New Visual Language RESEARCH AND DEVELOPMENT DOCUMENT
Key Words
Modernisn
De Stijl
Ray Gun
Dada
Form
Post Modernism
Function
Cubism
Swiss
Futurism
Emigre
Constructivism
Utopia
Bauhaus
Modernism Modernism was a philosophical movement from the end of the 19th Century to the first half of the 20th Century. It was both cultural and political. It covers new forms of art, literature, music, architecture and drama [1], but also in political ideologies that rose up like fascism and communism. Modernism grew out of the Enlightenment and its belief in science, but rejected earlier tradition. It was interested in new ways of doing old things. Also, there was a belief that science and technology could change the world for the better. Modernism began in the late 19th century and carried on until about 1950. The details differ greatly, and the term covers some movements which are somewhat contradictory. Art is where people can find Modernism. Modern art is what replaced classical art. It included Abstract art, Cubism, Pop art, Minimalism, and Dadaism. It affected sculpture quite strongly, though at the beginning sculptors like Rodin and Epstein made both traditional and modernist works. Henry Moore is one of the most famous modernist sculptors. Typical modernist painters were Picasso, Braque, Matisse, Kandinsky and Mondrian.
Bauhaus Bauhaus was a revolutionary school of art, architecture and design established by the pioneer modern architect Walter Gropius at Weimar in Germany in 1919, includes artists Paul Klee and Wassily Kandinsky.
Swiss Modernism Design Often referred to as the International Typographic Style or the International Style, the style of design that originated in Switzerland in the 1940s and 50s was the basis of much of the development of graphic design during the mid 20th century. Led by designers Josef M端ller-Brockmann at the Zurich School of Arts and Krafts and Armin Hofmann at the Basel School of Design, the style favored simplicity, legibility and objectivity. Of the many contributions to develop from the two schools were the use of, sans-serif typography, grids and asymmetrical layouts. Also stressed was the combination of typography and photography as a means of visual communication. The primary influential works were developed as posters, which were seen to be the most effective means of communication.
Constructivism The term Construction Art was first used as a derisive term by Kazimir Malevich to describe the work of Alexander Rodchenko in 1917. Constructivism first appears as a positive term in Naum Gabo’s Realistic Manifesto of 1920. Aleksei Gan used the word as the title of his book Constructivism, printed in 1922. Constructivism was a post-World War I development of Russian Futurism, and particularly of the ‘counter reliefs’ of Vladimir Tatlin, which had been exhibited in 1915. The term itself would be invented by the sculptors Antoine Pevsner and Naum Gabo, who developed an industrial, angular style of work, while its geometric abstraction owed something to the Suprematism of Kazimir Malevich
Futurism Futurism was an artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth and violence and objects such as the car, the aeroplane and the industrial city. It was largely an Italian phenomenon, though there were parallel movements in Russia, England and elsewhere. The Futurists practised in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, urban design, theatre, film, fashion, textiles, literature, music, architecture and even gastronomy. Its key figures were the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carrà, Gino Severini, Giacomo Balla, Antonio Sant’Elia, Bruno Munari, Benedetta Cappa and Luigi Russolo, the Russians Natalia Goncharova, Velimir Khlebnikov, Igor Severyanin, David Burliuk, Aleksei Kruchenykh and Vladimir Mayakovsky, and the Portuguese Almada Negreiros. It glorified modernity and aimed to liberate Italy from the weight of its past.Cubism contributed to the formation of Italian Futurism’s artistic style. Important Futurist works included Marinetti’s Manifesto of Futurism, Boccioni’s sculpture Unique Forms of Continuity in Space and Balla’s painting, Abstract Speed + Sound. To some extent Futurism influenced the art movements Art Deco, Constructivism, Surrealism, Dada, and to a greater degree Precisionism, Rayonism, and Vorticism.
De Stijjl Originally a publication, De Stijl was founded in 1917 by two pioneers of abstract art, Piet Mondrian and Theo van Doesburg. De Stijl means style in Dutch. The magazine De Stijl became a vehicle for Mondrian’s ideas on art, and in a series of articles in the first year’s issues he defined his aims and used, perhaps for the first time, the term neo-plasticism. This became the name for the type of abstract art he and the De Stijl circle practised. Other members of the group included Bart van der Leck, Vantongerloo and Vordemberge-Gildewart, as well as the architects Gerrit Rietveld and JJP Oud. Mondrian withdrew from De Stijl in 1923 following Van Doesburg’s adoption of diagonal elements in his work. Van Doesburg continued the publication until 1931. De Stijl had a profound influence on the development both of abstract art and modern architecture and design
Post Modernism Design movement that evolved in the mid 60’s as a critical response to the dominance and percieved sterility of Modernism. embracing art, architecture and design. It re established interest in ornament, symbolism and visual wit. unconstrained by dogma, Post-Modern designers rejected monernisms obssession with progress and challenged the fundamental tenets of order and discipline espoused by the Bauhaus. This movement use’s collage and a and lots of different techniques to create a visually busy and eye catching piece if work. post modernism throws outall the rules of design that modernism created, so post modernism was completely freedom of design.
Ray Gun While the contents of its pages were not related to graphic design, Ray Gun magazine proved to be an exploration of typography, layout and visual storytelling that would shift the approach of many graphic designers. The magazine was founded in 1992 and led by the work of David Carson, who served as its art director for the first three years of its career, which lasted 7 years and over 70 issues. Carson’s style of typographic experimentation influenced the development of the deconstruction style of design and a whole new generation of designers. The experiments by Carson and other Ray Gun designers were chaotic, abstract and distinctive, but sometimes illegible. The magazine’s radical subject matter often related to music and pop culture icons and the magazine became a reliable source for the prediction of up-and-coming stars.
Modernism
Wim Crouwel The career of Dutch designer Wim Crouwel spans six decades and covers an extraordinary journey from designer, teacher, curator to museum director.
Modernism
Emil Ruder Swiss teacher of typography, set up the Typography class at the Basle School of Design; friend and influence of Adrian Frutiger. Ruder was a frequent contributor to the respected trade journal, Typografische Monatsbl채tter. He co-founded the International Center for the Typographic Arts in New York, 1962. He has to be more concerned with precision, proportions and the role of legibility and communication with type.
Modernism
Amin Hofman Armin Hofmann is a Swiss graphic designer. He began his career in 1947 as a teacher at the Allgemeine Gewerbeschule Basel School of Art and Crafts at the age of twenty-six. Hofmann followed Emil Ruder as head of the graphic design department at the Schule f端r Gestaltung Basel and was instrumental in developing the graphic design style known as the Swiss Style.
Modernism
Josef Muller Brockman was a Swiss graphic designer and teacher. He studied architecture, design and history of art at both the University and Kunstgewerbeschule in Zurich. In 1936 he opened his Zurich studio specialising in graphic design, exhibition design and photography. From 1951 he produced concert posters for the Tonhalle in Zurich. In 1958 he became a founding editor of New Graphic Design along with R.P. Lohse, C. Vivarelli, and H. Neuburg. In 1966 he was appointed European design consultant to IBM. He is recognised for his simple designs and his clean use of typography (notably Akzidenz-Grotesk), shapes and colours which inspire many graphic designers in the 21st century.
Post Modernism
David Carson is an American graphic designer, art director and surfer. He is best known for his innovative magazine design, and use of experimental typography. He was the art director for the magazine Ray Gun, in which he employed much of the typographic and layout style for which he is known. In particular, his widely imitated aesthetic defined the so-called “grunge typography� era
Post Modernism
Neville Brody/Fuse is one of the most celebrated graphic designers of his generation – a leading typographer and internationally recognised art director and brand strategist. The founder of design agency Research Studios, Brody established his reputation working with record labels, magazines and a range of international clients from Apple to Dom PÊrignon. His hugely influential work has been the subject of numerous exhibitions and publications, most notably the two-volume monograph The Graphic Language of Neville Brody, which was accompanied by an exhibition at the Victoria and Albert Museum.
Post Modernism
Kurt Schwitters Kurt Hermann Eduard Karl Julius Schwitters was a German artist who was born in Hanover, Germany. Schwitters worked in several genres and media, including Dada, Constructivism, Surrealism, poetry, sound, painting, sculpture, graphic design, typography, and what came to be known as installation art. He is most famous for his collages, called Merz Pictures.
Post Modernism
Barbara Kruger The juxtaposition of word and image in Barbara Kruger’s highly recognizable work is derived from twelve years as a designer and photo editor for Conde Nast publications. Short, pithy caption-like copy is scattered over fragmented and enlarged photographs appropriated from various media. Usually declarative or accusatory in tone, these phrases posit an opposition between the pronouns “you” and “we,” which satirically refer to “men” and “women.” These humorous works suspend the viewer between the fascination of the image and the indictment of the text while reminding us that language and its use within culture to construct and maintina proverbs, jobs, jokes, myths, and history reinforce the interests and perspective of those who control it
Magazine Layouts These are a few examples og magazine layots which will show me different compositions and styles.
Thumbnails
Mast Head Variations
NVL NV L NEW VISUAL LANGUAGE
NV L New visual language
New Visual Language
Broadsheet Cover Variations
FINAL DESIGN I have chosen this layout for my final design for the front cover of my magazine as i think it is the best one and i like the way it looks.
Contents Page
I wanted to show some variations on the contents page to show different layout ideas, different colours, different pictures and different shapes. I wanted to include pictures i have used later on in the magazine togive a small tiny [review of what to expect of my past work and hopefully a clear indication of whats to follow. i also wanted to seaign it so it would keep within the chosen style of the rest of the magazine to allow flow. This was inspired by the modernism era and in paticular the swiss design.
Ii decide to use the same font as the rest of the magazine because it ties in nicely. Also i wanted to mentioon that i found the contents page hard to design so i decided to leave it to the end to make.