Simply Lemonade: Victorian and Art Nouveau

(Label I redesigned)

I decided to use the Simply Lemonade label to recreate in the Victorian style. I wanted it to have a variety of fonts, so I found fonts used during that time period and incorporated them into the label. I also wanted to include a picture of a lemon to relate with lemonade, as I did in the label below. Also, I noticed that product names seemed to stand out more boldly than the rest of the text, so I used capitals for the brand name. Many arcs, curves and angles were present in designs during the Victorian era. There were a lot of patterns and ornament used, too, so I also tried to use simple patterns in the label. A simple border was drawn to make the design more uniform; many designs from the Victorian era had elaborate borders.

I decided to sketch a new design for the Simply Lemonade label in the style of Art Nouveau. I looked at a bunch of labels from Art Nouveau to get a better of how I wanted to design the label. I love the tiny stained-glass-looking squares from the style, so I wanted to incorporate it into my design. Since curves and floral designs were used with this style, I added some flowy-looking stems, leaves, and flowers. Two lemons are also present to relate with lemonade. I chose the type to relate well with the style, also. Around the entire design is a thin frame, which is seen around many of the Art Nouveau designs.

Chapter 17: The Modern Movement in America; American Kitsch

This was another chapter I enjoyed reading. I think the designs are becoming so much more interesting as the years progress. America originally rejected modern art. When it was first introduced, they did not accept the European designs because of the typography and graphics integrated in the posters. Americans were used to only seeing illustrations. New fonts were used, like Futura, Kabel, Caledonia, Electra, and Metro. Dadaist and Cubist elements were applied to the works of some interesting designers at this time, including William Addison Dwiggins and Lester Beall. Four other designers were known to have very coincidental circumstances. Erte, Dr. Mehemed Fehmy Agha, Alexey Brodovitch, and Alexander Liberman were all born in Europe, taught in France and helped with the development of modern art in America. Joseph Binder was interesting, for he use an airbrush technique and incorporates cubism and realism into his designs. The WPA was started, along with the WPA Federal Art Project—allowing artists to continue their careers. Many immigrants began coming to America, including: artists, designers, architects, scientists. Modern art was being dispersed throughout the world ever the Nazis caused the closing of the Bauhaus school. During the years of the war, specific posters were made. They were comprised of informational material and cartoons that looked unprofessional. Propaganda posters were also being made. Because of huge historical events, such as Hitler, Pearl Harbor and the world wars, many designers created powerful posters. John Atherton was one who created posters because of gossip/careless talk about the movement of the troops. Ben Shahn composed posters having to do with the cruelty of the Nazis; many people became aware of the brutality. Bayer, the designer mentioned in chapter sixteen with the Bauhaus school of design, was mentioned to have changed his style of design; he eventually made illustrations and type by hand-painting, instead of using photography.

After reading on American Kitsch, I realized how interesting it is that people have so many different views on it. It was said to be an art movement, a lifestyle, and a literature. While people find it to be tacky, it is also seen as being fun and a piece of artwork. I have never heard of the word ‘kitsch’ before, but I have seen the artwork. I have porcelain snowman at my house that my mom bought years ago. I’ve always looked at it and thought how gaudy it looked with the bright colors and the bulkiness; yet I always enjoyed putting it out for decoration. It was weird that I felt disgusted and excited about it all at once, and after reading the different responses people have on kitsch, it’s kind of funny how that happens.

The most interesting thing I learned from this chapter was how designers were incorporating Cubism and Dadaism into their work. Joseph Binder’s coffee poster was interesting, for you could definitely see elements of cubism. There is a woman standing, and her figure is comprised of defined shapes. You can see how geometric and abstract-like the forms are throughout the poster. I think it is so cool how past modern movements are incorporated into later movements—even up until now. New ideas are mixed with the original ideas, bringing forth interesting ideas and designs.

Why did the Nazis want to close down the Bauhaus school?
What makes kitsch so tacky, yet pleasant? I cannot figure it out.

Art Deco

During the time of Postcubist Pictorial Modernism, images were man-made, machinery was accepted, and the Allies won World War I. Edward McKnight Kauffer was an artist who incorporated cubism in his work. He made many posters, including underground posters. At first, he focused on making landscapes the destination point for the travelers; he eventually moved on to Art Deco. Art Deco came between the two world wars and got its name from a major design exhibition. It was influenced by many art movements, including: Cubism, Bauhaus, Vienna Succession, De Stijl, and Suprematism. Zigzags and decorative geometry were a part of the Art Deco work. Aesthetics were seen in architecture, design of products, and graphics. Decoration was desired. Jean Carlu was committed to helping his France community; he taught himself how to draw with his left hand, after he lost his right arm in an accident, so that he could present powerful messages through posters. He found that angles and lines represented tension and alertness, and curves represented comfort, relaxation and ease. He combined text with imagery and created intriguing posters of the American war effort. A.M. Cassandre was a designer who also incorporated Cubism into his work; simple planes of color and 2-dimensional shapes, words and images were used. He found that meanings were more powerful with the use of geometric forms—figures, shapes, shadows, silhouettes. Cassandre invented a new typeface for Art Deco, called Bifur. Paul Colin was interesting, for he created his posters by placing forms/figures in the center of the posters and overlapped images giving off a cool effect of colorful bands. Austin Cooper created posters for the Underground Railroad by using warm and cool colors, which communicated well with the viewers. He also took fragments of interesting places and events in Paris and collaged them as compositions. Joseph Binder used natural shapes/figures and used two basic colors—the second color creating the shadows. Abram Games composed emotional posters during the time of war; in one of the, a soldier was shown along with text questioning, “If he should fall, is your blood there to save him?” Many of these ideas were flowing in and out of Germany during this time, as the designers were influenced by Cubism and French advertisements. Printing became much easier as the technology was advancing.

The most interesting thing I learned from this chapter was how Austin Cooper created posters and conveyed meaning through the use of warm and cool colors. I think it is so amazing how color can hold emotion and have great effects. One of his posters is comprised of cool colors, trying to convince people to ride the train because of it being cooler below the ground. It definitely would have grabbed my attention on a hot day. Another poster was the exact opposite, yet having the same effect. The colors were warm, trying to convince people to come down to the underground railroad—out of the cold. Again, I would have been convinced. The posters hold expressions with the use of color.

Did Jean Carlu ever have a passion to help his community before he got injured in the trolley accident?

Chapter 15: A New Language of Form

At the turn of the century, many new changes were developing. Designers, architects and product designers began to focus more on geometric form; form and space were elements being created within their work. The main focus during this time, around the end of World War I, was on form and function. There became a rejection for art taking a political/social role; art was meant to create forms in time and space. Suprematism was a new painting style where form and color were a main focus. Russians were influenced by cubism and futurism, so they came up with the name, cubo-futurism, and used typography and designs in their work.

The most interesting thing I learned was how Kasimir Malevich created artwork with the focus on colors and shapes, without basing the work on values, emotions and pictorial representation. One of his compositions is just a white background with a large black square. Honestly, it doesn’t bring forth any excitement when I see it. As I look at it, it looks like there is depth, as if there is a big hole leading to nowhere—like outer space. I know that if many others were to see it, they may get something out of it, like a certain feeling or story that goes along with it. At the same time, many may see the piece and think nothing of it because it is so simple and plain. I think I like his work because my attention is grabbed much easier when I see less complex designs/art.

What is a leftist artist?

Day Fifteen: After Class

The topic for class was chapter 14, Pictorial Modernism.

Victoria presented and I thought she did a good job explaining what the modern advertisement posters looked like during this time; they were very simple, with only the addition of a few colors, the object being advertised, and easy-to-read text. The background usually only consisted of a flat color plane. The whole idea of the simplicity was to easily grab the attention of viewers and make sure they would also be able to quickly identify the company of the product. I always think of the McDonald's logo; it's very simple, and most everyone knows what it stands for. Bernhard was a man mentioned, and Victoria went over some important moments in his life. He became interested in colors after seeing an interior decorating exhibition, so he went home and decorated his house without permission. He got in trouble, left home, eventually entered a poster contest for a company that sold matches, and then became a well-known designer. During the time of World War I, posters were commonly used for propaganda purposes and to win the support of society. There was a difference between the posters of the Central Powers (Germany, Austria-Hungary) and the Allies (U.S., Britian, France, Russia). The Central Powers created posters integrated words and images in order to communicate powerfully, and the Allies created illustrations of families and the home because they wanted to protect the traditional values, the home and the family.

The most useful thing I learned was how to better distinguish the pictorial modernism posters, and how they influenced today's posters. They were very simple; intricate designs were not necessary. The text was bold and very easy to read. A very simplified image of the product being sold was placed in the poster with a plain, single color background; the viewer could easily see what was being advertised. We played pictionary--a great hands-on activity--to help us understand how simple, yet identifiable the posters had to be created.

Unlike the Allies, why didn't the Central Powers focus on protecting the family values and the home?
Did Bernard ever contact his family, or did his family contact him, after he left?

Chapter 14: Pictorial Modernism

This was another one of my favorite chapters that we have read. The history of graphic design is becoming so much more interesting! In this chapter, it basically talked about how modern art was emerging; design was becoming much simpler and synthetic. Many simplified posters were created for World War I and businesses. Many interesting people were mentioned. Lucian Bernhard became influenced by modern interior decorating after attending an interior design exhibition. When it came to art, he was very talented and entered a poster competition for company that sold matches. His design won, after first being discarded, with a simple background, two matches and the company’s name. Simplicity became vital with successful advertisements and trademarks; past trademarks and advertisements were not distinguishable because they were so busy and did not have a single focus area. Other designers followed in his footsteps, such as Julius Klinger, Julius Gipkens and Hans Rudi Erdt. Erdt applied Bernhard’s ideas very well in his work; a simple product image and the company’s name were placed on a plain, solid background. Posters became very popular during the time of World War I in order to win the support of society. The Central Powers (Germany, Austria-Hungary) created posters integrated words and images in order to communicate powerfully. The Allies (France, Britain, U.S., Russia) created different posters—illustrations of families and the home. They wanted to protect the traditional values, the home and the family. Cubism ended up influencing the modern pictorial images. When modern art was first introduced to America, people got upset and there was chaos. Edward Kauffer and A.M. Cassandre were two designers who were influenced by cubism; cubist elements, like geometric shapes and 2-dimensional compositions, were applied to their work. Cassandre ended up creating an advertisement for Dubonnet liqupor, which became popular for over two decades. He used double contour lines; this created a rhythmic flow of the colors and brought forth unity of the elements applied in his designs.

The most interesting thing I learned in this chapter was how modern pictorial images were created. They were so simple, and yet they were so successful. The same is true today’s advertisements and trademarks. People were actually able to better distinguish which product was being advertised. Today, McDonald’s golden arches are of a simplified trademark, very easily distinguished by most people. Also, something interesting I learned was how Bernhard became interested in interior designs. He went home and redesigned his dull-looking home, and I felt so bad that he was looked down upon for doing so. He was a natural artist and wanted to make his home more interesting.

What happened after Bernhard left his home? Did he ever contact his family again? How did his family react after Bernhard became a famous designer?

Day Fourteen: After Class

Yesterday's topic in class was the influence of early modern art from chapter 13. 

I presented on this chapter and told the class about Cubism, Futurism, Dadaism, Surrealism, Expressionism. I showed some images of contemporary work that has been influenced by these movements. I think each movement is very interesting and I'm so glad that I chose this chapter to present because the further research gave me a better understanding of it all. I love each movement because they are all unique in their own way. Cubism used geometric, rectilinear shapes and made collages out of materials while symbolizing the subjects they perceived. I loved how Futurists creatively used text to assemble forms. A lot of meaning was put into their work as they combined images and letters together. Their page layouts looked sort of random, but the intention was to bring forth ideas of the viewers. Dadaism was one of my favorite movements although it is kind of a confusing movement. I understand that they were against art, and they wanted to grab the attention of society by altering already-made objects and making them stand out. But I still am unclear about whether they were purposely making art, since they were against the idea of being called artists. I'm not up for rebellion and violence, but I like how they knew what they liked and disliked; like black and white. They did what they could to grab society's attention. Surrealism was one of my other favorites. I am so fascinated with surrealism now. After learning what their intentions were--using realistic elements, yet not taking gravity or scale into consideration, and creating an overall dream-like situation--I feel influenced. I usually like to paint or draw exactly what I see. Now when I look at everyday objects or nature, my mind starts to play around with it; it's kind of fun. I want to learn so much more about surrealists and other art movements. I love it all. Expressionists created beautiful artwork, whether it looked energetic or somber or right in between. Color and line were exaggerated and created such interesting, unexpected compositions. Some were filled with such energy that you start to feel uplifted and refreshed when you look at them. Others looked dark and mysterious; kind of making you feel sympathetic or interested in what the artist was trying to express. Visual art can really change your mood...like music...it's cool.

The most interesting thing I learned today was that Art Nouveau was the first art movement. I had originally thought that Expressionism or Cubism came first. Knowing that it was an art movement reminds me to really have a better understanding of it and how it influenced or evolved into modern art. 

When the Dadaists took ready-mades and altered them, did they consider them pieces of art?