Year 11 Visual Communication Design - PowerPoint Presentation

1. Year 11 Visual Communication DesignOutcome 3 – VCD in Context

2. Getting Started Outcome 3: Visual Communication Design in ContextOn completion of the this unit you should be able to describe how a visual communication has been influenced by past and contemporary practices, and by social and cultural factors. 

3. From your booklets.. Create a Prezi/PowerPoint/Poster/Brochure/Magazine pages or come up with your own presentation which explores the design movements and factors within these movements.

4. Provide a brief overview of the style and its characteristics.Discuss the historical / cultural / social factors that may have influenced the development of the movement.Include examples of poster designs from the era.Describe how they communicate information and/or ideas through the use of design elements and principles.Compare the methods, materials and media used. 

5. View this Prezi on Design History and take notes from this within your Visual Diaries. https://prezi.com/5nxlklvbx00i/design-history/

6. You will need to conduct your own research to gain understanding of the chosen style. To get you started here are a few links;http://gdh.2rsolutions.cz https://www.youtube.com/watch?v=nVDYbwYsOdw http://vimeo.com/55756433

7. Design Movements OverviewDesign Movement 1:Dates:Describe the characteristics of the chosen design movement:Identify the elements and principles in the exam chosen: In your booklet…

8. Design Movements OverviewDesign Movement 2:Dates:Describe the characteristics of the chosen design movement:Identify the elements and principles in the exam chosen: In your booklet…

9. Design History Timeline

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11. Class task:Let's examine a group of posters from each period in class. We will see how their initial images were made and how they were printed.VISUAL COMMUNICATIONS FROM THE PERIOD 1940 – 1970

12. Raymond Lowey, 1942.J Howard Miller, 1942.

13. Saul Bass, 1955. Unknown, Weetbix, 1954

14. Unknown, Mobil,1954.Fischer, 1943

15. Contemporary poster based on a historical design movement

16. The Roles of Media, Materials and MethodsMaterials MediaMethodsMaterials and media used in the production of Visual Communications change due to the influences of new technologies and concerns about ongoing environmental impact. Design innovation is often seen hand-in-hand with the development of new materials.

17. MaterialsIt is hard for us to analyse the materials used in historical posters because we can't see the actual papers they were printed on. Let's assume that most were printed on white matte paper stock ranging between 250 and 350 gsm in weight.Materials

18. MediaPenScraper boardCrayonPaintInksOther, mixed media.

19. MethodsDrawingPaintingCollagePhotography

20. What is Post Modern Design? Postmodernism is the period we are in now. It began after modernism. It's aims are generally the opposite to those of modernism.

21. Historical influences on design can be subtle, perhaps even imperceptible. A designer may look at past designs and analyse examples as a part of research. What aspect of the design succeeded?What aspect failed? What appealed to the target audience? Answers to these questions can help designers avoid repeating mistakes and lead them onto focus on expanding the successful elements of a designWhat is Post Modern Design?

22. Historical sources for DesignInspiration and ideas for new design concepts. Information about techniques and methods of production. Analysis of successes and failures as reference for design concepts. Classic use of design elements and design principles that have endured and remain effective. Visual motifs and concepts that emulate an era, style or historical climate.

23. Design MovementsUSE YOUR BOOKS TO REVISE THE DESIGN MOVEMENTS, ARTISTS/DESIGNERS AND DATES

24. Arts and Crafts Movement1850 - 1914The Arts and Crafts movement was a period of British decorative arts, architecture, and landscape design. The movement called for simplicity and clear function. And believed that beautiful decorative products played a role in the improvement in peoples lives. Key Designers:William Morris Charles Rennie Mackintosh Margret MacDonald Mackintosh Frank Lloyd Wright

25. Futurism 1909-30Inspired by Cubism.Futurists were highly influential to subsequent movements. The written word and printed word were central to the philosophy of Futurism and designs often involved bold, complex and combinations of fragmented typography.Repeated icons and Roman numerals.During the 1920’s, many of the stylistic elements of Futurism included strong grid structures, print advertising, book design and magazine layouts. Key Designers:- Giacomo Bella- Umberto and Carlo Carra, -Edward McKnight Kauffer.

26. Parole in Liberta Futuriste, by Tullio D’Albisola, 1924

27. Dada 1916-23Established in a reaction of the First World WarThis artistic/design/literary movement used experimental techniques, collage and randomly generated words and images to create theatre, poetry and artworks. Although Dada is not usually seen as a design movement, the Dadaists exerted a major influence on Graphic Design. Unconventional compositional strategies' and anarchic approach to visual ‘order’ continued to inspire many designers in the later part of the 20th century. Key Designers:- Tristian Tzara- Man Ray- Francis Picabia- Richard Huelsenbeck

28. Kleine Dada Soiree (Small Dada Evening) poster by Theo van Boesburg and Kurt Schwitters, 1922, MoMA, New York.

29. Constructivism 1917-35Constructivism refers to a primary Russian movement that occurred after the revolution of 1917. Constructivist artists developed an approach to design that was strongly linked to the industrial production of well designed utilitarian objects accessible in masses. In print work, constructivists used large geometric shapes and bold colours to represent industrial products. Colour and symbolism was important with the revolutionary colours of red and black forming the main colour palette.

30. De Stijl 1917-31De Stijl or ‘The Style’ was a movement established by a small group of Dutch designers, architects and artists in 1917. De Stijl designs were characterised by the strong use of large geometric shapes and blocks with solid use of colour and defined space.

31. ‘Red Blue Chair’ by Gerrit Rietveld, 1917, NGV

32. Bauhaus 1919 - 1933Bauhaus – meaning ‘Building House’Significant German design school established first in Weimar and then Dessau. The director believed that the making of objects and constructions was an important social and intellectual pursuit and encourages the students to follow a functional aesthetic. Studies at Bauhaus included design, typography, textiles, furniture design and metal. Key designers:Walter GropiusLudwig Mies van der RodeMarcel BreuerMarianne Brandt

33. Barcelona Chair, by Ludwig Mies van der Rohe 1929.

34. Art Deco 1920 - 1939Art deco refers to a mix of styles that occurred between both of the World Wars of 1920 – 1939.The title of the movement came from a Paris exposition of decorative arts in the 1920s. The visual characters of the Art Deco style – symmetry, simplicity and geometry – formed a visual language that was applied across a wide range if products and artworks. The style was seen as a celebration of glamorous modern lifestyles, and it distilled many visual features of modern art styles such as Cubism and Futurism. Art Deco influences architecture, interior design, industrial design, furniture, graphic design, ceramics and textiles. Key Designers:- CassandreWilliam Van AllenJean CarluWalter Burley Griffin Walter JardineThea Proctor

35. Digital Design 1984 – present The rise on digital based design has had huge impact on the nature of design and visual communications. Computer based technologies have transformed the digital design space.

36. EXAMINE POST-MODERN VISUAL COMMUNICATIONSDavid Carson, 1992Student Work

37. Influences on DesignThere are a number of factors that impact designers and their designs. These fall under the categories’ of:Economic PoliticalSocial/Cultural Factors

38. Economic InfluencesDesigners need to consider buying power as well as the people they are designing for. Total buying power depends on current income, prices, savings and credit. When the economy is more confident, people will accept a design that is less of a need and more of a want.Running costs. Printing costs and materials.Profit, value for money, satisfying the client.

39. Economic InfluencesThe period between the World Wars in Europe was a time of great social turmoil and change.In Germany, defeat in the First World War led to considerable social disarray as industries were damaged and the economy was ruined. From these circumstances rose the Bauhaus, arguably the most influential design movement of the 20th century. In accepting the need for industrial growth, designers developed the functionalist approach to design.

40. Economic InfluencesDuring the wartime, governments often restrict the manufacture of non-existing items and take over existing factories for military production. Periods of economic decline affect the industrial and manufacturing sectors which in turn can have impact on the employment and social conditions of workers during the depression off the 1930s. Many businesses closed and consumers had a little money to spend some appliance manufacturers adopted the streamline designs of the period in order to attract an audience to new products at a time where money was scarce and competition between companies was fierce and competitive.

41. Economic InfluencesDuring the Second World War, many materials were in short supply and designers what employed on government projects to develop designs that used alternative materials. After the war ended, many of the processes established during wartime were applied to domestic product's new materials such as Bakelite a persecutor of plastic gave rise to product design that could be freely styled and formed repeatedly. The cost of appliances tumbled during the postwar boom which fed further development of new processes and materials.

42. Political InfluencesLegislation affecting businesses has increased steadily over the years and has been developed to protect businesses from each other and to protect consumers.Laws, government agencies and pressure groups influence trends in designing and producing.The designer must consider the effect on pollution levels that their design will have.The product and its manufacture may also be influenced by legislation which controls pollution outputs. This is further complicated by the fact that pollution controls vary from country to country.

43. Political InfluencesPolitical upheaval has an impact on many aspects of a culture including design some governments actively support design innovation through financial assistance and establishment of schools. Controversially governments that perceive subdivision through creative expression and innovation in design often oppress and persecute those involved in the field leading to an exodus of talented designers. This can have a positive impact on other countries which may benefit from the exile of creative professionals. 

44. Political InfluencesPolitical change is often a trigger for design governments. The commission of political posters, visual propaganda and architectural displays of power or prestige. In the design movements such as Futurism, and Constructivism evolved with the support of retrospective governments, and although these relationships may not have endured, the visual communications produced had a significant impact on the progress of design. During times of war posters that promote the cause and those that protest the war use powerful Visual Communications to send a political message. 

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46. Social/Religious FactorsExamplesMulticulturalism is the theory that it is beneficial to a society to maintain more than one culture within its structure. The impact of multiculturalism on all Australians may be demonstrated by the availability of a wide variety of foods from various cultures.Egalitarianism asserts the equality of all people. Some products have been designed to help reduce inequalities in our society including products for Aboriginal groups, the disabled, ethnic groups and other socially disadvantaged groups.

47. Social/Cultural FactorsGeographic location: where the country or cultural group is in relation to other countries or groups, and the climate that it experiences due to its position.Technological development: the extent of the use of technological developments within the group.Resources available: what the group can use in order to produce its textile products, such as raw materials, worker expertise, money to purchase necessary items and supplies.Religious practices: practices which have an impact on the way that textiles can be produced, or practices that involve the use of textile clothing or items in some way.Workers' skills and status: the importance of the textiles worker to society, how their work is valued, and the skill level of the workforce.Ensuring that the design is not racial in any way, shape or form.

48. Social FactorsSocieties operate in a constant state of change social structures values and relationships are affected by many variable factors that have an impact both at a personal level and at a wider community or global level. Visual Communications are often a reflection and extension of the society they were created with in design can push the boundary of the social fabric and often and does so. Design can reflect and represent commonly held social values on the one hand, while challenging and questioning those values on the other hand. Advertising architecture packaging and fashion constantly challenge the norm. Imagery and content that is perceived to be unacceptable in one context is embraced in another.

49. Social FactorsDesign can also direct social change trends are highly influential in many social groups fashions and trends established by designers through magazines and the wider media affect what we buy and when we buy it. The lifestyle associations of the products themselves can dictate what we purchase, wear, drive or use.Associated with images that are a learning and desirable visual communications can direct consumer choice and preference. The effect of design at the social level is often determined by culture. What is acceptable advertising in one country maybe offensive and even illegal in another religious values and cultural taboo is can determine the appearance and content of visual communications. 

50. Social FactorsVisual communications are sometimes used as a form of social protest street art is commonly used to express opinions about social and political events or injustices. Graffiti particularly stencil art is also seen as a form of creative expression for young artists who wish to make a strong political or social statement. 

51. Cradle - to - CradleImplying that the C2C model is sustainable and considerate of life and future generations.Please watch this link:http://www.ted.com/talks/william_mcdonough_on_cradle_to_cradle_design?language=enArchitect William McDonough believes green design can prevent environmental disaster and drive economic growth. He champions “cradle to cradle” design, which considers a product's full life cycle — from creation with sustainable materials to a recycled afterlife.

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53. Technology and OpportunityProducts which appear on the market sometimes do so as the result of technological innovation. This is often referred to as technological push. Scientists, engineers and designers are always looking for new ways of doing things and always striving for the ultimate solution to a given problem.

54. Technology and OpportunityOften new technology is stumbled upon in this search. Sometimes the new technology has an obvious application and sometimes not. Sometimes technology is transferred from one application to another.In other words advances in technology create new products and therefore new markets. Sometimes the products are simply better versions of existing products but occasionally products that have not existed before are produced creating a completely new market niche.

55. Evolution of DesignTechnology

56. Music

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58. TV

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60. Mobile Phone

61. The use of Design Elements and Principles in Visual CommunicationsIdentify = say which design element/ principle is used and where it isDiscuss = describe the element/ principle used using adjectives (e.g. red, blue, rough, smooth) and explain how it works visually, optically or physicallyAnalyse = describe what effect the use of the element/ principle is having in the visual communication by metaphorically, psychologically or symbolically creating meaning.

62. Outcome 3

63. Outcome 3 – Part 1Comparison of Design Movements and influences on Designers:Describe the characteristics and application of design elements and principles to graphic design (of items such as movie posters, brochures, packaging) during two periods of history. Describe the influences on designers with regards to economic, political, social, and religious factors.

64. Outcome 3 – Part 2Factors that impact on designers: Select two examples of similar products, such as a TV from 1960 and a contemporary TV or a phone from the 1920’s and a current smartphone. Discuss the technology available at the time and how developments in technology have changed the designs for each product. Find advertisements for your products from both eras and discuss the different approaches by each designer. Suggest why this is. Present this as a written summary, with images or illustrations to support your response.

65. Outcome 3 - Part 33. Complete a case study Select a logo such as:Qantas/IMB/Coke/ Kellogg’s/Pepsi or you can negotiate one with Miss Scherger. Research your chosen logo. Look at the history of the logo and explain what changed it. EG: Commonwealth Bank logo was a government bank but became more global so needed to reflect this. - Explain the history of the original logo- Explain why and how it changed - What social factors influenced it?

66. Outcome 3 – Assessment Description of two design movements including the characteristics of each (5 Marks) Description of how design elements, design principles have been applied in the examples from each art/design period. (10 Marks) Identification of the economic factors that may influence designers- includes ‘Cradle to Cradle’ meaning. (5marks) Identification of the political factors that may influence designers (5 Marks). Identification of the social and/or religious factors that may influence designers (5 Marks)

67. Description of two similar products from different times, including elements and principles (e.g. phone from 1920 – today)(5 marks). Identification on how technology impacted on designers and designs with specific reference to the examples provided (5 Marks). Case study: explanation of the history of the logo (5 Marks). Case Study: explanation of changes to the design and why this may have been (5marks). Outcome 3 – Assessment

68. = 50 Marks

69. Grades

70. Any Questions?

71. References