New Graphic Design Sketchbook

New Graphic Design

By Danny Taylor

Module TFD1064.

Design for Communication Design Graphic design group Project - “New Graphic Design�

Student; Danny Taylor Student number; U1254563

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

Part 1 Research into Modernism and Post Modernism generating a body of work that explores the origins and philosophy of the movements. Your visual work should be an expression of the movement and not a pas- tiche. You should aim to convey the essential nature of movement. You will need to understand the social, industrial and political concerns which influence both movements.

Part 2 You are to submit designs for a broad sheet, which should be based on your personal and original visual research.

You should produce: Masthead Cover Design Inner Pages A3 Portrait Cover + Inner

The meaning of the term ‘Modernism’ is the term used to embrace a diverse range of art movements an ideas that emerged during the first half of the 20th century and profoundly influenced the subsequent development of art, architecture and design. There was also a wide spread utopian belief that mechanization and technology if properly used could produce a better less divided society.

Research into Modernism + Post Modernism http://shanny12.wordpress.com/modernism-vs-postmodernism/

Research into Post-Modernism

http://gds.parkland.edu/gds/!lectures/history/1975/postmodern.html

Research into Modernism

http://www.corcoran.org/modernism/index.htm

Research into Post-Modernism

http://www.britannica.com/EBchecked/topic/286993/industrial-de- sign/259568/ Postmodern-design-and-its-aftermath

Research into Modernism + Post Modernism (gives links to majority of images) http://pinterest.com/dlt840/

Research into De Stijl

http://www.artsmia.org/modernism/nintro.html

Research into Cubism

http://www.guggenheim.org/new-york/collections/collection-online/show-list/ movement/?search=Cubism

Research into the Grid + Magazines http://pinterest.com/dlt840/

Paula Scher quote used in magazine http://quotesondesign.com/paula-scher/

Modernism is quite refined and restricted based on grids and certain colours, in a way the ‘modernism era’ ‘ended’ in the mid 1960’s. Modernism tends to be very specific and dull in the design that comes out of it, people could say that it is an unexpressive art or an unexpressive design method that restricts any de- signer or artist to what they can do with their work.

To help look into Modernism and its ‘limitations’ I will look at a few modern- istic artists and create visual responses from their work looking into what the ‘guidelines’ of modernism actually are.

Mohol Nagy’s work follows a fairly simplistic theme in which helps create this very clean basic look. In a way I like this minimalistic approach as more than anything I feel that it allows you to fully focus on the piece, this also helps ensure that your not overwhelmed by many different things within the piece. There is also a limit to the colours used which keeps the tone of the work down ensuring that the colours aren’t massively overpowering.

These two pieces to the right both using the darker background in my opinion don’t seem to have the same effect as some of Mohol’s other pieces. I do still really like the minimalistic look they have to them although like I’ve said I feel that the dark background dulls down the other colours in the pieces too much thus making them seem rather dreary and miserable.

Again this work has a very minimalistic look to it. Out of all the pieces by Mohol, the two to the left have the most impact on me.

I think these two are the most powerful in their visual language, they both have a lighter background in which I feel helps emphasise the colours in the foreground. This is possibly helped along by the angular lines in the pieces, they are either vertical and horizontal or completely diagonal.

To have a slight insight into the style of work, I will consider transcribing one of these pieces or possibly both. This will allow me to understand the pieces and the effort that has gone in behind them.

The piece below is a direct transcription of one of Mohol’s pieces. In transcribing this piece I really enjoyed playing around with the transparencies of the shapes and messing around with the different colours helped inspire me to possibly involve in my own work when designing the magazine cover and inners. Considering what I’ve used to re create the piece I will need to have a think about what I would implement into my own work in relation to this.

This piece to the right again has helped me have an insight into the style of work that Mohol uses, this piece is much cleaner than the other one I have transcribed, and by far is very minimalistic in comparison to the other piece. I really like the use of only three colours which in a whole help emphasise the intentional minimalistic look.

Referring to my own work I will consider the colour choices and ‘limitations’ if I go in the modernistic way.

Walter Dexel’s style of work has more of a formal serious look to it. It still has a sense of minimalistic it but then with the addition of more detail in the work. I think this work has more detail in it because they’re more of a poster or advertisement for something rather than a stand alone piece of work.

One thing i like about this work is that despite being filled with more detailed information and a higher number of lines and shapes it still continues to portray the simplistic and clean look that I have started to like. Again though, the colours are set to a minimum to continue the minimalistic look.

Out of all pieces of work created by Walter Dexel the piece in the top left in my opinion is one of the most effective. Possibly the reason for this is the use of colours that I think slightly clash with each other which in consequence helps brighten up the two. Again this is some form of advertisement on a poster or something but then attempting to go off the grid and use an angled approach, unfortunately this is still following the grid as the angles are still confined within, meaning they aren’t going out of the ‘mould’ of what design’s restraints possesses at this time.

This is a direct transcription of one of Walter’s pieces. I normally choose my favourite piece by an artist to transcribe, so this is my favourite piece by Walter Dexel. I like how the large S breaks down the piece and in a way almost breaks out of the grid, just again it is still there confining the piece and limiting the piece to what it could actually be.

Paul Rand is probably my favourite Modernistic artist as his style of work has more freedom to it. There just doesn’t seem to be as much of a reliance on the grid. Again i really like the simplicity of his work, in my opinion i think it is the most effective style in context. The one criticism i could have about his work is that there is genrally a lot of empty wasted space but i do think that allows you to focus on the work itself and not get distracted by anything behind the main part of the piece.

Again i really like these pieces by Paul, using the basic block background to help emphasise the main part of the piece.

These four pieces specifically use less colour than some of Paul’s other work but never the less they are just as effective if not more. In my opinion with this style, the fewer colours used the more effective the work is. I also think it makes the work kinder to the eye and easier to look at.

This is a direct transcription of one of Paul’s pieces of work (shown above). The purpose of transcribing this was to test the use of ‘random’ shapes that are spread across the page.

Like i mentioned on the previous page i really like this kind of work by Paul, i think that the less colours used help clean up the pieces and also help emphasise the main part of the work. It is something i will definitely consider when looking at implimenting artists work into my own at a later stage.

This is a second direct transcription of one of Paul’s pieces of work (shown to the right).

This consists of a few more colours than the other pieces i have shown, but regardless of this the fact they are confined within a circle prevents them from being overpowering and help the white background purify the whole piece. Adding the white background brightens up the piece but also gives it a sense of open ness and a sense of being new. I may think about using shapes to confine colour or letters in my own work as this could turn out to work very well for a magazine.

The time line just shown is a representation of what happened during the time of Modernism. In response to this I will consider what influence design adds into the time line and what it has done to get from date A to date B. For example there have been time lines that have been influenced by Product Design/ Design & Technology which includes it’s own influences on Modernism, so influences such as the introduction of wood, metal, plastic etc.

The time line consists of hidden (Not detailed) design based influences on Modernism that then helped create the work that is seen through the Modernistic era. In other words it would basically show what was introduced to the world of design that helped create what is seen within the time line, in a way this is saying ‘none of this could have been without...’, That is more or less the point it would be trying to get across to show if it wasn’t for certain things then design wouldn’t be anywhere near where it is right now.

De Stijl is a fairly different designer to the ones I have already researched into. De Stijl doesn’t also design things such as posters he also designs furniture. He is a designer that took part in a big area of the modernistic period. Where designers came up with strangely shaped furniture and items for the home, most common of which is the household chair.

De Stijl’s design work for posters again has a very clean and minimalistic look to it.

Using as fewer colours as possible to help emphasise the lines and shapes in the main part of the pieces of work.

These are just some examples of De Stijl’s furniture pieces he created through his career. As you can see, he did more design work for chairs than he did for some of the other household items but never the less he contributed to a recognisable part of the modernistic movement.

I really like the light (show on the left) that De Stijl created, I think that it has the same influences as his design work. Using as fewer colours as possible and it is structured to be very clean and crisp. Ensuring that the light does not look too cluttered or overcrowded, in a way you could say that the light is too bare and you might as well stick a light bulb on top of a stick.. But where is the fun and adventure in that?

The Bauhaus movement brought a specific style of design into the world, altering shapes and creating patterns to something new and revolutionary.

I really like this squared patterned like piece (shown on the right). The main thing I like about it how there is a sense of gradient within the squares, yes some of the colours within are contrasting with the largest of the squares, but in a general the colour makes a slight change when decreased in size. This creates the slight illusion of a gradient within colour from dark to light or light to dark.

These are more examples of design work influenced by the Bauhaus. Some are more complex than others, but with everything each has a different purpose.

The piece I like the most on this page is the one found in the top right, I really like the flow created by the shape. A part of the style I like is how nothing within the piece is actually connected.

Again this uses a plain white and flat background to help emphasise what is in the foreground. Then literally one colour is used aside from black, this being the stand alone colour emphasises it’s brightness.

The introduction of Cubism brought in the introduction of higher detailed design. In my opinion I think this is closer to being Fine Art than Graphic Design, but never the less it is. A piece I quite like is the one seen to the right, I like how visually it is a twisted interpretation of France, the reason I can determine this as France is because of the highly recognisable Eiffel Tower towering over what then turns out to be the small buildings of Paris. This piece gives off a sense of size and the superiority of the Eiffel Tower over the other buildings in the city.

Again Cubism has some form of influence on architectural styled artwork. A piece I quite like is this piece to the right, it seems to have an impossible shape - esk style to it. Yes the piece is designed to look in a way abstract, but more than anything I see it having a similar kind of message as the piece spoken about on the previous page. I think this piece has been designed to show the structural superiority of certain buildings or certain aspects of buildings.

The introduction of Italian Futurism brought what i think is very interesting art and design. One piece i really like is the one shown above, i really like the perspective of this piece.

The sense of diving down at a city in a plane makes you step back from the piece, the fact that a piece of design can have such an affect on someone really isnpires me to think about something like this when designing my own work.

How i would impliment something like this into a magazine is another thing but, never the less it’s something i will definitely consider if i go down the Modernistic path.

This page of Italian Futuristic style work is by far a step forward from the previous. The depth within some of these pieces is definitely high.

One piece sprecifically that i really like is the one shown in the bottom right, this piece has a sense of motion and speed behind it which is a pretty interesting thing to consider if i impliment it into my own work.

On behalf of colour there is a tad more used in a lot of the work, but in the piece mentioned there is a limitation on the colours used like pieces seen on previous pages. I think this is something that draws me in as i prefer the kind of work that is minimalistic in colouring to ensure that it doesn’t seem to over crowded and has a very clean look to it.

The introduction of Russian Contructivism, as seen on this page the first thing that comes to your attention is that red is the dominant colour.

For sure there is a very high influence from propoganda, the yellows and reds just remind me of some of the world war propoganda posters designed to talk to the public. The difference is though that this seems to have a slight happier tone to it, in using colours that are not so different, gives the work a smooth older look to it.

Again the work seen on this page seems to have a very high influence from propoganda. One piece specifically that i like is the one to the right.

I think that I like this piece because of yet again, the simplicity of it. Yes there is a larger amount of black used and the overall background colour is covered by this layer of black. It does seem to come to my attention that there is always work with minimal colours used, this is something that is a trend of Modernism, as a sense of it being restrained and confined.

After researching into Modernism I have a slightly better insight into what the term means . Now I have this im- proved knowledge I need to broaden it to allow myself to eventually choose either to go in a Modernistic or Post- Modernistic way with the project.

To choose which path I will take as I have said I will have to research into post-modernism to allow a broader under- standing of that term which will influence my choice and direction that I will eventually take my work.

The meaning of the term ‘Post Modernism’ is the design movement that evolved in the mid 60’s as a critical response to the dominance and perceived sterility of Modernism. Embracing art, architecture and design. It re established interest in ornament, symbolism and visual wit. Uncon- strained by dogma, post - modern designers rejected mod- ernism’s obsession with progress and challenged the fun- damental tenets of order and discipline espoused by the Bauhaus.

Post Modernism begins around the late 1960’s/ early 1970’s, it is more free and open, there are no guidelines that the artwork follows. In a way Post-Modern- ism is a sense of art and design being released from it’s restraints and is fully allowed to explore the world of design.

To help look into what Post-Modernism helped produce I will look at a few Post-Modernistic artists/designers to help visualise what elements of Post- Modernistic work helps produce work by the artists/designers.

Neville Brody has a very different way of working. His style of work a lot of the time uses lots of black with colour over the top so that they are purified and cleaned up.

A piece i really like is the one to the left, I really like how at first it seems like something consisting of random shapes and lines, but at closer inspection the white lines actually form the word BRODY. This in a way could be classed as a hidden message, as someone who doesn’t really look at design properly will just see it as a series of random shapes in different colours, whereas if you take the time to look into the piece it rewards you with things like that hiddent message.

These pieces by Neville Brody are of the same style, white background with red and black over the top. These colours working together are very effective as they dont seem to clash, they seem to compliment eachother and work with eachother to then purify the pieces.

A piece i really like is the one to the left, i really like how the head is built up of hundreds of different letters in various colours and sizes, in a way its the aspect of creating something without it actually being there.

This is a direct transcription of one of Neville’s pieces (original above). I really liked the hidden message behind this piece of work, and i wanted to create it myself to see how difficult it would be to create the shapes that flow with everything around them and still shape a letter form that is recognisable to us.

The choice of colours is also quite good, using oranges, browns, blacks, greens and whites to ensure there are no horrid colour clashes. I think the small ammount of green is used to help break up the brown and orange. In a way i see this as a step to deliberately confuse the eye.

This is something i will consider if i choose to go down the Post- Modernistic path. I will have a look into designing something that has a message such as this that is only really seen once a detailed look into the work is taken.

David Carson has a style of work that i see being in a way a rival style to Neville Brody. The work that David produces is of the same kind of style as Brody, but with the obvious difference of his own alterations and flares.

A piece that i really like is the one just to the right, deliberately confusing the eye to work out what this says is a really effective way of getting someone to take time into looking at a piece of work.

More examples of David’s work.

One that i like is the ‘Yes!’ piece below, i really like the thrown off distorted look it has. The fact that it is on a flat black background with a broken up yellow font over the top helps the distortion effect work properly, if there were other colours in the background then it would be harder to notice the broken colours and duplicated word.

It’s a style that is effective but could be a tad too much for it to be used in a magazine.

This < is a direct transcription of the piece above. I felt like i had to attempt this piece with its deliberately confusing wording in order to work out how it was done. Some of the letters are reversed or flipped where as others are left alone, this helps the brain work out what each of the words says.

If all the letters were flipped you would be able to read the words much easier than what is seen now as it is one simple change that is just being seen at a different angle. Variating the letters means itâ&#x20AC;&#x2122;s harder for the brain to work out the word so quickly making the style much more effective.

Paula Scher is a designer that i feel has a very childish sense involved within her work. These pieces have a very soft colourful look to them, which i think portrays the childish look.

One piece i like is the one in the top right, this piece reminds me of gathering lots of sweets wrappers and sticking them on the walls.

Again emphasising the childish theme. This style of work is very different but i do think itâ&#x20AC;&#x2122;s a tad too childish for anything to come out of it and be taken seriously (In my own work).

These pieces by Paula Scher are more influenced by the colours yellow and red. In my opinion this work has a sense of childishness to it, this is probably because of the high use of primary colours and only primary colours rather than lots of darker toned ones as seen on the page before. Besides the colours the actual shapes and type used are much friendlier and rounder than some of the pieces on the previous page.

Transcription

RRR paula scherpaula scherpaula scherpaula scherpaula scherpaula scherpaula scher paula scherpaula scherpaula scherpaula scherpaula scherpaula scherpaula scherpaula scher paula scherpaula scherpaula scherpaula scherpaula scherpaula scherpaula scherpaula scherr paula scherpaula scherpaula scher

PAULA

This method of confining everything into the grid like this does work pretty well, I will most likely attempt to re-create this in my own work if I choose to go down the Post Modernistic path.

PAULA

DESIGNER PUBLICATION

DESIGN

PROMOTIONAL ADVERTISING

DESIGN

IDENTITY BRANDING

AND

The structure created by the type in a way forms columns like found in a magazine article, hence why I thought this piece would be relevant. One thing I like about this piece is that sometimes to add a bit of variation to some of the text a black square is added behind some text to emphasise it or to make it look different from the other text of that colour and font.

SCHER

AND

The larger piece is a direct transcription of the smaller one seen in the middle. This was an attempt of creating a piece that is fully reliant on typography to create a structure.

SYSTEMS

PACKAGE

DESIGN

ENVIROMENTAL

DESIGN

MAKE IT

BIGGER

SCHER

The development of architecture allows designers to express themselves and also create stunning buildings such as what is seen on this page. I really like how expressive some of these buildings are. My favourite of the buildings seen on this page is the one seen in the bottom left, this is a very pretty looking building in a prime location on the coast. In my opinion I think this building was inspired to look like a sail found on a boat, this is probably a reality so that then it seems more like a natural sight for its surroundings rather than something completely random that doesnâ&#x20AC;&#x2122;t really fit in.

Again more funky shaped buildings that stand out from the crowd. One building that stands out to me is found just to the right, this building is in Manchester and whenever I saw it I imagined it to represent a set of drawers, each of the rooms being out at separate lengths seems to remind me of draws with each one open at a different angle. In a way giving the sense of uncertainty about the position of the rooms.

Another point is sort of defying physics with the fact that there are no support struts beneath either of the rooms.

Installation art is in my opinion, just a physical interpretation of a designers thoughts and feelings at the time. Yes some are more expressive than others, such as the piece to the left that has what looks like a tiger covered in arrows. This represents what seems like a hunt for this animal in prehistoric times, and the artist could be expressing the hate for what humans can do to some of the worlds beautiful creatures.

These are just some more examples of Post Modern Installation Art. One of which that I am familiar with is the golden dog in the top left corner, this was created by an artist called Jeff Koons, he has designed many sculptures such as this up to designing the most recent BMW art car!

I really like how random some of these pieces are, one I like the most is the house box (shown on the left) not only can it be placed in any country or climate but it can also be placed in any surroundings, it can be grafted to create a revolutionary peer looking structure to possibly even a funky looking tree house, its something that is highly adaptable and is definitely something to be inspired by whilst thinking what to put onto a magazine, as magazines change over time Iâ&#x20AC;&#x2122;ll need something to suit any change in a way like how this living box can alter to any surroundings.

After research into Post-Modernism I have a better in- sight into what this term means . Now I have improved my knowledge of it I can allow myself to now choose either to go down a Modernistic or Post-Modernistic path with my work.

After research into Modernism & Post-Modernism I have come to the conclusion that I will focus the project around Post-Modernism, I really love the free nature of the movement and itâ&#x20AC;&#x2122;s effect on design. I think in choosing PostModernism allows me to be more expressive and less restrained by guidelines and rules as if in a modernistic way.

I will now begin to look into the second half of the brief so that I can relate this research I have taken on board. I do feel that I can still research further into Post-Modernsim, to allow myself to relate to the brief properly. For sure I will now have to research into broad sheets which will be linked around my research. I will also begin to experiment with ideas and begin to generate and ideas body to help take the project one step further.

The Grid

This is a brief look into the ‘grid’ that is used in aid of designing magazines. This is to show how much detail the ‘grid’ can go into which is then implemented into the design of magazines and other media of such.

To understand it more I will attempt to look into what parts of the grid have been used in some existing examples of magazines or books.

This will hopefully give me a better insight into what works and what doesn’t. After that research stage has been completed I will then begin to start designing my own work influenced by this research and research into post modernism.

The Swiss designer Karl Gerstner’s 1962 grid for the periodical Capital is near perfect. His unit, both horizontally and vertically, was 10pt—the baseline to baseline measurement of the text type. The type area was a square of 58 units. Allowing for intercolumn spaces, this gave Gerstner grids of two, three, four, five, and six columns and fields.

Grids and Mathematics The difference between grids as we know them and the page layouts of the past rests in increased flexibility and mathematical dexterity. This starts with considering format and ends with baseline grids, for which lines are often subdivided into units as small as 2pt. The computer has made greater precision easy, and contemporary grids subdivide the page into small component parts that can be combined in numerous ways that still ensure cohesion in the design. Small columns are joined to make wider columns, numbers of baseline units are joined to make fields, and so on.

Karl Gerstner’s grid for the journal Capital, designed in 1962, is still often cited as near-perfect in terms of its mathematical ingenuity. The smallest unit in Gerstner’s grid, or matrix as he called it, is 10pt—the baseline to baseline measurement of the text. The main area for text and images is a square, with an area above for titles and running heads. The cleverness lies in the subdivision of the square into 58 equal units in both directions. If all intercolumn spaces are two units, then a two-, three-, four-, five-, or six-column structure is possible without any leftover units.

Dazed & Confused

This is an attempt of discovering what parts of the â&#x20AC;&#x2DC;gridâ&#x20AC;&#x2122; have been used in this specific Dazed & Confused magazine cover. Any red boxes are specific to this issue where as the green are what are normally found on a Dazed & Confused magazine cover.

Computer Arts

This is an attempt of discovering the parts of the â&#x20AC;&#x2DC;gridâ&#x20AC;&#x2122; that have been used in this certain Computer Arts magazine cover. Any green boxes are found on the majority of the Computer Arts magazines where as the red is specific to this issue.

Digital Arts

This is a rough experiment to view what areas of the grid this Digital Arts magazine cover uses within the â&#x20AC;&#x2DC;gridâ&#x20AC;&#x2122;. Red boxes represent what is unique to this issue where as green represents what is in every issue.

Experimentation

I am going to experiment with shapes, lines, colours, textures etc to begin to develop my own ideas to impliment into a masthead, cover design and inner pages. This experimentation will involve looking back at my research and extracting parts that i think will be useful and effective. I will also take further research into things such as mastheads to have a better understanding of what looks good.

My understanding of a masthead , is what is found on a magazine as standard. In other words the logo that will always be found somewhere on the cover of a magazine. The logoâ&#x20AC;&#x2122;s may change per issue to fit in but the general shape and size will stay the same. This page is to show the generation of ideas for the masthead for the magazine.

These next 10 images are the development of ideas for the masthead from stage 1 seen to the left to technically stage 11 (digital forms).

Masthead Ideas

This page < is the first initial page I created to help create and develop a masthead for the magazine cover. These are the first 9 designs that from each were developed separately (can be seen on next 9 images). Although this is the first stage of the masthead designs I still had a favourite, which is the 3rd design (circled). Each following development page is numbered in the top right to show what the original design looked like (original designs found on this page <).

This > is a development page that I drew out developing the second design from the original Masthead idea page. The development I like the most on this page is the number 6 design, adding the third dimension seemed to help emphasise the backwards facing N and E, making it in a way more obvious to the eye.

This is a development page of the number 2 masthead design. This design originally involved linking the letters N and W together in some way, from which my favourite version arose (Circled). This design being thicker than just a simple pencil line helped make it easier to see what kind of connection would work best, in my opinion the connection being beneath the letter E was more affective than being above (that variation shown below design 5).

This is a development page of the number 3 masthead design. Going for more of a friendlier rounded look, I wanted to experiment with angles, weights and even binding the letters into a shape. Which in consequence came the number 8 design, this design may not be as based around the same font as the original but it does definitely have the rounded feel to it (clearly).

This is a development of the masthead design 4. In a way this design is based around a more traditional hand writing kind of style. I did attempt to thicken the design to see if it responded well, unfortunately it didnâ&#x20AC;&#x2122;t. What it did respond well to was adding a third dimension to it, this version (circled) seemed to have more of a flow to it despite having the angular transition between the face and extrusion depth.

This is a development page of the masthead design number 5. This design looked into having a connection between all three letters used in the masthead. A variation I thought stood out the most (circled) possibly worked better because of how the letter N was half at an angle in a way to look slightly like a letter V. Also being confining it within a box helped clean the design up.

This is a development page of the masthead design number 6. This design looked at having only the letters N and W present, with the letter E being created by some of the existing lines of the two other letters.

The letter E was also in a way supposed to look like a bridge or ropes of some sort pulling the two outer letters together. In developing this design I found more of a stencil look worked the best (circled), removing the physical connections between letters and yet having a mental connection that was created by the mind.

This is a development page of the masthead design number 7. Again this design was looking at connecting the letters together but with the alteration of actually having the letter E present. In developing the design though I found that having a sort of illusion of a connection without it actually being there was best (circled), in a way layering the letters helped create this look I wanted to create.

This is a development page of the masthead design number 8. This design looked at bending the letters and keeping a curve with each character. I did try squaring off this design to see how it responded but really keeping the more flowing curves with the design was what worked best. The most effective variation (circled) involved adding the third dimension, again only using the simple thin line yet adding a thicker extrusion behind to add a sense of depth.

This is a development page of the final masthead design number 9. This design in a way was inspired by a development of the number 3 design. I felt that the simple letter within a circle had much more potential. In looking at this I found that in a way making the design look like a circle of cheese that has certain parts cut out to form the shapes of letters (circled). This involved adding the third dimension to the design in order to see the side of the â&#x20AC;&#x2DC;cheeseâ&#x20AC;&#x2122;.

Digital Mastheads

This page consists of my favourite 9 masthead designs that were circled on each of the development pages. These 9 will be refined and probably developed further to then eventually choose one as the Masthead design I will use for the magazine.

1.

4.

7.

2.

5.

8.

3.

6.

9.

Favourite Three 1.

2.

This is a neutral version of the Masthead design number #1, I think the dimensions of this design help emphasise the angle of the text itself and also adds to the backwards facing N and E.

Chosen Masthead

This is a neutral version of the Masthead design number #2, One thing I love about this design is the link between the N and W. This link helps strengthen the word as if it were underlined showing itâ&#x20AC;&#x2122;s importance.

9.

This is a neutral version of the Masthead design number #9, I really love the aspect of being confined within a shape with this design. I think that the choice of â&#x20AC;&#x2DC;fontâ&#x20AC;&#x2122; within the shape helps add to the overall success of the design.

Chosen Masthead & Alternatives

This is the chosen design for my masthead, I will develop this design further to unlock more of its potential. To help decide what design I was going to choose I posted up a screen shot of the three designs on the previous page, out of votes this design was the one that was most preferred. Luckily this is the design I wanted to develop further but I wanted to be sure I was making the right choice of the three. This design can be altered to look different but this version for sure was the most successful.

This is a further development of the ‘chosen’ design on the previous page, when the ring isn’t included the logo seems slightly out of place no matter where you put it. Adding the ring sort of binds it together and stops it from looking as if it were just placed at random.

This is an alternative design using the circular design and stencil like effect. This design in itself is still in development, but is at a stage where if the main logo were to be unsuccessful then this could be it’s replacement.

Cover Ideas These are two variations of a cover design that I created inspired by one of the pieces created by Neville Brody. The variation to the left had a drastically altered logo to the one seen to the right. Also this version goes into slight more detail by using slight opacity on the shadows and title to allow the red of the issue number to come through. This simplistic yet bold design I feel is a step in the right direction and I am very happy with both of these two versions.

Because the previous design was very successful I felt that I should attempt another design similar to that. From which I created the two variations to the left, these too are inspired by one of Neville Brodyâ&#x20AC;&#x2122;s pieces. In my opinion this design is way more effective than the previous, I feel that the reason for this is because the white in the design is less dominant. Again I used the slight opacity in the shadows of the shapes to allow the colour of the issue number to come through. One thing I havenâ&#x20AC;&#x2122;t gotten right is the arrangement of the bottom sentence, I canâ&#x20AC;&#x2122;t seem to find the perfect place for the text to allow it to fit in with the design.

This is < a design inspired by one of David Carson’s pieces.

This by far is more simplistic than the two previous designs, although this time, to help represent where things were on the original more the masthead has been moved to the lower left part of the design. Although on this design the text on the lower half of the page fits in better with the design to say it follows the same white on black jumbled up lettering.

One thing I will need to consider is where the issue number can be located without looking too out of place.

This is ^ the Inverse title that i have spoken about in the text below. I think it has worked really well and if I choose this design for the cover I may consider using this rather than the standard one.

This is > an alternative version of the design inspired by the David Carson piece. In my opinion I feel that this version is better than the other as the masthead isn’t as overpowering, possibly because it isn’t surrounded by the large black square. Either way I still find myself drawn to the other two designs that are inspired by Neville brody, using a small amount of colour seems to have a greater effect. I will consider doing a colaboration based on the two to see how they turn out.

This is ^ a design inspired by the previous two cover designs.

So in a sense this design is inspired by both Neville Brody and David Carson. Once I managed to find a way to make the two work it was fairly easy to create a kind of harmony. I don’t think that the section extracted from the David Carson piece would work in any other colouring, using white with a stroke of the same red as the issue number in a way cuts out the red from the number then places it back in the white space. On this section alone I am going to in a way inverse this , so rather than just a simple red line i’ll actually have red parts of the text.

This is the first version of the final design. I was happy with how it looks but the problem was it looks too crowded and things just looks like they were struggling for space. So to sort this problem out I decided to develop this to hopefully crack the design.

This is the development of the final cover design. I decided to re locate the text and masthead, I made the masthead more dominant and gave it an inverse look then shrank down the subheading including the inverse look to make it less dominant on the page. I relocated the title but now the issue was the font itself and the general size and position of it.

Final Development

This is near enough the final version of the design.I decided that the large red 01 in the background was what was making the design look crowded, so i dropped the size of that down and placed it behind the subheading making it black to create the inverse look.

I then canged the colour of the shadows to red which created this pinky look also softening the design down. I accidently added a grey to the background which again softened the design down.

Three other alterations were removing one of the shapes around the masthead, and increasing the size of the masthead. And finally i was getting somewhere with the title now I had moved it upwards to the top of the page.

This is the stage the cover design was at before one final alteration.

This version was going to be tge final design but I felt that the pink was too weak so I made the decision to go back to the dark red as originally used in earler designs.

I also removed the barcode as I thought I would relocate this to the back of the magazine.

This is > the final version of the cover design. As it is clear to see it is much more open and much cleaner than the earlier developments. I finally got the positioning and font right for the title, squaring it off rather than being at an angle really helped it fit in.

I removed the accidental grey background going back to the pure white, which helped emphasise the dark red shadows. At first the masthead was a tad overpowering so i changed the outer ring to the same colour darker red as the shadows this helped break it up a little rather than being slapped straigh on the cover.

I really like how it has turned out. To say that it has gone from a David Carson esk design to a colaboration between him and Neville Brody. Both implimented in to work together. The abstract shapes are crude representations of the people from one of Nevilleâ&#x20AC;&#x2122;s pieces, these have a darker red shadow to add the colour back into the design. Then in experimenting with the design i included the inverse effect with the subheading and the issue number both located together over one another and yet are both still readable thanks to the inversing.

Inner Design The inner pages will be designed to be clean and clear.

The content of the inner pages will consist of articles that will be based from the research I have done. A section based on the previous brief â&#x20AC;&#x2DC;Artist Typefaceâ&#x20AC;&#x2122;, showing its connection with the past design movements. I will try and put across a professional yet friendly feel to the magazine.

Because the design of the inner pages is so simple I find a very little need to develop it.

Keeping the page clearer and cleaner allows it to be more adaptable to any content that is thrown over the top of the design therefore being perfect for the job.

This is > a general idea of the base layout that the inner pages will follow. Obviously the content wont be the same but each page will follow this general layout to create a fluid style through the magazine. This also allows space around the edges to make the pages look cleaner and less crowded. The position of the work space will change depending on whether it is linked with the page before or not.

WORKSPACE

This is the contents page of my magazine. Again following the same simplistic style. Each page title has a brief description of what is discussed and found on that specific page. Overlapped the image from the page before onto this to help connect the two together

This is the welcome page from my magazine.

I decided to go for a simple and clean look throughout the magazine to ensure that the articles are easy to read. This welcome page is a brief introduction to the new magazine.

This is a description page detailing what it is meant by the term modernism. Neville Brody was highlighted as an exaple of what Post-Modernistic design is like.

This is the description page for Modernism. On this page it is stated what modernism is and the detail of the movement. Containing two example images of modernistic design. I have moved one of h the images off the pge to break the white band around the edge of the page.

This page includes pieces of my own work from the past project as I think that it correlates with the argument mentioned in the text. I also includee a â&#x20AC;&#x153;day of a designerâ&#x20AC;? section which gives a brief look into what I do during the day.

This is a page in which it is discussed where design is thought to stand in the 21st century. Raising the point of people consider us to be in a Modern Post-Modern era. There is also a section of the Neville Brody piece clipping onto the page from the previous one

Conclusion Concluding this project I feel that I have done a fairly decent job of researching into both Modernism and Post-Modernism and then expressing this research into my work. I learnt from my mistakes in the first submission of the Artist Typeface brief, so I knew that I needed to focus on actually doing the work I say I will.

I feel that I have evenly explored both design eras and that I have shown a clear link between my own work and my research. If I were to change anything about this project I would spend a little more time in the design phase of the cover. Due to a hard drive failure in which I lost all work I have been very pushed for time, knowing that I have basically answered this brief twice and covered all areas fully gives me confidence that I would be able to cope under the pressure of a short deadline in the real world.

Danny Taylor Design