ARTS 10

Group 2
 Paris

industry transport

innovations
 Intensified wealth
creation

Changing consumer
behaviors

Change the way people

purchase material
goods.
In Britain,modernism was felt due to the
Industrial Revolution, increasing in scale
and impact towards the middle of the
19th century. Bayley and Conran traced
such circumstances to the fact that more
people across social classes we're
buying material goods. Because of the
social upheavels, industrial
achievements, and the diffusion of
fastest that no longer esteemed the old
and refined Victorian elegance, to
maintain a single standard (2007)
Meanwhile the United States
embraced mass production and
manufacturing, and machines while
Britain pioneered in the applied art
industry.
Therefore, in stark contrast of Europe,
america was more pragmatic and less
engaged in pursuits of classical, moral
ideals in beauty.
In order to demonstrate the scope of
advertising, other three dimensional and
digital technological forms that are deployed
in visual communication are also included in
this discussion. Advertising grew to
unprecedented levels in post __World war II
America. Print, television, radio are examples
of what advertisers called traditional above-
the-line or ATL media. In the 21st century, the
advertising industry took a digital turn,
evidenced by the rise of motion graphics and
other animated content for websites and
billboards. Even mobile phones are
bombarded by digital content.
 THE
GRAPHICS ARTS

the visual arts based on

the use of line and tone
rather than three-
dimensional work or the
use of colour.
 HENRI TOULOUSE-LAUTREC'S
graphic posters tend to be
synonymous with the infamous
Moulin Rouge, Well dressed
gentlemen, flamboyant ladies,
dancers in puffy petticoats, and
all kinds of creative found
themselves in the graphic posters
of Toulouse-Lautrec.
Simultaneously, a new
entertainment culture emerge
because of the cabaret, the
circus, cafes and clubs,
department stores and the
Moulin Rouge. From here on,
the lines of fine art and
advertising was seemingly
blurred.
Original posters were sold by the
city's art dealers as limited
edition prints and posters were
displayed in galleries and
exhibition spaces like never
before.
As scholars Kirk Varnedoe and
Adam Gopnik explained, artists
help to elevate the posters as art
Toulouse-lautrec's observations of
people on the margins of society------
crooners, dancers, acrobats,
prostitutes, and vagrants--were
keen as though he identified with
them as an outsider himself. The
work of artists Jules Cheret
signalled the modern poster.
Cherets lively floating figures--
known as CHERETTES -popped up
everywhere.
HENRI TOULOUSE-LAUTREC'S
GRAPHIC POSTERS
HENRI TOULOUSE-LAUTREC'S
GRAPHIC POSTERS
HENRI TOULOUSE-LAUTREC'S
GRAPHIC POSTERS
In the contemporary day and age,
companies are explore alternative forms of
visual communication other than the poster.
The london-based agency called The
Partners promoted the permanent collection
of the National Gallery of London by placing
reproductions of masterpieces of
Caravaggio, Van Gogh, Rembrandt, and
many more in the streets, subways, alleys,
outside cafes, and more. The point was to
display the (reproduced) content of the
museum in pragmatic spaces instead of
typical art spaces like Museum and
Galleries.
Art was being brought to the very places that
the public navigate in their day to day
existence. It was called The Grand Tour
Campaign, an arts marketing campaign that
traces its roots from site-specific art itself.
Lastly, 180 Amsterdam created a book as part
of a campaign for Adidas. The personal stories
of athletes like David Beckham are narrated
through graphic illustration with splashes of
color. It was called the Power Within
Campaign. The book was not for sale, only a
marketing collateral.
 THE
ADVERTISING ARTS

 Advertising art can be in the

form of photography, digital
development, illustrations, and
more. The ultimate goal
of advertising art is to persuade
consumers and/ or convey a
message and promote.
 KODAK
Was releasing advertisement since the
early 1900, in the form of black and
white photographs and intelligence
blurbs.
Photography has been seamlessly
integrated in the world of advertising
since the invention of early photographs.
Photography then became a handmaiden
of consumerism and wealth creation.
Richard Avedon (1923-2004) Was an
American fashion and portrait
photographer who help define modern
style, beauty, and taste. His
photographs are in the collections of
vogue, life, and Harper's Bazaar. In the
end of 1950, he became dissatisfied
with daylight photography and open air
locations and so turned to studio
photography using strobe lighting.
Some of the Versace and Calvin Klein
campaigns were photographed by
Avedon. In 1982 he produced color
photographs for Christian Dior.
 AMBIENT MEDIA

Ambient media are out-of-home

products and services determined by
some as non-traditional or alternative
media. Examples are messages on
the backs of car park receipts, on
hanging straps in railway carriages,
posters inside sports club locker
rooms and on the handles of
supermarket trolleys.
Elza Williams published a book
called "This is Advertising" (2010)
that surveys the idea for the student
to see the unlimited possibilities
created by art practices.
In contemporary period advertisers
explore ambient media those: that
are tactile and visible in public and
spaces encounter.
They tell stories through object and
spaces that people navigate in their day
to day existence.
The encounter is then personalize while
associated with significant person to
person experience.
 Increasingly advertisers are creating
opportunities for the public to
participate in the story telling flow,
making them participants or co-creators
of the story.
The advertising agency Wieden and
Kennedy London collaborated with
United visual artist, a collective of
lighting designers to create 14 3D
energy efficient multi colour light
clusters spread across London during
the Christmas of 2007. It was called the
UNITY LIGHTS, a campaign for the
arrival of a Nokia Flagship store in
Regent Street.
UNITY LIGHTS
Mother London
promoted the
London Ink show
(discovery
channel) using
the gargantuan
using the
sculptures of
people with
people striking
realism.
Elsewhere Amsterdam world wide
campaign for Onitsuka Tiger
a Japanese footwear and retail outfit brand.
In 2007
74 sculpture was assemble out of Sushi,
origami vinyl toys, noodles, and chop sticks.
 DIGITAL ADVERTISING AND
INTERNET

Online advertising, also

called online marketing
or Internet advertising or web
advertising, is a form of
marketing and advertising which
uses the Internet to deliver
promotional marketing messages
to consumers.
72 and sunny enlisted several graphic
designers and animators to promote the
Microsoft Zune Digital Media Player.
Most of this artist have their own design
studios.
 Among them are Endless Cookie by
SSSR Studios Intergalactic Swap Meet by
against all odds. La Cadeau Du Temps by
Cory Godbey, Tickle Party by Arthuro
Sandoval and Sam Borkson and Masks
Directed by Naomi Nishimura and
Jonathan Garin.
PHILIPPINE AND
SOUTH EAST ASIA
Examples of
graphic design
applications go as
far back as the
early 1900s. The
logo type of
Ginebra San
Miguel with the
Archangel Michael
trampling upon
lucifer is a concept
and illustration of
Fernando Amorsolo
It has been with the brand ever ince from its
inception until today. It has the power to
remain in the popular imagination because
of the cultural references that are very
familiar to lowland Christian Filipinos.. In the
contemporary period, there are also a
number of southeast Asian examples. In
indonesia, artists who have graduated from
art institutions have the strong impetus to be
creative entrepreneurs. They are proactive,
setting up their own design studios rather
than depending on the private patronage of
creations of pure aesthetic interest.
ARAS DARMAWAN
STUDIED AND
TRAINED IN A
MOTION GRAPHICS
STUDIO IN
NETHERLANDS. HE
NOW RESIDES IN
NEWYORK AS A
MOTION GRAPHIC
DIRECTOR.
ARAS DARMAWAN
STUDIED AND
TRAINED IN A
MOTION GRAPHICS
STUDIO IN
NETHERLANDS. HE
NOW RESIDES IN
NEWYORK AS A
MOTION GRAPHIC
DIRECTOR.
 RITCHIE NED HARREL IS AN INDONESIAN
ARTIST AND DESIGNER WHOSE WORKS CUT
ACROSS ILLUSTRATION, DESIGN, INSTALLATION
AND PERFORMANCE. HE HAS DEVELOPED WORK
AS PART OF AN AUSTRALIAN CULTURAL
EXCHANGE PROGRAM IN PARTNERSHIP WITH
THE JAKARTA BIENNALE. THE ILLUSTRATOR
DIELA MAHARANI AND FASHION DESIGNER MEL
AHYAR COLLABORATED FOR THE SPRING 2015
COLLECTION IN INDONESIA AND CAME UP WITH
A SERIES OF HAUTE COUTURE PIECES THAT
TRADITIONAL ELEMENTS----SUCH AS HUMAN
FIGURES DERIVED FROM THE WAYANG
KULIT------TRANSFORMED IN CONTEMPORARY
HUES AND PATTERNS.
ZAKY ARIFIN AND ADITYA WIJANARKO ARE
INDONESIAN DESIGNERS WHO
CONCENTRATE ON TYPOGRAPHY. HERET
FRASTHIO IS COMMISSIONED FOR
PRODUCT PHOTOGRAPHY. ERIC WIDJAJA
FOUNDED THE THINKING ROOM INC. AS A
DESIGN STUDIO THAT TAKES CARE OF
CONCEPTUALIZATION AND CREATION. THE
GAFIS MASA KINI/INDONESIA
CONTEMPORARY GRAPHIC HAS AN ONLINE
MAGAZINE THAT REGULARLY FEATURES
DESIGNERS TO STIMULATE INTEREST IN
THEM.