NEW VISUAL LANGUAGE HAMZAHan exploration LAHErof modernism and post - modernism
BRIEF “Perfection is achieved, not when there is nothing left to add, but when there is nothing left to remove.” - Antoine de Saint Exupery Option 1: Magazine Design: - Submit design proposals for a new graphic design publication entitled, New Visual Language. The first issue will focus on Form follows function - an exploration of Modernism and Post Modernsim. - Visual work should be an expression of a movement (modernsim or post modernism or both) and not a pastiche. - Submit edited versions of City in Flux, Earth Artifact and Type Transcription work (“Like a crumble trail”).
Should produce: -Masthead -Cover Design -Contents Page -Inner Page/s Masthead: New Visual Language
- Body of original visual research based upon Modernism/ Post Modernism -Evidence of thumbnail visuals and design layouts -Evidence of grid, layout, type and image selection and experimentation -Evidence of multiple selections and design refienment
Sub Heading: Form Follows Function an exploration of Modernism and Post Modernism
Issue 1: ‘Date’
Size: A4 or A3 Portrait Cover A4 or A3 Portrait Inner
This magazine will encapsulate edited picks which has been produced throughout the year.
brainstorm cover page masthead
helvetica movie review Video
modernism & post - modernism Layout Books
grid Layout Rulers postmodern
colour moodboards masthead layout typography bodycopy
MOdernism Overall, modernism is a time where traditional values began to change. Modernism attempted to rethink science, art, culture etc. It attempted to the find new or hidden meaning and had to deal with coming to terms with new ideas. Modernism is a term used in the aftermath of World War One and the Russian revolution in a period where artists dreamt of a new world free from conflict, greed and social inequality. The term modernism was used in graphic design itself due to the economic conditions that improved, which made designers to reassess their work, adapting it to a mass markets, and sometimes even to the demands of fascism.
Modernist graphic design and advertising came to be known as the New Typography and it favoured sans-serif lettering, sometimes without uppercase letters and photographic images were montage alongside type (Typo-Photo). Also colour and composition were influenced by abstract paints. In my opinion when it come to Modernism as a whole it can be a bit disturbing in regards to the political side of things and in regards to the way it was used (build up for World War One). However, when it come to design itself I prefer modernist design only because of the outcome (of the design), because of the composition, the order in the design. I do feel like sometimes I need to work
towards some sort of order/grid rule but only to a certain extent. Through the Modernist period, artists were freely influenced by the work of other cultures and other artists. For example, Picasso adopted cubism from Braque who has previously been inspired by Cezanne Likewise, van Gogh was influenced by Japanese prints, and his composition for “Bridge in the Rain” was copied from Hiroshige’s “Great Bridge, Sudden Shower at Atake”. Refrences: - John Benjamins Publishing, 2007 - Modernism (Aesthetics). ISBN: 978 90 272 3454 4
MOdernism Modernism took off mainly in Europe - and particularly in Germany, with the Bauhaus movement. At the same time England were in hold of Art Deco and Art Nouveau. It wasnâ€™t until after World War One, did England start to be influenced by Modernism stongly. Style: - Under-furnished, austere spaces - Use of plastic and fibreglass - Motifs - Bold primary colours Influences: - Industrial revolution - Growth of consumerism after World War One
- Charles and Ray Eames - Marcel Breuer - Frank Lloyd Wright - architect - Mies van der Rohe - designer and director of the Bauhaus art school - Le Corbusier - Swiss architect and designer
- Walls: Bare concrete or painted white - Light: Very important. Maximum light - Furniture: Coffee tables in glass and chrome with simple lines. MDF painted white or just wood. - Lighting: By the 1920s everyone finally had electric light. Industrial Lighting was popular due to the industrail revolution.
At the time: - 1927 Al Jolson in The Jazz Singer - the first talking picture - 1936 Edward VIII abdicates to marry Wallis Simpson - 1936 Spanish Civil war - 1939 The Wizard of Oz - 1939 Hitler invades Poland - war breaks out in Europe
Refrencres: - Retro Home by Suzanne Trocme (Octopus). ISBN: 842222724 - Modern Retro by Neil Bingham & Andrew Weaving (Rylands, Peters & Small). ISBN:1845973674
POst - MOdernism Post - Modernism is a late 20th century style and concept in the arts, which represents a departure from modernism and is identified by the mixing of different artistic styles and media. Throught the post - modernism period; There was an encouraging use of elements from common historical styles and often illusions, decoration and complexity. It is a movement particularly shown throught in architecture. It reacted against the modern schools by reintroducing classical and traditional elements of style. An example of this style is Philip Johnson’s AT&T Building in New York City. The term postmodernism was first commonly used in the early 1940’s;
and it was used to describe/ talk about modern architecture. Many people did not like modern architecture because it had too many box-like shapes. Postmodern art and literature commonly talks about itself and makes fun of itself. It makes fun of ‘serious’ art. Post modernism has influenced many cultural fields, philosophy, architecture, visual arts, and music. Post - modernism also led people to think differently about popular culture, and the change in much of the Western world from an industrial to service economy (development in financial services, hospitality, retail, health, human services, information technology and education).
References: - The American Heritage® New Dictionary of Cultural Literacy, Third Edition. Retrieved March 23, 2015 - The American Heritage® New Dictionary of Cultural Literacy, Third Edition. Houghton Mifflin Company, 2005 - Vandermerwe, S. and Rada, J. (1988) “Servitization of business: Adding value by adding services”, European Management Journal, vol. 6, no. 4, 1988
POst - MOdernism Post-modern just means ‘coming after’ modernism. The term is used to refer to a period in history (the one we’re in now), but it is also used to refer to a set of ideas that ‘go with’ this period in history. This set of ideas is a reaction to—and, to some extent, a rejection of—the ideas of modernism. Ideas in modernism are important, because they frame most of the thinking of most people in ‘Western’ cultures. They also frame our major institutions, including those of education. Beginning in the mid–late 18th century, the modern period of European history was a time of great social, political, and economic change (the Industrial Revolution and the American and French Revolutions took place in this period). It
saw the development of capitalism and industrialisation. It was seen as a time of great progress. All this was made possible by some ‘big ideas’: idea of poeple acting independently. This idea, which seems obvious and socially, economically and politcally acceptable. However, it excludes many people, and it minimises the relationships and connections between people. The second ‘big idea’ of modernism is knowledge- education. The knowledge being talked about here is; knowledge that describes stable order of things. These ideas have long been criticised by people from groups who are
marginalised by them (e.g. women and working-class people). Post-modernism simply: - It is the end of traditional structures and institutions - There is a loss of faith in the idea of ‘progress’, the idea that we are gradually heading along the one true pathway. Instead, there is an emphasis on multiple pathways. Refrences: - Fredric Jameson, Duke University Press, 1991. ISBN: 0822310902 - International Postmodernism: Theory and Literary Practice, Johannes Willem Bertens, Hans Bertens, Douwe Fokkema,1997. ISBN: 9027234450
Walter Dexel His early pictures were influenced by Cubism and Expressionism. In 1914 Dexel held his first individual exhibition with Cubist pictures at the “Galerie Dietzel” in Munich. Walter Dexel was not restricted to panel paintings but also worked as a typographer, an advertising designer and designed interiors and stage settings. In 1928 he wrote a book entitled “Das Wohnhaus von Heute” together with his wife Grete Dexel, which reflects the artist’s interest in the issues of modern living, which the artist showed from an early age.
From 1928 to 1935 Walter Dexel worked as a lecturer for graphic design at the Magdeburg “Kunstgewerbeschule”. He was dismissed from his post in 1935 by the Nazis. That same year Walter Dexel gave up painting. After the war, the artist studied the history of the form of household appliances. Between 1942 and 1955 Walter Dexel assembled the “Historische Formensammlung” and published numerous books on form. Under the influence of a retrospective exhibition at the Berlin gallery “Der Sturm”, Walter Dexel began to work in art again in 1961, using 1920s form elements for his designs.
References: - Walter Dexel, Sandstein Kommunikation, 26 Nov 2014. ISBN: 3954981459
- Cubism - Basic - Striaght Lines - Simple - Grid Lines - Grid Work - Grid Boxes - Bland - Symmetry Colours
El Lissitzky El Lissitzky was a Russian born artist, designer, typographer, photographer and architect who designed many exhibitions and propaganda for the Soviet Union in the early 20th century.
spent time in both Germany as a cultural representative of Russia and, after he was diagnosed with pulmonary tuberculosis, Switzerland in a Swiss sanatorium.
His ideas had developed into the Bauhaus and the Constructivist art movements.
But this never stopped him from working as he continued to produce propaganda posters, books, buildings and exhibitions for the Soviet Union.
His style and design characteristics and experimentation with production techniques developed in the 1920s and 30s. In his early years he developed a style of painting in which he used abstract geometric shapes, which he referred to as â€œprounsâ€?. He moved around in the 1920s and
In 1932 Stalin demanded that artists conform to much stricter guidelines or be blacklisted, Lissitzky managed to retain his position as head of exhibitions. In 1941 his tuberculosis overcame him and caused his death. References:
- Curl, James Stevens (2006), A Dictionary of Architecture and Landscape Architecture. ISBN: 0 19860678 8 - Mallgrave, Harry Francis (2005), Modern Architectural Theory: A Historical Survey, 1673-1968. ISBN 0-521-79306-8 - Mayakovsky, Vladimir; El Lissitzky (2000), For the Voice (Dlia golosa). ISBN 0-26213377-6 - Shatskikh, Alexandra (2007), Vitebsk: The Life of Art. Yale University Press. ISBN 978-0-300-10108-9
El Lissitzky - Simple
- Use of Whitespace
- Use of Gridlines
Kurt Schwitters Kurt Schwitters was a german painter, sculptor and designer. At first his painting was naturalistic and then Impressionistic, until he came into contact with Expressionist art. He became associated with the Dada movement (dadaism- Dada, in addition to being anti-war, had political connections with the radical left and was also anti-bourgeois) in Berlin. From 1922 to 1930 Schwitters’s art was indebted to Russian Constructivism and had a great impact in Germany, particularly at the Bauhaus. The widespread search among avantgarde artists in the 1920s for a new style for the age was shared by Schwitters, who differed from Constructivists mainly
in his insistence on ‘natural’ rather than ‘geometrical’ forms as the basis for a new visual language.
with Dadaism, there is something in his approach to art that makes him a modernist artist.
The 1930s were a period of change and eventual tragedy for Schwitters. After Hitler’s rise to power in 1933 and in 1937 his work was included in the Entartete Kunst exhibition, selected by the Nazis.
Schwitters arrived in England in 1940; Many fellow inmates considered him to be a relic of a dead avant-garde movement.
- Webster, Gwendolen, Kurt Merz Schwitters, a Biographical Study, University of Wales Press 1997. ISBN 0-7083-1438-4
Schwitters’s work seemed to anticipate Pop art to extend the tradition of Dada collage, in which Schwitters had made his debut as a modernist. Despite Schwitters’s links and associations
- “Kurt Schwitters: Portrait of a starving artist”, BBC News, 29 January 2013
- Jones, Dafydd, Dada 1916 In Theory: Practices of Critical Resistance (Liverpool: Liverpool University Press, 2014). ISBN 978-1-781-380-208
- Simple - Dadaism - Basic Shapes - Use of Gridlines - Minimalistic use of colours
Wim Crouwel Crouwel as a designer was related to the Bauhaus ideas; the swiss-inspired international style. He was fascinated by Bauhaus typography, which he discovered through Karl Gerstner’s and Gerard Ifert’s work. He works quite constructive; constructs type, and works on grids. Crouwel is especially admired for his systematic approach and his creative handling of the shape of letters. His work was influenced by the pre-war Werkmann and post-war Sandberg, an individualistic generation of typographers who dared to juggle with letters. Crouwel is a modernist and impressed by a typeface like Helvetica as it is a more neutral than any other typeface.
“A face shouldn’t have a meaning in itself, the meaning should be in the content of the text.” “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.” Crouwel thought it would be better to design a typeface that was suitable for this machine instead of forcing it to use the typefaces we knew. He drew the New Alphabet, a highly abstract font, based on a dot-matrix system: - Straight Lines: 90 degree angles, 45 degree rounding - Big or Small: Always looked the same
- Face: High as it was wide - Lining: Designed in a way so it would fit in every grid system. References: - Quoutes: Helvetica, 2007, Film - Broos, K, Wim Crouwel: Alphabets, BIS Publishers, Amsterdam, 2003. ISBN 90-6369-037-1 - Catherine de Smet, Emmanuel Berard, Wim Crouwel: Architectures Typographic Architectures, Editions F7, Parijs 2007. ISBN: 9064505659
Wim Crouwel - Abstract: Eye Catching - Thick Black Lines - Gridwork - Geometric
Max Miedinger Max Miedinger: Type Designer: - 1936-46: Typographer for Globus department store’s advertising studio in Zurich. - 1947-56: Customer counselor and typeface sales representative for the Haas’sche SchriftgieBerei in Münchenstein near Basle. - From 1956 Onwards: Freelance graphic artist in Zurich. - 1956: Eduard Hoffmann, the director of the Haas’sche Schriftgießerei, commissions Miedinger to develop a new sans-serif typeface. - 1957: The Haas-Grotesk face is
introduced. - 1958: The introduction of the normal version of Haas-Grotesk. - 1959: The introduction of a bold Haas Grotesk. - 1960: The typeface changes its name from Neue Haas Grotesk to Helvetica. - 2001: Linotype publishes Helvetica World an update to the classic Helvetica design using the OpenType font format with multilingual characterset.
References: - Helvetica Forever, Story of a Typeface, Edited by Lars Muller and Victor Malsy, 2009. ISBN: 978-3-03778-121-0 - Helvetica and the New York City Subway System, by Paul Shaw, 2011. ISBN: 026201548X
Jan Tschichold Tschichold is a typographer. He is most remembered in Britain for his post war designs of Penguin paperbacks (horizontally banded colours):
Not everyone was impressed by him: For example the Nazi party remained deeply suspicious of modernism, regarding it as fundamentally ‘un-German’.
- Orange for fiction
Raised in Germany, he worked closely with Paul Renner (who designed Futura) and fled to Switzerland during the rise of the Nazi party.
- Green for crime - Blue for biography Tschichold’s abstract art was influenced from Mondrian’s iabstract art. He used geometrical elements and diagonal arrangements, not only in everyday printing, ei.g. Business cards, Posters, Brochures etc. His text was often hand-drawn and was always sans-serif.
His emphasis on new typography and sans-serif typefaces was deemed a threat to the cultural heritage of Germany. Only 10 days after the Nazis surged to power in March 1933, Tschichold was taken into “protective custody”The authorities had made it clear that progressive ideas would not be tolerated.
He spent part of his career with Penguin Books where he developed a standardised practice for creating the covers for all of the books produced by Penguin. He went throught the development of more than 500 books between the years 1947-49. Every period of his career has left an impression on how designers use typography. References: - Richard Doubleday. “Jan Tschichold at Penguin Books”. - Aynsley and Jeremy, Graphic Design in Germany, 1890–1945. ISBN: 0-520 22796-4.
Jan Tschichold - Bold - Gridwork - Gridlines - Symmetry - Simple - Basic Shapes - Rules - Geometric Shapes
Paul Renner Paul Renner is a graphic artist, painter, type designer, author and teacher. He studied architecture and painting in Berlin. In 1933 as a representative of the German Reich he charge of the design of the German section at the Milan Triennale. Typography: - Futura, 1928 - Plak, 1928 - Futura Black, 1929 - Ballade, 1937
I think that Paul Renner was very influential in the transition between the traditional 19th century and the modern 20th century typefaces. The reason for this is Wbecause of the creation of the typeface Futura showed that there was an alternative typface to gothic and roman typefaces. Futura is a very bold typeface , which makes it stand out and makes it unique fro other typefaces. He was trying to go from the old to the new in his work, trying to get people to accept and follow the change during the times.
References: - Die Kunst der Typographie, Berliz 1939. ISBN 3-87512-414-6 - Paul Renner: the art of typography, Burke, Christopher, 1998. ISBN 0-907259-12-X
PAul renner - Form follows Function - Bold Colours - Simple - Basic Shapes - Geometric - Symmetry - Gridlines
MOholy - NAgy Moholy-Nagy had a great influence on post-war art as a modernist.
Moholy - Nagyâ€™s important/ main concept:
He later on went into commercial design to theater set design, and also made films and worked as a magazine art director.
However, his greatest legacy was the version of Bauhaus teaching; He bellieved that modernity could be relived through new technologies. His interest in photography encouraged his belief that we had to modernise. Moholy-Nagyâ€™s interests: - Space and time - Light - Different Media
- Information - Geometric - Structure - Compatibility - Mechanical
References: - In Focus: Laszlo Moholy-Nagy, 24/08/1995. ISBN: 978-0892363247 - Laszlo Moholy - Nagy: Biographical Writings, by Louis Kaplan, 1995. ISBN: 0822315920
Moholy - Nagy - Basic Shapes - Bold - Colourful - Geometric - Symmetry - Gridwork - Gridlines - Constructive - Simple - Minimalism
Joost Schmidt is a famous graphic designer who designed posters for the 1923 Bauhaus Exhibition in Germany. I like his posters in the way he combines typography with shapes. He combined shapes such as circles, squares with the typographic elements very well.He used white space efficiently and used this as a tactic in his posters.
Negative spaces were common in his posters. They are are not like just a background of the design; they are also part of his designs. Furthemore, he showed expression or he gave expressions through the typography. For example: Dynamism shown through the exaggeration of letters.
References: - Bauhaus, 1919-1933, by Magdalena Droste. ISBN: 3822821055
- Swiss Graphic Design: The Origins and Growth of an International Style, 1920, by Richard Hollis. ISBN: 1856694879
JOOST SCHmiDT - Bold - Minimalism - Geometric - Symmetry - Gridwork
Josef Muller Brockmann Josef Muller-Brockmann was born in Switzerland in 1914 and studied architecture and design. His posters was filled with constructivism and abstraction (concrete art).Concrete art is based on measurable proportions. In Brockmann’s designs for posters, advertisements etc he favours and uses the aid of a geometric grid that determines the arrangement of the type and images.
Whitespace is a very important element for both visual impact and readability. It ensures that information is clearly conveyed. “Perfection is achieved, not when there is nothing left to add, but when there is nothing left to remove.” Grid systems is a rigid framework that is used to help graphic designers to organise information on a page.The core of this idea was first presented by Josef Muller Brockmann.
References: - Josef Muller-Brockmann: Pioneer of Swiss Graphic Design, Lars Müller, 2001. ISBN: 3906700895 - Josef Muller-Brockmann, by Kerry William Purcell, 2006. ISBN: 9780714843490
Josef Muller Brockmann - Clear - Gridwork - Typography - Basic Shapes - Whitespace - Minimalism - Symmetry - Understandable - Meaningful - Simple
Emil Ruder was a typographer and graphic designer who establish the style of design known as Swiss Design. He placed a heavy importance on sansserif typefaces and his work is both clear and concise, especially his typography. He favored symmetrical compositions and placing high concern on the negative space of compositions.
“ printed work that cannot be read becomes a product without purpose If a word is so distorted in the interests of visual impact that it ceases to be legible, an opportunity should be afforded of repeating the word in the relevant text ” - Emil Ruder His style has been emulated by many designers and has influenced the development of web design.
References: - Ruder, Emil, 2001, Typographie. Verlag Niggli AG. ISBN 3721200438 - “Emil Ruder”, Swiss Style, 4/ November/ 2013
David Carson is recognized for breaking the rules: gridwork, gridlines, rules, clarity, whitespace etc. David Carson’s work rejects the rules that were constructed in the modernism period. Carson became the art director of Transworld Skateboarding magazine in 1984. He helped to give the magazine a distinctive look.
By the end of his administration, he developed a signature style, using “dirty” type and non-mainstream photographic techniques. His layouts features distorted or/ and mixed typefaces and images. “He uses type the way a painter uses paint, to create emotion, to express ideas.” - Photographer Albert Watson
References: - Interview with David Carson, Imagine, BBC Television, Broadcast November 6, 2007 - “David Carson: Type designer”. TED July, 3, 2010.
David Carson - Typography - Layout - Colour - Aesthetics over Function? - Rules?
filippo tommaso marinetti
Filippo Tommaso Emilio Marinetti was an Italian poet and editor, the founder of the Futurist movement.
Marinetti wanted more than to free to reject the tracditional past of book design.
In 1909 Marinetti published his ‘Manifeste de fondation du Futurisme’, which aroused immediate international repercussions (see Futurism).
“I call for a typographic revolution directed against the idiotic and nauseating concepts of outdated and conventional book”.
This manifesto proclaimed a new kind of poetry, exalting the love of danger, aggression, speed and war (‘the war’s only hygiene’) and the excitement of great crowds, revolutions, industry and technology.
He used neither verbs nor adjectives, only nouns scattered about the page, conveying a message/ meaning through size, weight and placement- a revolution in style that deconstructed traditional linear writing.
References: - Hewitt, Andrew (1993), Fascist Modernism: Aesthetics, Politics, and the Avant-garde. ISBN 9780804726979 - ‘Works by or about Filippo Tommaso Marinetti’ at Internet Archive (https:/ archive.org/)
filippo tommaso marinetti
As an industrial designer, his work is characterized by a clarity of design and precise proportions. He sought to create objects so that the new science of form could be understood by the senses: that is as a concrete art.
â€œThe aesthetic component of an object was defined not only as arising from a function but as being the actual function of formâ€?
References: - Max Bill, Controversial Swiss : Artist, Sculptor and Writer, Los Angeles Times, December 14, 1994
Armin Hofmann had completed an apprenticeship in lithography and strated teaching typography at the Basel School of Design. His work and theories surrounded the Swiss International Style, which stressed a belief in an absolute and universal style of graphic design.
The style of design he created had a goal of communication other than anything. He practiced new techniques of photo typesetting, photo-montage and experimental composition and heavily favored sans-serif typography.
References: - Hofmann, Armin, 1989, Wichmann. ISBN 0-8176-2339-6 - Hollis, Richard, 28/ April/ 2006. Swiss graphic design: the origins and growth of an international style, 1920-1965. ISBN 978-0-300-10676-3.
Neville Brody is one of the most celebrated graphic designers of his generation – a leading typographer and internationally recognised art director and brand strategist. His graphic language has become an international model for the new age of computer-oriented design.
Arcadia® (1990), Industria® (1990),
- The Graphic Language Of Neville Brody, Jon Wozencroft, 1988. ISBN 0-500-27496-7
Insignia® (1990), Blur (1991), Pop (1991), Gothic (1991), Harlem (1991)
MODERN? MODERN? POST M PM
The style of the magazine is going to be such that it mostly pot - modem, but it is not excessive, menaing that it is not over the top; In relation to the work of David Carson. I want to express my creativity, but even this has to have its boundries; not too extensive.
-Warm -Happy -Stimulating
-Spituality -Nobilty -Dignity
-Energetic -Friendly -Inviting
-Balance -Stability -Possibility
-Energy -Action -Confidence
-Calm -Neutral -Lack of energy
-Calm -Dependable -Trustworthy
-Energy -Power -Protection
-Power -Elegance -Modernity
I have decided to use the colour blue as one of the mian colurs used in my magazine a represent my personality I relation to my calmness/ coolness. Furthermore, the colour is very neutral and is at peace making my work very pleasing and clean to view. In addition, as blue is a very calm colour, my work does not seem very busy when I add my creations to my magazine.
For the typography in my magazine I wanted my typeface to visually send/ create a message to viewers through the weight, size and layout of the typeface. This kind of style can be related to the work of Filippo Tommaso Marinetti. Furthmore, the style of typeface I wanted should be be clear, bold and should have a modern (age/ time) look. On the right is a few inspirational pieces of work in relation to typography.
H 722 pt
Helvetica was originally called Die Neue Haas Grotesk, and was closely based on Schelter-Grotesk. It was created specifically to be neutral, to not give any impression or have any meaning in itself. This neutrality was paramount, and based on the idea that type itself should give no meaning.
Regular Oblique Light Oblique Regular Oblique
Regular Italic UltraLight Italic Thin Italic
Light Italic Medium Italic Bold Italic
B 722 pt
The new weights stay true to the style and grace of Bebas with the familiar clean lines, elegant shapes, a blend of technical straightforwardness and simple warmth which make it uniformly proper for web, print, commerce and art.
Regular Bold Book Light thin
NVL NVL NVL NVL NVL
After looking at the two tyepfaces Helvetica and Bebas as they are both the style of type I wanted to go for as they are both bold and clear. Even though Helvetica is famous for is natural personality and ‘would work well with any poster’ I have have gone for the tyepface ‘Bebas’. This is the case, becaue Bebas is has a more modern approach in terms of aesthetcis. furthromore, bebas is a very clear and visually pleasing tyepface and this reflects my style of design as my design is easy to understand visually, back relating to Filippo Tommaso Marinetti.
TYPO GRAPHY tracking
Grid systems are used to aid in layout, specifically typography. Furthermore, gridwork/ systems create ‘rules’. Which from my point of view disallows my creativity to be open. Therefore, grid work can be used, but in a way that does not disallows creativity. “ The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice. ” - Josef Muller Brockmann
Unique? Ideology? Colour? Easy?
As I have outlined the main characteristics of the ‘New Visual Language’ logo, I need to look into the actual designing the logo for the ‘New Visual Language’ project. I want the logo to have meaning to what ‘New Visual Language’ is about to me, but at the same time, I will have to keep in mind the colour and simplicity of the deisgn. Colour: -powerful -strong -modern -impact -bold -clean
Here are a few examples of logos which really inspire me in relation to the simple styling of the logo designs. They all use typography as the main aspect of the logo and they all use one or two colours. This makes the logo simple, bold, memorable and elegant at the same time.
Here is the development of my logo. I wanted to have bold, strong strokes so therefore I went for straight, construction lines style incorporated into my logo. Furthermore, I wanted the logo to be recognisable and not something where a viewer has to take time to figure out the ideology of the logo. For my final logo I used the idea of white space and stong construction lines to give an impact to the reader.
Post - Modern Moodboard
The page covers look very busy, but the title is clear and stands out. Typography plays a big part of the design on the Esquire magazine.
This magazine is busy, but is balanced out by the visuals/ â€˜photosâ€™. Also the colour theme changes in relation to the topic of the magazine.
new sugar magazine
This is one of the main inspiration for my magazine as its style of magazine is very unique and different. This style of design is what i will try to emulate in my magazine.
Cover page development
Too much blue Too plain Aesthetics? Too simple Basic Shapes Shape development?
Too plain Same colours Post - modern? Development of shapes Second colour? Futuristic shapes
Odd? Too plain Depth of field? Shadows? 3D? Basic?
Good gradients Good shape 3D? Shadows? Placement? Typography?
Good shadows Post - modern Typography layout Too bold?
Post - modern 3D Creative Out of modernism- â€˜set of rulesâ€™
Lighter shade Good gradient background as it gives a sense of lighting and 3d sense. to the message box shape.
Here I have tried a different polygonal shae, which is a bit more creative, but the title doesnt seem to fit within the shape.
Here, I have a created a different polygonal message box, with gradients on each face, to give a sense of lighting and 3d effect.
contents page development
Here I have just rotated the first shape I created for the cover page. However, the colours seem to be a bit dark and doesnt flow.
Next, I have lowered the opacity of the shadow, to make to the overall design not too dar, but it still seems a bit dark.
To lower the darkness of the page, I tried to lower the opacity of the shape, but after this it doesnt look aesthetcially pleasing.
Here, I have created a 3d polygonal shape, using different shades of colour to express my creativity with shapes and colour.
Next, I lightened the typography as it was too dark and difficult to read from before.
I have taken the first polygonal shape and have gave it a lighter shade of gre
Inner Pages development
Here, I am trying different styles of pages to show off my development process of work. All the pages are very creative, but some of them seem to be quite busy. However, what is shown here, is that the visual is the main factor.
This page seems to be too plain and simple. Also It doesnt seem to fit with the theme.
This page also seems to be too plain. However, the page is still too busy, covering the visual
This page does fit the theme, however, it seems quite diificult to show any work.
Here, the page is very creative, but it shows signs of difficulty in showing work.
Inner Pages development
Final Magazine Highlights
Research and Development booklet for the 'New Visual Language Project (Third/ Final Project). Year 1.