New Graphic Design by Shaun Clarke

New Graphic Design

Shaun Clarke

Modernism A

movement that occurred late 19th early 20th century, changing the way people lived their lives. It describes the modernist movement prodominantly in the field of the arts. There are many factors that shaped modernism, just to name a few; the industrial societies, rapid growth of cities and the tragedy of world war one. Modernism designing a new world 19141939 ‘Today’s artists live in an era of dissolution without guidance. He stands alone. The old forms are in ruins, the benumbed world is shaken up, the old human spirit is invalidated and in flux towards a new form. We float in space and cannot perceive the new order. (W. Gropius, 1919) Modernism, a term widely used but rarely defined, is movement that occurred at the beginning of the 20th century, which changed the environment we live in today as it was largely shaped around modernism. The furniture we use, the buildings we inhabit and the graphic design that surrounds us. Utopia describes an ideal society, where there would be few laws, no private property, no military conflicts and no war. This links with the principles of modernism, that art and design could, and should transform society. There are many different forms of utopia, Dionysian, spiritual, rational, political, communist and social. So what is utopia in terms of graphic design? The word utopia is taken from the Greek, first coined by Sir Thomas More in 1516 and means both nowhere and a good place, as well as describing a community that possess highly desirable or perfect qualities.

De stijl is Dutch and means ‘the style’ movement; it manifested an impulse towards spiritual utopia. De stijl artists were profoundly influenced by the theories of Piet Mondrian, from about 1916 onwards, the artists and designers associated with De stijl sought to devise various kinds of environment that would bring all the arts into a ‘constructive harmony that would herald a radically new post-war society’ Bauhaus was a school in Germany, it translates to ‘School of building’ it combined fine art and crafts and operated from 1919 to 1933. Bauhaus’s main objective was to unify art, crafts and technology. The Bauhaus seemed to take on the ideals of Morris and returned to hand-craft production. Artists and designers that are significant to the modernist movement throughout late 19th to 20th century, some of their work pictured.

Wassily Kandinsky Hernet Bayer Robert Rauschenberg Hans Hofmann Claude Monet Piet Mondrian

Composition with Yellow, Blue and Red by Piet Mondrian (1937 - 1942).

Modernism Movements

De Stijl

[1917-1931]

Bauhaus

Swiss style

[1919-1933]

[1950-]

Bauhaus was a school in Germany, it translates to ‘School of building’ it combined fine art and crafts and operated from 1919 to 1933. Bauhaus’s main objective was to unify art, crafts and technology. It seemed to take on the ideals of Morris and returned to hand-craft production. Graphic designers who influenced Bauhaus are Wassily Kandinsky, Herbert Bayer and Max Bill.

The swiss style, also known as the international style, originated in Switzerland through very talented swiss graphic designers. It emerged in Russia, Germany and Netherlands in 1920’s and became an international style after 1950’s. Artists known for the swiss style are Armin Hofmann and Emil Ruder.

Armin Hofmann A Swiss graphic designer, Armin Hofmann followed Emil Ruder as the head of Graphic design department of Basel school of design and was instrumental in the development of the Swiss style movement.

Armin had already completed an apprenticeship in lithography and had begun teaching typography at the Basel School of Design by the age of 27. His colleagues and students were integral in adding to work and theories that surrounded the Swiss International Style, which stressed a belief in an absolute 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-montage and experimental composition and heavily favored sans-serif typography. Armin Hofmann 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 M端ller-Brockmann did, Hofmann wrote a book outlining his philosophies and practices. His Graphic Design Manual was, and still is, a reference book for all graphic designers.

1959 poster for an outdoor performance of the classical ballet, Giselle. This poster by Armin Hofmann is iconic of the Swiss design style.

Wassily Kandinsky Wassily Kandinsky was born 16th december

1866 and died 13th december 1944 (aged 77). He was an influential Russian painter who was credited with painting the first purely abstract works. Kandinsky studied law and economics at the University of Moscow before being offered a professorship at the University of Dorpat when he began studies at the age of 30. Kandinsky settled in Munich in 1896, studying at the Academy of Fine Arts, in 1914 he returned to Moscow. In 1921 he returned to Germany where he taught at the Baushaus school of art and architecture from 1922 until 1933 when the Nazis closed it. Wassily Kandinsky spent the remainder of his life in France, where he lived and became a French citizen in 1939, there he produced some of his most prominent art unti he died in 1944.

His inspiration came from a variety of sources while in Moscow, he recalled being fascinated by colour as a child, which continued as he grew. At the age of 30, in 1896, Kandinsky gave up a teaching career in law and economics to enroll in art school in Munich. Wassily Kandinsky taught basic design for beginners at the Bauhaus alongside painting classes and workshops. The development of his works on points and line forms led to his second publication (point and line to plane) in 1926. The circle, half-circle, angle, straight line and curves were all geometrical elements in both his teaching and painting.

Im blau (In Blue) by Wassily Kandinsky, created in 1925.

Herbert Bayer H erbert Bayer was born April 5th 1900 and died 30th september 1985, he was an Austrian and American graphic designer, painter, photographer, sculptor, art director, environmental and interior designer and architect. Bayer was widely recognised as being the last living member of the Bauhaus.

Herbert Bayer became interested in Walter Gropius’s Bauhaus manifesto whilst studying at the Darmstadt Artist’s Colony. After he studied for 4 years at the Bauhaus under such teachers as Wassily Kandinsky and Paul Klee, Bayer got appointed director of printing and advertising by Gropius. 1925 was Bayer’s busiest year, he introduced a lowercase alphabet into the style for all Bauhaus printing. He founded the ‘universal’ geometric sans-serif font. In 1938 Bayer lived in New York City where he had a long career in graphic arts until 1946 where he relocated to Aspen, Colorado with his family. In 1959 he designed his ‘fonetik alfabet’, a phonetic alphabet.

Design for a cinema (1924-5)

Postmodernism

Poster for AIGA lecture in Cranbrook, Michigan, 1999

P ostmoder nism is the era that follows modernism, breaking the ‘gridsystem’ and rules

of modernism. Influential designers/artists in the postmodern period throughout late 20th to early 21st century, some of their work pictured. The term ‘Postmodern’ was first used around the 1870’s. It was suggested ‘a postmodern style of painting’ by John Watkins Chapman as a way to move beyond French Impressionism. In 1921 and ‘25, Postmodernism was used to describe new forms of both art and music. In 1949, postmodernism was used to describe a dissatisfaction with modern architecture and led to the postmoden architecture movement. After that, postmodernism was applied to many different movements, prodominantly in art, music and literature., that reacted against the tendencies of ‘modernism’. Postmodernism was criticised of being meaningless and promoting obscurantism. Philosopher Noam Chomsky argued that postmodernism is meaningless because it adds nothing to empirical or analytical knowledge.

Andy Warhol Roy Lichtenstein David Carson Stefan Sagmeister Nevil Brody

Roy Lichtenstein

R oy Lichtenstein was an American Pop artist born October 27 , 1923. He th

became a leading figure in the new art movement and favoured the old-fashioned comic strip, often taking a humorour tounge-in-cheek manner in his work. Lichtenstein was born in New York City, into a upper middle class family. He first became interested in art and design as a hobby and through school. Roy left New York to study at the Ohio State University, there he gained a degree in fine arts. Being interupted by a 3 yearlong duty in the army during World War 2. In 1951 Lichtenstein had his first exhibition at the Carlebach Gallery in New York. In the same year he moved to Cleveland where he lived for six years, frequently travelling back to New York. His work at this time fluctuated between Cubism and Expressionism. He adopted the Abstract Expressionism style, being a late convert to this style of painting when he moved back to New York to teach in 1957. In 1960, whilst teaching at Rutgers University, Roy Lichtenstein was heavily influenced by fellow collegue Allan Kaprow. This environment helped reignite Roys interest in Proto-pop imagery. !961 saw Loichtensteinâ&#x20AC;&#x2122;s first pop paintings using cartoon images and techniques derived from the aperneces of commercial printing. This continued until 1965. 1964 saw Roy Lichtensteinâ&#x20AC;&#x2122;s fame-finding not just in America but worldwide, he moved back to New York to be in the centre of the art scene before resigning from Rutgers University to concentrate on his painting. His most notable works are relatively close, but not exact, copies of comic book panels, these arguably include; Drowing girl (1963), Whaam (1963) and his version of Van Goghs Bedroom in Airies (1992).

ohhh...Alright... Roy Lichtenstein 1964

Neville Brody

N eville Brody is an English graphic designer, typographer and art director born

23rd April 1957. As well as designing record covers he created the company Research studios in 1994 and is one of the founding members of FontWorks. He is known for his work on The Face magazine (19811986) and Arena magazine (1987-1990). In his early life and education, he attended Michenden school, where he studied A-level Art. In 1975 Brody went on to do a Fine Art foundation course at Hornsey College of Art. Autumn 1976, Neville Brody started a three-year B.A. course in graphics at the London College of Printing. 1977 brought an influence from the punk rock period into Brody’s work and motivation. From 1980-1993 Brody was initially working in record cover design, he made his name through his revolutionary work as Art Director for The Face magazine in 1980. Brody has pushed the boundries of visual communication in all media through both his experimental and challenging work, and continues to this day to extend the visual languages we use through creative expression. Neville Brody still continues to work as a graphic designer, with his business partner he launched his own design practice, Research Studios in London in 1994. Recent projects include The Times in Novermeber 2006 and the redesign of BBC in September 2011. The company is known for its ability to create new visual languages for a variety of applications. Neville Brody was one of the founding members of FontWorks, they designed a number of notable typefaces. The fonts include Times newspaper ‘Times Modern’, ‘New Deal’ and ‘Industria’.

N e v i l l e B ro d y ’s typographic portrait

Stefan Sagmeister

S tefan Sagmeister was born in Austria in 1962. He is a New York based graphic designer and

typographer. Sagmeister & Walsh Inc is a design firm based in New York City founded by Sagmeister. Stefan Sagmeister studied graphic design at the University of Applied Arts Vienna. Later, he received a Fulbright scholarship to study at the Pratt Institute in New York. At ‘Alphorn’ he began his design career at the age of 15. Alphorn is an Austrian Youth magazine. In 1991 he moved to Hong Kong to work for Honk Kong Design Group with Leo Burnett. In 1993 he returned to New York to work with Tibor Kalman’s M&Co design company. Sagmeister Inc. was formed in 1993, a New York based company. Since then it has designed branding, graphics and packaging for clients as diverse as The Rolling Stones, HBO, the Guggenheim Museum and Time Warner. Stefan Sagmeister teaches in the graduate department of the School of Visual Arts in New York and has been appointed as the Frank Stanton Chair at the Cooper Union School of Art, New York. Sagmeister’s motto is ‘Design that needed guts from the creator and still carries the ghost of these guts in the final execution’

Lou Reed Poster Grunge aesthetic Stefan Sagmeister 1996

Initial Magazine research Masthead and spread

Various mordernist magazine spreads. When comparing, noticable is a prominant grid system flowing throughout, images and text following â&#x20AC;&#x2DC;rulesâ&#x20AC;&#x2122; set in place. Very neat, smart and legible, with margins used to seperate text and images.

Initial Magazine research Masthead and spread

Layout of a random spread taken from Creative review magazine, all following a rule, seperated by margins - collums and rows of white space. This modernistic composition is aesthetically pleasing to the eye, smart and legible. Layout of a spread taken from I.D magazine. Relying heavily on imagary, with minimal text on some pages. The text itself aligns to the left but not the right, this contrasts between the images as theyâ&#x20AC;&#x2122;re aligned perfectly in a professional manner.

Digital Arts takes a modernistic view on compositions, the images are perfectly aligned with one another, seperated by margins, with text also following the rules. However, some images are overlayed on one another that gives it an edge to the structured well-thought-out layouts.

Adbusters layouts bombard the viewer with a lot of images and text, however as it is extremely well structured itâ&#x20AC;&#x2122;s easy on the eye and looks brilliant. The example above shows how many images are on this spread, seperated by margins overlaying other objects.

Initial Layout Designs

Adding Content :1

Modern ism A movement that occurred late 19th early 20th century, changing the way people lived their lives. It describes the modernist movement prodominantly in the field of the arts. There are many factors that shaped modernism, just to name a few; the industrial societies, rapid growth of cities and the tragedy of world war one. Modernism designing a new world 1914-1939 ‘Today’s artists live in an era of dissolution without guidance. He stands alone. The old forms are in ruins, the benumbed world is shaken up, the old human spirit is invalidated and in flux towards a new form. We float in space and cannot perceive the new order. (W. Gropius, 1919) Modernism, a term widely used but rarely defined, is movement that occurred at the beginning of the 20th century, which changed the environment we live in today as it was largely shaped around modernism. The furniture we use, the buildings we inhabit and the graphic design that surrounds us.

environment that would bring all the arts into a ‘constructive harmony that would herald a radically new post-war society’ Bauhaus was a school in Germany, it translates to ‘School of building’ it combined fine art and crafts and operated from 1919 to 1933. Bauhaus’s main objective was to unify art, crafts and technology. The Bauhaus seemed to take on the ideals of Morris and returned to hand-craft production. Artists and designers that are significant to the modernist movement throughout the 19th & 20th century Wassily Kandinsky Hernet Bayer Robert Rauschenberg Hans Hofmann Claude Monet Piet Mondrian

MO D E RN I S M

A movement that occurred late 19th early 20th century, changing the way people lived their lives. It describes the modernist movement prodominantly in the field of the arts. There are many factors that shaped modernism, just to name a few; the industrial societies, rapid growth of cities and the tragedy of world war one. Modernism designing a new world 1914-1939 ‘Today’s artists live in an era of dissolution without guidance. He stands alone. The old forms are in ruins, the benumbed world is shaken up, the old human spirit is invalidated and in flux towards a new form. We float in space and cannot perceive the new order. (W. Gropius, 1919) Modernism, a term widely used but rarely defined, is movement that occurred at the beginning of the 20th century, which changed the environment we live in today as it was largely shaped around modernism. The furniture we use, the buildings we inhabit and the graphic design that surrounds us. Utopia describes an ideal society, where there would be few laws, no private property, no military conflicts and no war. This links with the principles of modernism, that art and design could, and should transform society. There are many different forms of utopia, Dionysian, spiritual, rational, political, communist and social. So what is utopia in terms of graphic design?

that possess highly desirable or perfect qualities. De stijl is Dutch and means ‘the style’ movement; it manifested an impulse towards spiritual utopia. De stijl artists were profoundly influenced by the theories of Piet Mondrian, from about 1916 onwards, the artists and designers associated with De stijl sought to devise various kinds of environment that would bring all the arts into a ‘constructive harmony that would herald a radically new post-war society’ Bauhaus was a school in Germany, it translates to ‘School of building’ it combined fine art and crafts and operated from 1919 to 1933. Bauhaus’s main objective was to unify art, crafts and technology. The Bauhaus seemed to take on the ideals of Morris and returned to hand-craft production. Artists and designers that are significant to the modernist movement throughout the 19th & 20th century

A few pages created using content taken from the Modernism research, Ideas influenced by spreads previously researched. Analysing the developed layouts, firstly top left, the colour scheme is simplistic but works well to create a professional aesthetic, red and grey coinciding with the white background with a slight addition of a light pink to soften the harsh corners of the images. The background ‘spiral’ was created to add an edge to the spread, make it a bit more ‘modern’ to coincide with the information being delivered. The layout below is a contrast to the previous, having a black background allows the white writing to stand out more to the viewer. The use of binary opposites works very well creating an aesthetically pleasing layout. Similar to the previous layout, a square ‘spiral’ image created to add modernist content to the background. Finally, the third layout created in this development section is again another variation. Although the content is the same in all three, it has been arranged differently. This particular layout uses ‘rules’ from both modernism and postmodernism, and can be seen in the title of the page, having the word ‘modernism’ split up into sections, like the one above, but still being legible, smart and modern. Directly below are a couple of images that have influenced the development of these layouts. More layouts will be created by developing these three and a final design will be derived.

Wassily Kandinsky Hernet Bayer Robert Rauschenberg Hans Hofmann Claude Monet Piet Mondrian

The word utopia is taken from the Greek, first coined by Sir Thomas More in 1516 and means both nowhere and a good place, as well as describing a community

The word utopia is taken from the Greek, first coined by Sir Thomas More in 1516 and means both nowhere and a good place, as well as describing a community that possess highly desirable or perfect qualities.

n r e d o M

Modernism, a term widely used but rarely defined, is movement that occurred at the beginning of the 20th century, which changed the environment we live in today as it was largely shaped around modernism. The furniture we use, the buildings we inhabit and the graphic design that surrounds us. Utopia describes an ideal society, where there would be few laws, no private property, no military conflicts and no war. This links with the principles of modernism, that art and design could, and should transform society. There are many different forms of utopia, Dionysian, spiritual, rational, political, communist and social. So what is utopia in terms of graphic design?

De stijl is Dutch and means ‘the style’ movement; it manifested an impulse towards spiritual utopia. De stijl artists were profoundly influenced by the theories of Piet Mondrian, from about 1916 onwards, the artists and designers associated with De stijl sought to devise various kinds of environment that would bring all the arts into a ‘constructive harmony that would herald a radically new post-war society’ Bauhaus was a school in Germany, it translates to ‘School of building’ it combined fine art and crafts and operated from 1919 to 1933. Bauhaus’s main objective was to unify art, crafts and technology. The Bauhaus seemed to take on the ideals of Morris and returned to hand-craft production. Artists and designers that are significant to the modernist movement throughout the 19th & 20th century Wassily Kandinsky Hernet Bayer Robert Rauschenberg Hans Hofmann Claude Monet Piet Mondrian

Inspiration for the development of layouts, colours and content derived from research.

Masthead Research Before&After, Communication Arts and CMYK magazines

Before&After magazine uses a large, bold font with the use of multi colours - cle masthead ‘How to design cool stuff’ in a light grey colour as a sort of ‘slogan’. Im centre aligned text presenting information of what the issue consists of. Communication Arts magazine has the issue number centre aligned text at the top magazine also having a picture in the centre of the page. CMYK magazine has a unique masthead, situated in the top left of the cover it is n in the top right corner with the image in the centre the main focal point.

Computer arts, Computer arts projects an

A comparison between all three magazine each composition, the masthead situated arts, while covering the top on computer colours within each cover is noticable, a compositions. Computer arts is the only headings/topics to entice viewers.

Advanced Photoshop, .net and Photoshop

Advanced photoshop and photoshop crea masthead, medium sized font sub-headin simplar layout, a large image central to the next to the sub-heading. Comparing the co all rather different, advanced photoshop u and white while photoshop cretive uses b that all magazines use white to emphasise Digital Arts, I.D and Layers magazines

Firstly Digital Arts magazine, a large font situated at the top of the magaz photo retouching’ using the same colour but a smaller font size. The use of a edge of the cover, smaller sub topics to entice the target audience. A larg I.D magazine, the iconic ‘I.D’ in black situated in the top left corner of the magaz taking up a large space of the cover. Layers magazine, just like Digital Arts, a large masthead situated at the top of th large picture in the centre with the sub heading ‘web design basics’ in the lower le

lear and legible with precise use of kerning. A heading on the right just below the mages in the centre of the cover, surrounding the sub-heading topic. At the bottom

op of the page, with the magazine name spanning across the page like Before&After

not the main focal point and is sort of ‘hidden’ within the page. headings are located

and Print

es has to be the large image empowering d in the top left on both print and computer r arts projects. The use of bright, vibrant as well as a heading connected with the y magazine out of the three to have sub

op creative

eative both use a similar structure; a large ngs and a large picture. .net uses a more he composition with the masthead top left olour schemes of each magazines, they’re uses gold, red and white, .net uses black blue, white and brown. A comparison is se certain areas.

zine, with the use of two colours - white and orange. A heading ‘creative a sub heading just below the heading, in white and a smaller font. Around the ge picture of a woman facing the front as the main focus of the magazine. zine, just underneath the main topic of the magazine which links with the picture

he cover, with the use of orange and black contrasted on a white background. A left section of the cover.

Masthead Designs

GraphicDesign New

Various masthead designs where inspiration has been taken from research gathered. Opposite, colour will be added to redifine and develop these designs and a final design shall be chosen as the masthead for the magazine.

NEW DES IGN Graphic Design NewGraphic

NEW GRAPHIC

D E S I G N

NGD NewGraphicDesign

d new s i graphic n

New:Graphic/Design

Applying mastheads to covers

Applying colour

GraphicDesign GraphicDesign New

NEW GRAPHIC

New

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NGD NGD NewGraphicDesign

NewGraphicDesign

DE SIGN DE SIGN NewGraphic

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Final design development

NEW GR APH IC

Chosen design to develop

Experimenting with shapes

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NEW NEWGR APHI C GR AP H I C

DESIGN

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AP HIC

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NEW GRAPHIC

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NEW GRAPHIC D

After deliberation I’ve decided this design doesn’t look very professional. It doesn’t strike as being a creative masthead, and compared to other magazine mastheads, it’s unprofessional, dull and lifeless. I want to create something unique, new and professional. A different design will be created with researched masthead attributes taken into consideration to produce a smart and creative design.

New Final Design

Graphic Design N

Graphic Design NEW

GraphicDesign N

GraphicDesign

N E W

Graphic NEW

Trying out some new designs for the masthead, using kerning to create, a smart and legible style. The chosen design to have a look at developing is highlighted in red. I chose this design as it has the most potential for development, is pretty creative and professional. This design will be developed, experimenting with different styles, fonts and colours.

Final design (left), Iâ&#x20AC;&#x2122;ve gone for a simplistic design that I belive would work well with most design covers, I will now choose a few design magazine covers to use as templates to see whether this masthead works well with different media types.

G NE

After further deliberation, and advice from a tutorial with the tutor, It was decided that this design should be discarded due to a number of reasons. Several font sizes were used, which didnâ&#x20AC;&#x2122;t look aesthetically pleasing, the design had potential but would need a lot of work to be up to a professional standard. Development will no longer take place on this design, and it will be discarded, new designs will be developed and a final design shall be chosen.

New initial ideas

Developing masthead

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Final masthead design

Cover designs Issue 1

19/04/2014

Designing for the

future

Form Follows F u n c t i o n An exploration of modernism and postmodernism

A couple of covers created using different content, these are initial designs and will be developed, the final masthead (above) works well with both cover designs and has been tested on published magazine covers prior to creating these initial designs.

The following pages are; Final cover design and Final layout design.

Form Follows Function

An exploration of modernism and post-modernism

Issue 1 / April 2013

Utopia describes an ideal society, where there would be few laws, no private property, no military conflicts and no war. This links with the principles of modernism, that art and design could, and should transform society. There are many different forms of utopia, Dionysian, spiritual, rational, political, communist and social. So what is utopia in terms of graphic design? The word utopia is taken from the Greek, first coined by Sir Thomas More in 1516 and means both nowhere and a good place, as well as describing a community that possess highly desirable or perfect qualities. De stijl is Dutch and means ‘the style’ movement; it manifested an impulse towards spiritual utopia. De stijl artists were profoundly influenced by the theories of Piet Mondrian, from about 1916 onwards, the artists and designers associated with De stijl sought to devise various kinds of