New Visual Language - Research

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an exploration into modernism and post modernism

Road Map Modernism Definition Modernism Trends Post Modernism Definition Post Modernism Trends Modernists Post Modernists Current Magazines Masthead Research Masthead Design and Development Final Masthead Cover Images Cover Design and Development Final Cover Page Layouts The Grid System Sources

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new visual language | form follows function

Road Map

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an exploration into modernism and post modernism

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new visual language | form follows function

Modernism is a broad movement of Western art, architecture and design.

Modernism & its Trends

It was initially started around the 1850s, just as the First World War and Russian Revolution ended, becoming very dominant by the early 1960s, this movement lasted up until the 1970s.

The era was characterised by industrialisation, rapid social change and scientific advances.

The movement is known for it’s innovation, as well as rejection of values such as a realistic depiction of the world, leading to many experiments of form, whilst

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using an emphasis on process and materials. Because of this, it proposes new forms of art based on the grounds that the works relate to the present time, associating visions of human life and society and a belief in progress.

It is said that modernism is not a style, but a loose collection of ideas, with many styles within the period. Despite having different styles all of the work shares principles. These being rejection of history, a preference for abstraction and a belief that design and technology could transform society.

an exploration into modernism and post modernism

Art Nouveau 1800-

Art Nouveau had a very decorative style to it, an almost elaborate ornamental style, based on asymmetrical lines.

In the work, floral patterns are a regular occurrence as well as flowing female hair. The movement highly reflects many influences from Japanese Art.

Alphonse Mucha Antonio Gaudi 1860-1939 1852-1926 Hector Guimard Gustav Klimt 1867-1942 1862-1918

Impressionism 1867-1886

Impressionism is an art movement that widely revolved around painting which uses small brush strokes with distorted bright and vibrant colours.

It included a lot of geometric forms with an inclusion of movement within the work as well, with it’s most prominent time period being the 70s-80s.

Claude Monet 1840-1926

Edouard Manet 1832-1883

Edgar Degas 1834-1917

Mary Cassatt 1844-1926

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Fauvism 1905-1908

Expressionism 1905-1925

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Artists who worked in the Fauvism movement used intensely vivid and sometimes non-naturalistic, exuberant colours.

The movement was subject to a lot of abuse within it’s short space of time, however despite this it was influential on the evolution of 20th century art.

Andre Derain 1880-1954

Raoul Dufy 1877-1953

Henri Matisse 1869-1954

Maurice de Vlaminck 1876-1958

Georges Rouault 1871-1958

Edvard Munch 1863-1944

Ernst Ludwig Kirchner 1880-1938

Franz Marc 1880-1916

This was a movement where the images were made up of distortion and exaggeration for emotional effect, with disjointed space, intense use of colour and agitated brush strokes.

an exploration into modernism and post modernism

Cubism 1908-1914

Futurism 1909-1944

Cubism rejected viewpoints in its imagery and using an analytical system 3 dimensional subjects were fragmented a redefined from different viewpoints.

Within the movement there are may influences based around African Art.

Pablo Picasso 1881-1973

Georges Braque 1882-1963

Juan Gris 1887-1927

Fernand Leger 1881-1955

Giacommo Balla 1871-1958

Filipo Tommaso Marinetti 1876-1944

Umberto Boccioni 1882-1916

Carlo Carra 1881-1966

Futurism took speed, technology and modernity as its main inspiration, glorifying war and the machine age.

It was a representation of form in motion, with the artists aims to portray sensations as a union of what one remembers and sees.

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Abstract Art 1911-

Constructivism 1915-1940

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Within abstract art, shape, form, colour and line are used to create composition.

The pieces of art are not an attempt to represent an accurate depiction of visual reality.

Paul Cezanne 1839-1906

Hans Hofmann 1880-1966

Jackson Pollock 1912-1956

Antonio Saura 1930-1988

Wassily Kandinsky 1866-1944

Laszlo Moholy-Nagy 1895-1946

Alexander Rodchenko 1891-1956

Vladimir Tatlin 1885-1953

This was a movement with a commitment to total abstraction and a whole hearted acceptance of modernity.

The shapes used in the work were all very geometric in their forms, with work often being experimental with little emotion put in to it.

an exploration into modernism and post modernism

Dada 1916-1920

De Stijl 1917-1931

Dada was a revolutionary movement, characterised by an anarchic revolt.

It revelled in absurdity, taking already made art pieces and renaming them as a different type of art after bits of them had been changed or edited by the artist, therefore emphasising and unpredictable artist creation.

Kurt Schwitters 1887-1948

Max Ernst 1891-1976

Hans Richter 1888-1976

Andre Breton 1896-1966

This movement advocates pure abstraction and simplicity. The main form is reduced to the rectangle and other geometric shapes.

It is clear to see that the only colours used throughout the pieces are the three primary colours (yellow, red and blue) along with a black outline and also bits of white.

Piet Mondrian 1872-1944

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Bauhaus 1919-1930

Surrealism 1920-1930

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Bauhaus was a school in itself. It was characterised by geometric, economic shapes, the production of the art work had a big respect for materials.

The students in the school were taught to focus on craftsmanship and to design with mas produced goods in mind, and the influence of Bauhaus in design has still lasted up until this day.

Walter Gropius 1883-1969

Paul Klee 1879-1940

Lyonel Feininger 1871-1956

Oskar Schlemmer 1888-1943

Marcel Duchamp 1887-1968

Rene Magritte 19898-1967

Man Ray 1890-1976

Work of the surrealist artists expressed the imagination as revealed in dreams, shaped by emerging theories.

For many it freed the conscious control of reason and convention. It was also aimed at the social and political revolution.

Salvador Dali 1904-1989

an exploration into modernism and post modernism

Art Deco 1920-1930

Art Deco spanned the 1920s and was the well known style of the flapper girls and the factory ad well as representing in its style and patterns the luxury ocean liner and skyscrapers.

The work affected all forms of design from architecture through to painting and sculpture.

Despite the fact that it draws on tradition it still celebrates the modern world and technology.

Tamara de Lempicka 1898-1980

Raymond Hood 1881-1934

Jean Dupas 1882-1964

Eileen Gray 1897-1976

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Post Modernism & its Trends

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Post Modernism was considered to be one of the most controversial art movements of all time. The era defied definition, with a mix of the theatrical and the theoretical.

Throughout its period it was a visually thrilling style which ranged from the bold and colourful to destructive and the absurd to the luxury.

It broke the traditional and accepted ideas of what style was within its designs. It also brought a radical freedom to art and design, whilst raising a new self

awareness about style itself.

The key principles of the movement were complexity and contradiction, for example if a modernist piece suggested utopia and futuristic perfection, the post modernist opposite would appear to be somewhat dystopian with a far from perfect future.

Designers changed the materials that they were working with to create and urban apocalypse aesthetic.

an exploration into modernism and post modernism

Abstract Expressionism 1940-1960

Pop Art 1950-1960

Abstract Expressionism was regarded the golden age of American art. It was marked by big brush strokes and textures, upon a large canvas. These were employed to convey powerful emotions throughout the glorification of painting.

The work of the Abstract Expressionists varied, however they all portrayed the same views, which were freedom of individual expression.

Barnett Newman 1905-1970

Willem de Kooning 1904-1997

Mark Rothko 1903-1970

Josef Hoffmann 1870-1956

Andy Warhol 1928-1987

Roy Lichenstein 1923-1997

Jasper Johns 1930-

David Hockney 1937-

Characterised by a fascination with popular culture, Pop Art celebrated everyday objects, these ranging from soup cans, washing machines, comic strips and more. This meant that the movement turned the common place into icons.

In many ways it owed a lot to Dada in the way that it mocked the well known established art world. Theses artists also set themselves apart from the painters, due to the commercial techniques used and it being machine produced art.

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Performance Art (Actionism) 1950-1970

Fluxus 1960-1965

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In Performance Art the body is used as a medium and occasionally the subject. The artwork also takes form of the artists actions.

Some of the actions portrayed were powerful expressions of the pain of human emotion. The movement originated from theatrical performances.

Vito Acconi 1940-

Joseph Beuys 1921-1986

Bruce Nauman 1941-

Gilbert & George

1943- & 1942-

Joseph Beuys 1921-1986

Dick Higgins 1938-1998

Robert Filliou 1926-1987

Yoko Ono 1933-

Fluxus encompassed a new aesthetic for the art world. It included a reduced gesturality - part Dada, part Bauhaus, part Zen. The objects and performances were characterised by small, but expansive gestures and it presumes that all art disciplines were a fair game in fusion.

an exploration into modernism and post modernism

Conceptual Art 1960-1970

Minimalism 1962-

Conceptual art was a time when the artists emphasized the artistic idea over the art object.

It attempted to free art from galleries and the pedestal.

Minimalism describes paintings and sculptures that thrive off of their simplicity in content and form. The work allows the viewer to experience the viewing process without composition distracting you.

Minimalism had a massive influence on the development of art in the 20th century.

Frank Stella 1936-

Ellsworth Kelly 1923-

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Post Minimalism 1966-

This movement reintroduced textures, soft edges and anecdotal reference within the work, whilst having an emphasis on context.

The work is an emulation or reinterpretation of natural materials, whilst being personal to the artist.

Eva Hesse 1936-1970

Andy Goldsworthy 1956-

Richard Serra 1939-

Martin Puryear 1941-

David Salle 1952-

Sandro Chia 1946-

Julian Schnabel 1951-

Georg Baselitz 1938-

Neo Expressionism was very diverse and dominated through Europe and America in the early to mid 1980s, due to it reacting to the 1970s abstract art.

Neo Expressionism 1980-

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It was a variety of young artists who portrayed the human body and other recognisable objects. It was diverse in appearance and presented common traits, whilst also rejecting traditional use of composition and design, with an uncertain and often brittle emotional tone.

an exploration into modernism and post modernism

Installation Art

This was used to describe the use of mixed media constructions and assemblages. Light and sound are a fundamental part of all installations.

They were designed for a particular place and or period of time. The space that installations occupy are specific to each as it can be walked in/around or some are too fragile and have to be viewed from a distance.

Michelangelo Pistoletto 1933-

Damien Hirst 1965-

Jannis Kounellis 1936-

Tracey Emin 1963-

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new visual language | form follows function

Henri Matisse was a French painter, sculptor, designer and writer. He was, and still is to this day, considered to be one of the most revolutionary and influential artists of the 20th century.

Henri Matisse

He came to art later in life when he was recovering from an illness and his mother bought him a paint by numbers book. It was then when he revolutionised as an artists and stopped undertaking law.

Once Matisse had developed his own style of work he made his reputation as the first leader of the movement known as Fauvism.

He then also went on to develop a form of decorative art, which was very innovative especially in the way that he treated the human figure and the constructive and expressive use of colour within his work.

Modernists

Stella is an American painter and printmaker, who initially majored in history after studying at Princeton, however undertook painting and art classes whilst studying.

In many of his works later in life, he was inspired by the geometric stripes and rings in the work of Jasper Johns, however his initial inspiration was that of Jackson Pollock.

Frank Stella

Stella was a bearer for creating abstract work that contained no pictorial illustrations or conceptual references within 20th century paintings.

After moving to New York City he began to make works which emphasized the “picture-as-object� as opposed to the picture representing something physically or emotionally.

Stella is one of the most well-regarded postwar American painters still working today.

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an exploration into modernism and post modernism

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new visual language | form follows function

Born in France, Duffy was a painter, illustrator and designer. He initially worked in commerce, however began taking evening classes at the school of fine arts “Ecole des Beaux-Arts�.

Raoul Duffy

At first he was influenced by the impressionist style of work until 1905 when the richer colours of Fauvism came in. He was also briefly and temporarily influenced

by Braque’s early cubist style.

In 1911, after gaining an interest in decorative art, he set up a small factory to design and print fabrics and textiles. He then started to print for the couturier Poiret.

Despite all of the different styles and mediums that he worked with throughout his time as an artist, his well known signature style is that of sketchy outlines against thin layers of paint.

Modernists

Kandinsky was a Russian painter, wood engraver, lithographer, teacher and theorist. In his early life he studied law and economics at Moscow University. Following a decline of a chair at the University of Dorpat, he moved to Munich to study painting.

Wassily Kandinsky

His paintings and woodcuts were inspired by traditional Russian folk art and fairy tales.

The landscape studies that he drew and painted were produced directly from nature itself.

Kandinsky developed Fauve like contrasts of colour in his work as well as slowly eliminating the representational elements from his work, replacing them with abstract colours and shapes.

At times his work came across controversial amongst other artists of his period and critics, however he still emerged as a respected leader of the abstract art movement in the early 20th century.

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new visual language | form follows function

Warhol was an American painter, film maker and author, who studied pictoral design before moving to New York to work ad a commercial artist.

Throughout his time he always had an interest in American populart art, film stars and music. He also had an interest in silkscreen and other reproductive processes.

Andy Warhol

It was in the 1960s that he started to become well known as he began making paintings based on newspaper titles, advertisements and mass produced items.

From 1962 he started to use silkscreen for the large scale production of paintings such as his Campbells soup can series, Coca-Cola bottles, portraits of Marilyn Monroe and later on car crashes. Often you would see his work in a series of rows with repeated images.

He then went on to make experimental films, with his studio becoming a meeting point for young artists, actors and musicians.

It was then when he was established internationally and exhibited work all around the world.

Post Modernists

A member of the Young British Artists, Tracey Emin is a British artists known best for her conceptual installations and multimedia work.

Tracey Emin

Often her work and public presentation are provocative and self-referential. Within her work, Emin illustrates her own experiences and emotions in intense and intimate viewings with the viewer either through installations, neon lights, paintings, photography, film, performance and hand embroidered items.

She also reveals hopes, humiliations, failures and successes in ways that are both tragic and humorous.

Her work has received much critical attention, however her unashamed and unembarrassed presentation of work also receives negative and positive feedback from the public eye.

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Despite being of German birth, Hesse was an American sculptor and painter after fleeing Nazi Germany with her family, however sadly her artist career only lasted a short ten years due to a brain tumour that she lost her life to.

Hesse pioneered in materials such as latex, fibreglass and plastics, which she was well known for using in her sculptures.

Eva Hesse

Her early work showed mainly abstract drawings and paintings, these were then said to be the preliminary steps to her later work which did indeed consist of the sculptures she is known for.

Hesse’s work often employed multiple forms of a similar shape, placed together in a grid like manner, whilst she created repetitive and eccentric pieces of work.

She was said to be one of the most influential artists to question the harsh, immobile precision of minimalism and inject it with a capacity to vary from the normal.

Post Modernists

Dutch-American Abstract Expressionist, Willem de Kooning had a very early interest in art, to the point that at aged twelve he was appointed as an apprentice to a firm of commercial artists and decorators. He also took a further eight years of evening classes and Rotterdam Academy of Fine Arts and Techniques.

Afterwards he then emigrated to America.

Willem de Kooning

When Kooning had initially moved to America, he supported himself by painting signs and store displays. It was not until 1935 that he decided to become a full time painter.

Between 1945 and 1949 he painted mainly in black and white, using high tempo erotic shapes. In 1948 after his first one man exhibition, Kooning became known as the “artists artist” and gained lots of critical acclaim.

He developed a signature style, which was thought to have combined cubism, expressionism and surrealism. Within this style he fused vivid colour and aggressive paint handling with the female form, this became known as his “women” series of paintings.

Up until his death, following his women paintings, he traced a non-objective lyrical abstraction of work.

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Current Magazines

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Current Magazines

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Current Magazines

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an exploration into modernism and post modernism

I opted to look at some current magazine covers before I started my own initial magazine designs and research, so that I knew roughly what was already out there on the shelves in shops and how each company promote what is in the magazine, as well as looking thoroughly at the main front cover which is what initially grabs the readers attention.

I noticed that all have a various way of presenting themselves, with some such as The Times and National Geographic using a border around the image, whereas others like Vogue, The Rolling Stones, having an image in front of the title, due to it being a well known magazine therefore it is able to do this. I also noticed that with some of the covers from GQ, i-D and NME, the covers were very simple, with just the logo in the top corner and very little or minimal writing on the cover.

I then went on to look solely at the masthead designs of the various companies that there are. This was to gain inspiration for my own masthead before designing, developing and choosing a final one to use for my own work.

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Masthead Research

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Masthead Design

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With my initial masthead sketches I firstly went for a simple, easy to read and see design. After looking at the first four that I had designed I felt that they were “too� simple and easy, also I did not think that they reflected my research so far and did not have a look of modernism or post modernism.

Because of this I then looked back at the movement trends I had written about and the imagery to go with them. I still wanted something minimalist and then I remembered the abstract work of Wassily Kandinsky, therefore using this as my main inspiration for design, using a variety of shapes within my designs, seeing what worked best.

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Masthead Development

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After thoroughly looking at the initial sketches I had drawn, I decided to take forward the ideas with the circles and the plain text. This was because I felt that they were the strongest designs and could carry a lot of potential for further designs and development and also what I thought would look good designed digitally as well as on paper.

I had drawn out a few ideas that I had in mind, however sooner decided that instead of hand drawing them, I would go straight onto the computer to see what they looked like in a “final digital form�.

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With some ideas drawn up and worked on digitally, I could really see what worked best and these were still the designs with the circles encompassed into them as I felt that they had more of a magazine feel as opposed to just the plain text in a line.

There were two ideas that really stood out to me, therefore I decided to take these two further for even more development, such as finding a suitable font and colours instead of having a plain black and white, to then finalising a design before starting on my cover image.

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This was the first of the two ideas that I decided to take forward as I felt that it contained everything I wanted it to. Firstly I added colour to the individual circles to see what it would look like. As it was just a simple experiment I felt that different tones of grey would work best. Initially I used a black font, however it was a struggle to see what it actually said, so I changed the colour to white, which instantly brought the text out of the colour.

Digital Development

Despite the writing being brought out from the colours, I still did not think that the simple design worked, as there was too much going on. I then took out the colour and linked the circles together, to make just one shape. I did this in a couple of ways to see what worked.

I then went on to look at how colour could be linked in as opposed to the greys that I had used.

I put it back to having three circles together, then tested out having a lower opacity so that there was a considerable difference in the tones where the three shapes overlapped and I feel that this worked really well, so I tested it out with another colour, which also worked.

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On the designs that I have changed the colour of the bubbles, I left the text as black, however felt that there would be more emphasis on the whole thing and it would look a lot neater altogether if the typeface were all the same colour, which it was.

Despite looking at all of the different aspects of this design and the editing of colour and style, I still opted to look at the second idea that I had drawn up, just so I could see what would look best for my own work.

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After experimenting with different ways of “connecting� the phrases together in a circle, I thought about linking the straight with a semicircle to see what it would look like, however I did not really Despite this I still went on to look at ways that I could think it suited, therefore decided to stick with a whole improve the design altogether. I wanted to keep with circle, just seeing what it would look like with a colour the circular theme, however for one design I wanted instead of black. to see what it would look like if it were to be just a

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straight line of text with one simple shape separating the two phrases, I did feel that this worked well, although I still preferred the whole thing as a circle.

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Once I had finished the straighter design of the two, I started on the round design that I had also drawn up and picked out for further development. I really liked this design and it was the preferred design over the first that I had developed further, due to it being a lot more simple with it having less shapes, in many ways the whole design looked a lot less busy.

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For me there were two that really stood out. These were Boycott and 1942 Report. I felt that they contained a lot of character and were considerably different to the other fonts that I looked at.

After comparing both of the fonts together I decided to use 1942 Report for my chosen font as it was that little bit clearer and spaced apart, making it easier to see what it said.

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Fonts

Some of the fonts I used were already on the design software, where as some of the bolder fonts and the ones that I feel stand out more were taken from font sites.

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I opted to take forward the circular design to use as my final masthead, however, I needed to look into different fonts and colours to use for my final design.

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I feel that depending on the image I opt to use for my cover, black will stand out a lot more against it than a single colour.

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I then went on to look at colours. Just for testing them out I used the primary colours and green, however I felt that the details in all of the different colours did not stand out as much as the black, therefore for my final masthead I will be using the plain black logo.

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Before looking into the colours I made some further edits to the final design. Instead of having the bottom text upside down, I have made it so that you can read it just like any normal text, which I feel works a lot better than the initial design. For my final masthead I also took away the circles and added lines of where the original circle would have been, which in my opinion connects the words together a lot better than the first designs.

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After finding a font, I went on to look at the colour for my masthead. Initially I did not want to have a plain black masthead as I felt that it would be a bit boring and very similar to many others out there.

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Final Masthead

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For my final masthead, I did eventually opt to use the black masthead as said before. I chose to do this, as it would stand out against any image that I used for my cover design, unless it was black, or a very dark colour.

I also felt that my final masthead design slightly resembled a stamp with ink that is slowly starting to

fade. I really liked this as a concept, as many magazines have a flat colour, which is all very smooth and in many ways constructed so it is all put together in one piece, however my design is somewhat different, due to the patchiness, however I feel that it brings a character to the work.

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Cover Images

Once I had got my masthead finalised I then needed to think about the cover for my magazine. I knew that I wanted to use a photo as the main image, I was just unsure about what style of photo to use. Would it have been a landscape image, portrait or something else? I also wanted something that reflected me as a person.

I then chose to look through images that I had previously taken to see if any of these would suit the cover that I was aiming for. This was minimalistic, simplistic and different to any other magazine cover, yet still catching the eyes of potential readers.

If there were none that stood out for me, my second option would be to go out again and take some more images of my local surroundings near to where I live and also in and out of the town centre.

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After extensively looking through folders of images, I selected a small few that I felt may possibly work for a magazine cover. After then looking at the twelve images that I had shortlisted, there were three that really stood out to me. These were the two that were of a mountain covered with snow and also the image of the giraffe.

I then decided to just use these three images to focus on and develop into a front cover. This was due to them being strong in colour and detail, whilst not

containing too much of a contrast within the images colours.

In many ways these images do still fit what I wanted my cover to show as I enjoy being outdoors and experiencing different views, as well as partaking in winter sports. I also like animals and different wildlife and nature, therefore these three pieces had good potential for a magazine cover. Not only this, but I feel that they are different to anything else I have seen in shops or online.

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Before starting the digital versions of my front cover, I drew up some potential layouts to see what would and would not work out.

Cover Design & Development

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As I wanted a very simple, minimalistic cover I did find it quite hard to draw up designs that would reflect this, whilst still trying to envisage would it could look like, however eventually ideas and layouts came to mind.

I really like the ideas where the masthead was at the top, in the middle of the page, as I felt that for my design in particular this would work best as opposed to having it in a corner, therefore all of my digital cover development ideas have the logo just at the centre top, with other information working around that as I felt it would be the best way to do it.

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At first with the images for my cover design, I went straight in by just placing the masthead over the image to see what it would initially look like. Because in many parts of all three images there were parts considerably darker than others, it was a struggle to be able to see the masthead, especially on the final image.

After looking at these three images, whilst I was developing the other pieces into a final cover, I slightly altered the opacity so that I could see what was going where and what the composition of the layout looked like. It was then, once I was happy with a layout, that I would choose a suitable opacity for the image.

I followed some of the initial layouts that I had drawn up, however as I was putting all of the information onto the page I found that sometimes one thing worked better than the other, therefore not fully sticking to the layout that I would have preferred there to be, strangely this worked out better than I thought it would.

Of the thirteen possible ideas that I had produced, the ones that stood out to me the most were

the ones where the giraffe was the image in the background. I felt that as there was more than one focus point in the image and it was not all the same, i.e. with the mountains there was mainly snow and rocks in the image meaning there was no way that you could put the image in different places on the page, having just one composition, whereas the giraffe gave you a variety of options for an image.

I decided to take forward the giraffe image for my final cover photo, however before settling with the photo, which I really liked, I created an illustration of one part of it to see what it would look like, however I did not like that as it was too bold and did not go well with the text and took away all of the information that I wanted there to be, so decided to stay with the image.

Before finalising the cover I made some small adjustments to the text by capitalising “an exploration into modernism and post modernism�. I chose to use the twelfth design, as I really liked the positioning of the image, and the way that the neckline of the giraffe guided you down to the listing of what was in the magazine. I also felt that it was very different to any other style of cover for a magazine.

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Adjustments were also made to the placing of the image just so that the masthead suited better and in many ways followed the rounded shape of the neck of the giraffe.

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I made a slight alteration to the top positioning of the top sentence and moved it slightly higher than where the original placing was, however it made the whole composition look a lot better as there was more spacing between the text and the masthead.

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After finalising the layout for my magazine cover, as stated previously I needed to choose a suitable opacity for the image.

I went for a range between twenty percent to sixty percent as I felt that any lower than twenty would be too pale and higher than sixty would potentially be too dark.

I really liked thirty percent and forty percent as with these two opacities there was a good amount of detail shown in the image, however it was not too dark that the text and masthead could not be seen.

For the final opacity I chose forty percent over thirty as it brought out that tiny bit more on the photo, yet all of the text could still be seen.

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Final Cover Front & Back

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As the final front cover had been finished, I needed to think about the back cover.

I still wanted to keep it very simple and not over complicate things as I did not want the attention to be taken away from the inside of the magazine.

This was when I decided to use the exact same image that I had used for the front on the back of the magazine, however just add a bar code for a more realistic magazine look.

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Page Layouts

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After finalising the covers, I then went on to the potential layouts for inside the magazine. If possible I will try and stick to them as strict as I possibly can, dependent on the images that I use and how much text actually goes on the page.

The main thing that I want to think about for the inside of the magazine is the composition and how everything looks as a whole, especially if one of the subjects that I am speaking about goes onto a double page spread.

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The Grid System

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Grids enable a solid structure of form in designs. To put it simply it is a structure that contains a series of intersecting lines. Both horizontal and vertical. This is so that content can be arranged in a manageable, clear way, showing a consistency in design.

Grid systems allow you to design in proportions, allowing a balance on a page. A good grid will be flexible to allow you to design and justify some parts.

It also allows a sense of unity and familiarity.

“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 MĂźller-Brockmann

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Sources

http://www.tate.org.uk/learn/online-resources/ glossary/m/modernism

http://www.dummies.com/how-to/content/arthistory-timeline.html

https://www.modernisminc.com/

http://www.nationalgallery.org.uk/paintings/ learn-about-art/guide-to-impressionism/guide-toimpressionism

http://arthistoryresources.net/modernism/roots.html

http://www.britannica.com/EBchecked/topic/1077292/ postmodernism http://www.vam.ac.uk/content/articles/p/ postmodernism/ http://www.vam.ac.uk/page/p/postmodernism/ http://faculty.georgetown.edu/irvinem/theory/pomo. html

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http://www.artmovements.co.uk/home.htm http://arthistory.about.com/od/glossary_a/a/a_ abstract_art.htm http://www.artyfactory.com/art_appreciation/ timelines/modern_art_timeline.htm http://www.henri-matisse.net/ http://www.moma.org/collection/artist.php?artist_

an exploration into modernism and post modernism

id=3832 http://www.biography.com/people/henrimatisse-9402564 http://www.theartstory.org/artist-stella-frank.htm http://www.artnet.com/artists/frank-stella/ http://www.tate.org.uk/art/artists/frank-stella-1994 http://www.tate.org.uk/art/artists/raoul-dufy-1038 http://www.artnet.com/artists/raoul-dufy/ http://www.wassilykandinsky.net/ http://www.tate.org.uk/art/artists/wassilykandinsky-1382

http://www.wassily-kandinsky.org/

http://www.dekooning.org/the-artist/biography https://www.artsy.net/artist/willem-de-kooning

http://www.warhol.org/

http://www.fontsquirrel.com/

http://www.tate.org.uk/art/artists/andy-warhol-2121

http://www.thegridsystem.org/

http://www.traceyeminstudio.com/homepage/

http://webdesign.tutsplus.com/articles/all-about-gridsystems--webdesign-14471

http://www.saatchigallery.com/artists/tracey_emin.htm http://www.artnet.com/artists/tracey-emin/biography

http://www.abcya.com/word_clouds.htm

http://www.tate.org.uk/art/artists/eva-hesse-1280 http://www.tate.org.uk/art/artists/willem-dekooning-1433

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