After a brief but promising career as a fashion illustrator, Raymond Loewy dedicated his talent to the field of industrial design. Loewy’s creative genius was innate, and his effect on the industry was immediate. He literally revolutionized the industry, working as a consultant for more than 200 companies and creating product designs for everything from cigarette packs and refrigerators, to cars and spacecrafts. Loewy lived by his own famous MAYA principle – Most Advanced Yet Acceptable. He believed that, “The adult public’s taste is not necessarily ready to accept the logical solutions to their requirements if the solution implies too vast a departure from what they have been conditioned into accepting as the norm.” A popular lecturer as well, …show more content…
In three days 28-year-old Loewy designed the shell that was to encase Gestetner duplicators for the next 40 years. In the process, he helped launch a profession that has changed the look of America. The Gestetner duplicator was the first of countless items transformed by streamlining, a technique that Loewy is credited with originating. Calling the concept “beauty through function and simplification,” Loewy spent over 50 years streamlining everything from postage stamps to spacecrafts. His more famous creations include the Lucky Strike cigarette package, the GG1 and S1 locomotives, the slenderized Coca-Cola bottle, the John F. Kennedy memorial postage stamp, the interior of Saturn I, Saturn V, and Skylab, the Greyhound bus and logo, the Shell International logo, the Exxon logo, the U.S. Postal Service emblem, a line of Frigidaire refrigerators, ranges, and freezers, and the Studebaker Avanti, Champion and …show more content…
“He waged a long war against the worst extravagances of Detroit styling,” commented Edward Lucie-Smith a Times Literary Supplement. “He could take a production-line monster and make it an infinitely better-looking ‘special,’ with comparatively minor rebuilding. What he could not do was to alter the industry’s fundamental attitudes. Gas-guzzlers remained gas-guzzlers, and no fancy-pants designer was going to be allowed to change
Gehry draws his inspiration from famous paintings such as the Madonna and Child which he qualifies as a “strategy for architecture” (Friedman M. , 2003, p. 42) and which he used as an inspiration for a project in Mexico . Through his interpretation of the paintings and artwork, Gehry looked for a new kind of architecture. His search for a new type of architecture culminated in 1978 with his own house in Santa Monica. What was once a traditional Californian house would be redesigned to become one of the most important and revolutionary designs of the 20th century, giving Gehry international prestige and fame. Frank Gehry’s “Own House” uses a mixture of corrugated metal, plywood, chain link and asphalt to construct a new envelope for an existing typical Californian house. This house has been inspired by Joseph Cornell, Ed Moses and Bob Rauschenberg. Gehry comments on his house by saying that there was something “magical” (Friedman M. , 2003, p. 54) about it. He admits having “followed the end of his [my] nose” (Friedman M. , 2003, p. 54) when it came to constructing the “new” house, which led Arthur Drexler, former Director...
The design I have chosen to focus on is ‘Cigarette Job’ (1898) by the great Alphonse Marie Mucha. Alphonse Mucha was born in 1860 in Czechoslovakia and died in 1939. He is most often remembered for the prominent role he played in shaping the aesthetics of French Art Nouveau at the turn of the century, he was in fact the most famous artist of the Art Nouveau period. His imagery was so inextricably entwined with Art Nouveau that the entire movement was referred to by Goncourt as the 'Mucha Style'. Famous throughout Europe and the Americas, he inspired other artists and designers who copied him and plagiarised him so that for years the image of the Muchaesque beauty surrounded by her characteristic symbols was enshrined in advertising, magazine covers and illustrations, book jackets, posters, paintings and numerous artefacts.
“Carrying his own cross, he went out to the place of the Skull (which in Aramaic is called Golgotha). There they crucified him, and with him two others—one on each side and Jesus in the middle,” (John 19:17-18). Jesus Christ’s valiant life was terminated with a horrendous execution. Tom Robinson’s did as well. He lived his life in the name in the name of others, helping everyone that he could, going out of his way to save people, even Judas, who would betray him. Tom did this aswell, constantly assisting Mayella, she who would betray him in court. Jesus had followers who believed in his message, just as Tom had believers in his innocence. Jesus and his followers would face persecution, just as Tom and hisi believers would. The judgements and death sentences of Jesus and Tom would make them become martyrs. The Martyrdoms would be essential for their causes. Many aspects of Tom Robinson’s life and death
Frederick McCubbin, Arthur Steeton and Tom Roberts were all a part of the iconic art movement in Australia, that was, the Heidelberg school. The avid group of painters began their work in Melbourne and its landscape exploring the style of impressionism derived from Paris, France in the early 1860’s. These painters forever changed the national identity of Australia with their specific style of painting and influences. Their work depicted the harsh beauty that is the Australian bush, at the time, opening up the world to the outside depicting the experiences of the bush. They aimed for 'truth to nature' and worked in the open space outside, sketching quickly and applying their paint swiftly capturing instant impressions. This essay will discuss
It’s often unacknowledged that there are designers that are behind creating and drawing out the designs we see on our everyday products, whether it be toilet paper, bleach, or a can of soup. There are people behind creating the enticing labels that urge us to crave and need that product. Andy Warhol shined a light on a whole world of unrecognised artists,
In the early twentieth century the Modern movement of architecture and industrial design came about. This movement was a reaction to the change within society and the introduction of new technologies. The ever changing world and technology meant artists to evolve alongside the changing world and this kind of ‘industrial revolution’ that was happening. Modernists ideas have seeped into every form of design especially architecture and design. Although most modernists insisted they were not following any style in particular, their work is instantly
People who were not European back in the 1800s, were considered a lower class than them, they later enslave people from Africa just because and for the next hundreds of years they were slaves. Many people tried to end slavery because the concept was inhuman.And at 1865 the United States banned slavery, but still had the right to mistreat people of color. One of the people who stood up to these rights, Homer plessy, who was ⅛ African because his great-grandmother was from Africa. Plessy was light enough to considered white, but when he people ask him if he was a man of color, he would gladly answer yes. Furthermore, because of Plessy’s actions, it help solidifies the establishment of the Jim Crow era.
The Memphis design movement enclosed Post-Modernist design, confronting previous attitudes towards favourable designs, through their use of enduring contemporary products in the 1980s.
The Entrepreneurs I've gotten was the Jodrey Family. I will first talk about Roy A. Jodrey who was the one that started it then lead to his son John J.Jodrey.
With his down-the-rabbit-hole approach to design and obsessive attention to detail, Wes Anderson, writer, director and auteur, is best known for his highly stylized movies. His extremely visual, nostalgic worlds give meaning to the stories in his films, contrary to popular critical beliefs that he values style over substance. Through an analysis of his work, I plan to show that design can instead, give substance to style.
... middle of paper ... ... She supplements the article with drawings of Barry’s and Pugin’s, as well as letters that show their interactions with one another. Rather than write about the major conflicts between the two and trying to decide who the true designer was like many articles tend to do, Wedgwood instead focuses on the morphing of the design to include parts of both men’s creative minds.
Hegeman, J. (2008). The Thinking Behind Design. Master Thesis submitted to the school of design, Carngie Mellon University. Retrieved from: http://jamin.org/portfolio/thesis-paper/thinking-behind-design.pdf.
After being ranked 8th in the world and having a known name in the sporting industry, he was easily contacted and hired for designing sports/surfing magazines and advertisements. In the interview conducted by Designboom, Carson stated that he had no real formal training in the design world, resulting in a lack of knowledge in basic design content (i.e. grids, formulas, schools of thought, etc.) (Designboom, 2014). But, with his early interest and education in sociology, and his Bachelor of Arts degree, he is easily able to work with real stories, real people, events, and music. When Carson is given the brief article that he must design around, or the client’s idea pitch, he just designs what he feels is right (Designboom, 2014). The more pieces he creates, the more experimental he gets. This act of fearlessness and adventuresome is what makes him such a desirable designer. Clients are confident that he will produce something unique, beautiful, and daring. Carson stated that his strongest skill is his “ability to speak visually and emotionally to a wide variety of audiences and topics” (Designboom, 2014). Carson has been in the design industry for many years and has worked with many varied clients, making his knowledge and level of creativity mastered. His curious, bold, and open-minded personality, plus his experimental, clever, and unique approach to design, has made the successful designer who he is
One of the key ideas of the modern era was to forge the designs of the future on the corpses of the past, disregarding everything from the last era and moving forward with new ideals and styles. Refining and discarding they shaped, molded and constricted the ideas of design until reaching the pinnacle of minimalism. Creating design with pure aesthetics and reducing an object down to its core fundamental elements. Using the ideas of “less is more” or even “using less for more”, the designs ended up simple and elegant with a focus not in quantit...
‘You cannot hold a design in your hand. It is not a thing. It is a process. A system. A way of thinking.’ Bob Gill, Graphic Design as a Second Language.