MODERNISM RESEARCH FILE

Emily Jane Stancer

New Graphic

[email protected]

BRIEF BREAKDOWN.Submit design proposals for a new graphic design publication called “New Graphic Design”

REQUIREMENTS.

- Body of original visual research based upon Monderism/Post Modernism.- Evidence of thumbnail visual and de-sign layouts.- Evidence of grid, layout, type and im-age selection and experimentation.- Evidence of multiple solutions and de-sign refinement.- Mast Head.- Broadsheet Cover.- Inner Page.

IMPORTANT INFORMATION TO BE INCLUDED IN THE DESIGN.

- Masthead: New Graphic Design.- Sub heading: Form Follows Function- an exploration of Modernism & Post Modernism.- Issue 1.- Date: April 2013.

BRIEF BREAKDOWN.Submit design proposals for a new graphic design publication called “New Graphic Design”

IMPORTANT INFORMATION TO BE INCLUDED IN THE DESIGN.

- Masthead: New Graphic Design.- Sub heading: Form Follows Function- an exploration of Modernism & Post Modernism.- Issue 1.- Date: April 2013.

THE FINAL DESIGN MUST IN-CLUDE:

- A3 Page Size.- Master Head.- Cover design.- Inner Pages.

MODERNISM.When I first received this brief I didn’t understand much about Modernism or Post Modernism. I de-cided to read various books and watch numerous films to bring my knowledge of these movements up to scratch.I firstly began with the book “Modernism” by Rich-ard Weston.I also watched the film Helvetica.

The following information I have obtained from the “Modernism” book by Richard Weston.

Being a Modernist is an affirmation of faith in the tradition of the new, which emerged in the early years of the twentieth century. Modernism is the ‘umbrella’ name for a bewildering array of move-ments - Cubism, Expressionism, Futurism, Dada-ism, Serialism, Surrealism. Ideas in Modernism - Abstraction, Functionalism, Atonality, Free Verse. It affected all the arts and blossomed in differ-ent fields as poets, painters, composers, writers, architects, choreographers, directors and film-makers struggled to come to terms with the ‘new times’ in which they found themselves. Modern-ism came into maturity in the 1920’s. Many of the ideas in Modernism transformed architecture and design, and in due course the appearance of the everyday world around us developed.

After reading and learning lots about Modernism, it is now clear to me how incredibly world chang-ing it was. I had no idea before and feel I’ve been very ignorant to not have read more into it in the past.

I now understand how Modernism had such a huge impact on Art, design, and the whole world. It has been really inspirational to me.

The Modernist aesthetic reached maturity around 1930, when the capitalist economies were laid low by the Great Depression and the rise of totali-tarianism in Germany, Italy and the USSR began to threaten artistic freedom.

At the same time as Mussolini was commission-ing Modernist architects to design to the glory of Fascism, Hitler was expunging all traces of ‘degen-erate’ Modern Art and Stalin was snuffing out the flames of the Great Russian Artistic Revolution.

It was the Modernism Aesthetic that was all-con-quering.

MODERNISM.

RUSSIA.The Art Of The Revolution

Aesthetic and Political revolution were inextricably linked in Russia. The first stirrings of a rebellious modern spirit came in 1863.

Constructivism originated in Russia in 1919.It was a rejection of the idea of autonomous art.The movement was in favour of art as a practice for social purposes. It also had a great effect on modern art movements of the 20th century, in-fluencing major trends such as Bauhaus and the De Stijl movement. Its influence was pervasive, with major impacts upon industries such as ar-chitecture, graphic and industrial design, theatre, film, dance, fashion and to some extent music.

Constructivist art is committed to complete ab-straction with a devotion to modernity, where themes are often geometric, experimental and rarely emotional.

Constructivist themes were also quite minimal, where the artwork was broken down to its most basic elements. New media was often used in the creation of works, which helped to create a style of art that was orderly. An art of order was desirable at the time because it was just after WWI that the movement arose, which suggest-ed a need for understanding, unity and peace.

“We do not need a dead mausoleum of art where dead works are wor-shipped, but a living factory of the human spirit - in the streets, in the tramways, in the factories, workshops and workers’ homes.” - Vladimir Mayakovsky.

“Every form is the petri-fied snapshot of a process. Therefore, work is a station in evolution and not its pet-rified aim.” - El Lissitzky.

Trying to build consensus in a country as vast and disparate as the Soviet Union was a formi-dable task, and with illiteracy still common in rural areas, posters needed to be as visual and direct as possible. For this memorable image on the top left, Gustav Klutsis‘ “Worker, Everyone Must Vote in the Election Of Soviets” used his own hand repeated many times.

BAUHAUS.To gain more knowledge on The Bauhaus, I bor-rowed the book “Bauhaus; 1919-1928” edited by Herbert Bayer, Walter Gropius & Ise Gropius.

The youngest of the Werkbund Leaders, Wal-ter Gropius, founded the Bauhaus at Weimar. Gropius wanted to combine the academy with the Weimer Arts and Crafts School to create a “Consulting art centre for industry and the trades.” By achieving this union in 1919 at the Bauhaus, he took a most important and deci-sive new step; every student at the Bauhaus was trained by two teachers in each subject, by an artist and master craftsmen. To develop such creative ambidexterity was the purpose of the Bauhaus.

The first products of the new education quite naturally showed influence of contemporary, modern movements, particularly cubism.

In 1925 the Bauhaus moved from hostile We-imer to hospitable Dessau. By this time, a new generation of teachers had been trained.

The teachers at the Bauhaus included:Paul Kee, Oskar Schlemmer, Gerhard Marcks, Wassily Kandinsky, Lyonel Feininger, Johannes Itten, Georg Muche, Adolf Meyer, Lothar Schreyer and Laszlo Moholy-Nagy.

BAUHAUS.

MODERNIST MOVEMENTS.

Art NouveauArt Nouveau means “New Art” in French.

In Graphic Design, Art Nouveau was a tremen-dously varied style which encompassed a con-siderable diversity of expression ranging from spidery, linear work of Mackintosh and the Mac-Donalds, to the sinuous illustrations of Beards-ley. Through the work of Graphic Designers, Art Nouveau extended beyond national bounda-ries into areas where, for reasons of economy or taste, the more elaborate works of the new style might have never been seen. The new posters, shop signs and lettering for buildings became so much a part of the everyday scene, that they could not fail to be noticed.

The Serpentine or Whiplash curves are one thing that most clearly characterizes Art Nouveau works.

CubismPioneered by Georges Braque and Pablo Pi-casso, Cubism has been considered one of the most influential art movements of the 20th cen-tury.

In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form—in-stead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context

MODERNIST MOVEMENTS.

FuturismFuturism was an artistic and social movement that originated in Italy in the early 20th century. It emphasized and glorified themes associated with contemporary concepts of the future, in-cluding speed, technology, youth and violence, and objects such as the car, the airplane and the industrial city.

It was largely an Italian phenomenon, though there were parallel movements in Russia, Eng-land and elsewhere.

The Futurists practiced in every medium of art.

Key figures of the movement include the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carrà, Gino Severini, Giacomo Balla and many more.

Dada1915, Zurich, Switzerland; The birth of Dada. Dada was a word, a rallying symbol, an inten-tionally derisory anti-label. As a provocative slo-gan, it wrong footed the critics, who habitually pinned pejorative labels on new tendencies, such as Cubism. The Dadaists were not aiming to win over critics, but to mock them.

Dada rejected reason and logic, prizing non-sense, irrationality and intuition.

The movement primarily involved visual arts, liter-ature, poetry, art manifestoes, art theory, theatre, and graphic design.

Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism, an influence on pop art, a celebration of antiart to be later embraced for anarcho-political uses in the 1960s and the movement that lay the founda-tion for Surrealism.

MODERNIST MOVEMENTS.

Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1919.

It was a rejection of the idea of autonomous art. The movement was in favour of art as a practice for social purposes. Constructivism had a great effect on modern art movements of the 20th century, influencing major trends such as Bau-haus and the De Stijl movement. Its influence was pervasive, with major impacts upon archi-tecture, graphic and industrial design, theatre, film, dance, fashion and to some extent music.

Constructivism De Stijl Dutch for “The Style”, also known as neoplasti-cism, 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 universal-ity 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.

MODERNIST MOVEMENTS.

Suprematism was an art movement, focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a lim-ited range of colors.

It was founded by Kazimir Malevich in Russia, in 1915. The term suprematism refers to an art based upon “the supremacy of pure artistic feel-ing” rather than on visual depiction of objects.

Suprematism, in sharp contrast to Constructiv-ism, embodies a profoundly anti-materialist, anti-utilitarian philosophy

Suprematism, in sharp contrast to Constructiv-ism, embodies a profoundly anti-materialist, anti-utilitarian philosophy

SuprematismExpressionism was a modernist movement, ini-tially in poetry and painting, originating in Germany at the beginning of the 20th century.

Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ide-as. Expressionist artists sought to express meaning or emotional experience rather than physical real-ity.

Expressionism was developed as an avant-garde style before the First World War. It remained pop-ular during the Weimar Republic, particularly in Berlin.

Expressionism

SWISS GRAPHIC DESIGN.

SWISS GRAPHIC DESIGN.The International Typographic Style, also known as the Swiss Style, is a graphic design style developed in Switzerland in the 1950s that em-phasizes cleanliness, readability and objectivity.

Hallmarks of the style are asymmetric layouts, use of a grid, sans-serif typefaces like Akzidenz Grotesk, and flush left, ragged right text. The style is also associated with a preference for photography in place of illustrations or drawings. Many of the early International Typographic Style works featured typography as a primary design element in addition to its use in text, and it is for this that the style is named.

Akzidenz Grotesk designed in 1896 for the H. Berthold AG type foundry. The face was a hall-mark of the modernist Swiss Style.

Akzidenz-Grotesk is sometimes at first glance mistaken for the Helvetica or Univers typefac-es. The similarities of Helvetica and Akzidenz-Grotesk are apparent, but the subtle differences include the uppercase and lowercase C and the uppercase G, J, R and Q.Both Helvetica and Univers are more regular and have a greater consistency of stroke weight.

Helvetica is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with Eduard Hoffmann.Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas’ Nor-mal Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, no intrin-sic meaning in its form, and could be used on a wide variety of signage.In 1960, the typeface’s name was changed by Haas’ German parent company Stempel to Hel-vetica in order to make it more marketable inter-nationally.

Key Features Of Swiss Design:- Attention to detail.- Precision.- Craft Skills.- Systems of education.- Technical training.- High print standards.- Clear refinement.- Innovative typography.- Composition skills.- Grid systems.- Geometric shapes.- White space.- Minimalism.- Readability.

SO, WHAT IS FORM & FUNCTION?FORM.

- Constituent elements of a work of art, inde-pendant of the meaning.

- Elements include colour, composition, medium & size of the work rather than emotional or social significance

- Features of Form are separated into two groups. Primary & Secondary. Primary= colour, dimension, line, mass, scale, texture, shape, space & value. PHYSI-CAL PROPERTIES. Secondary= harmony, proportion, balance, rhythm, similarity, variety, contrast, movement & unity. TECHNICAL PROPERTIES.

- In print design, Form is the overall look & feel of the pages as well as shapes and aesthetics of individual components of the design.

- The texture of each page, typefaces & graphic design composition all add up to create the form of the design.

- The format the design is produced in. EG, poster, brochure, web page, magazine.

“It is the pervading law of all things organic and inorganic,Of all things physical and metaphysical,Of all things human and all things super-human,Of all true manifestations of the head,Of the heart, of the soul,That the life is recognizable in its expression,That form ever follows function. This is the law” - Louis Sullivan.

SO, WHAT IS FORM & FUNCTION?FUNCTION.

- Course of action, which dictates to any public of-ficer in church or state; the activity to appropriate to any business or profession.

- In the design world, if form is a studio building, then it’s function would be a working area designed to enhance performance of designers.

- The outcome of a series of activities, leading to functionality & progress of the studio within the building.

- Function is the practical part of design.

- The purpose of the piece & informed choices made when producing it.

- It is also the choice of the suitable audience for the outcome and costing process for the produc-tion of the final outcome.

- The original wording was “Form Ever Follows Function”, not “Form Follows Function.”

“It is the pervading law of all things organic and inorganic,Of all things physical and metaphysical,Of all things human and all things super-human,Of all true manifestations of the head,Of the heart, of the soul,That the life is recognizable in its expression,That form ever follows function. This is the law” - Louis Sullivan.

THE GRID SYSTEM.Grid Systems are a way of organising content on a page using a combination of margins, guides, rows and columns. They solve visual problems in two & three dimensions. They are mainly used for designing press advertise-ments, brochures, catalogues, books, periodi-cals etc...

The reduction of the number of visual elements used and their incorporation in a grid system creates a sense of compact planning, intelligibil-ity & clarity and suggests orderliness of design. It adds credibility to design and induces confi-dence.

Using grid systems presents clear and logically set out titles, subtitles, texts, illustrations and captions. Everything is then better understood by the reader and information is retained. This has been scientifically proved and a designer should always bear this in mind.

There is really no limit to the grid layouts that can be created. Common types include equally sized two, three and four-column grids with a header across the top, as well as a full-page grid of squares. From these building blocks, the variation of column widths, borders, page size and other features of the grid will lead to unique page design.

Breaking Out of the Grid:

Once the grid is established, it is up to the de-signer when and how to break out of it. This doesn’t mean the grid system in graphic design will be completely ignored. Instead, elements may cross over from column to column, extend to the end of the page, or extend onto adjacent pages. Breaking out of the grid can lead to the most interesting page designs.

THE GRID SYSTEM.

“ The grid system is an aid, not a guarantee.It permits a number of possible uses and eachdesigner can look for a solution appropriate to hispersonal style. But one must learn how to use thegrid; it is an art that requires practice. ”Josef Müller-Brockmann

WIM CROUWEL.

WIM CROUWEL.Willem Hendrik (Wim) Crouwel is a Dutch Graph-ic Designer and typographer. Between 1947 and 1949, he studied Fine Art at Academie Min-erva in Groningen, The Netherlands. In addition to this, he studied typography at what is now the Gerrit Rietveld Academie in Amsterdam.

In 1963 he was one of the founders of the de-sign studio Total Design, currently named Total Identity. From 1964 onwards, Crouwel was re-sponsible for the design of the posters, cata-logues and exhibitions of the Stedelijk Museum in Amsterdam.

A design of Crouwel that is well known in the Netherlands is that of the Number Postage Stamps for the Dutch PTT.

According to Crouwel, his typface “New Alpha-bet” was ‘over the top and never meant to be really used.’ However, it made a comeback in 1988 when Brett Wickens used a version of the font on the sleeve of Substance by Joy Division.

Crouwel’s work is especially well known for the use of grid based layouts and typography that is rooted in the International Typographic Style.

JOSEF MULLER-BROCKMANN.Josef Muller-Brockmann was a Swiss Graphic Designer and teacher. He studied architecture, design and history of art at both the University and Kuntgewerbeschule in Zurich. In 1936 he opened his Zurich studio specialising in Graphic Design, exhibition design and photography. From 1951 he produced concert posters for the Tonhalle in Zurich.

In 1958 he became founding editor of “New Graohic Design,” and in 1966 he was appointed European design consultant to IBM.

He was the author of the 1961 publications “The Graphic Artist And His Design Problems”, “Grid Systems In Graphic Design”, and the 1971 pub-lications “History Of The Poster” and “A History Of Visual Communication.”

He is recognised for his simple designs and his clean use of typography, notably Akzidenz-Grotesk, shapes and colours which inspires many graphic designers in the 21st Century.

JOSEF MULLER-BROCKMANN.

ARMIN HOFMANN.

ARMIN HOFMANN.Armin Hofmann is a Swiss graphic designer. Hofmann followed Emil Ruder as head of the graphic design department at the Schule für Gestaltung Basel and was instrumental in de-veloping the graphic design style known as the Swiss Style

He is well known for his posters, which em-phasized economical use of colour and fonts, in reaction to what Hofmann regarded as the “trivialization of colour.”His posters have been widely exhibited as works of art in major galler-ies, such as the New York Museum of Mod-ern Art.

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 Interna-tional Style, which stressed a belief in an ab-solute 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-mon-tage 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 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 Müller-Brockmann did, Hofmann wrote a book outlining his philosophies and practices. His Graphic Design Manual was, and still is, a ref-erence book for all graphic designers

OTL AICHER.Otl Aicher (May 13, 1922 – September 1, 1991), also known as Otto Aicher, was a Ger-man graphic designer and typographer. He is best known for having designed pictograms for the 1972 Summer Olympics in Munich that proved influential on the use of stick figures for public signage, as well as designing the type-face Rotis. Aicher also co-founded the Ulm School of Design.

In 1953, along with Inge Scholl and Max Bill, he founded the Ulm School of Design (Hochschule für Gestaltung Ulm), which became one of Ger-many’s leading educational centres for design from its founding until its closure in 1968. Fac-ulty and students included such notable design-ers as Tomás Maldonado and Peter Seitz.Aicher was heavily involved in corporate brand-ing and designed the logo for German airline Lufthansa in 1969.

OTL AICHER.

POST MODERNISM.It frequently serves as an ambiguous over arching term for sceptical interpretations of culture, literature, art, philosophy, economics, architecture, fiction, and literary criticism.

Post Modernism evolved in the mid 60’s as a critical response to the dominance and per-ceived sterility of Modernism. Embracing art, architecture and design, it re established in-terest in ornament, symbolism and visual wit. Unconstrained by dogma, post-modern de-signers rejected modernism’s obsession with progress and challenged the fundamental tenets of order and discipline espoused by the Bauhaus.

The punk era was a big reflection on the post modern movement in the 1980’s. With peo-ple rebelling against certain styles such as the hippy look. Vivienne Westwood and Jamie Reid were the people who founded punk, and made the fashion huge and almost uncontrol-lable.

POST MODERNISM.It frequently serves as an ambiguous over arching term for sceptical interpretations of culture, literature, art, philosophy, economics, architecture, fiction, and literary criticism.

Post Modernism evolved in the mid 60’s as a critical response to the dominance and per-ceived sterility of Modernism. Embracing art, architecture and design, it re established in-terest in ornament, symbolism and visual wit. Unconstrained by dogma, post-modern de-signers rejected modernism’s obsession with progress and challenged the fundamental tenets of order and discipline espoused by the Bauhaus.

The punk era was a big reflection on the post modern movement in the 1980’s. With peo-ple rebelling against certain styles such as the hippy look. Vivienne Westwood and Jamie Reid were the people who founded punk, and made the fashion huge and almost uncontrol-lable.

PUNKS.The punk subculture includes a diverse array of ideologies, and forms of expression, includ-ing fashion, visual art, dance, literature, and film, which grew out of punk rock. Punk is largely characterized by a concern for individual free-dom and anti-establishment views.

Punk rock was an intentional rebuttal of the per-ceived excess and pretension found in main-stream music (or even mainstream culture as a whole), and early punk artists’ fashion was defiantly anti-materialistic. Generally unkempt, often short hairstyles replaced the long-hair hip-pie look and the usually elaborate 1970s rock/disco styles. In the United States, dirty, simple clothes - ranging from the T-shirt/jeans/leather jacket Ramones look to the low-class, second-hand “dress” clothes of acts like Television or Patti Smith - were preferred over the expensive or colorful clothing popular in the disco scene.

In the United Kingdom, a great deal of punk fashion from the 1970s was based on the designs of Vivienne Westwood and Malcolm McLaren and the Bromley Contingent. Main-stream punk style was influenced by clothes sold in Malcolm McLaren’s shop.

McLaren has credited this style to his first im-pressions of Richard Hell, while McLaren was in New York City working with New York Dolls. Deliberately offensive T-shirts were popular in the early punk scene, such as the DESTROY T-shirt sold at SEX, which featured an inverted crucifix and a Nazi Swastika. These T-shirts, like other punk clothing items, were often torn on pur-pose. Other items in early British punk fashion included: leather jackets; customised blazers; and dress shirts randomly covered in slogans (such as “Only Anarchists are pretty”), blood, patches and controversial images.

Vivienne Westwood is often cited as punk’s creator, but the complex genesis of punk is also found in England’s depressed economic and sociopolitical conditions of the mid-1970s. Punk was as much a youthful reaction against older generations, considered oppressive and outdated, as a product of the newly recognized and influential youth culture. Creative and en-trepreneurial people, such as Westwood, often contribute to an aesthetic that brings a subcul-tural style to the forefront of fashion. However, it would be simplistic to claim, as many have, that Westwood and her one-time partner Malcolm McClaren were uniquely responsible for the visual construction of punk in the mid-1970s, though much of their work captured and com-modified the energy and iconoclastic tendencies of the movement.

Britpop is a subgenre of alternative rock that origi-nated in the United Kingdom. Britpop emerged from the British independent music scene of the early 1990s and was characterised by bands in-fluenced by British guitar pop music of the 1960s and 1970s. The movement developed as a reac-tion against various musical and cultural trends in the late 1980s and early 1990s, particularly the grunge phenomenon from the United States. In the wake of the musical invasion into the United Kingdom of American grunge bands, new Brit-ish groups such as Suede and Blur launched the movement by positioning themselves as opposing musical forces, referencing British guitar music of the past and writing about uniquely British topics and concerns. These bands were soon joined by others including Oasis, Pulp, Supergrass, Sleeper, Elastica and The Verve.

Britpop groups brought British alternative rock into the mainstream and formed the backbone of a larger British cultural movement called Cool Britan-nia. Although its more popular bands were able to spread their commercial success overseas, espe-cially to the United States, the movement largely fell apart by the end of the decade.

BRITPOP.Britpop bands were influenced by British guitar music of the past, particularly movements and genres such as the British Invasion, glam rock, and punk rock. Specific influences varied: Blur and Oasis drew from The Kinks and The Beatles, respectively, while Elastica had a fondness for arty punk rock. Regardless, all Britpop artists pro-jected a sense of reverence for the sounds of the past.

The Madchester scene, fronted by The Stone Roses, Happy Mondays and Inspiral Carpets (for whom Oasis’s Noel Gallagher had worked as a roadie during the Madchester years), was the immediate root of Britpop since its emphasis on good times and catchy songs provided an alter-native to shoegazing.

The imagery associated with Britpop was equally British and working class.

DAVID CARSON.David Carson is an American graphic designer, art director and surfer. He is best known for his inno-vative magazine design, and use of experimental typography. He was the art director for the maga-zine Ray Gun, in which he employed much of the typographic and layout style for which he is known. Carson was perhaps the most influential graphic designer of the 1990s. In particular, his widely imi-tated aesthetic defined the so-called "grunge ty-pography" era.

Carson became the art director of Transworld Skateboarding magazine in 1984, and remained there until 1988, helping to give the magazine a distinctive look. By the end of his tenure there he had developed his signature style, using “dirty” type and non-mainstream photographic techniques.He was also the art director of a spinoff magazine, Transworld Snowboarding, which began publishing in 1987.Steve and Debbee Pezman, publishers of Surfer magazine (and later Surfers Journal) tapped Carson to design Beach Culture, a quarterly publication that evolved out of a to-the-trade annual supplement. Though only six quarterly issues were produced, the tabloid-size venue—edited by author Neil Fine-man—allowed Carson to make his first significant impact on the world of graphic design and typog-raphy—with ideas that were called innovative even by those that were not fond of his work, in which legibility often relied on readers’ strict attention. For one feature on a blind surfer, Carson opened with a two-page spread covered in black.A stint at HOW (a trade magazine aimed at design-ers) followed.

Carson was hired by publisher Marvin Scott Jarrett to design Ray Gun, an alternative music and life-style magazine that debuted in 1992.In one issue, he notoriously used Dingbat, a font containing only symbols, as the font for what he considered a rather dull interview with Bryan Ferry.[3] (However, the whole text was published in a legible font at the back of the same issue of Ray Gun, complete with a repeat of the asterisk motif).Ray Gun made Carson well known and attracted new admirers to his work. In this period, he was featured in publications such as The New York Times (May 1994) and Newsweek (1996).

DAVID CARSON.

MEMPHIS GROUP.

MEMPHIS GROUP.The Memphis Group was an Italian design and ar-chitecture group started by Ettore Sottsass that designed Post Modern furniture, fabrics, ceramics, glass and metal objects from 1981-1987.

On December 30, Ettore Sottsass organized a meeting with designers and formed a design col-laborative named Memphis. The name was taken after the Bob Dylan song Stuck Inside of Mobile with the Memphis Blues Again which had been played repeatedly throughout the evening’s meeting. They drew inspiration from such movements as Art Deco and Pop Art including styles such as the 1950s Kitsch and futuristic themes.The group produced and exhibited furniture and design objects, annually from 1981 until 1988. The result was a highly-acclaimed debut at the 1981 Salone del Mobile of Milan, the world’s most prestig-ious furniture NEWY fair.The group counted among its members Alessandro Mendini, Martine Bedin, Andrea Branzi, Aldo Cibic, Michele de Lucchi, Nathalie du Pasquier, Michael Graves, Hans Hollein, Arata Isozaki, Shiro Kuramata, Matteo Thun, Javier Mariscal, George Sowden, Marco Zanini, and the journalist Barbara Radice. Sottsass left the movement in 1985 and it disman-tled in 1988.

The group’s colourful furniture has been described as “bizarre”, “misunderstood”, “loathed”, and “a shotgun wedding between Bauhaus and Fisher-Price”.

NEVILLE BRODY.Neville Brody Is an English graphic designer, typog-rapher and art director.Neville Brody is an alumnus of the London College of Printing and Hornsey College of Art, and is known for his work on The Face magazine (1981–1986) and Arena magazine (1987–1990), as well as for designing record covers for artists such as Cabaret Voltaire and Depeche Mode. He created the com-pany Research Studios in 1994 and is a founding member of Fontworks. He is the new Head of the Communication Art & Design department at the Royal College of Art.

Initially working in record cover design, Brody made his name largely popular through his revolutionary work as Art Director for The Face magazine when it was first published in 1980. Other international mag-azine and newspaper directions have included City Limits, Lei, Per Lui, Actuel and Arena, together with the radical new look for two leading British newspa-pers The Guardian and The Observer.

Brody has pushed the boundaries of visual com-munication in all media through his experimental and challenging work, and continues to extend the visual languages we use through his exploratory creative expression. In 1988 Thames & Hudson published the first of two volumes about his work, which be-came the world’s best selling graphic design book

Neville Brody still also continues to work as a graph-ic designer and together with business partner Fwa Richards launched his own design practice, Research Studios, in London in 1994. Since then studios have been opened in Paris, Berlin and Bar-celona. The company is best known for its ability to create new visual languages for a variety of applica-tions ranging from publishing to film. It also creates innovative packaging and website design for clients such as Kenzo, corporate identity for clients such as Homechoice, and on-screen graphics for clients such as Paramount Studios, makers of the Mission Impossible films.Recent projects include the redesign of the BBC in September 2011, The Times in November 2006 with the creation of a new font Times Modern. The typeface shares many visual similarities with Mercury designed by Jonathan Hoefler. It is the first new font at the newspaper since it introduced Times New Roman in 1932.

NEVILLE BRODY.

WOLFGANG WEINGART.

Wolfgang Weingart (born 1941 in the Salem Valley in southern Germany) is an internationally known graph-ic designer and typographer. His work is categorized as Swiss typography and he is credited as "the fa-ther" of New Wave or Swiss Punk typography.

Weingart met Emil Ruder and Armin Hofmann in Ba-sel in 1963 and moved there the following year, en-rolling as an independent student at the Schule für Gestaltung Basel (Basel School of Design). In 1968, he was invited to teach typography at the institution’s newly established Weiterbildungsklasse für Grafik, an international Advanced Program for Graphic Design, where he remained a highly influential instructor until 2005. Between 1974 and 1996, at Hofmann’s invi-tation, Weingart taught at the Yale Summer Program in Graphic Design in Brissago, Switzerland. For over forty years he has lectured and taught extensively in Europe, North and South America, Asia, Australia and New Zealand.According to Weingart, “I took ‘Swiss Typography’ as my starting point, but then I blew it apart, never forc-ing any style upon my students. I never intended to create a ‘style’. It just happened that the students picked up—and misinterpreted—a so-called ‘Wein-gart style’ and spread it around.”

WOLFGANG WEINGART.

JAMIE REID.

Jamie Reid (born 1947) is an English artist and anar-chist with connections to the Situationists. His work, featuring letters cut from newspaper headlines in the style of a ransom note, came close to defining the image of punk rock, particularly in the UK. His best known works include the Sex Pistols album Never Mind the Bollocks, Here's the Sex Pistols and the singles "Anarchy in the UK", "God Save The Queen" (based on a Cecil Beaton photograph of Queen Elizabeth II, with an added safety pin through her nose and swastikas in her eyes, described by Sean O'Hagan of The Observer as "the single most iconic image of the punk era"),"Pretty Vacant" and "Holidays in the Sun".

Jamie Reid created the ransom-note look used with the Sex Pistols graphics while he was designing Suburban Press, a radical political magazine he ran for five years.

JAMIE REID.

RAY GUN.Ray Gun was an American alternative rock-and-roll magazine, first published in 1992 in Santa Monica, California. Led by founding art director David Car-son, Ray Gun explored experimental magazine typo-graphic design. The result was a chaotic, abstract style, not always readable, but distinctive in appear-ance. That tradition for compelling visuals continued even after Carson left the magazine after three years; he was followed by a series of art directors, including Robert Hales, Chris Ashworth, Scott Denton-Card-ew, and Jerome Curchod.

In terms of content, Ray Gun was also notable for its choices of subject matter. The cutting-edge adver-tising, musical artists and pop culture icons spotlight-ed were typically ahead of the curve, putting such artists as Radiohead, Björk, Beck, Flaming Lips, PJ Harvey and Eminem[citation needed] on its cover long before its better-known competitors. Those choices were guided by Executive Editor Randy Bookasta and an editorial staff that included Dean Kuipers, Nina Malkin, Mark Blackwell, Joe Donnelly, Grant Alden, Mark Woodlief, and Eric Gladstone.Ray Gun produced over 70 issues from 1992 through 2000. Owner-founder-publisher Marvin Scott Jarrett (one-time publisher of a late-1980s incarnation of Creem) also created the magazines Bikini, Stick and huH.[citation needed] Jarret is cur-rently editor-in-chief of Nylon, a New York-based fashion magazine. The most notable common thread among all of Jarrett's magazines (from his latter-day Creem through Nylon) has been an attrac-tion to dynamic next-generation graphic design.

RAY GUN.

MASTHEADS. what are they?

MASTHEADS. what are they?

Refers to the flag, banner or the name of a news-paper or periodical, its proprietors, publisher, etc., printed in large type at the top of the front page. Also, as a list, usually found on the editorial page of a newspaper or other periodical, of the publisher, EST., editorial board, etc.

In a magazine or a newspaper you may see the masthead on the cover or front page but in a news-letter it may be on the inside and it’s not the same element.

Masthead is also an alternate name for the name-plate of a magazine or newspaper.

THUMBNAILS FOR MY MASTHEAD.

THUMBNAILS FOR MY MASTHEAD.

DIGITAL EXPERIMENTS FOR MASTHEAD.

DIGITAL EXPERIMENTS FOR MASTHEAD.I decided to experiment with the designs for the masthead digitally in InDesign. I wanted a modernist, simplistic design, but experimented anyway to see what I achieved.

Over the next three pages there are designs which I have tried, some obviously being better than others.

DEVELOPMENT FOR MASTHEAD.

DEVELOPMENT FOR MASTHEAD.

I loved the simplicity of the circular mastheads with the use of initials. It’s a very Modernist, simple de-sign that fits in with the subject of the content of the magazine.

I will double check that the Masthead works well with the cover of the magazine first, and then finalise when everything looks good as a body of work to-gether.

MY OWN GRIDS.

Here I began creating my own grids. I tried both Illus-trator and Photoshop to create them.

I looked at different numbers of columns in the grids, to see how the style of page would change and the size of text would need to differ.

MY OWN GRIDS.

COVER IMAGE.

COVER IMAGE.

I need to create front cover for the magazine.

I’ve decided to take a modernist approach to the magazine, so the front cover and the entire maga-zine needs to be simplistic, and include many fea-tures of Swiss design such as minimalism and white space.

I took a range of photographs on my own camera and edited them. I wanted to concentrate on human hands because they are what we use to do our craft in Graphic Design and they are personal to us.

I decided to use photographs for the cover because the Swiss style of preference was for photography to be in place of illustrations or draw-ings.

COVER VARIATIONS.

COVER VARIATIONS.

FINAL COVER DESIGN.For the final cover I chose the image to the right hand side. The reason for this is because it is a clear, simple, concise cover.

I have really focussed on the Swiss Style of graph-ic design in modernism. I feel that I have really achieved this, as I have a clean & fresh photograph which is also simplistic. I then chose a simplistic Masterhead to keep the modernist style flowing.

Also, because I am trying to achieve a Swiss style in the magazine, the font on the cover is Helvetica (bold) because it screams out Modernism. It seemed silly to not use this font for this pro-ject, as I am a fan of it.

I also took inspiration from Otl Aicher for the col-ours I used over the photo. I was originally going to choose the cover without the coloured stripes, but then I chose this design because it’s the spring issue, and the more colourful cover will be much more appealing to the customer due to the spring colours used.

INNER PAGES.

For the first 2 inner pages I chose to begin the mag-azine with a contents page. Almost every magazine I have ever read has a contents page, so I thought it would keep the professional feel to the magazine.

I chose the content for all of my inner pages to be research based. Because this issue of the maga-zine is an exploration into Modernism and Post Modernism, I felt that the magazine should be in-formative, teaching the reader the interesting as-pects of this particular subject. Therefore, I decided to publish research about Helvetica, Modernism as a whole, and David Car-son, one of the biggest designers in Post Modern-ism and also one of the most controversial design-ers.

To the right there is my first inner pages that I de-signed. On the bottom there is the grid system that I made to produce the design of the page.

INNER PAGES.

CONTINUED INNER PAGES.

CONTINUED INNER PAGES.

BACK COVER.

For the back cover I simply chose a coloured ver-sion of the front cover photo, but the opacity quite low. Then the simple Masthead looking bold in the centre of the page. I feel this works really well and looks really good and fitting within the magazine.

BACK COVER.