An Introduction

Once again, my head has filled to the brim with facts and fragments of the available knowledge the world has to offer. I am always amazed about the amount if information people are able to store in that magical computer called the human brain. I guess the saying goes, “the more you know, the more you know you don’t know.” The compilation of research, insight, and investigation found in this blog is my reaction to what I didn’t know and thanks to Megg’s History of Graphic, this graphic design history class, and the blogs of all my fellow students participating in this glorious exploration, I know how little I actually know. So, while I take the time to defragment my brain, file all of this information in the proper synapses, and make space for more information, please take a moment to enjoy my blog.

A Reflection

The arduous task of tackling the history of graphic design has led me to believe that there is no tackling the subject, of any sort. The information of design is so vast and complex that it would take a lifetime to research and absorb it all. Yet, in a brief twelve weeks I was able to obtain a glimpse of what a large amount of important artists, typographers, and designers, as well as early man and the developments of society, have contributed to the history of graphic design. In my own investigations, I have learned how a handful of those many successes have left their mark on the world. Much, much more is there to be explored and I guess it’s a good thing that I have a lifetime left to enjoy doing so. 

Our textbook, Meggs’ History of Graphic Design, is quite the large book with plenty of color filled pages of various works from posters to typographical samples. That does not mean that this book was easy to get through. The text is rather dense. Philip B. Meggs and Alston W. Purvis’ delivery and writing style, although packed with information, is very dry and can be difficult at times. I understand that the five pound book is meant for academic purposes, yet I feel the flow of the book has a stop and go attitude. Meaning, it gives you a little information of one person then stops and starts on another person and then stops. This pattern continues throughout the book and took some time to get used to. I almost felt I would be better served by a list of names with their contributions listed next to them. The dense reading often led me to take naps in between sections in order to compound the information, recharge and have another go. My naps helped me enjoy they process a lot more as I am intrigued in all the information that Meggs’ has to offer and I do realize that text is only a beginning to exploration.

My exploration, thus far, has brought me a great learning experience, about graphic design and about myself. I have learned that having a greater knowledge of history can expand my breadth of what I am capable of. Understanding different styles and different schools of art will help me in a applying an appropriate aesthetic and graphic solution to a specific problem and that there are multiple solutions to solve those problems. 

This history is there to guide us and show us the rules and how the rules were made so as contemporary designers we can, not break the rules but, expand them and add to them and create something which contributes to our society. It is important to understand that design is our surrounding environment and our lives are completely submersed in it. It is more important that we recognize the designs that surround us and why that laptop in front of you has those subtle curves and lines. 

I have also learned that I am capable of writing a small book about graphic design. I believe I have written more pages for this class than I have ever before, which is a truly remarkable accomplishment for myself. I have realized I have much to explore.

 There are many subjects of design like Bauhaus and Constructivism that have peaked my interest and Meggs has merely given us a snippet. I now have a new quest to find books that many these designers have written about theories and ideas that are sprung from their own experimentations with design.

I stated at the beginning of this blog and at the start of this course, I stated that I planned on enjoying it and I did. I am not going to say I didn’t get frustrated at times because at points I had to remind myself, “just enjoy it.” For the greater part, learning about cave art, to the development of the alphabet, to the introduction of typography, art nouveau, Bauhaus, punk, digital art, etc. has been thoroughly enjoyable.

Info Here, There, Everywhere

Simply put, I am in awe. Two words - environmental graphics. A lot of times we do not realize how much we are surrounded by graphic design in the areas we visit. When we travel the world, a new city, or even when we walk down the street, we are completely engulfed in environmental graphics whether it is simple street signs or an elaborate corporate design scheme that screams for attention. 

In our travels through Megg’s History of Graphic Design we were introduced to the ideas of environmental graphics by the use Edward Johnston’s London Underground logo in conjunction with Henry C. Beck’s London Underground subway maps. Trains and stations were also painted to match the colors of the logo. The placement of these elements in subways and marking the subway entrances not only helped locate and move about the subway systems, but contributed to the overall branding of the subway line. The Underground continues to have a vibrant identity.

The same type of environmental graphics ate depicted in sources of transportation and traffic signage. Robin Cook and Don Shanosky designed the set of glyphs for the Department of Transportation in 1974 to give information to an international audience, transcending language and literacy barriers.  Street signs and traffic signage have been designed to be easily read and to give appropriate direction yet many small towns and cities will develop street signs that are distinct from their neighboring city. For example; Mountain View, California uses a municipal blue or a forest green sign with a standard san serif font. The green and blue signs have a suburban urban motif being closer to a metropolitan area.  You will know when you have left Mountain View and have entered Los Altos, California when your street signs turn from blue to brown and use an italicized sans serif font in all capitals. The brown color of Los Altos’ signs are significant of national park signs and emphasize the city’s more wooded environment. 

In our current era of the “digital revolution,” environmental graphics has become extremely bold especially with the addition of digital color sign boards and large, thin and color LED screens. Lisa Strausfeld’s display for Bloomberg L.P. headquarters in New York is an amazing info graphics demonstration in using digital boards to present a dynamic display of financial information. The same style of info graphics displays are becoming common spectacles for sporting arenas and events. They create dazzling visuals and re-enforce the high energy of a given event. The HP Pavilion, used for the Sharks NHL hockey team, uses continuous digital screen that spans the inner circumference of the arena, infusing the interior with color and light to bolster and influence crowds while re-enforcing the HP and Sharks brand.