Regardless
of how rapidly technology shrinks the world community, cultural influences will
likely be identifiable in graphic design. Defend this statement, offering
examples of national styles. Can you identify graphic elements, principles and
ideals that connect design works to their national style?
Even though technology connects us, our environments will still affect our design. Cultural influences have a large impact on the way we think and the way we create our style. Graphic design originating in Switzerland has a definite look. It mostly follows the International Typographic Style. This new style involved “keen attentio to detail, precision, craft skills, and a system of education and technical training” (1). These are not only design attitudes, but also things that the country valued in a person. These characteristics found their way into the design, which remains rigidly within the confines of sans serif typography, a flush left and rag right text block, a grid, and neutral/objective in presentation of imagery (1). This can be seen in Swiss designer Emil Ruder’s poster (2).
ReplyDeleteCultural influences are also heavy in Cuban art. In a country that was dealing with many political and social issues, those concerns were prevalent in their artwork and expressions. It was important for leaders to exert control over their citizens’ minds and convey Cuba in a positive light. While creativity had been oppressed, Fidel Castro gave artists “freedom of form,” which loosely translated into “within the Revolution, everything; against the Revolution, nothing” (3). Therefore, many of the posters promoted past leaders, commemorative days, and was key in maintaining public consciousness of the Cuban Revolution (3). The cheerful style of design, as can be seen in Raul Martinez’s work, exerts Cuban pride and masks the government force underlying it, as can be seen in this piece that depicts Castro (4).
(1) http://www.smashingmagazine.com/2009/07/17/lessons-from-swiss-style-graphic-design/
(2) http://blog.iso50.com/wp-content/uploads/2009/08/02-0768.jpg
(3) https://www.inkling.com/read/history-of-graphic-design-philip-meggs-5th/chapter-21/the-third-world-poster-
(4) http://charlottesfancy.files.wordpress.com/2009/07/fidel-by-raul-martinez.jpg
I really like the examples of Raul Martinez's work you posted. The work equally express the artist style/emotion and the message the piece was intended to convey. It was something that the people could relate to and look back on in a positive light. The illustrative nature of the piece really helps provide a personal feel which I believe would be another major positive in the eyes of the audience.
DeleteDoes Swiss design still follow that rigidity that it used to, or has it branched out into a more open design system? I wonder if their values have changed, and therefore, their design process and style.
DeleteI feel like Swiss design has branched out a bit since it is the 21st century but I feel like it is grounded but flexible. It gives a designer more freedom to do what they want in a design but with a certain guideline, if that makes sense. There's a movie poster I found for a movie called 360 that shows a modern aspect of Swiss design: http://collider.com/wp-content/uploads/360-movie-poster.jpg
DeleteI agree with Amelia, the Swiss design has changed some but still retain their particular look.
DeleteCulture like environment can have a major influence on a designer. Whether it is remaining true to cultural traditions or following the urge to break free from tradition and create your own path, there is no denying that culture had an impact on your decision making. After World War II, Japan’s rise from defeat to became a major center for graphic creativity. Japnese Graphic designers hoped to maintain national traditions while incorporating international influences. An example is the systematic organization and theoretical foundation of European constructivism. This was a major resource for the Japanese design movement. It was curbed by the Japanese inclination toward intuitive problem solving, centered compositions, and the simple forms of traditional family crests.
ReplyDeleteYusaku Kamekura brought professionalism to graphic design in Japan. He did so both in his work and by founding the Japan Advertising Club and, in 1960, and establishing the Japan Design Center. As managing director of the center, he brought graphic designers and industry together. His work was characterized by discipline, strong understanding of printing techniques, complex geometric usage, and awareness of the International Typographic Style. This is demonstrated in the poster 1970 Osaka World Exposition.
Here are examples of his work:
http://pinktentacle.com/2010/03/yusaku-kamekura-posters/
Sources:
meggs history of graphic design
I think it's interesting how war seems to affect graphic design so much, in all different countries. In your example, Japan struggled between keeping their national identity while still opening themselves to new international ideas. For the US, Europeans fleeing their respective countries started a new tradition of design for American.
DeleteKamekura's work is a good example another country's interpretation of the International Typographic Style. I think his 1959 Design magazine cover (1) really shows how he respected the grid and the simplicity and objectivity of the International Typographic Style, yet it still has a lot of Japanese elements - all of the lines seem to form a mountain, typical of their landscape interest.
Delete(1) http://pinktentacle.com/images/10/kamekura_24.jpg
The designs have a very graphic content. The bold letters, the contrast of colors and all of the shapes seem to a single purpose and that is to raise awareness, almost indicating some sort of social order, however I noticed some remarks as Nikon so it made me wonder it maybe the message is involve with social events that are being sponsored by most of this companies featured.
DeleteIt is very interesting like Katie said, that war seems to affect graphic design in many ways.
DeleteIt's surprising how close countries can be and yet still have unique design styles. With the Chinese work examples, you can even see how the different aspects of a culture are reflected; the ancient warriors definitely acknowledge older styles, while the calligraphy has traces of a woodcut aesthetic but is still clearly modern.
ReplyDeleteSpain and Portugal share analogous and at times parallel heritages, which have only been recently been critically examined in the context of design. From the 1930’s-1970’s, both countries were, to a large extent, cut off from the rest of Europe through repressive governments, political turmoil, and financial misfortune; European modernism and Russian constructivism had little influenced during this era. Design from both countries share similar aesthetic qualities: tranquil, charming, and colorful. It suggests the Iberian culture, including opulently textured architecture, local arts and crafts, and modernist art including the work of Gaudi, Picasso, Miro, Jose de Almada Negreiros, and Amadeo de Souza. (1)
ReplyDeleteIn Spain, these qualities are reflected in the design work of Emilio Gil, author and designer of the Pioneers of Spanish Graphic Design; Pablo Martin whose work, while global in scope, reflects the Spanish design heritage-bright with color, cheerful and witty, the prolific Manuel Estrada, who strives for a balance between reflection, feeling, and intuition in his design; Isidro Ferrer, whose sculptural, whimsical, and humorous book covers reflect his background and studies in drama; and Pep Carrio, who integrates his work as an illustrator and plastic artist into design as it is applied to brand images, corporate communications and, most notably, exhibitions and cultural activities. (1)
In Portugal, the Iberian aesthetic is reflected in the work of Sebastiao Rodrigues, generally considered the father of Portuguese design; Henrique Cayette, art director of Egoista magazine; Joao Machado, whose posters are typified by exuberant colors and playful arrangement of geometric elements; and the design firm Alva, who is involved in the promotion of cultural events and organizations in historic Lisbon, among other design activities. (1)
(1)Megg’s History of Graphic Design
Examples of Spain:
DeletePep Carrio- http://1.bp.blogspot.com/-zs7TY4VVOww/UIqjgp5ElXI/AAAAAAAAAnk/g13QtRCi6Ok/s1600/icon089-hang-small2.jpg
Manuel Estrada- http://teenthoughtsondemocracy.wolfsonian.org/sites/default/files/imagecache/300/ToD_Estrada_Web_Blk.jpg
Examples of Portugal:
Joao Machado- http://cdn0.lostateminor.com/wp-content/uploads/2007/07/joao_machado_two.jpg
Sebastiao Rodrigues- http://grainedit.com/wp-content/uploads/2008/08/sebastiao-rodrigues-design.jpg
I like example six you posted; Japanese are known for their anime designs. It's apparent in your example that there's colorful graphics and vibrant characters which come together in a eye catching composition, as shown in example five, which to me is a recognizable feature in Japanese graphic design. It clearly shows that they're trying to maintain national traditions while incorporating international influences.
ReplyDeleteGraphic design could be identified as a filter through which much of our communication is distributed. Graphic designers for many decades have found themselves with a very particular position of monitoring the information as well as providing a mirror that eventually reflects their own cultural diversity on this society.
ReplyDeleteHowever such influence on how communication is conveyed might not always become so simplified or in order words so apparent for the graphic designers. Often designers commit to details and peculiarity of a project and don’t even realize how their own piece of art may have a greater impact along the way. Since graphic Design is wide in rage there are other times when the implication of certain decisions become so apparent that propaganda takes its place. For some designers this might be difficult especially when it comes to choose a side they don’t believe in (politics). But most importantly they also know that if they don’t take the job someone else will.
Alan Fletcher is one of the most influential figures in post-war British graphic design(1) The fusion of the European tradition with North America’s emerging pop culture at the time allowed him to develop a distinct approach that helped him to become an independent graphic design in Britain during the late 1950s and 1960s. He acted as founding partner of Pentagram in the 1970s. Fletcher aimed to “establish a model of combining commercial partnership with creative independence”. He wed the Modernist European tradition with the emerging pop culture by combining vernacular and artistic elements in his work.
Examples:
1. http://ateliermliving.blogspot.com/2010/04/alan-fletcher.html
2. http://containerlist.glaserarchives.org/images/97.jpg
3. http://wadejohnston1962.files.wordpress.com/2010/07/art.jpg
Important hallmarks of Design in UK
1. Art Deco played an important role on the modernist Britain, It continued to emphasize design motifs inspired by plants and flowers, but “discarded the flowing, sinuous lines”
2. Streamline Moderne was an evolution of Art Deco it emphasize more decorative elements of simpler forms
3. the International Style which rejected the excessive decoration and ornamentation, and continued to spread that design is determined by purpose. (2)
It's pretty interesting seeing how major designers will incorporate past designs into their own work in a different, yet signature way. Though, it makes me wonder why they're referring back to the older times and why not produce something new like those who worked in the older styles.
DeleteI completely agree and feel like the design styles of different regions and countries is not something that simply evolved from different taste, but also as a response to the different events that were occurring in those respective places at that time.
DeleteI love the fact that single design can provide us with so much information that comes before the creation as to say the culture in which it was created and the motif that was employed. I immediately fell in love with example number 4. The Calligraphy looks amazing, I see the point you make went you say they are trying to experiment with it, It totally gives me a glimpse of the modernity of design.
ReplyDeleteThough technology is a big factor with a community, cultural influences still plays a dominant factor towards an artist inspiration. Furth more, these cultural inspirations influence and set principal styles and ideas in the national style. The Japanese used a style that complimented it’s European constructivism for it’s design movement. In this movement, the Japanese style was seen as systematic and theoretical. Design was productive in the sense that it was impacted by the traditional Japanese intuitive problem solving, along with simple forms. Artists such as Ikko Tanaka, Takenobu Igarashi, and Tadanori Yokoo were key components when setting the standards of the Japanese Style. Tanaka included simplified forms while adding traditional Japanese motifs, and theatrical characters to his works, all while using a typical grid. (2) Igarashi contributed to the style by his dimensional typography and his vibrant palette. (3) However, it wasn’t til Yokoo, that Japanese style became as radical as the Dadaists. (4) (1)
ReplyDeleteThe Designs from the Netherlands were also built on traditional ideals from the De Stijl movement, Switzerland, and many more artists. The Netherland’s artwork was wired by a more expressive, subjective views of modern design. Most design also rejected social conformity and emphasized individual’s freedoms. Anthon Beeke, Studio Dumbar, and Wild Plaken all are major contributors to the Netherland styles. Beeke suggests to his audience an unclear message for his viewers to further question his radical work. (5) Dumbar combines a series of elements to expand on ideals and compositions. (6) Plakken expanded on the surreal images of the age, that would capture an audiences attention immediately over bland designs from other cultures.
(1) Megg’s History of Graphic Design
(2) http://floppydisc.files.wordpress.com/2009/11/tanaka-sharaku-poster-by-ikko-tanaka.jpg
(3) http://outsiderjapan.pbworks.com/f/1269580448/igar_02.jpg
(4) http://www.japrocksampler.com/images/artist_fullsize/717.jpg
(5) http://www.beeke.nl/pics/posters_festival/posters_festival_11.jpg
(6)http://theredlist.fr/media/database/graphisme/History/poster_kodeine/studio_dumbar_2/001_studio_dumbar_2_theredlist.jpg
(7) http://www.culturecatalysts.org/UserFiles/Image/WP_WildBeest.jpg
I'm so impressed by the Dutch culture how they could tolerate two totally different influences' co-existence. But this tolerance is coming from their history because Holland's traditional role as a seafaring nation, with international influences flowing through its ports, exposed them to diverse ideas and cultures spurred an attitude of tolerance. (Source; Meggs' History of Graphic Design, page492)
DeleteI like how much Japan respects their past heritage, then incorporates these traditional values into their modern designs. Though they really project the ideas of the past, i feel like many of their designs still peak out the elements of technology. Which also doesn't make a negative impact either, some of the most successful movements passed by with representing technology.
ReplyDeleteAlthough thanks to our ever progressing technology the world community has continued to grow closer and become tighter knit it doesn't change the fact that many cultures still retain their unique customs and tradition that solely originated in their region of the world. For example Korean art largely entails calligraphy, painting, and pottery that is often based upon by the use of natural forms, surface decoration and bold colors or sounds. Korean pottery has been one of the most famous arts to come out of Korea, as well as the oldest.
ReplyDelete1) http://www.google.com/imgres?imgurl=http://upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Goryeo_Celadon_.jpg/220px-Goryeo_Celadon_.jpg&imgrefurl=http://en.wikipedia.org/wiki/Korean_pottery_and_porcelain&h=285&w=220&sz=14&tbnid=nwVTo8qkHeIa4M:&tbnh=93&tbnw=72&zoom=1&usg=__jtMPJh9PtYZSL5c1oEFWqjlfEgU=&docid=rRF7oDplaoaHUM&sa=X&ei=9IdnUY7BCbOp4APQg4G4Cw&ved=0CDUQ9QEwAA&dur=2
2) http://www.google.com/imgres?imgurl=http://www.antiquealive.com/masters/Ceramics/images/img_left03.jpg&imgrefurl=http://www.antiquealive.com/masters/Ceramics/Korean_Pottery.html&h=247&w=251&sz=14&tbnid=7It1UxgDp18nhM:&tbnh=90&tbnw=91&zoom=1&usg=__pqGgGTz8yVMMGf5_NJ9v53HnC5k=&docid=6i1yHM4NuQfuOM&sa=X&ei=9IdnUY7BCbOp4APQg4G4Cw&ved=0CEEQ9QEwBA&dur=440
3)http://fc00.deviantart.net/fs71/f/2010/154/4/3/Korean_Calligraphy_by_MeXuT.jpg
An international culture embracing fine arts, performing arts, and design spans national boundaries, extending from rich design metropolises to every corner of the globe. This growth has been spurred by graphic arts technology, which makes professional typography and printing possible in small cities and developing countries, and the exponential growth of graphic design education. The rapid development of electronic and computer technology began to change the processes and appearance of design. Despite this shrinking of the community, cultural influences would still be identifiable in graphic design. This complex world of cultural and visual diversity created an environment in which a global dialogue coexists with national visions, resulting in an explosive and pluralistic era for graphic design.
ReplyDeleteAfter WWII, technological leadership and an awareness of Western social patterns and lifestyles raised philosophic issues for Japanese graphic designers as they sought to maintain national traditions while simultaneously incorporating international influences. European constructivism was a major resource for the Japanese design movement. However, the systematic organization and strong theoretical foundation of constructivism is tempered by a traditional Japanese inclination toward intuitive problem solving and a heritage of simplified emblematic form. The tree planting poster by Ryuichi Yamashiro demonstrates just how successfully this could be accomplished, as Eastern calligraphy and spatial concerns unite with a Western communications concept.
http://www.die-neue-sammlung.de/z/presse/intern/japan/ftp/hayashi.jpg
Megg’s History of Graphic Design
I think the example you provided really fits your description. The letters/symbols act as the tree using type as image in a simplistic way. The design is extremely effective and successful in sending out the message it was trying to portray to the audience.
DeleteI agree with John that the example provided really fits your description. The visual image of a forest created with only a letter is very powerful to the audience. It captures the culture of traditional Japanese art that is organic with this art nouveau inspiration that creates the visual landscape that overall is effective.
DeleteCultural influences will obviously always have an impact designs. Based on where the particular artist is from most likely they will draw inspiration for their work from their immediate surroundings. Like a german graphic designer will most likely make loud, bold statements with their designs based on the social and political issues/ trends of their country. Also a japanese graphic designer may also implement looks and styles that date all the way back to the Meji era due to their deep rooted respect for their rich heritage.
ReplyDeleteJapanese Design: http://www.genusdesign.com/blog/japanese-graphic-design.html
German Design: http://www.twopoints.net/en/project/neuland
I scrolled through the site you gave with the Japanese graphic design. As you talked about, I noticed a distinct style throughout, even though some of the posters dated back to the 60s, while some were more recent. Aside from the obvious Japanese type, all of the posters have this cartoony style to them as well as a collage aspect. Some more modern than others, it is evident the cultural influence throughout the designs over a number of years.
DeleteThey are different but very similar in a way. I can see some kind of playfulness in each, even though you can tell some of them is carrying out serious subjects. (for example: "Prayer")
DeleteI agree with this, you can't possibly get around your culture influencing who you are and how you design. Your culture is who you are and it 100% impacts how you design. You can mix in different styles with that as well but it almost always comes back to your culture and surroundings being the reason why you made the choices you did with your design.
DeleteI agree with Sam about the Japanese obvious style in their poster, but I also really enjoyed it, especially "Ikki Shimoda, Chihiro Ishida, ad for Fashion News, 80s." It represents Japanese culture but still transcends across all cultural backgrounds.
DeleteTechnology advancements made the world smaller in graphic design because of the rapid and easy way to share and communicate ideas all over. While it holds much importance to design, cultural influence is a dominate factor in the influence of artist approach to graphic design. Artists may be able to communicate world-wide but many are influenced by the environment they are surrounded in. Inspiration comes from everything an artist is surrounded by whether that be people, sounds, nature, ect, The daily exposure to culture will impact in many way an artist and his or her outputs.
ReplyDeleteFor example Latin American Art holds true to the influences of their environment. Latino artist convey their culture through the use of bold colors and contrasting elements that express the liberal, free spirit of latino culture. Another fundamental of their design is their use of religious theme in design with the vivid colors and symbolic gestures.
1) http://www.1stwebdesigner.com/design/worldwide-graphic-design/
2) http://conill.com/images/uploads/thinking/The_Hispanic_Influence_on_America.pdf
3) http://www.1stwebdesigner.com/design/worldwide-graphic-design/
4) http://www.masa.com.ve/website.html
I really love the Masa website that you gave. It offers a lot of different works, from posters, to logos, to certain products like shoes or snowboards. I also looked through the first site you gave with the examples of Latin American design. I definitely see the bold bright colors used in a lot of the works, as well as the use of political/religious content, which seems to be a pattern. A lot of them incorporate pop art and art deco influences.
DeleteAlthough with the new age of the Internet and the world being globally connected, there is still room for variety of cultures and countries voice to be seen through their design, Japan is one example. From personal observation Japan has been the one country that can take on a variety of different cultures and ideas and make it their own like Hip-Hop or Fashion. Not exactly design related examples but I feel that Japan a country of perfection and creativity that boarders bizarreness which shines through no matter what they do. Here are some examples of design work from Japan:
ReplyDeletehttp://gurafiku.tumblr.com/
http://pinterest.com/gurafiku/japanese-graphic-design/
http://ubersuper.com/japanese-graphic-design-from-the-1920s-30s/
With ever present technology and new technological advances it is easier than ever to communicate and share ideas worldwide. Despite the ease and ability to be in contact with so many other places, designers still rely on inspiration from their environment and personal cultural influences. Culture and environment help to not only shape a person’s outlook but often influences the decisions they make, designers as result each have their own way to approach art based on their influences. I think it is important that in a world where a design can be shared so quickly, work that still reflects cultural influences creates a global dialogue of design that showcases diverse design work with nods to the different cultures.
ReplyDeleteGraphic Design from Russia, for example, has qualities that make it identifiable due its history of political unrest and revolution. Work of the Constructivism was created in service of the Russian revolution, and used by the government as propaganda. This development was prompted by the Utopian climate following the October Revolution of 1917, which led artists to seek to create a new visual environment, embodying the social needs and values of the new Communist order. (1) Russian design work for example used photomontage that showcased Russian citizens like the famous poster by Aleksandr Rodchenko (2) and shows evident graphic elements that link it to Russian culture, and other works were meant to showcase the order and impersonality of Communism.
Other country who’s graphic design shows evident cultural influences is China. Chinese graphic design is fairly new, and has a strong sense of nationalism which is incorprated into their design work, which “ employs the same design elements found in traditional Chinese art...design makes use of feng shui symbols, calligraphy, cultural festivities, etc.”(3) Looking at examples, a poster by Nod Young (4) he uses a traditional drawing of a samurai, and in his other work he also utilizes chinese cultural symbols.
1. http://assets.thecreatorsproject.com/blog_article_images/images/000/038/735/COnstructivism3_detail_em.jpg?1354569682
2. http://www.moma.org/collection/theme.php?theme_id=10955
3. http://www.1stwebdesigner.com/design/worldwide-graphic-design/
4 .http://cdn1.1stwebdesigner.com/wp-content/uploads/2011/03/nod-young-traditional-chinese-graphic-design1.jpg
I think the examples that you provided are great works that combine the effects of technology and cultural influences. Russian Constructivism is a perfect example of cultural influence in graphic design for the bold colors, heavy text, and image. Technology was the main cause of constructivism but the cultural influences of Russia are throughout the design ascetics.
DeleteI think that in other forms of art, technology has almost turned borders invisible, and artists' works are a collage of international elements. This is a gift and a curse, because just as you said, it is important to remain grounded in your cultural influences while maintaining diversity and stimulating a global dialogue.
DeleteIn a country where national identity is strong and encourage, national/cultural style is evident. In Korea, for example, some Korean graphic designers are influenced by traditional style and design. One useful thing about this is that it showcases Korean cultural heritage to the international community. Tourism industry in Korea relies on borrowing from their own traditional art, because it is unique to rest of the world. I've identified some examples of Korean graphic design that borrowed some aspect of its traditional art.
ReplyDeletehttp://1.bp.blogspot.com/_bvqoZ2hkUKA/SuSj9eG5z6I/AAAAAAAAAGs/xYoRohc_8m4/s400/IMAGE0008.JPG
http://behance.vo.llnwd.net/profiles14/830185/projects/3174368/d65fe72ca9096bdce1259e49e1d51a17.jpg
http://25.media.tumblr.com/tumblr_m4lgluVQyg1qhao9bo1_500.jpg
I think it is incredibly important for every country to keep some type of their tradition in their designs. If they keep their tradition in their style and design they can express their own culture to the rest of the world, because it is different to different parts of the world, it is all the more unique. The Korean designs you have chosen to share all do show a sense of the Korean traditional art. All three designs look all the more unique, one after the other. Due to the tourism industry, like you mentioned, a place like Korea relies on their traditions to be their attraction.
DeleteI think the second example is great example. It uses american language and type to mimic the character shapes of Korean language. It is unique and a wonderful way to express the message while implying old traditions.
DeleteI feel as though cultural influences and design are almost inseparable. As artists we create things based on what is important to us. I think the examples you gave really reflected this premis.
DeleteArtists are able to communicate all around the world today, but that is done by many being influenced by their surroundings. Everyone gets inspired and that inspiration can come from anywhere and anything.
ReplyDeleteA new aesthetic of graphic design arose in the confluence of intellectual, economic, social, and political forces that modernized greater China. China embraced international commerce, a dramatic change has occurred in design education programs, which have begun to emphasize modern Western design movements over 5 thousand year old Chinese artistic and calligraphic traditions. In China, design education has become an amazing field, with a special visual language for the extremely fast growing environment of cross-cultural dialogue and collaboration that advances China's objective of becoming leader in the design industry.
An influential leader in Chinese graphic design is Bingnan Yu, he studied art at the LuXan Academy of Fine Arts in China and continued his education in Leipzig, Germany, at the Hochschule fur Grafik und Buchkunst. He was also a teacher, one that inspired a generation of Chinese graphic designers by emphasizing the significance of traditional Chinese arts, painting, and calligraphy as well as the principles of both Eastern and Western design education. (1)
"I grew up in south China, surrounded by beautiful scenery, such as mountains and lakes, which was incredibly inspiring. There was also a vibrant crafts scene entailing hand-made pottery and paper cutting, which I was impressed by."(2)
http://www.design-china.org/post/33610203603/professor-yu-bingnan
http://www.design-china.org/post/34353668095/more-on-professor-yu-bingnan
(1) Meggs' History of Graphic Design
(2) http://www.design-china.org/post/34353668095/more-on-professor-yu-bingnan
Cultural influences existing in national styles is Japanese design. After World War II and the Western emergence of leadership, Japanese designers began incorporating international influences. With European constructivism being a major resource, “systematic organization and strong theoretical foundation of constructivism is tempered by a Japanese inclination toward intuitive problem solving and a heritage of simplified emblematic form” (1). Known for his technical discipline and construction of visual elements, Yusaku Kamekura, rose to become an acclaimed designer. Examples of his work are: http://www.tumblr.com/tagged/yusaku%20kamekura and http://pinktentacle.com/images/10/kamekura_3_large.jpg.
ReplyDeleteAnother example of cultural influences is in Netherlands design, with strong pragmatic constructivism inspired by Dutch traditions and “expressionism of with jolting images and spatial syntax.” Total Design, a graphic design firm consisting of designers Wim Crouwel, Frisco Kramer and Benno Wissing was at the center of these changes. Examples of their work include http://theflavor.com/wp-content/uploads/2010/07/wim_crouwel_logo_design_package.jpeg by Crouwel and http://luminerydotcom.files.wordpress.com/2012/06/worldoflogotypes-41.jpg Wissing.
(1) Megg’s History of Graphic Design
I agree with this statement, I think that the Japanese were very skilled at incorporating international design techniques with their own traditional design. This resulted in a whole new movement of design, more postmodern then anything else. But largely, Japan stayed traditional in their approach, which I think works for them.
DeleteI think you've showed some good examples, and I really admire Yusaku Kamekura's style. There's something very 60s about his design, yet it's uniquely Japanese.
DeleteAlthough we become more and more connected through technology, our cultural influences are still ever present in all that we do; hence, design language will still be affected by culture. Technology provides us with a way to seemingly escape from our culture and our surroundings, but when those elements are stripped away we cannot ignore the environments that we are apart of. Subconsciously, we could never escape them; we don't know any other culture or environment as much as we know the one that surrounds us. Inspiration can obviously come from anywhere, but it is readily available in the places that one frequents the most. What do you frequent more than your current environment? Design is said to have become synonymous with the "labeling of culture". Culture is something that is distinct and recognizable, and although technology connects us and shrinks our misunderstandings of one another; I think it does so in a way that allows one to project their culture through the technology that is given. One of the best examples of this notion is seem throughout Chinese graphic design. The designs of the Chinese implore and even command the consumer to not forget it's ancient traditional roots, though updated through the use of modern technology. Japan on the other hand uses more modern aesthetics and brighter colors that allude to their burgeoning city atmosphere that is centered around Tokyo. Also, the large anime culture in Japan lends itself to other art related things. Another great identifier in cultural style would be Latin America and Mexican design. They are said to use lots of bold colors and contrasting elements and show an affinity for partying, religion and nationalism. What's to be taken away from these examples is that although many countries and cultures have adapted to technology and use it to connect with the rest of the world, their sense of individuality and style is not compromised when it comes to how they interpret concepts through graphic design.
ReplyDeleteSources:
1) http://davidreport.com/the-report/design-culture-time-cultural-fundamentalism/
2) http://www.ojccc.org/2011/02/cultural-influence-on-artistic-design/
3) http://www.1stwebdesigner.com/design/worldwide-graphic-design/
JAPAN is an island and 80% of this island is uninhabitable. 128 million people are living in those areas, which habitable. This makes up the population density of about 840 persons per square mile. Japan remained an isolated and feudal society until the middle of nineteenth century. During the twentieth century Japan was influenced by Western social patterns and lifestyles, which made graphic designers concerned about how to maintain the national traditions while simultaneously incorporating international influences. European constructivism is a major resource for the Japanese design, even though the systematic organization and strong theoretical foundation of constructivism is shaped by the Japanese traditions which embrace central placement rather then the employing the relational asymmetrical balance of European constructivism. Japanese design understands nonverbal communication. This understanding comes from Zen Buddhism, which teaches: “Silence is communication”. Koichi Sato brings delicate colors motifs and metaphysical forms to his quietly poetic design.
ReplyDeleteDesign in the NETHERLANDS became very dualistic after the Dutch society became completely disrupted by the German occupation in WWII. While rebuilding the economy and working to restore prewar cultural and social life two strong styles became evident in graphic design. A pragmatic constructivism inspired by Dutch traditions from the first half of the century, including the De Stijl movement, Piet Zwart and Paul Schuitema as well as post-war influence from Switzerland. Pieter Brattinga’s work was inspired by this style. The other strong Dutch style was inspired by expressionism. They used vigorous colors, jolting images and spontaneous spatial syntax. Wild Plakken was a representative of this style. Dutch could make this duality work, which existed in graphic design, because their culture tolerates diverse opinions and they are proud of their broad-minded thinking.
Source:
Meggs' History of Graphic Design page 483-501
The Buddhist influence on Japanese design is very important, and apparent too. Koichi Sato's aesthetic is serenity captured in color. It's like the kind of art you'd sip tea and listen to easy relaxation music to.
DeleteI also agree that Buddhism plays a large role in the Japanese culture and therefore in deign since it is weaved within the lifestyle. It's practices and teachings are used the foundation when advertising. It offers an instance connection between the viewer and the design/product since it is instantly relatable, which is the goal of modern design.
DeleteInteresting Sydney I never knew that, I've always thought there style came mostly from there sense of perfection.
DeleteI agree that cultural influences will likely be identifiable in graphic design. What first comes to mind for me when considering this are war propoganda posters. There are certain things and styles that are easily classified with specific countries thanks to their respective ideals and values. For instance, in the propaganda poster, “We can do it,” strong nationalist feelings of pride and unity rise to the surface. This isn’t to say that other countries do not share these same values, but when considering the time period and events of that era it is very evident which country that poster came from. Germany at that time would have had posters promoting different things and in a slightly different attitude. For example, many of the US posters seem to be more encouraging, while the German ones seem to be more violent, tense and aggressive.
ReplyDeletehttp://www.google.com/search?q=ww2+propaganda+posters+compared&client=safari&sa=X&rls=en&nfpr=1&tbm=isch&tbo=u&source=univ&ei=jqltUYieIvSl4APTi4GgBg&ved=0CDQQsAQ&biw=1270&bih=609
I agree that much of Chinese and Japanese design stems from the traditions and styles that have been within those countries for generations and generations. Even though technology is advancing things within those countries today and styles are becoming a little more modern, I think they still have the same basis of tradition and influence from their earliest styles.
ReplyDeleteI like that the first thing that comes to your mind on this subject is war propaganda posters. You make a good point saying that there are just certain things and styles that are easily classified with specific countries due to their respective ideals and values. Every design representing the countries all show the same of different values, everyone expresses their countries ideals in different ways, and yet they all relate to one another.
ReplyDeleteEven though technology makes the world community easy to reach and allows us to merge together, each culture has their identity when it comes to their styles of art. For example, Japan's design style takes on the influences of the Constructionist's art era but still has a way of sticking to its cultural roots and origins. They used the new ways of art to portray their own heritage using simplified forms.
ReplyDeleteOne example of a Japanese artists who did this was Ikko Tanaka. I really liked his works in the way he used traditional Japanese art styles like woodblocks with the simplification in his Senei Ikenobo Flower Arrangement poster. I found this poster done by him which was also an example of modern art as influence (2). He uses large type with the Japanese characters to portray his message while using the type as image itself.
1. Megg's History of Graphic Design
2. http://gurafiku.tumblr.com/post/455707087/typographic-poster-ikko-tanaka-graphic-master
I agree that Japan definitely stuck to its roots when influenced by constructionist's art. I love the example you used, you can see how they were influenced, but also see the culture of Japan in the art too.
DeleteIt's great that you pointed out the woodblocks. Woodblock was very important to the traditional Japanese art. Looking at Ikko's design reminds me a lot of woodblock printing.
DeleteI think your description of Japanese art is very accurate. They often take great leaps with their art and color like in your 5th example. It is interesting to see them compared to the Chinese art of this time. They both are taking the same steps towards graphic design inspired from their origins.
ReplyDeleteTypographic style was most prominent in the Swiss Style of design that originated in Switzerland. Culture largely influences or is influenced by design. One of the most common cultural influences that I can think of is war and government. During WWI and WWII there were a large amount of propaganda posters coming out of Germany and the United States at the time. These poster designs were reflective of the specific culture but based on the same topic.
ReplyDeleteAnother large culture influencing the design style is Japan (2). "Part of the Japanese understanding of nonverbal communication comes from Zen Buddhism, which teaches the use of all five senses in receiving communication, and even states, "silence is communication." Ikko Tanaka, uses in many of his poster designs, an abstract illustration of a traditional Japanese theater character or a geisha. He does this because this is what he knows and it a large part of his Japanese culture. (3)
1. Megg's History of Graphic Design
2. Megg's Page 490
3. Megg's Page 488
The advent of the “information super-highway” has permanently blurred regional and national borders, joining citizens of nations spanning both hemispheres. With the world’s nations being in closer proximity than ever, very few characteristics are exclusive to only one place. In spite of this merge, some international regions are able to create and preserve unique styles of design. A prime example of a blessing in disguise is the cultural stagnancy suffered by Latin America, and the burst of originality to which it gave birth. Drawing inspiration from the Iberian region’s art culture reared by Picasso and Dali, the graphic design of the late 20th century “reflects a tranquil view of life” in a charming and colorful manner (1).
ReplyDeleteOne of Spain’s leaders in graphic design was Manuel Estrada. Estrada, and his Sidecar graphics group, focused on corporate and visual identities, among other forms of design. Estrada effectively encapsulated the meaning of brands in a simple logo, bursting with attention grabbing colors, and little to no text. In the event that text was used in a corporate or visual identity, Estrada formed the text into the shape of an object to give the logo further meaning. While the simplicity imbued in Estrada’s work bears de Stijl influence, he blends it with his personal flare to create a unique effort.
(1) Meggs' History of Graphic Design
Examples:
http://www.manuelestrada.com/CMS-ME/webfiles/noticias/92_genera/Genera_92.jpg
http://manuelestrada.com/CMS-ME/webfiles/noticias/79_cajaviva/Cajaviva_01.jpg
During the 80’s and 90’s, the rapid development of electronics and computer technology began to change the processes and appearance of design. This created a cultural milieu of simultaneity—ancient and modern cultures, Eastern and Western thought, handicraft and individual production—until past, present, and future blurred into a continuum of information and visual form. The many countries and regions where designers have developed a unique national posture for design include the United Kingdom, Asia, the Netherlands, the Iberian Peninsula, the Americas, and the Middle East.
ReplyDeleteLondon is often characterized as transitory and enigmatic with its constantly changing costumer market and ever expanding multicultural population. Many London graphic design studios embrace contemporary fine art that is eclectic and connected to ephemeral pop culture. As a young designer with passion for independent rock music; Vaughan Oliver created a remarkable series of record covers and promotional pint collateral for well-known musical groups.
(1) Meggs’ History
(2)http://www.creativereview.co.uk/cr-blog/2010/december/vaughan-oliver-designs-record-sleeve-for-david-lynch
I agree that London definitely has it own style, although it is ever changing with age. I compare it in this sense to America, who also evolves very quickly but still maintains some cultural identity in the process. The electronic feel, whether it is in art as well as in music, definitely influences the modern age of London especially in the technological age.
DeleteAlthough the miracle of technology has brought the world substantially closer together and crossing cultural borders, countries have still been able to keep their cultural identity intact. This is able to occur because each country continues to incorporate their traditions, values and artist style into their graphic design pieces. Their heritage is able protrude through the western standards for design.
ReplyDeleteJapan's design work, for example still encompasses the styles set by the West and maintain its country's traditions and values. The early works of Kazumasa Naga which later influenced designers like Shigeo Fukuda incorporate traditional Japanese color palette and ideal such as friendship and strength will mixing in design styles like Constructionism through the use of simplified forms. Spain, similar to Japan, has their own unique art style: it is whimsical, very curvacious, and full of color. The shapes and colors are weaved into their style of modern design.
Megg's History of Design
Japanese Design: http://guity-novin.blogspot.com/2012/11/chapter-62-modern-Spanish Design: graphic-design-in.html
http://www.brainpickings.org/index.php/2011/02/16/pioneers-of-spanish-graphic-design/
I feel as though cultural influences and design are almost inseparable. As artists we create things based on what is important to us. I think the examples you gave really reflected this premis. Especially
ReplyDelete(http://cdn1.1stwebdesigner.com/wp-content/uploads/2011/03/japanese-graphic-design-manga-Mitsuteru-Yokoyama1.jpg)
Because I have no idea what's going on in that picture, culturally, but i'm pretty sure the artist's target market does.