Form Follows FunctionResearch Document
An exploration of modernism and postmodernism
The connection between form and function has always been a huge controversial issue within the history
Form Follows Function
It is then the designer’s job to make their product desirable to a certain target market so that their product
of design. The development of groups
will sell, but also with products being
such as the arts and crafts gradually
mass-produced on such a large scale
brought about the change to the
and with many products similar to
concept of design from when things
the next, designers have to add a
were being mass produced but made to look hand made in the Victorian times. At the turn of the 20th century the developments in materials and technology enabled the production of innovative new products such as the telephone. The developments in mass production meant that products had to be standardised, simple and easy to produce, the modernist movement, which supported functionalism and suggested that the form fit the function.
Design these days has become an important way of self expression and that means that consumers not only chose products for what they do now but also for what they think that the product says about themselves. Society today use products as status symbols and wont buy into a market that projects an image the feel doesn’t represent who they are or who they want to be. For an example a bag not only has to be any factor of things, such as size, weight and also durability but also appearance and brand, which can sometimes be the overriding, reason for its purchase. Product performance and reliability are no long huge concerns for the consumer due to intensive QA procedures and guarantees. The main reason one product is chosen over another is the aesthetic qualities.
little individuality into the product. It is then also the designer’s responsibility to create a good balance between the form and function of a product.
Modernism
marked the start of avant-garde art, which described modernist art until the term modernism came around. Modernist
principals
soon
spread
Modernism came about in the 19th
throughout Europe with groups such
to the early 20th century and the
as De Stijl in the Netherlands, Bauhaus
definition of modernism is a movement
in Germany and Futurism in Italy.
that encompasses in its broadest definition anything that is modern in
Architect Ludwig Mies Van Der
thought, character or practice and
Rohe adopted the motto “less is
associated
movements.
more� to describe his minimalist
It began as early as the late 19th
aesthetic, emphasising the frame
century into the late 20th century
of the building and open plan, living
where modernism took over however
spaces. Modernism was more for
some still believe that modernism
functionalism and reducing the
is around even today. Modernism
form to the most essential forms
is a movement that has permeated
without
many disciplines, including painting,
Famous modernist designers were
sculptures, dance, music, literature
designer s
and philosophy, and was influenced
Muller-Brockmann and Armin
mainly by technological innovation,
Hofmann, who are very famous
and the Industrial Revolution.
for their Swiss modernist designs.
cultural
Modernist designers and architects rejected the old style of designing based on natural forms and materials. They believed in celebrating new technology and modern materials. Modernist designers focused more on the materials used and pure geometric forms, by rejecting embellishment. The modernist movement was also
decoration such
and
and
frills.
Joseph
(1890-1905)
Art nouveau or ‘new art was an international style of decoration and architecture that developed in the late 19th century. It was developed by a new generation of artists who wanted an art form to represent their modern
emphasised design themes that were
fine arts and crafts media and the formulation of new aesthetic values. Art nouveau forms a bridge between arts and crafts and modernism. Many Art Nouveau designers appreciated the benefits of mass production and other technological advances and the possibilities of new materials. For example in architecture glass and wrought iron were often creatively combined in preference over stone and wood. The introduction of text within the image is something that Art nouveau brought into design.
future of that time. Common depictions in futurist paintings were violence, technology and industry. Futurism although vibrant and new had a darker side and is still used as inspiration today. Cubism
(1907)
Cubism was a revolutionary style of modern art developed by Pablo Picasso and Georges Braques. It was the first style of abstract art, which evolved at the beginning of the 20th century in response to the changing world. The aim was to create new methods of representation. There was a shift from realism/romanticism to new forms of visualization and illustration, and this resulted in cubism. Cubism attempted to represent three-dimensional form.
1907-
age. It was about the unity of various
1890-1905
Nouveau
Futurism originated in Italy in in 1909, and associated with the future or ideas of the
History Art
(1909-
1909-
The Movements
Futurism
(1916-1923)
The Dada movement launched in 1916 in Zurich and included techniques such as collage and photomontage. It was a rejection of idealism, stale and modern society’s embrace of
design built in Weimar, while Germany
art; an art movement and they were
was in an economic state of crisis. It
not artists. In Richard Huelsenbeck’s
was intended to combine all the
words “It was seen as the great
Surrealism
artistic
arts in ideal unity and to form a
movements.”
new social order. The idea behind Bauhaus teaching was that students
(1924)
would be trained to work in industry
Surrealism was an artistic and literary imagination that we find revealed in our dreams, free of the conscious control of our reason and convention. Influenced by Dada it had an anti-rationalist sensibility and was shaped on theories of our reality, which were emerging at that time. The movement was founded in Paris in 1924 by André Breton and was aimed at social and political revolution.
after
1924-
movement, which was to express the
Bauhaus means ‘house of building’, and was a new school of art and
as not art but anti-art- so it was not
of
(1919-1933)
which was named by Walter Gropius
‘rationalism’ and ‘progress’. It was seen
rebellion
Bauhaus….
going
through
a
range
of
productive workshops, where they were encouraged to be multi-disciplined. The intent was that the school would eventually
become
a
workshop.
1919-1933
artistic and intellectual conventions
1916-1923
Dada
B a u h a u s Bauhaus means ‘house of building’, which was named by Walter Gropius and was a new school of art and design built in Weimar, while Germany was in an economic state of crisis. It was intended to combine all the arts in ideal unity and to form a new social order. The idea behind Bauhaus teaching was that students would be trained to work in industry after going through a range of productive workshops, where they were encouraged to be multi-disciplined. The intent was that the school would eventu a l l y become a workshop.
De Stijl
ed jl c en Sti a u infl de Dad he t , ed s s t g, l r d l a s i . u n a t ar t c ime p a esb ects e t c o d it u en an em me gro n D rch urfa ary t a a v s im va d r rtan ld cts mo e s the l l p e a e o ui e a t th d heo an hit p r b c n T ts and pu t im to ar ed d a t a f D se, s o s m y i y f b art u tic. o for rge en , nl mo ged ry o o m 7 o p m H he e , a ou Da em ove 191 of nalis and The an the er st r d e g Da ilj m . o e m , e a p i a of St de n in rou nct ved wed hey t th hro tijl g e ar de u Sc fu mo allo e t S 0’s as o D i 0 b G e c e e . e e s 9 n a L ers 1 o e r be sin ly id le) ant ld’ e d e y t n v e y o b t rl s, os ietv th St Av d i di sed to th a e r ea of he e an nde the ba as we r id as m it R of i e T e s rr ion th m or s fou f s r w ite hei w e u a f o o w t o wh G zat R s it s h l In o s by utc the wa izer hy t c nd wa , so n is eali r s tio l, an sop cep k a up (D d n a e n a urn org ilo ex lac gro sig cep let jo e ph ion us b is r de ex mp th he co at , pl t th hei tant r T co urs bou f t or ost e d lo a w o imp m o c ing fe e the n th ry O ve tijl. h is S hic w
N
e
u
b
u
r
g
Hans Neuburg was born in 1904 and studied at Orell Füssli Art Institute in Zurich, Switzerland. copywriter/designer for the Max
He like many of the other Swiss
Dalang
in
designers is also an author and
Basel and Zürich and then from
amongst his books was “graphic
1932-1936 he is the editor for
design in Swiss industry” (1960).
the “industriewerbung” magazine.
Hans Neuburg died in 1983 in Zurich.
advertising
agency
He started his own design studio in Zürich in 1936, specializing in advertising and exhibition design. He designed several exhibitions such as the Swiss National Expo (1939), the Swiss contribution to the Prague World Fair (1945) and the Brussels Expo (1958). He was co-founder and co-editor from 1958-1965 of “Neue Graphik” magazine
alongside
others
including
Joseph
Müller-Brockmann.
Hans Neuburg
In 1928, Hans Neuburg becomes
Josef M端ller-Brockmann was born
He is an author of The Graphic Artist
in Rapperswil, Switzerland in 1914
and his Design Problems (1961),
and
History
architecture,
design
of
Visual
Communication
and history of art at the University
(1971), History of the Poster (with
of Zurich. In 1936, he established
Shizuko
his own Zurich studio specializing
and
in graphics, exhibition design and
Design (1981). He ha contributed to
photography. By the 1950s he was
symposiums and has held one-man
the leading practitioner and theorist of
exhibitions in many cities such as
Swiss Style, which sought a universal
Zurich, Hamburg, Munich, berlin, Paris,
graphic expression through a grid-
new york, Tokyo and many others.
based design purged of extraneous illustration and subjective feeling. Josef M端ller-Brockmann was founder and, from 1958 to 1965, co-editor of the trilingual journal Neue Grafik (New Graphic Design) which was about principles of Swiss Design and spread the principles internationally. He was a professor of the school I Zurich and also a guest lecturer at several universities before he went on to become a design consultant at IBM.
Grid
M端ller-Yoshikawa, Systems
in
1971) Graphic
Josef M端ller-Brockmann
studied
At the age of 27 Armin Hofmann had
He taught at the school for a while
begun teaching typography at the
before he moved on and was replaced
Basel school of design, after having
by Emil Ruder. He believed that the
completed an apprenticeship in
most efficient form of communication
lithography. He using his colleagues
was a poster and spent a lot of
and students he added to his work
his career designing posters. He
and theories that surrounded his Swiss
particularly liked to design for the
international style. The Swiss style
Basel Stadt Theatre. He then went on
was all about the projecting the belief
to write a book about his philosophies
in the absolute and universal style of
and practices much like Emil Ruder
g=raphic design. About modernising
and
like
Josef
M端ller-Brockmann.
design at the time using formulated structure
using
the
grid
The style of design they
system.
were creating at the time had a goal of communication above all else, practiced
photomontage and experimental composition and favored sans-serif
typography.
Armin Hofmann
new techniques of photo typesetting,
Swiss modernist design, which is often referred to as “international typographic style” or “international style” originated in Switzerland in the 1940’s and 50’s and was the basis of most of the development that took place in the 20th century. It lasted for more than two
decades
and
still
influences
designs today. The Swiss style merged elements of the new typography, by designers Josef Müller-Brockmann, who graduated from the Zurich school of arts and crafts and Armin Hofmann who graduated the Basel school of design. The style was know for its simplicity, legibility and objectivity and was favoured because it was very new and clean cut. It was the development of sans-serif font, grids and Asymmetrical layouts and also portrayed the use of typography and photography as a means of visual communication. The primary influential works that were created were through the media of posters, which were seen to be the most effective means of communication. Armin Hofmann believed that the best way of communication through design was through poster design and so focused a lot of his work in that area.
Swiss Modernist Design
Bauhaus and De Stijl and It was led
The Grid System The grid system is all about layout and how we present our work. It is a structure comprising of a series of horizontal and vertical lines, used to arrange content. Grids enable us to build and form a solid structure in our designs. It is not only good for the designer but also good for the user, too. The grid system allows for you to effectively communicate your work to the user. It creates consistency and familiarity in your work, which can show how efficient your designs are. Grid systems have long been used in print publications, but with their introduction into designing for the web and the many, are now being used almost as standard. Grid systems are especially useful in web design, because the user will be able to navigate the website easily and be able to view the content and design more efficiently, with the information being much easier to understand.
Contents Page
Postmodernism The term post-modernism was first said by Charles Jencks, he used it criticise the functionalism of the modernist movement and to describe the new eclectic styles being developed by contemporary designers. Although to many the modern movement has not ended and a lot of its ideals are still in use today, I think that with more freedom to develop you own designs there are less limits and also it reduces the labels being placed on the work you do. The movement of postmodernism began with architecture as a reaction against simplistic, modernist style, which was developed by the Bauhaus. Contemporary
designers
wanted
individualism and personality back into design. In the Helvetica film it shows that post-modernist designers wanted to rebel against things such as Helvetica, which is so clean cut and so modern. However it also shows that designers such as David Carson didn’t consider themselves post-modern and were labelled that by others because of the way the designed. David Carson disregarded the rules and thought outside
of
what
was
considered
normal and accepted by society.
You don’t have
Barbara Kruger was born in Newark, New Jersey, in 1945. After attending Syracuse University, the School of Visual Arts, and studying art and design at Parson’s School of Design in New York, Kruger obtained a design job at Condé Nast Publications. Working for “Mademoiselle” magazine, she was quickly promoted to head designer. Later, she worked as a graphic designer, art director, and picture editor in the art departments at “House and Garden,” “Aperture,” and other publications. Kruger, in her own style layers found
to be
photographs from existing sources with pithy and aggressive text that involves the viewer in the struggle for power and control that her captions speak to. In their trademark black letters against a slash of red background, some of her instantly recognizable slogans “Your body is a battleground.” Much of her text questions the viewer about feminism, classicism, consumerism, and individual autonomy and desire. As well as appearing in museums and galleries worldwide, Kruger’s work has appeared on billboards, posters, a public park, a train station platform
in
Strasbourg,
France,
and in other public commissions.
Barbara Kruger
read, “I shop, therefore I am,” and
PERFECT
Neville Brody is one of the most celebrated graphic designers of his generation and he is a famous leading typographer and an internationally recognized art director and brand strategist. The founder of the design agency Research Studios, Brody established his reputation working with record labels, magazines and a range of international clients from Apple to Dom Pérignon. His work is still very influential and has been subject numerous exhibitions and publications, such as “the graphic language of Neville Brody”, which was accompanied by an exhibition at the victoria and albert museum. His
Research Studios was launched, after being Neville Brody studio in 1994 and has since expanded to offices in Barcelona, Berlin, New York and Paris. The studio’s range of clients has included some well known companies such as Apple, D&AD (London), Dom Pérignon and YSL. Research Studio’s work
includes
packaging,
and
brand visual
strategy, identity,.
Neville Brody
influencing that. ‘Carson is the most
century typographer and is most
googled graphic designer in history,
famous for his innovative magazine
even surpassing some well known
design- especially that of ray gun- a
fine artists’ Eye magazine, London.
magazine that he created himself and his experimental typography, of which he is particularly popular for a term known as grunge typographyCarson was born on September 8, 1954 in Corpus Christi, Texas. He attended San Diego State University, graduating with a Bachelor of Arts in Sociology. Carson’s first contact with graphic design was in 1980 at the University of Arizona during a two-week graphics course, taught by Jackson Boelts. In 1983, Carson started to experiment with graphic design and found himself immersed in the artistic and bohemian culture of Southern California. He attended the Oregon College of Commercial Art. That year, he went to Switzerland to attend a three-week workshop in graphic design as part of his degree. The teacher of the workshop, Hans-Rudolf Lutz, became his first great influence. I think that both modernism and post-modernism are very apparent in everyday designs and typography. More and more we see a lot more exploration with fonts and
layout
continuously
changing
and I think that his work is still
David Carson
David Carson is a well-known 21st
Ray Gun Ray Gun was an American alternative rock and roll magazine, first published in 1992 led by founding art director David Carson. David Carson is best known for his innovative magazine designs and deconstructive typography, which are still used today. What David Carson did in Ray Gun magazine was to experiment different typographic designs in the magazine. The result was usually a chaotic, abstract style and not always very legible style, but it was definitely distinctive in appearance, which is very important for a magazine. The content of the Ray Gun magazine was also innovative. The subject matter in Ray Gun was cutting-edge advertising, musical artists and pop culture icons. Ray Gun was in front of its competitors by putting artists like Jonny Cash, Radiohead, Eminem and PJ Harvey on its cover page.
and featured in is magazine “ray gun”.
Grunge Typography
His method was simple, his view that:
Back in the 90’s things were messy and unorganized and this led to type design being messy, too. Words were splayed
and chaotic, letters blurred. Textures
were thick and heavy. Concert posters looked like someone had splattered
paint on paper and then scratched
out band names. At its peak, this typography style, called grunge, was
ubiquitous. Alternative music CD’s and videogames, appropriated its
unfinished and frenzied aesthetic, and it became the largest, most cohesive movement history.
in
recent
Grunge
font
design
typography
was
originally developed by David Carson
you don’t have to know the rules before breaking them, and never mistake
legibility for communication. Carson’s technique of ripping, shredding, and
remaking letters touched a nerve. His covers for Ray Gun were bold and
often disorienting. He once disliked a Ray Gun article on Bryan Ferry, and so
set the entire spread in Zapf Dingbats.
Masthead Initial Designs
I started designing my masthead in
I then tried to develop a more simple
rough sketches trying out several
design using inspiration from my
different designs before I decided to
original designs but as I was working
develop them further and much neater
on illustrator my design morphed and
on illustrator. I started it out with an idea,
changed continuously until I found I
which I thought worked really well and I
design that I thought would work well
wanted to experiment with having it laser
on any background. I then played about
cut, but it became complicated and so I
with the font and once I had settled
tried to simplify the design, to a degree
on the font I thought worked with my
but still found it too complex for what I
masthead letters, which I created
was going for and harder to sit on a page.
myself I started testing out cover
Masthead 2- Final
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designs and placing them on the cover.
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Masthead 1
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Cover Designs
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Type Cover
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l a n
Cover Design 1 This is the first cover design I wanted
i g i r
to play around with. I wanted to create something, which I considered
O
decidedly modern, from my own view
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of what modernism is. I wanted to also
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incorporate my work into this design
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and not just imitate someone else’s designs. To me modernism is removing all embellishments and focusing on NE W
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simplistic and minimal designs. So for
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this cover I used my own font work and created a simple gridded cover design using the first letter of my alphabet
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and then embedding the inside of my FORM
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uppercase letter with the lower case letters of my font, while they were
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still being developed so there may be some changes to my final design. I played around with the positioning NE W
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and the font of my masthead and also
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my “form follows function” to make sure that everything worked together and fit with the image. For this I picked a sans serif font so that it stuck with FORM
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the modern theme and also went well with my own designed mastehead.
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Cover Design 2 Set Cover Designs NEW VISUAL LANGUAGE
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This was the second cover design that
that it worked really effectively with the
I wanted to try work with. I didn’t have
colours in the image. I thought that the
much of in idea of what I wanted to try
red, blue and white worked well together
out first but decided that I wanted to
because they were contrasting colours
work with my my cabinet of curiosity
and then when the colours were mixed
and picked out an image that I found
under the effect that the contrasted in a
interesting and something I thought I
way that made the image stick out and
could work with. I didn’t try to make it
almost transform it into a new kind of
modern or postmodern from the start
image, which was almost subliminal.
but just wanted to experiment with it
I think, that if printed onto lenticular
in different ways until I established an
paper, it could be transformed into a
effect that I think worked well with the
trapeze artist on the stage and it would
image. I tried very little effects that didn’t
add a new dimension to the image and
work before I settled on a colour half
also be used for subliminal advertising.
tone for this image because I thought
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Cover Design 3 Dress Cover Designs For the third design idea I went to further
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develop using my cabinet project and
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focusing more on the dress part of my cabinet, rather than the whole panel, which I used to represent Broadway. I wanted this to give off a different feel then the first dress cover, but I wasn’t entirely sure of what I wanted to achieve with this cover design when I started. I originally played around with different
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effects before I settled on the blurred,
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almost translucent image. I thought that it gave it an almost ethereal quality and made the image quite ghostly. I think it also makes the image quite elegant and has a modern trait due to its simplicity.
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Cover Design 4
I decided on the final cover for each design after doing all of these experimentations. I kept the font the same throughout because I after experimenting in the
For my fourth idea I decided to try and
first designs I found that it fit in well
use my latest project and incorporate
with the rest, and also because it fit
part of my earth artefact project into my
with my masthead. I wanted to keep
cover designs. I tried to use the final
it constant if possible and found that I
product but it wasn’t creating an image that I felt I could work with or producing a strong design so then went to use
had produced 4 optional cover designs.
Poster Cover Designs
some of the development work I had done using element symbols. I had
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created my own element symbols for
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the four main elements that we need
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to survive and incorporated them into a poster design as further development.
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Earth
Earth
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After doing this I decided to use
Fire
this as a cover, only adding slight
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changes. Much like my typography
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cover I didn’t add an effect but merely
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changed the outcome to suit this new purpose, and so I changed the layout around so that the title and masthead
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would coincide with the design and layout, without looking out of place.
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My masthead I thought didn’t nee much
alteration because I thought that it fit well with my cover design and was not
to overpowering. All that was changed
was the colour scheme so that it would fit in well with background and work
with the image and not be to obtrusive.
I decided on my third cover design idea as my final design idea. I thought that it was very elegant and sophisticated, but also simple and refined which I think epitomises my cabinet of curiosity final piece extremely but also how I want to express all of my work. I want my designs to be fun but also look well thought through and displayed in a simple yet sophisticated manner like my cover.
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