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London TransportPost-War Graphic Design

Charles And Ray-Eames

The British LibraryEvolving English

Jan Tschichold European Avant G rde -

Front Line Typography

A N I MA T IO NMy First Cartoon

COMPUTERS

Photo raphy

VisualPerception& Memory

ContentsWhat’s new this Month ?

London Underground & the Corporate Identity.The world’s first London Underground Railway ... ?

Charles and Ray EamesKAZAM! Their life and their work ?

The Growth Of Graphic DesignRand, Müller Brockmann, Fletcher, Chermayeff”Jan TschicholdA Genius Typographer ...

Animationlets go back to the childhood fun world ?The British Library - Evolving English“One Language - Many Voices”Photography“A good snapshot stops a moment from running away. ~Eudora Welty”

Computers“Computing is not about computers any more. It is about living.” ~Nicholas Negroponte.

Visual Perception and MemoryWhat is it? What does it do? helpful?

No More Rules

London was the fi rst place in the world where the un-derground railway system built. The fi rst underground railway opened in 10th Janu-ary 1863. The fi rst built stations were Baker Street Station (1863) and High Street Kensington (1858), made with man power and horses due to technology and effi ciency. Baker Street Sta-tion was part of the fi rst line which opened in that year and nowadays that sta-tion you can see that it hasn’t been changed too much that it was more than a cen-tury ago.

The trains were not run on electricity at fi rst but ran on steam, which resulted in poor ventilation and passen-gers were not able to open windows, nor did the early train carriages have many windows for this reason.

Until 1890s, electricity wasn’t used to power ma-chinery.

Arriving at the moor-gate station on the met-ropolitan line on a cheap early morning because the ticket price were so high and un-affordable for middle-class majority so the workmen’s trains were started running through the capital.

When it was easier to dig and make tunnels for the underground lines. Barlow Shields were used to hold the roof to stop the tun-nel from caving in whilst digging. At the time all electric underground lines were owned by different companies, until Frank Pick (1878 – 1946) who was London Underground London Transport Chief Executive, brought all the companies together and ran it as one company

The London Underground

& The Corporate Identity

The London Underground

& The Corporate Identity

Frank Pick wanted to create a corpo-rate identity as most if not all ma-jor corporations do, and simplify the underground maps. Initially he wanted Eric Gill a typographer to help him achieve this. Though at the time Eric Gill was far too busy, and introduced Edward Johnston to Frank Pick in 1913. Edward Johnston was a calligrapher and typographer, and was also Eric Gill’s teacher. Febuary 6th 1916 Johnston had created his fi rst attempt at designing a font for London Underground.

In 1902, The Westminster station, there is a fi rst attempt to try to create a bit of order in posters but the result is not successful. There is an evident lack of layout in the text: there is not struc-ture, no hierarchy. All features which are relevant in graphic de-sign because they are needed to successfully convey the message to the target audience.

The fi rst appearance of sans-serif lettering (shown above). According to ” Mr Beck’s Underground Map ” by Ken Garland, fi rst published in 1994.

-Uncontrolled display of advertis-ing and lettering at Goldhawk Road, Operated jointly by the metropolitan and Great western railways).

H a r r y B e c k

In 1932 Harry Beck had simplifi ed the previous London Underground map designs. He wasn’t asked to do this, but thought he had come up with a solution. In 1932 he pre-sented his idea which was refused.In 1933 his design of the map gets printed as a card holder. His map consisted of vertical, horizontal, and 45 degree angle lines; he used different colours for each line. His map was not accurate to scale however it was simple and easy to read, and stations appeared closer then they actually were, so pas-sengers would assume their journey wouldn’t take so long. Though over the years Harry Beck’s were refused and were not taken on as the offi -cial map, due to problems with the interchanges on the maps.

H a r r y B e c k

As According to ” Mr Beck’s Underground Map ” by Ken Garland, fi rst pub-lished in 1994, the fi rst all-inclusive map was pub-lished in 1908. However even they tried to cre-ate an accurate geographi-cal representation they did not manage to do so as there are a lot of distor-tion. It is anyway a good starting point I think.

The second attempt was made in 1923 with the Metropolitan Railway and Connections map poster (below) which included not only the inner portions of the Metropolitan as the fi rst one. However there were more geographic distortion in the latter one than the fi rst one, especially in the terminal parts of the lines.

In 1933 his design of the map gets printed as a card holder. His map consisted of vertical, horizontal, and 45 degree angle lines; he used different colours for each line. His map was not accurate to scale however it was simple and easy to read, and stations appeared closer then they actually were, so pas-sengers would assume their journey wouldn’t take so long. Though over the years Harry Beck’s were refused and were not taken on as the offi -cial map, due to problems with the interchanges on the maps.

Charles&Ray EamesCharles and Ray Eames met in 1940 when they both attended the Cran-brook Academy of Art, Charles to work and Ray to study.Charles had worked hard from a very young age to get where he did. “His drawing and practical skills were such that he was soon promoted to the engineering as a draftsman.A quick leaner...impressed a rival film, the Aitkens Mill Company, that it offered him a scholarship to study engi-neering”. (Kirkham, 2000, P.10)

Ray appeared to be a very artistic character throughout the years before she met Charles, “...developed a passionate interest in new forms of art, de-sign, film, and dance. She showed a very early aptitude for art”. (Kirkham, 2001, P31)

The pair, both equally passionate about their work, appeared to complement one another in their exampled of expression.“It was rather that they considered it too important to be subject to the vagaries and dictates or fashion”. (Kirkham, 2001, P61)

The Eames’ House is one of the biggest areas they are known for. “...Case Study #8 as it is officially known is the singular product of an unusu-al and fortunate set of circumstances which, in retrospect, seem quite improbable.” (Steele, 1994, P4)

The house became a project after the war as an aim of using up materials.

“Responding to a projected housing shortage in the post war period, the authors explored the possibilities of using industrial technologies originally developed to meet war time needs”. (Steele, 1994, P7)

The house had a complete different structure to many of its time. “...are steel-framed, they differ in form.

The Eames House is an open structure with infill panels...” (Kirkham, 2001, P104)

Each project or product had to be specifically made and once it was perfect they didn’t change it

They are most well known for their case study #8 house and the furniture they designed and produced. The furniture was based upon simplicity and comfort.Much of their furniture designs involved moulded materials such as wood and metal.

The work of Charles and Ray Eames lives on today because of its originality and how they approached their work differently to many other artists.

The Eameses were designers of many talents and proved to be success graphically too. Charles designed the exhibition covers for Organic Home exhibition 1941 in which work of his own was ex-hibited in. Ray designed the cover for Arts and Architecture in 1942 which wasn’t initially very popular. The Eameses Offi ce designedpromotional material for Herman Miller. No two designs are exactly the same, yet they are all easily recognisable as promotion for the same company. A colour scheme or red, yellow, black, white and varied tones of grey spread across the col-lection which ranges from the year 1948-1960

More than 500 items have been selected for the exhibition. The ma-terials come primarily from three sources: photographs, drawings and documents from the Library’s collection of more than 1 million items donated by Ray; furniture from the collections of the Vitra Design Museum and many personal items on temporary loan from Lucia Eames, daughter of Charles, and from the Eames Offi ce, which contin-ues to function today under the direction of their grandson, Eames Demetrios.

Lounge chair and ottoman, 1956The design of the exhibition by Hodgetts + Fung Design Associates can only be described as “Eamesian”: light, modular panels with ex-posed structural elements, accented with bright blocks of color and a profusion of objects, images and audiovisual displays that play-fully undercut conventional notions of scale, harmony and linear exposition. After all, the Eameses were the people who created one of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-screen extravaganza commissioned by the U.S. Information Agency in 1959 for an exhibition in Moscow. The innovative work practically buried Russian audiences under some 2,200 images of a day in the life of the United States, both in slide and fi lm. Russians lined up for blocks to get in and reportedly left in tears after seeing the sheer scope of what capitalism provided. For the Library’s exhibi-tion, “Glimpses” has been adapted to an array of seven television monitors.The exhibition is organized into fi ve sections -- “Furniture,” “Space,” “Beauty,” “Culture” and “Science,” with a sixth section devoted to the personal stories of Charles and Ray Eames -- and it integrates artifacts, photographs, fi lms and video interviews in a comprehensive examination of the design team’s intellectual founda-tions and creative evolution.

Architecture in 1942 which

very popular. The Eameses Offi ce

promotional material for Herman

two designs are exactly the

are all easily recognisable as

for the same company. A colour KAZAM!Architecture in 1942 which KAZAM!Architecture in 1942 which

very popular. The Eameses Offi ce KAZAM!very popular. The Eameses Offi ce

are all easily recognisable as KAZAM!are all easily recognisable as

for the same company. A colour KAZAM!for the same company. A colour

posed structural elements, accented with bright blocks of color and

KAZAM!posed structural elements, accented with bright blocks of color and a profusion of objects, images and audiovisual displays that play-KAZAM!a profusion of objects, images and audiovisual displays that play-fully undercut conventional notions of scale, harmony and linear KAZAM!fully undercut conventional notions of scale, harmony and linear exposition. After all, the Eameses were the people who created one KAZAM!exposition. After all, the Eameses were the people who created one of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-KAZAM!of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-screen extravaganza commissioned by the U.S. Information Agency in KAZAM!screen extravaganza commissioned by the U.S. Information Agency in 1959 for an exhibition in Moscow. The innovative work practically KAZAM!1959 for an exhibition in Moscow. The innovative work practically buried Russian audiences under some 2,200 images of a day in the KAZAM!buried Russian audiences under some 2,200 images of a day in the life of the United States, both in slide and fi lm. Russians lined up KAZAM!life of the United States, both in slide and fi lm. Russians lined up KAZAM!life of the United States, both in slide and fi lm. Russians lined up KAZAM!life of the United States, both in slide and fi lm. Russians lined up KAZAM!for blocks to get in and reportedly left in tears after seeing the KAZAM!for blocks to get in and reportedly left in tears after seeing the sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!sheer scope of what capitalism provided. For the Library’s exhibi-sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!a profusion of objects, images and audiovisual displays that play-KAZAM!a profusion of objects, images and audiovisual displays that play-fully undercut conventional notions of scale, harmony and linear KAZAM!fully undercut conventional notions of scale, harmony and linear exposition. After all, the Eameses were the people who created one KAZAM!exposition. After all, the Eameses were the people who created one of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-KAZAM!of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-screen extravaganza commissioned by the U.S. Information Agency in KAZAM!screen extravaganza commissioned by the U.S. Information Agency in 1959 for an exhibition in Moscow. The innovative work practically KAZAM!1959 for an exhibition in Moscow. The innovative work practically buried Russian audiences under some 2,200 images of a day in the KAZAM!buried Russian audiences under some 2,200 images of a day in the life of the United States, both in slide and fi lm. Russians lined up KAZAM!life of the United States, both in slide and fi lm. Russians lined up KAZAM!for blocks to get in and reportedly left in tears after seeing the KAZAM!for blocks to get in and reportedly left in tears after seeing the sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!a profusion of objects, images and audiovisual displays that play-KAZAM!a profusion of objects, images and audiovisual displays that play-fully undercut conventional notions of scale, harmony and linear KAZAM!fully undercut conventional notions of scale, harmony and linear exposition. After all, the Eameses were the people who created one KAZAM!exposition. After all, the Eameses were the people who created one of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-KAZAM!of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-screen extravaganza commissioned by the U.S. Information Agency in KAZAM!screen extravaganza commissioned by the U.S. Information Agency in 1959 for an exhibition in Moscow. The innovative work practically KAZAM!1959 for an exhibition in Moscow. The innovative work practically buried Russian audiences under some 2,200 images of a day in the KAZAM!buried Russian audiences under some 2,200 images of a day in the life of the United States, both in slide and fi lm. Russians lined up KAZAM!life of the United States, both in slide and fi lm. Russians lined up KAZAM!for blocks to get in and reportedly left in tears after seeing the KAZAM!for blocks to get in and reportedly left in tears after seeing the sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!Architecture in 1942 which KAZAM!Architecture in 1942 which

very popular. The Eameses Offi ce KAZAM!very popular. The Eameses Offi ce

promotional material for Herman KAZAM!promotional material for Herman

two designs are exactly the KAZAM!two designs are exactly the

are all easily recognisable as KAZAM!are all easily recognisable as

for the same company. A colour KAZAM!for the same company. A colour

a profusion of objects, images and audiovisual displays that play-KAZAM!a profusion of objects, images and audiovisual displays that play-fully undercut conventional notions of scale, harmony and linear KAZAM!fully undercut conventional notions of scale, harmony and linear

life of the United States, both in slide and fi lm. Russians lined up KAZAM!life of the United States, both in slide and fi lm. Russians lined up for blocks to get in and reportedly left in tears after seeing the KAZAM!for blocks to get in and reportedly left in tears after seeing the sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!exposition. After all, the Eameses were the people who created one KAZAM!exposition. After all, the Eameses were the people who created one of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-KAZAM!of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-screen extravaganza commissioned by the U.S. Information Agency in KAZAM!screen extravaganza commissioned by the U.S. Information Agency in 1959 for an exhibition in Moscow. The innovative work practically KAZAM!1959 for an exhibition in Moscow. The innovative work practically KAZAM!for blocks to get in and reportedly left in tears after seeing the KAZAM!for blocks to get in and reportedly left in tears after seeing the sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!posed structural elements, accented with bright blocks of color and

KAZAM!posed structural elements, accented with bright blocks of color and a profusion of objects, images and audiovisual displays that play-KAZAM!a profusion of objects, images and audiovisual displays that play-fully undercut conventional notions of scale, harmony and linear KAZAM!fully undercut conventional notions of scale, harmony and linear exposition. After all, the Eameses were the people who created one KAZAM!exposition. After all, the Eameses were the people who created one of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-KAZAM!of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-screen extravaganza commissioned by the U.S. Information Agency in KAZAM!screen extravaganza commissioned by the U.S. Information Agency in 1959 for an exhibition in Moscow. The innovative work practically KAZAM!1959 for an exhibition in Moscow. The innovative work practically buried Russian audiences under some 2,200 images of a day in the KAZAM!buried Russian audiences under some 2,200 images of a day in the life of the United States, both in slide and fi lm. Russians lined up KAZAM!life of the United States, both in slide and fi lm. Russians lined up KAZAM!for blocks to get in and reportedly left in tears after seeing the KAZAM!for blocks to get in and reportedly left in tears after seeing the sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!posed structural elements, accented with bright blocks of color and

KAZAM!posed structural elements, accented with bright blocks of color and a profusion of objects, images and audiovisual displays that play-KAZAM!a profusion of objects, images and audiovisual displays that play-fully undercut conventional notions of scale, harmony and linear KAZAM!fully undercut conventional notions of scale, harmony and linear exposition. After all, the Eameses were the people who created one KAZAM!exposition. After all, the Eameses were the people who created one of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-KAZAM!of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-screen extravaganza commissioned by the U.S. Information Agency in KAZAM!screen extravaganza commissioned by the U.S. Information Agency in 1959 for an exhibition in Moscow. The innovative work practically KAZAM!1959 for an exhibition in Moscow. The innovative work practically buried Russian audiences under some 2,200 images of a day in the KAZAM!buried Russian audiences under some 2,200 images of a day in the life of the United States, both in slide and fi lm. Russians lined up KAZAM!life of the United States, both in slide and fi lm. Russians lined up KAZAM!life of the United States, both in slide and fi lm. Russians lined up KAZAM!life of the United States, both in slide and fi lm. Russians lined up KAZAM!for blocks to get in and reportedly left in tears after seeing the KAZAM!for blocks to get in and reportedly left in tears after seeing the sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!Architecture in 1942 which KAZAM!Architecture in 1942 which

very popular. The Eameses Offi ce KAZAM!very popular. The Eameses Offi ce

promotional material for Herman KAZAM!promotional material for Herman

two designs are exactly the KAZAM!two designs are exactly the

are all easily recognisable as KAZAM!are all easily recognisable as

for the same company. A colour KAZAM!for the same company. A colour

posed structural elements, accented with bright blocks of color and

KAZAM!posed structural elements, accented with bright blocks of color and a profusion of objects, images and audiovisual displays that play-KAZAM!a profusion of objects, images and audiovisual displays that play-fully undercut conventional notions of scale, harmony and linear KAZAM!fully undercut conventional notions of scale, harmony and linear

buried Russian audiences under some 2,200 images of a day in the KAZAM!buried Russian audiences under some 2,200 images of a day in the life of the United States, both in slide and fi lm. Russians lined up KAZAM!life of the United States, both in slide and fi lm. Russians lined up KAZAM!for blocks to get in and reportedly left in tears after seeing the KAZAM!for blocks to get in and reportedly left in tears after seeing the sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!exposition. After all, the Eameses were the people who created one KAZAM!exposition. After all, the Eameses were the people who created one of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-KAZAM!of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-screen extravaganza commissioned by the U.S. Information Agency in KAZAM!screen extravaganza commissioned by the U.S. Information Agency in 1959 for an exhibition in Moscow. The innovative work practically KAZAM!1959 for an exhibition in Moscow. The innovative work practically

More than 500 items have been selected for the exhibition. The ma-terials come primarily from three sources: photographs, drawings and documents from the Library’s collection of more than 1 million items donated by Ray; furniture from the collections of the Vitra Design Museum and many personal items on temporary loan from Lucia Eames, daughter of Charles, and from the Eames Offi ce, which contin-ues to function today under the direction of their grandson, Eames Demetrios.

Lounge chair and ottoman, 1956The design of the exhibition by Hodgetts + Fung Design Associates can only be described as “Eamesian”: light, modular panels with ex-posed structural elements, accented with bright blocks of color and a profusion of objects, images and audiovisual displays that play-fully undercut conventional notions of scale, harmony and linear exposition. After all, the Eameses were the people who created one of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-screen extravaganza commissioned by the U.S. Information Agency in 1959 for an exhibition in Moscow. The innovative work practically buried Russian audiences under some 2,200 images of a day in the life of the United States, both in slide and fi lm. Russians lined up for blocks to get in and reportedly left in tears after seeing the sheer scope of what capitalism provided. For the Library’s exhibi-tion, “Glimpses” has been adapted to an array of seven television monitors.The exhibition is organized into fi ve sections -- “Furniture,” “Space,” “Beauty,” “Culture” and “Science,” with a sixth section devoted to the personal stories of Charles and Ray Eames -- and it integrates artifacts, photographs, fi lms and video interviews in a comprehensive examination of the design team’s intellectual founda-tions and creative evolution.

KAZAM!posed structural elements, accented with bright blocks of color and

KAZAM!posed structural elements, accented with bright blocks of color and a profusion of objects, images and audiovisual displays that play-KAZAM!a profusion of objects, images and audiovisual displays that play-fully undercut conventional notions of scale, harmony and linear KAZAM!fully undercut conventional notions of scale, harmony and linear exposition. After all, the Eameses were the people who created one KAZAM!exposition. After all, the Eameses were the people who created one of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-KAZAM!of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-screen extravaganza commissioned by the U.S. Information Agency in KAZAM!screen extravaganza commissioned by the U.S. Information Agency in 1959 for an exhibition in Moscow. The innovative work practically KAZAM!1959 for an exhibition in Moscow. The innovative work practically KAZAM!buried Russian audiences under some 2,200 images of a day in the KAZAM!buried Russian audiences under some 2,200 images of a day in the life of the United States, both in slide and fi lm. Russians lined up KAZAM!life of the United States, both in slide and fi lm. Russians lined up for blocks to get in and reportedly left in tears after seeing the KAZAM!for blocks to get in and reportedly left in tears after seeing the sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!a profusion of objects, images and audiovisual displays that play-KAZAM!a profusion of objects, images and audiovisual displays that play-fully undercut conventional notions of scale, harmony and linear KAZAM!fully undercut conventional notions of scale, harmony and linear exposition. After all, the Eameses were the people who created one KAZAM!exposition. After all, the Eameses were the people who created one of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-KAZAM!of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-screen extravaganza commissioned by the U.S. Information Agency in KAZAM!screen extravaganza commissioned by the U.S. Information Agency in 1959 for an exhibition in Moscow. The innovative work practically KAZAM!1959 for an exhibition in Moscow. The innovative work practically KAZAM!buried Russian audiences under some 2,200 images of a day in the KAZAM!buried Russian audiences under some 2,200 images of a day in the life of the United States, both in slide and fi lm. Russians lined up KAZAM!life of the United States, both in slide and fi lm. Russians lined up for blocks to get in and reportedly left in tears after seeing the KAZAM!for blocks to get in and reportedly left in tears after seeing the sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!a profusion of objects, images and audiovisual displays that play-KAZAM!a profusion of objects, images and audiovisual displays that play-fully undercut conventional notions of scale, harmony and linear KAZAM!fully undercut conventional notions of scale, harmony and linear exposition. After all, the Eameses were the people who created one KAZAM!exposition. After all, the Eameses were the people who created one of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-KAZAM!of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-screen extravaganza commissioned by the U.S. Information Agency in KAZAM!screen extravaganza commissioned by the U.S. Information Agency in 1959 for an exhibition in Moscow. The innovative work practically KAZAM!1959 for an exhibition in Moscow. The innovative work practically KAZAM!buried Russian audiences under some 2,200 images of a day in the KAZAM!buried Russian audiences under some 2,200 images of a day in the life of the United States, both in slide and fi lm. Russians lined up KAZAM!life of the United States, both in slide and fi lm. Russians lined up for blocks to get in and reportedly left in tears after seeing the KAZAM!for blocks to get in and reportedly left in tears after seeing the sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!exposition. After all, the Eameses were the people who created one KAZAM!exposition. After all, the Eameses were the people who created one of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-KAZAM!of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-screen extravaganza commissioned by the U.S. Information Agency in KAZAM!screen extravaganza commissioned by the U.S. Information Agency in 1959 for an exhibition in Moscow. The innovative work practically KAZAM!1959 for an exhibition in Moscow. The innovative work practically KAZAM!KAZAM!posed structural elements, accented with bright blocks of color and

KAZAM!posed structural elements, accented with bright blocks of color and a profusion of objects, images and audiovisual displays that play-KAZAM!a profusion of objects, images and audiovisual displays that play-fully undercut conventional notions of scale, harmony and linear KAZAM!fully undercut conventional notions of scale, harmony and linear exposition. After all, the Eameses were the people who created one KAZAM!exposition. After all, the Eameses were the people who created one of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-KAZAM!of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-screen extravaganza commissioned by the U.S. Information Agency in KAZAM!screen extravaganza commissioned by the U.S. Information Agency in 1959 for an exhibition in Moscow. The innovative work practically KAZAM!1959 for an exhibition in Moscow. The innovative work practically KAZAM!buried Russian audiences under some 2,200 images of a day in the KAZAM!buried Russian audiences under some 2,200 images of a day in the life of the United States, both in slide and fi lm. Russians lined up KAZAM!life of the United States, both in slide and fi lm. Russians lined up for blocks to get in and reportedly left in tears after seeing the KAZAM!for blocks to get in and reportedly left in tears after seeing the sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!posed structural elements, accented with bright blocks of color and

KAZAM!posed structural elements, accented with bright blocks of color and a profusion of objects, images and audiovisual displays that play-KAZAM!a profusion of objects, images and audiovisual displays that play-fully undercut conventional notions of scale, harmony and linear KAZAM!fully undercut conventional notions of scale, harmony and linear exposition. After all, the Eameses were the people who created one KAZAM!exposition. After all, the Eameses were the people who created one of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-KAZAM!of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-screen extravaganza commissioned by the U.S. Information Agency in KAZAM!screen extravaganza commissioned by the U.S. Information Agency in 1959 for an exhibition in Moscow. The innovative work practically KAZAM!1959 for an exhibition in Moscow. The innovative work practically KAZAM!buried Russian audiences under some 2,200 images of a day in the KAZAM!buried Russian audiences under some 2,200 images of a day in the life of the United States, both in slide and fi lm. Russians lined up KAZAM!life of the United States, both in slide and fi lm. Russians lined up for blocks to get in and reportedly left in tears after seeing the KAZAM!for blocks to get in and reportedly left in tears after seeing the sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!sheer scope of what capitalism provided. For the Library’s exhibi-KAZAM!exposition. After all, the Eameses were the people who created one KAZAM!exposition. After all, the Eameses were the people who created one of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-KAZAM!of the fi rst multiscreen fi lms: “Glimpses of the U.S.A.,” a seven-screen extravaganza commissioned by the U.S. Information Agency in KAZAM!screen extravaganza commissioned by the U.S. Information Agency in 1959 for an exhibition in Moscow. The innovative work practically KAZAM!1959 for an exhibition in Moscow. The innovative work practically KAZAM!

Charles and Ray Eames witnessed fi rst-hand many of the momentous events of the 20th century, such as the Depression and World War II. Their lives and work en-compassed some of the country’s defi ning social movements: the emerging impor-tance of America’s West Coast, the rise of corporate and industrial America and the global expansion of American cul-ture. Providing the basic human needs of shelter, comfort and knowledge was at the core of the Eameses’ philosophy of design. As noted by Donald Albrecht, the exhibition’s director and catalog edi-tor, the Eameses were partners with the federal government and the country’s top businesses in a rare era when they all shared the same objectives in leading the charge to modernize postwar America.

A large light table is strewn with hundreds of slides of abstract images, only a small sample of the thou-sands the Eameses took to provide themselves with visual stimula-tion. Visitors are invited to pull out drawers that contain samples of Ray’s “col-lections”: ornaments, old paint tubes, dolls, fabric samples, whatever caught her fancy and provided in-spiration.

Ray also was a master at transforming the ordinary, as witnessed by the elegant sculptures she fashioned that were in-spired by the undulating curves of a leg splint that the couple manufactured for the Navy.

The Growth Of Graphic DesignThis lecture started watching part of “Helvetica” directed by Gary Hust-wit which in my opinion is a fantas-tic resource to learn not only about the typeface and designers’ but also about Modernismo and Postmodernism. Postmodernists think that the world cannot be simplified and legibility is not the main aspect in graphic design because aesthetic, mood, etc. must be considered as more important. On the other hand Modernism is based on the ideology “form follows function”. The reason why I like Modernism is because it lacked unnecessary deco-rations and ornamentation which are completely useless, it put therefore function before form. I think that this is brilliant because Graphic De-sign for me is all about communica-tion and get the message to your tar-get audience, so most of the time it does not need anything which is not essential to make your message clear. The main typeface used by Modernists was of course Helvetica. What type-face could be considered more suit-able that that one? Fantastic exam-ples of that movement are definitely represented by the works of Josef Muller-Brockmann and Paul Rand, both among the best Graphic Designer in history for me.

http://www.cgstudionyc.com/- Alan Power’s lecture

Graphic Design is a form of communi-cation that is very precise even if it make you laugh. It is the reflec-tion of the truth. Visually speaking, it takes something from one domain and represent it in another causing usually amusement in the viewer. To describe the Modernism in few words I have to quote Ludwig Mies van der Rohe “less is more”. Another design-er mentioned by Alan Power was Alan Fletcher who was, according to the design museum, one of the most influ-ential figures in British graphic de-sign, he co-founded Fletcher/Forbes/Gill in the 1960s and Pentagram in the 1970s. His huge importance in the field I think that can be clarified by what appeared in The Daily Telegraph saying that he is “the most high-ly regarded graphic designer of his generation, and probably one of the most prolific.” In his work “ Design-ers Saturday ” he really used well wit alluding to Kandinskij’s consid-erations about shapes and colors, if you know what the painter said you have more fun with the poster, if you do not figure it out to have a laugh. We finally quoted Ivan Chermayeff and Tom Geismar and Brownjohn. I really admire the works which their stu-dio did, especially in which concerns branding and identity such as Mobil, National Geographic, Boston T trans-port system in 1960s, Chase Bank, NBC and many others. As I am passionated about identity and branding I am al-ways looking at their work because they just do fantastic works.

Jan Tschichold was one of the most distinguished typog-raphers of the last century, and has had many admirers, among whom he himself was not the least. His work has been described and illustrated in his own publications and those of Ruari Mclean, who was also responsible for the translations into English of his two chief books of instruc-tion, Die neue Typographie (The New Typography, 1928) and Typographic Design, published in English asAsymmetric Typography, 1935.

Tschichold had converted to Modernist design principles in 1923 after visiting the first Weimar Bauhaus exhibition.

He became a leading advocate of Modernist design: first with an influential 1925 magazine supplement; then a 1927 personal exhibition; then with his most noted work Die neue Typographie. This book was a manifesto of modern design, in which he condemned all fonts but Sans-Serif (called Groteskin Germany). He also favoured non-centered design (e.g., on title pages), and codified many other Modernist design rules. He advocated the use of standardised paper sizes for all printed matter, and made some of the first clear explanations of the effec-tive use of different sizes and weights of type in order to quickly and easily convey information. This book was fol-lowed with a series of practical manuals on the principles of Modernist.

Typography which had a wide influence among ordinary work-ers and printers in Germany. Yet, despite his visits to Eng-land just before the war, only about four articles by Tsch-ichold had been translated into English by 1945.

Although Die neue Typographie remains a classic, Tschichold slowly abandoned his rigid beliefs from around 1932 on-wards (e.g. his Saskia typeface of 1932, and his acceptance of classical Roman typefaces for body-type) as he moved back towards Classicisim in print design.He later condemned Die neue Typographie as too extreme. He also went so far as to condemn Modernist design in general as being authoritarian and inherently fascistic.

Jan Tschichold

A Genius Typographer

A Genius Typographer

Front-line Typography

AvantGarde

the term avant-garde – military term, which indicates the part of the army that goes forward ahead, to explore and ensure the ground. By analogy the same term is used for the people who claim to undertake new or experimental actions in particular in arts and culture.

Avant – Garde as a term used to de-scribe artists or pieces of work that are experimental in their nature to the con-temporary art styles. Avant Garde is not exactly a style but a label given to art-ists and work that challenges traditional and current art movements. It is innova-tory, introduces and explores new forms and in some cases new subject matter.

Avant-garde art can be said to embrace some of the most interesting movements begin with the Realism of Gustave Courbet, followed by the movements of modern art, movements such as Cubism focused mainly on innovations of forms others likeFuturism, De Stijl or Surrealism which have had strong social programmes. The no-tion of the avant-garde enshrines the idea that art should be judged primarily on the quality and originality of the artists vision and ideas.

AnimationAnimation is the rapid display of a sequence of im-ages of 2-D or 3-D artwork or model positions in order to create an illusion of movement. The most com-mon method of presenting animation is as a motion picture or video program, although there are other methods.

Traditional Animation. Full Animation.Limited Animation.Rotoscoping – it is a technique, where animators trace live-action move-ment, frame by frame.Stop Motion.Puppet Animation.Clay Animation.Cutout Animation.Silhouette Animation.Model Animation.Go Animation.Object Animation.Graphic Animation.Pixilation.Computer Animation – 2D Animation and 3D Animation

The first ever animation seen on Television was in 1906. It was J. Stuart Blackton, a newspaper cartoonist who brought to life two faces using only a blackboard and chalk. An article on filmsite.org called Animated Films, written by Tim Dirks explains how, ‘the two faces smiled and winked, and the cigar smoking man blew smoke in the ladies face.’

There are so many cartoons i remember that i watched all at once like tom and jerry, flinstones, scooby doo, Aladin, The little Mermaid, Cinderella (in Arabic), Sandy bell, Tiny toon Adventures, X-men, etc..

The first cartoon i wacthed was Tom and Jerry. I loved every episode of it, it reminds me when i were a child, me and my sister used to have same never-ending funny fights. Jerry teases tom to do anything same in other side i used to try anything to tease my sister.

History Of Tom&JerryTom and jerry is an American comedic animation created by William han-nah and Joseph barbera for Metro-Goldwyn-Mayer. The story of tom and jerry is about the never ending battle between a cat ‘Tom’ and a mouse ‘Jerry’. It started in 1930s. Tom and Jerry has a worldwide audience that consists of children, teenagers and adults, and has also been recognized as one of the most famous and longest-lived rivalries in American cinema.Tom (cat) called Jasper, in his appearance, it is a blue and white domestic short hair cat and he is the main protagonist of the story, who usually lives a pampered life, although they usually live in several lifestyles.While Jerry (mouse) who is a brown house mouse who always lives in close proximity to him and is the deuteragonist of the story.Tom often has to deal with Spike who is an angry, vicious but extremely dumb guard, bulldog known as a killer. Spike always tries to attack Tom when he bothers his son Tyke while chasing and trying to get jerry. Tom and Jerry always appears while chasing and bothering Tyke with their tricks for battle.Butch is a black cat who also wants to eat Jerry. He is the most frequent adversary of Tom. However, for most of the episodes he appears in, he’s usually seen rivaling Tom over Toodles.

The British LibraryEvolving English - “One Language - many voices”

English is the language of International news, media, music and pop cul-ture and it is today’s language of science and technology. English spread around the world as a result of trade, conquest, migration and the media. English was first born over 1600 years ago among the Germanic tribes of Northern Europe. It emerged from the Germanic languages brought to Britain by settlers from the Continent in the 5th and 6th centuries. The language of these settlers evolved into the Old English of Anglo-Saxon England, shaped in part by Viking invaders and the constant presence of Latin. After the Norman Conquest of 1066, French became both the lan-guage of the aristocracy and the main source for new words. With the pas-sage of time, Old English evolved into Middle English, and by the early 15th century it had blossomed into the language of literature and govern-ment.

What I really found interesting was ” Beowulf ” which is longest epic poem in Old English. It tells the adventure of an hero called Beowulf and his battles with the monster Grendel, Grandel’s mother and a rampaging dragon. What I found interesting was to see with my own eyes that book which is fire-damaged and is the only surviving copy of the story. It was written down in about 1000 but the poem may have been created by story tellers as early as the 700s.

Many and many others interesting things were in that exhibition as for instance the influence of Shakespeare, the language of signs and how educational materials pro-duced specifically for children help standardise language, introducing them to acceptable letter shapes, spellings and grammatical conventions. As graphic design student I found really interesting the part of the exhibition about World War I propaganda. It is astonishing how the lan-guage of persuasion was often encountered in politics and advertising. As WWI progressed and British confidence in a quick and decisive victory declined those responsible for recruiting new servicemen developed new and sophis-ticated ways to get their message across. I think that it is incredible the level of persuasion of those posters. I could continue a long time writing because there were many interesting things. For example I could write about the image of the first edition of the Daily Courant, the first regular daily newspaper in the English language which was published in London and ran from 1702 to 1735 or talking about how poetry used heightened or concentrat-ed language, often manipulating linguistic and literary rules but I would stop here saying that what I saw really interested me and made me think about the importance and the history of this language. Amazing!

Photography!

I thought of few themes that could be used for the place i chose –

Kingston. such as; friends, memories, multicultural environment and

pop-art. So, i ended up on the Pop-Art theme. I chose this as final

theme because i think it’s very different and could be unique if com-

pared to the other themes and Kingston is very bright and colourful

place so i think pop-art theme will definitely suit it!

Pop-Art!

Pop Art is a 20th century art movement that utilize

d the imagery and

techniques of consumerism and popular culture. Pop art developed

in the late1950′s as a reaction against Abstract Expressionism and

flourished in the sixties and early seventies. Pop Art favored figural

imagery and the reproduction of everyday objects, such as Campbell

Soup cans, comic strips and advertisements. Th

e movement eliminat-

ed distinctions between “good” and “bad” taste and between fine

art and commercial art techniques.

Pop Art developed primarily in the United States and Britain. In the

US, it was linked to the wealth and prosperity of the post World War II

era, and artists of the movement responded to the nation’s consumer

society. Pop Art in Britain was less brash, and had a more nostalgic

flavor.

Richard Hamilton’s famous work, “Just What Is It that Makes Today’s Home so Dif-ferent, so Appealing?”, is considered by many to be the first Pop piece because of its many references to popular culture and consumerism. Jasper Johns and Rob-ert Rauschenberg were some of the first Pop artists in America, and used popular imagery such as the American flag and beer cans in their paintings, prints, collages and “combines”. Andy Warhol is known for his silkscreens of both famous people and everyday objects, while Roy Lichtenstein employed a comic strip style in his paintings and manipulated those illustrative techniques to great aesthetic effect. The leading Pop artists in Britain included David Hockney, R.B. Kitaj, and Allen Jones.

NO MORE RULES!!!

The book is a modern take on graphic design, with a strong emphasis on postmodernism. Ad-dressing itself as a “wide-ranging critical survey to attempt to make sense of these international developments.” (Poynor, 2003) Suggesting to be the first of its kind covering the last 25 years of this ‘fad’. The title ‘No More Rules’ is not what it sug-gests. But is instead explaining how in an area that requires such rules and con-straints it is exactly this breaking of which new trends are born from. “...there are many examples if graphic design created by non-designers ignorant of the rules of professional craft...In the postmodern period, restrictive, rule-bound thinking and ‘totalizing’ tenden-cies of any kind have been challenged by think-ers in many disciplines.”

NO MORE RULES!!!

The book is a modern take on graphic design, with a strong emphasis on postmodernism. Ad-dressing itself as a “wide-ranging critical survey to attempt to make sense of these international developments.” (Poynor, 2003) Suggesting to be the fi rst of its kind covering the last 25 years of this ‘fad’. The title ‘No More Rules’ is not what it sug-gests. But is instead explaining how in an area that requires such rules and con-straints it is exactly this breaking of which new trends are born from. “...there are many examples if graphic design created by non-designers ignorant of the rules of professional craft...In the postmodern period, restrictive, rule-bound thinking and ‘totalizing’ tenden-cies of any kind have been challenged by think-ers in many disciplines.”

ComputersTimeline of Computer History

‘39 ‘40 ‘41 ‘42 ‘43 ‘44 ‘45 ‘46 ‘47 ‘48 ‘49 ‘50 ‘51 ‘52 ‘53 ‘54 ‘55 ‘56 ‘57 ‘58 ‘59 ‘60 ‘61 ‘62 ‘63 ‘64 ‘65 ‘66 ‘67 ‘68 ‘69 ‘70 ‘71 ‘72 ‘73 ‘74 ‘75 ‘76 ‘77 ‘78 ‘79 ‘80 ‘81 ‘82 ‘83 ‘84 ‘85 ‘86 ‘87 ‘88 ‘89 ‘90 ‘91 ‘92 ‘93 ‘94

Bibiliography:http://www.computerhistory.org/timeline/?category=cmptr

ReferencesAlan Power’s Lectureshttp://en.wikipedia.org/wiki/London_Undergroundhttp://underground-history.co.uk/front.phpGoogle Imageshttp://www.loc.gov/loc/lcib/9905/eames.htmlhttp://www.jan-tschichold.com/http://www.culturevoyage.co.uk/568/visit to the british library