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    The “priorities” of the title of the conference may be interpreted with regard to three directional axes: Aesthetics, Ethics and Personality. The… Read More
    The “priorities” of the title of the conference may be interpreted with regard to three directional axes: Aesthetics, Ethics and Personality. The Aesthetics refers to the principles of design, the Ethics to the code of conduct of design and the respect of the rules of social function and the Personality to the life experiences of each individual. A series of references were used as the basis of the designing of the specific poster as well as of the entire campaign of the conference: the fundamental design principles of Bauhaus and emphasis on such concepts as the line, the shape, the analogy, the motion and the rhythm/the grid (Grid System Raster Systeme of Josef Müller - Brockmann) and the Dadaist, abstract film of Marcel Duchamp Anemic Cinema. These references led to the creation of a shape of a linear funnel that refers not only to the shape of loudspeakers which broadcast a message to society in a dynamic way, as is the case of propaganda kiosks of Gustavs Klucis but also to funnel/walkway of the souls’ progression to heaven, as is the case in the painting of Hieronymus Bosch, Ascent of the Blessed; in this case, the shape – object – conference is depicted as if it comprises the driving force for a better tomorrow. Read Less
    Published:
6th International Conference on Typography & Visual Communication (ICTVC) with the theme "Discussing priorities, Developing a field"
The “priorities” of the title of the conference may be interpreted with regard to three directional axes: Aesthetics, Ethics and Personality. The Aesthetics refers to the principles of design, the Ethics to the code of conduct of design and the respect of the rules of social function and the Personality to the life experiences of each individual. A series of references were used as the basis of the designing of the specific poster as well as of the entire campaign of the conference: the fundamental design principles of Bauhaus and emphasis on such concepts as the line, the shape, the analogy, the motion and the rhythm / the grid (Grid System Raster Systeme of Josef Müller - Brockmann) and the Dadaist, abstract film of Marcel Duchamp Anemic Cinema. 

These references led to the creation of a shape of a linear funnel that refers not only to the shape of loudspeakers which broadcast a message to society in a dynamic way, as is the case of propaganda kiosks of Gustavs Klucis but also to funnel/walkway of the souls’ progression to heaven, as is the case in the painting of Hieronymus Bosch, Ascent of the Blessed; in this case, the shape – object – conference is depicted as if it comprises the driving force for a better tomorrow.

What design is and isn’t

Design often has the properties of good looks, which perhaps is why it’s often confused with style.
But design is about the underlying structure of communicating — the idea, not merely the surface qualities.

The late, great designer Saul Bass called this “idea nudity” — messages that stand on their unadorned own.
Certainly, it’s possible for a good idea to be poorly executed.


The value position

Design - good design - is not cheap. You would be better served to spend your money on something else if you don’t place a high value on what it can achieve. There’s a view in Buddhism that there’s no “good” karma and no “bad” karma, there’s just karma. The same can’t be said for design. Karma is a universal condition. Design is a human act (which often affects conditions) and, therefore, subject to many variables. When the word “design” is used here, it is always in the context of good design. A lot of famous people have written many famous books on the importance of design and creativity.

The subject matter ranges from using design and creativity to gain a strategic advantage or make the world a more livable place —and more. The focus here is on how to make the process of design work in the business environment so that the end product lives up to its potential.


Aesthetics
 Grid System Raster Systeme Josef Müller-Brockmann 
Symphonie Diagonale Viking Eggeling 

Anemic Cinema Marcel Duchamp​​​​​​​
About Abstract Cinema / Americo Sbardella

"Abstract cinema, defined as “absolute” cinema in the 1920s by critic and theorist, Rudolf Kurtz, was initially an island of modest size, a direct expression of the historical Avant-garde. In fact, it was created by painters, members of the avant-garde, using rudimentary handicraft, techniques, and language that refuted the reproduction of the natural world, instead, focusing on light and form in the dimension of time, impossible to represent in static visual arts. And it was at the beginning of the 1920s, that visual artists like Léger and Picabia in France and Eggeling, Richter, Ruttmann and Fischinger in Germany, began to realise their abstract films. German Abstract Cinema (“absolute”) was not only opposed to the canon of cinematographic narration, “lyric will,” and “realistic-naturalistic camouflage,” but abandoned definitively all psychological comprehension, opting decidedly for pure optical rhythms involving elementary shapes, mostly geometrical (significant examples: Rhytmus 21 and 23 by Richter from 1921-23, Opus II-III-IV by Ruttmann from 1922-25, Diagonal Sinfonie by Eggeling from 1923, Wax Experiments, Spiralen and Formspiel by Fischinger, 1921-27). This cinema discovered its semantic effectiveness in the synthesis of the forces of attraction and repulsion, in the relationship of contrasts and analogies, in the creativity of a rhythmic game of signs. For Richter, abstract cinema is a pure art form, superior, and requires a thoughtful spectator who must learn to see the beauty of an image and its relation with other images without worrying about intellectual or literary meanings. This requires and out-and-out re-education of the eye and spirit to learn to negate the myriad of conventions so deeply ingrained by literature and theatre."


Alexander Rodchenko
Woman shouting BOOKS in a 1924 advertising poster for the publishing house Gosizdat.



Gustavs Klucis
Propaganda kiosks

Hieronymus Bosch Ascent of the Blessed

Ethics

What are Ethics? 

From the dictionary at Reference.com ethics are defined as that branch of philosophy dealing with values relating to human conduct, with respect to the rightness and wrongness of certain actions and to the goodness and badness of the motives and ends of such actions.


I will define my own ethical code. In the subjective, creative and emotional field of graphic design, there can’t be a consensus on an absolute ethical code. There are some aspects and considerations that this manifesto cannot cover in its quest for universal appeal. Thus, this underscores the need for a self-justified ethical code for myself; built from my personal, religious and philosophical beliefs. To not do so would be irresponsible to the people I will interact with, to the profession itself and ultimately to myself.

Personality
Design
Poster
Conference items
Advertising
Supervisors Antonaki Katerina, Hatzitheodorou Vangelis