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PROJECT NewGraphicDesign

Max Lavender


Modernism

Modernism was a reductive movement. Form was simplified as a way to break from pictorial representation. The beginning of the 20th century was fraught with radical political, social, cultural and economic changes. It was a time of scientific and technological advances. The visual artists felt that the traditions of the past did not represent the time they were living in. Pictorial representation could not capture the changes of the times. Something new was needed. Expressionism and Fauvism didn’t have much influence on Graphic Design, it was considered to be to primal or subjective. The other movements do have some analytic structure, even if some of it did look crude or primitive. Influence of cubism comes from a structural design of the picture plane. The grid. There is also use of reducing pictorial space and figures to hard edge geometric forms. The influence of Futurism; its influence seems to be how type is used. Futurism was established as a revolutionary movement in which the arts voiced their opposition against traditional institutions that shaped European culture. The Futurists had an enthusiasm for war, machines, speed and modern life. They detested museums, libraries, moral-ism and feminism. The art that came out of this movement focused on speed, energy and dynamic/violent movements. Modernism is a term used in the aftermath of the 1st world war and the Russian revolution in a period where the artistic avant-grade dreamed of a new world free from conflict, greed and social inequality. The term modernism was used in graphic design itself since around the 1925-1930, as once economic conditions improved designers had to reassess their work, adapting it to a mass markets, and sometimes even to the demands of fascism. Initially before this time modernism was only largely experimental but then moved from the sketch board to the real world. Modernism has survived for all this time and still remains a powerful force of the design world of today.

Expressionism Fauvism Cubism Futurism Dada Surrealism De Stijl Suprematism Constructivism Juan Griss Fernand Leger Filippo Marinetti Paul Rand Theo van Doesburg

Movements

Artists

The core of Modernism lay the idea that the world had to be fundamentally rethought The carnage of the First World War led to widespread utopian favour, a belief that the human condition could be healed by new approaches to art and design, more spiritual, more sensual, or more rational. Then it went on to say The Russian Revolution offered a model for an entirely new society.

Max Lavender

Research


Post-modernism Post-modernism A term, used within the graphics design world since around the 1980s. When it comes to post-modernism there are several opinions on what it actually means as many people didn’t have a clue, even the most knowledgeable people with the graphic design world had doubts about it, i.e. Judith Williamson author of Decoding advertisements, interviewed in a design journal “the term is too vague to be useful in anything other than a stylistic sense”, Richard Kostelanetz author of a dictionary of the Avant-Grades, he is even blunter and says “My personal opinion holds that anything characterised as postmodern, weather by its author or it’s advocates, is beneath critical consideration, no matter how immediately popular or capable it might be”. In my opinion I must say, although I do not entirely agree with they way the terms post-modernism and modernism was used back in them days, I prefer Modernism when it come to my graphic design work. In the last 15 years graphic designers have created some of the most challenging examples of postmodernism in the visual art. Poynor says that few graphic designers have been eager to define their work as post-modernism and those who have laid the most positive and even argumentative claim to the label have tended to be American. In the book NO MORE RULES both American and non-American designers have produced work which relate to postmodernism and its themes, would reject the term strongly. In Poynor’s opinion for some designers, post-modernism is too closely identified with a particular historicist style of architecture current in the 1980s and it is consequently rejected on the grounds of aesthetic taste as much as anything.

Martin Heidegger Jacques Derrida Michel Foucault Thomas Samuel Kuhn Jean-François Lyotard Richard Rorty

Juan Griss Fernand Leger Filippo Marinetti Paul Rand

Philosophy

Artists

Post-modernism can not be understood without reference to modernism, while the ‘post’ prefix might seem to suggest that post-modernism comes after modernism, or that it replaces or rejects it, many commentators point out that post-modernism is a kind of parasite, dependant on its modernist host and displaying many of the same features – except that the meaning has changed. Post-modernism is a way of being free to combine any elements or styles in a piece of work even if it is irrelevant to the subject and it stated that postmodernism rejects rigid genre boundaries and promotes parody, irony, and playfulness, commonly referred to as jouissance by postmodern theorists, in graphis design post-modernist has been a visual and decorative movement. Then It went on to say how some artistic movement saw post-modernism as pop art, which when I thought about it, I agreed with to a certain extent. Unlike modern art, postmodern art does not approach this fragmentation as somehow faulty or undesirable, but rather celebrates it.

Max Lavender

Research


De Stijl 1917-1931

De Stijl, also known as neoplasticism, was a Dutch artistic movement founded in 1917. Proponents Of De Stijl sought to express a new utopian ideal of spiritual harmony and order. They advocated pure abstraction and universality by a reduction to the essentials of form and colour;they simplified visual compositions to the vertical and horizontal directions, and used only primary colours along with black and white.

Max Lavender

Visual Research


Bauhaus 1919-1933

Bauhaus was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it taught. The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The Bauhaus style, also known as the International Style, was marked by the absence of ornamentation and by harmony between the function r ≠a building and its design.

Max Lavender

Visual Research


M端ller-Brockman

Josef M端ller-Brockmann was a Swiss graphic designer and teacher. He studied architecture, design and history of art at both the University and Kunstgewerbeschule in Zurich. In 1936 he opened his Zurich studio specialising in graphic design, exhibition design and photography. He is recognised for his simple designs and his clean use of typography, notably Helvetica, shapes and colours which inspires many graphic designers in the 21st century.

Max Lavender

Visual Research


Graphis #1

Graphis, The International Journal of Visual Communication, was first published in 1944 by Walter Herdeg in Zurich, Switzerland. Graphis Inc. is the international publisher of books and magazines on communication design, advertising, photography, annual reports, posters, logos, packaging, book design, brochures, corporate identity, letterhead, interactive design and other design associated with graphic arts. Graphis was (and still is) one of the most important and influential European graphic design publication. Over 350 issues of Graphis magazine have been published. Graphis also publishes hardback annuals including: Graphis Design Annual, Graphis Advertising Annual, Graphis Photography Annual, Graphis Annual Reports Annual, and Graphis Poster Annual. Graphis, The International Journal of Visual Communication, was first published in 1944 by Dr. Walter Amstutz and Walter Herdeg in Zurich, Switzerland. Graphis presented the work of fine artists and illustrators, as well as highlighting the formative years of graphic design as we know it today. Advertising and photography were also featured, and Walter selectively chose what he felt to be the best talent of the time. Walter was invited into the Alliance Graphique International in 1952 and, that same year, introduced the Graphis Annual. In 1964, following a split from Dr. Walter Amstutz, Walter Herdeg officially became the sole publisher of Graphis. In 1966, he introduced the Graphis Photo Annual, followed in 1973 by the Graphis Poster Annual. During Walter’s reign, Graphis became one of the classiest publications available, due to his impeccable care and good taste. In 1986, with the help of his son Marcel Herdeg, Walter sold the company to B. Martin Pedersen. A few years later, the Graphis headquarters were relocated from Zurich to New York City. The Annuals were redefined and numerous new books were added to the Graphis roster. In 2004, the magazine was discontinued after Issue #355 due to a lack of profitability. Focus was then devoted to further improving the Graphis Annuals and taking the time to develop a better solution to the Magazine. Graphis is pleased to now announce the development of its new website, complete with Archives of award-winning work from the Annuals, digital versions of the past Magazines, and the introduction of the new Journal, which will present a significant increase of talent covered over the original magazine. Graphis is in a continuous process of improving its product.

Max Lavender

Visual Research


Bauhaus Here are more images from Bauhaus, I have chosen this particular artist to do more research on because of the post modernist style Bauhaus uses with in architecture, which is something I would like to portray on my magazine. Bauhaus images to the right.

Now that I have research a variety of artist and have an idea of what I want to go for I am now going to experiment with different layouts using grids for the magazine inner pages..

Max Lavender

Visual Research


InDesign layout tutorial using grids.

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Max Lavender

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Experimentation


Max Lavender

Visual Research


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Max Lavender

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Experimentation


Here are a few examples of magazine layouts. I will use these to learn from and do further experimentation so I will be able to incorporate a similar style into my magazine inner pages.

Magazine Layout Research. Here the artist has used two column grid and a three column grid on the right with nice placement of photographs which sit above the text.

Max Lavender

Visual Research


This is sample text using grid layouts. This is sample text using grid layouts. This is sample text using grid layouts. This is sample text using grid layouts. This is sample text using grid layouts. This is sample text using grid layouts. This is sample text using grid layouts. This is sample text using grid layouts. This is sample text using grid layouts. This is sample text using grid layouts. This is sample text using grid layouts. This is sample text using grid layouts. This is sample text using grid layouts. This is sample text using grid layouts. This is sample text using grid layouts. This is sample text using grid layouts.

Max Lavender

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Experimentation


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Max Lavender

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Experimentation


Masthead/Cover Research.

I have now started to research into different masthead design looking at a variety of magazines/artists and use these with my own designs and develop them further.

Max Lavender

Visual Research


Masthead/Cover Research.

Here are a few examples of mastheads within a mainstream magazine. With these particular magazines the idea is to be bold, loud and have a lot going on to entire the reader and excite them. With this particular magazine they always have a person representing that certain issue and will really

Max Lavender

contrast them with the background to create an in your face look. The masthead is really bold with a straight edged typeface, it makes the masthead and name memorable and enticing for this genre of magazine.

Visual Research


Masthead/Cover Research.

This is computer Arts magazine, again like ‘Empire’ They use layouts which are relevant to the genre of magazine, the front cover will entice the reader to buy because they want to learn how to do a particular effect or process. This magazine will have a cover with a particular style of computer art applied.

Max Lavender

Visual Research


Masthead/Cover Research. Rather than looking at the mainstream magazines, I have now decided to research deeper and look into magazines which aren’t really well known or are more popular with a select group of readers.

Max Lavender

Visual Research


Masthead/Cover Research.

When contrasting this magazine with Empire magazine you see that rather than trying to push the information in your face and excite you this layout and masthead is more subtle, unless the reader knows this magazine they will have to look further into reading, This magazine would be for a select target audience which are interested in the genre of the magazine.

Max Lavender

Visual Research


Masthead/Cover Research.

Max Lavender

Visual Research


Masthead/Cover Research.

Like the WOW magazine I like this magazine for its subtle yet attracting design, this is something which I would like to incorporate into my magazine design as I think it fits in nicely with the post-modernist/minimalist style.

Max Lavender

Visual Research


Masthead Design. I have now moved onto designing my own masthead which will sit at the top of the magazine. I started off by using a basic font, straight edged with a heavy width. I then linked each character together and added a white stroke to add a flowing style to the masthead.

NGD Max Lavender

Design Experimentation


Masthead Design.

NGD G D Max Lavender

Design Experimentation


Masthead Design.

NGD Max Lavender

Design Experimentation


Masthead Design.

I then tried the letters in a few different ways, as you can see from the previous picture they were copied and typed down as well as across and again with this one I have brought them in and moved a characters down as well as adding a diagonal stroke effect.

NGD Max Lavender

Design Experimentation


Masthead Design.

With this masthead I tried something completely different and tried to incorporate the subtle/minimalist effect I wanted. I think the placement worked nicely and the design looks clean something I may use on my final layout.

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Design Experimentation


Masthead Design. This masthead I tried something completely opposite, thinking that the clean design look might be the best way to go because of the type of magazine it is, I tried this paint brush style typeface. I could use a bulky wide typeface and then use a smaller more neater font for the tag line which in turn would contrast each and possibly work out better than going for a simple look.

NGD Max Lavender

Design Experimentation


Masthead Design.

NGD Max Lavender

Design Experimentation


Masthead Design. This is my final masthead I like how the typeface flows I think it gives a nice mix of heavy characters but giving the masthead an overall flow. I will use this s masthead on my magazine cover along with a thin neat tag line to achieve a subtle look.

Max Lavender

ngd Design Experimentation


Magazine Cover Thumbnails. Here are a few thumbnails of how I could lay the magazine cover out, experimenting with the masthead an image in different positions to achieve my desired look.

Max Lavender

Design Experimentation


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Here are my magazine layouts using a stock photo, like the thumbnails I have tried out one of the earlier mastheads and also experimented with position. With the first one without jumping straight into the flowing masthead, I just wanted to try this particular masthead out, but I think it makes the focus more on the masthead rather than the image or everything all together.

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FORM FOLLOWS FUNCTION Max Lavender

Design Experimentation


Magazine Cover Design.

ngd issue one april thirteen

form follows function

Max Lavender

ngd issue one april thirteen

form follows function

Design Experimentation


Magazine Cover Design.

ngd

issue one april thirteen

form follows function

Max Lavender

ngd

issue one april thirteen

form follows function

Design Experimentation


Circular Building Photography. Once finishing my layout, incorporating my masthead, I decided that I wanted to use my own image. I went out to Leeds to take a picture of the Circular Building as I feel this is similar to the stock photo I originally used in terms of post modernist look. I took a variety of images trying to achieve different angles and composition to fit my masthead roughly into the sample.

Max Lavender

Design Experimentation


Magazine Final Cover.

ngd issue one april thirteen

Here is my final magazine layout I used one of the images I too which I feel resembled the original photo the most. I feel that the layout works nicely achieving the subtle and delicate theme I wanted to achieve. The cover doesn’t jump out at you which is wanted to incorporate in the look, it entices the reader to look further and perhaps aim at someone who would be interested in post-modernist design.

form follows function

Max Lavender

Final Magazine Cover

New Graphic Design  

University Project New Graphic Design

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