A.M Cassandre

Ontario artist, Alfred Joseph Casson (1898-1992) was a blend of creative commercial genius and artistic designer that communicated the ideology of rural landscapes and rustic buildings into his paintings. He also represented craftsmanship and creative quality in his art works. From his field excursions to sketch and paint, he translated the imagery and idea from his mind on to paper, canvas, and other mediums. The span of Casson’s artistic career encompassed an evolution of technique and personal style. His landscapes and architectural paintings are a composition of reality and the imagination. Casson indicated he had no hesitation about including other elements in his paintings by re-arranging the composition of the picture (Casson, 1982,

First, the swastika symbol which to me represents the time Hitler took over who was a Nazi. Second, the skull and crossbones when I see that in this particular poster I think of death. Thirdly, the little boy who has blonde hair and blue eyes. Now during World War 2 when Hitler was in power he was out to make the master race which include blonde hair and blue eyes. So the little boy would have lasted a long time during the war. And the fourth thing I notice is the scene in the background. The scene in the background looks to me like a war zone with the fire in the right-hand corner and or the buildings that had fallen to the ground.

The new technology to create mass production enabled the profession as a commercial graphic designer which stands for a significant aspect of modernism in Australia. In fact, the first appearance of the term “Graphic Design” is not until 1922, in an American book designer William Dwiggins’ essay “New kinds of printing calls for new design”. (Drucker et.al, 2009) Prior to that, the concept of graphic design such as poster design was not seen as a general commercial advertising medium. “The ‘poster style’ was almost completely confined to the covers of art exhibition catalogues and literary periodicals, and to advertisements in these publications.”

What are your thoughts about the layout and colors of the site? What impression do they give?

When looking at what factors lead to the rise of the pictorial poster, it is clear to see that the majority of them occurred in late nineteenth century Paris and that perhaps one man, Jules Chéret, can be thanked for exploiting and mastering the techniques which made these posters reach the levels of respect previously reserved for the fine arts. As well as Jules Chéret and his mastery of lithography I will be exploring the influence of Japan and their printing techniques upon Toulouse Lautrec as well as Baron Georges-Eugene Haussmann’s renovation of Paris during its Second empire, the impacts of the rising middle class, and the effects that tax had upon the walls of Paris.

Good read for an article, the concept of image is something I do on the daily. Make me a poster to capture this concept…example Hockey Jersey Night. Making the poster took some thinking how do you capture the event with few words and strong imagery. (See attached pdf) To design you have to think outside the box and use imagery and word play a lot. Keep it simple is my motto and white is good when it refers to space within the design, but we are not talking about designing a poster we are talking about writing.

The image used is very effective in this poster. The implication of the protagonist looking away from the audience and directly at his son, draws the audience’s attention directly to the child it also symbolises the love and connection that a father has for their child thus conveying an element of emotion and above all happiness. In addition to this the positioning of the word “Happyness” is very significant in this poster as it has been placed directly above the sons head. This may imply that the fathers’ happiness lies within his child and nothing else. The positioning of the word “pursuit” is also significant as it has been placed in the centre of the character near his heart, suggesting that the journey to happiness begins within him. Furthermore the idea that the child is leaning on his dads’ arms may also suggest an element of dependency and trust which is emphasised by him holding his dad’s hand. Colour The background

Saul Bass was a groundbreaking graphic designer. He has designed a great number of logos, but is most well known for his work in the film industry. The 1950s was known as a time of conformity, but soon the modernist movement spread and Bass was a part of it. He wanted to be different, and that is exactly what he accomplished through his works. He used them as a way to show the mood of a film, and what is yet to come. He brought a new way of showing the emotion of a film through title sequences and posters, a legacy that is still prevalent in the movie industry today.

During World War II government agencies, businesses and private organizations issued an array of posters relating to the military front to the home front by calling duty upon every woman to boost production at work and home. Posters conveyed more than simple slogans in fact posters expressed goals and needs of who designed them. They united power of art with the power of advertising to promote the idea that industry and home were also arenas of war. These campaigns not only aimed to increase industrial productivity they also aimed to enlarge people’s view on responsibilities during wartime. In fact, posters are a pragmatic art, they connect client with designer, artist, copywriter, printer and distributor but in many cases this connection become

I picked this image because I like how it has a rustic look too it kind of reminds me of the western movies. For the title I used a slab-serif called Rosewood Std as the font because it has the western feel, which works with the feel of the image. For the informational part I used sans-serif called Helvetica. I tried doing what Saltz mentioned when it comes to a dark or light background to use dark or white for the font so it’s legible to read. I, also like what Adam mentioned as well about negative space, which is the image itself and I didn’t want to over power the scenery with too much font. I wanted that negative space to be the eye-catching star for this poster. I once again picked some colors from the image for the color of my font

The visuals in the poster do a good job of displaying the feminist-driven message.Although it's not an official remake of J. Howard Miller's work, it continues with the same visual cues as his. At first glance, you think it's the famous Rosie the Riveter poster, with the 1950svibe and the same color palette, so it catches your attention. With a closer look, the viewer would realize that it's not the original and would continue to look and analyze the poster. At a closer observation, you can see that instead of a single female, like in J. Howard Miller's work, there are 3 colored women standing right next to each other because they literally "stand together."Going along with Rosie the Riveter's arched brows, the women's bold, challenging eyebrows

The poster is about the US black and White race relations. Is about the racial tension between Whites and Blacks and the unbalance of power. It shows the tension we have in this country when it comes to the issue of race They are constantly at war with each other as results of power struggle. It also depicts equality as the Black person is seeing in this picture fighting against injustices, oppression and wants equal treatment.

With this essay I will be comparing the way propaganda was used during the World Wars, what was their aim and target audiences and how they affected civilian and military moral and more importantly how art and poster design was used to properly influence and imprint ideas and morals to the viewers. I will also compare how different design techniques were used in each war and how effective or ineffective they were in each case and what their common attributes were and in what way they were different.

In this summative essay I would like to explore and analyse the influence that Graphic design has had on popular culture and consumerism. Graphic design can be defined as “the art and practice of planning and projecting ideas and experiences with visual and textual content. The form of the communication can be physical or virtual, and may include images, words, or graphic forms.” (aiga.org) Designers are problem solvers and it is their job to come up with a suitable solution to a problem. They have to find the best suitable means to communicate a particular message. Graphic Designers are at the forefront of advertising and the battle of selling giving the designer even greater responsibility, because of this graphic designers play a big role in consumerism. Consumerism, “as a social and economic order and ideology encourages the acquisition of goods and services in ever-greater amounts.” (wikipedia.org) Society have been gradually made to believe that they can increase their happiness through buying and spending. Consumerism is an international problem, but has existed for many years, people purchasing goods that exceeded those of their basic needs dates way back to the first civilisations, in the eras of ancient Egypt and Rome. A turn in consumerism arrived just before the industrial revolution, people worked long hours and earned low wages, so they didn 't have the time or the disposable income for excess spending. The industrial revolution welcomed the use of assembly

The focus of this essay is to explain why the International Typographic Style or “Swiss” style was so important to the mid twentieth century and how it got started. Firstly, it is an art movement that internationally began in the 1950’s, but the origins can be traced back at least thirty years. It can be thought of as a combination of elements from other movements such as Constructivism, De Stijl and the Bauhaus. According to Richard Hollis’ book Swiss Graphic Design, there are “at least three factors that account for the ‘Swiss’ style” (Hollis, R. 2006, P9), these being the country’s location, the language and the culture. There is evidence to prove that there are at least 2 other factors, especially for the origin of the style, which is shown in the book, along with several others. Although not directly linked to the foundation of the style itself, these 2 other factors include the designers and the typography, after all, it is known as the International Typographic Style. In this essay we will be discussing each of them in turn, and explaining views as to why they were important and what effect they had on graphic design in the mid twentieth century.