punk
country
hip hop
classical
volume 1 issue 4
sound box
1
index 2
the sound of music
26
country
4
swiss design
28
walter herdeg
6
classical
30
8
johnny cash I walk the line
josef mĂźller-brockmann
10
32
hans neuburg
ludwig van beethoven piano concerto no. 2 in b-flat major, op. 19: II. adagio
34
taylor swift love story
12
armin hofmann
36
punk
14
ludovico einaudi night
38
jan tschichold
16
hip hop
40
the clash should I stay or should I go
18
richard paul lohse
42
wim crouwel
20
biggie smalls big poppa
44
rise against savior
22
emil ruder
46
sources
24
run dmc it’s tricky
48
credits
50
meet the publishers
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soundbox magazine Have you ever seen the sound of music? We’re not talking about the classic film about dancing and singing in meadows, but the actual sound of a song displayed with shapes and colors. SoundBox magazine is a publication for the deaf, designed to help them experience the emotion and sensory perception of different genres of music through the use of the Swiss International design style. Why use Swiss design? Swiss design, also known as the International Style, was developed to communicate ideas and feelings to any audience, regardless of language and beliefs. The beauty of the Swiss system lies in the use of visual principles. These serve as the primary means of communication for the deaf as opposed to sounds. 2
The International style serves as the ideal visual communication for the deaf. This issue of SoundBox will explore four very different genres of music and relate how each is similar to a visual elements of Swiss design. This will ultimately culminate in a rich visual interpretation of songs within the genres, and help the deaf experience what it is the was originally trying to express. Are you ready to see the sound of music?
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swiss design Often referred to as the International Typographic Style or the International Style, the style of design that originated in Switzerland in the 1940s and 50s was the basis of much of the development of graphic design during the mid 20th century. Led by designers Josef M端ller-Brockmann at the Zurich School of Arts and Krafts and Armin Hofmann at the Basel School of Design, the style favored simplicity, legibility and objectivity. Of the many contributions to develop from the two schools were the use of, sans -serif typography, grids and asymmetrical layouts. Also stressed was the combination of typography and photography as a means of visual communication. The primary influential works were developed as posters, which were seen to be the most effective means of communication. 4
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classical Classical music is one of the oldest genres of music, but has continued to stay popular over the centuries. It has evolved over time from piano, to full orchestras, to being influenced by electronica, rock, and primitive music. Ludwig van Beethoven was born in 1770 and is known today for being a brilliant pianist and composer. He widened the scope of sonata, symphony, concerto, and quartet by combining vocals and instruments in a new way, and some of his most important works were composed when he was quite unable to hear. Ludovico Einaudi was born in 1955, and trained as a classical composer and pianist at the Milan Conservatory. He later turned away from a glittering classical career to forge his own musical path, in which he enjoys adding elements of classical, rock, electronica, and world music into his pieces. 6
Swiss design utilizes similar layouts from page to page, allowing for continuity throughout the entire design, just as all the instruments in classical music come together to create a cohesive musical experience. This can also be seen in the Swiss use of flow lines throughout entire publications to connect elements that are on different pages. Just as classical music often consists of powerful, expressive compositions that rarely contain any lyrics, Swiss design focuses on creating the most effective experience using negative space and minimal content. Classical compositions have a tendency to conclude in a similar manner to which they begin, which creates a cyclic experience similar to the concept of radial symmetry which is present in many Swiss designs. 7
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josef
müllerbrockmann As with most graphic designers that can be classified as part of the Swiss International Style, Joseph Müller- Brockmann was influenced by the ideas of several different design and art movements including Constructivism, De Stijl, Suprematism and the Bauhaus. He is perhaps the most well-known Swiss designer and his name is probably the most easily recognized when talking about the period. He was born and raised in Switzerland and by the age of 43 he became a teacher at the Zurich school of arts and crafts. Perhaps his most decisive work was done for the Zurich Town Hall as poster advertisements for its theater productions. He published several books, including “The Graphic Artist” and “His Problems and Grid Systems in Graphic Design.” These books provide an in-depth analysis of his work practices and philosophies, and provide an
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excellent foundation for young graphic designers wishing to learn more about the profession. He spent most of his life working and teaching, even into the early 1990s when he toured the US and Canada speaking about his work. He died in Zurich in 1996.
Josef Müller-Brockmann was one of the oldest and most well-known artists involved in the Swiss International Style movement, quite like how classical music is one of the oldest and most well-known music genres. He was known for his expressive use of lines, and the fluidity of his work. Müller-Brockmann frequently used circles as the dominant part of his designs, resulting in works that echo the serenity and energy of many classical pieces. The sheer volume of Müller-Brockmann’s work, with the scope of his designs, helped to establish him as a pillar of the International Style and bring him worldwide notoriety. Classical music is important to all genres of music, because it embodies all of the major principles of musical composition, much like Swiss design relies on the purest forms of visual communication. 9
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Continuity
Radial Symmetry
Serenity
The International Style is built on the premise of using the most basic principles of design and minimal elements to create highly effective pieces. One essential element of the International Style is continuity, which relies of the use of flow lines and implied lines to carry the viewer’s eye throughout the entire piece. Strong continuity adds energy and personality to any design. Ludwig van Beethoven’s compositions have very clear elements of continuity, as piano runs and emotive string sections are threaded together to create melodies that are always changing, but never stop completely. The music’s flow from quiet, serene sections to soaring, dramatic orschestral bridges can be seen through the interplay of the wavy blue lines in this illustration. The rhythm of the song echoes the ridigity of the Swiss grid system. 10
Piano Concerto No. 2 - Ludwig van Beethoven
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armin
hofmann By the age of 27 Armin Hofmann had already completed an apprenticeship in lithography and had begun teaching typography at the Basel School of Design. His colleagues and students were integral in adding to work and theories that surrounded the Swiss International Style, which stressed a belief in absolute and universal style of graphic design. The style of design they created had a goal of communication above all else, practiced new techniques of photo-typesetting, photo-montage and experimental composition and heavily favored sans-serif typography. He taught for several years at the Basel School of Design and he was not there long before he replaced Emil Ruder as the head of the school. The Swiss International Style, and Hofmann, thought that one of the most efficient forms of
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communications was the poster and Hofmann spent much of his career designing posters, in particularly for the Basel Stadt Theater. Just as Emil Ruder and Joseph M端ller-Brockmann, Hofmann wrote a book outlining his philosophies and practices. His Graphic Design Manual was, and still is, a reference book for all graphic designers.
Armin Hofmann began designing after Josef Mßller-Brockmann, and his designs have an edgier feel to them. Similarly, Ludovico Einaudi began composing centuries after Beethoven, but still reflects the principles that were laid by his predecessor. Hofmann’s designs feel incredibly modern and ahead of their time, and possess a sense of fluidity and motion that is found in classical music. His usage of type to create a sense of closure, and the continuity of his line work both serve to give his designs a clear visual flow. Einuadi’s songs work in a similar manner, often blending electronic patches with string sections to create a tangible auditory experience. In his work, Hoffman emphasized the power and elegance of simplicity, all while relaying complex ideas. Classical music is often elegant and based on simple compostions, just like the Swiss style. 13
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Continuity
Radial Symmetry
Serenity
Designers working in the International style were focused on creating strong visual elements through the use of typography and negative space. The artists aimed to activate the space with carefully planned elements and type arrangements. Artists utilizing the International style worked with strong lines that created powerful alignments and space relationships. This illustration shows a representation of Ludovico Einaudi’s “Night.� Through curving and intersecting lines and circles, this illustration utilizes continuity to create a dynamic use of space. The straight shapes and repeated circular forms give the piece stability, just like the grid lines allowed International style artists to achieve. The free floating circular forms help to activate the space and create the sense of energy that is found in many Swiss designs. 14
Night - Ludovico Einudi
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hip hop The roots of hip hop originate thousands of years ago, in Africa, where “griots” were village storytellers who played basic handmade instruments. They told stories musically of their family and local current events. Hip hop resurfaced in 1973, when Clive Campbell Dj’d at his sister’s birthday party in the West Bronx. The genre has progressed over time to influence and include rap music and consists of common themes and a strong focus on lifestyle. RUN-D.M.C’s utilization of three separate rappers in a single group, pulsing beats, and meaningful, rich lyrics have made them legends of hip hop. Biggie Smalls is just as influential as RUN-D.M.C. Among the strongest of lyricists, he fully embraced the lifestyle advocated in his music. Though his career was short, he is today one of hip hop’s most respected artists. 16
Swiss designs are formatted by the use of a strict grid, just as hip hop lyrics are delivered using consistent, powerful beats. According to the principles of Swiss design, the grid serves as the framework on which to display content, much like steady beats lay the groundwork on which a hip hop song is constructed. Just as the design principle “form follows function,� the beat of hip hop music serves as a secondary element that forces the audience’s focus on the raw and emotional content of the lyrics. Some International style designers were so dedicated to their work that the style became less guidelines for their designs and instead an actual lifestyle, affecting their homes and appearances. Similarly, hip hop artists are known for living the lifestyle represented in their music, and are viewed as fully invested in the content of their lyricism. 17
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richard paul
lohse Richard Paul Lohse was burn in Zürich in 1902. The young Lohse dreamed of becoming a painter, however, his wish to study in Paris was thwarted due to difficult economic circumstances. In 1918 he joined the advertising agency Max Dalang, where he trained to be an advertising artist. Lohse, an autodidact, painted expressive, late cubist still lifes. In the 1930s, his work as a graphic artist and book designer put him among the pioneers of modern Swiss graphic design; in his painting he worked on curved and diagonal constructions. In 1937, Lohse, with Leo Leuppi, cofounded Allianz, an association of Swiss modern artist. In 1938, he helped Irmgard Burchard, with whom he was married for a brief time, to organize the London exhibition “Twentieth Century German Art”. His political conviction lead
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him into the resistance movement where he met his future wife Ida Alis Dürner. 1943 marked a breakthrough in Lohse’s painting; he standardized the pictorial means and started to develop modular and serial systems. In 1953 he published the book “New Design in Exhibitions”, and from 1958 onwards he was the coeditor of the magazine Neue Grafik/New Graphic Design. Important exhibitions and publications brought Lohse’s systematic constructive art and constructive graphic design worldwide acclaim, even past his death in 1988.
Richard Paul Lohse was a multi-talented artist, and spent much of his time painting geometric, Cubist-inspired pieces. His use of simple forms and repetition is also evident in his graphic design work, as much of his work was based on patterns of repeated squares. Lohse’s use of geometry is similar to the beat-based construction of hip hop music. Just as hip hop focuses more heavily on lyrics as a means of expression instead of the music itself, Lohse used colors as his expressive point, rather than his actual layouts. Lohse was often referred to as a philosopher and deep thinker, which is ironically what many hip hop artists claim to be in their lyrics. The almost eccentric use of color in his works reflects hip hop lyricism’s focus on flashy objects and ornamentation, as well as the genre’s general sense of energy. 19
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Similarity
Energy
Repetition
The Swiss style creates a reliable aesthetic that creates consistency through a design. Designers used few elements repeatedly to reinforce the idea of unity. In design, this use of similar shapes is known as repetition. This principle is evident in the viusal interpretation of the hit song “Big Poppa� by Biggie Smalls. The repetition of two shapes creates an unfaltering rhythm that runs underneath the flowing melodies for the entirety of the song. The dark repeating lines and shapes create an anchor through similarity, and while establishing a steady rhythm, do not detract from the energy of the song. The surrounding green shapes echo the energetic melody that frequently features quick fire delivery and transitions between rapping and singing. The consistent rhythm once again echoes the grid system of Swiss design. 20
Big Poppa - Biggie Smalls
Who rock grooves and make moves with all the mommies? The back of the club, sippin Moet, is where you'll find me. But I just can't quit, because one of these honies Biggie gots ta creep with sleep with, keep the ep a secret why not? Why blow up my spot cause we both got hot? Now check it, I got more Mack than Craig and in the bed. Believe me sweety, I got enough to feed the needy. No need to be greedy I got mad friends with Benz's. Jump in the Rover and come over tell your friends jump in the GS3. I love it when you call me Big Poppa. Throw your hands in the air, if youse a true player. I love it when you call me Big Poppa. To the honies gettin money playin homies like dummies. I love it when you call me Big Poppa. If you got a gun up in your waist please don’t shoot up the place. Cause I see some ladies tonight who should. 21 21
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emil
ruder Emil Ruder was a typographer and graphic designer who, born in Switzerland in 1914, helped Armin Hofmann form the Basel School of Design and establish the style of design known as Swiss Design. He taught that, above all, typography’s purpose was to communicate ideas through writing. He placed a heavy importance on sans-serif typefaces and his work is both clear and concise, especially his typography. Like most designers classified as part of the Swiss Design movement he favored asymmetrical compositions, placing a high importance on the counters of characters and the negative space of compositions. A friend and associate of Hofmann, Frutiger and Mßller Brockmann, Ruder played a key role in the development of graphic design in the 1940s and 50s. His style has been emulated by many designers, and
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his use of grids in design has influenced the development of web design on many levels.
A giant of the International style, Emil Ruder commonly employed heavy amounts of metric rhythm in his works. Just as the the lyrics of hip hop music are delivered over a steady beat, many of Ruder’s designs have overlapping elements that create a more interesting and memorable visual experience for the viewer. His adherence to a strict grid system combined with the repetitive nature of his rhythmic works are echoed by hip hop songs’ unfaltering backbeats and usage of looped instrumentals. Ruder often combined his strict grids with smooth, clean line work, which is visually similar to the natural flow of rapidly delivered hip hop lyrics. Hip hop is well known for its use of many words and flowing lyricism to relay a message. Ruder followed a similar line of thought, by focusing on text as his primary means of communication. 23
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Similarity
Energy
Repetition
Like the illustration before it and the hip hop genre as a whole, a strong and consistent beat is present throughout the song “It’s Tricky” by RUN-D.M.C. The black elements represent the steady, rhythmic beat of the song which forms the framework of the music like the Swiss grid provides in design. Just as form follows function, the green shapes follow the beat but also branch off to show each of the three different rappers that make up the group. There are diamonds, trapezoids, and parallelograms, each of which represent one of the group’s three members. Their placement in relation to the beat indicates their individual vocal parts during the song to show when they are rapping together versus alone. The forms serve to activate the negative space and add energy to this illustration, just as Swiss style utilizes negative space. 24
It’s Tricky - RUN-D.M.C.
This speech is my recital, I think it’s very vital to rock, that’s right. It’s tricky is the title, here we go. It’s tricky to rock a rhyme, to rock a rhyme that’s right on time oh yeah. It’s tricky. It’s tricky tricky. It’s tricky to rock a rhyme, to rock a rhyme that’s right on time. It’s tricky. I met this little girlie, her hair was kinda curly. Went to her house and bust her out, I had to leave real early. These girls are really sleazy, all they just say is please me. Or spend some time and rock a rhyme, I said “It’s not that easy.” It’s tricky to rock a rhyme, to rock a rhyme that’s right on time. It’s tricky. It’s tricky tricky. It’s tricky to rock a rhyme, to rock a rhyme that’s right on time. In New York the people talk and try to make us rhyme. They really hawk but we just walk becuase we have no time and in the city it’s a pity ‘cause we just can’t hide. Tinted windows don’t mean nothin’, they know 25
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country Country music originated in the Southern United States. This genre was formerly known as hillbilly music. It gained its popularity in the 1940’s. The term country music is used today to describe many styles and subgenres. In 2009, country music was the most listened to rush hour radio genre during the evening commute, and second most popular in the morning commute in the United States. Johnny Cash’s sound was unforgettable from because of his bass-baritone voice and willingness to explore new musical themes. Taylor Swift became very successful when she expanded country music’s demographic to include suburban adolescent girls, which she accomplished in part by using social networking sites and drawing on confessional teen-diary lyrics in unprecedented ways within the genre. 26
Country music is often used as a method to tell about experiences that can relate to many different audiences, much like Swiss design was intended for international audiences. Just as Swiss design incorporated closure into their visual content, conversational lyricism that often tells a complete story provides the listener with a sense of closure. Country music provides stability by using steady beats and similar chord progressions, and the structure of country songs are somewhat predictable. This is not unlike the predictability that International style designers achieved through their consistent use of the grid system. These elements echo the Gestalt principles of symmetry and closure through the repetitive nature of the music and story-like quality of the lyrics. 27
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walter
herdeg Walter Herdeg’s design style was somewhat a departure from the typical International style, as he was much more focused on imagery and illustration than tightly organized text and heavy reliance on the grid system. The results of his interesting design choices were images that often depicted everyday, relatable scenes, or hinted at the story of some illustrated figure. His focus on common scenes is similar to the storytelling technique that is found in a huge amount of country music. Both Walter Herdeg’s designs and country music sought to tell stories and employ naturalistic, relatable qualities to better capture the attention of their respective audiences. His works were often calm, with naturalistic, muted color palettes that are similar to the colors that are associated with country music, and have acquired a rustic feel.
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Walter Herdeg’s design style was somewhat a departure from the typical International style, as he was much more focused on imagery and illustration than tightly organized text and heavy reliance on the grid system. The results of his interesting design choices were images that often depicted everyday, relatable scenes, or hinted at the story of some illustrated figure. His focus on common scenes is similar to the storytelling technique that is found in a huge amount of country music. Both Walter Herdeg’s designs and country music sought to tell stories and employ naturalistic, relatable qualities to better capture the attention of their respective audiences. His works were often calm, with naturalistic, muted color palettes that are similar to the colors that are associated with country music, and have acquired a rustic feel. 29
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Closure
Stability
Repetition
Johnny Cash’s classic country song “I Walk the Line” stays calm throughout as shown by the usage of unchanging squares and heavy shapes. As Swiss design does not vary from the grid, this song does not have much musical variation. Both sides of the composition are balanced, also resulting in a tranquil feeling. Cash’s long, low hums add even more rigid calmness to the piece, as does the lack of drums and general stripped down sound. The music and melody remain the same throughout and the only energy present can be seen in the lyrics. The song tells a story of a man who is professing his love for a woman, while also acknowledging that love can be difficult. This provides the sense of closure that can also be seen in Swiss design, and holds true to the storytelling tradition of country music. 30
I Walk the Line - Johnny Cash
I keep a close watch on this heart of mine. I keep my eyes wide open all the time. I keep the ends out for the tie that binds. Because you’re mine, I walk the line. I find it very easy to be true. I find myself alone when each day is through. I’ll admit that I’m a fool for you. Because you’re mine, I walk the line. As sure as night is dark and day is light. I keep you on my mind both day and night. Happiness I’ve known proves that it’s right. Because you’re mine, I walk the line. You’ve got a way to keep me on your side. You give me cause for love that I can’t hide. I know I’d even try to turn the tide. Because you’re mine, I walk the line. I keep a close watch on this heart of mine. I keep my eyes wide open all the time. I keep the ends out for the tie that binds. Because you’re mine, I walk the line. I find it very easy to be true. I find myself alone when each day. 31
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hans
neuburg Swiss modernist graphic designer Hans Neuburg is one of the pioneers of the International Typographic Style along with Brockmann, Crouwel, Aicher, Hoffman, and Casey. Neuburg grew up in Zurich, where he received technical teaching at Orell Füssli. From 1932 he was the head of publisher Jean Haecky Import AG in Basel. In 1936 he had his own design studio in Zurich. He was editor of various graphic magazines such as Camera, New Graphic and an art critic for Tages-Anzeiger, the Neue Zürcher Zeitung, and created major exhibitions in Prague, Zurich, Brussels, Bern and Lausanne. In 1963, he was vice president of the International Assoication of Graphic Icograda. In the 1950s he was part of the editing team of the “Neue Grafik – New Graphic Design – Graphisme Actuel” magazine, together with
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Richard Paul Lohse, Josef Müller-Brockmann and Carlo Vivarelli. Graphic design is presented into a wide range of applications: from type, advertising, commercial architecture, and exposition or industrial documentation. He later wrote three books about these fields: graphic design in the Swiss industry, publicity and graphic design in the chemical industry, and conception of international exhibition.
Hans Neuburg used stable shapes such as triangles with flat bases, and interplayed horizontal and vertical lines to create very solid bases to his works that provided them with strong, stable appearances. More importantly, he often relied on the principle of closure through his line work to lead the eye all the way around the pages of his works. These design techniques are similar to country music’s use of steady, repetitive music and storytelling lyrics, respectively. Neuburg’s use of closure is closely related to country music, as it leads the viewer’s eye throughout the whole piece as resolves near the start, bringing the “whole story” into view, much like a country song. Additionally, his use of flat, naturalistic colors in reminiscent to those found in traditional country music. 33
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Closure
Stability
Repetition
“Love Story” by Taylor Swift tells an adapted story of the classic play “Romeo and Juliet.” Unlike the original play, the audience is provided with sense of closure knowing that the two characters finally get to live happily ever after. Swiss design also provides visual interest by using closure through seemingly unconnected pieces that will ultimately form an image. Since this is a country song, the commonly found sense of stability can be seen through the illustration’s use of repetitive black shapes. The song progresses and increases in volume, and even changes key towards the end, but it still adheres to the underlying tempo. This is related to how all design done in the International style is based on the ever-present, unfaltering grid system, but still contains highlighted areas of interest to help create a memorable message. 34
Love Story - Taylor Swift
We were both young when I first saw you. I close my eyes and the flashback starts. I’m standing, there on a balcony in summer air. See the lights, see the party, the ball gowns. See you make your way through the crowd and say, “Hello,” little did I know, that you were Romeo, you were throwing pebbles, and my daddy said, “Stay away from Juliet,” and I was crying on the staircase begging you, “Please don’t go.” And I said, Romeo, take me somewhere we can be alone. I’ll be waiting, all that’s left to do is run. You’ll be the prince and I’ll be the princess. It’s a love story, baby, just say, “Yes.” So I sneak out to the garden to see you. We keep quiet ‘cause we’re dead if they knew. So close your eyes...escape this town for a little while. Oh, oh. ‘Cause you were Romeo - I was a scarlet letter, and my daddy said, “Stay away from Juliet” but you 35
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punk Punk began in the mid-1970s with bands like the Sex Pistols and the Ramones. Typically fast, loud, thrashing music paired with hard-edged vocal delivery, punk songs often address the subjects of social injustice and political tension. Punk was born out of frustrations toward the British government, and became the embodiment of angst for people everywhere. The musical movement inspired an entire culture that embraced rebellion and promoted outspoken resistance to the system. The Clash is often credited with being one of the pioneering bands of the punk genre, and openly spoke out against government corruption. Rise Against has honed a modern, heavy sound that is rooted in traditional hard-core punk, and have produced thoughtful, socially conscious rock for more than a decade. Punk music is a sensitive genre with strong sound. 36
Punk music and Swiss design both developed as a means of expression against the culture and government of their time. Fast, loud songs that contain pounding drumbeats, crashing guitars, and sharp tension often define punk rock. Striking, loud designs that are highly opposed to traditional design principles are the result of the International style. The contagious energy of punk music is commonly reflected through electrifying crescendos and syncopated, choppy verses. These elements echo the Gestalt principle of asymmetry and the feelings of tension and energy that it often creates. The pulsating, vibrant nature of punk as a whole immediately feels energetic, and sudden changes in tempo, subject matter, and emotion create pleasant and unbalanced, musical experiences. 37
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jan
tschichold Tschichold claimed that he was one of the most powerful influences on 20th century typography. There are few who would attempt to deny that statement. Raised in Germany, he worked closed Paul Renner (who designed Futura) and fled to Switzerland during the rise of the Nazi party. His emphasis on new typography and sans-serif typefaces was deemed a threat to the cultural heritage of Germany, which traditionally used Blackletter Typography and the Nazis seized much of his work before he was able to flee the country. When Tschichold wrote Die Neue Typographie he set forth rules for standardization of practices relating to modern type usage. He condemned all typefaces except for sans-serif types, advocated standardized sizes of paper and set forth guidelines for
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establishing a typographic hierarchy when using type in design. While the text still has many relative uses today, Tschichold eventually returned to a classicist theory in which centered designs and roman typefaces were favored for blocks of copy. He spent part of his career with Penguin Books and while he was there he developed a standardized practice for creating the covers for all of the books produced by Penguin. He personally oversaw the development of more than 50w0 books between the years 1947-49. Every period of his career has left a lasting impression on how designers think about and use typography, and it will continue to affect them into the future.
Jan Tschichold was originally a part of the legendary German design school the Bauhaus but had to flee Germany after the Nazis assumed control. He fled to Switzerland and began planting seeds of the Bauhaus’s design tactics throughout the rest of Europe and eventually into America. He helped to develop the International Style by reworking elements of the Bauhaus curriculum, and his spread of design ideals is similar to the fire storm spread of punk rock in the mid 1970s. His designs incorporated many sharp angles and overall asymmetrical balance, and well as tilted text, bright colors, and implied lines. The result of these design choices was highly energetic work that was loud and almost confrontational to the viewer, much like the essence of punk music itself. 39
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Tension
Energy
Asymmetry
Swiss design often utilizes sharp angles, geometric shapes, tilted objects, and asymmetry to display energy. In The Clash’s legendary “Should I Stay or Should I Go,” there is also a dynamic sense of energy. Despite the song’s slower beginning, by the end it explodes into a frenzied musical onslaught. The black triangles represent the basic riff that carries the song, and show the transition into a loud, pounding rock experience. The cynical lyricism and progression from sung melodies to multiple layers of screamed vocals add tension, and gives the song a very asymmetrical feel. The back half of the song is bursting with energy. Just as The Clash often embraced flashy, explosive live shows, the International style typically uses bright colors as a means of energetic expression. 40
Should I Stay or Should I Go - The Clash
Darlin’ you got to let me know. Should I stay or should I go? If you say that you are mine. I’ll be here ‘til the end of time. So you got to let me know. Should I stay or should I go? It’s always tease tease tease. You’re happy when I’m on my knees. One day is fine and next is black. So if you want me off your back, well come on an’ let me know. Should I Stay or should I go? Should I stay or should I go now? Should I stay or should I go now? If I go there will be trouble an’ if I stay it will be double. So come on and let me know. Should I stay or should I go? This indecision’s buggin’ me. If you don’t want me, set me free. Exactly whom I’m supposed to be? Don’t you know what clothes even fit me? Come on and let me know, should I cool it or should I blow? Split! Should I stay or should I go now? Should I stay or should I go now? If I go there will be trouble. 41
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wim
crouwel Wim Crouwel is a graphic designer and typographer born in the Netherlands. In 1963, he founded the studio Total Design, now called Total Identity. His most recognized work has been for the Stedelijk Museum. His typography is extremely well planned and based on very strict systems of grids. Grids give his work structure and stability. He has also designed expositions, album covers and identity systems. He has also published two typefaces, Fodor and Gridnik. Digitized versions of both are available from The Foundry. The contrast between Crouwel as a lyrical expressionist painter and objectivistic functionalist designer couldn’t be more extreme. As a designer inspired by the Swiss ideas, Crouwel made monumental advances in design. His work has always consisted of the emotional and rational aspect.
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Wim Crouwel is a powerhouse in the world of graphic design, known for his modern, bright, eye-popping designs. His use of bright colors and fractured shapes, combined with a myriad of sharp edges creates massive energy, and seems very punk-infused in its own right. Crouwel is the genius behind the rebranding his entire home country of the Netherlands. His ideas have completely changed the face of Dutch design and inspired of design revolution of sorts in his native part of the world. His influence on the world of design could be compared to that of the founding bands of the punk scene, who ultimately created an entire counterculture in society. Over the course of his career, Crouwel has come to be viewed as a revolutionary of design, and a rock star of sorts in his own right. 43
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Tension
Energy
Asymmetry
Rise Agianst’s “Savior� is a great example of modern punk music, and is a hard-hitting, electrifying anthem on the difficulties of love. Fraught with tenuious conflict, the overlapping triangles appear violent and threatening, and are ultimately heavily unbalanced and asymmetrical. Just as the International style embraces the usage of tilited images and text alongside vibrant colors, the illustration utilizes these elements to visually create the struggle displayed in the lyrics. The repetition and distortion of the triangles adds to the intensity of the tension, just as Swiss design uses minimal elements to create the biggest emotional impact. Even in the midst of the chaos, however, the song remains steadily on beat, and follows the same rhythm throughout the crescendos, which echoes the Swiss design usage of the grid system. 44
Savior - Rise Against
It kills me not to know this but I’ve all but just forgotten, what the color of her eyes were and her scars or how she got them. As the telling signs of age rain down a single tear is dropping. Through the valleys of an aging face that this world has forgotten. There is no reconciliation that will put me in my place. And there is no time like the present to drink these draining seconds. But seldom do these words ring true when I’m constantly failing you. Like walls that we just can’t break through until we disappear. So tell me now, if this ain’t love then how do we get out? Because I don’t know. That’s when she said, “I don’t hate you boy, I just want to save you while there’s still something left to save.” Woah woah. That’s when I told her, “I love you girl, but I’m not the answer to the questions that you still have.” Woah. Woah. 45
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sources 4
designishistory.com
6
ludovicoeinaudi.com biography.com
8
designishistory.com (top photo) cloudfront.net (bottom photo) nytimes.com
12
designishistory.com (top photo) aiga.org (bottom photo) syntorama.com
16
biography.com history.com rap.about.com npr.org
18 22
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lohse.ch (top photo) tonwelt.com (bottom photo) clique.tv designishistory.com (top photo) s-media-cache-ak0.pinimg.com (bottom photo) imd.ulximg.com
26
wsws.org rollingstone.com imdb.com
28
designishistory.com (top photo) aiga.org (bottom photo) memphismagazine.com
32
historygraphicdesign.com (top photo) designers-books.com (bottom photo) celebmafia.com
36
rockhall.com consequenceofsound.net riseagainst.com
38
designishistory.com (top photo) updateordie.com (bottom photo) electronicbeats.net
42
designishistory.com iconofgraphics.com (top photo) echoandrepeat.com (bottom photo) covertbooking.com
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volume 1 issue 4
credits Frances
Jennifer
Came up with the concept.
Organizational Director
Researched Swiss design and Emil Ruder
Researched Armin Hofmann
Researched the history of country music
Researched the history of classical music
Researched color theory
Researched the deaf community
Compiled each group members magazine elements into the master file
Compiled each group members magazine elements into the master file
Edited text content
Edited text content
Did document kerning
Did document tracking
Redesigned the designer pages layout
Created cover, index, sources pages
Created the artist photo boxes
Wrote the magazine description Designed layouts Put in genre descriptions
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Solid Color Page
Mike
Sundari
Whole Group
Researched Wim Crouwel, Walter Herdeg, Richard Paul Lohse, Hans Neuburg, and Jan Tschichold
Researched Wim Crouwel and Josef M端llerBrockmann to include in the magazine
Each member selected three artists and three songs for their genre (narrowed down later to two artists and their songs)
Researched the history of hip hop music Came up with the colored bar idea Researched the history of punk music Researched Mike Joyce
Gathered images of each artist Researched information on line and shape theory Came up with idea and inspirational picture for the cover
Created all illustrations to pair with each song Created the credits page
Made illustrations to pair with each song were created. (In the end Mike ended up redesigning them all) Helped with editing our sound illustrations, layouts, and colors (revised many times)
Wrote and edited all lyrical text Put in and wrote genre information Edited the magazine description Edited magazine cover Wrote the magazine description
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shelley and the girls
50
meet the publishers Frances “Fran” Stephens
Jennifer “Jenn” Bowers
- Paper Master, Idea Creator, Group Profanity Manager
- Time Master, Organizational Manager, Cinnamon Roll Latte Acquisition Officer
Fran stepped up to assume the role of conceptual powerhouse, developing the concept behind SoundBox Magazine and providing pages of research on the deaf community. She also was the primary force behind the development of the designer/musician pictures combinations and co-leader of the group’s usage of profanity throughout the project. Additionally, she brought a continuously growing hatred of country music to the effort, and knew many Fetty Wap lyrics during work sessions.
From the onset of SoundBox’s development, Jenn was the unspoken group leader, and chief work session organizer. In addition to coming up with the magazine’s title, she worked tirelessly to thread connections between designers and genres and helped to revise much of the body copy. Ever versatile, she was also responsible for introducing the group to the wonderfullness that is the cinnamon roll latte, and narrowly survived a pair of harrowing experiences with the local paper cutter.
“Do you mind if we listen to Savior out loud?”
“We’ve got this, girl.”
Michael “Mike” Burch
Sundari “Dari” Harris
- Illustration Artist, Copy Reviser, Trap King, Group DJ
- Genre Bio Writer, Cover Developer, Tape Master
The driving force behind the musical illustrations and the “voice” of SoundBox’s descriptions, Mike embraced his role as the group’s main source of musical knowledge. He was also the main proofreader and assistant connection threader, also known as the “adjective master.” In addition to writing artist bios, he was the group’s DJ, dance leader, library disrupter, and source of dry humor. His loud, continuous playing of Fetty Wap’s debut album helped to contribute the productive atmosphere of group meetings.
As the primary creator of the index and credits, Dari located and documented the sources and images, as well as lent considerably to the genre and artist bios. She was also the primary force behind the development of SoundBox’s cover, and helped to write much of the body copy. The other half of the group’s profanity outlet and “Tape Master,” she helped oversee the printing and assembly of each revised version of the magazine, while fueling the group’s efforts with constant energy. She was also the leader of the group Twerk team.
“Solid.”
“I’ve never spent this much time in the library.” 51
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