Suny Cobleskill is a great place to be, the scenery and nature that surrounds it is amazing. The people are just as great, everyone is friendly, the professors are always there and willing to help. The physical campus is well kept and maintained all year long, the sporting teams are very organized and active on campus as well. I could not be happier with the choice of my major, Graphic Design, It allows me to be creative and express myself in many ways. The visual concepts and problem solving really keep me interested and willing to learn. As i am getting farther into my degree i realize that this major is very suitable for myself, the way we can use words and imagery to convey different meanings and messages is an important part of life. -Alex Acompora
The State University of New York College of Agriculture and Technology at Cobleskill has a rich academic tradition that spans nearly 100 years. Today, over 2,500 students are enrolled in the 52 associate and baccalaureate degree programs offered through The School of Agriculture and Natural Resources and The School of Business and Liberal Arts & Sciences.
In Kandinsky’s poster we notice certain visual principles applied that increase the overall quality. Through the use of grids Kandinsky was able to align all his type and images to create a sense of unity, even though the grid is on an angle. By lowering the opacity of his self-portrait Kandinsky was able to partially blend the image into the background, creating a nice effect. This poster can relate to the International Typographic Style because of the similarities they share in cleanliness, readability and objectivity as well as the use of a grid. Another comparison is the fact that when using the International Typographic Style, it is most commonly associated with photography rather than illustrations.
Here we see a display at a Wim Crowel exhibition, of his work from 1952 until 1963.
The Design Museum celebrated the prolific career of the Dutch graphic designer Wim Crouwel in his first UK retrospective. Regarded as one of the leading designers of the twentieth century, Crouwel embraced a new modernity to produce typographic designs that captured the essence of the emerging computer and space age of the early 1960s. Spanning over 60 years, the exhibition covered Crouwel’s rigorous design approach and key moments in his career including his work for design practice Total Design, the identity for the Stedelijk Museum, Amsterdam, as well as his iconic poster, print, typography and lesser known exhibition design. The exhibition explored Crouwel’s innovative use of grid-based layouts and typographic systems to produce consistently striking asymmetric visuals.
Some visual work by Wim that can be presented digitally to the world.
A Graphic Odyssey, by Wim Crouwel is a digital catalogue expanded and enhanced version of the printed catalogue published by Unit Editions and the Design Museum to accompany the recent Wim Crouwel exhibition at the Design Museum in London.This being meant for an iPad,the app offers more than the printed catalogue: as well as a comprehensive overview of the work of the great Dutch master in words and pictures, the viewer has access to a filmed interview with Crouwel, a photographic record of the show itself, and a range of animations using the letterforms designed by Wim Crouwel during his long career.
An interesting sort of type created by Wim Crouwel himself, it reads Claes Oldenburg.
Heavily influenced by grid-based International Typographic Style, Crouwel is a purist at heart, yet his work displays a playful view on design and typography. He expressed the idea that design should simply communicate information to the viewer with as few ornaments and as little styling as possible. Crouwel is still an active member of the Dutch graphic design scene as an advisor in Total Identity, previously known as Total Design. The company has over 150 designers working in 6 cities.
Heres 4 pages from a calendar created by Crowel himself, through the use of typography.
As a functionalist Crouwel focussed on the readability of his work. But when he had to make a choice between readability and aesthetics, he chose aesthetics. Wim states“,When you’re a functionalist you want to make things comprehensible, readable, make your ideas visible. I feel myself being a modernist, a functionalist, but aesthetics always stand in the way.”