I’m going to base my research on tattoo design history till today and the influence in graphic design throughout the years. Here are s few topics that I would like to cover…
Tattoo Time line in history –
*Tattoo’s found on mummy’s in Egypt – History and Design
*Famous tattooist’s and their designs – Sailor Jerry, Ed hardy etc
*Ed Hardy – Designs into a fashion trend
*Tv shows and reality tv made “celebrity tattooist’ – La ink – Miami ink – Kat Von D
*Tattoo’s in todays marketing/Design CD/DRINKS/POSTERS/CLOTHING
*Styles of tattoo design/Tattoos in culture JAPANESE/SAILOR/ARABIC/THAI/TRIBAL the meanings and origins of design
*Graphic designers designing tattoo’s – http://www.visualnews.com/2011/05/24/tattoo-art-meets-graphic-design/
*Tattooist’s drawing and selling work on canvas
*Interview Tattooist – What’s popular designs? Are allot of tattoo’s done original pieces? etc etc
*Trends of tattoo’s what was popular in what era, try and find out why
Appropriation is to take possession of something. Appropriation artists deliberately copy images to take possession of them in their art. They are not stealing or plagiarizing. They are not passing off these images as their very own. Not at all. Appropriation artists want the viewer to recognize the images they copy, and they hope that the viewer will bring all of his/her original associations with the image to the artist’s new context, be it a painting, a sculpture, a collage, a combine or an entire installation.
The deliberate “borrowing” of an image for this new context is called “recontextualization.” Recontextualization helps the artist comment on the image’s original meaning and the viewer’s association with the original image or the real thing.
Andy Warhol’s Campbell’s Soup Can series is a prime example. These images are appropriated. He copied the original labels exactly, but filled up the picture plane with their iconic appearance. Unlike other garden-variety still-lifes, these works look like portraits of a soup can. The brand is the image’s identity.
Warhol isolated the image of these products to stimulate product recognition (just like in advertising) and stir up associations with the idea of Campbell’s soup – that mmm mmm good feeling. He also tapped into a whole bunch of other associations, such as consumerism, commercialism, big business, fast food, middle class values, and food representing love. As an appropriated image, these specific soup labels could resonate with meaning (like a stone tossed into a pond) and so much more.
Warhol’s use of popular imagery became part of the Pop art movement.
Other well-known Appropriation artists are Richard Prince, Jeff Koons, Louise Lawler, Gerhard Richter, Yasumasa Morimura, and Hiroshi Sugimoto.
Few would argue that as an industry graphic designers contribute to the depletion of precious natural resources and the create of harmful environmental effects. Papers, printing, inks and packaging are integral to graphic design. Each has serious environmental impacts. Here are 3 clever ways to become more green.
Of course, you want to use more PDFs than paper. But for those times when only a written document will do, change from Times Roman or Arial over to ecofont. It’s a free, multi-platform font based on Verdana, that’s full of holes — the Swiss cheese of type — to save around 20% of the toner you’re currently wasting.
2. Use your Mac dashboard for sustainability tips
Divided into three sections; “paper”, “print” and “more info”, the sustainable graphic design widget delivers basic information about the environmental impacts that design methods and techniques have. Designed primarily as an easily-accessed working tool for designers, the widget also has some ethical tips and links to other websites with more information.
3. Don’t print on paper
Not every project can move from print to the web. But that doesn’t mean you have use tree-fiber-based paper to get the job done. Yupo is a Japanese company that invented synthetic paper a surprising number of years ago (Around 30), and now produces a large range of weights and sizes for commercial printing of all kinds. It’s bright white, printing appears especially crisp, and the “paper” is 100% recyclable. and it’s completely waterproof!
In the 1920s and 1930s, the so-called New Typography movement brought graphics and information design to the forefront of the artistic avant-garde in Central Europe. New typography is defined as a rejection of classical rules of typography and symmetry. There have been many different “definitions” given to typography throughout the history of graphic design. Some very utilitarian, such as this definition by Stanley Morison: “Typography may be defined as the craft of rightly disposing printed material in accordance with specific purpose; of so arranging the letters, distributing the space and controlling the type as to aid the maximum the reader’s comprehension of the text.
The forms of the “New” Typography are at the fore of blurring the lines between graphic design and fine art. These typographic experimentations did not start on their own but took their cue from the innovations that took place in the world of fine art at the turn of the century. Many of these “fine” artists of the avant-garde worked commercially. The proponents of Futurism, Dada, Constructivism, De Stijl.
The work broke from the traditional vertical and horizontal structure of the page, setting it in motion. In his poster for the New Futurist Theater Company, the painter turned designer, Fortunato Depero, illustrated how the use of flat planes of vibrant color, diagonal composition and angular repetitive forms contribute to a dynamic page layout.
Almost overnight, typographers and printers adapted this way of working for a huge range of printed matter, from business cards and brochures to magazines, books, and advertisements.
Constructivism art refers to the optimistic, non-representational relief construction, sculpture, kinetics and painting and was first created in Russia in 1913.
Russian sculptor Vladimir Tatlin, during his journey to Paris, discovered the works of Braque and Picasso. When Tatlin was back in Russia, he began producing sculptures out of assemblages, but he abandoned any reference to precise subjects or themes. Those works marked the appearance of Constructivism.
After the 1917 Revolution, Tatlin (considered the father of Russian Constructivism) worked for the new Soviet Education Commissariate which used artists and art to educate the public. During this period, he developed an officially authorized art form which utilized ‘real materials in real space’. His project for a Monument of the Third International marked his first foray into architecture and became a symbol for Russian avant-garde architecture and International Modernism.
Early modern movements around WWI were idealistic, seeking a new order in art and architecture that dealt with social and economic problems. They wanted to renew the idea that the apex of artwork does not revolve around “fine art”, but rather emphasized that the most priceless artwork can often be discovered in the nuances of “practical art”.
Constructivism was an invention of the Russian avant-garde that found adherents across the continent. Germany was the site of the most Constructivist activity outside of the Soviet Union to Walter Gropius’s Bauhaus, a progressive art and design school sympathetic to the movement, same as other art centers, like Paris, London, and eventually the United States.
http://en.wikipedia.org/wiki/Constructivism_(art) http://www.the-art-world.com/history/constructivism.htm http://russianconstructivists.blogspot.com/p/vladimir-tatlin.html http://www.britannica.com/EBchecked/topic/134466/Constructivism
World of Art (Mir iskusstva in Russian) Was an artistic movement inspired (and embodied) by an art magazine which served as its manifesto de facto, which was a major influence on the Russians who helped revolutionize European art during the first decade of the 20th century.
The world of art collection includes many portraits of the artists as well as political figures, such as Czar Alexander III. Their facial expressions, color and medium choice provide a glimpse into the significant celebrities represented in Russian society at the time. Existing between 1897 and 1924 by a group of students that included Konstantin Somov, Leon Bakst and Alexandre Benois.
The Mir Iskusstva contributed to Russian design not just particular visual ideas or styles, but perhaps more importantly an entirely new understanding of the design environment as a World of Art and explored and mixed diverse historical sources. The influence of these erudite and independent artist-designers even spread throughout the world through the sensationally successful productions of the early Ballets Russes. it show’s that while they attained a high degree of sophistication in their design work, their diverse, cross-disciplinary activities allowed them to resist specialization and thus avoid the pitfalls of professionalism, remaining amateurs at heart.