36 | HIGH END DESIGN Kirsty Hair | Design Context 17 HIGH END DESIGN | This spread from 1935 shows the integration of all graphic elements. Brodovitch accentuates the fluidity and movement of the images by using repetition and diagonal and horizontal stress. He uses the contacts like frames from a film and creates the illusion of movement and spontaneity across the left- hand page. The strips of film overflow onto the opposing page, as if the dancers have twirled across the spine of the magazine. The enlargement on the right- hand page depicts the grand finale of this dance number. Words and images taken from: www.iconofgraphics.com/alexey-brodovitch
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36|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
17H
IGH
EN
D D
ESI
GN
|
This
spr
ead
from
193
5 sh
ows
the
inte
grat
ion
of a
ll gr
aphi
c el
emen
ts. B
rodo
vitc
h ac
cent
uate
s th
e fl u
idit
y an
d m
ovem
ent o
f the
imag
es b
y us
ing
repe
titi
on a
nd d
iago
nal
and
hori
zont
al s
tres
s. H
e us
es th
e co
ntac
ts li
ke fr
ames
fr
om a
fi lm
and
cre
ates
the
illus
ion
of m
ovem
ent a
nd
spon
tane
ity
acro
ss th
e le
ft-
hand
pag
e. T
he s
trip
s of
fi lm
ov
erfl o
w o
nto
the
oppo
sing
pa
ge, a
s if
the
danc
ers
have
twir
led
acro
ss th
e sp
ine
of th
e m
agaz
ine.
The
en
larg
emen
t on
the
righ
t-ha
nd p
age
depi
cts
the
gran
d fi n
ale
of th
is d
ance
num
ber.
Words and images taken from: www.iconofgraphics.com/alexey-brodovitch
18|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
35D
ESI
GN
ER
S &
STU
DIO
S |
abst
ract
nam
e to
sta
nd
out.
A c
ombi
nati
on o
f our
ow
n su
rnam
es w
ould
hav
e so
unde
d lik
e an
ad
agen
cy
– n
ames
wit
h de
sign
or
crea
tive
, etc
in th
em s
ound
na
ff, a
litt
le o
bvio
us a
nd la
ck
crea
tivi
ty.
How
man
y p
eop
le w
ork
in t
he
stu
dio
?30 W
hat
mak
es F
OU
R I
V
un
iqu
e?O
ur c
reat
ive
and
luxu
ry
styl
ing
unde
rsta
ndin
g co
mbi
ned
wit
h a
com
mer
cial
non
ce.
Seco
ndly
our
str
uctu
re
enab
les
us to
del
iver
br
ands
and
env
iron
men
ts
sim
ulta
neou
sly.
To
devi
se a
new
and
rel
evan
t po
siti
onin
g fo
r a
bran
d an
d se
e it
thro
ugh
to p
rodu
ctio
n.
Mov
ing
from
vis
ion
to
com
mer
cial
rea
lity.
Wh
at e
xcit
es y
ou a
t th
e m
omen
t?Th
e qu
alit
y of
Bri
tish
des
ign
is s
till
reco
gniz
ed a
nd s
ough
t af
ter
thro
ugho
ut th
e W
orld
. Th
is is
exc
itin
g, h
owev
er
the
grow
th o
f hom
e gr
own
desi
gn in
em
ergi
ng m
arke
ts
will
bri
ng v
ery
stro
ng
com
peti
tion
ove
r th
e ne
xt
few
yea
rs. F
indi
ng w
ays
to
stay
ahe
ad o
f the
gam
e is
the
mos
t exc
itin
g ch
alle
nge.
Wh
at’s
hap
pen
ing
now
in
des
ign
? Is
th
ere
anyt
hin
g yo
u lo
ve o
r h
ate?
I th
ink
that
as
mor
e an
d m
ore
is g
ener
ated
thro
ugh
the
Mac
, tw
o th
ings
will
ha
ppen
. A r
ise
of n
ew
craf
ts c
omin
g fr
om th
e ne
w te
chno
logi
es a
nd
a re
surg
ence
and
new
inte
rest
in th
e ol
d cr
afts
and
te
chni
ques
like
lett
erpr
ess,
ha
ndw
riti
ng, e
ngra
ving
, ill
ustr
atio
n, w
oodc
uts,
etc
.
How
do
you
sta
rt a
p
roje
ct?
It d
epen
ds o
n th
e pr
ojec
t, bu
t gen
eral
ly th
e ke
y th
ing
is to
und
erst
and
and
chal
leng
e th
e br
ief,
seco
ndly
un
ders
tand
the
clie
nt a
nd
wha
t the
y w
ant,
wha
t the
y ne
eds
and
thei
r bu
dget
s an
d ap
peti
te to
cre
ate.
The
n lis
ten,
que
stio
n an
d sh
are
idea
s. A
t the
beg
inni
ng th
ere
is n
o su
ch th
ing
as a
bad
id
ea. R
esea
rch,
pre
para
tion
an
d be
nch
mar
king
is a
goo
d st
art.
How
do
you
wor
k? D
o yo
u p
refe
r to
mak
e th
ings
wit
h y
our
han
ds,
ta
ke p
hot
ogra
ph
s or
m
anip
ula
te im
ager
y on
sc
reen
?A
ll of
the
abov
e, a
ltho
ugh
a lo
t of t
he o
n sc
reen
m
anip
ulat
ion
is d
one
thro
ugh
othe
r pe
ople
.
Wh
at r
ecen
t tr
end
s h
ave
you
not
iced
wit
hin
d
esig
n f
or t
he
luxu
ry
sect
or?
Wit
hin
fash
ion
the
infl u
ence
of
the
Asi
an c
onsu
mer
and
th
e en
dles
s de
man
d fo
r br
and
and
expr
esse
d de
tail
is b
ecom
ing
dom
inan
t. A
uthe
ntic
ity
is a
key
tren
d,
the
need
to fe
el r
elev
ant t
o le
vera
ge a
her
itag
e. H
owev
er
this
sho
uld
be d
one
wit
h co
ntem
pora
ry r
elev
ance
.
Wh
at in
spir
es y
ou a
nd
ke
eps
you
foc
use
d?
Trav
el, v
arie
ty a
nd s
tron
g te
am o
f ind
ivid
ual t
alen
ts
and
pers
onal
itie
s to
bou
nce
off.
And
the
need
to p
ay th
e m
ortg
age.
Wh
at s
tud
ios
or
des
ign
ers
do
you
ad
mir
e?Pe
ntag
ram
(par
ticu
larl
y Jo
hn R
ushw
orth
), B
aron
and
B
aron
NY
and
Stud
io N
B.
How
do
you
bal
ance
th
e cr
eati
ve a
nd
th
e co
mm
erci
al s
ide
of t
he
job
?B
y co
mm
unic
atio
n an
d un
ders
tand
ing
that
des
igne
rs
perf
orm
a c
omm
erci
al
role
thro
ugh
crea
tivi
ty
and
not c
reat
ivit
y th
roug
h co
mm
erci
alis
m! W
e ar
e a
busi
ness
not
an
arti
st s
tudi
o.
How
imp
orta
nt
is
bei
ng
envi
ron
men
tall
y co
nsc
iou
s w
hen
cre
atin
g h
igh
en
d d
esig
n?
It is
bec
omin
g m
ore
and
mor
e im
port
ant t
o un
ders
tand
the
impa
ct o
f ev
eryt
hing
we
do o
n ot
her
peop
le a
nd o
ur e
nvir
onm
ent.
Hig
h de
sign
has
a s
tron
g ro
le to
pla
y –
oft
en c
hoic
e of
br
and
now
will
be
as m
uch
to
do w
ith
mor
al ju
dgm
ents
as
visu
al d
esig
n.
Do
you
hav
e an
y la
st
wor
ds
of w
isd
om f
or a
gr
adu
atin
g cr
eati
ve?
List
en, a
bsor
b ev
eryt
hing
, w
ork
hard
, ins
pira
tion
is
on y
our
door
step
as
wel
l as
afa
r. H
ave
a vi
sion
, be
will
ing
to le
arn
and
get a
s m
uch
expe
rien
ce a
s po
ssib
le.
And
mak
e su
re y
ou u
se
your
em
otio
nal i
ntel
ligen
ce.
Succ
ess
in d
esig
n is
10%
cr
eati
vity
, the
res
t is
hard
w
ork
and
pers
uasi
on.
Images taken from: www.fouriv.com
34|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
FO
UR
IV
Inte
rvie
w w
ith
An
dy
Bon
e
FOU
R I
V is
a le
adin
g Lo
ndon
bas
ed g
raph
ic a
nd in
teri
or
desi
gn a
genc
y. I
t is
the
cre
ativ
e ag
ency
beh
ind
som
e of
the
wor
lds
mos
t ex
citi
ng a
nd c
omm
erci
ally
pro
ven
reta
il an
d le
isur
e lu
xury
bra
nds.
The
com
pany
has
bee
n es
tabl
ishe
d fo
r 22
yea
rs a
nd w
as f
ound
ed a
nd i
s jo
intl
y ow
ned
by C
hris
Dew
ar-D
ixon
and
And
y B
one.
Th
e te
am i
s m
ade
up o
f st
rate
gic
thin
kers
, gr
aphi
c de
sign
ers,
inte
rior
des
igne
rs, a
rchi
tect
s, p
roje
ct m
anag
ers
and
supp
ort s
taff
sel
ecte
d fo
r th
eir
crea
tivi
ty, e
xper
ienc
e an
d in
nova
tive
ski
lls.
I
spok
e to
And
y B
one
to fi
nd
out
mor
e ab
out
the
wor
king
pro
cess
es b
ehin
d th
is u
niqu
e ag
ency
and
to
ask
his
opin
ions
on
desi
gn fo
r th
e hi
gh e
nd.
How
wou
ld y
ou d
escr
ibe
the
wor
k p
rod
uce
d a
t F
OU
R I
V?
FOU
R I
V w
orks
wit
h br
ands
that
wan
t to
stan
d ou
t, of
ten
in th
e lu
xury
se
ctor
. Our
wor
k bl
ends
a
pass
ion
for
crea
tivi
ty
wit
h an
und
erst
andi
ng o
f lu
xury
sty
ling
and
ensu
res
this
is a
lway
s de
liver
ed in
a
com
mer
cial
con
text
. It i
s cl
ean,
und
erst
ated
, det
aile
d an
d te
xtur
al.
Wh
ere
did
th
e n
ame
com
e fr
om?
Whe
n w
e st
arte
d th
e bu
sine
ss w
e w
ere
4 in
divi
dual
s al
l wor
king
to
geth
er. W
e w
ante
d an
19D
ESI
GN
ER
S &
STU
DIO
S |
DE
SIG
NE
RS
& S
TU
DIO
S
20|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
33D
ESI
GN
ER
S &
STU
DIO
S |
Pige
ons
& P
eaco
cks
-Th
ird
issu
e of
the
mag
azin
e cr
eate
d fo
r th
e Lo
ndon
C
olle
ge o
f Fas
hion
.
Words and images taken from: www.whynotassociates.com
Pige
ons
& P
eaco
cks
- Q
uart
erly
fanz
ine
for
Lond
on C
olle
ge o
f Fas
hion
sh
owca
sing
stu
dent
s w
ork.
32|
HIG
H E
ND
DE
SIG
NKirsty Hair | Design Context
WH
Y N
OT
AS
SO
CIA
TE
S
Env
y -
Cor
pora
te id
enti
ty,
for
Lond
on b
ased
pos
t pr
oduc
tion
faci
lity.
Sho
win
g th
e id
enti
ty r
unni
ng a
cros
s a
rang
e of
del
iver
able
s:
incl
udin
g le
tter
head
, bu
sine
ss c
ard,
com
plim
ents
sl
ip, C
D p
acka
ging
, not
e bo
oks,
bel
lyba
nds,
vid
eo
labe
ls a
nd p
acka
ging
, tag
s.
Why
Not
Ass
ocia
tes
is a
Bri
tish
Gra
phic
Des
ign
com
pany
wit
h gl
obal
rea
ch, d
esig
ning
for
clie
nts
in b
usin
ess,
gov
ernm
ent a
nd th
e pu
blic
sec
tor.
For
nea
rly
twen
ty fi
ve y
ears
, Why
Not
Ass
ocia
tes
has
been
cre
atin
g in
nova
tive
wor
k fo
r cl
ient
s la
rge
and
smal
l. Th
eir
team
wor
ks i
n m
any
diff
eren
t m
edia
, on
man
y ty
pes
of p
roje
cts,
in
clud
ing
corp
orat
e id
enti
ty,
digi
tal
desi
gn,
mot
ion
grap
hics
and
te
levi
sion
com
mer
cial
dir
ecti
on,
edit
oria
l de
sign
, en
viro
nmen
tal
desi
gn, p
ublis
hing
, and
pub
lic a
rt.
Th
is b
read
th o
f ex
peri
ence
mea
ns t
hat
they
can
orc
hest
rate
co
mpl
ex c
ampa
igns
for
glo
bal
bran
ds s
uch
as N
ike,
Fir
st D
irec
t ba
nk,
Vir
gin
Rec
ords
and
the
BB
C.
They
als
o ch
eris
h sm
alle
r lo
cally
bas
ed c
omm
issi
ons
such
as
publ
ic r
elat
ions
for
reg
iona
l go
vern
men
t and
pub
lic a
rt in
stal
lati
ons
for
spec
ifi c
com
mun
itie
s.
21D
ESI
GN
ER
S &
STU
DIO
S |
AN
DR
EW
WO
OD
HE
AD
And
rew
W
oodh
ead
is
a fr
eela
nce
arti
stic
di
rect
or
and
grap
hic
desi
gner
w
ho w
orks
aro
und
typo
grap
hy,
mus
ic,
fash
ion,
pub
lishi
ng a
nd c
orpo
rate
are
as.
He
take
s in
spir
atio
n fr
om h
is P
aris
ian
surr
ound
ings
by
cons
iste
ntly
man
agin
g to
mak
e ea
ch t
ypog
raph
ic p
roje
ct t
ruly
el
egan
t. W
heth
er i
t is
a l
ogo
or a
ful
l ty
pefa
ce,
ther
e is
a r
unni
ng t
hem
e of
ex
peri
men
tati
on
and
soph
isti
cate
d st
ylis
tic
choi
ces
that
cr
eate
A
ndre
w’s
co
hesi
ve s
tyle
.
Words and images taken from: www.andrewwoodhead.com