Table Of Contents

Reading Schedule & Outline

Module 1
Reading Schedule & Outline

READING SCHEDULE & OUTLINE
MODULE 1: September 24
PrefaceIntroductionPrehistoric Prelude to Graphic Design History 35,000 - 2700 BCE


MODULE 2: October 01
Chapter 1: Early Writing: Mark-making, Notation Systems, and Scripts3000 - 500 BCE
- Evolutionary foundations of communication- Language & Design- Early Graphic Forms- Communicating ideas and beliefs


MODULE 3: October 8
Chapter 2: Classical Literacy700 BCE - 400 CE
- variations of literacy and the alphabet- The function of graphic codes- Models of writing: gestural and constructed- Writing at the end of the Classical age
Chapter 3: Medieval Letterforms and Book Formats400 - 1450
- Medieval culture and graphic communication- Graphic media and contexts- The codex book- Letterforms, manuscript hands, and pattern books- Graphic forms of knowledge- Publishing communities and graphic arts


MODULE 4: October 15
Chapter 4: Renaissance Design: Standardization and Modularization in Print1450 - 1660
- Early print design- Graphic communication in Renaissance culture- Print Technology and type design- Graphic forms of knowledge


Chapter 5: Modern Typography and the Creation of the Public Sphere1660 - 1800
- Printed matter and the public sphere- News books, broadsheets, and newspapers- Politics and the press- Graphic arts and design- Modern type design- On the edge of industrialization
MODULE 5: October 22


Chapter 6: The Graphic Effects of Industrial Production1800 - 1850
- Industrialization and visual culture- Illustrated papers- Book design for mass production- Printed images- Advertising design and typography- Fine art and graphic art- Critical Issues


Chapter 7: Mass Mediation1850 - 1900
- Printed mass media- Changes in print technology- Changing patterns in the use of graphic media- Media networks- Graphic design and advertising- Posters and public space
MODULE: October 29


Chapter 8: Formations of the Modern Movement1880s - 1910's
- Responses to industrialism- Arts and Crafts publications- Arts and Crafts dissemination- Art Nouveau- Jugendstil- Viennese design- Decadence and Aestheticism- The private press movement and modern design- Integration of design and industry


Chapter 9: Innovation and Persuasion1910 - 1930
- Visual culture and avant-garde design- The graphic impact of Futurism and Dada- From experiment to principles- Propaganda and mass communication studies- Graphic Persuasion and its effects- Institutionalizing graphic design
MODULE 7: November 05


Chapter 10: The Culture of Consumption1920's - 1930's
- Designing the modern lifestyle- Modern style in graphic design- Consumer culture- The profession
Chapter 11: Public Interest Campaigns and Information Design1930s- 1950s
- Public interest and education- Photojournalism and documentary- Wartime information- Commercial and technical uses of information design- Information analysis and design process
MODULE 8: November 12


Chapter 12: Corporate Identities and International Style1950s - 1970s
- Image and identity systems- International style- Style, systems, and graphic design concepts- Technology-The profession


Chapter 13: Pop and Protest1960' - 1970s
- Pop culture and style- Self-conscious graphic design- Slick surfaces and high production values- Counterculture and alternative press- Revolutionary culture and protest- Changes in the profession- Critical vocabulary
MODULE 9: November 19


Chapter 14: Postmodernism in Design1970's - 1980's and Beyond
- Postmodern Styles- Postmodern consumption and conservatism- Critical theory and postmodern sensibility- Postmodernism and activism- Changes in the profession
MODULE 10: November 26


Chapter 15: Digital Design
After the 1970's
- Digital technology: from punch cards and plotters to desktop computing- Media transitions: type deign and publications- Fluidity and functionality- The myth of immateriality and challenges of digital design
Glossary

MODULE 11: December 03 Field Journal/Research Portfolio due

MODULE 12: December 10 Review and return of Field Journals/Research Portfolios

Portfolio Stament

The History of Graphic Design taught by Kent Mankse has a matter of fact been a very interesting and inspiring class for me. When I was registering for this Arts class, I really didn’t know what to expect. My major is mass communications and public relations and when the institution I wanted to transfer to required this particular course, I didn’t know what it consisted of. And quite honestly, I could not make the connection between Arts and Communication. So I did see why this class was necessary. By definition Art is defined as “the quality, production, expression, or realm, according to aesthetic principles, of what is beautiful, appealing, or of more than ordinary significance.” Communication is also defined as the art and technique of sending messages, or information, as by speech, signals, writing, or behavior. If messages can be sent to and fro through words, signals, and images, then they must have a relation. Apparently I was ignorant of the fact that communication and the waycould not be sent only verbally but also different mediums. The changing times have revolutionized prospects in all most every career field one can find today.



So many new and exciting career options are lined ahead that it is difficult to choose one. Mass communication is one such field which is attracting a lot of young and ambitious students, and fortunately I happen to one of those students. How events and people are portrayed in the media revolves around mass communications. The way is which communicating ideas, values, and opinions have evolved tremendously. They go as far back Hieroglyphics was a formal writing system used by the ancient Egyptians that contained a combination of logographic and alphabetic elements. Egyptians used cursive for religious literature on papyrus and wood. Less formal variations of the script, called hieratic and demotic, are technically not hieroglyphs.a writing medium which consisted of images and texts that the Egyptians used on cave walls and would also draw any surface they had access to. ally, these days and also this time around. And why not? When it has to offer such interesting career options in the fields, like various kinds of medias - newspapers, magazines, radio, television, advertisements, public relations etc. communication has evolved though Though its presence has been there since long but it is only in recent times that it's been able to earn due recognition. Efforts are on to add professionalism to different areas of mass communication, with many universities and institutions offering number of professional courses.

Mass communication covers a wide area, comprising of closely related fields of advertisement, communication and public relations. Almost all kinds of establishments whether business, government or political are availing of services, offered by these industries, therefore an encouraging sign for those looking ahead to making a career in mass communication. I have thus made a choice to specialize in this career path due to my interest

Labs

Graffiti In San Jose

The Friends Meeting House in Palo Alto957 Colorado Ave
Palo Alto, CA 94303


Toast Masters
Toastmasters is a very diverse group. Members come from all sorts of backgrounds. They include entrepreneurs, bankers, career coaches, high-tech professionals, to name a few. All age groups are represented, and while most of the groups are in their 20's, 30's and 40's we even have a couple members who are over 70.Their meetings lasted from meetings start promptly at 6pm and last for about 3 hours. The meeting has two parts: impromptu speaking in the first half and prepared speeches by selected members in the second half. As a guest speaker, you won't be called on to give a speech, but you will be invited to introduce yourself to the group.The meeting sizes vary from one to another.
At the time I went, there are between 20 to 30 people at a given meeting. Each meeting, every member will have a chance to speak in front of people, either with impromptu or scheduled speeches. Members may also develop their leadership skills by serving as club officers. Meetings are friendly and lively with plenty of encouragement and support for each other. You will learn a lot and laugh aplenty as you listen to the stories, experiences, and ideas of fellow members. Expect to make many good friends, and build a strong network when you become part of our club.
I felt very uncomfortable in front of an audience. But with a supportive environment, friendly coaching and excellent role models, I was able to quickly grow into capable and persuasive speaker. This club is comprised of members from all over the world. Many of whom speak English as a second or even third language.
The meetings were open to all, and I made good use of that. The only time you were offered membership was after you had been a guest numerous and several times.
This was relevant to the class simple because communication, especially verbally is fundamental part of building society. The way is which the Graphic Designer is able to persuade a whole community and society with images, text, structures, etc. That is the same way in which a good public speaker is able to persuade a community or a society. The first day I should up to the meeting, I started by telling them my major and also gave them the reason why I was a guest at their meetings. They warmly welcomed me and did not hesitate to also conclude that “words that are too hard to say are mostly written or drawn.”




Total Lab Hours- 3 hours attending the meeting
2 hours writing a Review


The Cradle Will Rock
The film begins with one long tracking shot that focuses on a destitute young woman named Olive Stanton (Emily Watson who is sleeping illegally in a theater, being awoken and kicked out. The shot continues as she slowly walks down the street following the sound of the song Nickel Under My Foot, which leads her to the building where the song is being played. The camera pans up the side of the building and moves inside where we are introduced to the playwright Marc Blitzstein(Hank Azariaattempting to write the songs and put together the musical The Cradle Will Rock. Acting as Blitzstein’s conscience/mentors are a vision of his deceased wife and later, an imaginary Bertolt Brecht. Brecht was a radical playwright who stressed the importance of breaking down the wall between the audience and actors, and a fitting character for this story of the production of Cradle Will Rock, which did just that.
The film continues, providing a picture of life in the 1930s where some people wait in endless unemployment lines attempting to get work, while others enjoy their wealth engaging in parties and purchasing expensive works of art. As the musical nears production, the WPA cuts the budget for the FTP, and puts a halt to all new productions. This announcement comes following the House Committee on Un-American Activities questioning of many of those involved in the FTP, and the musical itself due to its leftist themes around labor and union organizing. Despite being canceled, the director, Orson Welles (Angus Macfadyen) and producer, John Houseman (Cary Elwes), lead the cast to another theater that they were able to secure at the last minute. The cast is forbidden to perform by their union, so Blitzstein takes the stage alone at an upright piano to perform the show himself, only to be joined by many of the cast members who deliver their lines from the audience. Robbins juxtaposes this final triumphant moment of the theater with images of the destruction of a mural commissioned by Nelson Rockefeller because the artist, Diego Rivera (Ruben Blades), refused to remove the image of Lenin's face from the piece. In tying together stories of labor issues and steel strikes, censorship in painting and theater, and the disparities of wealth and power, Robbins is able to paint a picture of the 1930s that goes beyond simply recounting past events and questions the boundaries between art, power and politics. Furthermore, Robbins attempts to link these issues to the present day through the final shot of the film. The camera follows a mock funeral procession for the FTP as it marches into Times Square only to pan up from this scene to a shot of the high rises and neon billboards that stand there today.

Hours to Watch Movie- Approx 2hrs
Hours to Write Review- 1 hour



Lab 3

Graffit is the name for images or lettering scratched, scrawled, painted or marked in any manner on property. Graffiti is sometimes regarded as a form of art and other times regarded as unsightly damage or unwanted. In my opinion, these individual should be and can be referred to as Graphic Designers. For part of my Weekly Journal Entry, I went to the East Side of San Jose, and see whether I could explore some of these very artistic designs. Some were very interesting though because they seemed to tell a story, make a claim, or even mark their territory. Many of these images were being re-painted or even scrapped of because they were put on trucks, business structures, and on sidewalks. I do not support the doings of these individuals but drawing on one’s property does not give one the chance to really explore their inner self or things that allow them to draw such images or texts
Graffiti has existed since ancient times, with examples going back to Ancient Greece and also parts of the Roman Empire. I would say also that, Hieroglyphics and other cave paintings might have evolved or even stemmed into this. Forms of graffiti may range from simple scratch marks to elaborate wall paintings. In modern times, spray paint and markers have become the most commonly used materials. In most countries, defacing property with graffiti without the property owner's consent is considered vandalism, which is punishable by law. Sometimes graffiti is employed to communicate social and political messages. To some, it is an art form worthy of display in galleries and exhibitions, to others it is merely vandalism. There are many different types and styles of graffiti and it is a rapidly evolving artform whose value is highly contested, being reviled by many authorities while also subject to protection, sometimes within the same jurisdiction.
Graffiti is writing, drawing, or symbols applied to any surface without the permission of the property owner.
To create graffiti, vandals use a variety of materials, such as automotive car paint, spray paint, crayons and permanent ink. Etching surfaces is another way vandals destroy property.
Graffiti can occur anywhere, however, some of the more popular targets include:
o public and private buildings
o recreational facilities
o Canada Post mailboxes
o playground equipment
o bridges and overpasses
o public transit property and vehicles.

Total Hours to Drive to San Francisco- 45 mins
Total Hours Spent Exploring- 1hr, Writing Review 30 mins

Week 10

Introduction

This last chapter was simply about the introduction of Digital Design. Surprisingly, Desktop Computers were a very big thing in the 1960’s and continue to be up until this day. Computers sought to cause an unprecedented involvement in every aspect of production of goods and services. These changes were able to shift social structures which graphic designers and their designs operated. Digital technology thus brought conceptual changes to Graphic Designing.

Reflection

Any equipment used in the electronic communication process also involves electronic media. Game consoles, telephones, computers, etc can also be put in this category due to how they had made and also how their memory is stored. The term Computer Graphics though arouse in late 1960’s as a result of Boein Aircraft Company. At this time only few graphic designers were able to make or write programs so they thus depended on punch Cards. Punched cards were first used around 1725 by Basill Bouchon and also Jean Falcon as a more robust form of the perforated paper rolls then in use for controlling textiles in France.

The Tabulating Machine Company was one of three companies that merged to form a computing tabulating record, which later became known as IBM. They continued and manufactured and marketed a variety of unit record machines for creating, sorting, and tabulating punched cards, even after expanding into computers in the late 1950s. IBM developed punch card technology into a powerful tool for business data-processing and produced an extensive line of general purpose unit record machines. By 1950, the IBM card and IBM unit record machines had become ubiquitous in industry and government. "Do not fold, spindle or mutilate," a generalized version of the warning that appeared on some punched cards, became a motto for the post World War II era

SUMMARY

A typical blank punched card of the type used to store data.

From the 1900s, into the 1950s, punched cards were the primary medium for data entry, data storage and processing in institutional computing. According to the IBM Archives: "By 1937... IBM had 32 presses at work in Endicott, N.Y., printing, cutting and stacking five to 10 million punched cards every day." Punched cards were even used as legal documents, such as US government checks and savings bonds. During the 1960s, the punched card was gradually replaced as the primary means for data storage by a wide variety of other devices which were basically made, or evolved form what was already there. Electronic media was able to drastically improve consumption on behalf of the citizens. This century became a do-it-yourself society so all one needed to be successful in this way was to have access to a computer. The skills of graphic designers were thus constantly tested and the end result involved them having to prove themselves as skillful individuals. Graphic Designers went on to design virtual environments. This has contributed to the social and economic values of the world that shapes us. And as funny as that sounds, this will always and continue to be crucial to us.

Week NIne

Introduction

The following chapter was simply about post modernism. It signaled drastic changes in how the average American saw the society around him or her. This was an approach that was very different as compared to earlier movements such as the Renaissance or the Pop, Protest Era. Most scholars would agree that modernism began as early as in the late 19th century and continued to be a dominant cultural force all the way up until the 20^th century. Like all movements, modernism comprised and was composed of many competing individual directions and is impossible to define as a discrete unity or totality. It was recognized by its lively pastiche sensibility, its absorption of retro and techno motifs. Retro is a term that is used to describe, denote or classify culturally outdated or aged trends, modes, or fashions, from the overall postmodern past. But as time moved on have become functionally or superficially the norm once again. The use of "retro" style iconography and imagery interjected into American postmodern art, advertising, mass media, etc. has occurred from around the time of the U.S. Industrial Revolution to present day. It was also at this time that subcultures such as punk, beach culture, heavy metal and also grunge groups began to form and develop. They sought to disregard historical conditions and defined they ways of life in a different manner and tone.

It was during the late 1970’s and the 1980’s However, its chief general characteristics are often thought to include an emphasis on "radical aesthetics, technical experimentation, spatial or rhythmic, rather than chronological form, [and] self-conscious reflexiveness" as well as the search for authenticity in human relations, abstraction in art, and utopian striving. These characteristics are normally lacking in postmodernism or are treated as objects of irony. New Designers sought to disregard historical conditions and defined they ways of life in a different manner and tone, especially that of the International Style. Individuals that played a major role in this movement included April Greiman, Paula Scher, Wolfgany Weigngart, Rosmarie Tissi and Neville Brody.

Brief Boigraphy

April Greiman was a contemporary designer. She is recognized as one of the first designers to embrace computer technology as a design tool starting in the late 1970’s, for introducing the new wave. Her work evolved from her graduate education at Kunstgewerbeschule in Basel, Switzerland. As a student of Armin Hofmann and Wolfgang Weingart in the early 1970s, Greiman was not only influenced by the International Style, but also by Weingart’s introduction to the style later to become known as New Wave, an aesthetic less reliant on the Modernist heritage. Greiman is credited with establishing the New Wave design style to the US during the late 70s and early 80s, along with early collaborator Jayme Odgers.

Reflection

The International style was a major architectural style of the 1920s and 1930s. The term usually refers to the buildings and architects of the formative decades of Modernism, before World War II. The term had its origin from the name of a book by Henry-Russell Hitchcock and Philip Johnson written to record the International Exhibition of Modern Architecture held at the Museum of Modern Art in New York City in 1932 which identified, categorized and expanded upon characteristics common to Modernism across the world. As a result, the focus was more on the stylistic aspects of Modernism. Hitchcock's and Johnson's aims were to define a style of the time, which would encapsulate this modern architecture. They identified three different principles: the expression of volume rather than mass, balance rather than preconceived symmetry and the expulsion of applied ornament. Everything seemed to be pushed to the extreme.All the works which were displayed as part of the exhibition were carefully selected, as only works which strictly followed the set of rules were displayed. Previous uses of the term in the same context can be attributed to Walter Gropes in Internationale Architektur, and Ludwig Hilberseimer in Internationale neue Baukunst

Postmodernism literally means the period after the modernist movement. While "modern" mean the present or futuristic. The movement of modernism and the following reaction of postmodernism are defined by a set of perspectives. It is used in critical theory to refer to a point of departure for works of literature, drama, architecture, and design, as well as in marketing and business and the interpretation of history, law and culture in the late 20th century. Postmodernism is an aesthetic, literary, political or social philosophy, which was the basis of the attempt to describe a condition, or a state of being, or something concerned with changes to institutions and conditions as postmodernity. In other words, postmodernism is the "cultural and intellectual phenomenon", especially since the 1920s' new movements in the arts, while post modernity focuses on social and political outworking and innovations globally, especially since the 1960s in the West.

Summary

Postmodernism arose after World War II as a reaction to the perceived failings of modernism, whose radical artistic projects had come to be associated with totalitarianism or had been assimilated into mainstream culture. The basic features of what we now call postmodernism can be found as early as the 1940s, most notably in the work of Jorge Luis Borges However, most scholars today would agree that postmodernism began to compete with modernism in the late 1950s and gained ascendancy over it in the 1960s. Since then, postmodernism has been a dominant, though not undisputed, force in art, literature, film, music, drama, architecture and philosophy. Salient features of postmodernism are normally thought to include the ironic play with styles, citations and narrative levels, a metaphysical skepticism or nihilism towards the grand narratives of Western culture, a preference for the virtual at the expense of the real, and a “waning of affect” on the part of the subject, who is caught up in the free interplay of virtual, endlessly reproducible signs inducing a state of consciousness similar to schizophrenia.

Since the late 1990s there has been a widespread feeling both in popular culture and in academia that postmodernism has gone out of fashion. However, there have been few formal attempts to define and name the epoch succeeding postmodernism, and none of the proposed designations has yet become part of mainstream usage.

Week Eight

Introduction
The following chapters were simply about how graphic designers began to identify and label themselves. Citizens and inhabitants of the United States had come out pretty prosperous and also a conservative nation after World War II. Europe was undergoing a reconstruction and a reform as a result of this. Graphic designing began to take a different approach as compared to what Graphic Designing usually involved. They began to reflect there attitudes, moods, ideas etc in their advertising. This time around, their approaches were distilled into rationalist and functionalist. Graphic designers all over the world began to adapt strategies and other methods and ways in which they represent themselves that would not only make them stand out but also ones that would make them significant and unique. It has always been said that images and texts which graphic designers claim are universal are always referred to as “suspicious.” This is simply due to the fact that all forms of design and visual communication have evolved from one main source. As time moved on, things are added, removed and even modified. Logotypes were not any particular language but drew a so called universal language.

Time Era
The International Typographic Style, also known as the Swiss Style, is a graphic style that was developed in Switzerland in the 1950s that emphasizes cleanliness, readability and objectivity. Hallmarks of the style are asymmetric layouts, use of a grid, sans-serif typefaces like Akzidenz Grotesk, and flush left, ragged right text. The style is also associated with a preference for photography in place of illustrations or drawings. Many of the early International Typographic Style works featured typography as a primary design element in addition to its use in text, and it is for this that the style is named.
A typographic grid is a two-dimensional structure made up of a series of intersecting vertical and horizontal axes used to structure content. The grid serves as an armature on which a designer can organize text and images in a rational, easy to absorb manner. The less common printing term “reference grid,” is an unrelated system with roots in the early days of printing. During the 1950’s and the 1960’s, campaigns became corporations. These were usually associations of individuals, created by law or under authority of law, having a continuous existence independent of the existences of its members, and powers and liabilities distinct from those of its members. But most of these organizations crossed the border lines and were independent of authority or any sort of law. As a result many independent institutions were unsuccessful economically.

Personal Reflection
Graphic designers though were hired to provide identifiable images. Their work now involved large scale, co-coordinated communication campaigns that was meant to preserve and maintain the identity of a particular co-operation.
Slogans, catchy phrase and logo types began to develop in main steam corporations. Such institutions included UPS, Xerox and also JC Penny, to mention a few. Slogans were usually distinctive chants, phrases, or motto of any party, institution, manufacturer, or even a person. Good visual communication was able to easily gloss over irregularities. These were usually artfully misinterpretation of a specific company or organization. Representation was a far as how employees dressed up, and how they interacted with their immediate society. Their recognition therefore depended on clear and distinctive symbols rather than texts and images.
Ford was launched in a converted factory in 1903 with $28,000 in cash from twelve investors, most notably John and Horace Dodge (who would later found their own car company). During its early years, the company produced just a few cars a day at its factory on Mack Avenue in Detroit, Michigan. Groups of two or three men worked on each car from components made to order by other companies. Henry Ford was 40 years old when he founded the Ford Motor Company, which would go on to become one of the world's largest and most profitable companies, as well as being one to survive the Great Depression. As one of the largest family-controlled companies in the world, the Ford Motor Company has been in continuous family control for over 100 years.
In 2005, Ford Motor Company was among 53 entities that contributed the maximum of $250,000 to the second inauguration of President George W. Bush.
Major Individuals
Max Bill
Josef Brockmann
Emil Ruder
Armin Hofmass
These were members of the Swiss 'Zurich Concrete' group. These were architects, painters, sculptors, politicians, educationalist in short, a 'universal creator'. They stressed highly logical, grid-system of making layouts. They analysed the principles of Concrete Art and sharpened Theo van Doesberg's definition as follows:

" we call those works of art concrete that came into being on the basis of their inherent resources and rules - without external borrowing from natural phenomena, without transforming those phenomena, in other words: not by abstraction. concrete art is independent in its characteristic features. it is the expression of the human spirit, intended for the human spirit, and it should have the sharpness, the clarity and the perfection that must be expected from the human spirit. concrete painting and sculpture imply creating something that is open to visual perception. their creative resources are colours, space, light and movement … concrete art is ultimately the pure expression of harmonious measure and law. it orders systems and uses artistic resources to give life to these orders … it strives for universality and yet it cultivates uniqueness. it suppresses things individualistic in favour of the individual." Bill also requires that art should find a mathematical mode of thought to guarantee that the creative principles can be controlled. In the mean time he sees this as only one of the possible methods, "a useful aid, through which ideas can acquire visible form."
Celebrities often led the way when it came to advertising and establishing one’s image. Artists, politicians, and also business leaders began to grasp the importance of their image. Long hair, short skirts, and highly in your face images became part of everyday of newspapers and magazines. A different side to sense of humor also began to develop. I refer to it as different because it was usually out of the usual and were more sophisticated because it was at this time that homosexually, sex, rockers, was being recognized and liberated. Consumers began to feel like they were being manipulated to indulge or event participate in these events and activities. Retouched images played with jolted perception. At a time were blackness, drugs, and also materialism, these were made sure to be made mention of in the mass media, be it television, radio, magazines, etc. Men were objectified as sex tools to satisfy women and vice versa.

Sources
History Of Graphic Designs
Abstractdesign.com
Wikipedia
Google Images

Week Seven

Introduction

In the following chapters, the book goes on to describe how graphic designing influenced major events that’s too place around this time frame. Graphic designing brought about a movement in the arts, 1929, from modern which was usually referred to as modernism. Modernism is a term that dates back as far as 1737. The general meaning is "deviation from the ancient and classical manner. Advertising had become so prominent in the early 19th century that it was literally used for anything you could possible think of. Images and pictures came to replace the simple notion of providing quality goods and services to its customers which were began to be referred to as consumers. Branding had built a solid foundation in the advertising industry and graphic designers were taking advantage of it. They began to enhance or polish products that indicated status rather than satisfying their needs. This was referred to as conspicuous consumption. This was basically the acquisition and display of expensive items to attract attention to one's wealth or to suggest that one is wealthy.
Time Era
Designing the modern lifestyle usually depicted one’s status and also one’s class. The house one lived in, the car they drive, were few of the many things that lead them to earn a pleasant and respected position in the society. Designers also helped promote all areas of buildings, clothes, cars, created by the culture of a given society. Cinemas, Neon Lights, and Phonographs also played their part in making such events glamorous and attractive. One attention could not help but be attracted to all the flashing lights; neon signs which without a doubt and catchy phrases. In order to make consumption fascinatingly attractive, exploiting new degrees of mobility and leisure was very necessary. New strategies were constantly tested and mediums through which these were done include packaging.
As a result, more products were sold as a result of their prestigious images and other elements that should out. This helped them to remain unique and something you had to have to prove yourself worthy of the status or category you wished to be placed in. Graphic Designing looked very different in the 1900’s. Different discoveries managed to make its way across the Atlantic through trade routes, merchants, and other designers across the globe. Most of these discoveries were experimented art.

Personal Reflection
Mass consumption began to take place as a result of mass production which was the beginning the American system of manufactures. In the middle of the nineteenth century Foreign engineers viewing production on the Western side of the Atlantic Ocean noticed some regularities in the way Americans seemed to do things. Their manufacturing industries made simpler and rougher goods, used much less skilled labor, and seemed to incorporate much more of the knowledge needed to run the process of production into machines and organizations--leaving much less in skilled workers' brains and hands. In the early years of 1929, the New York Stock Market had come to a complete stop and sources of employment had become a big burden of citizens all over the state. In order to the pace of work could be increased. Unskilled workers could be substituted for skilled labor. In other words, skilled and qualified workers would supervise unskilled and unqualified workers who were literate to some extent, not only because they understood procedures and processes of production, but also because they performed they same tasks of supervisors and were played much less than they were. Unskilled farm laborers, immigrants, minorities, and women were usually the victims and were left with n other options or choices. What else were they suppose to do when they had children to cater to and mouths to feed. It is quite ironic that foundation of the whole United States was built by slaves, immigrants and basically foreigners. Natural resources were often exploited from other countries which are now referred to as second and third world countries, to be brought into the United States. Slaves were made to work on these productions of cotton, wood and farm crops. Over 55 percent of the land we call the United States were once land to the Mexicans. Other parts of this land was derived as a result from banishing the Native Americans out of their land and claiming “they did not know how to use the land”
Summary
Public Interest and Campaigns also began to take new turns in the early 1900’s. Graphic Designers were called to a public service and their role was to impact society on political and social issues. Methods of presenting information gained clarity and its impact was embodied with a sense of urgency. During World War II, they only way information that could be made available to the public was through Public Communication. Information designers also adopted visual lexicons that were used for military, scientific and also statistical applications. A lot of information was presented in these magazines, pamphlets, newspapers, etc. Columns, Sections, etc were therefore necessary to compactly place these statistics in an organized manner.


Wartime Propaganda
• Posters were used to mobilize sentiment and action on all sides of the political conflict.
• Government resorted to graphic strategies to drum up war support
Women were encouraged to volunteer and support the military service

Wartime Information
• Diagrams and charts delivered crucial information that presented a dense amount of information in an economical and well organized form
• These encouraged graphic designers to adapt.

Now it is natural to be of two minds about this surge of product differentiation. It seems wasteful--sacrificing potential economies of scale for diversity--and deceptive: Coca-Cola doesn't "really" "add life," does it? Wearing celebrity-brand sneakers while listening to one's ipod does not "really" bring one closer to the lifestyles of rich and famous celebrities than does listening barefoot, does it? Maybe it does.

It makes you feel good about yourself, confident and gives you a little bit of self esteem. You would be surprised at the price difference of popular name brands compared to that of not so popular brands. These weren’t only in clothing and fashion. The products of mass production diffused through America was astonishing: not just automobiles but also washing machines, refrigerators, electric irons, electric and gas stoves--a whole host of inventions and technologies that greatly transformed that part of economic life that takes place within the household. For one of the major consequences of mass consumption was the building-up of the stock of capital goods for within-the-home production.
























Sources
History Of Graphic Design
Google Images