New Visual Language: Issue 01 April/May '14

9 771473 Issue 01

968012

A pril/ May ‘14

£3.95

New ViSual Language For m Fol l ow s Func t i on

PA G E S

PA G E S

4-13

14-29

12 SE CTION

SE CTION

ART HI STORY

STU DIO BRIEFS

Modernism........................................6

Street Graphic..................................16

Post -Modernism.................................8

C a b i n e t o f C u r i o s i t y. . . . . . . . . . . . . . . . . . . . . . . . . . . 2 2

Design Movement Timeline..................10

Earth Artefact..................................26

Helvetica.........................................12

PA G E S

PA G E S

30-35

36-44

34 SE CTION

SE CTION

WO R K S H O P B R I E F S

T H E ART OF MANI FE S TO

T y p o g r a p hy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 2

M a n i f e s t o R e v i e w. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 8 Personal Manifesto...........................42

1 ART HI STORY

Modernism..............................................................................................................6 Post -Modernism.................................................................8 Design Movement Timeline....................................................10

MO DERN ISM

M

odernism is a philosophical

innovations, like the stream-of-consciousness

movement

novel, twelve-tone music and abstract art, all

with

that,

cultural

along

trends

and

changes, arose from wide-

had precursors in the 19th century.

A notable characteristic of Modernism

scale and far-reaching transformations in

is self-consciousness, which often led to

Western society in the late 19th and early

experiments with form, along with the use

20th

that

of techniques that drew attention to the

shaped Modernism was the development of

processes and materials used in creating a

modern industrial societies and the rapid

painting, poem, building, etc. Modernism

growth of cities, followed then by the horror

explicitly rejected the ideology of realism

of World War I. Modernism also rejected the

and makes use of the works of the past by

certainty of Enlightenment thinking, and

the employment of reprise, incorporation,

many modernists rejected religious belief.

rewriting, recapitulation, revision and parody.

Modernism, in general, includes the

Some commentators define Modernism as

activities and creations of those who felt

a socially progressive trend of thought that

the traditional forms of art, architecture,

affirms the power of human beings to create,

literature, religious faith, philosophy, social

improve

organization, and activities of daily life were

with the aid of practical experimentation,

becoming outdated in the new economic,

scientific knowledge, or technology. From

social,

an

this perspective, Modernism encouraged the

emerging fully industrialized world. The poet

re-examination of every aspect of existence,

Ezra Pound’s 1934 injunction to “Make it

from commerce to philosophy, with the goal

new!” was the touchstone of the movement’s

of finding that which was ‘holding back’

approach towards what it saw as the now

progress, and replacing it with new ways of

obsolete culture of the past. Nevertheless, its

reaching the same end.

centuries.

and

Among

political

the

factors

environment

of

and

reshape

their

environment

JK

eg

lve L R M

ula

N rB O

ol

ti

AI

lve

5

TIC

he

VE

d P Ob Q

liq

ue

R B S

ol

tic d-

W ed hen (w Ne Lino pla hich ue H typ ra nne wa aas e ad ho nge d to s ne Gr opt to v o

EL

efg

GH

He

cd

EF

ab

CD

19

AB

T Ob U

liq

ue

VW

Lig

ht

L

de -m of m be ver tes k Af sign etal ec a f h u t t e y a l Un r t wa pe ni l of ive he s s re fac cal Ne Ste rs, A ucc wor es) and a l ue mpe rthu ess ked its ar Ha l r . ge as ed r Rit of z rf e am Gro sig el n ily tes ed . ki nto

ica

ijk

lm

no

pq

r

57 ht-

Ob

liq

wx

Z

ue

Ed

Ma xM

AB yz

X Lig Y

CD

EF 34

56

ab

efg

r

cd

ge

90

in

78

ied

12

W

uv

He Ed lvet typ uard ica w e a wi to d fou Hoff s d Or th t es nd ma eve i on igin he s gn a ry) o n at lop Sc ally uc ne f M the ed i c t h n ü w gr he n elte calle essf sa nch Haa 19 ea ew rGr d N ul A ns-s ens s’sc 57 b tc lar des ote eue kzi eri tein he y M d f ity ig sk S , n n w a Haa enz typ , Sw chr ax M n i oi i s -G e ntr as t d Ha Gr rot face tzerl ftgie iedi ng a s ins o c as ote es t ic rea ’ N sk k in hat nd. sere er w m l te o , i t co H i us ean a n rma ts d he S uld aas (Has th ed in e l G es w c se s on g in utra rot ign iss omp t of a w its l ty esk wa ma ete ide for pef . Th s b rke va m, a ace e a ase t. rie nd th im d a ty o of cou t ha f sig ld d na be ge .

ca

u a IJKL r d MNO H o PQR S f f m TUV W a n XYZ n GH

T S O D P O M N R E SM I

P and

ostmodernism is a general and

relies on concrete experience over abstract

wide-ranging term which is applied

principles, knowing always that the outcome

to

philosophy,

of one’s own experience will necessarily be

architecture, fiction, and cultural

fallible and relative, rather than certain and

literary

literature,

criticism,

art,

among

others.

universal.

Postmodernism is largely a reaction to the

assumed certainty of scientific, or objective,

denies the existence of any ultimate principles,

efforts to explain reality. In essence, it stems

and it lacks the optimism of there being a

from a recognition that reality is not simply

scientific, philosophical, or religious truth

mirrored in human understanding of it, but

which will explain everything for everybody

rather, is constructed as the mind tries to

- a characterisitic of the so-called “modern”

understand its own particular and personal

mind. The paradox of the postmodern position

reality.

postmodernism

is that, in placing all principles under the

is highly skeptical of explanations which

scrutiny of its skepticism, it must realize

claim to be valid for all groups, cultures,

that even its own principles are not beyond

traditions, or races, and instead focuses on

questioning.

the relative truths of each person. In the

Tarnas states, postmodernism “cannot on

postmodern understanding, interpretation

its own principles ultimately justify itself

is everything; reality only comes into being

any more than can the various metaphysical

through our interpretations of what the world

overviews against which the postmodern

means to us individually. Postmodernism

mind has defined itself.”

For

this

reason,

Postmodernism is “post” because it is

As

the

philospher

Richard

CONSTRUCTIVISM (1917-1935)

ART NOUVEAU (1880-1910)

Art Nouveau was an artistic movement which peaked in popularity between 1890 and 1905 which was practiced in the fields of art, architecture and applied art. It is a French term meaning “new art� and is characterized by organic and plant motifs as well as other highly stylized forms. The organic forms often took the form of sudden violent curves which were often referenced by the term whiplash. Its short success was a reaction against the late 19th century academic art and was replaced by the development of 20th century modernist styles.

VIENNA SECESSION (1897-1905)

The Vienna Secession was the name given to the group of artists, architects and designers that broke away from the main establishment of Viennese artists to form their own group. Formed in 1897, its radical period was brief yet its impact on the cultural life of Vienna and beyond was immense and enduring. This group aimed to create new, progressive art, to bring contemporary international art to Viennese audiences and to provide a forum for the discussion and distribution of new ideas about art and culture.

Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1919, a rejection of the idea of autonomous art. The movement was in favour of art as a practice for social purposes. Constructivism had a great effect on modern art movements of the 20th century, influencing major trends such as the Bauhaus and De Stijl movements.

Its influence was pervasive, with major impacts upon architecture, graphic and industrial design, theatre, film, dance, fashion and to some extent music.

DE STIJL (1917-1931)

Dutch for The Style, Die Stijl was founded in 1917.

The artists most recognized with the movement were the painters Theo van Doesburg, who was also a writer and a critic, and Piet Mondrian, along with the architect Gerrit Reitveld. The movement proposed ultimate simplicity and abstraction through which they could express a Utopian idea of harmony and order.

1880 1890 1900 1910 1920 1930 194 Futurism (1909-1930)

Futurism was not only an art movement but also a social movement that developed in Italy in the early 20th century. Futurists were well versed and practiced in nearly every field of art including painting, ceramics, sculpture, graphic design, interior design, theater, film, literature, music and architecture.

It was a movement that particularly despised not just certain aspects of classical antiquity, but everything that was not totally new.

DADA

(1916-1923)

Dada was a cultural movement that was concentrated on anti-war politics which then made its way to the art world through art theory, art manifestoes, literature, poetry and eventually graphic design and the visual arts. The movement, although Dadaists would not have been happy calling it a movement, originated in Switzerland and spread across Europe and into the United States, which was a safe haven for many writers during World War I.

Bauhaus (1919-1933) The Bauhaus was a school whose approach to design and the combination of fine art and arts and crafts proved to be a major influence on the development of graphic design as well as much of 20th century modern art. Founded by Walter Gropius in Weimar, Germany in 1919, the school moved to Dessau in 1924 and then was forced to close its doors, under pressure from the Nazi political party, in 1933. The school favored simplified forms, rationality, functionality and the idea that mass production could live in harmony with the artistic spirit of individuality.

POST-MODERN DESIGN (1965-PRESENT)

CONTEMPORARY (1945-PRESENT)

Contemporary Art, the art of the late 20th century and early 21st century, both an outgrowth and a rejection of modern art. As the force and vigor of abstract expressionism diminished, new artistic movements and styles arose during the 1960s and 70s to challenge and displace modernism in painting, sculpture, and other media. Improvisational and Dada-like styles employed in the early 1960s and thereafter

by Robert Rauschenberg and Jasper Johns had widespread influence, as did the styles of many other artists.

Postmodern art is a body of art movements that sought to contradict some aspects of modernism or some aspects that emerged or developed in its aftermath. In general, movements such as Intermedia, Installation art, Conceptual Art and Multimedia, particularly involving video are described as postmodern. There are several characteristics which lend art to being postmodern; these include bricolage, the use of words prominently as the central artistic element, collage, simplification, appropriation, performance art, the recycling of past styles and themes in a modern-day context, as well as the break-up of the barrier between fine and high arts and low art and popular culture.

940 1950 1960 1970 1980 1990 2000 POP

Memphis

(1958-1972)

(1981-1988)

Pop Art was born in Britain in the mid 1950s. It was the brain-child of several young subversive artists - as most modern art tends to be. The first application of the term Pop Art occurred during discussions among artists who called themselves the Independent Group (IG), which was part of the Institute of Contemporary Art in London, begun around 1952-53. Pop Art, for the most part, completed the Modernist movement in the early 1970s, with its optimistic investment in contemporary subject matter. It also ended the Modernism movement by holding up a mirror to contemporary society. Once the Postmodernist generation looked hard and long into the mirror, self-doubt took over and the party atmosphere of Pop Art faded away.

The Memphis Group was an Italian design and architecture group founded in Milan by Ettore Sottsass in 1981 that designed Post Modern furniture, fabrics, ceramics, glass and metal objects from 1981 to 1987. The Memphis group’s work often incorporated plastic laminate and was characterized by ephemeral design featuring colourful decoration and asymmetrical shapes, sometimes arbitrarily alluding to exotic or earlier styles.

2 STU DIO BRIEFS

Street Graphic................................................................................................14 Cabinet of Curiosities............................................................18 Earth Artefact......................................................................22

STREET GRAPHIC The first brief set by the tutors was the ‘Street Graphic’ brief. For this brief, I have proposed to explore London as a city, as I had recently visited there. To the left are a small collection of photographs taken by myself. For this brief I proposed to create an artwork/collection of idea that promotes and encaptulates the essense of London as England’s capital city in a creative and artistic piece of work.

For my first idea, (type pieces to the right) I was influenced by Alan Kitching’s large letterpress type. I overlayed the British flag to the typeface and added textured papers that I had distressed and scanned in. I used quotes from various sources that I felt were relevant to London. I then altered all of the vibrancy and contrasting levels to make the piece vibrant and bold to the viewer. I felt like this piece was effective and would be effective as a postcard as it is simple, uncluttered and easy on the eye. I made a series of these prints which could form a postcard set.

For my second idea, I wanted to take a different approach to the brief without words and just imagery. As I had a collection of images I had taken whilst in London, I was well equipped with photographs to make a digital collage (images above).

This was influenced by Miles Donovan who’s work is very layered and cluttered.

I enjoyed doing this as I learned about different blend modes to make collaging easier. The images above show the process of development I underwent. I begun with a simple background but wanted to create my own personal style with this design and added texture influenced by Sally Hansen of vibrant, vintage papers.

Throughout this brief I experimented with a range of different mixed media techniques, as you can see to the images on the left. I learned how to sellotape transfer by using a laser printer and placing sellotape over the print and then removing the paper with water and you are then left with an ink transfer on the sellotape. I found this technique really interesting, it added a new depth to my work, along with interesting textures. I also experimented using milk. I drew illustrations of London’s landscape and then filled the areas I wanted to colour with milk and ironed over it, making the milk burn the paper and leave rich golden tones. This is probably the most interesting mixed media technique I have ever tried and I will be using it in future practise.

M

y was

final

design

inspired

influenced

and by

incoporate texture into it so I

used

old

paper

scans

and

overlayed them onto the letters.

Oscar Wilson. I love his style

and bold imagery made from

with different colour schemes,

letters. I chose to use Wilson as

I

my inspiration as he is British

abstract

and is based in London.

because I wanted the design

to

For my final design, I chose

After that, I experimented

experimented

look

colours

vibrant,

with

bold,

at

first

But

after

to use the Queen as my main

experimenting and developing

focus. She is iconic all over the

the work, I decided that the

world

patriotic

but

mostly

known

for

colours

as

it

were

begun designing my final piece

refers back to the brief more

by

also.

drawing

the

shapes

suited

Britain

living in the heart of London. I

hand

most

of

also

with pencil and then finelining

As a whole, I enjoed this

the areas I wanted to define.

brief as I got to do a lot of

I then scanned it in and drew

mixed media work which I enjoy

around each letter using the

doing. I also enjoyed making a

pen tool. At first the piece was

product about my own country

block colours against a white

and exploring the capital city

background, but I wanted to

in depth.

A CABINET OF CURIOSITY The 'Cabinet of Curiosities' was originally a personal collection of things of wonder. These cabinets reached the peak of their popularity in the 17th Century; they were the personal and often idiosyncratic collections of individual, wealthy owners and contained both natural and man-made objects. This project is taking a personal and nostaligic spin on a Cabinet of Curiosities.

Idea 1 Experiment: Decoupaged cabinet

Idea 2 Proposal: Conjoined Cabinets (4 surrounding images)

O

n the previous page are a collection of items I collected or bought from the second hand market or found around my home. I chose these items initially for my cabinet as they’re all antique and fit with my brief of having a past and containing a memory. All of these items cost less that £2 each and were very easy to get a hold of.

For my first initial idea I covered one of the cabinets I bought from the market in my favourite book ‘Rebecca’ by Daphne du Maurier. I felt this fit my brief of making the cabinet personal about myself.

I cut pages of the book into strips and decoupaged it using a clear varnish. As the cabinet has lots of curvy areas, it was difficult to get a precise and perfected finish, especially around the glass door.

As I wasn’t satisfied with the finish and outcome of the box, I decided to move on and try experimenting with other boxes.

My second idea was to collage and merge two some of the smaller items I had purchased. The small wooden jewellery box with the hinged top, revealing a series of felt compartments; and a small wooden cabinet with a glass door in the centre, surrounded by shelves (see photographs on previous page). I initially wanted to fill each cabinet with small trinkets and nostalgic items, but the task of joining the two cabinets together seemed over complicated and impractical so I decided to think of another outcome I could create.

My third idea led me to my film camera case (photographs to the right). I love this case as it is from the 80’s era and even smells authentic. I got this camera and its case from my uncle who no longer wanted it. The case involves a large space with a smaller compartment at the front of it. I wanted to cover this case with old photos and use it to display all of my journey’s and places I have been to. I didn’t want to ruin the bag so I didn’t carry this idea through.

I finally decided that making my own cabinet from scratch would be most effective as I could create the perfect sized compartments for my collection of items I wanted to include.

Idea 3 Proposal: Vintage Film Camera Bag

T

he contents of this box are very close to my heart. For this project brief, I decided to design and make a physical cabinet based on myself and nostalgic objects. Each object has significance like that of a traditional Cabinet of Curiosities.

Each compartment focuses on myself, family and friends. The top left compartment is a photoframe of my family in Italy in 1998. This was significant to me as I have Italian family and my family is a huge part of my life. The top right box is a nostalgic compartment back to my Grandmother’s and Grandfather’s wedding day. I used items in this compartment along with a vintage photo to symbolise marriage. The box underneath that, is to symbolise my Italian Grandmother’s journey from Italy to England as a seamstress. She moved to England during the war and later found a living working in the cotton mills in Bolton. Below that is

three glass viles containing notes ‘Live’, ‘Laugh’ & ‘Love’. These are words that I find inspirational and base my everyday life on.

To the left of the bottles are two items that I have collected during travelling. The keyring ‘Fran’ was bought in Nevada, America when travelling the West Coast in 2010. Travel is a huge part of my life as I thrive off experiencing new things. The festival admission band is from Knebworth Festival when I went to watch my favourite band the ‘Red Hot Chili Peppers’. Below that is a box dedicated to my love for music and an authentic plectrum from the lead singer of ‘The Vaccines’. The following box is dedicated to my boyfriend Charlie. Finally, the last box is based on my two pet Chihuahuas Bruno and Chico.

I achieved the finish of my cabinet by using a range of mixed media methods such as: collage and embellishment. I enjoyed this project as a whole!

EARTH ARTEFACT The Voyager space craft sent into Space contained a Golden Record containing imagery from Earth. This was in hope of an outer space creature finding this and coming to Earth. For this brief I will recreate my take on the Golden Record and recreate its imagery in an artistic way.

A

t the top of the facing page is my first idea compostion. This idea is based on James Taylor’s digital collage of landmarks. I thought that it effectively displayed the ‘Earth’ theme well.

When evaluating my work. My initial thought was to keep the background simple as Taylor does with his work, so I used a simple gradient.

But after doing so, I felt that the background didnt look effective, as it just looked like I had placed it there without thought and didn’t create depth or tone in the piece so I decided that I would change this to the northern lights as this also fits the brief and gives the piece more depth.

My second idea (centre of facing page) is influenced by Serge Seidlitz. He uses the technique of vector drawings in Illustrator, and tends to make lots of little vector drawings to create a big drawing. To the left is my initial composition of my drawings. I drew 22 small drawings of things that I would consider to be in the USA. Serge Seidlitz also includes the shape of the country too so I created a vector outline of the USA. For this idea I had planned to create a series of different illustrations for each continent.

For my third idea, I decided to create a vector drawing using clipping masks of maps as

David McLimans does. I experimented with the Sydney Opera House as it would look good with this technique with its big, abstract shapes.

I did this by drawing simple vector shapes.

After I had done this, I found a map which was relevant to the piece I was creating (Australia map). I made sure that the map was on the layer behind the vector shapes. I then made a clipping mask for each shape individually. For this idea, I had proposed to create a series of iconic images that represent Earth in this style. I liked using this technique as it looks eye-catching and effective, so I planned to use this in my final idea.

My final outcome was a combination of all of the techniques I had used in previous ideas. I used Tutankhamen as the experimenting image as it is an iconic artefact of the ancient world.

I drew Tutankhamen’s mask out in illustrator using the pen tool and then went on to create clipping masks out of map images. To develop this further, I then added colour by overlaying it on the top of the map so it showed through.

This enhanced the image further. This again, would be a series of images of iconic artefacts of the world using this technique.

As a whole, I enjoyed this brief as I experimented with a lot of techniques I have never used before.

3 WO R K S H O P B R I E F S

Typography...........................................................................................................28

TYPE F

FACE or a workshop, we were asked to create a font based on an image, theme or artist. We were given

a

range

of

different

images

to

work

from and gain inspiration. We then generated ideas and chose the idea which was most effective to take further.

For my first idea, I illustrated a font in the style

of Milton Glaser’s Bob Dylan album cover design (top image on facing page). I love the abstract shape and vibrant colours of this font. This font would be very eye catching.

For my second typographic idea, I drew a circular

shaped font in the style of Herbert Beyer. I wasn’t keen on this when I drew it out as it didn’t look clean cut and as effective as I thought it would.

I then experimented with a geometric looking font

inspired by El Lissitzky. I like this font as its sharp, angular lines look stylish and the colours are inspired by modernism.

As a whole, I wasn’t very happy with the outcome of

any letters so I decided to take a whole new approach on type design and base it on famous children characters.

T

his

is

my

final

typeface

influenced by the infamous characters

of

the

Muppets

Show. I loved creating this font as I have never done typography before!

I begun by hand drawing the letters individually

and

then

finelining

them.

As my first experimentation I

tried watercolouring the letters to give them a bold colour. This proved to be unsuccessful as they looked messy and not neat.

I

then

moved

onto

digitally

creating the font in illustrator. This was

very

time

consuming

as

the

letters are so details and consist of many different shapes. I took my time when doing this, to get as accurate finish as I desired. The result proved to be successful as you can see to the right. The colours chosen were all of bright pantones as I wanted to portray the fun nature of the Muppets.

Overall, I thoroughly enjoyed

creating this font and look forward to creating more fonts in the future!

4 T H E ART OF MANFI E STO

Manifesto Reviews.........................................................................................34 Persoanl Manifesto..................................................................37

Claes

OLDENBURG

i am for an art

W

hen studying “I am for

career or subject to him and that it

an Art”, it is clear to me

is equally as important as a human

that Oldenburg is trying

as he gives art an ‘ass’. Oldenburg

to put humanity back into art. It is

uses a similar technique of making

like seeing inside an ordinary human

‘art’ an object on line 22, ‘I am for

mind that has no control over its

the art that a kid licks, after peeling

thoughts and allows everything in

away

his mind to spill out onto his paper,

Oldenburg’s childish humour but

forming his manifesto. One thing

again, refers to art as a lifelike

that I don’t like about the way this

object.

manifesto is written is that some of

the lines are over eccentric and can

manifesto that I dislike is where lines

steer away from the norm. I enjoy

seem discontinuous and irrelevant

a manifesto that speaks truth and

to

can relate to the reader.

Oldenburg juxtaposes ‘underwear’

On the other hand, I admire

and a ‘taxi cab’ in the same line.

the way that Oldenburg personifies

This seems slightly confusing to

the art and gives it human qualities

the reader and I’m not sure what

in

his

point he was trying to get across.

manifesto, such as the very first

Conversely, there are many other

line where he says, “…that does

lines that I enjoy such as: lines 41

something other than sit on its ass

and 42. In my opinion the statement

in a museum”. This makes it clear

referring to a “conversation of the

that art is more than just a hobby,

sidewalk and a blind mans metal

some

of

the

lines

within

the

wrapper.’

This

reveals

Another section of Oldenburg’s

each

other.

For

example,

i am for an art

stick”,

has

a

metaphorical

and

This also makes me reminisce to

poetic impression, it also explores

my

a different perspective, and makes

you come into contact you have to

the reader think deeply about it.

touch; like drawing pictures in a

Another line that caught my interest

windows condensation, or touching

was line 47, “I am for an art that

every unusually texture fruit or veg

unfolds like a map…” Oldenburg

in the supermarket. My favourite

has

used

symbolise

line from this manifesto has to be ‘I

the

process

imagination

am for art you can sit on. I am for

in everyday life as you observe

art you can pick your nose with or

different sections of an object or

stub your toes on.’ It is clear that

a design and begin to think about

Oldenburg is trying to express his

connections

that

passion towards design and art.

you may have seen the previous

It highlights that every manmade

day.

object you come across or interact

the

map

of

to

your

between

things

Another group of words that

with

childhood,

during

where

the

everything

day

has

been

I like are found on lines 105 and

designed or made by someone out

106, where he describes running

there and puts the importance of

your finger across different things

art into context.

from

a

‘cold

window’

to

‘dusty

On the whole, this manifesto

steel’. I love how Oldenburg has

is captivating and mind-boggling.

incorporated tangible senses into

It is an inspiring piece of writing

his words; it allows the reader to

and

really

beliefs towards art well.

engage

with

the

writing.

truly

expresses

Oldenburg’s

In a theory practice, we studied Claes Oldenburg’s personal manifesto ‘I am for an Art…’ (1961) in depth. We were then asked to recreate our own manifesto influenced by Oldenburg’s manifesto and based on design as a graphic designer.

I feel like this task allowed me to explore design as a way of life rather than just a subject. It made me realise that design isn’t just making things look pretty, its about looking deeper into the underlying meaning of each design and absorbing its culture and true meaning. Here is my own manifesto: ‘I am for design’…

artist inspired

manifesto I am for design that is identifiable.

I am for design that is treasured.

I am for design that is meaningful.

I am for design that is unidentifiable.

I am for design that is individual.

I am for design that has a mission.

I am for design that is tactile.

I am for design that is recognisable.

I am for design that plans ahead.

I am for design that is schematic.

I am for design that is unrecognisable.

I am for design that collaborates.

I am for design that is dynamic.

I am for design that creates insight.

I am for design assumes nothing.

I am for design that is visible.

I am for design that attracts attention.

I am for design with focus.

I am for design that is invisible.

I am for design creates awareness.

I am for design that makes a statement.

I am for design that is pragmatic.

I am for design that does more with less.

I am for design that creates opinion.

I am for design that pushes boundaries.

I am for design that captures imagination.

I am for design that expresses emotion.

I am for design with its own unique language.

I am for design that fosters intuition.

I am for design that is successful.

I am for design that thinks sideways.

I am for design with its own philosophy.

I am for design that pushes harder.

I am for design that questions.

I am for design with integrity.

I am for design that informs.

I am for design with confidence.

I am for design that inspires.

I am for design with respect.

I am for design that educates.

I am for design with reputation.

I am for design that influences.

I am for design that improves people’s lives.

I am for design that persuades.

I am for design that welcomes change.

I am for design that is feasible.

I am for design that is sufficient.

I am for design that is possible.

I am for design that is impossible.

I am for design creates exposure.

I am for design that is simple.

I am for design that is economical.

I am for design with talent.

I am for design that is beautiful.

I am for design with innovation.

I am for design that is hideous.

I am for design with business.

I am for design that touches.

I am for design that knows its roots.

I am for design that sees.

I am for design that experiments.

I am for design that feels.

I am for design challenges.

I am for design that heals.

I am for design that dreams.

I am for design asks for forgiveness, not for permission.

I am for design that shares.

I am for design that is eternal.

I am for design that is active.

I am for design that is original.

I am for design that has strength.

I am for design that lives.

I am for design that guides.

I am for design that evokes passion.

I am for design that unites.

I am for design that puts humanity back into design.

I am for design that plants the seeds of our future.

This is my personal manifesto as a Graphic Design student at the University of Huddersfield. It was created with the intention to express my motivation, aims, aspirations and beliefs in the design community.

The textual content is inspired by the ‘First Things First’ manifesto by Ken Garland. The inspiring and motivating words are what I found most influencing in my own manifesto. I didn’t feel as though my manifesto should ramble on for 500+ words. I believe the most effective and inspiring manifestos are of few words.

The aesthetics aren’t typical of a manifesto. As the magazine I am featuring it in follows modern/post-modern conventions, I decided to create an international swiss style graphic behind the text. I feel like this is effective as its bold, vibrant colours are contrasting and eye-catching against the white text.

TA K E YO U R D R E A M S S E R I O U S LY. B E B R AV E B E C A U S E S O C I E T Y I S C R O W D E D W I T H P L AY S A F E R S A N D C R E AT U R E S O F C O N F O R M I T Y. C R E AT I V I T Y I S N O T L I N E A R ; T H E B E S T I D E A S A R E T H O S E C O M PA R A B L E T O A N E E D L E I N A H AY S TA C K .

S U R R O U N D YO U R S E L F I N A M U LT I - D I M E N S I O N A L W O R L D. T R U E D E S I G N E R S A R E P I X E L- P U S H I N G , T Y P E O B S E S S E D, G R A P H I C A L LY W I T T E D C R E AT I V E ’ S . P U S H YO U R I M A G I N AT I O N B E YO N D T H E H O R I Z O N A N D T H I N K O U T S I D E O F T H E B OX . F O R A B U R N I N G F L A M E F O L L O W S T H E T I N I E S T O F S PA R K S . W E A R E F O R D E S I G N T H AT P U T S H U M A N I T Y B A C K I N T O IT AND PLANTS THE SEEDS OF OUR FUTURE.

-FRANCESCA CRITCHLEY

New Visual Language Magazine Š Copyright New Visual Language 2014 All Rights Reserved