STEP4

See that your “wall” or “floor” is very clean and dry before you start with the actual drawing. Your first drawing should be a linear drawing. To be able to create an accurate life-sized drawing with straight lines, it is advisable to invest in a chalk line. If this is not possible, see that you have a long and very straight wooden, steel or aluminium stick or plank.

A chalk line in action

* 480 /////

Acetate is a clear plastic, sometimes used by publishers as a dust jacket. Acetate can be printed on, so modern publishers sometimes incorporate designs on an acetate jacket that complement the design of the book’s boards underneath. Acetate tends to yellow, shrink, and crack as it ages - vintage books with original acetate jackets can be very difficult or impossible to obtain with the acetate as fresh and clear as it was originally.

MODULE4DRAWINGPROGRAMME

A chalk line is an inexpensive way to "draw" a long line between two points, when a ruler is not feasible. By snapping a line between those two points, you can cover a fairly long distance with ease. It is important to realise that a chalk line does not take the place of a straight ruler. The line produced by the chalk snap line is fuzzy and sometimes hard to follow. Use your long ruler to go over all the lines. How does this chalk line work? First, shake up the chalk inside your chalk line (any hardware store would have this in stock). Then, hook one end of the chalk snap line to your beginning point. You can now slowly pull out the line or you can use the crank. Secure the line on the other side. Pull the line upwards and then quickly release. The chalk line will snap back onto the surface and then you have your line.

:

There are various colours available to be used inside the chalk line. Choose a colour that you can easily follow and see.

STEP5

For your final drawing, you would be using a variety of coloured board chalk or, if available, you can also use different coloured pastels or even a combination of the two.

:

You are working with an optical illusion. To be able to create this illusion, your final drawing should be done in a realistic style. If you have a camera or cell phone keep it with you constantly and to document your process with the same ion you are using to create the drawing.

!

You can buy very bulky board chalk. This comes in very handy for colouring in huge areas. If you want the board chalk to be more permanent, dip the board chalk in a sugar and water solution. Collect all the small bits and pieces and dissolve them in sugar water. These can then be re-used and applied with the fingers, sponge or with a brush.

STEP6

Now for the fun and last part. Just as Ben Heine and Julian Beever have turned reality into fantasy or is it perhaps fantasy into reality, you have to do the same with your drawing by interacting with it.

to document it all if possible

///// 481

DESIGNGRADE11

Here are a few amazing examples of Julian Beever’s three dimensional optical illusion chalk drawings. Also note the interaction by different people with the artworks. We want you to show some interaction in your shots too!

482 /////

MODULE4DRAWINGPROGRAMME

///// 483

GENERALDESIGNGLOSSARY

Please make sure that you understand and can use the following in the correct context A Abstract: something that has no visual reference to an existing object can be called abstract. By abstracting an existing object, you make it less recognisable/identifiable compared to its original form. Actual space: specific space that surrounds a 3D object and is occupied by the same object Actual movement: real physical movement Achromatic: with no colour; characterised by grey, black or white Advertising/ment: developed and placed by an advertising agency on behalf of a company/sponsor; a paid form and presentation of a new event, product or service, etc. by an identified sponsor; a form of communication to persuade potential customers to purchase or to consume more of a particular brand, product or service; major mediums are used to deliver these messages, including magazines, newspapers, billboards, television, radio, cinema, video games, and the Internet; the objective is to sell goods and services Aesthetically pleasing/aesthetics: beauty reflected by a product; beauty experienced by its viewer; beautiful and visually pleasing; when something is categorised by its beauty, it is looked at from an aesthetical point of view. Aesthetics: a study of art and theories about the nature and appreciation of beauty Afro comb: an afro is a hairstyle that extends from the head like a cloud or a halo and is worn traditionally by people of African descent or people with very curly hair. During the 60s this hairstyle was worn as a symbol of “black pride”. The afro comb is a hair tool used to style the afro Alignment: arrangement of elements along an axis Amorphous: lacking in structure; has no definite form

///// 485

DESIGNGRADE11

Analogous colour: colours next to each other on the colour wheel, like red next to orange, blue next to green; often used together in colour schemes Analyse: to study and examine something so that you can understand it Ancient: belonging to times long past Animation: combining a series of individual pictures (also referred to as frames), resulting in a timed sequence to give the appearance of continuous motion; can be planned and presented on paper or in digital format Appeal: degree of attraction or interest according to need, function and aesthetics Appliqué: decorations sewn onto fabric or added to an existing 2D or 3D surface; also adds decorative qualities to the surface

B Background: section in an image (2D) that seems to be the farthest away from the viewer; section or area behind an object Balance: well-proportioned or equally distributed arrangement of elements; achieved when opposing elements are harmonious within a composition; quality of stability and equilibrium; achieved when position and focus of vital parts of a design are controlled; balance can be symmetrical/asymmetrical/radial Basketry/basket weaving: process of weaving vegetable fibres (pliable materials) like pine straw, animal hair, hide, grass, thread and wood into a basket or similar forms; usually classified as craft design; weaving techniques used are usually ancient techniques that are very culture specific and carried across from generation to generation; skill and practice of making baskets Beadwork: applying beads to a 3D or 2D surface; beadwork adds decorative qualities to a surface; the skill and practice of working with beads Biomimicry: is the examination of nature, its models, systems, processes, and elements to emulate or take inspiration from in order to solve human problems in a more sustainable way. Biomorphic: associated with forms and shapes found in nature; also see the term organic Brand: describes or identifies a unique product or service through the use of a name, symbol, mark, visual image, logo or combination of such Brand communication design: design process used to develop the brand of a new product, or service that reflects the unique qualities of the product or service; the brand reflects the qualities that differentiate the product or service from its competitors; also reflects the qualities that the consumer associates with this product or service Branding: a symbol used as an identifying mark of an organisation Brief: written or verbal instructions specifying an assignment/project

C Ceramics: objects made out of clay that change quality when exposed to heat; 2D surface like tiles; 3D objects that could have the sole purpose of being sculptural and decorative or functional – like a bowl Characteristics: a unique combination of qualities that specifically represent, for instance, an object, person or space; qualities that make it different from the rest Chronological order: the true order or sequence Closed form: solid form with little negative space Cold colours: colours like blues and greens Collage: images, patterns and textures stuck onto another surface Colour harmony: colours next to each other on the colour wheel that work well together or are in harmony Colour palette: a specific group or range of a variety of colours, identified to be used in a specific project; the range of colours can be contrasting, complementary or monochromatic Colour value: the lightness or darkness of a colour Colour variety: the use of different colours Colour vibration: when using two highly contrasting colours, the touchline/borderline reflects a perception of vibration and movement

486 /////

GENERALDESIGNGLOSSARY

Colour wheel: shows the relationship between colours, such as primary colours, secondary colours, complementary colours, in an organised way around a circle/circular chart; used in the study of colour theory Complementary colours: colours situated opposite each other on the colour wheel, like red and green, yellow and purple, blue and orange; a primary colour is the complementary colour of a secondary colour (mix of 2 primary colours) Composition: the outcome and arrangement of the design elements/objects within a 2-dimensional or 3-dimensional space Compositional movement: achieved by the way the elements are composed in the layout; elements attracts the attention of viewer – viewer’s eye moves from one point to the next within the composition Concept: a general statement of the idea behind a product Conceptual sketches: drawings reflecting ideas or plans Conceptual skills: the skills to conceive an original idea or plan; advanced way of thinking with regards to analysing, observing and interpreting objects, people and situations Conceptualise: to come up with an idea Confined space: a spatial field with clearly defined enclosing boundaries Consumer: a person who uses or buys goods or services Contemporary: belonging to the present or same time, modern, up-to-date; not in the past or the future Content: the subject matter/details of a concept, idea, design or document Context: explaining the what, how, where and why of a design; the actual space or place something is positioned in Continuation/eye path: the continuation of a line or an edge from one form to another; the viewer’s eye moves smoothly through the composition Contrast (variety): placing opposite qualities of line, colour, texture or shape together to create contrast and variety, for instance, the high contrast and differences between very light and very dark areas in an image Contrasting: opposites put together; can be different shapes, lines, textures, colours; objects that have very different qualities from each other Controlled: not spontaneous; well planned and executed; having complete control over the outcome/result Contour line: line that follows the edge of forms; the outline of an object Cool colours: hues in the green and blue spectrum of the colour wheel Corporate ID or identity: the unique, recognisable image/logo/symbols of a company or business. Costume design: the design of a costume for the purpose of entertainment, like for a theatre production; costume can also depict a specific style and era (period costumes); design of costumes for use in a movie or ad Craft: often the traditional way of making and producing skillfully by hand; mostly has a functional purpose; activities like weaving, basketry, carving and ceramics/pottery Crafter/craftsperson: skilled person involved in the making of a craft product Creative industries: refers to all the creative sectors included in Visual Communication, Product Design, Surface Design and Environmental Design Creative process: the stages of creative design, for instance, research, experimentation, prototypes and reflection Creative thinking: an advanced way of thinking; don’t think only of the obvious but also consider a variety of ways and angles to solve a problem Creative trigger: something that inspires or encourages the creative process Cross-hatching: drawing technique that involves a series of layered lines to build up value; technique used to show form and volume Crystallographic balance: when balance is equally spread across an entire composition or surface; creates a visual weight or focus that is the same throughout no matter where you look at the time

D Decorative design: when the sole purpose of application of any design technique/material is to decorate a surface, product or space Design: to create a detailed plan of a structure of something, focusing on the appearance, convenience and efficient functionality of final product; to make something in a skilful way; to invent something for a particular purpose; a drawing or graphical representation with the purpose to indicate function and how to assemble or make it. Design elements: line, texture, colour, shape/form, tonal value Design principles: balance, contrast, unity, rhythm/movement, proportion, focus/emphasis/dominance, composition/layout

///// 487

DESIGNGRADE11

Design process: different stages of the creation from concept to prototype; includes stages like research, specifications, experimentation, concept ideas, prototype, evaluation, presentation and reflection Design workbook: your own resource book that you will use to document all your design process work, concepts and ideas, sketches, etc. Developmental skills: the development of a person on different levels of competency Diagonal lines: lines that run from bottom left corner to top right corner and vice versa Digital design/media: print, television, film and video, Internet, animation, web design Dimensions: measurement of any sort (height, width, length, thickness, etc. can refer to space or time. The dimensions of an object can be 2-dimensional (flat or the illusion that it is flat) or 3-dimensional (one can move around it or the illusion that one can move around it). Direction: an actual or illusionary line that an object or element seems to be moving along or is pointing at Directional line or shape: when placement/position of these elements projects a clear sense of direction that guides the viewer’s eye on a specific visual path/direction Display or exhibition design: can include anything from deg the overall layout of an exhibition, like that of Decorex or Design Indaba Expo, to the design of individual spaces within the exhibition to reflect the brand or company that needs to be depicted in that space, to the layout of the actual display Distortion: when the original shape of, e.g. an object, picture, sound or an idea is altered Dominance: when one object dominates another in a design, e.g. big versus small, bright versus dull, textured versus plain Dynamic form: conveys a sense of movement or change Dynamic movement: viewer’s eye moves smoothly from one area to the next; achieved by using continuous line, shape, texture or gradual change in colour and form

E Eclectic: a combination of different styles, ideas, tastes; eclectic style is, for instance, used in interiors and architecture, and even in fashion Elements of design: your design ingredients: line, shape/form, texture, colour, tone and value Eliminate: to take away or erase Elitist: belonging to a group of people with privileges other do not have Emancipation: set free from legal, social or political restrictions; set free from slavery Embroidery: needlework designs with raised thread/s created by hand or machine onto 2D or 3D surface; embroidery usually adds decorative qualities to a surface Emphasis: a focal point will, for instance, emphasise the object or section of a design; created by specific colour, texture, line, etc. that is usually in contrast or stronger in quality to the rest of the objects or sections in a design; use of elements in a specific way so that they ask for concentrated visual attention Entrepreneur: dynamic personality; someone who takes a new venture, enterprise or initiative upon herself/ himself and accepts full responsibility for the outcome; have the quality to set up business deals in order to make a profit Environmental design: refers to all the design sectors responsible for creating the area or surroundings in which we exist, like architecture, interior designers and decorators, theatre and set designers, events designers, urban and landscape designers, to mention a few Environmentally responsible: a designer who always considers the impact on the environment whilst making decisions on the use of materials, waste products or the design of a product that will specifically assist in creating a better environment for all Ergonomics: a combination of scientific analysis of human beings and how we function, methods and circumstances that are taken into consideration when deg a variety of equipment and products that will improve our health, safety and welfare; deg according to human needs; study of human physical relationships to our living environment; study on how to design -friendly products Evaluate: to estimate the value of something according to set criteria Evaluation: to analyse and suggest improvements so that the best design solution can be selected Event design: includes the design, organisation and project management of all the components to execute a successful event; can include road closure procedures and structures, overseeing the marketing campaign for the event; timelines and critical paths for the project team to execute components successfully, layout and sequence of events for a festival; examples can include opening ceremony for the Soccer World Cup or the Olympics, a music festival or the launch of a new product or service

488 /////

GENERALDESIGNGLOSSARY

Existing: to have a place as part of what is real Expressive: an energetic and sometimes vigorous quality of line, shape, texture or colour that reflects a certain strong emotion or feeling Eye level: see horizon line

F Facade: the frontal of a form or the face of an object Fashion design: the design of clothing and accessories like shoes, hats, underwear, etc. for everyday use Figure/ground: used in 2-dimensional ; relationship between foreground (figure) and background/space around (ground); also see negative versus positive space Figurative: forms that can be recognised; a naturalistic representation; represents human or animal forms Focal point: strategic placing of an object, or that of the design elements, to draw attention to one specific object or section of design or artwork; main focus for viewer Foreground: section in an image (2D) that appears to be closest to the viewer; section in front of the rest Form: a 3D shape; volume and shape of 3D object or the illusion thereof on 2D surface; overall physical aspect rather than content of work Formal: the design structure of a work versus the content Formal elements: term used to describe the technical structure, composition and form of art, craft and design results; term can be divided into subsections like “design elements” (e.g. line, texture, colour, etc.) and “design principles” (e.g. balance, proportion, scale, rhythm, etc.) Fragmentation: to break/divide something into separate pieces/ fragments. Free form: any irregular shape found in sculpture, or decoration; created by fluid curving lines Frontal: 3D object that asks primarily to be viewed from one angle/vantage point Frottage/rubbing: sheet of paper placed on heavily textured or relief surface, then soft crayon or pencil rubbed onto paper over the surface; method used to reproduce or copy a surface Full-round: 3D objects that need to be viewed from all angles to be appreciated Functional: working properly; practical without being decorative or luxurious Functional design: main outcome is to be a product that has a function, like a bowl that holds fruit or liquid, a milk jug, a car that provides transport, jewellery that decorates our bodies or accessorises our outfits; is of practical use Furniture design: the design of furniture pieces like chairs, beds, cupboards, tables; the incorporation of ergonomics (see definition of ergonomics) is vital to adhere to comfort and human needs; industrial and interior designers sometimes choose to specialise in this sector

G Geometric shapes: basic shapes like a circle, triangle and rectangle/square, usually drawn with great precision through the use of instruments Gestalt: a configuration or pattern of an element that is so unified as a whole that it cannot be described merely as a sum of its parts Glass-blowing/-design/-art: processes and techniques involved in the production of glass products; can be a decorative object or deliver a function, like a drinking glass Global demand: a demand on a worldwide scale Graffiti: scratching a design, image or lettering into a surface; can also be elaborate wall paintings used as another tool, style and format for advertising a brand or product; spray paint and markers are popular materials used; art movement at beginning of 1970s, inspired by New York City subway graffiti; in Italian it means “scratches on a wall” Graphic design: from road signs to technical schematics, from interoffice memorandums to reference manuals, graphic design enhances transfer of knowledge. Readability is enhanced by improving the visual presentation of text; for example, logos, opening and closing credits in films, book illustrations, graphics and layout for magazines and other print media and advertising campaigns

///// 489

DESIGNGRADE11

Graphical representation: communicating through simplified/simple illustrations rather than using written text as sole method of communication Green design: using design methods that are sustainable through the use of recycled, environmentally friendly and renewable materials and design elements, e.g. solar power, saving water and electricity Ground: background or surface within which shapes or marks are created Grouping: to search for and find similarities and connections between different elements that could add to the whole/unity of a design

H Half-round: 3D object that needs to be observed within a 180 degree angle/field of view Hand-crafted: any product or object artistically made by hand only Hand-made forms: any object made by hand – not made by machine Harmony: pleasing combination of elements that makes up the final composition High relief: 3D form that rises high off a flat background Heritage: qualities, features, traditions of life used especially to refer to things with historical importance that have strong impact on society and that have been ed on from one generation to another of a specific culture Highlight: a point or area that is emphasised by brightness of colour, value or light that is directly reflected Horizon line: farthest point in the background that we can see; will also find the vanishing point on the horizon; where the sky and the ground connect Horizontal lines: lines that run from side to side Hue: refers to a colour or the shade of a colour; points at the actual name of the colour Human needs: human needs can range from the very basics, like food, running water, clothing and medical care, to higher end needs like technology, telecommunication, transport, entertainment, etc.

I Icon: Greek for “image”; any image/object/person that expresses basic values of a culture, or that creates an impression of expressing basic values of a non-specific culture Illusion: appearance that is contrary to fact Illustration: depicting an object or situation by the means of a drawing/s; a drawing/visuals that illustrates or explains something specific; drawing, image or sample used to further explain something Implied movement: to create a sense of movement in an image that does not have the ability to move; achieved through the way you use your design elements; repetition of elements can also achieve this Implied space: 3D space projected on a 2D surface, in other words, it gives the illusion of a 3D space but in fact it is only a 2D surface Implied line, plane, shape or form: suggested to the eye but not really there Industrial design: creating products and developing concepts and specifications that improve the appearance, function, value of products and systems; benefit the and manufacturer; improvements could address sustainability, economic growth and -friendliness of service or product Indigenous: its origin is in a specific country or region Industrial designer: designs functional products like methods of transport (cars, bicycles, motor bikes), cell phones, furniture, toothbrushes, medical tools and equipment, and any other product that usually enhances or sustains our standard of living Industrialisation: shift of emphasis from handmade to machine-made (mass-manufacturing) Information graphics/info-graphics/information design: visuals representing information, data or knowledge; used to explain complex information quickly and clearly (e.g. signs, maps, journalism, technical writing, and education); also extensively used as tools by computer scientists, mathematicians, and statisticians to easily communicate information Innovation: deg new things; introducing a new method or idea of doing or making something Inorganic: manmade, machine- or mass-produced products/objects; regular and symmetrical shapes

490 /////

GENERALDESIGNGLOSSARY

Intellectual property: the unique ideas, thoughts, inventions and writings of a person Intent: the main idea or problem a designer is trying to solve or deal with Interior decorating: layout, design and decorating of interior spaces, which includes the choice of colour schemes, furnishing of spaces, just to mention a few Interior design: training in architecture, facility management, space planning, interior fixtures, furniture, equipment specifications and finishes, furniture and textile history, lighting and textile design, ability to draft, execute floor plans, reflected ceiling plans, elevations and perspectives Inventor: first person to make or think of a particular thing Isolate: to make something stand on its own or away from other things. Isometrical: equal in dimension or measurement

J Jewellery design: accessorise the body or clothing/outfit Juxtaposition: to place elements or objects side by side

K Kitsch: everyday articles, objects and decorative stuff considered to be tasteless, sentimental or pretentious in style

L Labels: add descriptive text to an illustration, sketch or design concept that adds information to explain further Landscape design: to design the landscape of a piece of land; can include the design and layout of gardens, inclusion of other design objects like water features and outside furniture; the “exterior” decorator and designer of spaces Lateral thinking: unconventional approach to solving problems; not using traditional or logical approach Layout: to define a space for a specific purpose; something that can be planned and arranged before its implementation; organising the display of information in a specific way Life standards: determined mostly by your income, which determines if you can afford or not afford to live your life; the products you buy to fit your everyday needs and to upkeep your standard of living Lifestyle: style of living/your way of living, echoed by your choice of clothing, music and other forms of entertainment, transport, living environment and more Line: element understood in of length and direction Linear perspective: using a line drawing to depict the 3D qualities of an object, building or space on a 2D surface Literal interpretation: when you interpret something directly, the way it is perceived by all; not an abstract interpretation Local colour: natural colour of an object or material Logo: a simple image that represents the core identity of a business, product or company “Look and feel”: part of what a designer aims to deliver to the target market; refers to the experience of the consumer whilst entering a newly designed space or interacting with a new product/brand Low relief: 3D form slightly raised from flat background Low saturated: colours with no vibrancy; dull colours; little of pure colour left Luminosity: giving off light; could be actual or an illusion

///// 491

DESIGNGRADE11

M Magnify: to make something bigger Mandala: a radial arrangement of geometric shapes/images; commonly used in Hindu and Buddhist designs Man-made objects: any object that is produced by humans; can be handmade or mass produced by machines Maquette: smaller scale model/prototype of the real 3D sculpture, building or construction Marketing: introduction of product or service with the intention of selling or informing Marketing mix: four major elements of marketing: product, price, promotion, place Mark making: spontaneous making of marks on a surface using any drawing materials; do not represent anything concrete; different drawing materials and application/methods will result in different textural, linear and visual appearance or qualities Mass: suggests weight, density or three-dimensional form of object or area Mass-manufactured: products or objects made in large quantities, usually by a machine Measurements: size and distance Mechanised: process of increasing use of the machine as a manufacturing or production tool Method of construction: the way (steps followed) and the method you use to construct something Methodology: the way in which an idea or problem is approached; also refers to the correct or proposed method of teaching (teaching methodology) Middle ground: section that is between the foreground and the background; for instance, of an image (2D) Minify: to make something smaller Mixed media: combining the use of a variety of different materials in one design piece Modelling: shaping an object using a pliable material such as clay Modulation: suggests smooth transition or change Monochromatic: colour scheme developed from tints and shades of a singular colour or hue; the use of very closely related colours in a colour scheme; derived from the same colour but shows a variation in value (lighter or darker) of the same colour, which results, in a range of related colours Mood: state of mind or feeling communicated through a design or composition, especially through the use of specific colours and textures Mosaic: broken tiles or similar materials combined to create patterns/designs set in concrete and plaster, applied on a 2D or 3D surface; decorative purpose Motif: dominant theme or main part of a design, building or composition; individual element/symbol or combination of elements that are repeatedly used in a design; can create unity through repetition of motif Mount: placing your artwork onto another, usually much stronger, surface like cardboard in order to “frame” your work for presentation purposes; mount attached to the back of the artwork leaving a visible frame around the artwork Movement: design elements organised in such a way that they attract the attention of the viewer to follow a specific direction in the composition; the spread of contrasting or similar qualities of elements throughout the composition can help to achieve movement Mural design: a design applied on the surface of a wall as prime surface Multiculturalism: incorporation of influences and images drawn from different cultures Multifunctional: something that has more than one use Multi-media: use multiple forms of information and processing of content like animation, text, graphics, audio, video, etc. to inform or to entertain; also refers to electronic media that stores or is used to experience multimedia Multi-point perspective: a special linear illusion system with more than two vanishing points on the horizon for parallel lines to connect; creates spatial illusion

N Negative space/shape/form: the space around the actual shape or object that is not occupied; the “ground” in a figure-ground relationship; the section that is affected and controlled by a shape or form Neutral colours: classically refers to use of non-colours of black, white and grey and all shades in between; has very low saturation No saturation: shades of grey

492 /////

GENERALDESIGNGLOSSARY

Non-figurative: forms that can not be recognised; unnaturalistic interpretation Non-representational: objects, forms or shapes that are not recognisable in object or context

O Observational drawing skills: skills learned while observing an object, figure or place first-hand during the activity of making a drawing One-point perspective: to show a 3D object through a drawing on a 2D surface; lines move away from the viewer and connect at one focal point on the horizon (vanishing point) Opaque: solid not see-through; block all lights Optical colour mixing: when placing two contrasting colours/hues side by side (juxtaposed), the visual perception/illusion of colour mixing is created Organic shapes: shapes found in nature; usually “softer” shapes than geometric shapes; free-form (irregularity of forms) shapes not restricted to mathematical precision; more natural flow in lines and shapes; can also refer to living forms; opposite of manmade objects; rounded or curved forms; art nouveau used organic shapes Ornament: decorative 3D object; sole purpose is to be decorative Ornamental: decorative objects or designs added as extra detail to another object Ornamentation: the act of applying purely decorative details or designs to buildings, furniture, fabric, etc. Overlapping: placing one surface or object, line, colour or texture over another

P Packaging design: to design the format that holds the product; used to protect product, to transport product in, to distinguish the product amongst competitors, communicate relevant information on the product, like ingredients, instructions or safety regulations Pan-African: umbrella term for all African cultures Paperwork: all products made out of paper Patent: a designer takes out a patent to protect the rights of his/her design (or innovation) from being copied and produced by others Pattern: decorative design regularly repeated Perceptual skills: the level of skill in the way you perceive things around you; level of awareness Perennial: lasting or existing for a long or apparently infinite time Perspective drawings: a drawing (line or tonal and detailed drawing) depicting the 3D quality of an object, building or space on a 2D surface; mostly used by architects, industrial designers, engineers and interior designers Photography: within the context of design, this discipline is classified as commercial photography (image sold directly to end ); includes advertising photography, fashion photography, food photography (used for editorial, packaging or advertising), crime scene photography, editorial photography (to illustrate a story or idea within the context of a magazine), photojournalism (documentation of a news story), to mention a few Pictogram: a symbol representing an idea or concept, object, activity, place or event Picture plane: 2D surface; the flat surface upon which the actual shape or image exists; any illusion of depth/3D quality is identified to be “beyond the picture plane” Plane: the section of form that can be described in 2D; mostly identified by the surface of a form Plastic: any material that can be moulded or shaped without adding or subtracting mass Positive shape/form/area: the actual shape (2D) or object (3D) placed in a space; the “figure” of a figure-ground relationship; the area that is occupied by an object or form in 3D work Polychromatic/polychrome: multicoloured Preferred: to like one thing more than another Primary axis: the main axis of a form or object, for instance, the spine in the human skeleton Primary colours: original colours; cannot be created through the mixing of other colours; primary red, yellow and blue; all other colours are theoretically mixed with these 3 colours Primary contour: the outermost shape of a form Principles of design: principles used to order elements of design to ensure a specific outcome/composition through the application of balance, unity, proportion or repetition

///// 493

DESIGNGRADE11

Printmaking: to transfer an inked image on a plate or block from this surface to another Project brief: formal written instructions prepared by a client for a designer, indicating exact instructions, expectations from the designer, requirements, goals, quality of final product and functionality or usage Prototype: the first or original example of a new product or object from which more will be copied if taken into production Product design: from idea to the development of a concept, usually followed by the testing and manufacturing and finally the introduction of a product; product is always functional; includes sectors like furniture design, fashion and design of accessories, industrial design (from lamps to mobile phones), automotif design (design of cars) to mention a few Proportion: comparative relationship between elements or objects: using balance, symmetry, size, amount/ quantity, degree, ratio, dimension Props: any loose-standing or moveable object used on stage in a theatre production (such as a chair or table); handheld props are called “hand props”; set decoration can also be referred to as props only if it is used by the performer or actor; props are also used in television and movie productions Prototype: the first model of something, from which others are copied or developed Proximity: the nearness/closeness of shapes and forms to each other Public sculptures: can be abstract or depicting something specific; can symbolise national or cultural pride; the position and place of public sculptures play a vital role and add to the environment we find ourselves in

R Radial balance: the same as symmetrical balance but in this case achieved on a 3D shape like a sphere. When the sphere is cut in half both sides are exactly the same. Balance is achieved by arranging elements in a circular pattern around a central axis; balance in all directions around a central point Recycled: any part of an object used again for a similar or different purpose Recycling: to convert waste into re-usable material Redesign: to improve on an existing design Relief: 3D form rising from 2D surface Repetition: placing the same shape, object, design element or pattern over and over on the same surface or in the same space Retail: the sale of products or goods to the public in relatively small quantities for use or consumption rather than for resale Rhythm: design elements organised in such a way that the pattern or repetition creates a certain rhythm; proportion of a variety of elements needed to avoid a boring design (elements like line, shape, texture and colour equally spaced, similar in size, colour and texture will create a boring design without any rhythm)

S Saturated colour: most pure and vibrant state of a colour; no white added to colour Saturation: measurement of the intensity and brightness of a colour Scale: uniform and proportional reduction or enlargement of size and dimension of a form or space; usually does not reflect its actual dimension in the real world; the real size of, for instance, an object in relation to its surroundings Schedule: a time frame within which a certain amount of work and tasks needs to be completed Secondary colours: mixing two primary colours results in a secondary colour; orange (red + yellow), green (blue + yellow) and purple (blue + red) Semiotics: studies of symbols and signs used in communication Sensory: describes things that relate to the five physical senses: sight, taste, hearing, smell, touch Sensory awareness: high level of awareness making use of all your senses Service design: The design of a variety of infrastructures, communication channels and materials, used by one service provider, that will improve the customer’s experience and deliver a high quality service. Shade of colour: darker value of the same colour; colour + black

494 /////

GENERALDESIGNGLOSSARY

Shape: a space enclosed by line (2D); can be free-form or geometric; can be found in nature or be manmade Signifier: a symbol or mark that communicates a concept or idea Simplified: eliminating unnecessary detail; simplified shape showing only basic details Site-specific: to design a piece of work for a specific space/location/area Social design: Shaping of products and services; a design process that improves and adds to human wellbeing – social design is responsible design. Social issues: issues like HIV/AIDS, water, electricity and housing shortage, crime, etc. that have an impact on the day-to-day social structures of communities Space: 3-dimensional area; refers to distance, area and volume of the space; total area affected by a design; shape or form defined by space found around, behind, in front, below or inside an object Spatial orientation: the relationship between an object and its surroundings Spatial perspective: to show the 3D qualities of a space on a 2D surface Spontaneous: just doing without thinking or planning; spontaneous line suggests a fresh quality of energy and free-flow; it happens naturally and is not planned Stained glass windows: different window s of coloured glass and jewels leaded together to form a unity; often glass s have hand-painted details added; creates a decorative within a space Static: cannot or does not move Static form: a form that cannot move at all; does not even have the quality to suggest or create the illusion of movement Static movement: when the viewer’s eye jumps erratically from one design element to another; achieved by contrasting colours, shapes, lines, textures placed amongst the rest Stencil: usually made from plastic or some other material, like paper or cardboard with cutouts; cutout space used to fill with paint or ink that is then applied to another surface, leaving the shape or design of the cutout behind on the surface as a print Storyboard: presentation or concept idea projected through visuals and/or written text; a collective of visuals, texture, colour and more that can also communicate a single visual theme, mood or style, for an interior for instance Storyboard: in the case of a television ad, the storyboard represents the various stages of the commercial from start to finish Storyline: the logic sequence of a story projected through visuals and or text Strategic planner: someone who will carefully take all matters into consideration and plan to achieve a specific outcome Structural design: simplification of an object to emphasise design qualities Style: general appearance, form, technique of design/product Stylised: a simplified representation of something. A stylised picture usually contains very little visual information and often lacks depth or detailed lines. Symbol: character/image/figure that represents an idea, concept or emotion; communication goes beyond its original and literal form, e.g. the heart that is a symbol of love Symmetrical balance: elements positioned equally from a central point or axis; 2D or 3D form mirrored on either side of a central axis Symmetry: degree by which form or elements are arranged in mirror image on either side of a central axis Subcontract: to employ another person/s to do a certain section of a task Subdued: to make a colour, texture, line softer in quality; does not stand out Superimpose: to place a layer on top of another layer. Surface Design: treatment, transformation or decoration of usually 2D surfaces; 3D surface can also be transformed or decorated, for instance, to mosaic the surface of a tabletop; includes all the design sectors that treat, transform and add decorative qualities to a surface, like textile design, appliqué, embroidery, mosaic, graffiti, to mention a few Sustainable design: conservation of design, product or building resources using recycled or renewable materials Sustainability: able to be maintained at a certain rate or level Sustained: ability to continue at a certain level, without permanently depleting something Symbol: a simple visual image that easily communicates information; a value system or belief; a simplified representation of something

///// 495

DESIGNGRADE11

T Tactile: the sense and experience of touch; could be actual or visually Tangible: physical manifestation or realisation of an idea or concept; real, able to be touched Tapestry: form of textile design; woven by hand on a vertical loom; all the warp threads are hidden in the completed work (no threads visible on the back of a carpet) Target market: the market (specific group of people) that you intend to sell to; the market that you want to target; a group of people that projects specific and similar needs Tattoos: a tattoo is a permanent marking that is made on the skin by inserting ink into the skin’s layers. Technical drawing: creating accurate plans, drawings or representations of objects; adhere to technical needs mostly in the architectural, engineering, interior and industrial design professions Tertiary colours: one primary colour mixed with a secondary colour, like red + purple, blue + green, yellow + orange, blue + purple, red + orange Textile design: introduction of pattern, texture and images on, e.g. rugs, clothing, fabric, tapestries, through the application of a variety of techniques, like screen printing, hand painting and embroidery, to mention a few Textural field: broad area that has a unified texture Texture: visual (textural quality experienced through sight) or tactile (textural quality experienced through touch) surface; in design, texture can be created with pattern. The texture of silk would feel and look different to the texture of velvet. Theatre and set design: the design of sets for use in theatre productions, or the design of a set and props to create an environment or backdrop for a display (shop/window display to enhance qualities and environment for advertising a product or service); design of a set and props to create the appropriate backdrop or environment, for instance, for a fashion shoot; sets are also designed for movies and television productions Thermoplastic: material that becomes plastic when exposed to heat Three-dimensional: object that has depth, height, length and width to be viewed from all angles (top, bottom, side and back) – one can walk around it Timeline/time frame: the true order/sequence of events indicated through the use of specific dates/time slots; mostly used in historical context; also in contemporary practice, for instance, an events co-ordinator or project manager will also make use of a timeline (also referred to as a critical path) to ensure a well-structured plan and execution of a project/event within an allocated time frame Time management: the way you plan and manage the time given to you to perform a task Tint of colour: lighter value of the same colour; the colour + white Tone of colour: a specific value of the same colour; colour darkened by adding grey (black and white) Trend forecasting: projects the future trends/movements that will have a definite influence on consumer products to come Trend predictor: informs us about future trend movements; to inform design industries so that all designers and relevant businesses can be aware on what and how to apply their predictions within different industries Trends: general direction, tendency towards a specific style that will dominate for a certain period of time; most cultures adapt these worldwide trends to their different markets and use what is applicable Trompe l’oeil: when an image or object is painted onto a surface in such a way that it creates the illusion that the viewer believe it to be the real image or object Two-dimensional: work/design created on a flat surface Two-point perspective: to show 3D objects on a 2D surface using line drawings where the lines appear to move away from the viewer and connect at 2 focal points/vanishing points; creates an illusion of space, depth and volume Two-toned: two different values of the same colour Typography: variety and style of lettering; study of type and typefaces

U Unifier: an element that allows the viewer to visually or conceptually connect or group different components of an image or object within a whole/composition Unity: collecting or placing shapes, colours, textures, line, concepts or objects with similar qualities to project a whole or unified feel

496 /////

GENERALDESIGNGLOSSARY

Universal design: items and spaces that can be accessed and utilised by individuals regardless of their age, size or disabilities Universal language: a language that can be understood by all cultures; visual languages represented by symbols, icons, signs, that has the same meaning no matter the culture or country, like a stop sign, airport sign, toilet signs, etc. Universal phenomenon: a product, service, system that has a life-changing or phenomenal impact on a global scale Urban design: the design and layout of cities and towns Utility products: usable products

V Value: degree of lightness or darkness Value contrast: juxtaposition (placed side by side) of light and dark areas Vanishing point: in perspective drawings this is the point where all receding lines will connect/meet Vernacular: local style of architecture specific to an era, area, culture or country; style especially used in ordinary houses as opposed to large office blocks Visual literacy: the skill to interpret and transform thoughts and information and then to communicate this through visuals, symbols, etc. Visual texture: illusion of texture on a 2D or 3D form Void: empty space; also see negative space Volume: space inside an object

W Warm colours: colours like reds, oranges and yellows Work ethic: the way or manner in which you conduct yourself when you perform a given task; in general, the level and way you organise and perform the task at hand

///// 497

DESIGNGRADE11

498 /////