New graphic design by Charlotte Clarke

Module TFD1064. Design for Communication Design Graphic design group Project – “New Graphic Design” Charlotte Clarke U1258610 u1258610@unimail.hud.ac.uk 07506594118

Brief 2

You are to submit design proposals for a new graphic design publication entitled, New Graphic Design. The first issue will focus on For m follows function - an exploration of Moder nism and Post Moder nism.

and not a pastiche. You should aim to convey the essential nature of the movement. You will need to understand the social, industrial and political concer ns which influence both movements. Par t 2

Par t 1 Research i nto Moder nism and Post Moder nism generating a body of work that explores the origi ns and philosophy of the movements. Your visual work should be an expression of the movement

You are to submit desig ns for a broad sheet , which should be based on your personal and original visual research. You should produce: -Mast head -Cover design -Inner page/s -Copy

Masthead: New Graphic Design Sub heading: For m follows Function an exploration of Moder nism and Post Moder nism Issue 1 Date Size A3 Por trait Cover A3 Por triat Inner

Modernism It’s all about the grid

odernism is a movement that was domineering the art and design world in the late 1890’s into the mid 1950’s. Modernism is a phrase that was coined during the aftermath of the 1st world war and the Russian revolution. The stems of modernism can be routed back to many sources. Some of them were some of the “artistic avant guard” were aspiring of a world and culture that broke free from the current suffering of conflict, greed and any social inequality. The visual side of the movement was all about the grid and designing around a set frame and conforming to a certain amount of rules in order to create pieces that are very geometric, solid, and uniform in style. Modernism was the movement that really launched graphic design and helped bring it into the light rather than just blend in with “art”. Modernism was split into various movements during the

early 20th century. These were the following; Expressionism, Fauvism, Cubism, Futurism, Dada, Surrealism, De Stijl, Suprematism and Constructivism. The combination of futurism and cubism were the main factors in creating modern graphic design. Cubism, with its harsh shapes and interesting ways of breaking up the space on a page was the key in creating the strong influence on “structural design on the picture frame” which is more commonly known as the grid system. Futurism, stemming from Filipo Marinetti’s manifesto, was created and

promoted an enthusiasm for war, machines, speed and of course modernism and were known to detest things such as museums, libraries, moralism and feminism. The influence by futurism gave more of an impact to how type is used and how it can be more than just words on a page. These two movements together, as well as creating the modern graphic design we know and use today, it also went on to influence other modernist movements including the Dada movement and the surrealist movement.

“Launched modern graphic design”

Modernism was seen as an expression of human beings into the new branches of technology, way of thinking and their want and need to improve and reshape their surroundings after the devastation of the First World War. The advances in scientific knowledge and the technology meant that people were more open to be more experimental with their thinking and how they create. Compared to pre 1900 art, the modernism movement was completely new and created itâ&#x20AC;&#x2122;s own set of rules and style. The physical placement of the objects on the page was well thought out and was more carefully considered rather than just used to create a representation of a scene or time.The work that was created was usually composed of strong, bold and high contrasted shapes. This gave more of a conceptual thinking towards creating art meaning that people would have to think more â&#x20AC;&#x153;outside the boxâ&#x20AC;? and use their imagination a lot more than they would have recreating scenes that will have been presented infront of them. One of the most revolutionary ideas that modernism brought was the use of the grid. The grid was the bone structure of any art or design created in this era and was the most useful way to establish parameters and a secure guide for the placement of any test or image used in the pieces. One of the pioneers of the grid use was Max Bill (shown on the right) who was claimed to be inspired by the modernist ideas of Jan Tschichold. His book Die neue Typographie (The New Typography) challenged and questioned the relevance of the conventional page layout at the time. From this, they began to devise a flexible way for creatign coherency on the page. This then developed into the modern typographic grid. The grid was a revolutionary way of thinking that, depending on the piece, is the first thing people go to use when creating graphic design pieces in the 21st century. A good example would be a magazine layout or when you create a font. A grid is usually the first thing you draw to give you an idea of spacing and size. Without grids, placing and organizing information on the page would be a lot harder than it could be.

Laszlo Moholy Nagy

July 20, 1895 â&#x20AC;&#x201C; November 24, 1946

Hungarian painter and photographer as well as Bauhaus Professor

aszlo Maholy-Nagy was born in July 1895 into a Jewish Hungarian family. He didnâ&#x20AC;&#x2122;t have a particularly creative background as a child but went on to be one of the most influential faces of the modernist era. Nagy was highly influenced by constructivism and this is reflected in a lot of his work with strong shapes and colours. Constructivism was born from the rejection of autonomous art, where your subconscious takes more of a hold onto what you create and produce, creating a more controlled and structured attitude when creating pieces in this era. This movement was very typical of the Bauhaus which Nagy was later brought into.

The constructivism that Nagy was involved in was frequently connected with the involvement of technology in art that at the time was expanding and evolving very fast. This was due to the continuing understanding of what technology was as well as technology becoming more available as a whole. Nagy was very passionate about combining the creative world with the more technological and industrial world rather than keep them apart. By doing this, he was able to create some very contemporary pieces as well as really help the art world take a huge step forward in terms of understanding. This then gave birth to the early developmental years of modern graphic design as we know it, and redefining the

way future artists approached their work. When Nagy was brought into the Bauhaus, he was brought in to replace Johannes Itten to run the foundation course that was available. Nagyâ&#x20AC;&#x2122;s fields of specialism and interested included photography, typography, sculpture, painting, print making and industrial design. Altogether, this made Nagy an all round talented artist who fitted in well with the Bauhaus culture and managed to coin the phrase â&#x20AC;&#x153;the new visionâ&#x20AC;? because he believed firmly in the ability to use photography to display and explore visions and scenes that the human eye just could not achieve. His work has clear evidence of a very structured approach to the page which ties in perfectly with

modernist design. Strong edges and colours as well as a clean starting page with a good knowledge of how to balance negative space all come together in his work to make an effective piece of art that works as a perfect example of what influenced modern graphic design.

Josef Albers

Josef Albers March 19, 1888 – March 25, 1976 in th e ye a rs p rio r t o t h e mo der nis t e ra .

osef Al ber s was a poet, painte r, sc u lptor, t e a c her and a theoreticia n o f ar t. H e w as one o f t h e key m em bers in p i o neer ing m ov e ments s u c h as col our fie ld p a i nti ng and o p ar t. B o r n o n March 19, 1 8 8 8 and p a ssed away on Marc h 2 5 , 1976, Al bers had a l o n g life span in whic h he c o n tr i buted so much to t h e ar t w or ld that helped s h a pe m oder n a r t a n d mo d er n gr aphic design . B e i ng best remembered f o r his contr i bution a s a n a bstr act pa inte r a n d a theor ist, h is wo rk c o u ld be i nter pre ted as v e r y “ exper i m en tal” a n d c o mpletel y new compared w h at had been create d

His mo s t f a mo u s s e t of wo rk wo u ld b e h is se t o f p a in t in g s n a me d “Homa g e t o t h e s q u a re ” . In th is s e t o f p a in t in g s , he pain t e d s q u a re s , de c re a s in g in s iz e o n e on top of t h e la s t , in va rio u s p a le t t e s a n d sc h e mes o f c o lo u r g iv in g diffe rent f e e lin g s t o each pi e c e . Ho ma g e t o th e squa re wa s s t a r t e d in 1949 wh e n A lb e rs wa s 61 whic h wa s a ra t h e r la te in A lb e rs lif e . T h e s e pa inting s we re s e t o u t and po r t ra y a g rid s t y le la yout on t h e p a g e a s we ll as g iv in g a s o r t of pe rsp e c t iv e in t o t h e pa ge. Th e p ie c e s a ls o de mons t ra t e A lb e rs fa mous d is c ip lin e f o r compos it io n a s we ll as a goo d k n o wle d g e

o f c om plim entin g a n d c o n tra sting colo u rs . T h i s str i ct discipline into wh e re he p la c e d t h i n gs on the page , h o w big they are a n d t h e re l a tion w i th the o ther square s shap e d t h e a t t i tude of the grid syste m a n d h a d a ma jo r i m p act into the thin kin g o f mode r n d e s ig n . H o w you l ayout yo u r page using grid s h a s de v el oped m assive ly ove r the years , b u t it is u n deni able tha t A lbe rs had a massiv e imp a c t o n todays wor k. I n a lot of hi s oth e r work, ge o metric s h a p e s a n d lines are almo st always u sed. T h is is a p er fect dem onstra tio n of kn o wle dg e o f a g rid as w ell as a de monstra tio n of wh a t y o u expect from mo der nist de sign. S t ro n g , s a t ur ated colo u rs and a c lean e dge t o t h e s h a p es enabl e A lbers to c re a te inte re s t in g a n d sim ple patter ns th a t c o mbined, ma k e a e s theti cal l y pleasing pieces of mo d e r n is t a r t . Looking at this type o f a r t, it is ev id e n t t h a t this w or k, so influential, is comin g ba c k into the e ye o f the mode r n ar t wo rld

a n d a lo t o f g ra p h ic d e s ig n is v e r y re min is c e n t o f t h e mo d e r n i s t e ra . G o in g b a c k t o it s ro o t s wit h g e o me t ric s h a p e s , p a t t e r n s a n d t e x t u re s . I p e rs o n a lly f in d A lb e rs â&#x20AC;&#x2122; wo rk in c re d ib ly u n iq u e a n d in s p ira t ion a l in b o t h c o mp o s it io n a l v a lu e s a n d t h e c h o ic e o f c o lo u rs a n d p a le t t e s . I d e f in it e ly t h in k t h a t A lb e rs h a d a ma s s iv e imp a c t o n mo n d e r n d e s i g n a n d t h e c re a t io n o f t h e g rid s y st e m .

Post Modernism Breaking the grid P o st m oder ni s m c a me a bout after m ode r n ism a n d was created a s a w a y of rebellin g a gain st t h e gr id and the previous s e t out l oad of ideas and t h o u ghts on cre a tin g a r t. A l t h ough the g rid wa s a revolutionar y piece o f design and helped b ri ng the ar t wo rld f o rward, i n l ater ye a rs, mo re and m ore people f o u n d ar t that broke th e g ri d m ore compellin g a n d interesting than the mo d er ni st style. O n e of the m ost i n f l uential as we ll as w e l l known designers t h a t i s associ ate d with p o st m oder ni s m a n d i t s exper im ental ways i s t he designer and t y pogr apher, Da vid C a r son. H i s expe rimenta l t y pogr aphy, unique ra y gun cover s a n d g e ner al design e thic all

â&#x20AC;&#x153;Rebelling aga i n s t

the

pr ev i o u s s e t of i d e a s â&#x20AC;?

c o mb in e t o c re a t e p e r f e c t e x a mp le s o f p o s t mo d er n d e s ig n . A s s t a t e d b e f o re , b re a k in g t h e g r i d wa s a b ig id e a f o r t h e d e s ig n e rs in t h is e ra an d t h e y we re d e t e r min e d t o e x p e rime n t a n d u s e t h e ir wild e s t ima g in a t i o n s t o c re a t e wa rp e d a n d u n iq u e d e s ig n s . Te x t t h a t f lo ws o ff t h e p a g e , s h a p e s a n d c o lo u rs in s c a t t e re d p o s it io n s a nd c o mb in a t io n s o f p h o t o a n d t e x t a ll c o me t o g et h e r

t o g ive a less u n ifo r m feel to th e de s ig n w o rk. Ra p i dl y changin g technolo gy has a m a ssi ve i nfl uence o n th e wo rk create d in t h e postm oder n era be c a u se design e rs c o uld use techn o logy to e xpe riment wit h t y p e and i m age that se e med to o diffic u lt t o d o without the deve lope d technol o g y. M a i nly w i th the use of type and imag e c o m i ng togethe r, pieces we re create d t h a t were com ple tely different to wh a t h a d been created in pre vio u s style s . D a vid C ar son was fa mously qu o ted in s a y ing that by ign o rin g the rule s that w e re set out i n th e mo der nism era he w a s able to crea te some thin g that ha d n e v e r been seen be fore . T h is idea wa s t h e n em br aced by many oth e r a r tists a n d c a rried the sty le th ro u gh se vera l de c a d e s pro d ucing pieces th a t were n e ver al ik e in l o o ks. De c o n s t ru c t io n wa s a n o t h e r t h e o r y t h a t wa s b o r n in t h e p o s t mo d e r n er a a n d c re a t e d d is t in c t iv e p ie c e s b y t a k in g s o me t h in g , p u llin g it a p a r t , a n d re a s s e mb lin g in d iff e re n t wa y s c re a t in g d iff e re n t o u t c o me s . T h e o u t c o me s we re a lwa y s d iff e re n t a nd a lwa y s s t irre d u p a d iff e re n t e mo t i o n d e p e n d in g h o w t h e p e rs o n wh o w a s in c h a rg e o f t h e d e s ig n d e c id e d t o e d it it . Co lo u rs a n d s h a p e s we re a l o t d iff e re n t a n d t h e p a le t t e s we re a l o t mo re t h o u g h t o u t ra t h e r t h a n ju s t p u t t o g e t h e r in o rd e r t o c la s h . S o me o f t h e p o s t mo d e r n wo rk c a n b e s e e n a s c h a o s a n d a b it â&#x20AC;&#x153; ma d â&#x20AC;? b u t b e h in d a ll t h e wo rk t h e re a re s o m e s t ro n g me s s a g e s c o min g t h ro u g h a n d wh e n y o u s t a n d a n d lo o k a t t h e p o s t mo d e r n d e s ig n s y o u s t a r t t o u n d e rs t a n d t h e d e s ig n e rs t h o g u h t t ra il.

David Carson D

avi d Car son is one o f the most wel l known de signers genera lly a s w ell as one of th e mo st we ll kn o wn de s igner s for th e po stmode r n era . His w o rk is com pl etely u n iqu e to his o wn re f i ned styl e an d h e use s h is own wa y o f l o o ki ng at the work a n d h is own fe e l f o r w h e re things should be pla c e d o n th e pa g e r ather than confo r min g to a grid s y s tem . A l ot of hi s work h a s c o me fro m h is wo rk o n Ray Gun m agazine. First published i n 1 992, the m aga zin e explo re d the de p ths of experimenta l typograph y,

re s u lt in g in in t e re s t in g , a b s t ra c t a n d a lmo s t â&#x20AC;&#x153; me s s y â&#x20AC;? o u t c o me s . T h e p ie ce s we re n â&#x20AC;&#x2122;t a lwa y s le g ib le b u t a lwa y s g a v e o ff a d is t in c t s t y le t h a t d re w ma n y d e s ig n a wa re e y e s in t o t h e ma g a z in e . Ca rs o n d ire c t e d t h e ma g a z in e f o r s e v e ra l y e a rs , h a v in g a h u g e in p u t o n e a c h is s u e t h a t we n t o u t . E v e n a f t e r Ca rs o n le f t t h e ma g a z in e in 1 9 9 5 (hi s la s t is s u e b e in g t h e Da v id B o wie c ov e r e d it io n ) t h e ma g a z in e c o n t in u e d h is p a s s io n f o r e x p lo rin g e x p e rime n t a l ma g a z in e a n d t y p o g ra p h y d e s ig n e v e n t h o u g h h e wa s n o t in v o lv e d . Th i s s h o ws t h e ma s s iv e imp a c t t h a t Ca rso n h a d a n d s h o ws ju s t h o w mu c h p e o p l e lo v e d h is wo rk a n d t h e wa y h e c re a t e d p ie c e s . T h e R a y G u n c o v e rs a re v er y u n iq u e a n d t h e ma g a z in e s t h e ms e lve s c a n b e s e e n a s a g ra p h ic d e s ig n e rs h e a v e n in t e r ms o f t h e la y o u t a n d t h e c o n c e p t s wit h in t h e m. Ca rs o n h a s c o n t in u e d h is wo rk we ll in t o t h e 2 1 s t c e n t u r y a n d h is wo rk is s t ill a d mire d b y ma n y in d e p e n d e n t d e s ig n e rs a s we ll a s b ig c o mp a n ie s t h a t s t ill in v it e h im t o d o b ig c a mp a i g n

a d v er ts and all so r ts of marketing m a t er i al for the ir brands knowing t h a t hi s styl e i s so well known i t c o uld and 90% will improve t h e i r sales/reach. Even with the a d v ances of tec h n o logy in the pa s t few year s, Ca rso n still has t h e sam e feel to h is wo rk me rely a d a pting them to work o n new t e c hnol ogies r ath e r than u sin g t h e m to create so meth ing else. H i s w or k has a ve r y o rga n ic “ c o p y and pas te” fe e l to the w o rk and the colo u rs are n e ver t o o over w hel min g so the work h a s its ow n ability to express i t s e l f through the typograph y u s e al one. This was a fairly n e w t e c hnique i n th e wo rld o f design bu t thi s didn’t mean that it didn’t h e l p Davi d Carso n be c o me so w e l l known for his typograph y u s e . Even toda y, yo u can still see i n f l ueces of his wo rk in all sor ts o f p ubl i cations.

Magazine Covers

agazine covers are the first thing on a magazine that someone sees when they are laid out on a shelf. The cover has to make an impact as well as being able to give an effective insight into what the reader should expect within the magazine. This makes looking for a certain magazine, certain content or certain genre easy. Some magazines have the same basic layout for every edition that gets published, sticking to the same grid system and the same way of balancing the image to text ratio.

The masthead is one of the most important things on the cover and should be placed in an appropriate position. This usually is across the top of the page or in the top left corner (as demonstrated above using computer arts magazine covers). They are always noticeable but never too over complicated as they need to be the same on every cover and be able to be moved around the page without too much interference.

Magazine Layouts

a g a z in e s a re u s u a lly s e t t o a g rid s y s t e m t h a t h e l p s k e e p e v e r y t h in g in a n o rg a n iz e d ma n n e r. W it h o u t a g rid s y s t e m , t h e p a g e s wo u ld lo o k o v e rc ro wd e d a n d n o t o f a u n if o r m s t y le . T h is is s o me t h in g t h a t a lwa y s h a s t o b e u n d e rs t o o d wh en p la n n in g t o c re a t e a ma g a z in e , a s y ou h a v e t o b a la n c e t h e t e x t it e ms , t h e p ic t u re s o n t h e p a g e a s we ll a s a n y n e g a t iv e s p a c e t h a t will b e le f t o v e r. K e e p in g n e g a t iv e s p a c e t o a min imum is p re f e ra b le u n le s s y o u h a v e la rg e it e m s o n t h e p a g e b e c a us e wh it e s p a c e ma k e s

t h e page look me ssy a n d u n pla n n e d a s we ll a s lo o k in g lik e y o u h a v e n â&#x20AC;&#x2122;t s u p p lied e n ough conten t o n th e pa ge. T h e gr i d system is a ver y mo der nist id e a a n d c a u s e s y o u r wo rk t o lo o k v e r y f o r m a l a n d or gani zed, wh ich ultimate ly is a g o o d c o n c e p t t o h a v e in y o u r wo rk a s it b r i n g s a f e eling of pro fessio n a lism. B u t, it c o u ld b e s e e n a s o p p re s s in g t h e c re a t iv e n e s s o f g r aphic design a n d a mo re po stmo d e r n a t t it u d e c o u ld b e t a k e n . I t a ll d e p e nd s o n the feel i ng th a t the c re a tor wa n ts t o g iv e . Above are some exa mples of ma gaz in e la y o u t a s s e e n in Co mp u t e r A r t s ma g a z i n e .

Magazine Layout Sketches I

n order to get the look and fe e l o f my ma gazine to be righ t, I need to de c id e h o w I l a y out the inte rio r pa ges o f my sket c h b o o k . Based on the maga zin e s I h a ve lo o k e d a t and from stu dying various grids a n d la y o u t techni que s, I wa s able to ske t c h u p ro u g h outl i nes o f where I could la y o u t t e x t a n d im age on the page . T h is will h e lp g iv e a n i dea of how to bala n c e the items o n t h e p a ge as wel l as a n y n e gative space t h a t is l e f t over.

T h e s k e t c h e s n o t o n ly h e lp o rg an i s e t h e p a g e b u t a ls o g iv e y o u a s e le ct i o n o f g u id e s t o p ic k f ro m wh e n y o u h a v e the content you need for your magaz in e . B e in g a b le t o t h is e n a b le s y o u t o p la n o n h o w y o u y o u will ma k e t h e in f o r ma t io n f lo w f ro m p a g e t o p a g e . Yo u id e a ly wa n t t o k e e p s o me f o r m o f c o n s is t a n c y t h ro u g h o u t t h e ma g az i n e in t e r ms o f la y o u t a n d c o lo u r s c h e m e b u t a s lo n g a s it d o e s n â&#x20AC;&#x2122;t g o t o o w i l d y o u c a n e x p e rime n t wit h la y o u t , s p a c in g a n d h o w y o u b a la n c e t h e ne g a t iv e s p a c e a ro u n d y o u r it e ms wit h t h e p h o t o s a n d t e x t t h a t a re o n y o u r p a g e .

Magazine Layout Outlines T h ese are some ill u s t r ator dr awin gs o f p ossi bl e l ayouts f o r my m agazi ne in s i d e pages. These h e l p give an idea o f how to lay out t h e pages in te r ms o f where to put pict u res and bala n c e t h e m w i th the a ppro p r iate am mount o f t ext i n the righ t s p a ce. Also, th e y a re al l double page s p reads m ean ing t h a t som e of the fea t u res over l ap bo th pa g es. The lin e do wn the m iddle of t h e rectangles dem o nstr ates wh e re t h e pages wo u ld h a v e a fold in them.

Magazine Masthead Sketches T h ese are the s k e tches for my m a sthead des i g n. The desi g n s k e tches var y f ro m a com bi n a t i on of im age, t e x t and shape s. T h ey all l ook di ff er net in their o w n way as we ll a s all represent i n g the words â&#x20AC;&#x153; n e w gr aphic de s ignâ&#x20AC;? . Som e o f t he stronger de s igns are the o n es that use t h e w hol e phr a s e r ather than c o ndensing t h e m down into j u s t l etter s. Fro m t h i s I will take t h e m for w ard a n d see w hich o f my favour ties w o rk best for my m a sthead.

Magazine Masthead Shortlist T h e s e a re t h e t wo lo g o s I have chosen to take on into f u r t h e r e x p e r min e t in g a n d t e x t in g in d ig it a l p rod u c t io n . T h e f irs t is my sq u a re lo g o wit h t h e t e x t in s i d e o f it . I h a v e d e c id e d t h i s i s a g o o d o n e t o u s e b ec a u s e it is f le x ib le a ro u n d t h e p a g e a s we ll a s b e in g a b l e t o a d d in v a rio u s f e a tu re s wit h in t h e s q u a re . I lik e t h i s d e s ig n a n d t h in k t h a t t h e o u t c o me c o u ld b e in t e re s t in g a n d will b e e ff ec t i v e a s a s imp le ma s t h e a d .

T h i s is the sec o n d opt i o n for m y m asthead. I h a v e picked th e c ircula r o p t ion too bec a u se it is a m ore colour ful and in t e resti ng option a s well a s a ver y stron g de sign a n d i s ver y co n tempora r y and w i l l give a mo der n a n d unifor m fe e l to the pa g e as wel l a s le tting t h e over do w ha t it wants i n t er m s of i m age or illus t rati on desi gn. T h e col o u r s can be c h a n ged.

Magazine Masthead Sketches 2 T h ese are two ma sth e a ds ta ken forward a n d resketche d as well as experime n t e d with the l ayo u t and the pa ge la y o u t . This will h e lp me visu a lise where o n the coer the logo will go a n d h o w m u ch room I have o n the cove r fo r a n i m a ge or lar g e featu re item. On t h e ri g ht, I have drawn our th e circ le log o w h i ch w i l l be made of va rio u s o ver la p pi n g ci rcl es ( k e e pin g a ve r y circ u la r s h ape over al l ) in 2 diffe rent c o lours (3 pi n k 1 blue etc) that will c re a te a sha de d area i n the middle. This is wh e re I w i l l put m y text in white.

T h is is a n o t h e r s k e t c h t e s t in g o u t t h e la y o u t a n d s t y le o f t h e lo g o . T h is t i m e , I h a v e g o n e f o r a mo re s q u a re s h a p e in o n e b lo c k c o lo u r, wit h t h e t e x t â&#x20AC;&#x153; n e w g ra p h ic d e s ig n â&#x20AC;? a llig n e d a lo n g t h e r i g h t in t h e b o t t o m le f t c o r n e r o f t h e s q ua re . T h is t e x t will e it h e r b e wh it e o t ju s t a c u t o u t t h e c o lo u r s o t h a t t h e b a c k g ro u nd o f wh a t e v e r it â&#x20AC;&#x2122;s o n t o p o f c o me s t h ro u g h t h e lo g o . B e in g a s q u e re , t h is is a v e r y e a s y d e s ig n t o p u t o n t o a re c t a n g u la r f ro n t p a g e a s d is p la y e d o n t h e le f t .

Magazine Masthead Creating T h i s is the fir st attempt a t my round lo g o wit h t h e colour s. I h a ve u sed strong blue a n d p in k i n t hi s desi gn all o verlappig c re a tin g a p u rp le a re a i n the m iddle. I have u sed Helv e t ic a in t h e m iddle i n black. “new” a n d “grap h ic ” a re i n b old and the la rge r “graph ic” is in h e lv e t i c a light. The round sh a pe is ke pt in t a c t a s t h e ci rcl es are kept quite c lose to get h e r e v e n t h o ugh they ar n’t in th e sa me pla c e .

T h e re a re s o me imp ro v e me n t s t h a t c o u ld b e ma d e t o t h is lo g o . T h e f i r s t wo u ld b e t h a t t h e c o lo u rs a re f a r t o o s t ro n g o n t h is lo g o a n d t h e mi d d l e s h a d e is f a r t o o d a rk a n d it ta k e s a wa y t h e a t t e n t io n f ro m t h e le t t e r s in t h e mid d le .

Magazine Masthead Creating H e re I have create d two trie s at th e s q u are l ogo design . I have use d a bl a c k square as th e ba c kgro u n d a lt h o ugh thi s could be fille d with pa tt e r n or contai n some thin g to make t h e l ogo a but mo re in terestin g. The t e x t used is both for ms o f Helvetica a s this is a m oder nist font a n d is a ge n er al l y good fo n t to u se. I use d s t a ndard for the to p logo and ligh t f o r the bottom o n e . The to p lo go a l s o has a tigh ter leading than th e bo t tom one w hic h lo o ks a lot be tte r a n d ti di er than th e bottom design a l t h ough per son a lly I thin k th e light v e rsion of the fo n t on th e bottom l o g o i s a lot be tte r than the re gula r s t y l e font on the top lo go. There is a f a i r am m ount of tweaking th a t n e e ds do i n g but once th is is done th e logo s h o u l d be interestin g.

Magazine Masthead Creating T h i s is a revi ewe d c ircula r design fo r my ma s t h e a d . I t h in k t h a t n o w t h e c o l o u r s a re l i ghter, i t works a lot better, th e c o lo u rs a r n â&#x20AC;&#x2122;t t o s t ro n g o r d is t ra c t in g a n d w h e n pl a c es on a page with oth e r e leme n t s (s u c h a s a n ima g e o r a n illu s t ra t io n wit h d i ff e re n t col our s and e leme n ts on it) it will n o t c o n t ra s t t o o mu c h . T h e s h a p e o f t h is m a s t h e ad has stayed the sa me as well as t h e p h y s ic a l a p p e a ra n c e o f t h e t e x t (b o ld , l i g h t , bo l d ) al though on lo o kin g at the new c o lo u r s c h e me wit h t h e b la c k t e x t , it d oe s n â&#x20AC;&#x2122;t l o o k r ight. The re fore I n e e d to c h a n g e t h e t e x t c o lo u r t o a lig h t e r c o lo u r.

Magazine Masthead Creating H e re I have tweake d the squ a re ma s t h ead desi gn c h a n gin g th e leading a n d adjusting wh e re th e fo n t sits in t h e desi gn. This works well bu t ove ra l l the light Helvetica dominate s i n ter m s of effe c tiveness. Overa ll t h o ugh, I think my o ther de sign is a l ot stronger than th is design a n d I t h i nk I w i l l take that design o n rat h e r than this o n e as I th ink th a t o n e l o o ks m ore profe ssional as we ll as m o re contem p ora r y and inte re sting w h e n pl aced on a front page c o mpa re d to thi s o n e

Magazine Masthead Creating H e re I have ta ken the ba s e desi gn and e xpe ri mented w i th diffe re n t c o l our sets giving the s a m e effect but with diff e rent col our s. Pe rso n a ll y, I think that these are go o d insi ghts to what c o uld be used a n d ma y be used if there we re furt h e r i ssues as they ke e p t h e unifor m design but I t h i n k the l i ght pink a n d pa l e blue desi g n fo r this c o v e r w i l l w or k th e be st. T h e whi te tex t is pro v e n to wor k re a lly we ll o n these tests too whic h pro ves the versatility of t h e design as we ll as lo o k i ng good.

Final Masthead Design

T h i s i s m y final design for my masthe a d a n d I a m v e r y h a p p y wit h it . I t h in k t h a t t h e colour s work we ll toge ther a s we ll a s t h e lig h t c o lo u r o f t h e f o n t a n d t h e a c t u a l font styl e itse lf. It all tie s in toge t h e r a n d a ll wo rk s t o g e t h e r t o ma k e a g o o d m a sthead design a s we ll a s giving t h e o u t lo o k o f a v e r y mo d e r n a n d c o n t e m po rar y desi gn th a t re prese n ts th e m o d e r n d a y g ra p h ic d e s ig n . T h e ma s t h e a d h a s to be able to be put a ll o ver the p a g e a n d wit h t h is ro u n d d e s ig n t h a t is a po s sibility.

Cover Design Sketches T h ese are th e in itial s k e tches for my cove r de s i g n. These sketc h e s sh o w t h a t I am going to keep the l o g o in the top le ft c o r n e r a s this is the mo st comm o n place for a round mas t h ead to si t (su c h as th e c o m puter ar ts ma gazine c o v e r ) and w i l l stay o u t of t h e way of any design s as w e l l as not looking too out o f p l ace. M y s ketc h e s a re v e r y rough and just simply e x plore w here I am goin g t o put thi ngs onto th e pa ge a s w ell as how they will int e ract w i th each oth e r a n d t h e balance of n e gative s p a ce on the cove r.

Cover Design Bad Designs This is one of my try out designs for the cover including a very geometric feel to the c o v e r. Overall this cover is interesting and can work well. The colours are complimentary of each other and the background design itself is interesting and doesnâ&#x20AC;&#x2122;t dtract too much from the main text. One of the main problems with this cover is the fact it doesnâ&#x20AC;&#x2122;t really represent what is inside the magazine very well at all and in my personal opinion, a good cover should do that. This cover will be scraped and redesign e d t o t a l l y.

Cover Design Bad Designs Again, this is a very interesting design with strong colours like the last and an interesting composition as well as interaction with the shapes and vectors. The colours have changed and personally I donâ&#x20AC;&#x2122;t think they work as well as the oranges did. The texture has been removed and replaced with a plain background which I think is too plain and needs something to it. Overall this cover is again, like the last, not very telling of what is inside and needs a total redesign.

Cover Design Final design This is my final cover design for my magazine. After looking at various post modern and modern influences, I decided to try and make my cover representive of what would be inside my magazine. I went with a more post modern influence and overall, the end product is really good and really interesting. Variation in textures and colours makes this cover interesting yet the pink that flows through into the circle behind the main body of text keeps everything together. I am pleased with this final design and will continue this feel throughout my magazine.

Interior Pages Welcome Page T h is i s t h e f i r st d o u b l e p ag e sp re ad you are m et with when you open m y m ag az in e. T h e w a r p ed , al mo st tv sta ti c style welcom e on the left is plain and simp l e bu t re m i n i c e nt of the co mp l i c a te d layout styles of David Car son when editi ng Ra y G u n m a g azi ne . I u se d va ri o u s bodies of text and the â&#x20AC;&#x153;waveâ&#x20AC;? filter tool set to s qu a re t o c re ate th e b ac kg ro u n d on the r ight hand page. Linking the logo in on t h e r i g h t h a n d p ag e al so b y usi ng a stip of the pink that is in the logo. I really l i k e t h e s i m p l i c i t y of thi s p ag e as w e l l as the colour schem e and the texture wor k .

Interior Pages Contents The next spread is my contents page which helps the reader find out what is inside the magazine. on the left page I kept a similar style to the last spread using just the word â&#x20AC;&#x153;contentsâ&#x20AC;? to create a bold statement. I also used lines and a block of text to give a bit of a post modern effect. The contents list on the right takes up the whole page and is very simplistic so that if the reader needs t o f i n d t h e i r p a g e i n a h u r r y t h e y c a n d o s o e f f e c t i v e l y.

Interior Pages Modernism T h is i s m y m o d er n i sm p a g e, foc u sing on the facts and histor y of the m oder ni s t e ra . O n t h e r ig ht h a n d ti ta l e p ag e, I have used the RGB filter s to get a r ang e o f co l o u r s a n d th e w ave to o l to g et an interesting background schem e for m y t e x t . A t f i r s t it w as to o b ri g h t so I knocked down the opacity and this hel p ed m a k e t h e b l a ck l e tte rs mo re o f th e focus. The left hand page has the pull quot e at t h e t o p q ui te cl ea rl y w i th the m ain body of text in the lower r ight hand c o r ne r i n s i d e a h e xa g on g i vi ng a bit of an interesting take to the par agr ap h.

Interior Pages Quote Page To b re a k u p al l the te xt h e a vy pages, I inser ted a double page spread w i th m o re o f a re l a xe d fe e l to i t i nc l uding a picture of a m oder nist piece ( agan w i th t h e p i n k t o t i e i n w i th th e mai n l ogo) and a quote from the ar tist Jackson P ol lo c k . T h s p a ge he l p s b rea k up the m agazine and helps give the reader a b i t o f s p a c e i n s te a d of b ei ng ove rwhelm ed with lar ge am ounts of text on e v er y pa g e . T h i s w orks w e l l a n d I l i ke how it helps to break down m y m agazine a l ot.

Interior Pages Post Modernism T h is i s m y d ou b l e p a g e i n fo r ma tive spread about post m oder nism . I took a s im i l a r a p p ro ac h i n ter ms o f l a yo ut as I did for m y other spreads, keeping the le f t h a n d p a g e fo r the ti tl e a n d the r ight hand page for the infor m ation. I p ut t h e l a r g e r b o dy o f text on the ri ght into a circle shape as I feel it m akes the t e x t l e s s d a u nti ng at fi rst g l a n c e and just m akes a bit m roe use of the space I h a v e o n t h a t p a g e. T h e re i s a l ot of pink on this page, again linking it back t o th e l o g o o n the ma i n co ve r a n d the other pinks throughout the m agaz i ne.

Interior Pages Viva La Grid T h is i s t h e s p rea d for my a r ti cle on gr ids and their histor y and us e in t h e 2 1 s t ce n tu r y. It tal ks about how m oder nism shaped the wor l d in te r m s o f s o c i al u se an d th e ar tistic changes it m ade. The desig n of t h e p a g e i s ve r y si mmi l ar to th at of m y other pages, using the wave fi l t e r to c re a t e te xtu res u si ng w ords and using the RGB filter s to chang e t h e c o l o u r s of th e textu re. I h a ve used big bold letter s on both pages to ge t a c ro s s w h a t th e y a re ab ou t as well as creating an interesting lay out.

Interior Pages Are we still post modern? T h is i s a n a r ti cl e ab ou t w h e th e r we are still post m oder n or whether w e h a v e m o v e d o n . T h e l eft h a n d page holds the title question with a tex ture ba c k g ro u n d cre a te d from a d u p l i cated layer of the text, r an through the wav e f ilt e r s e t t o s q ua re an d e d i te d using the RGB function in the layer prop ert ie s . I t h e n u s ed l i q u i fy to g et th e slighty war ped effect on the text. The r i g ht h a n d p a g e h ol d s th e b ul k text w hich is offset from center. There are two p ul l qu o t e s a t t h e to p l eft an d b otto m r ight which help sum up the page w el l .

Back Cover T h e b a c k c o v er i s si m ila r t o t h e f ront i n the f a c t t h a t I h ave use d t h e s a m e e d ite d p h o t o gr a p h o f t h e Lo n d on e y e t h a t I t o o k. I have used th e po ly g o n a l l a sso too l t o g r a b s e c t ion s a n d ro t at e t h e m to g i ve a ja g g e d e ffe c t an d a ga i n u s e d th e R GB t o o l s u n d e r L aye r P rope t i e s t o g a i n the l i g h t blu e a n d re d e ffe c t. Yo u m a k e t h e se vi si ble b y d r a g g i n g th e la ye r s l e f t a nd ri g h t. I then knocked down t h e o p a c i t y as i t w as t o o s t ro n g to b e g i n wit h . At t h e b o t t o m I h a ve in c l u d e d m y ow n l o g o t o g i v e a s o r t o f p rof e s s i o n a l f i n i s h to th e m a g a z i n e a s a n ove ra ll t o u c h .

Final Design & Evaluation T h is i s h o w my ma g azi ne l ooks once uploaded onto issuu. The m aga z i n e r u n s w el l a n d smo o th as well as all the double page s p rea ds w o r k i n g w e l l a l on g si d e e ach other and not causing any dis r up t io n i n t h e p atte r n w o rk. I am ver y pleased with the outcom e of the m a g a z i n e a nd b e l i e ve i t p o r trays what the br ief was asking ver y w el l . Af t er u p l o a d i n g , I sh a red w i th a few people ( m ixing both ar t conci ous a n d p o e p l e w h o d o n o t h a ve a preference) and asked whether they wo u l d b u y t hi s mag azi ne b a se d on the m agazine itself and nothing el s e. M o s t o f t h e p e o p l e c a me b ac k saying they would buy it as it looks w el l de s i g n e d a n d th e a r ti c l es i nte rest them . This is the outcom e that I want e d t o g e t f ro m p eo p l e an d p ro ves I have achieved what I set out to d o.