The Nose, a publication designed to draw attention to relevant social issues as well as trivial
Furthermore, each publication of The Nose is unique in both design and production. Throughout the theme-based magazines, clever die-cuts, customs gatefolds and surprising inserts help support the content in a fun and engaging way. In addition to that, The Nose has received the positive response from the design and illustration community since the initial launch in 1997. Besides, the work has also been accepted into many industry competitions (Chwast & Heller, 2008, p. 114).
In 1970, Seymour Chwast was invited to visit the Louvre Museum of Decorative Arts in Paris that organized the exhibition for two months. The theme was "Push Pin Style" retrospective, which has been highly appreciated by the French world of art. There have been exhibitions that base the theme on the Push Pin in Brazil, Japan, Europe and other places (Gomez-Palacio & Vit, 2009, p. 56). This is evident that his works and exhibition have been acknowledged in the international arena. In other places like New York, the Cooper-Hewitt Museum, Smithsonian Institution, Library of Congress, the Gutenberg Museum and the Israel Museum his artwork has been accepted for permanent collections of the Museum of Modern Art. Generally, it is clear that The Push Pin Groups distinct style has had a worldwide influence on contemporary visual communications (Heller & Chwast, 1988, p. 99).
His man focus was on the thought and feelings of an individual, which he expressed in his art work. Thus, he succeeded in bringing out the importance of artistic expression into graphic design and at the same time being able to achieve the aesthetic and functionality (Bruckner, Chwast & Heller, 1984, p. 70).
Seymour Chwast had an interview where he shared out his design concept. He once said that When you paint for yourself, of course, you can follow your inner feelings, but when the painting is for others, you must use their favourite expression. You employed by others often must stand in someone else's point of view and standpoint to experience their very own emotions. The importance of customer insight has far beyond your imagination. His words were influential since it openly decreed that a good graphic designer should be able to be a good listener. (Airey, 2010, p. 136).Basing on the legacy that he has created, for being a master at his artwork, especially in the spectrum of graphic design, Chwats has maintained being a very influential artist. His influence is mostly effective among the upcoming artists whose major focuses are on graphic designers. Individually, Chwats pieces of graphic art have beena baiss for great inspiration and influence in my artwork. Since most of his designs and illustrations have been widely recognized and have also been utilized as, illustrations, record covers and children's books, animated films, graphics, posters, package designs and magazines, it influences me to become a great artist of his calibre so that my work could be acknowledged and also have a positive effect towards poelpe and how they reflect on art (Drew & Sternberger, 2005, p.77). This makes me realize that being a good graphic designer requires intense creativity and imagination. Indubitably, I think it is important to have the vigour, drive, and vision that can produce a constant flow of inspirational ideas. In particular, I firmly believe that understanding exactly what graphic design is may change the interpretation of how design can be used for beneficial purposes, universally (McAlhone & Stuart, 2004, p. 54).
Chwats uses ones thoughts and feelings in his art to expressa an intended notion.This aspect of art where Chwats is influenced by thoughts and feelings has geatly influenced my work. Genrally, my focus was on the immediate situations that wer face. However, with deep thoug and evaluation of the situation, art can be greatly influenced by how these factors bring about the aspect of reality in the. He also uses feelings to give his work mood, theme and symbolism. Unlike many other artists, Chwast focuses his art in realism (Heller & Fernandes, 2006, p. 104). This has influenced mny work and intersts in art greatly as I am able to eflect on his syles in order to make a sense out of mine. His works ae symbolic and often represent something significant or something that peope can esily relate to. The effect of graphic design and the impact that graphic design has towards the socity through visual communication is a consideration that Chwast makes in all his graphic designs. This is also another factor that has influenced my work because I focus on the posistivity of graphic design and if well presented, the impact that it may have to the society. This is a very effective way in which artistic designer, just like Chwast use to pass thei messages. Through his graphical designs of banners, logos and flyers used in the political atmospheres and other commercial activities, he has influenced my ability to try out new things. I was limited to painitngs and drawings but through the influential works of Chwast, I am now able to focus on other apsects of graphic designing instaed of limiting myself to a general one (Millman, 2007, p. 88).
Conclusively, graphic designers have an enormous influence to most people because it encompasses livelihood on a daily basis. Imagination, ability to symbolize all the customer needs, with a touch of innovativeness, creativity are foremost qualities to be put into top consideration to convey a stylish, modern and elegant presentation of a stunning image.
Total words : 1552
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CA, New Riders.Bruckner, D. J. R., Chwast, S., & Heller, S. (1984). Art against war: 400 years of
protest in art. New York, Abbeville Press
Chwast, S. (1995). Bookend: "War and Peace," the Comic Strip. The New York Times
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Drew, N., & Sternberger, P. (2005). By its cover: modern American book cover
design. New York, Princeton Architectural Press.
Garrett, M. (2016). A Romantics chronology, 1780-1832.
Gomez-Palacio, B., & Vit, A. (2009). Graphic design, referenced: a visual guide to the
language, applications, and history of graphic design. Beverly, Mass, Rockport Publishers.
Heller, S., & Chwast, S. (1988). Graphic style: from Victorian to post-modern. London,
Thames and Hudson.Heller, S., & Chwast, S. (1989). Surrealism. New York, Mohawk Paper Mills and
Heller, S., & Fernandes, T. (2006). Becoming a graphic designer a guide to careers
in design. Hoboken, N.J., J. Wiley & Sons. http://www.123library.org/book_details/?id=21062.
Heller, S., & Talarico, L. (2008). The design entrepreneur: turning graphic design into
goods that sell. Beverly, Mass, Rockport Publishers. http://public.eblib.com/choice/publicfullrecord.aspx?p=3399788.
Homer, & Dietz, N. (1989). The Odyssey. Prince Frederick, MD, Recorded Books.
La Farge, P., & Chwast, S. (2016). The pancake king.McAlhone, B., & Stuart, D. (2000). A smile in the mind: witty thinking in graphic
design. London, Phaidon Press.
Millman, D. (2007). How to think like a great graphic designer. New York, Allworth Press.
Raizman, D. (2003). History of modern design: graphics and products since the industrial
revolution. London, Laurence King.
Symposium. (2009). Author index. 1, A-1-A-29.Walsh, E. (2014). Penelope. New York, Nick Hern Books.
Zalman, S. (2015). Consuming surrealism in American culture: dissident modernism.
Figure 1. Push Pin Studios. (1952). The Push Pin almanack. New York, Push Pin
Figure 2. Chwast, S., & Heller, S. (2008). The nose. No. 1...
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