New Visual Language
Research
By Luke Pearson
Road Map Wassily Kandinsky Marcel Duchamp Andy Warhol
Robert Raucshenberg
Always With Honor Proud Creative
Hort
Pop Art
Bauhaus
Herb Lubalin
Typography
Images
Differences
Photography Time Magazine
Columns
Fauvism
De Stijl
Movements Cubism
Artists Dadaism
Surrealism
Post Modernism Books
Grids
Colour Schemes
Shapes/Imagery
Layouts Magazines
Themes
Designers
Comelia Parker
New Visual Language
Typefaces
Modernism
Spin
Sculpture Lawrence Weiner
Triboro
Laszlo Moholy Nagy
Tom Wesselmann
Influences
Propaganda
Designers S-T
Roy Lichtenstein
Colour Theory
Themes
Grid Systems
Typefaces Colour Schemes
M端ller-Brockmann
Production Plan Week One - Create a road map for research ideas - Research Modernism
into
Modernism
and
Week Three Week Five - Create layout experiments for front cover, spreads and contents pages.
Post-
- Experiment with typefaces for master heads
- Look into typefaces, colour schemes and shapes used in work from these periods. - Find artists and designers that are inspiring, with work that can influence my final piece.
Week Two
Week Four
- Look at typefaces and master-heads that have been influenced by modernism or postmodernism.
- Place information from previous projects into the final piece, and make any adjustments needed
- Experiment with master-heads and create different outcomes that have been inspired by research found
- Print off final piece in different versions until it’s right
- Create visual thumbnails for layouts of grid formats using the research found
- Use this week for any refinement work for final piece or research book to be ready for assessment
Modernism Modernism is an art movement that described the type of art work that was being produced during the 18th century up until the early 20th century. Artists that produced work around this time period, showed in their pieces that they used the natural world to inspire their work. This is clearly shown in the work with the use of landscapes, most often the western world. This was due to the industrial revolution in Europe, where the rise of industrial factories and mills which caved through the countrysides and took the beauty away from the landscapes. The modernist era included a wide variety of different styles of work being produced. This was due to the rise in different art movements like Cubism, Fauvism, De Stijl and Surrealism.
Modernist art movements
Post-Impressionism 1880s - 1910s
Fauvism 1900s - 1910s
Futurism 1900s - 1920s
Cubism 1900s - 1930s
Bauhaus 1920s - 1940s
Surrealism 1920s - 1970s
Abstract Expressionism 1940s - 1970s
Cubism Cubism is an art movement that was founded my Pablo Picasso and George Braque, in the early nineteen hundreds. The style of the movement is created in a two dimensional manner using the influence of shapes and lines. Straight edged shapes were made to form surreal images of a person or objects. For example a persons face would be shown in shape form, which could see features moved around. This would change the perspective of the image but not take any meaning away from the piece, with the realisation of knowing what the image is but made surreal because of the placement of certain features.
As well as the geometric style of cubism, colour is important to get the right view across. Cubism has been used with many different colour pallets. For example Braque uses dull colours like greys, browns, navy blues and darker greens. Braque was inspired by Picasso’s work, ‘Demoiselles d’Avignon’ where he used a restricted pallet of the darker greens, greys and browns; similar to ones Braque used in his work. In contrast to Fernand Leger, who uses primary colours and on occasion brighter secondary colours like green and orange.
Cubism Artists
Pablo Picasso 1881 - 1973
George Braque 1882 - 1963
Juan Gris 1887 - 1927
Fernand Léger 1881 - 1955
Robert Delaunay 1885 - 1941
Albert Gleizes 1881 - 1953
Jean Metzinger 1883 - 1956
Fauvism In the early nineteen hundreds between 1905 and 1910, an artists movement called Fauvism became noticeable through the works of a number of artists. These artists used a style that compromised of strong colours with fierce brush work. The group of artists that included Henri Matisse, Andre Derain, Raoul Dufy and Georges Rouault named themselves ‘Les Fauves’ which translates as ‘The Wild Beasts’. This was a reflection of their use of strident and unnatural colours with their wild application of paint. Fauvism was described as a form of expressionism, where simplified work was made abstract.
Fauvist Georges Rouault, used a slightly different approach to his work than other artists in the movement. The choice of colours that he uses are darker and create more of an atmosphere than other artists like Derain. In comparison Derain uses a brighter pallet of colour and sing primary colours in most pieces. Derain gives his work an edge by using colours for objects that are normally the opposite colour. For example trees are in red and buildings in blue which isn’t like reality, but adds imagination and fantasy I believe.
Fauvism Artists
Henri Matisse 1869 - 1954
Andre Derain 1880 - 1954
Raoul Dufy 1877 - 1953
Georges Roualt 1871 - 1958
Maurice de Vlaminck 1876 - 1958
Albert Marquet 1875 - 1947
Kees van Dongen 1877 - 1968
Surrealism Surrealism is an art movement that explored the human subconscious mind. This made surrealists fascinated by the human body, with a lot of work created around the anatomy of a human. The movement saw this as a way of pulling back the skin of a human. The points artists focused on included chance, sex, analysis of their dreams and what they thought was madness. Surrealists believed that their work was the symbolic language of the subconscious. The use of an eye image throughout artists’ work is relating it to surrealism as it was known that the eye was the symbol of the movement. It was like a logo for the movement.
Salvador Dali, is the most well-known artists from the surrealist movement. With his work from “The Persistence of Memory”, which is one of the most famous paintings to have ever been made. Through years of people believing that the piece was inspired by relative space and time, in particular reference to the melting clocks. However, Dali admitted that his influence to the melting clocks was Camembert cheese melting under the sun.
Surrealist Artists Surrealism don’t have a specific colour pallet, because surrealists try to make their work look almost photogenic with the colours. This I believe is because the artists want the images to do the talking instead of being stood out. It’s like the artists want the audience to look at it and then have to look at it again for a second glance to understand what they have seen.
Rene Magritte 1898 - 1967
Salvador Dali 1904 - 1989
Max Ernst 1891 - 1976
Man Ray 1890 - 1976
Joan Miro 1893 - 1983
Yves Tanguy 1900 - 1955
Giorgio de Chirico 1888 - 1978
Dadaism Founded by Tristan Tzara, Dadaism or ‘Dada’ was an art movement that challenged the capitalism interest, that expressed their anti war issues. Tzara was most noted as saying ‘Every page should explode’. Dada was the only movement at the time that used typographical images, where in their work they questioned the typeface and removed the graphic element of work. They also gave a word two meanings and divided words up. The Dadaists, created their own random layouts, using different colours, fonts and point sizes all in one piece of work. Dadaist did this because they wanted to push typography to the limit.
Dada had no specific colour scheme, because it was a movement that focused on photo montage, collage and sculpture. Kurt Schwitters is a famous artist in Dadaism who created collages out of random bits of newspaper, objects, card and even wood. Meanwhile, the most famous piece of Dadaism, is a piece from Marcel Duchamp. His piece called fountain created a big stir in the art world because, he took a urinal and turned it upside down and then signed it R.Mutt. This was a point showing that anything at the time can be called art, and also raised the debate of What is Art?.
Dadaist Artists
Marcel Duchamp 1887 - 1968
Kurt Schwitters 1887 - 1948
Tristan Tzara 1896 - 1963
Hugo Ball 1886 - 1927
Rauol Hausmann 1886 - 1971
Hannah Höch 1889 - 1978
George Grosz 1893 - 1959
De Stijl In the post-modern era of art, De Stijl was a movement that didn’t just change the art world but the design one too. The movement concerned itself with architecture and design but was just as much influenced in painting and sculpture. De Stijl is similar to cubism in my opinion because of the geometric feel. The primary colours of red, blue and yellow, appear in almost every piece of work within the movement. These colours contrast well together and with addition of black lines making rectangles and squares, make the colours stand out more alongside white and black.
De Stijl Artists Piet Mondrian was one of the leading artists in De Stijl, who created his famous composition pieces, where he used primary colours with straight black lines that made up to create squares and rectangles. Compared to other De Stijlists, Bart Van Der Leck used a similar concept by using primary colours as squares scattered around but he didn’t use black lines. Instead he used black as an extra colour for shapes that he used with the primary coloured shapes. Looking at a different angle, Gerrit Rietveld, created sculptures out of using the De Stijl style.
Piet Mondrian 1872 - 1944
Theo van Doesburg 1883 - 1931
Bart van der Leck 1876 - 1958
Gerrit Rietveld 1888 - 1964
J.J.P Oud 1890 - 1963
Vilmos Huszar 1884 - 1960
Georges Vantagerloo 1886 - 1965
Bauhaus The Bauhaus was a specialist school of art, design and architecture. The school was located in Germany. The school was open from 1919 to 1933, where it was closed by the Nazis. The Bauhaus closed it’s doors after pressure from Nazi government, after the government claimed the school was a centre of communist intellectualism. Walter Gropius, was the founder of the institution in Weimar, Germany to which it then moved to Dessau for seven years before moving to Berlin; where after a year at the location came closure.
Some of the most well respected artists, designers and architects were included in the Bauhaus movement. These professionals included Wassily Kandinsky, Josef Albers, Piet Mondrian and László Moholy-Nagy. The artists that were part of the Bauhaus came together and realised that the basis of any art work was the hand-craft. Classes were directed and intended to remove the distinction between the fine arts and applied arts. The style of the Bauhaus is now one of the most influential work in modernist architecture, design and art.
Bauhaus Artists
Wasilly Kandinsky 1866 - 1944
Josef Albers 1888 - 1976
László Moholy-Nagy 1895 - 1946
Walter Gropius 1883 - 1969
Paul Klee 1879 - 1940
Marcel Breuer 1902 - 1981
Joost Schmidt 1893 - 1948
Josef Müller-Brockmann Müller-Brockmann is one of the most idolised graphic designers in the world. His work was famous for using a grid system to create simple designs. He created these simple designs by using clean typography, in the use of the typeface, Akzidenz-Grotesk. He also used this clean design thinking when considering shapes, colours and images. In 1981, he wrote the book Grid Systems in Graphic Design, which is known as the “bible” of page layout in the modern day. In my opinion looking at Müller-Brockmann’s work, it is clear to see he made everything in a specific way that he liked and wanted it to look. He was quoted for saying ‘I would advise young people to look at everything they encounter in a critical light’; ‘Then I would urge them at all times to be self-critical’.
Famous Works
Beethoven Poster 1955
Der Film Poster 1960
Juni Festwochen 1957
Newer Swiss Art 1953
Stravinsky about Fortner 1955
Grid Systems 1981
Weniger Lärm 1960
Post-Modernism Post-modernism is described as an era that was made up of art movements that challenged modernism and aspects of life that developed after the modernist period. Post-modern artists used styles that modernists created to use it against them to contradict the statement they made in modernism. Artists in this era used collage and brought an area of simplification to their work. A number of art movements create the foundation of post-modern art that include; Installation art, conceptual art, pop art, minimalism, digital art, Lowbrow and Performance art.
Post Modernist Movements
Conceptual Art 1917 - Present
Minimalism 1960 - Present
Performance Art 1960 - Present
Digital Art 1970 - Present
Lowbrow Art 1979 - Present
Telematic Art 1978 - Present
Installation Art 1970 - Present
Conceptual Art One of conceptual arts main stand out figures is Lawrence Weiner. Weiner’s work is typographical based. In his early work he created gestures that were described in simplified statements. Later on in his career his work named “A Syntax of Dependency” had the phrase “Outside Any Given Context” over the top of a stripy background that has included bright colours like yellow, orange and white to make the saying stand out; he did this to make the saying more powerful and to give off more meaning. In the same year he also produced “At the Same Moment” which was a very different but similar piece of his work. This is because he placed the title in bold red on the side of a wall in the East River, New York, which is the same style of his work but the way he gets the message across is very different because of the way he uses a piece of public property in a very noticeable place in the middle of a main river in one of the most famous cities in the world.
In the modern day conceptual art is still very strong, and this has been strengthened by Damien Hirst. The most famous piece of work by Hirst is “The Physical Impossibility of Death in the Mind of Someone Living”. This is where he has taken a thirteen foot tiger shark, that is preserved in a tank of formaldehyde which weighs a total of twenty three tonnes which is all contained inside by a steel and glass case which has been divided up into three cubes. The effect of this is to get the point of death and fear across to people. Hirst believes that everyone tries to avid death but nobody can which is the frightening thing.
Conceptual Artists
Lawrence Weiner Born 1942
Damien Hirst Born 1965
Joseph Kosuth Born 1945
John Baldessari Born 1931
Mel Bochner Born 1940
Yoko Ono Born 1931
Tracey Emin Born 1963
Pop Art Pop art is a movement that began big in the 1960s by using the pop culture of the day to inspire artists work. The biggest name in Pop Art is Andy Warhol after his work with Marilyn Monroe and Campbell’s soup. Meanwhile, Richard Hamilton’s work is very different to Warhol’s because he uses collage. Hamilton uses imagery from the culture at the time, like bits of advertisements and arrange them in a style that looks random and obscure. Hamilton’s most recognisable work is ‘Just what is it that makes today’s homes so different, so appealing?’. His work asks questions of modern day life in a comparison to what things were like before.
Pop Art Artists Roy Lichtenstein’s style of work was a cartoon like style. Using strong black outlines to make the colours stand out and add to the cartoon like effect. This makes a reference to Mickey Mouse and Donald Duck style of artwork as it is similar, but Lichenstein brings the technique to visually describe the world at the time. His work is very straight forward with names like ‘Explosion’ to work that is an image of an explosion, makes his work easy to understand and incorporate.
Andy Warhol 1928 - 1987
Roy Lichtenstein 1923 - 1997
Richard Hamilton 1922 - 2011
Keith Haring 1881 - 1955
Robert Raushenberg 1925 - 2008
David Hockney born 1937
Jasper Johns born 1930
Minimalism Minimalism is an art movement that is still around today, but more up to date with digital ways to make minimalist work. More modern artists within the movement include Ali Jabbar, who’s work is portraits of famous people. Jabbar uses famous faces and creates portraits of them in their simplest form. This means that he doesn’t include any features like eyes, noses, mouths or any specific detail like wrinkles. Jabbar doesn’t even use a skin colour, he uses the background colour to make the image more simplified. He uses the features that people will know everyone has to make those the small details that show the audience who the artists has created.
At the start of minimalism Tony Smith was a stand out sculpture who’s work was simple black shapes that are mostly made up as one object, but Smith do has work that has been created like it has split up. During his time at a minimalist school, Smith worked with geometrics on a three dimensional grids. This was a way of creating drama through the scale of objects and simplicity. As well as sculpting the minimalist movement was influenced by Sol LeWitt, who also has a background of contemporary art. LeWitt’s minimalist work was focused on the simple form of an open or closed cube.
Minimalist Artists
Donald Judd 1928 - 1994
Frank Stella born 1936
Sol LeWitt 1928 - 2007
Anne Truitt 1921 - 2004
Tony Smith 1912 - 1980
Jack Youngerman born 1926
John McLaughlin 1898 - 1978
S-T S-T are a studio that have designed work for a number of major companies and publications such as; The Times, NSPCC and Next. The studio are specialised in a number of different graphic areas like branding, editorial design, type design and many more. I have chosen to focus on projects they have produce that are magazine publications. The three magazines specifically are RA, Shop and Byline. All three are different but work really well as designs. With Byline, S-T have used a border around the cover image, which is where all the magazines information sits, like the masthead and the inclusions inside. This is similar compared to the Shop magazine, however, the cover for Shop doesn’t have a full border. The border is only on the left side where it is bounded together.
Notable Clients This is also in a colour that is used in a minimal way on the cover, so it stands out in the design that contrasts well with the covers image. Shop also use a cover image that fills the whole page except from the border part. Compared to RA magazine who use the entire cover for an image, with text that stands out from the image and is readable. Some of the issues of RA that have an image sometimes have that image cover part of the masthead; but this works for most magazines once they have become popular and made a name for themselves. This is because the branding has already become recognisable. Finally, the text of RA is very bold and readable that makes a statement, just like the text used for Byline magazines masthead.
The Times Newspaper
Royal Academy of Arts Art Institution
Cemento Furniture Manufacturer
Global Blue Tourist Shopping
Kitchenette Food Business
NSPCC Charity
Lawrence King Publishing Publisher
Proud Creative Proud are a design studio that gave themselves the name ‘Proud’ because they wanted to produce the quality of work that they can be proud of. They are a studio that create work that is clean, simple and meaningful that relates to their clients. The typography they use is again clean, easy to read and flows throughout, making connections through the letter of words to produce this fine detail work. The studio have created a number of magazines for themselves and other clients. The main part of what Proud do is that they don’t complicate things. They see simple ways of solving the problem that surface. They’re designers who aren’t scared to use the negative space, they would rather have a big empty white space than clutter it with meaningful design.
Notable Clients
Nelonen TV Network
MTV TV Network
Iris & June Coffee Retailer
BT Vision TV Network
Huckle the Barber Barber
Lundy Boat Manufacturer
S4C TV Network
TIME Magazine Time magazine is one of the biggest news magazines in the world. Starting off in New York, then spreading across the pond the UK and Ireland. The magazine is about news stories that go in depth and that effect us in our daily lives. The magazine includes a review section, which specifies to music, art and film. The front cover of the magazine is bold and striking, with the masthead in a central position at the top of the page with sub-headings positioned in relation to the main cover image. In the specific issue I am showing, there seems to be eight different point sizes, that use both serif and San-serif typefaces. The website and the date look like a similar size but the date stands out more because it is in upper case. This leads to believe that Time think that the date of the magazine is more important than the website.
Meanwhile, on the left side inside the border there is the pricing. This is shown because of mandatory requirements but, the size is very small because the designer doesn’t want the price to be the first thing the audience see. The magazine want people to look at the image and headings first to grab their interest, so that when it comes to the price they will pay for it, because they want it already. Inside the magazine there is different layout templates for each spread. However, one things stays the same, and that is the border from the front cover continues inside providing consistency. Meanwhile, inside the border some pages have different templates depending on the article. The main news articles have a three column structure, which is then eaten into with the use of big headings etc.
On the other hand, inside TIME, there is a section at the back which is called ‘culture’ and is about art, music and film. This is where reviews and opinion will be found along with images and synopsis’s.
TIME Magazine Covers
Barack Obama US President
Osama Bin Laden Terrorist Group Leader
Nelson Mandela Former South African Prime Minister
9/11 Attacks Terrorist Attack
Facebook Social Networking Website
TWA Flight 800 Aeroplane Crash
Sochi 2014 Winter Olympics
TIME Magazine Analysis
TIME Magazine Cover Designs
Date written in upper case, to be noticeable to the reader but not take any attention away from the cover image
Different point sizes to emphasise what areas or most important
Red and white border used as a recurring design throughout issues and acts as frame for the main story
Adolf Hitler May 7th 1945
Small point size for pricing, so it doesn’t strike out to the audience. Limited importance
Strong image that uses negative space for text
Joseph Cannon March 3rd 1923
Barcode placed in the bottom right away from anything important but is a requirement. Also blends into the border showing it’s not part of the main image.
Website written in lower case to show a low importance, but is used as it advertises the website.
Robert F Kennedy May 24th 1968
TWA Flight 800 July 17th 1996
Sub-heading that is noticeable and colour relates to the border on the cover.
Bold title to show a new section of the magazine Teaser tag line for what is coming up on the next page
Two columns of three used up by article heading that is bold and readable with related sub-heading Image used runs over two columns
Small tabs of information using the same colour scheme as the cover
Text split up using a three column system with text aligned as justified left. Sub-heading, in bold and surrounded by white space for noticeably. White border is the same consistency of the border on the cover
Thin typeface that relates to the thin lines used to section text and images. Thin pointed lines to break up the text Three column grid with text columns same size but smaller middle column which is split up by an image Different page uses same structure but move the thin middle column to the end and keeps consistent with Uses a central image advertising the main story a central image. in the section and relates to the central image usage throughout the magazine
Three column system with smaller stories split up on the end
Mastheads Before I can create my own masthead, I have to look at the market I am working with. This is so I can get the right image and style of the masthead and incorporate those features in my own design. Looking at the majority of examples, it is easy to see that a bold typeface is key, with the use of San serif fonts a common theme. Along with the type face, using upper case has given the heading a stronger, more important look. However, some of the example are using serif fonts but with straight edges which makes these font be strong. As for “The Guardian” which is written in lower case works well because of the colour design. Colour is also a big part of a masthead and like “TIME” who use either red, white, black or grey depending on the cover image, the others stick with the same colour and design. The positioning of a masthead is always presented in the top left or like “Cosmopolitan”, which runs the full width of the cover. However, some cover images cover the masthead but only if the masthead has been established as well known.
Masthead Designs
Masthead Progress
Final Masthead For my final masthead design, I wanted to show my influence of the Bauhaus and in particular, Wassily Kandinsky. I began creating some mock up ideas with inspiration from Pop Art and previous work I had seen from last years students. Meanwhile, it was the influence of the Bauhaus and constructivism, where I felt the right ideas developing. After I had created a masthead that I was happy with, I moved to colours. I liked the idea of using Kandinsky’s method of colour theory with shapes in my design, but I tried a number of different colour schemes first as a test. I also felt this would be helpful for further issues of the magazine where I could use these colours to symbolise a special occasion. Meanwhile, I still wanted to try my idea of using red, yellow and blue in relation to a square, triangle and circle. So I began to use different shades of the colours and once I picked my favourite shades, I then began to experiment to get the right colours.
Typography New New New Visual Visual Visual Language Language Language Form Follows Function Form Follows Function An exploration of Modernism and Post Modernism
An exploration of Modernism and Post Modernism
Form Follows Function An exploration of Modernism and Post Modernism
Helvetica Regular
Helvetica Bold
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q r s t u v w x y z
a b c d e f g h i j k l m n o p q r s t u v w x y z
Helvetica Regular
Helvetica Bold
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q r s t u v w x y z
a b c d e f g h i j k l m n o p q r s t u v w x y z
Gill Sans
Gill Sans Semi Bold
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q r s t u v w x y z
a b c d e f g h i j k l m n o p q r s t u v w x y z
Avenir Book
Avenir Medium
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
a b c d e f g h i j k l m n o p q r s t u v w x y z
a b c d e f g h i j k l m n o p q r s t u v w x y z
Thumbnails
Cover Designs When beginning to design the magazine front cover, I looked at my research, mainly “TIME Magazine”. This was because I liked the layout and the border around the edge suited the style. After coming up with a number of versions of the design inspired by the magazine I began to develop more, by adding my masthead and the sub headings. This then created more ideas where I took away the border and used a full image. I didn’t like this design because it felt very open and amateur. From this I looked at “SHOP Magazine” that was designed by S-T. I liked having a border but the design of one all the way around didn’t suit the style of the magazine. It was then I took the style of a border down the spine of “SHOP” and added it to my design with a multiply effect, so the main image was still a main focus but softened the look of it. I then added a side bar that came out from the spine for the sub headings to be placed. This was so that they were noticeable to read but didn’t take the attention away from the image and masthead.
Cover Development After choosing a design I liked, I began to develop the style by using shapes to influence my inspiration of the Bauhaus over the top of the main image. I then played around with the colour of the border and banner to see what colours worked well out of the selected colour scheme I wanted to use. Then I played with the main image, as I wanted to use some of my previous photography work. This was because the multiply effect I have used worked better with a photograph rather than a painting or drawing.
Final Cover Design For my final cover design I chose a main image that was my own work and a style of photography, which is called a photogram. I liked the way the shapes and colours complement the image and that everything works in unison instead of one thing standing out more than the other. I created a number of the same design but with a different style of text to give me a view of what each font would look like. I ending up using Helvetica out of the three I looked at because it was clear to read and felt more suited to the magazine because of the history of Helvetica and Mßller-Brockmann. I decided to add the barcode in the bottom right corner so that it isn’t the first thing the audience look at and doesn’t take anything away from the design.
New Visual Language
Issue 1 April/May 2015 £3.50
Form Follows Function
An exploration of Modernism and Post Modernism
New Visual Language
Issue 1 April/May 2015 £3.50
Form Follows Function
An exploration of Modernism and Post Modernism
Contents Page Design
Grid Layouts In magazines, the way it looks is the most important thing to look out for. The layout is made to have images and text complement each other with sizes and alignment. Columns are used to help compress body text down and make it line up with edges of images or other items on a page. In contrast with columns, margins restrict items on a page to the centre of the page. For my layout I have used margins to create a border around my content. I didn’t want a thin margin, because the distance between the edge of the page and the start of the information would be at risk of being cut off once printed. However for my magazine, I have taken inspiration for TIME Magazine but made a larger border so the majority of my work is compressed within a certain area.
To create a grid I have used Josef Muller Mßller-Brockmann’s thoughts and ideas in his book Grid Systems. This has helped my create designs that are tuned to perfection when it comes to spacing and alignment. To help me make items equal distance apart I have used the grids available in Adobe InDesign.
Web Sources alwayswithhonor.com annetruitt.org artmiamifair.com designbyst.com design-scrapbook.tumblr.com ecole.com eyemagazine.com flickr.com galleryhip.com theguardian.com guilty-novin.blogspot.com haring.com hort.org.uk huckmagazine imagefunny.club jasperjohns.org joyagnes.blogspot.com logodatabases.com magazine.saatchiart.com matthewmarks.com
modern-theory.com panoramio.com paulpearson.blogspot.com pinterest.com pixshark.com proudcreative.com psychedelialice.wordpress.com sanchezartwerk.blogspot.com shutterstock.com spin.co.uk tate.org.uk time.com tomwesselmannestate.orgtriborodesign.com ukmix.org upperplayground.com vangeva.com visual-arts-cork.com wikiart.org wikipedia.org
Book Sources Hort - by Hort Modern Art: Impressionism to Post Modernism - by David Britt Modernism - by Charles Harrison TIME Magazine - by Time Magazine