EDITORIAL EDITORIAL RESEARCH RESEARCH
Joseph Muller
The Grid Stystem
Pages 1 to 2
Pages 3 to 4
Paul Felton
Herb Lubalin
Pages 9 to 10
Pages 11 to 12
Why Not Associates
Typography
Pages 17 to 18
Pages 19 to 20
Notes
Neville Brody
Pages 5 to 6
Page 7 to 8
Experimental Jetset
Vince Frost
Pages 13 to 14
Pages 15 to 16
Layouts I Like Pages 21 to 22
JOS EPH MUL LER
Josef MüllerBrockmann, (May 9, 1914, in Rapperswil – August 30, 1996), was a Swiss graphic designer and teacher. He studied architecture, design and history of art at both the University and Kunstgewerbeschule in Zurich. In 1936 he opened his Zurich studio specialising in graphic design, exhibition design and photography. From 1951 he produced concert posters for the Tonhalle in Zurich. In 1958 he became a founding editor of New Graphic Design along with R.P. Lohse, C. Vivarelli, and H. Neuburg. In 1966 he was appointed European design consultant to IBM. Müller-Brockman was author of the 1961 publications The Graphic Artist and his Design Problems, Grid Systems in Graphic Design where he advocates use of the grid for page structure, and the 1971 publications History of the Poster and A History of Visual Communication.
He is recognised for his simple designs and his clean use of typography, notably Akzidenz-Grotesk, shapes and colours which inspires many graphic designers in the 21st century.
“The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice.” Josef Müller-Brockmann
The Grid System In its most basic terms, a grid system is a structure comprising a series of horizontal and vertical lines which intersect and are then used to arrange content. In even more basic terms (which make it easier to understand!) a grid system is a way of providing a system that designers can work with to structure and present content and imagery in a much more readable, manageable way. Grid systems have long been used in print publications; Using a grid system in your designs is one way to achieve a level of consistency that
would be otherwise extremely difficult to master and to portray in your designs. Again, uniformity and consistency are key to creating a continuous design that your viewers will find easy to navigate, read and understand. A good reader experience is created by engaging with your reader and building a sense of familiarity with them - and a grid system helps you to do that by providing a solid base that you can grow your design from. There are many advantages to using grid systems - this can start when you’re first
designing a continuous design like a magazine, but can also prove useful when you move on to the create and development stages, as well as when managing both the magazines design and layout in the future. The good thing about grid systems is that they allow you to design in proportions, balancing between all of the different elements that you might have in your design. A grid system should always be very flexible, so that you can almost twist it to your needs when you’re designing the different parts of your website.
Bleed Contents Box Baseline Grid
Margines Columns
Gutters
NEV ILLE BRO DY
Typographic designer, also a graphic designer and art director best known for his work on ‘area magazine’ (19871990) and ‘face magazine’ (19811986).
Stiff Records, Fetish Records and Cabaret Voltaire, defining the visual language of independent punk music and culture. Soon Brody became a well know name in the design industry and became a creative director for magazines such as The Face and Arena.
These designs on the right are some of my favourites of brody’s, the first is a Oceans Twelve poster; I love how simple the piece Image of Nevile Brody via: http://designhistory2013.wordpress. is. The second is a com/2013/05/03/ neville-brody-2/ typographic face created with a veriety of fonts, Brody The famous typographic designer was has created a few of these. The next is an born in London in exhibition poster for 1957. He attended the Lon- the designers show, im not realy a fan of don college of printthe whole layout but ing and was almost thrown out for putting what I like is how the F and the E of face the queens head on trail to the end of the a stamp sideways! page. The last image He was highly influis a poster to adenced by the punk vertise his typeface era in 1977 and first established his name Industria, I love how he has interpreted in record cover design. He worked with photographyinto the design. Rocking Russian,
Image 1: 2004, Poster for Ocean 12 movie, image link: http://media-cache-ak0.pinimg.com/ originals/65/76/12/6576122d0d8e1d9ae57e4f2043492e66.jpg Image 2: Typographic portrait, image link: http://noxisart.blogspot.co.uk/2012/02/ neville-brody-part-1.html Image 3: The face image for an exhibition, 2014, image link: http://www.ashleyattwood.co.uk/public_html/?cat=18 Image 4: Industria font poster, 1989, image link: https://www.behance.net/gallery/typeface-promotional-pieces/436751
PA UL FEL TON
Paul Felton is one of my favourite designers I came across. He is a London based Graphic Designer and has been in the design buisness for only seven years, he specialises in identity and print based design with particular emphasis on clever design solutions and striking typography. He has worked with many clients such as: Royal Mail, Orange, Design Council, Simon Beattie, EFFP, WorldSkills, Birmingham Childrens Hospital, Gatsby and City & Guilds. On the right is his designs for view magazine. The continuity between the double page spreads is the reason why he is one of my favourite designers. I love the use of negative and possative space giving the design a sheque, clean cut look and I hope to create my double page spreads similar to this.
‘I have had the honour of working with some stellar clients and have amounted over thirty design awards including D&AD, Art Directors Club and Design Week. I even picked up an ISTD along the way.’
HE RB LUB ALIN
Lubalin (pronounced loob-allen) is a graphic designer and was born in 1918
Image of Herbert Lubalin http://www.aiga.org/medalist-herblubalin/
Herb Lubalin is undoubtedly one of the greatest graphic and type designers of all time. At the mere age of 17, he joined Cooper Union and that was the start of his spellbinding typographic innovations. Lubalin graduated in 1939. After struggling for a while, he was offered a job at Reiss Advertising. He later worked for Sudler & Hennessey. Lubalin established his own design firm, Herb Lubalin, Inc., in 1964. He not only
revolutionized the norm of traditional copy-driven advertising but also pushed beyond the limits that inhibited existing magazines, both in form and content. He created groundbreaking corporate identities for LSC&P, Mother & Child, Mar- “What I do is riage and Families, not really typogand the highly influential typeface, ITC raphy, which I Avant Garde. think of as an On the right are essentially mesome of my favourite chanical means designs of his.
of putting characters down on a page. It’s designing with letters. Aaron Burns called it, ‘typographics,’ and since you’ve got to put a name on things to make them memorable, ‘typographics’ is as good a name for what I do as any.”
EXPE RIME NTAL JET SET
Experimental Jetset is a small, independent, Amsterdam-based graphic design studio, founded in 1997 by (and still consisting of) Marieke Stolk, Erwin Brinkers and Danny van den Dungen. Focusing on printed matter and site-specific installations, and describing their methodology as “turning language into objects”, Experimental Jetset have worked on projects for a wide variety of institutes. Their work has been featured in group exhibitions
such as ‘Graphic Design: Now in Production’ (Walker Art Center, 2011) and ‘Ecstatic Alphabets / Heaps of Language’ (MoMA, 2012). Solo exhibitions include ‘Kelly 1:1’ (Casco Projects, Utrecht, 2002) and ‘Two or Three Things I Know About Provo’ (W139, Amsterdam, 2011). In 2007, a large selection of work by Experimental Jetset was acquired by the Museum of Modern Art in New York, for inclusion in the MoMA’s permanent
collection. Members of Experimental Jetset have been teaching at the Gerrit Rietveld Academie (between 2000 and 2010), and are currently teaching again, at both the Werkplaats Typografie (Arnhem) and the Gerrit Rietveld Academie (Amsterdam). Bio for the company found at: http://www.experimentaljetset.nl/misc/ about
VIN CE FRO ST
*
Typographic designer, also a graphic designer and art director best known for his work on ‘area magazine’ (19871990) and ‘face magazine’ (19811986).
Image of Nevile Brody via: http://designhistory2013.wordpress. com/2013/05/03/ neville-brody-2/
Vince frost is an interdisciplinary graphic designer who works transversely in: digital and print design, environments, advertising and fashion. He was born in England but he was raised in Canada; he returned to the UK when he was sixteen and finished his education at West Sussex College of Design.
In the late 1980’s he became the youngest associate of the Pentagram design firm at the age of twenty-seven after being a member for just three years. About five years later frost created his own firm called Frost Design, which was based in London; they created many work for many famous clients such as Nike and The Independent newspaper. His company now is based in Australia where he relocated, the universal attentive creative ideas studio now called Frost* consists of thirty people working for the main man. These images on the right are some of Vince Frost’s magazine covers for ‘Zembla’ magazine. He has incorporated the Z layout into his designs: First you place the
things you want the reader to see first on the top line which in this case would be the magazine title and the issue number, then the readers eye will naturally follow the Z layout to the big finish at the end which is the price of the magazine. The whole layout tackles the
most important principles of a successful design: branding, hierarchy, composition and structure.
WHY NOT ASSO CIAT ES
Why Not Associates is a British graphic design company with a global reach. We turn our appetite for design into commercial success for clients large and small in the arts, business, government and public sector. For over 25 years, we’ve been creating innovative work in many different media, including corporate identity, digital design, motion graphics and television commercials direction, editorial design, environmental design, publishing, and public art. This breadth of experience means we can orchestrate complex campaigns for global brands such as Nike, first direct, Virgin Records and the BBC. But at the same time we also cherish smaller, locally based commissions, such as public relations for regional government and public art installations for specific communities. Regardless of scale, we collaborate closely with clients to come up with a solution we can all be happy about. Effective communication contains an element of surprise.
Kerning
Typography
Cap Height
x height
{
Median
Baseline
T y o g a p y Stem
Tail
Bowl
Loop
Decender
p r h
Terminal
Ascender