New Visual Language - Form Follows Function - Research & Development document by James Betts

Research & Development

James Betts - New Visual Language , Form Follows Function

Welcome Was an early 1900â&#x20AC;&#x2122;s designer who was famous for his work on the London transport posters of the time. Kauffer has become an icon of 20th century graphic design ever since! He was a pioneer of design, applying cubism, surrealism and futurism into his work unconventionally until the point it became a convention! His work has particularity interested me due to the influence he has had on modern day designers. For my Earth Artifact project I was researching a range of poster styles to inspire my own designs when I came across a set of movie posters based around the famous Lord Of The Rings series.

Little did I know these posters were in fact in the style of Kaufferâ&#x20AC;&#x2122;s work on the London transport system! His artistic attention to detail in this transport work was not unfounded! He began his professional career as a painter in Paris and became a designer after moving to London at the brink of the First World War. He was praised for his ability to translate and communicate concepts through his work. Heâ&#x20AC;&#x2122;s applied a machine like style to his graphic art and began creating incredible pieces not just to support his family but began turning his commercial designs into an art form.

Table of contents

04 - Research document design

06 - Modernism 07 - Postmodernism

Editorial Design

Theory

Modernist Designers

Post Modernist Designers

08 - Edward Mcknight Kauffer 12 - Laszlo Moholy Nagy 16 - Theo Van Doesburg 18 - Massimo Vignelli 22 - Alan Fletcher 26 - Wim Crouwel 28 - Joseph Muller Brockman

32 - Neville Broady 34 - David Carson

36 - Lotta Nieminen 40 - Jekyll & Hyde 44 - Olly Moss

48 - Double Page Spreads 54 - Covers

Contemporary Designers

Mood Boards

Development

58 - Thumbnails 64 - Type Tests 66 - Tri Folding Page 74 - Cover Creation 82 - Contents Creation 88 - Type Photography 92 - Typography & refinement 94 - Folding Page Display

Document Design

About The Design Before creating my magazine itself it was also important to have a strong research and development document. This document went through a few different stages before I settled on this current one. The refinements allowed for easier access to references and ensuring there was a strong focus on the visuals I was researching. I have never before creating a editorial document of this standard and building this research and development booklet was hugely helpful in backtracking to my research and comparing it to developments and ensuring I was making the magazine I wanted to make. The original black colour scheme mixed with the red and white writing gave quite a vulgar effect. We as people are used to reading body copy on white backgrounds and while a change up in this format can often be appreciated, for a document that is suppose to be entirely informational I felt it was somewhat over kill.

Thus I began refining each page so it holds enough images from each designer onto one or two spreads. The original design focused on huge imagery and while this meant you could have a highly detailed look into the image it also meant I would have had a much longer document. A much longer document would have meant when I wanted to go and find my research and developments it would overall just become more hassle that it would need to be. Thus conforming to the famous modernist grid system I incorporated a design that as an informational document looked good while at the same time functioned to an incredibly high standard.

Modernism the basics

Modernism was an art and design movement that changed design as we know it. In the late 1800’s and into the 1900’s modernists began setting the foundations for the conventions we know as designers today. There was the creation of the grid system and fantastic designs by people of the likes of Brockman, Vignelli and Massimo. Out of the two modernisms ( Post included ), Modernism is by far my favourite. Modernism arches back to the contemporary design styles I have come to love, something that has a huge influence on my own design projects. Louis Sullivan wrote the theory of form following function. In many elements of design these days designers are too occupied on form when they need to also consider function! Sullivans rule was that form following function should be a law. Something like the law of nature. The function of nature is to survive and thus evolution has formed it to do so! This is applicable to design as well. The idea of function coming first is an incredibly modernist perspective as all of the works I have studied have a very clear function underlining their form. However even this law is subjective to the different audiences. The latest model of the iphone is a fantastic example. It’s functionality as a large phone allows for increased levels of productivity and entertainment, while it’s form being so big means it can be at the same time hard to use.

This idea of function being as equally important as form is something I am going to apply to both this research document and my own magazine! Ensuring both work as a comfortable read while at the same time looking very professional!

P.Modernism the basics

Post-modernism is like looking into a broken mirror. We see a shattered image of the conventions we recognise. Undoing conventions ‘the collapse of the sign’ and breaking our understanding of semiotics is a post-modernist convention to promote originality. There has always been an overlap between the transition from modernism to post-modernism but post is defined as a definite departure from what we know. Post-modernism stems from that reality and art and design is not a mirror. And thus our understanding of reality is subjective. This idea of questioning and undoing normal narra tive s is se en to pos t - m oder nis t s as being a constructive method rather than destructive. This idea of destroying conventions and reconstructing them was seen as ground breaking originality in the earlier stages of this era. This was the eruption of the grunge style, the most trivial form of post-modernist design. However styles like this have no become incredibly dated and post modernism is beginning to loose its political context that came with postmodernists revolutionary bend.

I feel in post-modernists attempts to break conventions and create ‘new design’ that their ambition has resulted in the complete opposite of new design. Over time the unconventional becomes a convention. This can be seen in examples in all elements of design! At one time a touch screen phone was revolutionary! yet now it’s a common convention. This I feel has happened with post-modernism and the whole idea of breaking conventions is now so common that the idea has become completely unoriginal! Thus in my aspects of design I expect to keep to the modernist method of form following function and keep my designs minimal while functional.

DESIGNER.

Edward Mcknight Kauffer

About The Designer Was an early 1900’s designer who was famous for his work on the London transport posters of the time. Kauffer has become an icon of 20th century graphic design ever since! He was a pioneer of design, applying cubism, surrealism and futurism into his work unconventionally until the point it became a convention! His work has particularity interested me due to the influence he has had on modern day designers. For my Earth Artifact project I was researching a range of poster styles to inspire my own designs when I came across a set of movie posters based around the famous Lord Of The Rings series. Little did I know these posters were in fact in the style of Kauffer’s work on the London transport system! His artistic attention to detail in this transport work was not unfounded! He began his professional career as a painter in Paris and became a designer after moving to London at the brink of the First World War. He was praised for his ability to translate and communicate concepts through his work. He’s applied a machine like style to his graphic art and began creating incredible pieces not just to support his family but began turning his commercial designs into an art form. It is this iconic idea of an art form that has meant people are still inspired to follow in his footsteps long after his death in 1954.

Even myself took an inclining of his vintage style design and applied it into my own poster projects in the past and it’s for this reason I can see why he is one of the most influential designers of all time. What I have personally taken from his work is his incredible use of colour! Through these first three projects I have noticed this as a reoccurring pattern in my research stage. When looking for designers, it is often those who develop and seamlessly wrap colour into their designs. This has obviously had a huge influence then on my design work as since day one my work has included bright vibrant colours to allow it to stand out. However in this editorial project I may take a different approach. Despite colour being hugely important to a magazine from my college teachings I understand a range of codes and conventions of professional magazines and through this project I expect to keep to them. At this stage I have a few ideas in what direction I plan to take my designs , however without further research into mast heads, cover lines, and a range of other conventions I cannot even think of beginning the early design stages.

Image reference : London Transport Museum - Edward Mcknight Collection

DESIGNER. 01

Image reference : London Transport Museum - Edward Mcknight Collection

DESIGNER.

László Moholy-Nagy

About The Designer Was somewhat a jack of all trades in the design industries, ranging from photography and film to graphic design , often applying them together. Similarly to many designers of the early 1900’s the second world war had a huge effect on him as with the rise of the Nazi’s meant moving to Amsterdam and England. Although before that he grew up in Hungary and spent time serving as a young man in the first world war, while afterwards serving a big part in the countries artistic and political movements. And throughout all these periods in his life he has applied himself to a range of different design disciplines , all of which have caught my interest. As a designer personally I don’t want to be stuck in a box. I’d love to be able to apply my professional ambition into a range of design disciplines in a similar way that Nagy has done.

Despite his sculptures not being directly related to this current editorial brief, I feel they are perfect examples of his diverse abilities in the design industry and something that have really caught my attention. Although my favourite are his perfectly laid out photo-montages and paintings. His use of white space is critical to the success of these pieces , using it to its full advantage in arranging this delicate imagery. This idea of using white space is to a designers advantage is often talked about , but here it is in actual practise that works brilliantly. Without his critical precision these pieces would be just an awful jumble of imagery rather than critically acclaimed design work. Even his paintings hold to this same concept of brilliant use of white space, merged with colour and imagery as well as adapting a huge amount of both surrealism and futurism into his work, with bold shapes and elegant imagery.

Image reference : V&A - Biographies of modern designers

Image reference : Monoskop - Laslo Moholy Nagy

DESIGNER. 01

Image reference : V&A - Biographies of modern designers

Image reference : Monoskop - Laslo Moholy Nagy

Image reference : V&A - Biographies of modern designers

Image reference : Monoskop - Laslo Moholy Nagy

DESIGNER.

Theo van Doesburg About The Designer Doesburg was an aspiring architect of the early 1900â&#x20AC;&#x2122;s. His energetic thinking and positive attitude towards design helped fuel his ambition to become one of the high regarded architects of his time. Despite not being able to fulfil his ambition he did become a rather well regarded artist and his geometric work especially has caught my attention. He spent many years creating these incredible paintings using vibrant colour schemes and bold shapes and with this he helped shaped the modernist movement. In the pieces I have chosen for the research document I have looked for a sort of natural progression in his work. Despite these not being in the chronological order of being painted I you can see I have laid them out as if they have developed this way overtime. My favourites have to be the pieces that apply a third dimension to the geometric designs. (Figures 04 and 05). In these you can see Doesburgâ&#x20AC;&#x2122;s aspirations towards architecture as in them I can see a very strong element of the minimalist modernist designer.

Image reference : http://hu.wikipedia.org/wiki/Theo_van_Doesburg

Edward McKnight Kauffer : 1890 - 1954

Image reference : http://www.wikiart.org/en/theo-van-doesburg/ pure-painting-1920

Image reference : http://www.wikiart.org/en/theo-van-doesburg/ dance-i

Image reference : Vhttp://41.media.tumblr.com/fcb97ef97ef23f0d78317e0e25724ca3/tumblr_mgv9tyh-

Image reference : https://lithopoesis.files.wordpress.com/2012/06/ theo-van-doesburg-arithmetic-composition-1930.jpg

Image reference : http://uploads8.wikiart.org/images/theo-vandoesburg/female-nude-with-hand-on-her-

Image reference : http://upload.wikimedia.org/wikipedia/commons/e/e4/Theo_van_Doesburg_-_Archer_-_ Google_Art_Project.jpg

1890 - 1954

Image reference : http://joshmatz.com/mea_timeline/attachments/ artwork_95.png

Image reference : http://upload.wikimedia.org/wikipedia/commons/2/23/Theo_van_Doesburg_112.jpg

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DESIGNER.

Massimo Vignelli

About The Designer I feel all the practitioners I have been through so far have been mainly modernist artists! And while I have a huge appreciation for their work it’s now time to look at the king of modernist designers! Vignelli.

As I have created a range of huge posters through the past set of projects I have a decent variety of images to host within my magazine to hopefully keep each new page fresh and relevant.

Vignelli has created some fantastic editorial designs and was also the creator of the grid system! The grid system has come in incredibly handy within this research and development document and I expect to use a new one in my final magazine too!

A final key to notice is the use of white space. I think it’s this element I like so much in minimal designs! And with precise control over white space you can make an incredible piece of design.

What I particularly like about Vignelli’s magazine designs are his minimalistic style. Minimal magazines and even minimal designs in general have always been my favourite format. And this use of a simple one focus point cover as well as very simple body copy and huge images are what I hope to use in my own magazine. I feel this design style works incredibly well for a visual magazine, as body copy falls second best to the actual images within the magazine.

The contrast between the huge letters and tiny body copy of Vignelli’s design is what makes these such iconic editorial pieces.

Image reference : http://www.vignelli.com/home/bookmagazine/ lella.html

DESIGNER. 01

Image reference : http://www.vignelli.com/home/bookmagazine/ lella.html

DESIGNER.

Alan Fletcher

About The Designer Minimalism is a style I am hugely fond of and it has been apparent in a range of my projects so far. Being one of my favourite styles it’s likely this is what I will pursue in my own project as I feel ultimately focusing on a minimal editorial design will help focus a readers attention on the visual aspects of the page. Thus after searching through many designer I have found the work of Nieminen and her fantastic editorial work! Her style is incredibly simple and this style is something I have always aspired towards in my own designs. His website hosts a vast variety of designs all of which are fantastic and I wont be surprised if by the end of this project I have woven her iconic style into my own work. I think her use of contrasting colours and empty space a brilliant and add a really modern feel to the overall design. This modern element is emphasised by the use of a third colour to highlight pieces of text and the occasional shaped vector to add a bold effect to a particular area.

In some of the later works of hers that I’ve research I noticed almost a leaflet design that works incredibly well. This idea of folds within the editorial could be used to include more information on a smaller amount of pages. The concept being that if I had a double page spread I could include a smaller inner page between the spread that could host some sort of information or even images and thus you more images would be hosted on the page. This idea would need a lot of refinement and practise to perfect as if it isn’t executed properly it could make the page look clumsy and not very well thought through so some accurate illustrated thumbnails will be very important to ensure I don’t waste too much of my limited time on a computer.

Image reference : http://www.alanfletcherarchive.com/archive/era

DESIGNER. 01

Image reference : http://www.alanfletcherarchive.com/archive/era

Image reference : http://www.vignelli.com/home/bookmagazine/ lella.html

DESIGNER.

Wim Crouwel

About The Designer William Crouwel is another minimalist modernist designer I have grown very fond of. Despite using minimal typography which I am also a huge fan of, it’s the combination of imagery and colour which fascinates me with this designer. The huge red hiroshima editorial is fantastic, the use of bright bold contrasting colours as well as the typography itself arching back towards the famous modernist grid system. Form the black and white poster to the right you can see how even his typography is creating with a grid structure in mind and even in this Hiroshima work it has a brilliant effect. Looking at all these designs and their designers has begun to illustrate that there’s not just one way to create a good magazine. A huge range of elements could be the centre point of a piece and it still be fantastic, whether this colour, imagery or typography!

This grid nature Crouwel has strictly followed is also expanded upon within the third image, in which he has added a third dimension. Despite liking this work so much, I don’t think these are the convention I want to follow in my own work. As Crouwel’s work develops the sense of minimalism is lost and this is something I want to avoid! Thus I want to keep my magazine as effectively simple as possible.

Image reference : http://www.alanfletcherarchive.com/archive/era

DESIGNER.

Josef Muller Brockman

About The Designer Josef Muller Brockman is somewhat the king of graphic design and will be the key inspiration behid my own magazine design. Brockman was the mind behind the famous editorial grid system. The grid system allows for some brilliant design work as it allows to both combine codes and conventions in line with original work!

There is a lot of work to typography that isn’t often appreciated, kerning and the organisation of both orphans and widows. Organising these and ensuring they don’t exist within a document is something I will have to keep an eye out for in my final magazine.

Keeping to the grid is almost a law, and allows a continuing theme through a whole document while allowing to develop and keep each page unique.

And obviously these editorials also conform to the minimalist style I am so often fond of! Using a huge amount of ‘white space’ to allow the text to stand out on the page.

The grid will allow you to keep headers a certain distance away from the body copy and keep this distant constant throughout the document.

White space in many respects works in a similar way to using underlines and bold text. Both of these allow text to stand out in crowded documents however in these documents white space effectively replaces them.

Ensuring the you keep to these conventions is what keeps some editorial designs looking professional and others not. This is also relevant towards the intracet details within typography. In a previous workshop we learnt a range of indesign tools and features which allow us to

set paragraph and header styles to ensure we can conform to these expected conventions.

Image reference : http://www.modern-theory.com/directories/muller-brockmann-josef/

DESIGNER. 01

Image reference : http://www.modern-theory.com/directories/muller-brockmann-josef/

DESIGNER.

Neville Brody

About The Designer I am a huge fan of modernist designer , the pure simplicity of it is something I aspire to. Thus this is why I am not a particular fan of post modernism. Despite this I am found a lot of Neville Brody’s work has a set of elements I like. The coca cola poster is the one I love the most. In Matt Groeing’s The Simpsons’ Moe describes post modernism as being weird for the sake of being weird. However these posters have a practically behind them. The Coca-Cola poster manages to hold that minimalist element while combing it with the post modernist values of breaking codes and conventioms. It is this use of simple shapes and the application of colour I like so much in his work. However you can still see the post modernist elements bleeding through in his editorial pieces. His Helvetica pieces conform solely towards form rather than function, some me as a contemporary designer try and avoid. I think it’s important to ensure you have a function in mind before building a form around it.

In this case you could argue the function is to simply look visually pleasing, however with editorial work I am a much bigger fan of following function. This idea of form being a head of function is a something many post modernist designers have entitled them selves with however despite the original reason for this was to become unconventional from modernist design I feel in many respects this post modernist view is becoming a convention in itself. Overall in some of these simple use of colour and imagery is something I have incorporated into my own design work and is something I will continue to do so as a poster designer, however this idea of not following a function is something I personally struggle to comprehend as a designer.

Image reference : http://brody-associates.com

DESIGNER.

David Carson

About The Designer In this work for Audi David Carson used a variety of post modernist elements to create these mood boards.

a similar concept to what is happening within this Audi advertisement and thus I think it works as a piece.

Despite me liking the minimalist elements in Brodyâ&#x20AC;&#x2122;s work, I am actually really liking these destructive mood boards.

So far I am not a huge fan of post modernism and feel my magazine will follow a modernist design style.

Destructivism is a post modernist design method in which a designer will break down all the codes and conventions of a piece and in many respects destroy it and construct it for their own needs.

Despite liking how a range of these post modern design pieces look I feel like overtime Iâ&#x20AC;&#x2122;d get tiresome of creating form over function and not the other way around.

This is described as being destructive and breaking down something that was already satisfactory. However in many respects I also think this could be considered constructive.

I am now going to transfer my research and begin looking towards contemporary designers and see what editorials they create within the conventions of modernism.

The piece I like the best is the one in the centre with the engine parts. I think this is because out of all three it holds the most function in my opinion. Back in my school days I studied product design. In this lesson we learnt a range of ways to create a blown up image, a 3D rendintion of all the parts of a product hovering in mid air. This is

Image reference : http://www.davidcarsondesign.com/t/clients/

EDITORIAL.

Lotta Nieminen

About The Designer Minimalism is a style I am hugely fond of and it has been apparent in a range of my projects so far. Being one of my favourite styles it’s likely this is what I will pursue in my own project as I feel ultimately focusing on a minimal editorial design will help focus a readers attention on the visual aspects of the page. Thus after searching through many designer I have found the work of Nieminen and her fantastic editorial work! Her style is incredibly simple and this style is something I have always aspired towards in my own designs. Her website hosts a vast variety of designs all of which are fantastic and I wont be surprised if by the end of this project I have woven her iconic style into my own work. I think her use of contrasting colours and empty space a brilliant and add a really modern feel to the overall design. This modern element is emphasised by the use of a third colour to highlight pieces of text and the occasional shaped vector to add a bold effect to a particular area.

Image reference : http://www.lottanieminen.com/#graphic-design

EDITORIAL. 01

Image reference : http://www.lottanieminen.com/#graphic-design

EDITORIAL.

Jekyll & Hyde

About The Designer Jekyll & Hyde did an editorial design for Must magazine they have implemented some brilliant codes and conventions.

Beneath the mast head you can see a cross which to me represents the cross you’d have in-place of an image when creating thumbnails.

Similar to my previous designer research they have styled it to look incredibly modern and very sleek, which is something you come to expect with a fashion magazine.

But what is most interesting to me is the way this cross is woven throughout the document as almost a water mark, a staple of this magazines design.

What I like about these editorial designs is the way they position text and imagery around the page.

This watermark type logo is something I haven’t seen in my research thus far as from my understanding of the conventions of a magazine a small replica of the masthead is often found in the lower corners of the page adjacent to the page number.

This is not only relevant to their double page spreads, but also to the cover and mast head. The big bold simply designed masthead looks incredibly striking against the imagery without compromising it. I feel in editorial design this is incredibly important especially when designing a magazine which relies so heavily on it’s visual aspects ( imagery ). However then this idea of not compromising the imagery is followed through the entire magazine as well as a small vector I noticed.

However from a designers perspective I think breaking this convention works incredibly well and I hope I can think of a similar stamp to place onto my own work to give it it’s unique style.

Image reference : https://www.behance.net/gallery/355702/ MUST-magazine

EDITORIAL. 01

Image reference : https://www.behance.net/gallery/355702/ MUST-magazine

EDITORIAL.

Olly Moss

About The Designer Olly Moss is a fantastic designer and is by far my favourite one. His poster designs have inspired me since As level and are something I aspire to be able to create myself! It’s his forward thinking nature and combining type and imagery which is so incredible and something I feel is relevant towards this latest brief. However his use of combing colour, imagery and empty space is incredible! His use of typography also merges brilliantly with the poster itself and the whole concept is to be aspired for. These posters show that it’s not just one element that makes a good poster, or in my case editorial. It’s the entire combination. As I move into my magazine research and away from designers I am going to have to start looking into each of these details exactly. The conventions I have started to spot within each magazine are little things such as bar code details, price tags , headers and how they are composed onto the page. I made a magazine in a similar style back in my college years however it

wasn’t nearly to the standard I’d expect to be at these days. Despite the low standard it is good building blocks for me to develop my current idea from and transform a blank page into my very own design magazine.

Image reference : http://ollymoss.com

DESIGNER. 01

Image reference : http://ollymoss.com

Image reference : https://www.behance.net/gallery/355702/ MUST-magazine

Image reference : http://ollymoss.com

SPREAD.

Double Page Spreads

About The Design Here is my first set of mood boards. Pinterest is a fantastic source of inspiration for all sorts of designs and thus I have used it to find a range of different styles of magazine to begin creating my own magazine in my mind. As Iâ&#x20AC;&#x2122;ve created a lot of posters in my previous projects I am quite looking forward to creating the cover of my magazine. I think both posters and covers hold a very similar set of codes and conventions however a double page spread is a completely different set of rules. Because of this I have spent a lot of time looking into a range of different magazines. In my chosen sets I have tried to keep to a particular style. This is the style I want to create myself. Looking at these spreads give me a really good judge of comparisons between font sizes, as this is something I think many student magazines I have researched have fallen upon as well as the way imagery can minimally merge with it.

Codes and Conventions -Lots of clear large imagery. - Excessive white space - Bold headings -Headings not too much bigger than body copy -Not always a lot of text accompanying image -The colour limited schemes

Image reference : https://www.behance.net/gallery/Orekhprom-booklet/545587

Image reference : https://www.pinterest.com/ pin/380061656030879317/

Image reference : http://pick.mydesy.com/archives/36150

Image reference : https://www.pinterest.com/

Image reference : https://www.pinterest.com/ pin/380061656030804914/

pin/380061656030804914/

Image reference : https://www.pinterest.com/ pin/380061656030804914/

Image reference : https://www.pinterest.com/ pin/380061656030804910/

Image reference : https://www.pinterest.com/ pin/380061656030802673/

Image reference : https://www.pinterest.com/ pin/380061656030830892/

Image reference : https://www.pinterest.com/ pin/380061656030438334/

Image reference : https://www.pinterest.com/ pin/380061656030879262/

COVER.

Covers & Mastheads About The Design After getting a solid idea for my double page spreads I began looking into a different range of magazine covers. I feel even though were are recommended to not judge a book by itâ&#x20AC;&#x2122;s cover magazines are the complete opposite. A magazine cover should be like a piece of propaganda. Enticing both usual readers and new customers in to what essentially is a product! I minimised my search radius to magazines related to the creative industries to see what conventions they consists of and straight away a range of them became very clear. The most obvious one was the cover image. The cover image is a key point to all of these magazines and unlike that of a gossip, or movie magazine these covers are all just restricted to one focal point. This is something that I will have to take huge consideration on when creating my own magazine as this idea of focal image will mean I will have to source and photograph it myself.

Codes and Conventions -Large Masthead - Large single image cover. - Very few headers. -Publication line isnâ&#x20AC;&#x2122;t compulsory -One focal point within the image. -Bar code and price not compulsory

Image reference : https://www.pinterest.com/ pin/380061656030904566/

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Image reference : http://cargocollective.com/simondugenetay/ LYLY

Image reference : https://www.pinterest.com/ pin/380061656030904519/

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Image reference : https://www.pinterest.com/ pin/380061656030880067/

Image reference : https://www.pinterest.com/ pin/380061656030880082/

DEVELOPMENT.

Thumbnails About The Design Thumbnails were fantastic at the initial design stages for me to start getting to grips with what my magazine would look like and how it would work. As I have an a4 sketchbook its an excellent chance to be able to sketch out full page layouts 1:1 to how they would look digitally! This means when scanning them into the computer to build around them there is no playing around with scale, nor relying on judgement when I am doing my sketches. By this point in development I have seen and analysed a range of codes and conventions of modern day magazines and with that in mind there a range of features I want to develop into my own magazine , primarily the folding page. The folding page is something I have had in mind for a while as in my Earth Artifact I created a lot of posters! And the benefit of these folding pages means I will be able to have images and text on a page without them directly effecting one another! Overall the thumbnails I have designed conform to a very minimalistic style.

DEVELOPMENT.

TYPE TESTS

About The Design Once I had my thumbnails set it was time to start thinking about what was going to go within them! Thus the first port of call became the typefaces I would build my document from and this page is where I would copy and place them into magazine pages. I had it set in my mind I wanted modern sanserif headers for a stylistic approach with sanserifed body copy as it has more functionality when it comes to reading. Thus I set up three tests for each of the three types of text I was going to have within my magazine, headers , body copy and italic quotes. With each of these tests I tried three different, yet similar fonts and compared them, varying each one with a particular font size and letter spacing. After judging each set I decided to use...

Font Choices - Gill Sans / Headers - Garamond / Body copy - Gramond 21 degree / italic quotes

HEADER - LUCIDA SANS UNICODE - 12PT - 300VA

HEADER - LUCIDA SANS UNICODE - 14PT -150VA H E A D E R - G I L L SA N S - 1 2 P T - 3 0 0 VA

HEA DE R - G IL L SA N S - 1 2 P T -100VA

H E A D E R - G U J A R AT I S A N G A M M N - 1 2 P T - 3 0 0 VA

HEA D E R - G U J A RAT I SA NG A M MN - 1 4 PT -1 0 0 VA

Body Copy - Garamond - 9PT Test body copy type: here is my art and design magazine for my final first year project. This project is an accumulation of skills that have been developed through University!

Body Copy -Adobe Arabic - 10PT Test body copy type: here is my art and design magazine for my final first year project. This project is an accumulation of skills that have been developed through University!

Body Copy - Kannada MN - 8PT Test body copy type: here is my art and design magazine for my final first year project. This project is an accumulation of skills that have been developed through University!

Italic Quotes - Athelas- 10PT - 21 degrees Test body copy type: here is my art and design magazine for my final first year project. This project is an accumulation of skills that have been developed through University! Italic Quotes - Garamond - 10PT - 21 degrees Test body copy type: here is my art and design magazine for my final first year project. This project is an accumulation of skills that have been developed through University!

Italic Quotes - Garamond - 10PT -9 degrees Test body copy type: here is my art and design magazine for my final first year project. This project is an accumulation of skills that have been developed through University!

DEVELOPMENT.

Tri Folding Page

About The Design For my Earth Artifact project I finished by creating three voyager posters as my final piece. Despite this my magazine design is limited to two pages and I really wanted to show them off by having them almost an A4 page size each! I over came this by designing the tri-folding page in my thumbnails, inspired by one of the double page spreads from my research. The tri-fold will allow me to host all three pieces as well as a set of body copy to accompany them within just one double page spread! However now it was time to start developing this idea digitally after ensuring I had clearly designed it within my sketchbook.

This is the first development of my body copy , and the first page of body copy I have created in the whole magazine. I have gone for a very minimalist style with almost a web page styled interface for my page numbers! However this design still felt somewhat cluttered with the body copy and a quote , thus in the second image I have subtly refined the page, and moved the quote to the chapter entry at a different stage in the magazine.

I then began designing the tri-folding page. I hosted all three images onto A4 pages with a small white border surrounding them. While I was somewhat please with this design I felt it needed more substance as a professional magazine, and thus I reformed the idea of how to host these magazines. Thus I printed off each poster on matte A3 poster and attempted directly hanging them onto the walls and manually photographing them with a DSLR rented from the photography studio! Despite trying my very best with a white wall and professional lights the results were not what I was expecting and thus the idea had to be refined before every making it into my magazine!

This time I just photographed the background of the poster and imported it into Photoshop. In Photoshop I used the warp tool to straighten any wobbles in the paper. I then furthered this idea to add a slight drop shadow to the background. This template will now allow me to add any poster to it that I chose! Even in later projects. Small assets like this will only speed up later design jobs and judging by the long page below I feel this style works much much better than simply adding three jpegs to the age.

DEVELOPMENT.

Quotation, Chapter heading About The Design After removing the original quotation from the Voyager spread I decided to move it an opening chapter page. As this is obviously short magazine I not only wanted something to build up extra pages, but also help define each project Iâ&#x20AC;&#x2122;ve included within the magazine. This short personal quote is a more informal view into the magazine and each project than the actual double page spreads. These avoids clutter on each of the double page spreads and adds to my minimalistic style. With the quote originally on the double page spread it caused too much clutter and this way it allows each page to simply host a title, set of images and strong body copy. Having just one set of text one page also enforces the way the white space can highlight the text and allow it to stand out from the rest of the document.

DEVELOPMENT.

Cover Creation

About The Design At this stage it was time to start designing the cover. I had a body copy template ready as well as a template for hosting images so it felt the time to begin designing the books ends that would host it all together. On this page you can see the two templates that were the original idea for my cover a long with the inspirations that accompany them. Phlearn have some fantastic Photoshop tutorials which I had been using to create my poster backgrounds while at the same time within this particular video with the square orange it gave me the idea of hosting just one central image as my cover photo. This one image idea was then amplified with the pink head shot of ‘The Room’ magazine and finally I really like the masthead and header designs of ‘skate’.

With these conventions in mind I already had a good idea of what I wanted my magazine cover to physically look like. This minimalist style would host a lot of typography and use a very simple mast head design. There was a small amount of development in the overall design of the mast head but overall it kept to the very simple minimalist type you see on the finished product.

I decided my cover and contents would interlink. I was going to focus on my bag as the main image as seen here. The concept being my cover would host the bag itself with the contents image literally being â&#x20AC;&#x2DC;the contents of the bagâ&#x20AC;&#x2122; . Thus I began by taking a range of shots in a similar fashion to the way I did my posters. Once I chose a favourite image I began applying the Photoshop skills I learnt from the Phlearn square orange tutorial! I tried a range of colours but in the end decided to settle on this off turquoise with a range of filters applied over the bag to give it a crisp clean image with some beautifully saturated colours.

In a similar way to my cover my mast head didnâ&#x20AC;&#x2122;t go through too many stages of development. It is all down to the vast amount of covers I had assessed within my mood boards which gave me a good idea before creating it what style I was going to pursue. Thus I began with the simple san serif title and overtime simple refined it and shortened it to appropriate with my minimal style until I felt the overall style suited the image I was using for the cover. I chose the three lettered title as it worked well with the minimal yet still functioned to a standard that you could understand what it was saying.

Thanks to my mood boards m y magazine didnâ&#x20AC;&#x2122;t go through too many stages of design. It became simply a matter of judging the correct amount of text to accompany headers while ensuring sizes were kept the to the right scale and everything was in the right place. After I reached this final image I had become incredibly happy with the development process and how far the image had come from that simple white backgrounded product shot. The addition of issue numbers and a centred nature of the whole page I feel worked really well for my style of magazine. While the use of empty space echos the editorial designs inside as Iâ&#x20AC;&#x2122;ve used a similar idea with my body copy!

DEVELOPMENT.

Contents Creation About The Design After creating my cover it was time to begin working on my contents page. As I said earlier my idea of the cover and contents relating to one another is that the cover is my bag while the image on my contents page will literally be the contents of my bag! As you can see from this thumbnail the idea was the image would cover the whole double page spread and then the contents text would be laid across it. Thus I went back to my photography booth and got to work rearranging the contents of my bag into a neat fashion as seen within the thumbnail. Like all of my pages so far this one was no different in the respect it when through a range of changes before I was happy with it. I used a range of different camera angles for the photos and tried a different set of editing techniques to see which produced the best effect. Overall when it was finished I felt this style works incredibly well and while it no longer directly resembles the bag, the whole concept of a designers contents is still laced into the foundation of the design.

DEVELOPMENT.

Typography Photography

About The Design After doing so much photography in this project so far, I felt it should be a common theme to avoid some pages seeming a lower quality than the rest. I spent a lot of time laying out the sketches I had made and reused my make shift photography booth I had created earlier in the project. At this stage youâ&#x20AC;&#x2122;ll notice there is much less development to this image than the last set! This is because since the start of project 3 I have seen a huge improvement in my photography skills and this time I was able to perfect camera angles,focus and what is in the image in general.

DEVELOPMENT.

Typography & refinement About The Design Tracking and kerning is something I have never had experience with before now. I have never before tried to create an editorial document to a professional standard and thus I have never thought to go and justify each line. However thatâ&#x20AC;&#x2122;s where university is so important. Learning these professional techniques and ensuring my methodology behind creating my work will ensure I create it to the highest standard possible. This mean I took the time to revisit all of my magazine so far and re edit each line of test to ensure it read as smoothly as possible as well as look aesthetically pleasing on a page. This is a moment where both form and function really come into play. Tracking and kerning while making sure orphans and widows are also under control improve an editorial documents overall functionality while at the same time improving its form! This process was a tedious one but over time made a dramatic improvement to my document!

DEVELOPMENT.

Folding Page Display

About The Design This was perhaps the biggest development of the whole magazine. Due to having a range of folding pages throughout the magazine, issuu the format we present on wouldnâ&#x20AC;&#x2122;t recognise the overlapping pages! Thus I needed to overcome this idea. Thus I began by creating the InDesign documents I wanted to fold over one another. These were formatted to the same editorial designs as previous pages and incorporated real world designers work. I then looked back to all the magazine mood boards I had made previously and looked into the ways real designers photograph their editorial designs. I noticed two clips on a plain background was a running theme. I have also noticed though in previous photography experiences (when photographing the posters), the photos donâ&#x20AC;&#x2122;t look as nearly as effective as the Photoshop counterparts I created. In light of this using a tiny amount of photography I created a blank double page spread. With this blank double page spread I added in shadows and paper clips to give a realistic feel and finally applied it to a textured blue background.

From their I could edit my entire magazine onto the blanks pages and use the warp tool to simulate the look of the overlapping pages. With the addition of some more shadows it gave a realistic impression of the page turning and overall became the standard way of me presenting my magazine onto issuu.

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