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Design of Communication USE ALL FIVE CULTURE AND TECHNOLOGY AUGUST 14, 2014 CLIENT NAME

Design of Communication

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A presentation by Use All Five creative director J.J. Kaye that covers the field of Communication Design from Pre to Post-Internet.

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Page 1: Design of Communication

Design of Communication

USE ALL FIVE culture and technology

august 14, 2014 client name

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WHERE WE ARE

HOW WE GOT HERE

WHERE WE’RE GOING

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WHERE WE ARE

HOW WE GOT HERE

WHERE WE’RE GOING

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where we are

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where we are

Communication is multi-threaded, asynchronous,

public and private.

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where we are

Why do we care?

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where we are

Because design for the web

is communication

design

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where we are

What is communication

design?

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communication design is a both a broad term and field. it encompasses

a number of design practices, including information design, information

architecture, advertising and marketing.

communication design is about message and effect, it focuses on touching

people through transmission of ideas.

therefore communication design comes with a responsibility to

compassionately understand the recipient’s existing perceptions, while

designing solutions that fulfill the sender’s goals in sharing his/her ideas.

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where we are

Big “D” Designand

little “d” design

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where we are

Big “D” Design is the world of design

it’s why we praise the clarity of helvetica, claim Paul rand

as the godfather of design, and identify the trend of flat

design is a rejection of skeuomorphism.

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where we are

it’s why in america we drive on the right, doors open

inward, and that cups have handles and glasses do not.

Little “d” design is the design of the world

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where we are

Gesamtkunstwerk

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a work complete in itself, in which partial contributions

of the related and collaborating arts blend together,

disappear, and, in disappearing, somehow form a new

world.

Gesamtkunstwerk (1827)

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Also Known as Aesthetics

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Semiotics

the study of meaning-making and signs.

in communication, it is defined as the process of

transferring data and-or meaning from a source to a

receiver.

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where we are

Aesthetics + Semiotics = Design

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WHERE WE ARE

HOW WE GOT HERE

WHERE WE’RE GOING

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how we got here

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how we got here

Design doesn’t happen in a vacuum. Movements

emerge as a reaction to current world events

and the conditions that have lead to the

present moment.

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how we got here

Historical intersections of culture and technology

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how we got here

Before 1977

3200 Bce invention of writing in mesopotamia

1040 ad moveable type invented in china / 1493 gutenberg

1822 photography invented in france by nicéphore niépce

1900 film as we know is available worldwide

1950s Broadcast tV is the prevalent in america

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how we got here

After 1977

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how we got here

Personal computers - 1980s

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how we got here

web - 1984 Prodigy internet service / 1985 aol

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how we got here

social media - 1994 Beverly hills internet (Bhi) started geocities / 2004 facebook

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how we got here

mobile - June 29, 2007 iPhone

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Modernism and the 20th Century

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1914 - 1918 wwi

1917 russian revolutions dismantled the tsarist autocracy

1918 german revolution overthrows imperial government

1922 national fascist Party overthrows Kingdom of italy

1939 - 1945 wwii

Europe in the early 20th Century

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Blackletter - the first printed typeface

Blackletter was used by gutenberg for hi bible and books,

which signaled a new era in typefaces used for printing.

however, Blackletters were difficult to read as body text

and roman faces were easier to print with movable type.

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Akzidenz Grotesk - 1896

Known for its simplicity, line weights, and balanced

proportions, akzidenz forms easily distinguished word

patterns that became a hallmark for sans-serif legibility.

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how we got here

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constructivist art was committed to complete abstraction

with a devotion to modernity, forming an aesthetic that

was often geometric, experimental and rarely emotional.

Constructivism 1913-1940s

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how we got here

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how we got here

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futurism emphasized themes associated with ideas of

the future. speed, technology, youth, violence, the car,

aeroplane, and the industrial city were all celebrated.

Italian Futurism 1909-1944

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how we got here

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literally translated as “house of construction,” walter

gropius founded the Bauhaus with the idea of creating a

“total” work of art in which all arts, including architecture,

would eventually be brought together.

Bauhaus 1919-1933

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how we got here

walter gropius

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how we got here

Josef albers

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how we got here

lászló moholy-nagy

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how we got here

Post War Period

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Helvetica 1957

the aim was to create a neutral typeface that had great

clarity, no intrinsic meaning in its form, and could be used

on a wide variety of signage.

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how we got here

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how we got here

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Josef muller Brockmann formalized the grid system

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how we got here

Josef muller Brockmann

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how we got here

adrien frutiger created univers as a clean rational approach to futura

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how we got here

Jan tischold made some of the first clear explanations of the effective use of different

sizes and weights of type in order to quickly and easily convey information.

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how we got here

international style

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international style

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how we got here

Paul rand

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how we got here

Paul rand

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a reaction against modernism characterized but parody,

kitsch, and an anti-authoritarian rebellion against formal

typographic rules and structure.

Post Modernism

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how we got here

stefan sagmeister

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david carson

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most of the formal and aesthetic attributes of the new

global style are lifted directly from the international style.

emotionally it’s an expression of cool, ironic, everyday

tedium.

Global Style

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WHERE WE ARE

HOW WE GOT HERE

WHERE WE’RE GOING

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how we got here

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understand your audience

clear thinking creates clear design

use humor to humanize

Design Principles of UA5

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