Clement Mok is an international designer who began his career with the Apple brand and succeded in breaking from a famous company to be a self-employed famous designer. Mok is widely known for his interactive and business designs. According to the AIGA, he has "staked out as visionary practitioner, entrepreneur and educator". (AIGA, Clement Mok)
Sources:
http://willsherwood.com/?p=621
http://www.clementmok.com/career/bio.asp?offset=20
http://www.aiga.org/content.cfm/medalist-clementmok
http://www.biography.com/articles/Clement-Mok-9542212
Wednesday, April 28, 2010
Wednesday, April 21, 2010
Clement Mok thesis
Clement Mok is an international designer who grew from Apple design and into the business world.
http://www.clementmok.com/career/bio.asp?offset=20
http://www.clementmok.com/career/bio.asp?offset=20
Tuesday, April 20, 2010
Before Class, Chapter 20
"Good Design is good business" became the motto of the graphic design community during the 1950s. With the end of War II, efforts were put into the economy in buying and selling and big corporations were started up. By 1950, the visual identity system went way beyond a basic trademark. They unified all communications from some organization to a consistent design system.
The first to start this was the Behren's AEG logo and the Olivetti's Corporation. In 1936, Giovanni Pintori was hired at the Olivetti Corporation and created an identity based on the general promotional appearance instead of an actual trademark. Pintori's abstract images suggested the purpose of the product that was being advertised.
CBS: Columbia Broadcasting System of New York. CBS succeded due to two things: the president, Frank Stanton, understood the potential of corporate affairs with art and design; and William Golden was the art director. It was William Golden who created the CBS eye logo which was aired on November 16, 1951. Around the early 1950s, the corporate world started hiring their own advertising staff, not from the outside. This allowed them to keep a unified system from broadcast, to posters and more. Golden was also the one that said the verb" design" was the something made to be communicated to someone and said the designer's main job was to accurately communicate the message.
Georg Olden was hired in 1945 as an on-air visual designer for television. He was the first to see the limitations of black and white and was able to design graphics from the center out, using simple symbolic imagery. He was the first African American graphic designer and was able to do so before the civil rights movement in the US.
When Golden died at 48, Lou Dorfsman became the new creative director in 1964 and vice-president in 1968. He designed the new CBS headquarters building in 1966, including all aspects of the building's typography including things like clocks, elevator buttons, exit signs, and inspection certificates. However, when new owners arrived in the 1980s, the design philosophy changed and Dorfsman resigned.
In 1954, Patrick McGinnis launched his corporate design program. He gave the old slab-serif type a more modern look based on mathematical harmony with his New Haven Railroad trademark design. Marcel Breuer was commissioned to design the trains and used the same color schemes as the new logo and looked like the Russian Constructivist style.
Paul Rand became involved in trademark designs and visual identification systems in the 1950s. He designed the rebus IBM logo and added the stripes to the main logo. In 1965, Rand also did a redesign of the ABC logo.
The Chase bank logo was a prototype ID system. While other companies evaluated their corporate image, the Chase image was an additional character in the inventory of symbolic forms. Popular names like Unimark and Unigrid and the Federal Government also launched their design programs. Uniformed pictographic signs also became a huge thing with international things such as the Olympic games and all the international travel.
The last bit is about the MTV logo, and its many designs. During the early years, the logo would appear as a ten-second network id at the top of each our, and each time it aired it would be different.
The first to start this was the Behren's AEG logo and the Olivetti's Corporation. In 1936, Giovanni Pintori was hired at the Olivetti Corporation and created an identity based on the general promotional appearance instead of an actual trademark. Pintori's abstract images suggested the purpose of the product that was being advertised.
CBS: Columbia Broadcasting System of New York. CBS succeded due to two things: the president, Frank Stanton, understood the potential of corporate affairs with art and design; and William Golden was the art director. It was William Golden who created the CBS eye logo which was aired on November 16, 1951. Around the early 1950s, the corporate world started hiring their own advertising staff, not from the outside. This allowed them to keep a unified system from broadcast, to posters and more. Golden was also the one that said the verb" design" was the something made to be communicated to someone and said the designer's main job was to accurately communicate the message.
Georg Olden was hired in 1945 as an on-air visual designer for television. He was the first to see the limitations of black and white and was able to design graphics from the center out, using simple symbolic imagery. He was the first African American graphic designer and was able to do so before the civil rights movement in the US.
When Golden died at 48, Lou Dorfsman became the new creative director in 1964 and vice-president in 1968. He designed the new CBS headquarters building in 1966, including all aspects of the building's typography including things like clocks, elevator buttons, exit signs, and inspection certificates. However, when new owners arrived in the 1980s, the design philosophy changed and Dorfsman resigned.
In 1954, Patrick McGinnis launched his corporate design program. He gave the old slab-serif type a more modern look based on mathematical harmony with his New Haven Railroad trademark design. Marcel Breuer was commissioned to design the trains and used the same color schemes as the new logo and looked like the Russian Constructivist style.
Paul Rand became involved in trademark designs and visual identification systems in the 1950s. He designed the rebus IBM logo and added the stripes to the main logo. In 1965, Rand also did a redesign of the ABC logo.
The Chase bank logo was a prototype ID system. While other companies evaluated their corporate image, the Chase image was an additional character in the inventory of symbolic forms. Popular names like Unimark and Unigrid and the Federal Government also launched their design programs. Uniformed pictographic signs also became a huge thing with international things such as the Olympic games and all the international travel.
The last bit is about the MTV logo, and its many designs. During the early years, the logo would appear as a ten-second network id at the top of each our, and each time it aired it would be different.
Friday, April 9, 2010
Before Class, Chapter 18
The International Typographic Style is also known as the Swiss style and was large around 1950s.It included unity of design through asymmetrical organization. The design uses a mathematical grid. The designers felt the designs and type had a purpose and was not simply there for design. Clarity and order was ideal.
Ernst Keller was the biggest influence in the movement. He liked symbolic imagery, geometric forms, vibrant colors, and expressive edges and letterings. The Swiss style started in the School of Design in Basel. The school was influenced by De Stijl and Bauhaus. Other prominent people are Theo Ballmer, and Max Bill. Bill started the geometric layouts with absolute order and his designs included linear division of harmonious parts, modular grids, arithmetic and geometric progressions, and the equalization of contrasting and complimenting relationships. Bill and Otl Aicher, along with other co-founders, started the Ulm Institute of Design in Ulm, Germany. It continued until 1968 and taught 3 branches of semiotics and the philosophical theory of signs and symbols.The study of Semiotics included semantics, syntactics, and pragmatics.
Max Huber was big because while Bill wanted simplistic, Huber wanted vitality and intricacy. It is said Huber's images pushed the edge of chaos but was also able to maintain order in the midst of the complexity.
Anton Stankowski was big from 1929-1937 in Zurich. After WWII, his work was able to create forms to communicate invisible processes and physical forces. He was able to master constructivist designs.
The Swiss Style consisted of new sans-serif type families, that were more refined than the mathematically drafted ones of the past. Univers was created with 21 sans-serif fonts by Adrian Frutiger in 1954. The Deberny and Peignot foundry in Paris invested over 200,000 hours of engraving, retouching and hand punching to create the 35,000 matrices needed to make all 21 fonts in the full range of sizes. Edouard Hoffman and Max Miedinger upgraded the Akzidenz Grotesk fonts and refined them in the mid 1950s. They were re-released as Neue Haas Grotesk, but was renamed Helvetica.
A well known typogographer is Hermann Zapf. His was first a photo retoucher, then studied calligraphy, and eventually entered a printing firm. Later he became a freelance book and typographic designer and by 22 his first of fifty-five typefaces. Many of Zapf's designs from the 1940s-1950s are major typefaces today. Examples are Palatino, Melior, and Optima.
Emil Ruder was taught at the Zurich School of Arts and Crafts and later taught at the Basel School of Design. He realized the implications and potentials of Univers and so he and his students explored the contrasts, textures, and scale possibilities. His 1967 book, Typographic: A Manual of Design, which was a huge influence on the world. In 1947, Armin Hofmann started teaching graphic design at the Basel School, also after completing at Zurich School. With Ruder he developed an educational model in 1908.
Swiss movement began the unified international movement when the "New Graphic Design" journal was published in 1959. This journal gave the philosophy and accomplishments of the Swiss movement to the international audience. After WWII, increased trade allowed multinational corporations to operate in more than a hundred different countries. Eventually the need for communicative clarity, multilingual formats and pictographs was needed for people around the word to comprehend information.
The Swiss movement was big for post war American design. It ran between 1940s - 1970s Rudolph DeHarak started in LA but moved to New York where he started his own design studio. He recognized the early qualities in Swiss during the late 1950s and adapted the grid structures and asymmetrical balance. The Swiss style was quickly empraced by american corporate and institutional graphics during the 1960s and continued through the 1980s. An example from the book is MIT, which kept their level of quality and imagination through time. They based their graphic-design program on the grid and sans-serif typography.
Ernst Keller was the biggest influence in the movement. He liked symbolic imagery, geometric forms, vibrant colors, and expressive edges and letterings. The Swiss style started in the School of Design in Basel. The school was influenced by De Stijl and Bauhaus. Other prominent people are Theo Ballmer, and Max Bill. Bill started the geometric layouts with absolute order and his designs included linear division of harmonious parts, modular grids, arithmetic and geometric progressions, and the equalization of contrasting and complimenting relationships. Bill and Otl Aicher, along with other co-founders, started the Ulm Institute of Design in Ulm, Germany. It continued until 1968 and taught 3 branches of semiotics and the philosophical theory of signs and symbols.The study of Semiotics included semantics, syntactics, and pragmatics.
Max Huber was big because while Bill wanted simplistic, Huber wanted vitality and intricacy. It is said Huber's images pushed the edge of chaos but was also able to maintain order in the midst of the complexity.
Anton Stankowski was big from 1929-1937 in Zurich. After WWII, his work was able to create forms to communicate invisible processes and physical forces. He was able to master constructivist designs.
The Swiss Style consisted of new sans-serif type families, that were more refined than the mathematically drafted ones of the past. Univers was created with 21 sans-serif fonts by Adrian Frutiger in 1954. The Deberny and Peignot foundry in Paris invested over 200,000 hours of engraving, retouching and hand punching to create the 35,000 matrices needed to make all 21 fonts in the full range of sizes. Edouard Hoffman and Max Miedinger upgraded the Akzidenz Grotesk fonts and refined them in the mid 1950s. They were re-released as Neue Haas Grotesk, but was renamed Helvetica.
A well known typogographer is Hermann Zapf. His was first a photo retoucher, then studied calligraphy, and eventually entered a printing firm. Later he became a freelance book and typographic designer and by 22 his first of fifty-five typefaces. Many of Zapf's designs from the 1940s-1950s are major typefaces today. Examples are Palatino, Melior, and Optima.
Emil Ruder was taught at the Zurich School of Arts and Crafts and later taught at the Basel School of Design. He realized the implications and potentials of Univers and so he and his students explored the contrasts, textures, and scale possibilities. His 1967 book, Typographic: A Manual of Design, which was a huge influence on the world. In 1947, Armin Hofmann started teaching graphic design at the Basel School, also after completing at Zurich School. With Ruder he developed an educational model in 1908.
Swiss movement began the unified international movement when the "New Graphic Design" journal was published in 1959. This journal gave the philosophy and accomplishments of the Swiss movement to the international audience. After WWII, increased trade allowed multinational corporations to operate in more than a hundred different countries. Eventually the need for communicative clarity, multilingual formats and pictographs was needed for people around the word to comprehend information.
The Swiss movement was big for post war American design. It ran between 1940s - 1970s Rudolph DeHarak started in LA but moved to New York where he started his own design studio. He recognized the early qualities in Swiss during the late 1950s and adapted the grid structures and asymmetrical balance. The Swiss style was quickly empraced by american corporate and institutional graphics during the 1960s and continued through the 1980s. An example from the book is MIT, which kept their level of quality and imagination through time. They based their graphic-design program on the grid and sans-serif typography.
Tuesday, April 6, 2010
Before Class, American Kitsch
American Kitsch was for the "lower" class, it would look beaten or dirty and supposedly not art but often the idea is "the diamond in the rough". The beauty in something ordinary. Kitsch comes from the German term "Kitschen" which translates to "throwing together a work of art" (http://www.suite101.com/article.cfm/american_kitsch/29885)
It was in about the 1940s through about the 1960s; this era used a lot of handwritten type of fonts. Often people in American kitsch art had exaggerated expressions and dramatic poses. Exaggeration and overstatements were used in advertisements. Caricatures were common, as were provocative poses. Different product designs were bright and colorful, eye catching and type was stylized with the design.
(http://gds.parkland.edu/gds/!lectures/history/1940/kitsch.html)
Prominent Kitsch artsits are Norman Rockwell and Maxfield Parrish. It stretched as early as the 1930s. (http://www.artlex.com/ArtLex/kl/kitsch.html)
It was in about the 1940s through about the 1960s; this era used a lot of handwritten type of fonts. Often people in American kitsch art had exaggerated expressions and dramatic poses. Exaggeration and overstatements were used in advertisements. Caricatures were common, as were provocative poses. Different product designs were bright and colorful, eye catching and type was stylized with the design.
(http://gds.parkland.edu/gds/!lectures/history/1940/kitsch.html)
Prominent Kitsch artsits are Norman Rockwell and Maxfield Parrish. It stretched as early as the 1930s. (http://www.artlex.com/ArtLex/kl/kitsch.html)
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