NVL New Visual Language
An Exploration of Modernism and Post Modernism Form Follows Function Iqra Bibi April 2014
m odern ism M
odernism is a fundamental nature of knowledge, a reality and existence which is known as a philosophy. A movement that along with the cultural trends and changes, it rose from wide-scale and success which improved in West society in the late 19th and early centuries. Amongst all influences that shaped Modernism, modern industrials societies was one of the factors that developed modernism and the rapid growth of cities, which was also followed by the WW1. Many Modernists also rejected religious belief. Modernism, in general, included those who felt the traditional forms of art which through doing the activities and the creations towards art, architecture, literature, religious faith, philosophy and activities of the daily life that were becoming outdated in the new economic. A famous characteristic of Modernism is mostly based on self-consciousness, which often led to experimenting with forms. Along side that the use of different techniques was also very popular as this drew a lot of the attention to the process and materials that where used in creating a painting, poem or any other work of art. Besides all this Modernism clearly refused the thought of realism and made more use of the works that is related to the past by the employment of reappearance, combinations, rewriting and revision. Some analysts define Modernism as a social progressive trend of thoughts that conforms the power of human beings to create, improve and reshape their environment in the best way they could with the help and use of constant practical experimentations, scientific knowledge and a nit of technology. From this perspective, Modernism stimulated the re-examination of every feature of existence, from commerce to philosophy. Modernism designs always have a purpose, most of modern designs were created whit a positive purpose. Modernist always thinking about the society and how the art or designs will be helpful for them. Their biggest weapon was their brains, as they used to think about the purpose of the design or art before constructing or creating something. Modernism found less is more that is why modern art is understandable and simple. Within modernism there are other art (ISM) included into it such as Cubism, Symbolism, Constructivism, Dadaism and Futurism. All of these are styles are part of modernism and modern art.
Movements wit D
Dada
ada was an artistic and fictional movement that began in 1916 in Zurich, Switzerland. Dada began as a reaction to World War I, the nationalism, and rationalism, which many thought had brought war about. Dada was influenced by ideas and innovations that came from several early avant-gardes like Cubism, Futurism, Constructivism, and Expressionism. The production of Dada was very different he used to reach from performance art to poetry, photography, sculpture, painting and collage. Dada’s artistic, marked by its mockery of materialistic and nationalistic attitudes, proved a powerful influence on other artists in many cities, including Berlin, Hanover, Paris, New York and Cologne. All of which generated their own groups. The movement is believed to have dissipated with the arrival of Surrealist in France. Dada was an artistic and literary movement which started when world war 1 was going on in Europe. Due to the war, several artist, intellectuals and writers moved to Switzerland, especially those who where from France and Germany. This is because Switzerland was a neutral country. Instead of the artists, intellectuals and writers being relived that they have escaped from their country, they were furious towards the modern society. So to get their anger out, they decided to show their disapproval through the artistic medium. To do that they created a piece of art that had no-art or meaning behind it, since art had no meaning in the society anyway. This art movement was a disapproval, but at the same time it managed to inspire artist and was enjoyable and amusing. This is because dada art was very colourful, quirky, humorous and silly. If a person at the time during the movement that was not aware of the reason behind the movement, they would have wondered what the artist must have been up to whilst creating the piece like the ones that were created based on Dada. However, even though the public didn’t find the dada art serious or meaningful, but the artist who created the Dada art was very serious about his work and knew the actual meaning behind the art, which no one could see. The movement did not favour one standard from another. It just used everything such as anything from glass to plastic to geometric embroideries to wooden reliefs. In addition, the movement was also behind the influences of many trends in the field of visual art and the most well known being surrealism.
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Constructivism
onstructivism is an artistic style that started around the year 1913 in Russia. It strictly focused on geometric forms and structure therefore there was no figure in this style. In this approach, constructivist artists struggled at the same time to create a certain structure. This is because the constructive nature of their art was ordinary which is only found in the buildings, meaning in the simple geometric form of building blocks. Constructivism received a lot of important desires from many different forms of art, like cubism and the dynamic fragmentation of futurism, which made them put together their compostitons from geometric shapes. Within the constructivism group there are two strands. Where one part concentrated on the functional constructivism and thought about the architecture, design and typography whereas the suprematic group where second part which concentrated around Malewitsch that strove for a pure form of art that recoiled from every social obligation. Constructivism recognized itself in any case after the October revolution in both form as the official Russian state art however many constructivism travelled to the West. When they travelled to the West there they joined groups such as De Stijl or Bauhaus. This is why the designation of constructivism is often used for other styles within the modern art which follows the same principle. Constructivism was the last and the most influential movement of modern art that flourished in Russian in the 20th century. This movement evolved just when the Bolsheviks came to power in the October. The hopes and ideas of many of the most advanced Russian artists initially acted from a light rod who had supported the revolution’s goals. This idea was borrowed from Cubism, Suprematism and Futurism.
Movements wit C
Cubism
ubism was one of the actual first modern movements to merge with art. This merged evolved during the heroic and rapid time of period that innovated between Picasso and Georges. Pablo Picasso and George Braque who found their way to this pictorial solution independently from each other employed this simultaneously. Cubism adapted the representation by using simple geometric surfaces and above all cubes. Since these processes have been used a lot, the forms became split up, which cubism then created a first form of abstraction. Everything in the cubism art is formed out of balls, cones and cylinders. This movement has been described as having two stages of it which are known as ‘Analytic’ Cubism, this stage means in which the forms are seen to be ‘examined’ and split. Whereas the other stage is ‘Synthetic’ Cubism, this stage means in which newspapers and other foreign materials like chair caning and wood veneer are used to collage on the surface of the a canvas used as ‘synthetic’ signs for portrait subject. This style was significantly styled by Fernand Léger and Juan Gris which also attracted a host of adherents, both in Paris and abroad. As the Cubism movement evolved, color, texture and graphic elements like text were added to art this then went to the point where Cubism works often appeared more like collage than anything else. Cubism was not just a specific style or new look; it made the artists see real life objects in a completely different way.
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modernism Futurism
uturism was a 20th century movement. Speed, noise, machines, pollution, and cities where all loved by the futurists. They incorporated with the exciting new world that then upon them instead of dishonestly liking the new modern world’s comfort. Futurism was an avante-garde movement seeking to break with all part of past art movements. Academies where called for an end by the Futurism artists along side equated museums with cemeteries, and required an artistic of dynamic destruction. Similar to Cubism, Futurism also was worried about the decay of forms. However the shattering in Futurism is not the same as the pure shattering of Cubism, rather the images used by the Futurist seek to visualize a serious of motions using chromo photography. The factor of time inhabits a role in the futurist art. The representation of simultaneity in the dynamic process was supposed to demonstrate such technical advances that it signifies the futurism approach to flow. Therefore the composition becomes more rhythmic and protracted that the motion it self could not insert into a prescribed pectoral space. The rapid and vibrant style that demolished the perspective and definition so that colour and shapes could be expressed. The futurist artists developed this. The motion and speed of the technology world had an attempt to be captured in the futurist sculptures in a single object. Unlike many other modern art movements like Impressionism and Pointillism, Futurism was not immediately recognized by its characteristic style. Instead its supporters worked in an extensive way, borrowing from many features of Post-Impressionism, also including Symbolism and Divisionism. It was not until 1911 that a unique Futurist style emerged, which was creation of Cubist influence.
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he Bauhaus was founded in Weimar, Germany in 1919 by architect, Walter Gropius with the aim of bridging the gap between art, design and industry and uniting all three together. Bauhaus was a school where students received theoretical and practical training on all things fine art. Training on things like ceramics, murals, stained glass, typography, metalwork, book binding, stone sculpture and furniture making. Along side that the students had also learned to combine these fine art skills with new technologies design and manufacture products that were both attractive and practical. The Bauhaus was the most influential modern art school of the 20th century. The impact of the schools approach to teaching and understanding of the art’s relationships with the society and technology had a massive impact on both Europe and the Unites States even long after the school had closed. The Bauhaus school was shaped by the 19th and the early 20th centuries trend like the Arts and Crafts movement, which had required to level the difference between fine and applied arts and in order to reunite and manufacturing. This is pictured in the schools early years in which it pictured itself as a kind of medieval crafts guild. The school is also famous for its ability, which included artists Wassily Kandinsky, Josef Albers, László Moholy-Nagy, Paul Klee and Johannes Itten, architects Walter Gropius and Ludwig Mies van der Rohe, and designer Marcel Breuer who have been part of Bauhaus.
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rt ouveau
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rt Nouveau stand for the “new art”. Art nouveau was a part of a movement in the final decade of 19th century, although the movement was short, the art become very popular and worldwide. This movement was developed when different groups of visual artists, architectures and designers joined together throughout the Europe. There aim was to create styles of designs that would be more appropriate to the modern age and in order to do that the art was characterized by organic flowing lines. The flowing line that where used resembled the stems and blossoms of the plants along side using geometric shapes within the art such as squares and rectangles. The beginning of art nouveau where followed by two different influences. First influence art Nouveau got inspired from was the introduction of the arts and crafts movement, which was around 1880. William Morris, the English designer, led this movement. This movement just like art nouveau got a negative response against the cluttered designs and the structure of Victorian-era decorative art. The second influence was the current vogue for Japanese art, specially the wood block prints that swept up many European artists in the 1880s and the 90s including the likes of Gustav Klimt, Emile Galle and James Abbott McNeill Whistler. Japanese wood block prints contained a lot of floral and bulbous forms, and “whiplash” which are known as curves. It is challenging to identify or describe what the first work or work of art was that led Art Nouveau to officially launch. Some say that the patterned, flowing lines and floral backgrounds that where found in the paintings of Vincent van Gogh and Paul Gauguin represented Art Nouveau’s beginning. Or perhaps the design that represented serpentine stalks of flowers coalescing into one large, whiplashed stalk at the bottom of the page clearly signifies that the work of Japanese-style wood-block prints was the influence that started of Art Nouveau.
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he Swiss Design, which is also known as Swiss Graphic Design was developed in Switzerland around 1950’s. It has been and still remains as the major design movement for more than 2 decades, yet it still influences graphic designers today. The Swiss Design is also known by other names like the International Style or International Typographic Style, this occurred in Russia, Germany and the Netherlands in the 1920’s, which was made famous by the talented Swiss graphic designers. The Swiss style is mostly based on simplicity, communication and objectivity. The Swiss design trademarks the mathematical grids. Swiss style always has sans serif typeface which is arranged in a flush left and ragged right formation with black and white photography. Also elimination of decoration meaning no place for decoration or patters, just plain, original geometric shapes in the Swiss design posters. The Swiss style merged elements from the new typography, Bauhaus and De Stijl. The Swiss design has rotes of its own in the new typography which was developed in the 1920’s and 1930’s when artists and designers looked to give a place in the new industrialised era. Swiss design discarded symmetry, ornaments, and drown illustration and replaced it white space, plain letter forms for fast well-organized printing. Along side this photography at that time became very popular and more accessible which the designers then embraced. The Swiss style has roots in Bauhaus too. Two Swiss designers who studied at the Bauhaus school were Theo Ballmer in 1902-65 and Max Bill in 1908-94, who linked earlier constructivist graphic design with the new movement which was formed after World War 2. Ballmer also studied at the Bauhaus school were he and Meyer applied De Stijl principles to graphic language only using arithmetic grid of horizontal and vertical alignments.
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ost Modernism is what we have now which came after Modernism. Through Modernisms development and experimentations, Post Modernism came along from the improvement of Modernism. Modernism is the world that associated with the rise of modern science. Modernism is when people believed in progress and the role of human reason, the idea of reason will eventually will be able to give us every answer. This was last centaury. Now the 21st century see all of those modern thoughts as old fashion. People now see modernism as simple and Post Modernism is yet to be defined. Post modernism is a general term that is used to define movements in art including critical concept and music. Movement in art is known as postmodernism which came after modernism. Modernist found less is more, and for postmodernist less was a bore. They believed modernist needed more references as possible to determine their own subjective conclusion. Postmodernism was a movement related to architecture that rejected the modernist, as postmodernist where passionate for the new. Modernism is understood in art and architectures to create forms for no other purpose than innovation. In the 50’s and 60’s, architectural postmodernism rejected modernisms valorisation of the new, because postmodernism wanted to continue to use the elements of modern usefulness while returning to the encouraging classical forms of the past. The result of this was an ironic brick-a-brack or collage approach towards construction that combines several traditional styles into one structure. As collage, it is found in combinations of already created patterns.
Post modernism was first created by an architecture Charles Jencks. Charles used the term ‘post modernism’ to disapprove the functionalism of the modernism movement and to describe the new styles of design in order to develop a whole range of contemporary architects and designers. The discussion concerning whether the term post modernism (also known as after modernism) is appropriate is still in rage today as it does not seem to incorporate the choice of contemporary thinking and design styles. The modern movement has not yet ended for many, as a lot of modern thinking and design ideas are still being used today. Post modernism have gotten rid of modern designs that symbolized modernism so that Post modernist can improve modern designs and make them look better. Modernist found less is more therefore modern art was simple, where as to post modernist less Is bore. As a result post modern designs are so complicated and are totally opposite of modern art.
No more rules
POPART
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op art appreciates the popular culture, or what it is also known as the ‘material culture’. Pop art does not analys the significances of materialism and constructivism as it simply recognizes its general as a natural fact. This movement was officially launched by Lawrence Alloway in one of his articles called “The Arts and Mass Media,” Architectural Record in 1958. Also in the art history text books tend claim that Richard Hamilton’s ‘Just What Is It that Makes Today’s Home So Different and So Appealing?’ in 1956 showed that Pop Art had arrived on to the scene. The collage appeared in ‘This Is Tomorrow at Whitechapel’ Art Gallery in 1956, so we could say that this work of art and this exhibition had marked the official beginning of the pop art movement, even though the artists worked on Pop Art themes earlier in their careers. Pop art in many ways completed the modernist movement in the early 1970’s with its positive investment in the contemporary subject matter. This also ended the modernism movement by holding up the mirror to the contemporary society. Once the new generation of Post Modernist looked in to that mirror and at the pop art, self doubt took over and the party atmosphere of pop art faded away. Yet there were few artists who based their work and design on the pop art style which is still being used today by the Post Modernist as inspiration.
Movements before and w R
Roy Lichtenstein
oy Lichtenstein, American artist was born in New York on October 27, 1923, and grew up on Manhattan’s Upper West Side. In the 1960’s, Lichtenstein became a leading character of the new Pop Art movement. He was inspired by advertisements and comic strips, Lichtenstein’s bright, graphic works imitated American popular culture and the art world of pop art itself.
Lichtenstein began by experimenting with the different subjects and methods in the early decade of 1960’s. Whilst Lichtenstein was teaching at Rutgers University, his newer work was both a explanation on American popular culture and a reaction of the recent success of Intellectual Expressionist painting by artists like Jakson Pollock and Willem de Kooning. Instead of painting abstract, or sometimes subject less canvases like Pollock and other had done, Lichtenstein did not do the same, he took his imagery directly from comic books and advertising. Rather than highlighting his painting process, his own inner emotional life in his art, instead he just mimicked his borrowed sources right down to an impersonal-looking stencil process that imitated the powered printing and using for commercial art.
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postmodernism Andy Warhol
ndy Warhol was one of the most important artists of pop art along side another artist Roy Lichtenstein who also used the pop art style to create his art work. Pop art became very popular in the second half of the 20th century. All though Andy is best remembered for his paintings of Campbell’s coup can, he also created hundred of other works that included commercial advertisements and films. Around 1960, he decided to make his name in the world of pop art. Pop art was a new style of art that began in England in the mid 1950 and considered it as a realistic versions of popular, everyday items. Warhol turned away from the stained line technique and chose to use the paint and canvas technique but before doing that he was not able to think what to paint. So Warhol decided to paint coke bottles and comic strips since he could not think of anything else. His work was not getting the attention he wanted. In December 1961, Warhol gave $50 to a friend of his who told him she had a good idea for him to paint. She told Warhol to paint what he liked the most in the world, even perhaps things like money or a can of soup but he decided to do both.
Modern
S w i s s t e d S wissted is like a project that is based around one of the modern art movement Swiss design. This is an ongoing project y a graphic designer called Mike Joyce and the owner of stereotype in new york city. Mike draws from his love for punk rock and Swiss design from the modern movement. He uses two movements that have nothing to do with each other, and yet makes the design look interesting. Mike has redesigned punk, hardcore, new wave, and indie rock show flyers into international typographic style posters. In each design Mike has used lowercase letters with the font of berthold akzidenz-grotesk medium but not Helvetica even though the style of the text looks similar to Helvetica.
Designers
Max Meidinger
Modern
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ax Miedinger was born on Christmas day, 1910, in Zurich Switzerland. In Basel Switzerland, Miedinger became an illustrative for the Type Foundry Haas. This is where he started to make his marks on graphic design history, in 1957, when he studied a typeface called Akzidenze Groteskwhixh is an old san serif font designed by the Berthold foundry in the late 1800s. At that time Miedinger designed that typeface so that he could be a part of the art history, but little did he know that his typeface ‘sans serif’ would become the default typeface for most software packages under its new name, Helvetica. Miedinger worked under Edouard Hoffmann to develop the new typeface for Haas. But the name of the typeface was then changed to Helvetica when they decided to market the typeface into business in Germany, as they wanted it to have an appropriate name with a meaning behind it. Stempel, the parent company of Haas, did the name change. Miedinger and Hoffmann were bothered about the similarity of the name with the Latin word for Switzerland. But besides that Helvetic the name had more universal appeal to it, and the world, which fell in love with the new typeface along side the Swiss design movement. Miedinger became an independent designer after his time at the Haas Type Foundry. Before Max Meidinger passed away, he knew the impact his redesigned Neue Haas Grotesk had on the world of graphic design, because at the time of his death, Helvetica was well into its supremacy it became the most specified type of the second half of the 20th century. Yet even know, today, people still use Helvetica and Times and it is the most used fonts in desktop publishing and graphic design.
Designers
STUDIO
DUMBAR . . . . . . S
tudio Dumbar is an international agency with the Dutch heritage. The designs are the heart of Studio Dumbar and what they do. Their works is described as ‘visual branding and online branding’, which means that they create every noticeable expression of a brand or organization. This involves their expertise in strategy, communication, branding and process management.
The nature of Studio Dumbar is to look for the pure spirit in the people they work with, and the projects they take on. It’s the attitude that helps Studio Dumbar to build a great team and achieve extraordinary results in their projects, no matter how complex or difficult a project might be. Studio Dumbar appeals to artistic individuals from around the world. Over the years, this appeal and attraction has leaded them to an endless run of amazing personalities and projects. Studio Dumbar’s colorful history began in 1977 when Gert Dumbar founded the company in The Hague.
wim Crou wel W
Modern
im Crouwel, the career of Dutch designer dissents from six decades and covers an extraordinary journey from being a designer, teacher, and curator to museum director. Based on the modernist principles, Crouwel’s articulate and systematic attitude to design is supported by a grid-based method. His process id very logical yet experimental at the same time, he refines a subject right down to its absolute essence and he does that so that he is able achieves great impact and purpose in both his exhibition and print design. Through Crouwel’s long and productive career he has produced standard work in exhibition design, and designed posters, calendars, typefaces, trademarks and stamps. The official nature and the movement of Swiss design intensely moved Crouwel, the clarity; structure and the employment of grids in the Swiss Design became key aspects in Crouwel’s visual language. His strong relationships were built with the artists who work from Swiss Design early in his career and he became good friends with Gerard Ifert, Karl Gerstner and Josef Müller-Brockmann. Crouwel is well known for his designs of fundamental, linked letterforms. Pushing the limits of legibility, Crouwel’s original type was often maintained by the easily read sans serif typefaces within a carefully structured framework. His typefaces were digitized by the Foundry in the late 90’s and still are available to be used by designers now.
Designers
NEVILLE
BRODY N
eville Brody is a British graphic designer, typographer and director. Neville Brody is a graduate of the London College of Communication and is also well known for his works on The Face magazine (1981 - 1986) and Arena Magazine (1987 - 1990).
He was one of the established members of FontFont in London and he also designed a number of notable typefaces for them. He was also part of the group who started the FUSE project on influential fusion between a magazine, graphics design and typeface design. The pack he designed includes a publication with articles that are relating to typography and surrounding subjects, there are also four brand new fonts and four posters designed by the type designer which is usually used a little more than their included font. Broody now continues to work as a graphic designer with practicing his own designed called Research studio which is addition to the London studio’s in Paris and Berlin. The studio works on a wide range of production, which includes packaging for Kenzo Perfumes, to creating branding for companies such as Macromedia and Home Choice.
Modern
M
ax Huber was born in 1919 in Switzerland. A the age of 17 Huber decided to register at the Zurich School of Arts and Crafts, this is where Ernst Gubler, Gottlieb Wehrli, Heinri MŸller, Walter Roshardt, Otto Weber and Alfred Willimann were teachers. William suggested to Huber that he should spend most of his time in the school library, where he could find out and discover about the experimentation of Bauhaus designers like Tschichold as well as knowing learning about the abstract artists and Russian constructivists. The art world of ‘Zurich school of Arts and Design’ did not lack on any motivations at this time. Graphic artist from Germany settled in Switzerland. Together with many young Swiss colleagues, they laid the foundations of the Swiss school of graphic design, which was also known as the International Typographic Style. Swiss design’s characteristic strategy values included confidence in the typographic grid system, left-hand margin settings contrasting with a ragged right hand, sans serif typefaces, and a pledge to a clear, balanced aesthetic. In studio Boggeri, Huber came in contact with Milan, and from there the two came together like the melting pot in which illustration, painting, photography and printing could come together. At Boggeri’s Huber was able to explain his ideas with people that where the same age as him. To carry a certain feeling of dynamism and speed, Huber never used his images in a strict sense; instead he just often used mixed unframed flat photographic and typographic elements with strips of colour. The elements he used in his work are those that are well recognised by people, without having them elements tell a story. His work mainly focused on photographic experiments and clear type that would be combined with the use of bold shapes and primary colors. His strict use of grids was easily identifiable. . Huber preferred clarity, rhythm and synthesis in his work. He would use simple and brief texts, composed from different ranked group, a large title with secondary information in a smaller type and a sequence of levels. Throughout the years he was not influenced or driven towards fashion, but instead he held onto his basic and simple ideas.
Designers
Modern
MAX BILL M
ax Bill was born in Winterthur. After his apprenticeship as a silversmith during 1924-1927, Bill started to study in the Bauhaus in Dessau under many teachers, which included Wassily Kandinsky, Paul Klee and Oskar Schlemmer from 1927 to 1929, after which he then moved to Zurich. Where he started to work as an architect, painter, graphic artist and sculptures and later also as a product designer. Painting controlled Bill’s multipurpose work, he would initially begin with landscapes and portraits until he could take on his own independent character, from around 1931 onwards, with the use of consistent geometric-constructive concept. After looking on graphic designs for the few modern buildings that where being constructed, that’s when he built his first work, he built his own house and studio in 1932-3 in Zurich- Hong. Onwords for 1937 he was a prime mover behind the Allianz group of Swiss artists. Bill is extensively considered as the single most significance of influence on Swiss graphic design from beginning of the 1950s with his theoretical writing and progressive work. He was given some special authorities from his connection from the days of the modern Movements. As an industrial designer, his work is branded by clarity of design and proportion on details. Amongst bills famous design is the “Ulmer Hocker” of 1954, which is a stool that can also be used as a shelf element or a side table. Although the stool was a creation of Bill and Ulm school designer Hans Gugelot, it is still often calledby its other name “Bill Hocker” because the first sketch on a cocktail napkin was Bill’s work. Bills work is very creative which puts his as essentially significant modernist artist. His formative five years were spent in the Bauhaus school under the tutelage of Kandinsky, Klee and Joseph Albers, where he exhibited work in Paris alongside Jan Arp and Mondrian. He also forged strong links with British modernists Ben Nicholson and Barbara Hepworth. In 1994 Bill died in Berlin.
Designers
Magazine
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headers
he magazines I have looked are ASOS, Bazaar and iD. ASOS are the UK’s number one fashion and beauty magazinbes, and through their recent survey it showed, they are the second most visited fashion website on the planet. Harper’s Bazaar hasexpressed the vision of legendary editors, photographers and stylists since 1867 in their magazines. Bazaar is also America’s first fashion magazine. iD is a British magazine which covers topics on fashion, music, art and youth culture. These are some of the magazine examples I have looked in order to see if there iis something interesting or different in these magazines which I can base my magaine layout on. The continuse of the asos, bazaar and iD magazine header is quite simple yet effective which I found interesting. After looking at these magazines I feel that the simplisties of these haeder would work with my magazine therefore I want to repeat the same look within my magazine aswell. The lettering of ASOS header is very simple and understandable. The ASOS magazine always has the same header on each issue. One thing I really found interesting was that on some covers the header is filled in or glammed up with different patterns and colours, this was done to make the headers fit in with the cover image. Following magazine is Bazaar. Here I looked at the magazines that used different colour combonitions to match the header with the front cover image but still keeping the consistancy of the font and size of the lettering. One several Bazaar issues, the heading have an effect where the lettering opacity is decreased to make the front cover image. and yet the header is still visable to be read. This effect i found really good which I might consider using in my magazine. The lettering of i-D is an image itself as it looks like a smiley face with one eye opened and one closed, almost like a winked face. This is also reflected on the images that are used on the front cover of the i-D magazine as the models are winking in each image of the i-D issue.
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hese are some examples of magazine layouts I have chosen from Fashion magazine and Vougue that I think will look good in my magazine. One or two layouts that i picked out are double spread with only images on so that I can use them as a guide for when I create my magazine pages. I looked at these pages becuse in my magazine I will include double page spread of an image therefore I wanted to see how I could place or lay out the images in a way so that it looks interesting. I really like these double spread layout because they are simple, interesting to look at and gets the message across. Some of the double spread layouts are example of layouts with text in. I also looked at them because in my magazine I will also include double spread with both images and text, so again, I looked and vogue, fashion magazines and some art magazines for the specific layout so that I get an idea of how my pages will look if i placed them in the same layout I have researched. The layouts that I have picked out are those that I found interesting and those who will fit in with my magazine contents.
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ere I have sketched out the layouts and pages of issue 2 magazine. The elements are clearly labelled and shows where I am going to place each element. Some elemements like page number and masthead will be repeatid on each page in the same place to make the magazine layout look professional and consistant. These sketches show how I am going to lay my pages out. Some of these layouts may change on my actual magazine. This may be beacuse the way I thought about laying my page might not worked out well or it does not look suitable. But the layout will be a little similar to what iI have planned, just minour changes. My magazine pages will be based on he existing magazine layouts that I have already researched for
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n the left hand page, I have sketched out some masthaed ideas. All of these masthead desins were influenced from modern designs and modern art that. I did not sketch out all of my ideas because the designs I was trying to acchive where not so accurate by hand, therefore I designed rest of my masthead on illustrator, so that the layout and graphic of each masthead are clear enough to understand.
The mastheads above that I created are very simple. I experimented with the layout of the text so that it created a different picture. i could not find the appropriate font style to use, so I thought about trying out my own typography for my masthead. The style of my typography is very different to the other default fonts but one problem I had with my font was that, I was not able to change the colour of the text and I was not also able to fill it in with patterns as it reuind the style of the letters.
The mastheads that I have illustrated on the next double page are created in many different style that reflect the modern era. Alot of these mastheads have got the same technique and style such as the swiss design and arial font style. I have also used both lower and upper case to write the ‘New Visual Language’ so that i can compare in between the two to see which type of case looks better. From all of the designs I have picked out one designs that I think would look good as a masthead.
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New Visual Language
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sthead designs
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LANGUAGE LANGUAGE NEW LANGUAGE EW LANGUAGE NEW LANGUAGE NEWNEW LANGUAGE NEW NGUAGE LANGUAGE VISUAL VISUAL VISUAL VISUAL VISUAL VISUAL VISUAL
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rom all of my masthead designs I have picked out one which I think will look good as a amsthead. The design placed on top of the page is the one I have chossen to develop furtur to a final masthead. This design can be freely adapted and can have more than one outcome. I started out with colour swatching. I tuck one part of the designs and added different colours to the boxes to see which colours work well togther. the colours that I have used are very vibrant and bright, although I am creating the masthead in a modern design, I have chosen to use post modern colours to make it stand out. These colours have also been used by the moder designers such as Max Bill, swiss design (swissted), Neville Brody and Max Hubber. I then experimented alot with two colours so I put together 4 colours to see how it will look and I think that t 4 loook better together than 2.
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NEW VISUAL LANGUAGE
FORM FOLLOWS FUNCTION
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fter I picked out the colours that best suited the design, I started to put together the masthead. The pattern that I stareted off with is the one I thought of. I then experimented with the layout of the masthead by placing the pattern in a different layout. I did not like that pattern very much so I stuck with the first one I did. I then broke the pattern down into just one to see how it will look, I placed the new visual language inside to see if it all fitted, which it did therefore I decided to make that one my final masthead. experimented with the size of the text to see which one fitted inside the design better and after doing that I was satisfied with the final masthead.
front cover
Issue 2: Form Follows Function
NVL
New Visual Language
An Exploration of Modernism and Post Modernism
Issue 2: Form Follows Function
NVL An Exploration of Modernism and Post Modernism
Iqra Bibi April 2014
Iqra Bibi April 2014
Issue 2: Form Follows Function
NVL
New Visual Language
New Visual Language
An Exploration of Modernism and Post Modernism
Issue 2: Form Follows Function
NVL
New Visual Language
An Exploration of Modernism and Post Modernism
Iqra Bibi April 2014
Iqra Bibi April 2014
design ideas Issue 2: Form Follows Function
Issue 2: Form Follows Function
NVL
NVL
New Visual Language
New Visual Language
An Exploration of Modernism and Post Modernism
H
Iqra Bibi April 2014
ere I have used the swiss style as an influence to design my front cover. I wanted my cover to be based on the modern artists and mosdern art like the swiss style. I liked many designs of swiss style but I picked out one to experiment with. The design I picked out is very simple therfore I used the same technique style but just changed the colour of it. I tried out 4 diferent colours including the pick one as that is already used by the swiss style. I did not stick with this design becvause I found it very simple and i wanted something that was a little complicated, with different colours and a bit more shapes. I then used one of Max Bill’s work to give me some inspiration towards modern designs that had a little more colour and shape to them. One of the design that I picked out to experiment had a bit more colour than the first one and also there were more shapes than just square. I used that poster to create my own design, it was little siomilar to Max’s posters as I used the same shapes and colour but the outcome was not bad at all. I was quite pleased with it
An Exploration of Modernism and Post Modernism
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Iqra Bibi April 2014
LANGUAGE
New Visual Language
front cover
N VL
Issue 2: Form Follows Function
Issue 2: Form Follows Fuction
An Exploration of Modernism and Post Modernism
NVL New Visual Language
An Exploration of Modernism and Post Modernism
Iqra Bibi April 2014 Issue 2: Form Follows Fuction
An Exploration of Modernism and Post Modernism
Iqra Bibi April 2014
Issue 1: Form Follows Fuction
An Exploration of Modernism and Post Modernism
NVL
NVL
NEW VISUAL LANGUAGE
NEW VISUAL LANGUAGE
Iqra Bibi April 2014
Iqra Bibi April 2014
design ideas Issue 2: Form Follows Fuction
An Exploration of Modernism and Post Modernism
NVL
NVL NEW VISUAL LANGUAGE
NEW VISUAL LANGUAGE
Iqra Bibi April 2014
A
Issue 2: Form Follows Fuction
An Exploration of Modernism and Post Modernism
fter experimenting with different layouts and designs I have decided on my final magazine cover. I first started of with some simple shapes like the circles and square which I then turned into a diamond. I played aound with the colour and the repeat pattern for the diamond shape and came out with a really good design whichI was quite satisfied with. But it did not match with my chosen masthead. So ichanged the spes around and the colour so that it looked exactly like my masthead design. One thing that I have kept was the diamond pattern that I mange to create whilst experimenting, I really liked the pattern and the colour of it so I decided to make the diamond pattern as my main element. So I have used that on each design but changed the position of it to create a goof magazine cover. I also along side the diamond pattern, played around the position and scale of the masthead so that the two elements can combine together to create a good design. After doing that I was able to pick out a design that I found suitable for my magazine cover and it also covers the information that is needed on the from cover.
Iqra Bibi April 2014
Issue 1: An Exploration of Modernism and Post Modernism
NVL NEW VISUAL LANGUAGE
Iqra Bibi April 2014 Form Follows Fuction
Inner pages and CONTENTS
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MODERNISM AND POST MODERNISM
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back cover idea STREET GRAPHICS
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rom my front cover development I have decided to use this theme for my final magazine. Here Ihave designed 4 of the layout pages that will be in my magazine. I have only shown two of the inner pages that are based on the projects which are modernism and post modernism, and street graphics. this is because I will be using the same layout through out my magazie. I have decided on the double page I will one of the page colour black so that it fits in with the design style, but I am not to sure about it as this could change I actually design my magazine as there will alot of pictures used therefore they will not suit a black background behind it. I have also shown how I will lay out my contents page and my page. I have also picked out the front cover which is already explained on the previous page.
University of Huddersfield New Visual Language April 2014
NVL