Reading Notes
Chapter Five – pgs 134-158
Design ideology arises from social
conditions and from the trajectory of ideas across time
Corporate identity – the persona
of a corporation, usually expressed through its name, logo, typefaces, and
supporting visual applications, which are guided by a manual of style
Objectivity – the ability
to view something with accuracy and neutrality, as it actually exists
Photography was a big modern
thing: mass production, objectivity
Photomontage – illusion of
photographic objectivity giving way to propaganda
Varvara – photo montage more
precise than imperfections of drawing
Abstraction explored,
naturalism to elitist. (the modern opposite of straight photograph?)
Modern art and design were
socially motivated. Through pure, objectivity, sensory experience they were
thought to transcend the boundaries of class and politics
Standardization – Swiss and Bauhaus,
international style, Tschichold
Standard ratio, everything
halved
ISO – international organization
for standardization
Tschichold had good form, but
his philosophy is whack
Universal – an unchanging
entity or quality that transcends the individual, culture, or time
Futurists were into dynamic
sensation. I always thought futurists were daft.
De Stijl – reduction, harmony,
balance, boring. Not universal, many people don’t get it
Bauhaus – practical, function.
Still use their foundations idea
Neurath – stereotyped, kinda
racist. Doesn’t seem all that neutral
Are there “international”
Asian or Arabic typefaces?
