A presentation by Use All Five creative director J.J. Kaye that covers the field of Communication Design from Pre to Post-Internet.

1. Design of Communication
USE ALL FIVE culture and technology
August 14, 2014 Client Name

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WHERE WE ARE
HOW WE GOT HERE
WHERE WE’RE GOING

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WHERE WE ARE
HOW WE GOT HERE
WHERE WE’RE GOING

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where we are

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Communication is multi-
threaded, asynchronous,
public and private.

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where we are
Why do we care?

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where we are
Because
design for the web
is
communication
design

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where we are
What is
communication
design?

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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.

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where we are
Big “D” Design
and
little “d” design

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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.

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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

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Gesamtkunstwerk

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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)

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where we are
Also Known as Aesthetics

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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.

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where we are
Aesthetics + Semiotics
= Design

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WHERE WE ARE
HOW WE GOT HERE
WHERE WE’RE GOING

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how we got here

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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.

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how we got here
Historical intersections of
culture and technology

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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

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how we got here
After 1977

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how we got here
Personal Computers - 1980s

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how we got here
Web - 1984 Prodigy Internet Service / 1985 AOL

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how we got here
Social Media - 1994 Beverly Hills Internet (BHI) started Geocities / 2004 Facebook

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how we got here
Mobile - June 29, 2007 iPhone

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how we got here
Modernism
and the 20th Century

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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

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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.

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how we got here

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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.

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how we got here

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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

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how we got here

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how we got here

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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

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how we got here

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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

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how we got here
Walter Gropius

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how we got here
Josef Albers

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how we got here
László Moholy-Nagy

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how we got here
Post War Period

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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.

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how we got here

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how we got here

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how we got here
Josef Muller Brockmann formalized the grid system

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how we got here
Josef Muller Brockmann

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how we got here
Adrien Frutiger created Univers as a clean rational approach to Futura

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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.

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how we got here
International Style

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how we got here
International Style

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how we got here
Paul Rand

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how we got here
Paul Rand

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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

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how we got here
Stefan Sagmeister

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how we got here
David Carson

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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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WHERE WE ARE
HOW WE GOT HERE
WHERE WE’RE GOING

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how we got here

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how we got here
Understand your audience
Clear thinking creates clear design
Use humor to humanize
Design Principles of UA5

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