Contemporary kinetic typography relies on historical developments
"This is a lecture given to MA students at the University of Hertfordshire. It explores how contemporary kinetic typography relies on historical developments such as 3D woodblock print, Romain du Roi, and Modernist modular lettering. Students are encouraged to let their design work respond to historical research. This does not mean creating something that looks old or retro, rather creating something innovative and new by re-imagining historical ideas in light of new technologies and contexts."
(Barbara Brownie)
CONTRIBUTOR
Mary-joy AshleySHARE
Privileging the collective: the tradition of the atelier method in art and design education
"Art and design education has broadly settled on two categories of pedagogical frameworks, both evolutions from historical precedents. The first of these categories is driven by the spirit of the 'design collective', and comprises the art school studio or atelier model. This was established by the private Florentine art schools of the renaissance from around the 15th Century (King, 2003), always with a focus on making as well as learning from the group - from both peers and Masters. Later, this model of learning through practice carried over to the art schools of England: in his 1858 inaugural address for the Cambridge School of Art, John Ruskin (Ruskin, 1858) spoke about the relative futility of formal teaching per se and instead the pressing need for students to learn by repeated and applied making. For applied craft and design, this studio approach was the method under the influential Bauhaus School (1919-1933) in Germany (Droste, 2005). The second category derives from the teaching of industrial arts and is typically driven by the far greater student volume processing needs of the institution. This category comprises the 'hot desking' or increasingly the 'no-desking' model, with large taught classes in lecture format, and occasional group tutorials. Such a model is often the norm for universities' academic courses. The model spread to the creative courses that were more typically offered by polytechnics in the UK. The first polytechnic dates back to the early nineteenth century (Fox, 1832-1854), although most were established in the 1960's with a remit of applied education in industry and science for work. In many countries, the term 'technical college' is the same as a polytechnic - in both the UK and Australia, many of these colleges converted into universities in the last 30 years."
(Ashley Hall and Tom Barker, 2010)
Hall, A. and T. Barker (2010). "Design collectives in education: evaluating the atelier format and the use of teaching narrative for collective cultural and creative learning, and the subsequent impact on professional practice". In Alternative Practices in Design: Past Present and Future. H. Edquist and L. Vaughan. Melbourne, Victoria, RMIT University: Design Research Institute.
CONTRIBUTOR
Simon PerkinsSHARE
Kurt Kranz: programming of beauty
Kurt Kranz: Programming of beauty, Exhibition marking the 100th birthday of Kurt Kranz
19th November 2010 to 29th May 2011.
"Inspired by a lecture by László Moholy-Nagy, Kurt Kranz came to the Bauhaus Dessau in April 1930. In Walter Peterhans's photography class, Kranz began to experiment with photographic techniques and created some of the most striking abstract picture series to emerge from the Bauhaus. Alienated and abstracted faces and hands appear repeatedly in his dynamic picture series. These show Kranz’s early affinity for film as, page for page, the abstract forms interact with one another. Kranz drafted his first concepts for abstract films at the Bauhaus, although he was first able to realise these decades later in 1972.
The exhibition to mark the artist's 100th birthday shows works from Kranz's Bauhaus years and his later work as an advertising graphic designer, and focuses on a selection of his large picture cycles. Strikingly diverse leporellos dating from the 1960s onwards take centre stage, as do the so-called 'Matrix- und Schiebebilder'."
(Bauhaus Dessau Foundation)
Fig.1 Kurt Kranz, Versinkende (Sinking one), 1931, Ingrid Kranz / Stiftung Bauhaus Dessau [http://artblart.com/2011/05/18/exhibition-kurt-kranz-programming-of-beauty-at-the-bauhaus-dessau/].
CONTRIBUTOR
Simon PerkinsSHARE
Principles of the Visual Language: A Dialect of Our Own Design
"A visual language informs all design, from architecture to print. Fluency in the same language drawn on by Bauhaus, mid-century Swiss, or postmodern design is essential for brilliant web design. In this practical talk, ground uniquely web-based interactions - from complex CSS3 animations and rotations to JavaScript behaviors - using that time-tested visual primer. Take a more considered approach to choices, evoke the desired emotive responses, learn how to better articulate your design decisions. Extend graphic design's grammar into a visual dialect of web design that guides us to smarter, beautifully balanced juxtapositions of elements in our new, multidimensional web experiences."
(Simon Collison)
Fig.1 Simon Collison (03 June 03 2011) "A Dialect of Our Own Design".
CONTRIBUTOR
Simon PerkinsSHARE
1970 reconstruction of Oskar Schlemmer's 1926 Triadisches Ballett
"Video de la reconstrucción del Ballet triádico hecha por Margarete Hastings en 1970. El video completo dura 32 minutos. Esta versión contó con la asesoría de Ludwig Grote y Xanti Schawinsky (alumnos de Schlemmer en la Bauhaus) y de Tut Schlemmer, la viuda de Oskar Schlemmer. La música es de Erich Ferstl. Está dividido en tres partes: amarillo, rosa y negro. Esta versión es una reconstrucción basada en la documentación sobre el ballet triàdico."
(http://triadicos.wordpress.com)
Fig.1-3 Marianne Hasting, Franz Schömbs (1970). "Triadisches Ballett", Dancers: Edith Demharter, Ralph Smolik and Hannes Winkler
Fig.4 Triadic Ballet costumes by Oskar Schlemmer, Metropol Theatre, Berlin 1926
CONTRIBUTOR
Simon PerkinsSHARE
