Research document

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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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FUNCTION FOLLOWS FORM FORM FOLLOWS FUNCTION

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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

Type Cover Designs

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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FORM

FORM FORM

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FORM

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

Air

Air

Air

to survive and incorporated them into a poster design as further development.

Earth

Earth

Earth

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After doing this I decided to use

Fire

this as a cover, only adding slight

Fire

Water

changes. Much like my typography

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cover I didn’t add an effect but merely

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FUNCTION Air

Earth

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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Earth

would coincide with the design and layout, without looking out of place.

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Fire

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final cover NEW

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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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