Sketchitecture

Frank O. Gehry’s sketches of architecture are so odd in subsatnce and design and yet so complete  that one can envision the whole thing as though they are walking through a building.  This Canadian-American is an award winning arcitect whose work is now considered a tourist attraction in Santa Monica, California.  This attraction is his home which was a major factor in his famous status.  His style is considered contemporary and perhaps one on the most talented and influential of our time.  But, it all started with his amazingly intricate sketches.

Like most true talent, he had very early beginnings in architecture, building villiages out of wood shavings with his grandmother, working with scraps in his grandfather’s hardware store, and drawing with his father.  It is the kind of ability that one is not able to falsify or duplicate.  Although he has received many awards, he, like so many others, has had his share of criticism as well.  He shapes and design has been said to go outside the guidelines of purpose and locational climate.  Although they may have a point, the opinion can be held that art has no guidelines.  That there is no set criteria of how one has to design a building.  Having seen many of his buildings, they far outway any expense for unnecessary materials to create amazing archetecture out of a detailed sketch. Unfortunately, his clients were not always thrilled with the budget overage that came with his massive works of art.  In fact, one of his projects, the Walt Disney Concert Hall, went almost $175 million beyond the budget, but now we all have a tourist attraction in Los Angeles.


http://www.arcspace.com/studio/gehry/
http://en.wikipedia.org/wiki/Frank_Gehry

'Crum' I love NY, and Motion Graphics

Milton Glaser, a graphic designer since the 1960s, is considered one of the best graphic designers today.  He is undoubtedly the most well known for his design of the famous logo “I love NY”.  He actually recently updated this logo to include a black spot on the heart and the addition of the words “More Than Ever” to the bottom in hopes to rekindle the love after the 9-11 attack on the Twin Towers. Glaser’s original work, which he thought would only last a matter of months, is now considered a symbol of pride for state and since the attack, pure patriotism.  The logo is now splashed on everything from t-shirts, bumper stickers, key chains, movies, to even car commercials (which many New Yorkers were not pleased about).  In addition to this wide spread success, he designed the well known Bob Dylan poster, the Brooklyn Brewery logo, and the DC Bullet of DC Comics.  He also co-founded the New York Magazine with Clay Felker.  He opened his own graphic design company in the 1970s which got him a large variety of jobs from album covers to building art.
Glaser is most recently known for his newly designed logo for the Brooklyn Brewery, which would be the first since the Prohibition Era.  Tom Potter, co-founder of the brewery, brought Glaser in to design the bottles for their products.  A very sensible decision, since Glaser is so well known for his “I Love NY” logo.


http://en.wikipedia.org/wiki/Milton_Glaser

http://www.nydailynews.com/topics/Milton+Glaser/stories/0.html

Revolution

Saul Bass revolutionized graphic design.  His work not only changed the era in which he lived, but has resulted in a complete new strategy for movies.  Back in the 1950’s, when attending a movie, one would not have seen the movie credits.  However, when Bass designed the credits for the movie The Man with the Golden Arm, history was changed.  His use of the black cut out arm immediately struck audiences, where they would have normally seen Frank Sinatra’s face.  His use of lines, colors, and lack thereof were a change to the normally boring mundane credits that normally flooded the screen.  He made it into an art form.  This was only the beginning of his notable movie credits.  He is well known for the work that he did with Alfred Hitchcock, Otto Preminger, and Martin Scorsese.  Although these movies could have been just as distinguished without the artistic credits at the beginning, we will never really know.

Bass’s credits are indeed one of his most famous works of art.  However, that is not all that he accomplished in his lifetime.  He also designed many of the logos that we are so familiar with today.  Some of which are Continental Airlines, Bell, Exxon, AT&T, Avery, Girl Scouts, and Kleenex.  His work is in so many places that not many Americans could truly say that they have not see Saul Bass’s work.  He completely changed art as it was known and I am sure that most if not all graphic designers strive to achieve his success.

http://designmuseum.org/design/saul-bass

http://www.thelooniverse.com/movies/west/saulbass/logos.html

Reform Movement

The Arts and Crafts Movement, also known as the Reform Movement was started by a group of men in England intending to put quality back into a craft that had been taken over by mass production lines.  Walter Crane, John Ruskin, and William Morris had a desire to go back to a well made, creative product that was no longer found in the underpaid industrial setting.  They sought to recognize the skill required to craft a product.  The movement did not take effect until the late 19^th century.

The design began to take form by referring back to the historical styles of Japan, Islam, and Medieval Europe.  The shapes and intricate designs were brought back to the scene as pride was reinstated into the industrial ideal.  Unfortunately, these intricate pieces were too pricey for the general public with further encouraged the processes of mass production, which we can see today in our own society.  True art is a luxury that not everyone can afford, this being a reason why so many museums exist.  Most households are unable to support the arts and rely on mass produced products.

However, the Arts and Crafts Movement in America took a different shape than Crane, Ruskin, and Morris found in England.  Gustav Stickly was able to make a semi homemade system to make art affordable to the general public. Similar to the mesh of historical art in British product, “Mission Style” combined Native American designs with that of the Spanish to produce a new style.

The Arts and Crafts Movement

http://char.txa.cornell.edu/art/decart/artcraft/artcraft.htm

Larkin Soap

Elbert Hubbard was a failure in everything that he did.  In fact, he once stated, “A failure is a man who has blundered, but is not able to cash in the experience”.  His lack of success in marriage, college, and writing did not discourage him from greatly triumphing in reshaping a process that now makes America run, product sales and marketing.  His strategies made his brother-in-laws soap company, The Larkin Soap Company, a household name.

It was not until after Hubbard left the Larkin Soap Company that he became enthralled by the Arts and Crafts Movement in Britain.  His interests in William Morris’ work throughout Britain lead him to organize the Roycroft Community of artists, builders, publishers, and producers of furniture and copper.  However, the American Arts and Crafts Movement differed greatly from that of England’s.  It was when the designed a printing press that Hubbard was finally able to publish as an author, one of his lifelong dreams.  It was the Roycroft community that had a great influence on the Arts and Crafts movement in America.  In fact, his work and ambitions have been recognized as that forefather of today’s bloggers, social networks, and other internet communities.

Although referred to as a failure, his successes far outweigh those of his failures.   He did in the end succeed in creating a following for himself in New York, revolutionized the process of marketing, and published a book, which is said to be the most successful part of the Roycroft Community.  His efforts will not go unacknowledged.

Elbert Hubbard, Roycroft and the Arts & Crafts Movement in America

Art Nouveau

Hector Guimard is the envelopment of all Art nouveau style. His designs are found throughout the loved architecture of France.  He curvy entrances have been copied by designers throughout the years, but these copycats were common during his time as well.  In fact, when his extensive paycheck was reviewed, others were hired to complete his work for a cheaper price.

Guimard’s technique was taking a design throughout the entire structure to make the building complete in theme and pattern.  This was a method that he was known for, a symmetry in design.  His attention to detail could not be overlooked in every work of art he completed.  This is seen in his Castel Beranger, Café Antoine, Hotel Mezzara, and many others.  The latter of which is the most accessible to the public and used to display art within its own artistic atmosphere. 

Although the descriptions of his art/architecture are exquisite, it takes a real enthusiast to visit a building simply for a door that was built to perfection.  His ability to design is so fascinating in that he was a leader in such fantastic style.  It is a shame that the majority of his work is locked away to the private eye of those who dwell within his structures, but the work that is visible to the common eye has proven that Hector Guimard is in fact the encompassing of Art nouveau.  He was a teacher to many after him and similar work can be seen throughout France. In fact, Jules Lavirotte designed many buildings that hold a similar beauty to that of Guimard. It is simply the original that holds so much interest for so many.

Europa 1900:  The Art Nouveau Style

http://aroundtheworld.phileas-fogg.net/art-nouveau/paris.html

Chéret

Today, in a world dominated by advertising methods, posters are so common to us that it rarely comes to mind that they were at one time non-existent and hard to come by.  Although invented by Alois Senefelder, it was Jules Chéret who perfected the lithography technique of printing posters in the 1800s thus giving him the title “father of the poster”.  This technique allowed for mass produce of the poster, which had been handmade since the 1600s.

Not only did he refine lithography, he designed posters that reshaped the art in France for years to come.  Other artists followed in his footsteps designing posters that covered the buildings of France, a far cry from previous years when mass printing of posters was impossible.  It was at this point that a tax was invented for poster.  No posters were allowed to be posted publicly without a stamp stating that the fee was paid and even then, it had to be posted in designated areas throughout the city.  However, Chéret’s posters were so popular that people would steal them off of buildings shortly after they were posted.

Before the end of the decade, Chéret had designed over 1000 posters, had become the topic of a book written about his endless success and creativity, and had revolutionized the world of posters.  Even today we see his techniques being used in advertisements, a picture tells the story while few words are added for explanation.  Whatever the design or the printing technique, Jules Chéret will live on as the “father of the poster”.

(A BRIEF) HISTORY OF POSTERS

http://www.francofolie.com/posterHistory.htm

Calligraphy

Tomomi Kunishige has sincerely created an art out of an already long existing art. The most interesting part about her art is that she has made understandable to two people groups what is usually only understandable to one or the other. She has crossed a language barrier in art that calligraphy has not crossed before.

Her art, which she calls "ei-kanji" otherwise known as "English-kanji," has taken Japanese symbols and made English words out of them. Thus making the art readable to both English speaking people and Japanese speaking people. The fact that the Japanese do not have a large respect for art seems to frustrate Kunishige; however, she is now able to show her art to the world as the first to cross a major barrier. In fact, not only is her art a mismatch of English and Japanese, she dresses in a mixture of traditional Japanese kimonos and modern fashions.

It is her knowledge of the Japanese symbols that establishes the basis for her beautiful art. Unfortunately, she does realize that because her art is based on the similarities in English and Japanese, she will eventually run out of material for her art.

Talent in calligraphy is based off of awards won for the work produced. She has tried even stand up comedy in attempt to spread her name and bring attention to her art. This did not prove to be successful for her. Although Kunishige's work has been displayed on the walls of a Tokyo department store, for now, she finds it reward enough that people enjoy her work.

Calligraphy Finds a Shared Language

March 11, 2007|Bruce Wallace, Times Staff Writer

http://articles.latimes.com/2007/mar/11/entertainment/ca-kanji11

Medieval Graffiti

In today's culture, graffiti is considered by most a criminal art defacing other's property.  However, when we look back to a culture and time much different than ours, we see that graffiti was used when paper was scarce. Medieval historians find it fortunate that some of this art is still available for our viewing and research, giving us a better understanding of the life and times, in which, they lived.

This brings up an interesting question.  Will our modern day graffiti be looked on differently a couple hundred years from now?  Unfortunately we will never know and can only speculate; however, these historians seem to take the view that spray paint on buildings, bridges, and benches does not have the same significance as that of the Medieval Period.

Cross find may be medieval graffiti

Herald, the; Glasgow (UK), Jul 29, 2010

Although we can give approximations for the graffiti that is found, historians can only make educated guesses as to when and why people create graffiti.  A cross found in Fife is thought to be religious graffiti carved into a stone by a pilgrim on a pilgrimage to Dunfermline Abbey.  The area where the presumed medieval graffiti was found was a popular route among pilgrims because it ran by the grave site of Saint Margaret in Dunfermline.  This is the leading factor that seems to influence the time frame and translation of the graffiti.

Hundreds of years after the stone is said to have been carved, it was used in the structure of a farm wall.  This cross marking was then discovered by a Dunfermline tourist guide three centuries after it was built into the wall.  We are now able to share in the discovery of this art, which is said to be medieval holy graffiti.

Historian Examines Medieval Graffiti at IMC
http://www.medievalists.net/2010/07/14/historian-examines-medieval-grafitti-at-imc

Graffiti Art

Although I strongly disagree with the nature and criminal part of graffiti in neighborhoods, I do believe that it is art.  I have seen the hard work and practice that goes into graffiti whether it is a full wall of pictures or simply a written message.  The writer of this article was correct with his historical arguments to an extent.  Graffiti has been used throughout the centuries, but to my knowledge and research it was never in contrary to the law and was for educational or cultural records.  Historically, paper was not a common part of everyday life.  0We have the benefit of paper and if paint can be afforded, paper shouldn't be a bank breaker.

I strongly disagree with the writer’s argument that Picasso or Monte would be accepted in society for painting on walls or other people's houses.  The law stands for a reason and for my personal possessions; I am pleased that they have been established.  If a building is property of another the art aspect of graffiti has gone out the window and fails to "outweigh" any laws.  I do agree that graffiti has been given a bad reputation due to the location of the majority of it.  So in this case, I have to agree that no matter what it is art, but should be displayed in a different, more courteous way.  I completely agree with the arguments against graffiti that include breaking of the law and a forced appearance on the neighborhood, but I think that when it comes to the art factor it should not be contested that it is art.

An Essay Concerning The Recognition of Some Forms of Graffiti As Art

George C. Stowers
gstowers@students.miami.edu

http://www.hiphop-network.com/articles/graffitiarticles/graffitiart.asp