Week Six

Introduction
During the 1880’s and the 1900th, arts and crafts had begun to take over a new form. Designers had changed their overall approach to the methods of production due to the advancement in technology. Graphic Designing had always been used as a form of communicating ideas, opinions, values, and culture. This time around, their main focus was to deliberately address social and cultural issues that were at hand. It went on to talk multi disciplinary fields such as architecture, furniture and decoration, etc.

Time Era
Original styles of painting seemed never to be out of place during the early 1900’s, this was also because of the influence some people had, and how they placed emphasis on the importance of the working class and its effects on graphic designing. These individuals include Karl Marx and Fredrick Engels. Everyday objects in our day to day life should be beautiful, precise, well designed and anything proved less of the inhabitants of that society.
The Arts and Crafts Movement began primarily as a search for authentic and meaningful styles for the 19th century and as a reaction to the eclectic revival of historic styles of the Victorian era and to "soulless" machine-made production aided by the Industrial Revolution. Considering the machine to be the root cause of all repetitive and mundane evils, some of the protagonists of this movement turned entirely away from the use of machines and towards handcraft, which tended to concentrate their productions in the hands of sensitive but well-heeled patrons.

Yet, while the Arts and Crafts movement was in large part a reaction to industrialization, if looked at on the whole, it was neither anti-industrial nor anti-modern. Some of the European factions believed that machines were in fact necessary, but they should only be used to relieve the tedium of mundane, repetitive tasks. At the same time, some Arts and Crafts leaders felt that objects should also be affordable. The conflict between quality production and 'dem

' design, and the attempt to reconcile the two, dominated design debate at the turn of the twentieth century.
Graphic designers and artists made journals and diaries in which their explained their views, opinions, etc of a particular situation at hand, they also made sure to add their suggestions and also recommendations. Paper was not easy to come across, so handmade paper was used instead. This was able to accelerate word of mouth and also allowed the word of these artists to spread rapidly and conveniently. Vendors to publish journals were usually kiosks and bookstores. This was thus made available to the whole public and furthermore anyone who was interested in reading them. Obviously filled with sensitive topic that could easily cause a protest or uproar was written in these journals. I would also say that the vendor also took a risk upon himself to sell particular diaries of certain artists.


Personal Reflection
The whole United States of America was influenced by this, especially the Midwest and Eastern parts of the states. This began to influence forms and ways of cultivating thinking. It then resulted in Public Opinion. Different artists in the world began to diverge from common forms of artistry and began to adopt unique styles that singled them out from their counterparts in other parts of the world. These were Paris, Berlin and also Vienna.


Fortunately, new forms of this artistry were referred to as Art Nouveau. Developed in during the 1890’s though 1900’s, this new artistry explored a new style in the visual arts and architecture that developed in Europe and North America at the end of the nineteenth century. The exhibition is divided into three sections: the first focuses on the 1900 World's Fair in Paris, where Art Nouveau was established as the first new decorative style of the twentieth century; the second examines the sources that influenced the style; and the third looks at its development and fruition in major cities in Europe and North America.
At its height exactly one hundred years ago, Art Nouveau was a concerted attempt to create an international style based on decoration. It was developed by a brilliant and energetic generation of artists and designers, who sought to fashion an art form appropriate to the modern age. During this extraordinary time, urban life as we now understand it was established. Old customs, habits, and artistic styles sat alongside new, combining a wide range of contradictory images and ideas. Many artists, designers, and architects were excited by new technologies and lifestyles, while others retreated into the past, embracing the spirit world, fantasy, and myth.
Art Nouveau was in many ways a response to the Industrial Revolution. Some artists welcomed technological progress and embraced the aesthetic possibilities of new materials such as cast iron. Others deplored the shoddiness of mass-produced machine-made goods and aimed to elevate the decorative arts to the level of fine art by applying the highest standards of craftsmanship and design to everyday objects. Art Nouveau designers also believed that all the arts should work in harmony to create a "total work of art," or Gesamtkunstwerk: buildings, furniture, textiles, clothes, and jewelry all conformed to the principles of Art Nouveau.
Judgendstil was an artistic Artistic style that arose near the end of the 19th century in Germany and Austria. Its name was derived from the Munich magazine Die Jugend ("Youth"), founded in 1896, which contained Art Nouveau designs. Its early phase, primarily floral in character, was rooted in English Art Nouveau and Japanese prints; a more abstract phase emerged after 1900. Primarily a style in architecture and the decorative arts, it also included the great Austrian painter Klint Gustav.
Other forms of artistry also developed which were mainly Decadence Aestheticism and also French Symbolism. These were often suggestive and filled with twists. Nude women, men, and also animals were in these pictures. These were basically an expression of renaissance fostered by Arts and Craftsmen. Cobden Sanders and Emery Walker took over Dove Press though and made some drastic changes. They resorted to only using the best material and also the finest workmanship. As a result, elegant type and exquisite printing were usually outcome of their work.

Summary
During this same time, a critical foundation for professional practice was built. There was revolution and people started to become more aware of spiritual intergrity and they began to react to the developing technology around them. They were newly defined principles of graphic designing which was also a factor and agent of social change.

This was during World War 1. Mass media, public opinion, and persuasion went hand in hand during this time. Photo graphic images were becoming very popular and motion pictures created more excitement in the entertainment industry. Never before had people seen moving, live pictures.
They used to still pictures that told a story while it stood still, but in this case, moving pictures could do a lot more than make an onlooker guess what he or she is doing or about to do, according to the texts that usually came with pictures. The way in which information was spread caused it to be recognized, which influenced major key players in Graphic Designing make it an academic field. The name given to the institution which taught this was called Bauhaus. Bauhaus was influential, forward-looking German school of architecture and applied arts. It was founded by Walter Gropius with the ideal of integrating art, craftsmanship, and technology. Realizing that mass production had to be the precondition of successful design in the machine age, its members rejected the Arts and Crafts’s emphasis on individually executed luxury objects. The Bauhaus is often associated with a severe but elegant geometric style carried out with great economy of means, though in fact the works produced by its members were richly diverse.

Source
History of Graphic Design
Wikipedia
Google Images
An Introduction to Art Nouveau