project document - new visual language

N e w V i s u a l L a n g u a g e

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In t roduct ion to The Br ief

The task I have been given is to design the first issue of a magazine titled:

New Visual Language. This issue will be about an exploration of Modernism

and Post-Modernism, and it will also include three examples of my work from

my first year of University. I have to present a range of layout thumbnails and

experimentation and show various outcomes for how the magazine will look.

I will approach this project in three steps: Step one is to research both

Modernism and Post Modernism, focusing particularly on their effects on

Typography, I will then look at a vast range of magazine layouts and develop

a range of possible outcomes for the magazine spreads, and then finally

prepare all the content for articles and apply them to my chosen layout.


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Modernism

To me Modernism is the structure and the rules behind graphic design. It

was developed at a time of huge change and so a new system needed to

be established to fit the needs of a fast modern world and modern man.

Modernism is brutal and strict, any part of the old art and typography which

did not suit the needs of the modern man was discarded and ignored.

Modernism aimed to bring an uncompromising age of innovation in art and

design which could keep up with the lightning fast development of technology

through industry.


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Key Words

System

Standardisation

Rules

Grid

Typography

Photography

Layout

Guide

Clean

Minimal

Direct

Communication

Modern

New

Compatibility

Construction

Chain

Mechanism

Industry

Machine

Part

Connections

Relation

Lowercase

Colour

Order

Hierarchy


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Swiss Graphic Design

Swiss Graphic Design was built upon The New Typography which came

about in the 1920’s and 30’s. The general ideal was that form should be

determined by function within graphic design much like in engineering.

The early Swiss designers looked up to the engineer and how the form of

technology was determined by a considered logic of its function. Early on

there was an interest in industry and its growing relevance in the modern

world; the Deutscher Werkbund was founded with the aim to bring together

art and industry. One of the Werkbund’s first agendas was standardisation.

This would hopefully reflect the essential standardisation of mechanical

industry and so bring art and industry that bit closer together in they way that

they worked. One of the key developers of the standards of art and design as

well as the Werkbund was the Bauhaus. The Bauhaus aimed to discover new

principles of form through experimentation.

As well as the Werkbund and the Bauhaus, Constructivists were also a

large influence of the development of the Swiss Style. The ideology of

constructivism was to eradicate art by integrating it with society through

industry. Art was considered part of the old style and it needed to be rid of

before they could make way for this new graphic language. Artists would

work like those in industry and in science laboratories; this was to develop

new forms with the use of applied logic in the hope to construct the new

world.

As this movement gained pace designers began to think about how their

work has an impact on society. Rather than it being on a plinth or easel, it

was in homes and on streets, it was integrated into the lives of everyday

people just like industry was. And so they needed to consider how their

work will communicate with the people out in the world, rather then how it

communicated to them in their studios. This was one big change from the

attitudes to the old art form which only saw their work within their own studios

and in galleries only to be seen by the select few. Throughout this period the

standards of advertising were being questioned. Advertising’s purpose was

defined and so visual experiments were conducted to refine a standard form

of practice. One of those rules that was developed was the importance of

the relationship between the text and the image. It was said that an image

is supported by text and text is supported by an image and so it is essential

these two elements work harmoniously. This simple rule still influences

advertising today.

Later the Swiss Style as we know it begun to take its final shape. The design

style was to not be symmetrical, the type was only ever sans serif and the

designs were only ever illustrated by photographs, not drawings. A hierarchy

of text was developed and always implemented throughout the design. These

were the functional rules that were brought together to form the later Swiss

Graphic Design. After this foundation was set, other technical details were

refined and brought into the style. Different styles for photo-montage and its

transitions were developed, letterpress standard was now black and one

single colour and only lowercase was used until 20 years later when capital

letters were finally introduced.

The two key words in the Swiss Style were clarity and flexibility.

Personal Thoughts

I have the luxury of being able to look back and see the influence Swiss

Graphic Design has had on the Graphic Language of today. The Swiss Style

has successfully brought together a number of art and social movements and

worked with them to create a clarity in design in a time of doubt and question.

It brought together art and industry as it was intended to do, it has even made

art (now known as design) an industry itself. It also phased out the old art and

the old typography which was mostly illustrated and inconsistent from one

piece to the other. It brought a new design and typography which is modern

in the sense that it can transition across multiple disciplines (some disciplines

which did not exist at the time such as digital animation). It provides a wider

umbrella of design for industry which we now know as branding and the

typical advertising campaign. It created a law and order where there was

anarchy. It helped artists transition into this new modern world which was

emerging which then ensured art did not die out. It integrated with industry

and so grew along with it as it engulfed and pushed the world forwards.

In short Swiss Graphic Design merged art with industry, so safeguarding

it against becoming an obsolete part of the old world. It nurtured it until it

became a foundation stone of the modern world we live in now.

Swiss Graphic DesignThe Origins and Growth of an International Style 1920-1965Richard Hollis(2006)Laurence KingLondon


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The New Typography

The New TypographyJan TschicholdEnglish TranslationRobin KinrossRuari Mc Lean(1928) OrigionalBrinkmann & Bose(1998) Translation University of California Press

The New Typography, a text written by Jan Tschichold in 1928, is much

like Swiss Graphic Design in its ideas; but as you would expect it is more

focused on typography rather than illustration, layout and photography. The

New Typography was conceived earlier than the Swiss Style and so it was

one of the influences of Swiss Graphic Design. Because of this The New

Typography and Swiss Design share similar ideals and will sound very similar.

The New Typography recognised a change in the world, every item the

modern man was using was always in a state of change and development.

Technology was advancing at an alarming rate, fuel further by WW1 and

the need for weapons, and so the world was hurled forward into a new

technological age. The modern city soon became enriched in the products

within them via advertisements. These products such as light-bulbs for

example already has a basic standard, and more and more standards were

being implemented. Tschichold notes how in the past, standardisation has

helped, but also hindered progress throughout history. But he still emphasises

the natural human desire for order. This shows Tschichold’s careful

consideration of how to approach The New Typography and how it could

effect the progression of typography in the wider new world.

Tschichold goes on to highlight the unity and wholeness of the new. A single

part can no longer exist in isolation, it will always be, without choice, part of

a larger machine. The overall purpose of The New Typography is to identify

typographies place within this unit and its connecting parts in which it works

with.

Design and typography had change with the world. The Old Typography was

focused on groups which would read text considerately line for line; however

in the new world the modern man did not have time to do so. To cater to this

change The New Typography abandoned artistic and decorative elements

as they were unnecessary and were often left unnoticed. It also replaced

long rolling copy with short sentences which held the main message; and as

it attracts the attention of the viewer there are smaller segments of text with

additional information if the person required it and had the time to read it, it

gave them that choice. This fundamental change quickened the pace in which

the design worked with the viewer and so it kept up with the quickening pace

of the world.

The purpose of The New Typography is clarity. With the extraordinary

amount of print which grew every day, a certain economy is required within

expression to make the most out of as little as possible. The function of

printed text is communication, and so from this function this economic form is

constructed with clarity in mind.

To Achieve this kind of structure and system of relationships the typographer

is expected to logically consider type size and weight, arrangement of lines,

colour and photography. They then take this and consider the purpose of

the design and how it will be read and then reference that back into the

design. To create a logical flow throughout a set of text one must never

place following text above its predecessor as this violates the natural reading

process and ruins the clarity.

Asymmetry is one of the key elements of The New Typography which often

goes unnoticed. The Asymmetry of The New Typography is not just for

legibility, Tschichold also emphasised its similarities to modern life, it was

a symbol for the constant changing world. Asymmetry also allowed for the

flexible layout needed for The New Typography; The Old Typographies

central axis was very limiting and so it needed to be replaced. Although The

New Typography requires a flexible layout it is stated that designers have to

be careful not to descend into chaos with their layouts. A careful balance

between flexibility and control is needed.

Personal Thoughts

I am a worshipper of The New Typography, not just because of its forms and

style, but because of what it did to bring typography into the modern world.

Much like Swiss Graphic Design it safeguarded typography from being lost

as the world moved forwards. It brought typography back to its absolute

bare minimum requirements and from there over the past few decades

typographers and designers have built on that into the typographic style we

know today. To put it into context it is like stripping the old tiles off of a wall

back to the brick, it is raw and minimal, but then you plaster over it to smooth

it out and then redecorate it to your most recent tastes. The New Typography

is the bare bricks and mortar behind the wallpaper and paint.


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I personally see Modernism as the movement which de-cluttered art and

design as the world itself was being de-cluttered and rejuvenated. It stripped

back design to the bricks and mortar like you would when you renovate your

house. From this bare and raw form the new contemporary style we see

today which is a little more elegant and beautiful, has built upon this starting

point to create a truly refined but also crafted design which I find exciting and

thrilling when I think of its future possibilities.


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Paul Rand

Throughout his life Paul Rand was influenced by many modern thinkers,

designers and artists, some include: Walter Gropius of the Bauhaus, Modern

Swiss Architect Le Corbusier and Cubist inspired Swiss painter Paul

Klee. It is clear that Rand took inspiration from Key Modernist figures and

these influences are evident in his work. His designs use a small amount

of typography coupled with a concise colour palette which rarely exceeded

four colours. This is very similar to the work of the Bauhaus and the Swiss

designers of the fifties and sixties.

I haven’t changed my mind about modernism from the first day I ever did it…. It means integrity; it means honesty; it means the absence of sentimentality and the absence of nostalgia; it means simplicity; it means clarity. That’s what modernism means to me…

- Lecture, A Paul Rand Retrospective, Cooper Union, Oct. 3, 1996

Rand combined many modern movements in his work including the work

of the Bauhaus. With these influences in his work he managed to bring the

ideals of modernism to America and also added his own contribution to

the Modernist movement. Rand combined the modern style with American

intellect and humour and created a whole new visual language which

communicated its message simply and effectively with as little elements as

possible, if it was not necessary for communication, it was not included.

However despite Modernism’s original manifestos which stated only

functional elements to be used in design, Rand often spoke of the importance

of visual qualities which in moderation complimented the form of a design

and helped it not just communicate more effectively but also integrate with

American culture which was not quite familiar with Europe’s new strictly

functional design movements. This new visual language developed from

European Modernism by Rand added another level of depth to design which

moved Modernism further forward in the new modern world.

Paul-Rand.comhttp://www.paul-rand.com

Thoughts on RandStephen HellerPrint May/June 1997Volume 51Issue 3


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Helvet ica

Helvetica, a typeface designed by Max Miedinger in 1957, was a staple, a

necessity of late Modernism from the late 1950’s onwards. In the words of

Massimo Vignelli, Helvetica was the go to typeface that ‘spelled out loud and

clear, modern.’

In the aftermath of the second world war the world was being reconstructed

. Many designers began to realise the importance and need for design in this

new development. Designers began to acknowledge their social responsibility

within this new world. This ideal was driven within the emerging Swiss Design

movement and with The New Typography by Jan Tschichold, from within the

typographic style of these movements comes Helvetica. So this new social

movement of graphic design ran parallel with Helvetica, raising its popularity

and presence in the public eye hence why it has become so popular and why

we still use it so much today.

Win Crouwel, a self admitted Modernist designer, says how designers today

use so many typefaces for each type of style and emotion of work. As a

Modernist this unsettles him. He believes creating typography is to create

an order within design, and so using a limited number of typefaces creates

a compact system that is flexible but structured enough to provide the clarity

he needs. And using many different typefaces ruins this clarity and structure.

Helvetica works well with this system as it works over a range of many

designs, it is as clear and as legible as it can be and it can be applied easily

to illustration and varied content without clashes of style. It was a one fits all

typeface. The reason it is such a workhorse across many platforms and styles

was because it was truly neutral. It had no characteristics that would clash

with styles or images. This takes us back to the key principles of Modernism

and the Swiss Style; Helvetica is like a machined mass produced part that fits

within a wider construction. It required no special parts or fittings so it was

cheap like a machine part would need to be for industry. It also removed the

manual and personal touches so it followed the Swiss Style which aimed to

designers tried. It became the product of the idealism of industrial graphic

design and helped drive Modernist graphic design forward into functional

work. In the modern world now however it has become a fashion statement

rather and a mere tool, it has found a style which there was not one intended

to be. This I do not really appreciate this as it took it away from its original

beauty of pure clarity and it has slapped a tacky face on it which is soiled its

reputation amongst many designers.

the same across graphic design

When designers from the 1960’s say how Helvetica was Neutral and absent

of any character or personality, I find it ironic as now using Helvetica is a

fashion statement rather than a usable and efficient tool. Its neutrality has

been removed and replaced with a vain fashion icon.

The neutrality of Helvetica leaves it open for interpretation.

Erik Spiekermann talked about how the Swiss designers of Helvetica wanted

to make all the letters look the same. This he does not like as he believes

letters should all be individuals like handwriting. However this uniformity

of letters worked well within the Modernist and Swiss styles as it matched

their uniformity and cross compatible requirements. Helvetica is also quite

functional for the early experimental layouts, its letters could be set vertically

and varied sizes could be stacked on top of each other with little clashes

between the grids and the whitespace.

Some designers view Helvetica’s modernist forms and rules as a limit and

even as an oppression on their creativity. They associated Helvetica with large

faceless and untrustworthy corporations. Because of this designers would

rebel against this oppression with what we know as Post-Modernist design.

So Helvetica, I staple of late Modernism actually helped fuel the fire of Post-

Modernist design.

Personal Thoughts

I personally have always liked Helvetica and its usefulness. I use it when I

am overlaying type on image because of its neutrality so it does not clash,

its thick strokes also help it lift off the image. But I also find it fascinating

what it represents; it represents a true modernism and standardisation of

typography and graphic design, it was used by the masses so much that it is

almost impossible to phase out now, no matter how much the Post-Modernist

HelveticaA Documentary FilmGary Hustwit(2007)PlexifilmSwiss Dots


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Naturally I am a Modernist designer, however I do enjoy exploring Post-

Modernist and contemporary styles. I find it liberating and immersive, it

refreshes my mind and helps sprout new ideas.


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Form Fol lows Funct ion

Form Follows Function is a classic Modernist phrase which had a very

distinct impact on the Modernist design movements. It means that the

functionality of a design is what should determine the layout and the visual

qualities. Many believe that the idea of Form Follows Function is the law of

how all things are made, evolution. We would not be walking on two legs

if we didn’t need to run faster and be more agile, we only evolved that way

because we needed to, to survive. Evolution determines a creatures form

from its needs to survive, from its functions.

However don’t be fooled into thinking that pure functionality in a design

means it needs to be as simple as possible. Take a letter for example, like

handwriting, it needs little details to make it distinguishable from the other

letters within a word, these letters also help knit the letters in a word together

and so making it easier to read. Simplistic letters often are too illegible to

be used for body copy and so are used simply as display fonts on titles etc

purely because of their visual appeal, and so these fonts have ignored all their

functional needs just to look good. So being simple does not always mean it

is functional.

All functions have a form but not all forms have a function.


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Modernism



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Modernism



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Modernism



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Modernism



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Modernism



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Modernism



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The New TypographyJan TschicholdEnglish TranslationRobin KinrossRuari Mc Lean(1928) OrigionalBrinkmann & Bose(1998) Translation University of California Press

Modernism


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Modernist Media

This project runs alongside my research into Modernism. It a simple redesign

of small labels for floppy disks. I followed the Modernist rules when designing

these labels, the key ones being no use of capital letters, use of three or even

two colours and no illustrations. For some of the design however I did include

an all covering photograph with typography laid over the top and interacting

with the elements in the image. However due to the nature and detail of the

image the typography was illegible, and to put it on a background would

remove its interaction with the image. I printed out varies of each design in

different colours to match the multicoloured floppy disks, however when I

printed the labels and looked at the label in relation to its matching colour

disk, it clashed terribly as it was near impossible to get the same shade, it

made it look poor quality and sloppy. So I alternated the colours and made a

collection of different combination of floppy disk and label colour, this created

interesting visuals when photographed.


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Modernist Media


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Modernist Media


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Modernist Media


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Post-Modernism

Post-Modernism is widely considered as the polar opposite of modernism.

Post-Modernism is a graphic style that is built upon emotion, reaction and

interpretation. These three areas are explored freely, without the limit of

Modernist rules and systems. Post-Modernism is a way designers can

wholly represent their interpretation of a subject in its purest form before

it is rained in and constricted by rules. Post-Modernism was a new way of

thinking, it rejuvenated creative minds and replenished the creative field with

further innovative and modern work. Post-Modernism is emotion creatively

represented in a raw form.

Post-Modernist designers wanted to challenge your expectations and

challenge the canon of Modernist ‘good design’. It wanted to explore ground

that had never been walked across. It was an expedition into the unknown

and the designers involved kicked up the leaves and disturbed the water of

the norm.


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Key Words

Anarchy

Rebellion

Chaos

Typography

Communication

Emotion

Propaganda

Change

Different

Imperfection

Black

Raw

Feeling

Dada

Experimental

Untidy

Broken

Collage

Photo

Personality

Grunge

Cause

Meaning

Expression

Overlap

Layer

Dirt


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David Carson

David Carson is a rule breaker. A truly free spirit that is not influenced or lead by

anything but his own ideas. When I think of post-Modernist typography I think

of him without hesitation. Just picture all the rules of typography you know and

then imagine Carson taking them, well actually no he does not take them at all,

Carson just kicks these rules out of the way as if they were not there.

His Typography has no consistency in its layout or basic forms like weight and

size. It has no clear path of communication to follow like type usually does, the

most basic being how you read from left to right. Take his website for example,

rather than following a scroll down system, you have to scroll right, why does

he do this? Because the standard is to scroll down, and so he chooses to scroll

right instead, because he is Carson and he just can. His website also lacks any

hierarchy within its text so the information at the beginning of the site it almost

illegible and impossible to follow.

As quite a modernist designer I find Carson’s work difficult to understand, not

just the typography but the reasoning behind his Post-Modern style. I do not

understand how Carson can remove himself from the fundamentals of design,

which are second nature to most of us, and create such unusual and abstract

work.

Carson builds his work from his reactions to the content. For example Raygun

issue 3; Carson remembered from the interview with J Mascis from Dinosaur Jr

that he despised media, magazines and the press. So Carson used a typically

press magazine photo and turned it upside down to show Mascis’ dislike for

it. In an interview Carson describes his method of designing as ‘instinctive and

personal.’

Carson has had no Design or Art education so he never learnt the rules or

what he should and should not do. And so because of this his designs are

true expressions of his personal feelings for each project. Carson’s work is not

burdened by standards and rules.

David Carson Designhttp://www.davidcarsondesign.com

Design BoomInterview with graphic designer David Carson(2014)http://www.designboom.com/design/interview-with-graphic-designer-david-carson-09-22-2013/


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Dada

Dada was one of the biggest Post-Modernist movements, it came about in

the time in-between the two world wars where there was huge social and

political unrest. When the dust settled after the first world war people were

trying to settle back in to a new life, which at the same time artists were

beginning to question their traditions and started to cautiously experiment.

This experimentation quickly snowballed out of control and outrageous and

absurd art was being created, the artists behind this work aimed to disturb

the traditions and anger those who narrow mindedly stuck with the outdated

ideals and art forms. Some Dada artists did not make art however to be a

piece of art as we know it, they were simply expressing their disgust with the

current state of the world. They used their outrageous art to then kick up the

leaves and disturb the water of the old ways of thinking.

Dada is freedom, it is spontaneous, it is chance, it is anti everything, it is the

religion of truth and feelings .

Dada did not just challenge other artists work, they often ridiculed

themselves. They recognised how outrageous their work was and how

they were often seen as silly and idiotic, so they pondered on this too and

fed it back into their work. This new look on art refreshed the art world and

also seeped into graphic design. It disturbed the Modernist Swiss Style

and enriched it with a whole new world of visual communication. One of

the biggest influences Dada had on graphic design was their approach to

typography. They questioned the role of typography, they de-constructed its

semiotic structure and played around with each part. They often removed the

function of type and used it purely as a visual tool and not a communication

tool. This questioning is still carried on today and there is still a feud between

those who use type for communication and those who use it for visual

meaning. Dada typography was eruptive and usually had no meaning, it

greatly upset the Modernist dominated graphic design.

Dada graphic design was often random and had no rules or structure, there

was a certain disharmony with each piece. They pushed typography to its

absolute legible limits, they violated the canon of graphic design in each way

they could. They would even go further to question the norm of language

and logic that was already in place, everything that made design was put into

scrutiny. They did not want to do what other had done before, their work was

truly expressive and so original.

The story behind how Dada was named Dada is quite intriguing too. The

founders all gather with the aim to name their social movement. And to

deviate from the normal naming methods where they name would have some

reference to the cause, the artists tool a dictionary and stuck a knife in it, and

the word it landed on happened to be Dada. They liked the word because of

how nonsensical it was, it was meaningless and silly and so it was perfect for

their work.

Personal Thoughts

I am fascinated with the manifesto of the Dada movement, their complete

detachment from the red tape of high art and the restrictions it put down

was a brave thing to do. And in taking this risk and swimming against a very

strong and re enforced tide has helped refresh art and design and provide a

new on-look to how artists and designers express themselves. It has had a

huge impact on Post-Modernism and has helped drive it forward until modern

designers like Carson and Brody took the rains and introduced it into the 21st

century.


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Although I lean more towards the Modernist style of design I do not dislike

Post-Modern design. I respect the huge contribution Post-Modernism has had

on the styles of today. It ensured we did not fall into a rut of bland two colour

design that was all the same. It gave that spice to Modernist design which

made graphic design tasty. Without it graphic design would be like spaghetti

but with no meatballs or sauce.

Post-Modernists appreciated Modernist standards but they saw the dangers

it created like design becoming faceless and unrecognisable from one to

another. It saw Modernisms flaws and thankfully stepped in and added the

second part which made design the beautiful thing it is today.


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Stefan Sagmeister

Unlike Carson, Sagmeister had a typical design education. He went to an art

school and got the typical qualifications you would expect. He has worked all

over the world including Vienna and Hong Kong and worked in a few studios

before starting one of his own; Sagmeister co which was later renamed

Sagmeister and Walsh.

In an interview Sagmeister says he has never been very gutsy except on a few

occasions. Once he sent out postcards advertising the opening of his studio,

and on these postcards was a picture of himself naked. He was told by a few

people that he would probably loose his one and only client with this stunt,

it was a huge risk which he was not used to taking. Thankfully it was well

received and that one client kept the postcard and attached a note to it which

says: “The only risk in life is to take no risk.”

Sagmeister sits on the fence between Modernism and Post-Modernism, he

is what I consider as a modern designer of today, he has a contemporary

style which includes a mix of both Modernism and Post-Modernism which has

influenced much of the graphic design scene today. I think this is because

he puts the opinions of his audience before his own unlike the Modernist and

Post-Modernists which put their own rules and opinion first.

Sagmeister follows basic rules of form but also allows room for his free

interpretations, but the biggest influence on his work is the audiences

tastes, not the opinions of high art designers. He and designers like Erik

Spiekermann believe that functionality is not the be all end all of design. We

as humans have an involuntary desire for beauty, and to design with only

functionality in mind is as Sagmeister says, inhuman. In Sagmeister’s work

there is a lot of simplicity and a base function like any other modernist design.

However there are additions to his work, characteristic flicks, shadows

and colours which would have been considered unnecessary by modernist

designers. Sagmeister has combined basic Modernist rules with the beauty

and expression of Post-Modernism, this is a contemporary style which is

beautiful and human. This contemporary style is the most prominent style of

today, it is lenient towards both historical styles. It has the wild expression

of Post-Modernism however it has the intelligence and consideration of

Modernism which keeps the expression under control and gives it meaning.

Beauty = Human.

The Great DiscontentStephan SagmeisterTina Essmaker(2014)https://thegreatdiscontent.com/interview/stefan-sagmeistert


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Stefan Sagmeister

sagmeisterwalsh.comTAKE IT ON SVA Postershttp://www.sagmeisterwalsh.com/work/project/sva-posters/


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Where Modernist designs created a system and stuck with it, they failed

to update it as the world rapidly changed. Post-Modernist designers took it

and surged constantly forward, never stopping to sit on their laurels like the

Modernists did. Post-Modernism stopped design going stale and growing

mould. They understood that the ‘modern’ never stayed the same.


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FUSENevi l le Brody & Jon Wozencrof t

FUSE was a quarterly magazine put together in London. Each issue explored a theme which would be translated into the design of a typeface, four designers and four typefaces per issue. Each designer would also use their typeface and design a poster in which to showcase the typeface and subject. The purpose and idea behind FUSE is to generate exploration throughout typography and visual language. It wanted to create a laboratory environment where experiments could be conducted and recorded. Much like the early Bauhaus. The difference between the Bauhaus and FUSE is that the Bauhaus experimented with the goal of developing standards and fixed points in design, whereas FUSE experimented to explore the fluidity of typography and design and show its fluid capabilities to the world.

One of the founders of FUSE, Neville Brody, recognised that typography and design was edging further towards a universal sameness. A boring mix of designs which were all the same and where one poster was indistinguishable from the next. Design was becoming too stiff and rigid. Brody then in contrast described FUSE as ‘liquid space’ which trips up expectations and wets the concrete of the current design scene. It was like a light in the dark, water in the desert, it gave a fresh look to design and prompted radical change in the way designers thought and worked.

Designers were frustrated with the sacred Modernist ‘good design’ that limited their ideas, and the designers who enforced it and so blindly stopping progress. Designers who tried to break away from the norm were alienated and disgraced.

FUSE was a relaxed environment where designers could visually discuss and explore ideas without fear of scrutiny and without Modernist limitations. It was like the vacuum of space, free from sound and without boundaries. It gave designers the freedom and detachment they needed.

FUSE 1-20From Invention to Antimatter: Twenty years of FUSENeville Brody & Jon Wozencroft(2012)Taschen


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Post-Modernism



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Post-Modernism



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Post-Modernism



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Post-Modernism



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Post-Modernism



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Post-Modernism



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Post-Modernism



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The Contemporary Sty le

The current fashion within design today is neither Post-Modernism or

Modernism, it is a mixture of both. There is a lot of simplicity among design

much like late Modernism; logos are in a constant state of change as big

corporations strip them back of all typography and flourish until all that is

left is the bare symbol of the brand, examples of this is brands like Nike,

Starbucks and McDonalds. This de-cluttering of design is stripping it back

to the least essential functions needed to communicate with the audience,

something Modernist designers aimed to do right from the beginning of the

Modernist movement. However despite this back track to simplicity, current

top designers like Stefan Sagmeister and Erik Spiekermann talk about the

need for beauty among even the simplest of designs, they always put some

flourish or finishing touch to a design once they have the bare functions. The

standardisation of typefaces has also been lost as more and more typefaces

are being designed and used freely each day, designers use a typeface

according to the need of a client of the theme of the project, so depending on

the variety of work a designer can be using two to three different typefaces

for each project, something which would make Modernist Elites shudder.

So the Contemporary style respects both aspects of Modernism and Post-

Modernism, however the deciding factor for a design is not the rules of

the style, it is the needs of the audience. That is what sets it apart from

Modernism and Post-Modernism which put their rules and opinions first

before the audience in most cases.


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Non-Format

An excellent example of contemporary graphic design is the studio Non-

format. There work is simple, elegant and functional; however there are many

what Modernist would consider as unnecessary elements. These elements in

my opinion, such as the two arrow head shapes which frame a small segment

of text in the image on the right, add a subtle grace which makes a good

design, a beautiful design. And in terms of function they highlight this area

of text and lift it away from the rest of page and so creating a neat structure

within such a simple design; so something Modernists would usually dismiss

has emphasised one of their fundamental tools in design, structure.

Despite the typography being very clear and clean, it is quite Post-Modernist

when you break it down. It uses a combination of serif and sans serif fonts,

the tracking on each line of text is varied, it places text on an angle above

horizontal type and then some around a circle, breaking the brand horizontal

logo and identity. It trips up your expectations with every element.

Non-Format very cleverly combines Modernist and Post-Modernist styles in

a fresh and elegant way, they are the centrepiece example of contemporary

graphic design.

non-format.comMerlin Carpenter – POLICEdépendance, Brussels(2014)http://non-format.com/police


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Non-Format



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Non-Format



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Non-Format



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Am I Modernist or Post-Modernist?

Before researching in depth into these two styles I always considered myself

more of a Modernist designer. I was not as strict on my styles as the early

Modernists however, I still added small amounts of personality to my work and

still considered the superficial values as well as the functional ones. But my

style has always been simple, minimalist and above all functional, especially

with my work on books. However when I explored the themes of Post-

Modernism I discovered that there are also many parts of myself personally

and my work that are quite Post-Modernist. My poster designs for example;

they are simple and functional of course, but as standard practice when I

design posters I add small embellishments over the top of the functional

elements. These do not have a direct function however I feel the poster is

incomplete without them, it can look empty and dull, and a poster needs to

be shocking at times and it needs to grab you. And my personal tastes such

as music, can be quite expressive and far out from Modernism; I listen to a

wide range of music from House and Electro, to old Rock, current Pop Punk

and even Metal at times. What genre I listen to depends greatly on what I am

doing at the time and what mood I am in or want to be in, I do not have a set

rule on what type of music I listen to, I go with what I feel and what is right for

the situation; sounds Post-Modernist doesn’t it.

I respect the order and standard Modernism has created, I follow it very

closely as much as I can, without it design and the modern world as a whole

would not function, there would be mass confusion and chaos. There needs

to be an underlying structure to all things otherwise nothing would function,

buildings need foundations. But I also respect Post-Modernism in the way

it keeps moving forwards, it does not stop and it knows it is never complete

as the world is in a constant state of change. Post-Modernism keeps

graphic design and art innovative and current and so safeguards their future,

otherwise they would stagnate and be forgotten as the world moves on. I

also love their expression, their bravery to break the norm and their ability to

question everything.

So am I a Modernist or Post-Modernist? I am neither. I am another one of

the many contemporary designers who have discovered the benefits of both

styles. To put it into perspective think of foundations as Modernism and

buildings as Post-Modernism; to have just foundations would be pointless,

and to have a building without foundations would mean it would soon

collapse, you must have both in order to create the well designed however

varied cities we see today, just one or the other may sound good in theory but

do not work in practice.


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Layout Research

WIREDMarch 152015UK Edition

Computer ArtsIssue 181November 2010

Issue 232October 2014

BaselineIssue 59Winter 02 2011


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Layout Research






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Layout Research






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Layout Research






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Layout Research






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Layout Research






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Layout Research






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Layout Analys is





Note:

Colour overlapping ties layout together

Note:

Number and line combination give clear labels. Plus type weight variation


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Layout Analys is





Top:

Small segment type alongside image

Bottom:

Adaptive text box backgrounds

Top:

Number with decorative lines structure text boxes

Bottom:

Stark colour contrast

Top:

Bold colour and whitespace focus eye

Bottom:

Underline emphasis good for headers


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Layout Analys is





Top:

Page colour contrast

Bottom:

Concentration of different type weights

Top:

Type colour reflecting image elements

Bottom:

Good colour palette

Top:

Bold and light type weight contrast

Bottom:

Type matching image size


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Layout Analys is





Top:

Type weight unexpectedly varies, shocks eye

Bottom:

Huge contrast with bold and light type

Top:

Adaptive text box over image

Bottom:

Number and line combination fashionable

Top:

Good colour use to establish hierarchy

Bottom:

Good system of hierarchy


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Layout Analys is





Note:

Bold paragraph starter draws eye and segments content

Bold paragraph title/header distinguishes sections on a page

Note:

Sudden change in text colour shocks eye and hold its attention following on from previous pages

Text colour reflected in page decorations


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Layout Analys is





Top:

Iconographic images

Bottom:

Good use of two colours to segment text box

Top:

Indents separate paragraphs from normal content

Bottom:

Subtle labelling of images

Top:

Elegant text over image

Bottom:

Range of colour boxes with lines, give structure


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Layout Analys is





Top:

Text box over image fashionable

Bottom:

Top of page labelling use of bold and thin lines

Top:

Very minimal text boxes

Bottom:

Lines and boxes to segment content

Top:

Lots of colour, lots of varied weights, focus points

Bottom:

Simple black and white


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Layout Analys is





Note:

Bold boxes create a frame for the text box, along with the icon image

Good looking contrast of colour, helps establish structure and hierarchy

Note:

Interesting colour palette

Strong structure established by strong aligning elements


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Layout Analys is





Top:

Subtle use of bold and regular type weights

Bottom:

Eye catching paragraph indicator

Top:

Neat and structured labelling lines

Bottom:

Slim typography

Top:

Bold contrast in-between colours

Bottom:

Huge bold title


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Layout Analys is





Top:

Subtle but slightly decorated page label

Bottom:

Enclosed small text boxes

Top:

Interesting colour palette

Bottom:

Content icon labels, match content colour

Top:

Quote enclosure, match content colour

Bottom:

Simple white space


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Layout Analys is





Note:

Three colour wide use colour palette, fashionable

Bold title contrasting with small body copy

Note:

Extremely minimal labelling

Lots of white space coupled with pastel colours, fashionable


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Layout Analys is





Top:

Interesting shape enclosure of text box

Bottom:

Colour change to trip up expectations

Top:

Lots of lines establish structure, focus eye

Bottom:

Interesting use of bold type, interests eye

Top:

Bright colour out of colour palette, shocks

Bottom:

Strong paragraph indicator


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Layout Analys is





Top:

High class colour palette, simple text box label

Bottom:

Interesting typography for header

Top:

Very simple paragraph indicators

Bottom:

Cold colour palette

Top:

Overlapping of labels and icon image

Bottom:

Structured image montage


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Layout Analys is





Note:

Title box overlapping with icon image creates a good interlocked structure

Good drop of colour among the back and white

Note:

Red, black and white are very bold and fashionable colours to use

Lots of bold type set the page out from among the rest, trips up your expectations


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Layout Analys is





Top:

Tight knit boxes, cubist style

Bottom:

Hint of colour within black type

Top:

Interesting illustration among type

Bottom:

Paragraph start indicator

Top:

Combination of illustration and icon

Bottom:

Bold type, focus point of page


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Layout Analys is





Top:

Lots of colour coupled with white space

Bottom:

Mix of font sizes and weights, little white space

Top:

Overlapping icon and colour background

Bottom:

White space that isn’t white, page stands out

Top:

Colour palette to match image

Bottom:

Block quote clearly set out from type with colour


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Layout Analys is





Note:

A good mix of bold blocks of colour and thin lines which segment the elements

Very stylish and fashionable

Note:

Lines used to separate segments of type

Type weight has not been used to establish hierarchy, very utilitarian and simple


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Layout Analys is





Top:

Full page image

Bottom:

Simple title and segmentation with lines

Top:

Large amounts of running type, little decoration

Bottom:

Image and type contrast and vertical structure

Top:

Spot colour draws eye

Bottom:

Bold type to match bold colour in image


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Layout Analys is





Top:

Paragraph indicator colour to match image

Bottom:

Strong shape of text box, none adaptive

Top:

Interesting colour palette, lots of interest

Bottom:

Spot colour contrasts dull colour image

Top:

Bold and strong structured title

Bottom:

Stark contrast in page colour, trips expectations


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Layout Analys is





Note:

Black, white and grey colour palette is very fashionable

There is a strong square structure created between the drop cap, text and the decorative block running

along the top which highlights the paragraph start

Note:

Bold title draws eye away from large images, balances the demanding elements

Black, white and grey colour palette again very fashionable


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Layout Analys is





Top:

Large decorative letter draws eye to paragraph

Bottom:

Good use of type weight to establish hierarchy

Top:

Small image fits well among type columns

Bottom:

Overlapping image over decorative lines

Top:

Small elements well designed and detailed

Bottom:

Colours in image stand out


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Layout Analys is





Top:

Interesting colour palette, lots of colour, still simple

Bottom:

Fashionable colour used

Top:

Interesting change of the usual type layout

Bottom:

Change of page colour

Top:

Overlapping of icon text and image, strong knit

Bottom:

Text within the image boundary


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Layout Analys is





Note:

Extremely minimal and utilitarian, but very fashionable now

Only two colours, no distraction

Note:

Interesting title typeface, different to most of magazine

Overlapping of bold type over image ties the elements together


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Layout Analys is





Top:

Black and white type works with colourful image

Bottom:

Cold blue colour palette

Top:

Header style consistent with whole magazine

Bottom:

Simple header highlights

Top:

Good integration into image

Bottom:

Little space between title and body copy


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Layout Analys is





Top:

Simple colour palette

Bottom:

Image works well with colour palette

Top:

Overlap does not clash

Bottom:

Lots of white space, suits colours

Top:

Dense colours contrast light colour palette

Bottom:

Good paragraph indicator


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Layout Analys is





Note:

Decorative shapes work well with content and focus eye, plus they just look good

Black, white and orange is an interesting change to the usual Black, white and red

Note:

Green, black and white work very well, it is light and bright

Bold type among vast white space make a nice change to long running body copy


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Layout Analys is





Top:

Unusual round images

Bottom:

Subtle changes of line size and type weight

Top:

Strong square drop cap, supports structure

Bottom:

Large header contrast with small body copy

Top:

Open white space between top and first content

Bottom:

Integration of image and body copy


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Layout Analys is





Top:

Matching image and colour palette

Bottom:

Subtle image montage

Top:

Use of lines to segment type

Bottom:

Vertical and horizontal lines, interesting

Top:

Bold colour text background, unusual

Bottom:

Blue, red and white colour palette


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Layout Analys is





Note:

Strong relationship between the square elements and the white space

Strong and widely popular red and white colour palette with hint of black

Note:

Strong black lines with text integrated, followed with aligned labels. Very strong structure, linked together

Strong presence of colour black. Helps draw eye to important parts of segments of type. In this case the

page numbers. Graduated intensity of black to establish heierachy


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Layout Analys is





Top:

Interesting white on black drop cap

Bottom:

Subtle and grey/blue colour palette, sad tone

Top:

Thick and thin elements create interesting visuals

Bottom:

Boxed in type segments and contains content

Top:

Interesting textures

Bottom:

Mix of bold and thin elements


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Layout Analys is





Top:

Light blue and black tones work well together

Bottom:

Centralised bold type creates strong structure

Top:

Contrast of thick and thin boxes, varied content

Bottom:

Vertical lines between elements, focus point

Top:

Bold and decorative paragraph indicator

Bottom:

Interaction between decorative type and image


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Layout Analys is





Note:

Combination of numbers and lines for labels is very fashionable and also clear

Delicate colour palette is soft on the eye, it is a pleasant but not abrupt change from typical white pages

Note:

Decorative bold letters help emphasize the style of the content and sets the mood

It spans the length of the body copy and so created a strong structure within the segment


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Layout Analys is





Top:

Black, red and white colour palette

Bottom:

Simple and subtle hierarchy

Top:

Use of lines to signal a paragraph, fashionable

Bottom:

Light elements and vast whitespace, open style

Top:

Interesting change in texture and colour

Bottom:

Good contrast between bold and light elements


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Layout Analys is





Top:

Image and bold type fit together

Bottom:

Bold type and thin lines, interesting contrast

Top:

Slight overlapping of content

Bottom:

Strong dividing lines, clear form and structure

Top:

Matching overlapping content throughout page

Bottom:

Well developed overlapping structure, subtle


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Thumbnai ls

The first step I take when planning my layouts is to quickly sketch two pages

of thumbnails or more if necessary. I looked at the pages I scanned from

existing magazines for inspiration, taking note of the features I highlighted

earlier and applying them to my thumbnails to see what might work and

what wont, and what elements will work together in different combinations.

Drawing thumbnails allows me to quickly get multiple variations onto paper

and bounce ideas from one to the next, it also helps me to see quickly what

layouts might work without spending too much time making them up on

InDesign before I decide to scrap the idea


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Thumbnai ls

What I was trying to experiment with in these thumbnails was how different

segments of text and image could work together, and what ratios of text to

image suit different types of content. I wanted to find out if I could separate

the title and main body of text and overlap them on an image, or to see if I

needed to add a background box over the image to make the text more legible

and to also give it its own space to breathe. Magazines contain different

amounts of content over each subject and the nature of the content varies

from large amount of body copy to small images which require an intelligent

layout of photo-montage. I needed to prepare and think ahead of each type

of content I will be dealing with and experiment with how I will handle that

content with these thumbnails.


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Loose Sketches

Some content such as the contents page, required a little more thought and

consideration of detail because of the large and varied amount of content

which needed to be organised. So I also sketched these loose sketches for

specific pages to plan the content in more detail than the thumbnails. With the

contents page I wanted to try a few different styles, one was this example of

module content followed with the traditional contents page style list. I decided

to show the importance of information through the size of the module, and to

see where the other less important content would fit, my final contents page

is exactly like this small sketch but I would not have been able to do it without

doing this basic sketch first to have a visual to work with.


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Loose Sketches

Another style of contents page which I tired was a contemporary time-line

style in which the content would be displayed along a time-line followed

by maybe some information on the content or an image depending on the

importance of the subject. The problem with this style for my magazine was

that usually to make this style work you have to have mots of content which

could fill the white space since it is such a simple and open style, however

since mine is only a small magazine there was not enough information to fill

the space and the page would look empty and unfinished, so the modular

style was more suitable for my magazine.


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Loose Sketches

I also wanted to sketch and experiment with some ideas for my masthead

and cover. I wanted to break the traditions for the masthead at first just

to see what I could come up with so I tried applying the masthead as the

background of the magazine which spans the whole page and overlay the

information in text boxes, but as soon as I sketched it I knew it did not look

good and would not work, however sketching it which only took me a second

saved me a lot of time doing it digitally to only come to the same conclusion.


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Loose Sketches

These sketches are a little more traditional however are still quite

experimental. I was having fun experimenting with different untraditional

layouts so I carried it on. Here I took a little inspiration from the computer arts

covers which had a border of colour around three edges of the page and it

framed a large visual which had no overlaying information, all the info of the

content which you see on most magazines were contained in the masthead.

So the plan with this was mainly to contain all the information in the masthead

area and let the image dominate the cover.


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Loose Sketches

Here I looked at other small areas of content which will be on the cover,

such as the key words along the bottom and how my content information will

be displayed and how the header and copy will work with each other. I also

looked at some ideas for my logo on the masthead which will be the main

focus of the cover.


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Layout Var iat ions

Once I had done all the experimentation I was happy with and I got all my

ideas down on paper it was now the time to draw up some template sketches

that I can use as a reference when I am designing my magazine digitally. I

always find it helpful to start a spread when I have a layout template to look

at so I can get all my information down in a basic composition, and if I am not

happy I can then start to change areas. I needed a range of templates to suit

different amounts of content like what I mentioned earlier, and this template to

the right is the 3/4 text template. This is where the page is text dominant but

it still contains some images, like for example it was a page on research of

a subject but I also wanted to include a sample. I wanted the template to be

flexible so I also included some rules to the template like the title and text box

height can vary and the image can free flow around the contents background

to give a fluid look to the layout rather than stiff column content. I also made

room for quotes that could be placed overlapping the image, again making

the layout less stiff tot he grid making it easier on the eye.


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Layout Var iat ions

This template is half image half text. It is the most flexible and common layout

so I made to different templates to remind myself to experiment with this

template and make sure each page that uses this template is not the same

and there is some variation and motion from page to page.


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Layout Var iat ions

This is the flexible half and half template. This again allows the image to free

flow around the text and other content. I also want to allow the title and text

box to move independently of each other and not be stuck together, this can

allow for the image to flow in the gap and create an interesting interaction

between the image and text content, it also breaks the norm of usual

paragraphs which always have the title and sub heading directly above the

text.


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Layout Var iat ions

Some pages in magazines contain very little to no text at all and is just

dominated by a powerful image; so this template accommodates for just that.

I have included this modular grid however to remind myself that the image

doe snot have to take up the whole spread, it can leave areas of white space

to perhaps frame the image, or to suit images that look better smaller. It also

allows for small amounts of text like a subject title to be placed wherever is

suitable on the image.


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Layout Var iat ions

3/4 image is much like 3/4 ext in that it is a fluid layout and provides a

asymmetrical layout like the Modernist style which I think is the most balanced

layout to visually look at, it is secure and the two types of content(text and

image) lock with each other. Unlike the half and half layouts which seem to

break apart into their equal sized divisions. The vary in size between the two

types of content secure them together.


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Layout Var iat ions

This template is for pages that contain text only which flows along the

columns quite strictly. To break up the grid a little to add the fluidity which is in

the other types of layout I also allowed for a highlighted quote in the second

half. This quote must straddle the two columns and not extend beyond

the middle of each column. This binds the two continuous columns of text

together and adds interest to what would be an intimidating amount of text.


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Masthead Design

NewVisualLanguage

NEWVISUALLANGUAGE

NEWVISUALLANGUAGE New

VisualLanguage

NEWVISUALLANGUAGE

To start my masthead I began looking at different fonts in various weights and

compared them to one another, some were immediately scrapped because

they were too heavy or condensed. I did not want a grotesque font as it was

too round and wide, it would take up too much space, plus it is very common

with many magazines so I wanted to try something different. Computer Arts

magazine uses a condensed font and I liked the look, although it was a little

too condensed for me so I looked for something slightly wider. I eventually

settled on the typeface Info, and its Display Italic weight. It was a rounded

font so it was quite fun to look at, but it was still mature like other humanist

typefaces. The letters were naturally thin so a condensed weight was not

needed and the balance between the bold and the italic was perfect, they did

not clash or create ugly spots of white space.


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Masthead Design

Despite settling on the Info typeface, I still experimented with the grotesque

faces like I has sketched earlier, I just wanted to try them out digitally out of

curiosity. But as in the sketches, the digital experiment did not work either, the

words just did not fit and when the tracking was expanded the word was lots

altogether and all you saw was the individual letters.


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Masthead Design

emma nicholso n

But I thought I would also try the experiments with the Info typeface out of

curiosity, but to also add an element of interest to the text. This would possibly

add a quirky element and character to the masthead logo that would make

the magazine memorable. The widening and tightening of the leading was

interesting, but impractical, so I scrapped the idea.


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Masthead Design

Once I was settled on the font; the typeface, the size and how the leading

and tracking were set, I moved on to try out a few ways to present it. This

meant how I would use colour, what if any effects would I use like drop

shadows, and weather or not I wanted a shape or border around it. I liked the

three colour style however I knew when put over an image it would become

too complex with the range of colours, and I knew my cover would have a

large photo along with the masthead so that idea was out. The one colour

I liked however it was a little too simple and not expressive enough for my

masthead which needs to demand attention. And so the boarder idea fit the

bill perfectly, it was simple enough to lay over an image and it added interest

to the masthead logo to demand attention.


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Masthead Design

Once I had my masthead logo it was time to design my cover and how my

masthead will fit within that. I did not design my entire masthead because

I wanted to design it along with the cover so the contents of the cover can

work with the masthead, if I did them separately it would make them separate

parts and not part of an integrated layout, loosing the fluidity and security of

the design which I have mentioned I wanted earlier. I tried initially something

very similar to computer arts which had a colour boarder framing the key

image, however this looked bulky and clumsy, it spoilt the image. So I decided

to frame just the masthead and leave the image to dominate the entire cover

edge to edge with no boarder. This worked better as it highlighted the

masthead and listed it off the image, but it did not drag your eye away from

the image too much, plus the image was allowed to dominate and show its full

visual glory.


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Masthead Design

When constructing my masthead I tried a little idea which was to extend

the logo boarder to a similar size as the surrounding box which lifted it off

the image behind. Immediately I loved it, it joined the two together creating

a relationship between the logo and the rest of the masthead, plus it could

then surround other information like the date and issue number. It created a

securely knit design where all the elements related to each other rather than

being stuck one on top of the other.


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Masthead Design

Due to the simplicity of the masthead logo and the rest of the masthead

parts, I could easily change the colour or arrangement of it to create different

variations. I see this in most major creative and technological magazines

where the colour of the masthead changes to suit the image. So I looked at

the way I could vary it and the most effective way of creating this variation

without ruining the elements that make the masthead recognisable is to

change the colour of the logo and its boarder, I could also be creative with

this and make the boarder a different colour to the logo. This ensures I can

create future issues with covers that can effectively adapt to the content.


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Magazine Design

Everything was now set ready to design the inner pages of my magazine. I

had my templates and content all ready to go. Initially I worked on a University

icon to use on mu University projects to show what projects were education

and what were my personal projects. However I did not like how the icon

interacted with the simpler and more delicate elements, it was too bold and

abrupt. So I scrapped the icons and decided to have a little part of text at the

top of the paragraph that said the project title and weather it was a University

or personal project.


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Magazine Design

One page that was particularly difficult was the New Visual Language page

where I was showcasing how I designed my Masthead. Due to the small

thumbnails and larger screenshots It was difficult to arrange these images

in a way that interacted with each other and didn’t just look stuck on. They

needed to link together as one photo-montage, not a set of different square

images. Initially I attempted to overlap them with the colour background for

the title in the hope that would tie them in with the text, however it looked

too claustrophobic and the title has no breathing space. So after some

experimenting I came to a layout that alternated the square crops and the

larger images that was interesting to look at and created an asymmetric layout

which secured the elements and joined them together. Unfortunately however

the content just did not fit with the rest of the magazine and even though I

liked the page it was still weak compared to the rest of the magazine and so

to maintain quality I deleted the page and did without it.


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Magazine Design

Another difficult page to arrange was the contents page. Like the New

Visual Language page it too has a lot of small elements which was difficult to

arrange into a secure asymmetrical form. But this also has another problem,

there was not enough content to fill the contents list and so there was too

much white space on the double page spread, making it look incomplete and

empty.


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Magazine Design

When designing my magazine I wanted to create a subtle separation between

the different projects so that when your flicking through you can quickly see

a difference between content. So when it came to designing my City in Flux

project articles it was hard to come up with something different to my Earth

Artefact project and how that was laid out. I eventually decided for this page

that the text box actually obscured the image so I made the text box subtle

but still separate from the image and made it all white so it blended into the

image and was not abrupt. I loved this look and found a lot of the pages for

this project needed the image to demand the page so I used this style across

the project.


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Magazine Design

After I struggled with the contents page I took it back to the drawing board

and looked at inspiration online. An interesting style of contents page I found

was the modular system which had images and snippets of text from each

subject page. There were other more experimental styles, however I wanted

to stick closely to most commercial magazines so I did a quick sketch for this

modular contents page and it looked good on paper so I tired it digitally. I was

surprised at how little work it took to make the design work with the content,

the content was clearly made for this style of contents page because there

were a small amount of subjects but all has powerful imagery.


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Magazine Design

Once the magazine was finished I looked back at my cover and soon realised

it did not reflect the sophisticated style of the inner pages. It was too bright

and in your face, plus the bright yellow related to nothing inside. So I chose

an image from one of the big projects in the magazine, Earth Artefact, and

changed the colours to something more subtle and what would blend slightly

into the image. I also changed the extra content text box to also blend in with

the background image, the white fill box did not interact with the rest of the

elements and did not fit in the design, so the subtle black opacity box gives

that look of interaction with the image.


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Cover Development

The most important part of a magazine cover is the image which dominates

the page. It captures your eye and draws it in to inspect the information

further. I judge the image on my cover by asking myself if I saw that image,

would I go look at it. Since the magazine it aimed at designers like me

which are my age this is a pretty effective method. Both these images I

think are quite eye catching, however I did not think the white floppy disk

image reflected any of the work inside, it did not have the sophisticated

contemporary feel to it which the rest of the magazine has, it was more post-

modern and grainy; so it did not represent the entire Form Follows Function

article which looks at both Modernism and Post-Modernism. So unfortunately

the image had to be changed to something similar to the style of the inner

pages and something which represents a large section of the magazine. I

chose this image from my Earth Artefact project which was a studio shot of

all three of the glass tablets. This image was intriguing and demanding of your

attention so it ticked the first box. It was also relevant to the first and largest

article in the magazine, Earth Artefact. And it was also quite a contemporary

image, it had a spontaneous colour scheme but yet a simple black and white,

modern utopia glass style. It fit the rest of the magazine perfectly and the

masthead easily adapted to fit seamlessly within the image, it was a intricate

relationship between the masthead and the image.


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Magazine

I am really happy with my magazine design. I am also happy that I learnt so

much about Modernism and Post-Modernism, it has helped me see and

respect both sides and also criticize their flaws. I now see all design in a

different light and I appreciate and understand popular and classic designers

and their work, I understand now why they work so well.

The magazine design is a mix of both Modernist and Post-Modernist styles

which is the Contemporary style which I have talked about. The design is

varied and interesting but still keeps within its characteristic sophisticated

style throughout all the key subjects. It trips up your expectations with every

page which is something I have learnt to do on this project and it is what I

have been critiqued on in my previous publications.

I aim to print this magazine and show it to clients and employers as an

example of my work which is featured in the magazine but also to showcase

my layout and typography skills.


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Magazine


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Magazine


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Magazine


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Magazine

project document - new visual language

Documents