These two photographs depict Antonio Guadi's Casa Battlo and Casa Mila.

The first, Casa Battlo was built between the years, 1905-1907 made out of concrete in an expressionist or Art Nouveau style of construction.

The first concept of this building (pictured left) are the massively sized pillars, often compared and resembling an elephant's foot.

The obvious curves around the exterior of the building allow its easy classification as Art Nouveau, whereby Guadi has been assumed to be inspired by a birds nest in its flowing motion and shape.

Guadi continues his obsession with all things natural in Casa Battlo by the various colours generated by the Sun, intended to resemble fish scales.

Antonio Guadi's second building, Casa Mila, built between 1905-1910, built with concrete and masonary. In similar comparison to Casa Battlo, the curvy structure of the entire building is categorized as Art Nouveau.

Personally, this design to such a structure gives the illusion as the building has been warped. contrastingly, many individuals percieve the buildings structure to cave-like huts native in Africa

Gaudi vs Wright

Here is some factual information on architect's Antonio Gaudi and Frank Lloyd Wright, with particular focus on their inspirations/ influence and the influences they have had as a result of their working brilliance.

To begin with...

Spain's own, Antonio Gaudi!

This Art Nouveau focussed architect from the 1800's has confessed his inspirations from all things both physical and supernatural.

Gaudi's main influence's have been the result of his fascination with gothic styled architecture and the organic shapes of nature.

Furthermore, Gaudi has contributed his perception on architecture by that of French architect, Eugene Viollet-le-Duc, whom made his name in the restorations of medieval buildings, coining an identity as a central figure of Gothic Revival in France, alluding to the emergence of Modernism.

Antonio Gaudi further gained influence by nature and all its inhabitants so much, that in viewing of his work, it is easily recognizable of the natural curves and angles prevalent. Gaudi has commented, "“those who look for the laws of Nature as a support for their new works collaborate with the creator".

(Oh yeah, Gaudi also gains his creative edge by his devotion of Catholicism, but im sure by looking at the Sagrada Familia you can notice that)

In similar circumstance, Frank Lloyd Wright so commonly known for his work on the Fallingwater derives his inspirations through nature so much that he is able (and enjoys) to incorporate both the natural landscape and his design in unison. This result gives the finished look a much camouflaged and barely recognisble look to it.

Subjectively, it reminds me of a child's hideaway or treehouse, except it has running water and electricity as a component.

Frank Lloyd Wright gives further credit to his very own mother for his success and inspiration. Wright has claimed that the building blocks given to him by his mother as a toy began his fascination and obsession with architecture.

Further inspiration's he has gained was by the music composed by Beethoven and Japanese art, the latter further involving prints and buildings.

In architect related inspirations, Frank Lloyd Wright mentions Louis Sullivan as this figure, labeling the American as his 'dear master'.

Louis Sullivan has been best known to world architecture in his creation of the first skyscraper, later known as the "Father of Modernism".

Serious Causes of Graphic Design

This week's exmaple of Graphic Design is a promotional printed adverstisement poster by IG Parental Control in making the internet a safer place for children.

In this series of posters, it depicts children as toys (anthromorphism) undressing themselves in various poses. This is intended to illustrate that on the internet children are sometimes made to make sexually explicit images of themselves for online stalkers and peadophiles.

Above the witty photograph of the toys is the tagline, "Children can learn many things on the internet", incinuating their "education" on child pornography.

The core function of this advertisement is to gain support and warn parents of the dangers prevalent within the digital world and further influence them to aid in making it a safer environment.

This week's example was found in a design book i was browsing through during the week at a shop, where i was lucky enough to take a quick photo before any of the staff caught me doing so

=)

In reference to the question on the style of the design, i would interpret this piece of work to be derived from the Late Modern era of 1945-1970.

Reasoning behind this selection can be notified in the combination of text and imagery in the concept. Furthermore i would infer that the design piece has a clean look and finish to it by means of its simplicity and ability not to lose the intended message by means of extra text or images.

Through my class notes, i was able to conclude that this Late Modern design era in terms of advertising became known as "New Advertising" in the ability to incorporate imagary with text in a clean-cut finish and simplicity.

The typeface utilised in the advertisement is an easil recongnisble calligraphic cursive font, centrally aligned along the top of the header. I believe this selection of font is beneficial as, in analytical response, the human eye when posed with a serif font is easier to remember by the ability of the eye to follow the direction and motion of the serifs from each word.

The individual factor which gained my attraction to this work is the wit and humour illustrated in the ad of the entire use of plush toys undressing themselves. This ability to use use such wit makes the concept much louder in its approach to gaining attention
Another reason, in relation to the toys themselves, is even though at first this is a great strategy to gain attention, after reading the text, it is able to inexplicably change the mood of the individual from humour to seriousness all within a few seconds.

Another facet of the design i like upon closer speculation is the progressive movement made possibly in positioning and aligment. This action is as follows:

-first recognition of the image

-eye is then guided to the header to read the tag ling

-eye bought down to the right side of the image and followed down

-image guides to bottom right of footer for logo representation

"Just for Laughs"

Week 2: Gettin' into the Swing of Things

This week's grapic design installment is an outdoor advertisement, produced by the Saatchi & Saatchi design agency in Sydney.

The advertisement itself is a campaign to curb drink driving in Australia by use of black skid marks (like that of a car) leading from the road onto bus shelters, pavements and park benches (as depicted in the photographs), concluding with the slogan, "DRINK DRIVING ENDS HERE".

As previously mentioned, its functionality is to reduce drink driving by depicting consequences of this action by means of ending up off the road and damaging surrounding facets, for example, other pedestrians.

I was able to find this campaign advertisement in a purchased graphic design book titled,

"Guerilla Advertising" by Gavin Lucas and Michael Dorrian.

This style of design, is, as mentioned by the book's title, guerilla advertising.

The reasoning behind this concept of design can be related to the fact that primarily, this form of design in unexpected and ultimately interactive by the general public. This is achieved by means of civilians able to easily access the design in everyday actions.

Furthermore, this outdoor advertisement is thought-provoking by the audience in a manner, whereby their eye is forced to follow the skid mark up to the banner coining the phrase, "DRINK DRIVING ENDS HERE". As a result, obliged to realise the reality of the message being conveyed.

In relation to typography, a large white filled Arial Black typeface has been selected. The probable reasoning behind this choice is the type's ability to instantly gain the viewers attention and easily read out the intended message.

The clarity of Arial Black enables a simplistic ability of sending across the desired message without losing attention or getting bored, possibly resulting in loss of attraction.

In regards to the quality of the artwork, upon subjective belief, i believe the concept is of high quality.

The reasoning behind this decision is in comparison that this idea goes beyond print advertising, whereby, the design itself, becomes part of the surrounding environment.

The main factor of this design concept which gained my attention was the designer's innovatice idealogy in taking the client's intentions further then possibly expected via its incorporation into the natural environment.

Another attention grabbing part of the design, personally, is the loud, witty and energetic ability of the designer to "go one step further", so that as a student of design, i find this artwork inspiring for future projects.

In continuation, this progressive piece represents to other designer's of all regions that this example of work is the established benchmark for the modern day

"Do you think this is

Graphic Design?"

Week 1: Virginal Blog Entry

This week's analytical response to a form of graphic design has been derived by the front cover of a brochure.

The core function of this cover page hold two function's. Its first function is gaining the attention of the reader/audience, achieved by the central figure, with her eyes directed towards the viewer, holding a subtle invitation towards reading the brochure's entirety.

The second function of this cover page is in the introduction of the product itself. This task has been accomplished with an image of the product and a tag line of the company directly underneath.

I was fortunate enough to actually take this brochure home from work after i had found it during the initial clean-up at the conclusion of the function.

The style of the design itself has influence's from the psychedelia period, generated by the curving and colourful artwork depicted around the border. In continuation, this design holds influence's from the The Swiss Movement of the 1950s-mid 1980s. This influence can be viewed with the designs non exaggerated claims of commercial advertising of objective clarity and simplicity.

In relation to the typography, very little has been used, albeit the tag line at the bottom of the page, with a carefully selected serif typeface.

In conclusion, the main aspect of this design which gained my attention of the centralised face and its creation in black and white with its remaining pulsating green eyes kept in tact, if so, further exaggerated. In addition, i enjoyed the feathered effect of the face integrated amongst the painted artwork.

Continually, the bordered artwork, was the most personally appreciated feature of the design in its ability to gain my attention and guide my eye around the entire page by following the lines.

The simplicity of the concept, too i enjoyed as its clarity made it more orderly to view without becoming an eye sore.

"Is this Graphic Design?"

"Really wish i could change the dark blue background to a more subtle yellow-brown"