The Pushback on Modernism - Design Context essay by George Dunlop

In the 70s, new post-modern design movement came into fierce conflict with the old guard of the modernist school which led to many debates on design and artistic theory as well as teaching method, including ‘The Debate’ which is analysed within this essay.

The Debate in question is the great Debate between modernist Wim Crouwel and post-modernist designer Jan van Toorn which occurred in 1972.

The two designers in this debate were influential the Netherlands and their design styles could be more different.

Both of them were hired tonot do the same briefs which gives an excellent place compare and contrast the post-modernist to the modernist design technique.

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“To convey content mean that the design itself does represent particular values.

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You have to convey something somebody.

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Any sign is to someone.

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Crouwel’s response to Van Toorn’s statements was to say:

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Paradoxically, Jan van Toorn feels that design explicitly project and social meaning within their designs and act subjectively as an intermediary engage the viewer with the personal concerns of the designer.

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The pushback against modernism began in the mid-1960s when young graphic designers were educated in the world where modernist principles of beauty, clarity and objectivity were its hegemony.

Many of the young graphic designers educated in the Modernist School began to push away from the modernist principles due to modernism’s perceived rigidity changing cultural times of the late 60s and early 70s as well as the development of technology such as the Macintosh computers, which opened new avenues for exploratory design.

The earliest of the post-modernist designers was Wolfgang Weingart who was like many other young designers of that period thinking that, typography should be used more subjectively rather than objectively order to push own personal thoughts into their design.

Moreover, Weingart was extensive in his experimentation with typography which would then lead to many new interesting forms of typographic designs, although for the most part illegible.

Weingart became an active teacher in his new ideas, stressing that students should break all the rules of their craft experimentation to create new design methods as well as insisting that students think about how their work affects society and the world around them feel that to be social, political or ecological.

Weingart’s ideas of social responsibility and subjectivity within graphic design spread rapidly across Europe and America and became ain staple for many in the 70s and 80s onwards.

The engineers of post-modern thinking began to develop in areas such as music with punk rock, which insisted upon kitch Dada-esque designs with politically charged messaging for their zines, album covers and merchandise.

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Pushback Against Modernism The pushback against modernism began in the mid-1960s when young graphic designers were educated in the world where the modernist principles of beauty, clarity and objectivity were its hegemony. Many of the young graphic designers educated in the Modernist School began to push away from the modernist principles due to modernism’s perceived rigidity and the changing cultural times of the late 60s and early 70s as well as the development of new technology such as the Macintosh computers, which opened new avenues for exploratory design. The earliest of the post-modernist designers was Wolfgang Weingart who was like many other young designers of that period thinking that, typography should be used more subjectively rather than objectively in order to push their own personal thoughts into their design.

Moreover, Weingart was extensive in his experimentation with typography which would then

lead to many new interesting forms of typographic designs, although for the most part illegible. Weingart became an active teacher in his new ideas, stressing that students should break all the rules of their craft in experimentation to create new design methods as well as insisting that students think about how their work affects society and the world around them feel that to be social, political or ecological. Weingart’s ideas of social responsibility and subjectivity within graphic design spread rapidly across Europe and America and became a staple for many in the 70s and 80s onwards. The engineers of postmodern thinking began to develop in areas such as music with punk rock, which insisted upon kitch Dadaesque designs with politically charged messaging for their zines, album covers and merchandise.

The pushback against modernism began in the mid1960s when young graphic designers were educated in the world where the modernist principles of beauty, clarity and objectivity were its hegemony.

The earliest of the post-modernist designers was Wolfgang Weingart who was like many other young designers of that period thinking that, typography should be used more subjectively rather than objectively in order to push their own personal thoughts into their design.

Moreover, Weingart was extensive in his experimentation with typography which would then lead to many new interesting forms of typographic designs, although for the most part illegible.

Weingart became an act’s r o tive teacha ng of s ni er in his e W eas spo nd e new ideas, id l r y a ity a lit v i h stressing c bi ecti rap i that stug s bj u hin gn s dents should Many of the young it graphic si ap designers all de d r ssSchoolbreak educated in the wModernist ic rea cro d the rules of began to push away a the an nmodd sp from y e l a ernist principles due pmodernism’s a their craft id to ro ica st in u experiperceived rigidity and a ny E the er echanging a m m mentation to m and cultural times of theAlate s ca 60s r 0 e o b development f new 7 create early 70s as well as the le he s on p design metht of new technology MacThe such as n the 80 ods as well as i . d intosh computers, opened new pos enwhich gin an rds e t insisting that e a avenues for exploratory design. r ing mod so w e f b r students in a egan n th i n r think about mus eas s to dev ke u i c l how their roc wit ch as op k h , p work affects w upo unk hi society and que n kitc ch ins h pol design Dada isted the world i t s e i c s mes all wit around them zine saging y char h feel that to and s, alb for t ged be social, mer um c heir cha ove political or ndi rs se. ecological.

In the 70s, new post-modern design movement came into fierce conflict with the old guard of the modernist school which led to many debates on design and artistic theory as well as teaching method, including ‘The Debate’ which is analysed within this essay. The Debate in question is the great Debate between modernist designer Wim Crouwel and post-modernist designer Jan van Toorn which occurred in 1972.

The two designers in this debate were influential in the Netherlands and their design styles could not be more different.

Both of them were hired to do the same briefs which gives an excellent place to compare and contrast the post-modernist to the modernist design technique.

As a graphic designer, Wim Crouwel was firmly rooted within the modernist school of design in that the designer’s sole duty is to present the client’s message.This means to have complete objectivity within their approach to their design brief. It is the message of the client which is the primary concern. The designer is not the focus of attention.

The designer focuses on making the message of the client as clear as possible in the most beautiful way that projects well with client; where a designer fades into the background without projecting any personal opinions and views whatsoever as it will confuse the message of their work.

Paradoxically, Jan van Toorn feels that design should explicitly project and critique social meaning within their designs and act subjectively as an intermediary and engage the viewer with the personal concerns of the designer.

The works of these two designers could not be more different. A fine example of this is when they both were given the same brief to design the cover and spread of the Christmas issues of Drukkersweekblad en Autolijn in 1961 and in 1968.

Crouwel’s cover and spread for the Drukkersweekblad en Autolijn are neatly grided with strong colours and it is laid out in a clear logical way which is easy to understand although it is visually uninteresting.

Picture 1: Crouwel’s cover and spread (Christmas issue of Drukkersweekblad en Autolijn, 1961)

In comparison, van Toorn’s cover and spread for the same publication is ungridded, the colouring is inconsistent, it has a more illustrative style and layout of the spread which is not completely legible.

Although it is very visually interesting, it gives off the impression that it is unprofessional and in a certain way incomprehensible.

is easy to under-

In the 70s, new logical way which post-modern design laid out in a clear movement came into colours and it is ed with strong fierce conflict with are neatly gridthe old guard of the blad en Autolijn modernist school Drukkersweekspread for the which led to many de- wel’s cover and bates on design and ar- sweekblad Crouof Drukkertistic theory as well sues the Christmas isas teaching method, er and spread of including ‘The Debate’ design the covthe same brief to which is analysed both were given within this essay. The this is when they Debate in question A fine example of be more different. is the great Debate signers could not As a graphic designer, Wim Crouwel these was twofirmly de-rooted within the modbetween modernist ernist school of design in thatThe the designer’s works sole of duty is to present the designer Wim Crouclient’s message. This means to have complete objectivity within their wel and post-modapproach to their design brief. It is the message of the client which isernist the primary concern.Jan The designer is not the focus of attention.The designer designer focuses on making van Toorn whichthe message of the client as clear as possible in the most beautiful way that projects well with client; where a deoccurred in 1972. signer fades into the background without projecting any personal opin-

The two designers in this debate were influential in the Netherlands and their design styles could not be more different. Both of them were hired to do the same briefs which gives an excellent place to compare and contrast the post-modernist to the modernist design technique.

de os at e ub e th qu s th r. i t s it ac e ne g g el cr d ga si fe d an en de n an s e or t gn d th To ec si an of oj de y ns r an r v p ir ia er ly he ed nc an t t m o J ici n er l c , pl hi nt na ly x it i so al e w n er a p ic ld g ox ou in s he ad sh an a h t e y t ar P gn m el i si ial iv r w c ct e je iew v ions and views whatsoever as it will confuse the message of their work.

Van Toorn’s cover and spread for the Drukkersweekblad en Autolijn is a fine example of the pushback against modernism as it does not follow any of the guidelines laid out from the modernist school; this makes it radically interesting but not very legible; rather moderately confusing.

On the position of objectivity what van Toorn had to say on the matter was: “Wim says that he uses a particular graphic means as a neutral thing, but in my view, it is always used subjectively. It’s used, after all, has a social meaning. It has a social goal and that is why it is subject. It is there that your influence lies, be it your personal influence or your influence as a group. It all depends on how you use your means”.

“To convey content does not mean that the design itself does not represent particular values. Any design is a certain contact, and emotional value. It has specific features.

It has a clear goal. You have to convey something to somebody. Perhaps like local conviction, The Report on the Meeting.

Any design is addressed to someone.

The double duty of the messenger, the designer, is to convey the content without interfering with it. On the other hand, there is the designer’s inescapable input and subjectivity. You cannot deny this dialectic, and you should rather see it as an advantage”.

“You do not want to inflict harm on to either the content or the identity (of the message), which is why you always design in the same way-this, at least, is what I think your work will show over a longer period. By giving the same design response in all situations, you produce work of great uniformity, in which any sense of identity is lost.”

Picture 2: Jan van Toorn’s cover and spread (Christmas issue of Drukkersweekblad en Autolijn, 1968)

Van Toorn says that designers say that their work has social meaning and that designers must approach their briefs subjectively at the cost of possibly inflicting harm on the content of the message. This is a common theme found throughout many of the postmodernist designers and, unfortunately, it can be argued that this may be the reason why many designers have deluded themselves into thinking that, design’s power of influence is greater than actually is. Crouwel’s response to Van Toorn’s statements was to say:

“By giving th e sa m e d esign respo nse in all si tuation s, Van Toorn sa yo u p ro duce work ys that desig of great un ners say that at the cost o iformity th f p , e o in ir ss w w ib o h ly rk ic in h h flicting har as social any sen mode se m rn m e is o an o t f n d identity in e th si g e g an co ners and, un d that desig ntent of the into thinki fortunat ners m mess e u n ly st g is lost.” , th it ap ca at p , n ro d b ac e e argued that age. This is a common sign’s powe h their briefs theme fo r of influ this may subje ively ct e u n b n ce e d th th is e ro g re u re g as ater than hout man on why m ac y an o tu f y al th d ly e e si is p g ost. Crouwel’s n ers have delu response ded th to e m V se an lves To orn’s statem ents was to say:

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On the position of objectivity what van Toorn had to say on the matter was:

ys used view, it is alwa ing, but in my th l subject. ra is ut it ne y a hic means as and that is wh p. It all s a social goal particular grap ou a ha gr It es a us g. as in he ce an at en me “Wim says th or your influ l, has a social ce al r en te flu af in ans”.… , al me ed on us ur ’s w you use yo be it your pers subjectively. It depends on ho influence lies, ur yo at th e It is ther

“To convey conten t does not mean tha t the design itself value. It has spe does not represent cific features. It particular values has a clear goal. the Meeting. Any des You have to convey . Any design is a cer ign is addressed to something to som tain contact, and someone.The double with it. On the oth ebody. Perhaps lik emotional er hand, there is the duty of the messen e local conviction, ger, the designer, designer’s inesca The Report on is to convey the con pable input and sub tent without interf jectivity. You can “You do not want not deny this dialec ering to inflict harm on tic, and you should to either the conten rather t or the identity (of see it as an advant the message), which age” …. is why you always design in the same way-

“This is something I keep telling my students. I say to them, “Above all, make sure you know what you are doing. If this is incompatible with what you aspire to do, get out of it today and rather embark on a study such as political science or philosophy or psychology; or go into politics, because from there you have much more influence on people and you may achieve whatever you aspire faster than through our vocation.”. After all, our cloud is incredibly limited. Politicians in Parliament can respond directly to our society and introduce bills that are government may subsequently implement. We do not find ourselves on that site.

I’m not a politician, and I also make a conscious decision to stay away from that world. I love my profession, and I try to make a contribution from there.”

Crouwel’s sobering words reminds us that designers should not be activists but focus their energies on producing good work for their job. This is because designers will not force change through making logos and subversive advertisement.

What did the pushback against modernism achieve? The achievement was in realising the possibilities of visual communications and showing a raw emotional element for embracing the randomness of artistic method. As well, the pushback allowed for a new exploration in typography producing experimental works such as grunge typography and grunge visual aesthetic. The pushback allowed for a rebirth of antiart.

This is characterised with being amateur and with a non-formal technique which allows for many new talents to enter the graphic design world and influence it later.

Unfortunately, the pushback established a problematic president in design theory where the once important focus on the message became side-lined in favour of the medium and social concepts.

This happened in graphic design theory where the fundamentals of conveying the message clearly took a back seat as medium and its style became more important than the message. This caused for a sharp decline in legibility within visual and typographic communication.

The greatest ramification of the pushback against modernism was the establishment of subjectivity over objectivity in the field of graphic design. Pedestaling subjectivity over objectivity meant that designers became fully immersed within social issues. This is fundamentally dangerous for designers as designers must think more about where they work than how they work, which pushes designers to be activists rather than good communicators. Forcing subjectivity into rough design has also affected the education of the vocation as more graphic designers are getting trained to overthink the morality of what they are doing rather than focusing on good craft, which is a problem in its own making.

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“This is something I keep telling my students. I say to them, “Above all, make sure you know what you are doing. If this is incompatible with what you aspire to do, get out of it today and rather embark on a study such as political science or philosophy or psychology; or go into politics, because from there you have much more influence on people and you may achieve whatever you aspire faster than through our vocation.”. After all, our cloud is incredibly limited. Politicians in Parliament can respond directly to our society and introduce bills that are government may subsequently implement. We do not find ourselves on that sit e . I’m no t a politician, and I also make a conscious decision to stay away from that world . I love my profession, and I try to make a contribution from there.”

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The greatest ramification of the pushback against modernism was the establishment of subjectivity over objectivity in the field of graphic design. Pedestaling subjectivity over objectivity meant that designers became fully immersed within social issues. that producing

To conclude, the pushback, which broke the hegemony of modernist school in graphic design, has reaped the benefit of new ways of communicating ideas and new styles which a graphic designer can use. However, at the cost of the designer’s objectivity. This may have caused employers to become more overbearing in recent years as there is the paranoia that a designer may include an unsolicited political stance within the designs for their company. Thanks to the pushback against modernism, a designer has become an activist. A designer is now in an awkward position in which not taking a subjective stance can be viewed with suspicion. But graphic designers should be objective communicators that focus on good craft rather than overthinking areas which are out with the designers’ control.

Bibliography Article Pimprikar, A, 2017. Swiss Typography [online] Available: https://www.quitesimple.co/ project/swiss-typography Accessed: 21st January 2021 Books Crouwel, W, Huygen, F, Poynor, R, Van Toorn, J, Van de Vrie, D 2015. The Debate – The Legendary Contest of Two Giants of Graphic Design. Translation by Brouwers, T New York: Monacelli Press Huygen, F 2015. _Wim Crouwel Modernist.

Translation by Lake, H Amsterdam: Idea

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Huygen,F2015._WimCrouwelModernist.

Translation by Lake, H Amsterdam: Idea tnecer ni gniraebrevo erom emoceb ot sreyolpme iw ecnats lacitilop deticilosnu na edulcni angihatin st moder nism, a design er has

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https://www.quitesimple.co/project/swiss-typography

[online] Accessed: 21st January 2021

Crouwel, W, Huygen, F, Poynor, R, Van Toorn, J, Van de Vrie, DBooks 2015.

The Debate – The Legendary Contest of Two Giants of Graphic Design. Translation by Brouwers, T New York: Monacelli Press

Pimprikar, A, 2017. Swiss Typography

Available:

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To conclude, the pushback, which broke the hegemony of modernist school in graphic design, has reaped the benefit of new ways of communicating ideas and new styles which a graphic designer can use.

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“Wim says that he uses a It graphic means as aparticular neutral thing, but in view, always used subjectively.

It’s used, after all, meaning. has asubsocial goal and that is why it is ject.

It is there that your influence lies, be it your personal or your influence as amy group.

It all depends on how you use your means”.…

is something keep telling my students.

I“This say them, “Above all, make sure know are doing.

Ifto this is incompatible with what you aspire to do, get of it today and rather embark on aout study such as political science or philosophy or psychology; or go into politics, because from there have much more influence people may

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As amakgraphic designer, Wim Crouwel was firmly rooted within modernist school in that the designer’s sole duty is to present the client’s message.

This means have complete objectivity within their approach to design brief.

It message of the client which the primary concern.

The is not the focus of attention.

The focuses on the client as clear as possible in most beautiful way that projects well with client; where aof designer fades into background without projecting any personal opinions and views whatsoever as itis will confuse message of their work.

Paradoxically, Janthe van Toorn feels that design should explicitly project critique social meaning within their designs act subjectively as an intermediary and engage the viewer with personal concerns of designer.

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pushback against modernism in the mid-1960s when were educated in where the modernist principles of beauty, clarity and objecwere its hegemony.

Many of young deeducated in the Modernist School began to push away from modernist principles due modernism’s perceived rigidity changing cultural times late 60s early 70s as well as the development new technology such as the Macintosh computers, which opened new avenues for exploratory design. earliest of the ernist designers was Wolfgang who was like many other young designers of period thinking that, typography be used more subjectively rather than objectively order push their own personal thoughts into their design.

Moreover, Weingart was extensive in his experimentation with typography which would then lead to new interesting forms of typographic designs, although the most part illegible.

Weingart an active teacher in his new ideas, stressing should break all the rules of their craft in experimentation to create new design methods well as insisting that students think about how their work affects society and the world around them feel that to be social, political or ecological.

Weingart’s ideas of social responsibility subjectivity within graphic design spread rapidly across Europe and and became aAmerica staple for many in the 70s and 80s onwards.

The engineers of post-modern thinking began to develop in areas such as music with punk rock, which insisted upon kitch Dada-esque designs with politically charged messaging for their zines, album covers and merchandise.

atvocehsdrijF.eniouadff m slfoevgcstgoub-scertion-ittrhcga-ohy e-tehneThe works these two designers could not be more different.

A fine example this is when they both were given same brief to design the cover spread of the Christmas issues of Drukkersweekblad en Autolijn in 1961 and in 1968.

Crouwel’s sobering words reminds usraw that designers should be activists but focus energies on producgood work for their job. because designers not force change through making logos and subversive advertisement.

What did against modernism achieve?

The achievewas in realising the posof visual communications showing asibilities emotional element embracthe randomness of artistic method.

As well, the exploration in producing experimental works such as typography and grunge visual aesthetic.

The pushback allowed awill rebirth of antiart.

This is characterised being amateur and with anew non-formal technique which allows for many new talents to enter the graphic design world and influence it later.

Thanks toin the pushback modernism, acraft designer has become an activist.

Aagainst designer isdesigners now inthe an awkward position which not taking a focus subjective stance can be viewed with suspicion.

But graphic should be objective communicators that on good rather than overthinking areas which are out with designers’ control.

By Džordžas Dunlop