Design of Communication
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The document discusses the design of communication as an essential aspect of conveying messages through various media, emphasizing the interconnectedness of culture and technology over time. It explores the evolution of communication design, from historical milestones to modern practices, alongside the philosophies of influential designers. Ultimately, it advocates for a compassionate understanding of audiences to achieve effective communication.
Design of Communication
- 1. Design of Communication USE ALL FIVE culture and technology August 14, 2014 Client Name
- 2. USE ALL FIVE 2 WHERE WE ARE HOW WE GOT HERE WHERE WE’RE GOING
- 3. USE ALL FIVE 3 WHERE WE ARE HOW WE GOT HERE WHERE WE’RE GOING
- 4. USE ALL FIVE Design of Communication 4 where we are
- 5. USE ALL FIVE Design of Communication 5 where we are Communication is multi- threaded, asynchronous, public and private.
- 6. USE ALL FIVE Design of Communication 6 where we are Why do we care?
- 7. USE ALL FIVE Design of Communication 7 where we are Because design for the web is communication design
- 8. USE ALL FIVE Design of Communication 8 where we are What is communication design?
- 9. USE ALL FIVE Design of Communication 9 where we are 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.
- 10. USE ALL FIVE Design of Communication 10 where we are Big “D” Design and little “d” design
- 11. USE ALL FIVE Design of Communication 11 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.
- 12. USE ALL FIVE Design of Communication 12 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
- 13. USE ALL FIVE Design of Communication 13 where we are Gesamtkunstwerk
- 14. USE ALL FIVE Design of Communication 14 where we are 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)
- 15. USE ALL FIVE Design of Communication 15 where we are Also Known as Aesthetics
- 16. USE ALL FIVE Design of Communication 16 where we are 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.
- 17. USE ALL FIVE Design of Communication 17 where we are Aesthetics + Semiotics = Design
- 18. USE ALL FIVE 18 WHERE WE ARE HOW WE GOT HERE WHERE WE’RE GOING
- 19. USE ALL FIVE Design of Communication 19 how we got here
- 20. USE ALL FIVE Design of Communication 20 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.
- 21. USE ALL FIVE Design of Communication 21 how we got here Historical intersections of culture and technology
- 22. USE ALL FIVE Design of Communication 22 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
- 23. USE ALL FIVE Design of Communication 23 how we got here After 1977
- 24. USE ALL FIVE Design of Communication 24 how we got here Personal Computers - 1980s
- 25. USE ALL FIVE Design of Communication 25 how we got here Web - 1984 Prodigy Internet Service / 1985 AOL
- 26. USE ALL FIVE Design of Communication 26 how we got here Social Media - 1994 Beverly Hills Internet (BHI) started Geocities / 2004 Facebook
- 27. USE ALL FIVE Design of Communication 27 how we got here Mobile - June 29, 2007 iPhone
- 28. USE ALL FIVE Design of Communication 28 how we got here Modernism and the 20th Century
- 29. USE ALL FIVE Design of Communication 29 how we got here 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
- 30. USE ALL FIVE Design of Communication 30 how we got here 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.
- 31. USE ALL FIVE Design of Communication 31 how we got here
- 32. USE ALL FIVE Design of Communication 32 how we got here 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.
- 33. USE ALL FIVE Design of Communication 33 how we got here
- 34. USE ALL FIVE Design of Communication 34 how we got here 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
- 35. USE ALL FIVE Design of Communication 35 how we got here
- 36. USE ALL FIVE Design of Communication 36 how we got here
- 37. USE ALL FIVE Design of Communication 37 how we got here 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
- 38. USE ALL FIVE Design of Communication 38 how we got here
- 39. USE ALL FIVE Design of Communication 39 how we got here 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
- 40. USE ALL FIVE Design of Communication 40 how we got here Walter Gropius
- 41. USE ALL FIVE Design of Communication 41 how we got here Josef Albers
- 42. USE ALL FIVE Design of Communication 42 how we got here László Moholy-Nagy
- 43. USE ALL FIVE Design of Communication 43 how we got here Post War Period
- 44. USE ALL FIVE Design of Communication 44 how we got here 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.
- 45. USE ALL FIVE Design of Communication 45 how we got here
- 46. USE ALL FIVE Design of Communication 46 how we got here
- 47. USE ALL FIVE Design of Communication 47 how we got here Josef Muller Brockmann formalized the grid system
- 48. USE ALL FIVE Design of Communication 48 how we got here Josef Muller Brockmann
- 49. USE ALL FIVE Design of Communication 49 how we got here Adrien Frutiger created Univers as a clean rational approach to Futura
- 50. USE ALL FIVE Design of Communication 50 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.
- 51. USE ALL FIVE Design of Communication 51 how we got here International Style
- 52. USE ALL FIVE Design of Communication 52 how we got here International Style
- 53. USE ALL FIVE Design of Communication 53 how we got here Paul Rand
- 54. USE ALL FIVE Design of Communication 54 how we got here Paul Rand
- 55. USE ALL FIVE Design of Communication 55 how we got here A reaction against modernism characterized but parody, kitsch, and an anti-authoritarian rebellion against formal typographic rules and structure. Post Modernism
- 56. USE ALL FIVE Design of Communication 56 how we got here Stefan Sagmeister
- 57. USE ALL FIVE Design of Communication 57 how we got here David Carson
- 58. USE ALL FIVE Design of Communication 58 how we got here 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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- 61. USE ALL FIVE 61 WHERE WE ARE HOW WE GOT HERE WHERE WE’RE GOING
- 62. USE ALL FIVE Design of Communication 62 how we got here
- 63. USE ALL FIVE Design of Communication 63 how we got here Understand your audience Clear thinking creates clear design Use humor to humanize Design Principles of UA5
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