The Postmodern Era of Graphic Design Essay Example for Free

The Postmodern Era of Graphic Design Essay The 1980s was characterized with the rise of eclecticism as an art trend. Style was no longer dictated by established rules but by the random convergence of different theories and practices. The aforementioned phenomenon, in turn, ushered the postmodern wave in graphic design. The liberal atmosphere that prevailed over their craft prompted many graphic designers to come up with more creative and daring works. In the late 1970s, some educators in the field of graphic design started questioning the rigidity and minimalism of graphic modernism (Heller 9). Graphic modernism, a graphic design trend that originated from Switzerland in the 1950s and the 1960s, placed emphasis on simplicity, universality, rationality, abstraction and structural expressionism (Heller 6). It was eventually became the standard style in several corporate and institutional design groups both in Europe and in the US. The academe soon followed suit – schools such as the Philadelphia College of Art, University of Cincinnati and Yale developed curricula that emphasized the prolonged study of abstract design and typographic form (Heller 7). In the process, graphic designers who worked outside the academic and corporate settings were alienated. Majority of these artists were strongly affiliated with the punk movement of the late 1970s and early 1980s. They expressed their adherence to punk culture through aggressive, destructive and uninhibited graphic designs. Some of them, however, combined the influences of punk culture and graphic modernism in their works, bringing about the era of postmodernism in graphic design (Raizman 360). British-born Neville Brody was one of the most well-known graphic designers who used this novel style. He parodied the uniformity and consistency of corporate graphics by experimenting with original lettering and trademarks. Magazines such as The Face later used his typefaces, paving the way for their development towards being able to convey moods and attitudes beyond the range of fonts available from foundries (Raizman 360). One of Brody’s typefaces, Industria (1984), was â€Å"a bold sans serif typeface with a combination of blunt rectangular positive and negative shapes and knife-edged terminations for a number of letters† (Raizman 360). Other graphic designers of the punk movement, meanwhile, made their works from found material. Using pictures and texts that were cut from old magazines and newspapers, they were able to come up with striking posters that conveyed entirely new messages (Poynor 41). This torn-paper collage approach to graphic design eventually became the springboard for the development of other forms of postmodern graphic design. Other graphic designers used loose, spontaneous brush strokes in their paintings in order to make them resemble torn-paper collages (Poynor 42). Some low-budget club promotions, meanwhile, gave existing art an edgy twist by deconstructing them (Poynor 38). The advent of computer technology in the 1990s and in the beginning of the 21st century further entrenched the era of postmodernism in graphic design. The availability of affordable (if not free) and user-friendly computer software can allow anyone to create striking graphic designs. With just a little creativity, even those who did not undergo formal training in graphic design can come up with works that can surpass even those of professionals. It would be fair to say, therefore, that postmodernism democratized the concept of graphic design. Without any rules to follow except his or her own, anyone can create an artwork using materials that are either affordable or free. The only factors that should be taken into consideration are individual creativity and imagination. Indeed, it is only human beings who put a limit to whatever they are capable of accomplishing. Works Cited Heller, Steven. The Education of a Graphic Designer. 2nd ed. New York: Allworth Communications Inc. , 2005. Poynor, Rick. No More Rules: Graphic Design and Postmodernism. London: Laurence King Publishing, 2003. Raizman, David. History of Modern Design: Graphics and Products since the Industrial Revolution. London: Laurence King Publishing, 2003.

Lewis is portrayed as a nice character but maybe a bit nervous as he :: Free Essay Writer

Lewis is portrayed as a nice character but maybe a bit nervous as he did wish Morse a Happy Christmas even though Morse has been quite horrible. Morse's Greatest Mystery The first impression the reader gets of Morse is that he can appear rather moody. â€Å"Morse banged down the receiver and sat silent† This suggest Morse is fed up with the bank because they are not telling him things .He slams down the receiver which shows he I taking his anger out on other things and he sits in silence maybe to reflect over his thoughts. Clearly, he is very angry and that is why Lewis acts nervously around him because he does not want the blame taken out on him. Morse can be portrayed as aggressive. â€Å" . . . . . . These bloody bank charges † This shows Morse using aggressive language to cope with bad news. People use bad language as another form of an expression of anger or frustration. Morse appears quite angry about his bank accounts so maybe he has been in debt before and something bad has happened. As readers, we get the impression that he is violent and angry which makes him quite a vicious character. Morse appears a bit of a loner. â€Å". . . . . . Morse’s North Oxford flat† This suggests Morse lives on his own in his own flat and through out the passage it never mentions a wife or partner. It seems Morse does not have much of a social life, which is unusual, as this time of the year is usually spent celebrating. Clearly, he is too wrapped up in his work to have a social life. We understand from this story the person he spends most of his time with is Lewis .So that explains why towards the end of the passage they wish each other Happy Christmas even though Morse is not very inclined to show his feelings as he just whispers it back. A different aspect of Morse that we pick up from this story is he can be kind â€Å". . . . Its about the  £400 you withdrew† So this extract shows Morse actually took the  £400 that had been stolen out of his own bank account to give to the hospital. But put it in an anonymous envelope and sent it to Lewis. Morse can be a nicer person and will go to his own expense to help other people. Maybe he did it because he wanted the children at Littlemore to have a good Christmas and a good life because he does not enjoy his.

Farewell to Arms

People often find meaning in their lives by devoting themselves to a certain passion or conviction. In Ernest Hemingway’s A uk/farewell-to-manzanar-2/">Farewell to Arms, individuals struggle to find meaning and order in an otherwise chaotic and war-torn world. For example, Frederic Henry, who has little sense of direction or purpose from his demoralization from war, seems to find solace in love, which serves as the conviction Frederic needs to obtain peace and stability. Although his attempts to find order fail and lead to great suffering for him, Frederic ends up maturing greatly, with a better understanding of life.Hemingway uses Frederic’s conflict between his duty as a soldier and his love for Catherine to demonstrate that maturity and true solace come from following a conviction and gracefully accepting the hardships that may follow. Frederic begins the war as a naive and detached young man seeking for a purpose in life to guide him through life’s troubles. He lacks the conviction needed for him to direct his decisions and live a meaningful life; he thus tries to find structure by enrolling in the war.However, since he is an American with little connection to Italy, Frederic does not have a viable reason to feel committed to the Italian army, evident when he says: â€Å"Well, I knew I would not be killed. Not in this war. It did not have anything to do with me† (37). Even the promise of honor and the duties of patriotism mean little to Henry. Frederic voices his opinion of the irrationality of the war rhetoric by saying: â€Å"I had seen nothing sacred, and the things that were glorious had no glory and the sacrifices were like the stockyards at Chicago if nothing was done with the meat except to bury it† (185).Despite the romanticized ideals about the war, Frederic feels that countless people were dying, not in dignity but in futility, and were rewarded with a disregard that is comparable to animals getting slaughtered i n stockyards only to be buried right after. Frederic is unwilling to sacrifice for the war, as he feels neither an attachment to the Italian army’s cause nor an interest in the patriotic war rhetoric. Frederic slowly restores the passionate and expressive side of him that was lost from the war; his love for Catherine outweighs his loyalty to the army, enabling him to flee the war and find peace.As he talks with Frederic about the void in their lives of religion, Count Greffi states: â€Å"you are in love. Do not forget that is a religious feeling† (237). True to the Count’s remark, both Frederic and Catherine treat their love with a religious devotion. As a result, Frederic develops a sense of meaning and purpose by isolating himself with Catherine, away from the chaotic and corrupt world around them. He finally finds peace when he separates himself from his chaotic surroundings to follow his desire: â€Å"I was going to forget the war.I had made a separate pea ce† (243). His newfound sense of purpose is strong enough that Frederic can bring himself to ignore the potential risks of abandoning his military obligation in favor of following his passion. Frederic suffers through great heartbreak by following his desires rather than his moral duty, but through these experiences, he obtains wisdom and an acceptance of life’s tragedies. After Catherine’s tragic death, he acknowledges that â€Å"I haven’t any life at all anymore† (300).Fredric realizes too late that Catherine was mistakenly the only source of order and strength in his life and is truly devastated as a result. But, as he says when talking to the priest about peasants fighting in the Italian army: â€Å"They were beaten to start with. They were beaten when they took them from their farms and put them in the army. That is why the peasant has wisdom, because he is defeated from the start. Put him in power and see how wise he is† (179). Frederic himself believes that enduring hardships leads to a greater wisdom and understanding of the world.As if predicting the tragic end of his relationship, Frederic says: â€Å"If people bring so much courage to this world the world has to kill them to break them, so of course it kills them. The world breaks every one and afterward many are strong at the broken places† (249). Frederic, through his own suffering, is forced to understand that peace and stability must come from within himself, not from external means such as people or institutions, for the world is cruel and unpredictable.Because of the suffering that ensued from following his conviction, Frederic is able to obtain a wisdom that would be unattainable had he not done so. The love Frederic feels for Catherine outweighs the moral obligation he feels to the Italian army and gives him something to live for. Though he initially suffers from his growing pains, at the end of the story, he is noticeably more mature and accep ting of his hardships. Ultimately, Frederic’s love and his military obligation, two of his many solaces to the chaos during the war, serve merely as stepping stones in his search for true meaning in life.

The Difference Between Intensive and Extensive Properties

Intensive properties and extensive properties are types of physical properties of matter. The terms intensive and extensive were first described by physical chemist and physicist Richard C. Tolman in 1917. Heres a look at what intensive and extensive properties are, examples of them, and how to tell them apart. Key Takeaways: Intensive vs Extensive Properties The two types of physical properties of matter are intensive properties and extensive properties.Intensive properties do not depend on the quantity of matter. Examples include density, state of matter, and temperature.Extensive properties do depend on sample size. Examples include volume, mass, and size. Intensive Properties Intensive properties are bulk properties, which means they do not depend on the amount of matter that is present. Examples of intensive properties include: Boiling PointDensityState of MatterColorMelting PointOdorTemperatureRefractive IndexLusterHardnessDuctilityMalleability Intensive properties can be used to help identify a sample because these characteristics do not depend on the amount of sample, nor do they change according to conditions. Extensive Properties Extensive properties do depend on the amount of matter that is present. An extensive property is considered additive for subsystems. Examples of extensive properties include: VolumeMassSizeWeightLength The ratio between two extensive properties is an intensive property. For example, mass and volume are extensive properties, but their ratio (density) is an intensive property of matter. While extensive properties are great for describing a sample, they arent very helpful in identifying it because they can change according to sample size or conditions. Way to Tell Intensive and Extensive Properties Apart One easy way to tell whether a physical property is intensive or extensive is to take two identical samples of a substance and put them together. If this doubles the property (e.g., twice the mass, twice as long), its an extensive property. If the property is unchanged by altering the sample size, its an intensive property.