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NEW GRAPHIC DESIGN Aidan Cooke


Modernism was a very fascinating movement which occured in the early 20th century, this being a time with great change within social elememts, culture, politics and the economy. This era was revolutionary, with the steep production and advancement in science and technology, introducing motion pictures, radio, airplanes and powerful weaponary, developing in the distruption of World War I. Following this War, Europe was greatly shook up and a new element was captured across each of the continents, with this Communist orientated Russia, Nazi based Germany and Fascist Italy, therefore infleuncing the designers of this era to take a great change change in their visualizations. With these dramatic changes the visual responses in design needed to take a similar change in order to capture and express the messages that were being conveyed in this era. During this Modernist era there were several different movements were discovered each expressing different emotions and transmitting different meanings through the personality. The movements included Futurism, Cubism, Surrealism, Constructivism, De Stijl and Dada, some of which that were noticed as the most influencial and inspirational movements within Graphic Design, not only during this period but also in todays industry.

Several features that were captured during this period included elements such as working around a grid format when designing something. These grids were introduced by Europian designers, this later being pursued by designers in Northern America. The idea of this format was to allow type and image to be positioned on pages to have some sort of professionalism, rather than being randomly placed and lacking form and allignment. I personally find this movement quite inspirational as the designs featured by several artists were very beautiful due to their level of simplicity, and this use of two very bold contrasting colours. Also, shapes were prominant within these design, with circles, squares and triangles being used in order to create structure and form to design pieces, this being quite noticable in the work by Constructivists and in the Neoplaticism movement.


MODERNISM Designing a New World.


RUSSIAN CONSTRUCTIVISM

“The artist constructs a new symbol with his brush.” El Lissitzky

The Russian designers were renoundly known for their constructivst style in which founded in 1919, this being an artistic and architectural philosophy that was a rejection of the idea of autonomous art. Constructivism was highly influential to the modernist art movement of the 20th century, with influence towards movements such as the Bauhaus and the De Stijl era. The Constructivism style had maj or impacts upon the graphics, industrial design, theatre, film, dance, fashion, architecture and to an extent, music. Iconic artists from this area include El Lissitzky and Solomon Telingater and several other major artists who were iconic figures in this movement. These Constructivists worked on many designs for advertising, varying from cinema to some political propaganda, this being strongly reflected through the bold and bright colour, geometric posters designed by the Stenberg brothers, these also being strongly influential artists from this movement. A consistent theme captured within the Constructivists designs was their use of sharp edge shapes, with these curved circles which work against one another in order to create some interesting shapes and forms. Also, the designers were quite recognized through the iconography developed with this style, with colours such as black, white and red being dominant

in this movement as the three colours worked well together and had this very bold element which drew the audiences attention. Also, artists such as El Lassitzky experimented with white space as well as negative space and deconstructed shapes, these intruding spaces within the image in order to create a design that co-operated with itself, oppose to just having a scattered layout. These Constructivists were also very fascinated with type in their work, this being reflected through some of their most iconic designs from this period. They didn’t follow the regular way of placing text on a page, instead they began to experimenting with the skewing of text, as well as allowing words to be formed through different letter sizes, almost with this element of ‘construction’ of the design being captured. When experimenting with my designs I will be focusing on some elements captured within the style of these designers, focusing on form and layout within their designs, also along with the element of layering and focus on colour, ensuring that I stick to a level of simplicity in this work, without drifting to far away from the elements captured in Russian Constructivism.


BAUHAUS “There is no must in art because art is free� Wassily Kandinsky

Bauhaus was a School that was based in Germany that combined the fine arts with crafts, and became very famous and heavily influential on the modernist period and design through the approach that it publicized and it taught. This school operated from 1919 and 1933, a time that the modernist era was only just being introduced, and the students and teachers from this orginazation developed and created some designs that are memorable to todays day and age, along side introducing some of the most influencial designers of all time. The Bauhaus design had a remarkable influence on a wide range of different areas, including architecture, art, interior design, graphic design, industrial design and type. During this time, the Bauhaus were very interested and focused the distinction between form and function, and the ways in which an object or a building could be admirable through its presentation, however still held good function for what it did. It was now that the German designers were beginning to create these modern style formatted pieces of furniture, which had both good function and were very fascinating and interesting to look at, this being a great break through from the simplicity of the wooden chair. Other famous artists that were introduced during this time including people such as Joost Schmidt, a teacher or master at the Bauhaus whom was a visionary typographer and also a graphic designer, renoundly known for the famous poster of 1923 Bauhaus Exhibition in Weimer, Germany. Other artists who are greatly noticed for their work included Wassily Kandinsky, an artist who explored shapes and the ways in which various objects can be placed across a page, exploring the use of colour and format in order to create some truly beautiful designs.


INTERNATIONAL TYPOGRAPHIC STYLE

“Helvetica is the jeans, and Univers the dinner jacket. Helvetica is here to stay.” - Adrian Frutiger


Swiss graphic design was found in the 1950s in Switzerland and was also known ‘the International Typographic Style’. The designers of this time emphasized elements such as legibility, readability and cleanliness through their designs. There were many iconic elements during this movement including the use of sans-serif and flush left, ragged right type settings, as ymmetric layouts, and most importantly their use of the grid format. This style was very focused on using type and photography with one another in designs in order to construct many influential and beautiful designs. One of the most iconic typefaces that was found during this period was the font Helvetica, this being founded in 1957 by Max Miedinger, as well as Eduard Hoffmann at the Haas foundry in Switzerland. This typeface was a breakthrough

for modern based designers, as they were looking for something that was neat, readible and easy to work with, and Helvetica was a typeface that ticked these boxes. What is amazing is the fact that this typeface can not be faulted, as the sans-serif typeface is very well known for being on the best typefaces in history. The aim of the design was to create a very neutral typeface which had great clarity, no intristic meaning in its form and could used by a wide variety of signage. Another element that was founded during this period was the Neue Grafik magazine, founded in 1959. This magazine was well known for strictly featuring Swiss design and typography. This was seen as the new age manifesto for the design world and it was seminal in its infleunce on international graphic design after the World War II.

My personal opinion on the Swiss movement was that it was in fact one of the leading elements that reflected greatly on the modernist movement. I discovered the way in which the artists of this period explored typography and carried them through into designs featuring photography, or dominantly type was fascinating and is something I am interested in further exploring in my own, personal visual style.


AMERICAN MODERNISM “Ugly cities, ugly advertising, ugly lives produce bad citizens.” Lester Beall.

American Modernism 1924 - 1940 • Design for a New Age explores very interesting design work and furniture, also where and when the modernist designers were discovered in America and the elements that were effective towards making this movement quite interesting. This book discusses that in 1925, the French emposed a new set of rules based on the conditions for people participating in Exposition des Arts Décoratifs et Industriels de Modernes fair. The operative word was for this event was Modern, however with this offer the French’s invitation was declined as “There was no modern design in America” - however here Modernism design had been targetted towards the design industry. This was then discussed to be what influenced the American designers into modernism design, discussing the various ways in which ‘the predominant influence was French Art Deco, which many Americans discovered at the widely publicized and very well visited 1925 Paris Exposition des Arts Décoratifs et Industriels de Modernes. However, the Americans modernism furniture designs just lacked assurance of their French counterparts, this reflected on the comparisson of W. & J. Sloane’s armoire and Ruhlumann’s Cabinet.

Further information within this book that interested me was the actually design work by some artists, with very interesting effects being created. For example, Clayton Knight’s Americana Print: Manhattan Page 47 stood out, with his Sky Scraper design being disconfigured to create and illusion and reflect on this modernist design. Also, the typography style used within Ilonka Karasz Cover for Leaflet (Page 68) with this very shape oriented font, almost reflecting on a typeface which I recently designed myself inspired by Wassily Kandinsky, this reflecting on how these designers were influential of this modernism movement. I was also intrigued by the Beyond Modernism, and how it discusses the ways in which American Modernism was founded, this being by the end of the 1930’s, where the adjectives moderne and modernistic had both become pejocrative and the modern had taken on a whole new meaning and how the American Modern had finally been domesticated, featuring Lester Beall’s “ The Wash Day” design piece which had a very nice approach to this movement.


Art Noveau was in fact one of the first movements that really started to look at the aesthetics of design, the term is french for New Art. It was founded in 1890 - 1910. This style was infleunced strongly by Czech artist Alphonse Mucha. Also magazines such as Jugend helped publicise the style in Germany as a graphic artform. Almost like a new way coming in, focusing on art as a graphic form by communicating visually. One of the key indicators was this bold and flat text that was brought into play by Art Noveau. Female figures were very often present a lot in this style of work, as well as structures in order to influence the architecture of the places.

Cubism was also one of the very first ‘isms’ to hit the modernist era. It was founded around 1907-1914, and was focused around the idea of creating something new using different ways of representation. It wasn’t about having a single flat view point, it was further focused on several view points through the use of one piece. Focus on the spacial relationships in each frame with Pablo Picasso being one of the most famous and influential painters from this era as his work was considered to be one the very best forms of Cubism art ever seen.

Futurism was founded first in Le Figaro. It was very influencial to the 20th century graphic design, reflected through “Dynamism of a Cyclist” 1993 by Umberto Boccioni. the Bauhaus movement was yet another great influence on graphic designs Futurism style 1919-1933 with some of the most influencial schools for modern design. Has a subculture of zines. Lazlo MaholyNagy and Wassily Kandisky were both very interested in the science of forms and creating images, they were both teachers.


“Dada is known as the international expression of our times, the great rebellion of artistic movements.” Richard Huelsenbeck. This design style was Explored from the times 1918 to 1923 - it was trying to spit in the face of modernism, and the ways in which the art in current society was tied up in the politics of the day. The designers of this age wanted to remove the idea of artists away from politics as it was all tied into one big propaganda. It was almost not art but instead anti-art. “For us, art is not an end in itself but its an opportunity for the true percpetion and criticism of the times we live in” Hugo Ball.

Suprematism was another design style found at the start of the 19th century. This style of art included various factors including painting the unknown and having a rather abstract style with the use of white space, this becoming so important to graphic design today. This style carried through shapes and different colours, often on a very plain and simple background in order to create very effective designs, which explored the use of layout and format in order to create some very influential designs for todays graphic design.

Neo-Plasticism was also another design style that around the early 19th century, from 1917 upto 1931. It focused on composition, white ground upon which was painted a grid of vertical and horizontal black lines and the three primary colours. Piet Mondrian was influenced by the Cubist style of Pablo Picasso and Georges Braque. Piet Mondrian founded the De Stijl style where he published his first essays defining his theory that he adopted the term Neoplaticism.

MOVEMENTS 1890’s to 1930’s


The post modern era was described as being a funny period of time in the graphic design industry. The term post modern was originally used in order to describe architectural designs that challenged and distorted established code. This period of time embraced art, fashion, graphic design, furniture and architecture with the reflection of this era highlighted in some of the existing products of todays day and age, for example the Sydney Opera House, this being a building that drifts away from the modernists geomtrical laws constructing beautiful sculptures through inspiration of the sea and the flight of the seagulls. The post modern era was established after the modernist movement, this being a rather interesting period as people misunderstand the term, due to the word ‘Post’ referring to before. What was interesting about this time was that the Postmodern designers challenged the modernists’ obsession with designs being purposely violated this challenging the Bauhaus’ tenet that form must follow function. This period was described as an era that was expressive and playful; giving designers the opportunity to look for ways of breaking rules. It was strongly noticed that the Punk era was a good reflection on the post modernist movement in the 1980s, with people beginning to rebel against

the current styles of the era, moving away from this long hair hippy look, to short hair and very obscure fashion, with influences off designers such as Vivienne Westwood, using spikes and chains in the clothing. In reflection do the actual design industry however, interesting elements captured were things such as the band promotions created in order to advertise events, where these punks would construct loose and arbitrary collages through using found materials to create their posters etc. This would later lead on to strongly inspire the artists of the Post Modernist movement. Many artists were strongly inspired by the torn paper collage, as well as these brash and spontanious brush strokes used throughout these band promotions. Others were inspired by this collaboration and collage effect created through the combination of a variety of different materials, this being something that I personally find very fascinating myself. When exploring into the experimental side of the postmodernist movement, I will be focusing on these elements previously highlighted, using brash strokes with brushes against these torn images and collage designs in order to reflect on this postmodern style. I will also be looking for a way to capture the postmodern style.


POST MODERNISM Challenging the Stereotypes.


The Punk Rock era was founded between around 1974 and 1976 in the United States of America, Australia and the United Kingdom. This was originally created through simple garage rock and gradually developed into this nation wide persona that was captured within people. This fashion or style was constructed in order to challenge the social stereotypical ways, and to move away from the hippy era and bring through a new fashion. In around the 1960’s and 70’s the hippy period was dominant, with people wearing these very simple t-shirts and jeans, with long hair and very relaxing music.

However, with this introduction to the Punks and Mods, a much more aggressive element was captured, with their fashion being much more focused on ripped clothing, chains and studs, with fashion designers like Vivienne Westwood having a strong influence on this fashion. Also, the music became a lot more aggressive, and slowly it became a much ‘heavier’ rock in time, with styles such as ‘hardcore’ and ‘oi!’ taking over. Some argued that this movement did have a very strong influence on the Post Modernist period as it was conjured during a similar

time as this movement was being introduced, with the stereotypical elements of a Punk were beginning to be captured in this style of art. For example, there were several designers during this period were strongly influenced by the punks and mods as they were intrigued by their band promotional designs, with these ripped out newspaper articles being placed onto boldly coloured backgrounds, as well as the use of loose brush strokes of paint being randomly used against these designs, once more as a way to rebel against the stereotypical ways of design.


PUNKS AND MODS


DAVID CARSON “If you haven’t got the eye, no program will give it to you.”

David Carson is an American graphic designer who is renoundly known for his innovative magazine design and his use of experimental typography. David Carson was perhaps one of the most influential designers of the 90s with his widely imitated ‘grunge typography’ era in which he captured so well in his work. Carson is mostly known for directing the magazine Ray Gun; focusing on alternative rock and roll that explored experimental magazine typographic design. This magazine was brought out in 1992 and immediately becoming controversial due to its use of chaotic, abstract style which was sometimes not legible due to it being unreadable, however, having a rather distinctive appearance. This was what was so brilliant about Carson’s work though, he was one of the leading designers in reflection to the post modernist era, as he began to challenge the rules of modernism, through distorting and deconstructing imagery and looking at the ways in which beautiful visuals can be developed through this. In the images featured David Carsons style of work is shown and how it a has a cutting edge, with a punk rock element captured through the grunge based features and type settings, as well as this interesting deconstruction of composition of his image, bringing through several new elements such

as over laying pictures along side his interesting collages to the magazine covers. I personally find the ways in which Carson challenged the typical modernists conventions to be quite inspirational, as he clearly disobeys these laws of kerning and type setting in order to make the words easy to read, instead he spreads the words such as ‘Raygun’ unequally across a line or in some cases just completely deconstructing words and scattering the letters across the page. Another element that is noticable in Carsons work which further intrigues me is his use of layers. David Carson tends to never focus on a flat based image, instead he carries through a variety of materials and textures in order to give his designs some form of depth and structure, oppose to the modernist features that were focused on simple shape layouts and using triangles and sharp points in order to construct some very neat and legible designs. With him doing this he gave his designs their own personality, and strayed away from anything that had ever been done before, exposing this punk rock era through a very beautiful form of visual communication.


The Memphis Group was founded in 1981 and was a combination of Italian designers and architects as a reaction to the slick, humerous design towards modernism. This resulted in some very fascinating looking sculptures and pieces of furniture, which had an eccentric, vibrant and ornamental look which was conceived by the group as a fad. What it was that I find made this group stand out over others as being postmodern and portraying this postmodern attitude was their subversive nature which is being reflected through their designs. The Memphis influenced furniture was noticed as being playful, funny looking and almost happy due to the vibrant colours used in each

design, the interesting forms and shapes captured with each pieces of furniture, and the overall bizarre response to the current age. This group were very stereotypical group in response for challenging the modernists’ idea of progress, this shown through their deliberate violation of Bauhaus’ tenet saying that ‘Form must follow Function’. I found that an interesting element about this group was the fact that the products were fully functional, therefore they became a lot more appealing to the public along with the top quality designers as they did have function, however also a very interesting and new element through their response to this post modernist time.

MEMPHIS GROUP

Their furniture that they produced contained various elements of the normal furniture type that they were trying to portray, however due to their distortions the products would be quite distinctively post modern, as this movement was known to be expressive and also playful and a period for designers to look for unconvential methods to break the rules, exploring new elements and pushing the boundaries of to their limits.


NEVILLE BRODY “Design is more than just a few tricks to the eye. It’s a few tricks to the brain.”

I found Neville Brody when researching into Post Modernist design work from around the 1970 - 1980 period. During this research I encountered the double page spread displayed to the left and I was intrigued by the interesting elements captured within this double page spread layouts featured in his magazines, due to them being completely out of the ordinary and had its own complete personality, through the brash colours, rough paint strokes and the vibrant colours, not to mention the use of paint in a magazine. Through the beauty of this work I decided to further research Brody’s work in order to have a broader understanding on his style and his history, only to understand that he was one of the leading graphic designers from this time and has created a variety of beautiful and inspirational pieces. It was clear that he stood out for his time as his work tied in perfectly with the rising of the Post Modernist design, with many features being captured in his work that conform to the elements of this movement. Brody’s work has a style to it in which I am highly appealed towards as he has a clear understanding for colour palettes, using colours which would not typically go with each other and allowing them to work due to the layout and spacing etc. Also, his layout used with in each design presented and that I came across were highly impressive as they gave an equal amount of white space across the page, as well as brought an element of shape and structure to the page, almost forming a level of communication between the objects and typography on the individual pages.


FURTHER RESEARCH The Graphic Language of Neville Brody - Version 1

After finding Neville Brody I thought it would be quite useful to research further into how his work has been influenced, along with gaing a greater understanding into the types of media he works with, focusing on some of his other design pieces that he has experimented with. Due to wanting to understand these different elements to Brody, I decided to go to the library where I retrieved this book dislayed to the left “The Graphic Language of Neville Brody - Version 1�. When reading this book I came to an understanding that Brody is actually one of the most influencial designers from this post modernists era, this in fact being quoted at the start of the book. Also, I went on to realise the outstanding amount of design work that he has done during his career, starting off with small jobs producing posters and leaflets etc. in order to help promote companies, to actually producing his very own magazines including The Face magazine, one in which I have previously studied and I am using as a form of inspiration in reflection to my own work, along side his City Limits magazine, both of these being extremelly substantial magazines for this period, all having some very interesting design layouts and formats, which were appealing to the targetted audience.

When researching into them I found the magazines to be interesting just in copy form in the booklet, therefore I went in search for an original copy, I was unable to find one in my local library, however, the book which I did withdraw did feature some really nice pages which I have been able to use to support me in my project, as I will be using the compilated cover design pages in order to explore current grid systems used within magazines, and as The Face magazine was a such suitable magazine in reflection to the post modernist era it will be perfect in supporting me with my own project, I will be taking inspiration from not only the magazines front covers but the double page spreads featured within the magazine also, as they were very creative and fascinating, bringing in sources of media such as paint, this not being commonly used in order to create a layout in magazines.


VISUAL RESPONSES Inspired by Neville Brody


Jamie Reid is yet another iconic designer in reflection to the post modernist period. Jamie Reid has created a wide range of different designs that are all very interesting and show different characteristics and meanings within themselves. Reid was well known for his work that he did for the sex pistols, a leading rock bands of this period. What he often did was challenged the stereotypical ways of design, taking clippings from newspapers and creating words, and haivng a ‘messy’ element to his work, with a level of imperfection in certain areas of his work. Jamie Reid also was known for his designs of the

queen, where he redesigned the queens head found on the english pound notes, with some designers with writing over the face with type or in some cases added piercings etc. in order to portray her as one of these punk figures in which he focused on in his work. This was quite interesting as what Reid was doing was taking such an iconic and respected figure and applying these new elements to them with this punk feel, almost with intention to help inspire the general public to portray themselves as this way.

JAMIE REID


VISUAL RESPONSES Inspired by Jamie Reid


QUBIK DESIGN

“Glitch: Designing Imperfection� Joe Gillmore

I was introduced to Qubik Design by Joe Gillmore himself during one of my recent lectures. I was highly intrigued by his studies and his work, exploring the use of glitching and the ways in which art and design can be created through these glitched formats. What is fascinating about Gillmore is that he stumbled across a glitch but pursued it creatively, this was reflected in his Glitch Book he produced. The idea of the book was around in the year 2000 when digital art was around with the idea of using glitches. Personally, I think that this glitch design could be quite nice however in reflection to the current project, as it could be used to deconstruct a modern designers work and almost create a postmodern feel. I personally like the photo graphs or designs that you can still understand after being glitched as they still have purpose or possibly have now formed a purpose, oppose to just a random collection of pixels. However, these designs are still quite interesting as they do present interesting elements of colours, shape, form and structure, these being several key ingredients to consider when creating a magazine cover design or double page spread.

Due to this I will be experimenting in reflection to both of these styles of glitches, looking at colour variations and different pattern layouts in order to have a variety of designs to work with, oppose to just having a selection of a certain few. In order to get these designs I will be collecting previous designs developed either within this project of previous projects, as well as photo graphs which I can further develop and glitch in order to create these interesting designs. When creating these designs I will be experimenting with glitching my self, exploring the ways in which TextEdit can be used in order to decompose and reconstruct images by exploring this element of glitching. I will also be using some assistance from websites perhaps to take different effects and have a further variation within these designs.


GLITCH DESIGNS

“Glitch: Designing Imperfection” Joe Gillmore


JOSEF MÜLLER-BROCKMANN “The grid system is an aid, not a guarantee”

Josef Müller-Brockmann is a Swiss designer who is very influential due to the way in which he explores the use of type and photography in his work in order to produce a series of very fascinating variation of designs. Brockmann was very well known in the modernist design period due to his very pieces featuring typographic based designs and these interesting photography pieces, being combined together with shape and form in order to create very influential and powerful designs. I personally find that his work is nice due to a series of different factors, for example his photography used is outstanding as the pictures he uses are very relevant for his discussion, and the shape and movement within them are only ehanced when applying typography designs or these shape formats. Josef Müller-Brockmann did not just focus on photography based designs, however he also did these simplistic designs that featured just shapes, such as these circular and square motions which are combined together in order to create form within the design.

When exploring the practical element of Müller-Brockmann’s design work I will be taking existing photographs and deconstructing them almost in a post-modern style in order to create interesting designs, even though this will not portray the same exact style perhaps, it does still bring out various elements founded in his work such as the use of photography, introduction to type and the use of shapes being overlayed. I believe that by doing these I will be able to carry these designs further and they will support my future designs when I come to create covers for my magazine and inside pages etc. Also, I could perhaps experiment with them in the glitching style as this will bring out more visualisations to experiment with in my project, enhancing my final magazine production.


VISUAL RESPONSES Inspired by Josef M端ller-Brockmann


EXISTING MASTHEADS


MASTHEAD SKETCHES


MASTHEAD SKETCHES


MASTHEAD DESIGNS


MASTHEAD DESIGNS


MASTHEAD DESIGNS APPLIED


form follows function


FINAL MASTHEAD DESIGN


THE GRID SYSTEM “The grid system is an aid, not a guarantee.” Josef Müller-Brockmann

The grid system was introduced into Graphic Design in order to create a level of balance and equality across designs through using a grid basedf format, this ensuring that the design is professional and well layed out. This system is now used all over the world in order to construct designs with a level of balance, varying from basic leaflets and flyers up to newspapers and magazines, therefore this being an extremelly important focus for this project in particularly. In the pictures displayed to the right the grid sytem is shown being used, this being for ‘thegridsystem’ website, which is layed out strictly set on this format. What is interesting is the wide range of grids that can be followed in design, and the ways in which a page can be deconstructed into a variety of different segmants each following this grid format. Typically, photographers and some designers just use simple a 9x9 grid, this being following up on the rule of thirds. However, when it comes to magazine and newspaper editors, they tend to use much larger and much more intricate grid systems as this allows them to format all of their type and imagery around a neat format.

When creating my very own designs it is important that I look further into Grid desigs, as it is important that I follow suitable systems in order to create a professional and presentable layout in reflection to what it is in which I am designing. For example I will need to use different formats for my double page spread oppose to the front and back cover designs. However, this will be interesting to explore as the variety of different grid layouts there are can help give me an interesting variation of layouts to further pursue and work with when developing variations for my magazine designs. Through looking at more intense grid layouts as well as current layouts off existing magazines I will then have a nice variation of formats to work with which I can further develop and work with in order to help come to a final design which will be featured in my final magazine design. It is important that I get variety however I also look at the different elements within each one as this will allow my magazine to look professional in the final outcome.


THE FACE MAGAZINE Neville Brody


EXISTING COVERS


GRID FORMATS


CITY LIMITS


ADDING GRIDS


WORKING WITH GRIDS Reflecting on researched grids


COVER VARIATIONS 01 Inspired by Jamie Reid


COVER VARIATIONS 02 Inspired by Qubik Design


COVER VARIATIONS 03 Inspired by Josef M端ller-Brockmann (Digital)


COVER VARIATIONS 04 Inspired by Josef M端ller-Brockmann (Practical)


FINAL COVER VARIATIONS Exploring Layout and Design


FINAL COVER Displayed to the right is my final front cover for. The reason for choosing this design is due to several purposes. For one, I find that the colours used on the page all correspond with one another and are very complimentary to each one in order to create a nicely balanced image. I also like the use of layout in the design, with the type being well set across the page, with all the type being legible and easy to read, however also capturing this post modern effect, that I intend to keep consistant throughout my entire magazine. The final image that I decided to use for this magazine was, I believe, quite interesting as it combined both my practical and digital based work, in reflection to Josef MĂźller-Brockmann, and I believe captured the elements of this post modernist style, in which I intend to full fill in my design. I did explore several different formats for the text also in my design, focusing on spacing and layout all following a grid based system, however I felt that the chosen design was very appropriate as it did have a nice focus due to its balance in layout and spacing. Also, I experimented with the actual type face itself, focusing on ways in which I could make it different to other magazines, and almost exploring an element like David Carson tends to in his magazine cover designs, allowing

the type to be easy to read, however capturing an element of post modern through leading away from the norm and giving it a personality of its own. I personally feel that my final outcome of the type was successful as it was consistant with my masthead as well as having an interesting format, with the outlined letters being introduced randomly into different words. In conclusion, I believe that my final cover design is successful due to the reasons which I have just discussed, with the design being rather unique and striking, therefore allowing the magazine to become a much stronger source when being presented against other magazines when published in shops. Also, there are elements within the design that are related back to my artists, for example the use of paint being used, this being done by Neville Brody, as well as the exploration of photography and shape, this noticed in Brockmanns designs, however the work is not pastichĂŠ as we informed in my brief to ensure that the work is unique in itself.


EXISTING DOUBLE PAGE SPREADS


NME SPREADS


NME GRIDS


GRID DESIGNS Double Page Spread


DESIGN IDEAS Double Page Spread Designs


Ro inciatis conet, quodign iendae sequatecta volo quidendignam inum vendelenimet voluptia vellupta vid modi vellaut lab il invelignatus dolum, venis estiis et auda cor modio officient aut mod ut omnis doloribus qui coriam quat quaepro et optaquam ad magnimi nvenda dolut volupitio ex et, cum faccae ex eum autate officae sendand itecepediam sum voluptati dundemp orumque corehent ium etus con rem d o l u p t a t u r ? Les eos siminiet id maximendit erum il essit quo quisitatin niminte mpossit esciaectur molupiendam, incto qui cus et quiam adis excerum exceatus, qui ommolut esserit harum volenihil id qui volorro od quibusdam, si vellabore rernat lab idebis evelia non est lamet invendandi quatur, essinctatur aliquia nimusae pos net estest alitatem ius architatur, eum et, nobis nihiliq uaestiumque lique et harum ditatque nis se sequamus, que sinte officat mi, odipit pereptiates miliquiam quodi debiti iliquo expe consequiam aut mi, cum, volupiciam volupta tatior siminvelia essi ut facipsusam, sent volut vel ini ulpa dempore rovitat. Aximendio is est reiciendis senissi qui beribus eveliqui optia ea ducit ut adi iliquat eceataerum re, corum autemoluptas dolorem et voloreseque corit et rem con et reius num alique odiciis ciligene velestrunt et eos estibus. Nosant anditaq uaspercide es maximus pre quam reperum quibusam eum ipsunt hil magnissim nis et modigendelit ex et vento ducipsant. Us et poresti optatur am quisit ut quatem. Me volorro velecabo. Imilliq uiatissit untetur? Tatur, temquo bea voluptia sae. Giae

dellatem niam sit fugia niet quiatur, is est, totat officii ssitibeate dolupta aut ommolup tatiis alitati oratio. Cerferum id quam facearum eate quibus moluptatqui con conseque earcitionse sum lant, volora dolor magnis ut autemperunt autaten deliam coreiunt oditatio. Pa vel ea quos reiusapicae labor re audigen ihicaturit veliquis explam quam est resto et, eum rem ut velestorias endam experit voleste cusaera quia nihiliti ut volendi arioris re, quideli genisqui blaborr orporuptata ipsus vit rest que apelibus nos adis andae si aut aspelest apis ratendios experem non ra net quodi tet voloreped que cus dolorionet labor aut ligent eatas sitate voluptatur, cus del magnihicit que sequatquid mod utem eos delitaeptat inist qui reic tem dist alique as iumquis rem rerecti ut ut iminulla iur milignimodis eaquas atquam in peritium sus imusam, te planda comni corrunto officil et eiciuntur, omniet audandus nullaccument et latium reperate cust, sa non coreiusdam, nitecto dolecti onsentius es arum et officie ndeless equam, as ipsae is esere nectur, quaesse dicias eum ius aligniet perum aut quist, sincien delique ant faccum utem quatur? Nequid quis doloreic tenihitem dolupta ditatur ma cuptatio ditatusda etur? Olorem atemolo reptati sitatia tisquo te disquia erchit optas maiore perumquos iusam eum idus, occum eseria voluptis a plita es deliqui sit lanto bearum sitium re, commos que nobiscilit aut optas alit que natur, excepernamus experum fugitas dolum quatioritis restio tem illes essimin veliatur aut velestore volest, optatis nonse plit, venimus, nobis doloremquam quis

Ro inciatis conet, quodign iendae sequatecta volo quidendignam inum vendelenimet voluptia vellupta vid modi vellaut lab il invelignatus dolum, venis estiis et auda cor modio officient aut mod ut omnis doloribus qui coriam quat quaepro et optaquam ad magnimi nvenda dolut volupitio ex et, cum faccae ex eum autate officae sendand itecepediam sum voluptati dundemp orumque corehent ium etus con rem doluptatur? Les eos siminiet id maximendit erum il essit quo quisitatin niminte mpossit esciaectur molupiendam, incto qui cus et quiam adis excerum exceatus, qui ommolut esserit harum volenihil id qui volorro od quibusdam, si vellabore rernat lab idebis evelia non est lamet invendandi quatur, essinctatur aliquia nimusae pos net estest alitatem ius architatur, eum et, nobis nihiliq uaestiumque lique et harum ditatque nis se sequamus, que sinte officat mi, odipit pereptiates miliquiam quodi debiti iliquo expe consequiam aut mi, cum, volupiciam volupta tatior siminvelia essi ut facipsusam, sent volut vel ini ulpa dempore rovitat. Aximendio is est reiciendis senissi qui beribus eveliqui optia ea ducit ut adi iliquat eceataerum re, corum autemoluptas dolorem et voloreseque corit et rem con et reius num alique odiciis ciligene velestrunt et eos estibus. Nosant anditaq uaspercide es maximus pre quam reperum quibusam eum ipsunt hil magnissim nis et modigendelit ex et vento ducipsant. Us et poresti optatur am quisit ut quatem. Me volorro velecabo. Imilliq uiatissit untetur? Tatur, temquo bea voluptia sae. Giae dellatem niam sit fugia niet quiatur, is est, totat officii ssitibeate dolupta aut ommolup tatiis alitati oratio. Cerferum id quam facearum eate quibus moluptatqui con conseque earcitionse sum lant, volora dolor magnis ut autemperunt autaten deliam coreiunt oditatio. Pa vel ea quos reiusapicae labor re audigen ihicaturit veliquis explam quam est resto et, eum rem ut velestorias endam experit voleste cusaera quia nihiliti ut volendi arioris re, quideli genisqui blaborr orporuptata ipsus vit rest que apelibus nos adis andae si aut aspelest apis ratendios experem non ra net quodi tet voloreped que cus dolorionet labor aut ligent eatas sitate voluptatur, cus del magnihicit que sequatquid mod utem eos delitaeptat inist qui reic tem dist alique as iumquis rem rerecti ut ut iminulla iur milignimodis eaquas atquam in peritium sus imusam, te planda comni corrunto officil et eiciuntur, omniet audandus nullaccument et latium reperate cust, sa non coreiusdam, nitecto dolecti onsentius es arum et officie ndeless equam, as ipsae is esere nectur, quaesse dicias eum ius aligniet perum aut quist, sincien delique ant faccum utem quatur? Nequid quis doloreic tenihitem dolupta ditatur ma cuptatio ditatusda etur? Olorem atemolo reptati sitatia tisquo te disquia erchit optas maiore perumquos iusam eum idus, occum eseria voluptis a plita es deliqui sit lanto bearum sitium re, commos que nobiscilit aut optas alit que natur, excepernamus experum fugitas dolum quatioritis restio tem illes essimin veliatur aut velestore volest, optatis nonse plit, venimus, nobis doloremquam quis es rem dis delendi gention con corio de si ut et earum fugiassitate volorat ureriorpos eosande ndesecest

accum essit is eum facepud itatiat quatiat urestis ciaspic iissimi, quas escil id ut quat. Nonsed quassi omnimil iquiate mporem sitatendam, tenimus velit vent asperitasint a coreium et eos ernat quaturi odionse qui doles exerrum rehenitissi corro volendis sitiis invelibus ilit ex et qui voluptam et quibusam qui offic te perrum, sum voluptat et liquiducia cus, omnihil et escid et lam, inulparum experatio. Nam et, sitiant issequam, niminveribus eniento des etur? Adit acescimillit quia excerfe rspit, quis ut harios everectis eaquation reperiatquas dolor reperfe runtionecus et im aut fugia debis derum es nobis il idus venis et utassimus si omnis acearum rerfernamus que veliquidebit dolorem porehenis autempo riaecep udisquibus. Ro inciatis conet, quodign iendae sequatecta volo quidendignam inum vendelenimet voluptia vellupta vid modi vellaut lab il invelignatus dolum, venis estiis et auda cor modio officient aut mod ut omnis doloribus qui coriam quat quaepro et optaquam ad magnimi nvenda dolut volupitio ex et, cum faccae ex eum autate officae sendand itecepediam sum voluptati dundemp orumque corehent ium etus con rem doluptatur? Les eos siminiet id maximendit erum il essit quo quisitatin niminte mpossit esciaectur molupiendam, incto qui cus et quiam adis excerum exceatus, qui ommolut esserit harum volenihil id qui volorro od quibusdam, si vellabore rernat lab idebis evelia non est lamet invendandi quatur, essinctatur aliquia nimusae pos net estest alitatem ius architatur, eum et, nobis nihiliq uaestiumque lique et harum ditatque nis se sequamus, que sinte officat mi, odipit pereptiates miliquiam quodi debiti iliquo expe consequiam aut mi, cum, volupiciam volupta tatior siminvelia essi ut facipsusam, sent volut vel ini ulpa dempore rovitat. Aximendio is est reiciendis senissi qui beribus eveliqui optia ea ducit ut adi iliquat eceataerum re, corum autemoluptas dolorem et voloreseque corit et rem con et reius num alique odiciis ciligene velestrunt et eos estibus. Nosant anditaq uaspercide es maximus pre quam reperum quibusam eum ipsunt hil magnissim nis et modigendelit ex et vento ducipsant. Us et poresti optatur am quisit ut quatem. Me volorro velecabo. Imilliq uiatissit untetur? Tatur, temquo bea voluptia sae. Giae dellatem niam sit fugia niet quiatur, is est, totat officii ssitibeate dolupta aut ommolup tatiis alitati oratio. Cerferum id quam facearum eate quibus moluptatqui con conseque earcitionse sum lant, volora dolor magnis ut autemperunt autaten deliam coreiunt oditatio. Pa vel ea quos reiusapicae labor re audigen ihicaturit veliquis explam quam est resto et, eum rem ut velestorias endam experit voleste cusaera quia nihiliti ut volendi arioris re, quideli genisqui blaborr orporuptata ipsus vit rest que apelibus nos adis andae si aut aspelest apis ratendios experem non ra net quodi tet voloreped que cus dolorionet labor aut ligent eatas sitate voluptatur, cus del magnihicit que sequatquid mod utem eos delitaeptat inist qui reic tem dist alique as iumquis rem rerecti ut ut iminulla iur milignimodis eaquas atquam in peritium sus imusam, te planda comni corrunto officil et eiciuntur, omniet audandus nullaccument et latium reperate cust, sa non


Ro inciatis conet, quodign iendae sequatecta volo quidendignam inum vendelenimet voluptia vellupta vid modi vellaut lab il invelignatus dolum, venis estiis et auda cor modio officient aut mod ut omnis doloribus qui coriam quat quaepro et optaquam ad magnimi nvenda dolut volupitio ex et, cum faccae ex eum autate officae sendand itecepediam sum voluptati dundemp orumque corehent ium etus con rem doluptatur? Les eos siminiet id maximendit erum il essit quo quisitatin niminte mpossit esciaectur molupiendam, incto qui cus et quiam adis excerum exceatus, qui ommolut esserit harum volenihil id qui volorro od quibusdam, si vellabore rernat lab idebis evelia non est lamet invendandi quatur, essinctatur aliquia nimusae pos net estest alitatem ius architatur, eum et, nobis nihiliq uaestiumque lique et harum ditatque nis se sequamus, que sinte officat mi, odipit pereptiates miliquiam quodi debiti iliquo expe consequiam aut mi, cum, volupiciam volupta tatior siminvelia essi ut facipsusam, sent volut vel ini ulpa dempore r o v i t a t . Aximendio is est reiciendis senissi qui beribus eveliqui optia ea ducit ut adi iliquat eceataerum re, corum autemoluptas dolorem et voloreseque corit et rem con et reius num alique odiciis ciligene velestrunt et eos estibus. Nosant anditaq uaspercide es maximus pre quam reperum quibusam eum ipsunt hil magnissim nis et modigendelit ex et vento ducipsant. Us et poresti optatur am quisit ut quatem. Me volorro velecabo. Imilliq uiatissit untet u r ? Tatur, temquo bea voluptia sae. Giae dellatem niam sit fugia niet quiatur, is est, totat officii ssitibeate dolupta aut ommolup tatiis alitati oratio. Cerferum id quam facearum eate quibus moluptatqui con conseque earcitionse sum lant, volora dolor magnis ut autemperunt autaten deliam coreiunt oditatio. Pa vel ea quos reiusapicae labor re audigen ihicaturit veliquis explam quam est resto et, eum

Ro inciatis conet, quodign iendae sequatecta volo quidendignam inum vendelenimet voluptia vellupta vid modi vellaut lab il invelignatus dolum, venis estiis et auda cor modio officient aut mod ut omnis doloribus qui coriam quat quaepro et optaquam ad magnimi nvenda dolut volupitio ex et, cum faccae ex eum autate officae sendand itecepediam sum voluptati dundemp orumque corehent ium etus con rem doluptatur? Les eos siminiet id maximendit erum il essit quo quisitatin niminte mpossit esciaectur molupiendam, incto qui cus et quiam adis excerum exceatus, qui ommolut esserit harum volenihil id qui volorro od quibusdam, si vellabore rernat lab idebis evelia non est lamet invendandi quatur, essinctatur aliquia nimusae pos net estest alitatem ius architatur, eum et, nobis nihiliq uaestiumque lique et harum ditatque nis se sequamus, que sinte officat mi, odipit pereptiates miliquiam quodi debiti iliquo expe consequiam aut mi, cum, volupiciam volupta tatior siminvelia essi ut facipsusam, sent volut vel ini ulpa dempore r o v i t a t . Aximendio is est reiciendis senissi qui beribus eveliqui optia ea ducit ut adi iliquat eceataerum re, corum autemoluptas dolorem et voloreseque corit et rem con et reius num alique odiciis ciligene velestrunt et eos estibus. Nosant anditaq uaspercide es maximus pre quam reperum quibusam eum ipsunt hil magnissim nis et modigendelit ex et vento ducipsant. Us et poresti optatur am quisit ut quatem. Me volorro velecabo. Imilliq uiatissit untet u r ? Tatur, temquo bea voluptia sae. Giae dellatem niam sit fugia niet quiatur, is est, totat officii ssitibeate dolupta aut ommolup tatiis alitati oratio. Cerferum id quam facearum eate quibus moluptatqui con conseque earcitionse sum lant, volora dolor magnis ut autemperunt autaten deliam coreiunt oditatio. Pa vel ea quos reiusapicae labor re audigen ihicaturit veliquis explam quam est resto et, eum

Ro inciatis conet, quodign iendae sequatecta volo quidendignam inum vendelenimet voluptia vellupta vid modi vellaut lab il invelignatus dolum, venis estiis et auda cor modio officient aut mod ut omnis doloribus qui coriam quat quaepro et optaquam ad magnimi nvenda dolut volupitio ex et, cum faccae ex eum autate officae sendand itecepediam sum voluptati dundemp orumque corehent ium etus con rem doluptur? Les eos siminiet id maximendit erum il essit quo quisitatin niminte mpossit esciaectur molupiendam, incto qui cus et quiam adis excerum Ro inciatis conet, quodign iendae sequatecta volo quidendignam inum vendelenimet voluptia vellupta vid modi vellaut lab il invelignatus dolum, venis estiis et auda cor modio officient aut mod ut omnis doloribus qui coriam quat quaepro et optaquam ad magnimi nvenda dolut volupitio ex et, cum faccae ex eum autate officae sendand itecepediam sum voluptati dundemp orumque corehent ium etus con rem d o l u p t a t u r ? Les eos siminiet id maximendit erum il essit quo quisitatin niminte mpossit esciaectur molupiendam, incto

qui cus et quiam adis excerum exceatus, qui ommolut esserit harum volenihil id qui volorro od quibusdam, si vellabore rernat lab idebis evelia non est lamet invendandi quatur, essinctatur aliquia nimusae pos net estest alitatem ius architatur, eum et, nobis nihiliq uaestiumque lique et harum ditatque nis se sequamus, que sinte officat mi, odipit pereptiates miliquiam quodi debiti iliquo expe consequiam aut mi, cum, volupiciam volupta tatior siminvelia essi ut facipsusam, sent volut vel ini ulpa dempore rovitat. Aximendio is est reiciendis senissi qui beribus eveliqui optia ea ducit ut adi

iliquat eceataerum re, corum autemoluptas dolorem et voloreseque corit et rem con et reius num alique odiciis ciligene velestrunt et eos e s t i b u s . Nosant anditaq uaspercide es maximus pre quam reperum quibusam eum ipsunt hil magnissim nis et modigendelit ex et vento d u c i p s a n t . Us et poresti optatur am quisit ut quatem. Me volorro velecabo. Imilliq uiatissit untetur? Tatur, temquo bea voluptia sae. Giae dellatem niam sit fugia niet quiatur, is est, totat officii ssitibeate

dolupta aut ommolup tatiis alitati oratio. Cerferum id quam facearum eate quibus moluptatqui con conseque earcitionse sum lant, volora dolor magnis ut autemperunt autaten deliam coreiunt oditatio. Pa vel ea quos reiusapicae labor re audigen ihicaturit veliquis explam quam est resto et, eum rem ut velestorias endam experit voleste cusaera quia nihiliti ut volendi arioris re, quideli genisqui blaborr orporuptata ipsus vit rest que apelibus nos adis andae si aut aspelest apis ratendios experem non ra net quodi tet voloreped que cus dolorionet labor aut ligent eatas sitate voluptatur, cus del

magnihicit que sequatquid mod utem eos delitaeptat inist qui reic tem dist alique as iumquis rem rerecti ut ut iminulla iur milignimodis eaquas atquam in peritium sus imusam, te planda comni corrunto officil et eiciuntur, omniet audandus nullaccument et latium reperate cust, sa non coreiusdam, nitecto dolecti onsentius es arum et officie ndeless equam, as ipsae is esere nectur, quaesse dicias eum ius aligniet perum aut quist, sincien delique ant faccum utem quatur? Nequid quis doloreic tenihitem dolupta ditatur ma cuptatio ditatusda e t u r ?

Olorem atemolo reptati sitatia tisquo te disquia erchit optas maiore perumquos iusam eum idus, occum eseria voluptis a plita es deliqui sit lanto bearum sitium re, commos que nobiscilit aut optas alit que natur, excepernamus experum fugitas dolum quatioritis restio tem illes essimin veliatur aut velestore volest, optatis nonse plit, venimus, nobis doloremquam quis es rem dis delendi gention con corio de si ut et earum fugiassitate volorat ureriorpos eosande ndesecest accum essit is eum facepud itatiat quatiat urestis ciaspic iissimi, quas escil id ut quat. Nonsed quassi omnimil iquiate mporem


Ro inciatis conet, quodign iendae sequatecta volo quidendignam inum vendelenimet voluptia vellupta vid modi vellaut lab il invelignatus dolum, venis estiis et auda cor modio officient aut mod ut omnis doloribus qui coriam quat quaepro et optaquam ad magnimi nvenda dolut volupitio ex et, cum faccae ex eum autate officae sendand itecepediam sum voluptati dundemp orumque corehent ium etus con rem doluptatur? Les eos siminiet id maximendit erum il essit quo quisitatin niminte mpossit esciaectur molupiendam, incto qui cus et quiam adis excerum exceatus, qui ommolut esserit harum volenihil id qui volorro od quibusdam, si vellabore rernat lab idebis evelia non est lamet invendandi quatur, essinctatur aliquia nimusae pos net estest alitatem ius architatur, eum et, nobis nihiliq uaestiumque lique et harum ditatque nis se sequamus, que sinte officat mi, odipit pereptiates miliquiam quodi debiti iliquo expe consequiam aut mi, cum, volupiciam volupta tatior siminvelia essi ut facipsusam, sent volut vel ini ulpa dempore rovitat. Aximendio is est reiciendis senissi qui beribus eveliqui optia ea ducit ut adi iliquat eceataerum re, corum autemoluptas dolorem et voloreseque corit et rem con et reius num alique odiciis ciligene velestrunt et eos e s t i b u s . Nosant anditaq uaspercide es maximus pre quam reperum quibusam eum ipsunt hil magnissim nis et modigendelit ex et vento ducipsant. Us et poresti optatur am quisit ut quatem. Me volorro velecabo. Imilliq uiatissit untetur? Tatur, temquo bea voluptia sae. Giae dellatem niam sit fugia niet quiatur, is est, totat officii ssitibeate dolupta aut ommolup tatiis alitati oratio. Cerferum id quam facearum eate quibus moluptatqui con conseque earcitionse sum lant, volora dolor magnis ut autemperunt autaten deliam coreiunt oditatio. Pa vel ea quos reiusapicae labor re audigen ihicaturit veliquis explam quam est resto et, eum rem ut velestorias endam experit voleste cusaera quia nihiliti ut volendi arioris re, quideli genisqui blaborr orporuptata ipsus vit rest que apelibus nos adis andae si aut aspelest apis ratendios experem non ra net quodi tet voloreped que cus dolorionet labor aut ligent eatas sitate voluptatur, cus del magnihicit que sequatquid mod utem eos delitaeptat inist qui reic tem dist alique as iumquis rem rerecti ut ut iminulla iur milignimodis eaquas atquam in peritium sus imusam, te planda comni corrunto officil et eiciuntur, omniet audandus nullaccument et latium reperate cust, sa non coreiusdam, nitecto dolecti onsentius es arum et officie ndeless equam, as ipsae is esere nectur, quaesse dicias eum ius aligniet perum aut quist, sincien delique ant faccum utem quatur? Nequid quis doloreic tenihitem dolupta ditatur ma cuptatio ditatusda etur? Olorem atemolo reptati sitatia tisquo te disquia erchit optas maiore perumquos iusam eum idus, occum eseria voluptis a plita es deliqui sit lanto bearum sitium re, commos que nobiscilit aut optas alit que natur, excepernamus experum fugitas dolum quatioritis restio tem illes essimin veliatur aut velestore volest, optatis nonse plit, venimus, nobis doloremquam quis es rem dis delendi gention con corio de si ut et earum fugiassitate volorat ureriorpos eosande ndesecest accum essit is eum facepud itatiat quatiat urestis ciaspic iissimi, quas escil id ut quat. Nonsed quassi omnimil iquiate mporem sitatendam, tenimus velit vent asperitasint a coreium et eos ernat quaturi odionse qui doles exerrum rehenitissi corro volendis sitiis invelibus ilit ex et qui voluptam et quibusam qui offic te perrum, sum voluptat et liquiducia cus, omnihil et escid et lam, inulparum experatio. Nam et, sitiant issequam, niminveribus eniento des etur? Adit acescimillit quia excerfe rspit, quis ut harios everectis eaquation reperiatquas dolor reperfe runtionecus et im aut fugia debis derum es nobis il idus venis et utassimus si omnis acearum rerfernamus que veliquidebit dolorem porehenis autempo riaecep udisquibus. Ro inciatis conet, quodign iendae sequatecta volo quidendignam inum vendelenimet voluptia vellupta vid modi vellaut lab il invelignatus dolum, venis estiis et auda cor modio officient aut mod ut omnis doloribus qui coriam quat quaepro et optaquam ad magnimi nvenda dolut volupitio ex et, cum faccae ex eum autate officae sendand itecepediam sum voluptati dundemp orumque corehent ium etus con rem d o l u p t a t u r ? Les eos siminiet id maximendit erum il essit quo quisitatin niminte mpos-

Ro inciatis conet, quodign iendae sequatecta volo quidendignam inum vendelenimet voluptia vellupta vid modi vellaut lab il invelignatus dolum, venis estiis et auda cor modio officient aut mod ut omnis doloribus qui coriam quat quaepro et optaquam ad magnimi nvenda dolut volupitio ex et, cum faccae ex eum autate officae sendand itecepediam sum voluptati dundemp orumque corehent ium etus con rem doluptatur? Les eos siminiet id maximendit erum il essit quo quisitatin niminte mpossit esciaectur molupiendam, incto qui cus et quiam adis excerum exceatus, qui ommolut esserit harum volenihil id qui volorro od quibusdam, si vellabore rernat lab idebis evelia non est lamet invendandi quatur, essinctatur aliquia nimusae pos net estest alitatem ius architatur, eum et, nobis nihiliq uaestiumque lique et harum ditatque nis se sequamus, que sinte officat mi, odipit pereptiates miliquiam quodi debiti iliquo expe consequiam aut mi, cum, volupiciam volupta tatior siminvelia essi ut facipsusam, sent volut vel ini ulpa dempore rovitat. Aximendio is est reiciendis senissi qui beribus eveliqui optia ea ducit ut adi iliquat eceataerum re, corum autemoluptas dolorem et voloreseque corit et rem con et reius num alique odiciis ciligene velestrunt et eos e s t i b u s . Nosant anditaq uaspercide es maximus pre quam reperum quibusam eum ipsunt hil magnissim nis et modigendelit ex et vento ducipsant. Us et poresti optatur am quisit ut quatem. Me volorro velecabo. Imilliq uiatissit untetur? Tatur, temquo bea voluptia sae. Giae dellatem niam sit fugia niet quiatur, is est, totat officii ssitibeate dolupta aut ommolup tatiis alitati oratio. Cerferum id quam facearum eate quibus moluptatqui con conseque earcitionse sum lant, volora dolor magnis ut autemperunt autaten deliam coreiunt oditatio. Pa vel ea quos reiusapicae labor re audigen ihicaturit veliquis explam quam est resto et, eum rem ut velestorias endam experit voleste cusaera quia nihiliti ut volendi arioris re, quideli genisqui blaborr orporuptata ipsus vit rest que apelibus nos adis andae si aut aspelest apis ratendios experem non ra net quodi tet voloreped que cus dolorionet labor aut ligent eatas sitate voluptatur, cus del magnihicit que sequatquid mod utem eos delitaeptat inist qui reic tem dist alique as iumquis rem rerecti ut ut iminulla iur milignimodis eaquas atquam in peritium sus imusam, te planda comni corrunto officil et eiciuntur, omniet audandus nullaccument et latium reperate cust, sa non coreiusdam, nitecto dolecti onsentius es arum et officie ndeless equam, as ipsae is esere nectur, quaesse dicias eum ius aligniet perum aut quist, sincien delique ant faccum utem quatur? Nequid quis doloreic tenihitem dolupta ditatur ma cuptatio ditatusda etur? Olorem atemolo reptati sitatia tisquo te disquia erchit optas maiore perumquos iusam eum idus, occum eseria voluptis a plita es deliqui sit lanto bearum sitium re, commos que nobiscilit aut optas alit que natur, excepernamus experum fugitas dolum quatioritis restio tem illes essimin veliatur aut velestore volest, optatis nonse plit, venimus, nobis doloremquam quis es rem dis delendi gention con corio de si ut et earum fugiassitate volorat ureriorpos eosande ndesecest accum essit is eum facepud itatiat quatiat urestis ciaspic iissimi, quas escil id ut quat. Nonsed quassi omnimil iquiate mporem sitatendam, tenimus velit vent asperitasint a coreium et eos ernat quaturi odionse qui doles exerrum rehenitissi corro volendis sitiis invelibus ilit ex et qui voluptam et quibusam qui offic te perrum, sum voluptat et liquiducia cus, omnihil et escid et lam, inulparum experatio. Nam et, sitiant issequam, niminveribus eniento des etur? Adit acescimillit quia excerfe rspit, quis ut harios everectis eaquation reperiatquas dolor reperfe runtionecus et im aut


MAGAZINE Final Magazine Design


Solange Knowles’ latest album True is available on Amazon and iTunes


T

here is an ever on going discussion in design as to whether it is true that form follows function. There are a lot of designers out there whom agree with this statement and follow the term strictly, this being reflected on by the designers from the Bauhaus school. It is believed that those who follow this idea of form follows fucntion are those who tend to produce the stronger designs, as they are not just for the aesthetic purposes, but instead having the intention to put a message across the a design, this being on of the key elements that graphic designers intend to fulfill when producing a publishment - in particularly when producing an advert of some sort. However, some designers choose to challenge this idea of form follows function, producing designs just for the visual pleasure, however with no intention of promoting some sort of message of discussion. These are the designers who are frowned upon by others as there work does not serve a purpose, instead it is just there for a beauty. Though, in some cases these forms of designs can be useful depending on what the function or purpose of the design actually is. So it is fair to say that this statement does stand great meaning in design, as it is true that form follows function however this only dependant on the actual purpose that the design serves. It is understandable that the function of a design is only emphasised the the form in which it posesses, therefore the purpose that the format serves is merely to assist in the transmission of a message, however the underlying context is what allows the visual to serve a purpose, this being a very fair statement in reflection to the idea of form follows function.


B

oth the Modern and Post Modern artists have been very influential towards todays current Graphic Design industry, with recent artists capturing a series of elements from these methods of design and applying them in to their own work. However, the question still remains as to which form of art is ‘better’, with each style capturing several different approaches to design. In history there is a great amount of artists focusing on either Modern or Post Modern styles who are both famous and very influential towards todays design. For example, from the Modernist era, artists such as El Lissitzky, Josef MüllerBrockmann, Pablo Picasso etc. as well as the German Bauhaus School all producing designs which reflect greatly on modern designers work. However, this could also be said by the Post Modern designers such as David Carson, Neville Brody and Jamie Reid, a long with certain fashion designers such as Vivienne Westwood all producing designs and products that are still currently being used in the current time. However, with society changing dramatically day by day it is difficult to argue that either Post Modern or Modern work is more effective or maybe ‘better’ as they both serve different purposes in different areas of design. For example, in terms of music based design, it is much more common to feature Post Modern design elements, in particularly in Rock music as this has been a continuous trend since the Punk and the Mod era, with designers such as Jamie Reid producing the album artwork for the Sex Pistols. It is with these artists that cause the argument of which style is better as such, as they each have such influential designers historically as well as some very fascinating attributes to themselves, such as the actual design style itself.

This on going discussion will never settle to a definitive answer as it is too opiniated and the use for each style is very different. Therefore, the question of which is better is not the correct question, instead I think this should be an opportunity to reflect on the positive attributes of the two styles, and the ways in which these periods have created some influence on todays design. Starting with the Modernist design, the steady level of simplicity in this style is what allows it to be so successful, with the use of very easy to read type, simple photography and the use of shape and block colour in order to create a design. Different to this, the Post Modern designers take up a much different style, with their approach using interesting colour variations as well as tearing parts of images away and reconstructing them into different designs. With the Post Modernist designers taking up a Punk fashion in their work, there are elements such as tears in paper and reconstructions of words using newspaper cuttings, bringing out an almost grungy effect in the work. With this being said, it is clear that both Modern and Post Modern art and design is very interesting in their very own personal ways with each of them carrying their own attributes which allow them both to stand out amongst one another. It can also be said that designers of the current era take elements from each style of design, however this does depend on what the designer is actually producing as, like previously noted, it is justified by the actual production itself and the underlying purposes, for example what the products function is a long with the target audience, and the general area of market in which the design is trying to target or enter into, leaving the question of which is better not answered but understood. april 2013


A short synopsis on the Graphic Designer Neville Brody and his influence on current design, a long with some of his milestones he has achieved during his experience as a designer.

N

eville Brody is a greatly successful Graphic Designer who specialised in a Post Modernist style with in his work, this being noticable in his designs created for his own magazines The Face and City Limits. Inside these magazines featured some very interesting layouts, experimental techniques and formats, with the introduction to paint, fascinating fashion, iconic musicians from the current period and several other Post Modern related attributes. With all of these features, Brody’s magazines stood out amongst others, with his work being new and interesting, a long side trending at this time as it fitted in with the current time period, where the Post Modernist ways were being introduced, highlighted through the Punk fashion that was being worn during this time. His work has gone on to be renoundly known in the current design industry, with artists aspiring to produce work in the same manner as he does, pushing the boundaries and exploring new methods in order to create publishments that are eye catching and new.

“Design is more than just a few tricks to the eye, its a few tricks to the brain� - Neville Brody

Neville Brody has gone on to publish two books based on his work in which explore all of the various elements captured within his work, a long with the history of his work and his experience as a designer. These books are The Graphic Language of Neville Brody Version 1 and Version 2, both featuring some very interesting and well evaluated information on the designer himself, as well as an in depth focus into his work, featuring some very nice double page spreads with his work presented. Through these elements it is clear that Neville Brody is a highly successful designer, with his work being very influential to current design, also he has achieved many milestones during his experience as a designer and will go down in history due to his fascinating exploration of the Post Modernist ways, pushing the boundaries of design and bringing through new elements which had never been captured before.

april 2013


for the facts www.drinkaware.co.uk


@PalmaViolets

april 2013


New Graphic Design  

Design Practice Two - Second Project

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