Research Modernism and Postmodernism by Mana Mohammadi

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What is Modernism?

Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement in the arts, its set of cultural tendencies and associated cultural movements, originally arising from wide scale and far-reaching changes to Western society in the late 19th and early 20th centuries. In particular the development of modern industrial societies and the rapid growth of cities, followed then by the horror of World War I, were among the factors that shaped Modernism. Related terms are modern, modernist, contemporary, and postmodern. In art, Modernism explicitly rejects the ideology of realism and makes use of the works of the past, through the application of reprise, incorporation, rewriting, recapitulation, revision and parody in new forms. Modernism also rejects the lingering certainty of Enlightenment thinking, as well as the idea of a compassionate, all-powerful Creator. In general, the term Modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an emerging fully industrialized world. The poet Ezra Pound's 1934 injunction to "Make it new!" was paradigmatic of the movement's approach towards the obsolete. Another paradigmatic exhortation was articulated by philosopher and composer Theodor Adorno, who, in the 1940s, challenged conventional surface coherence, and appearance of harmony typical of the rationality of Enlightenment thinking. A salient characteristic of Modernism is self-consciousness. This self-consciousness often led to experiments with form and work that draws attention to the processes and materials used (and to the further tendency of abstraction). The modernist movement, at the beginning of the 20th century, marked the first time that the term avant-garde, with which the movement was labeled until the word "modernism" prevailed, was used for the arts (rather than in its original military and political context).

M ode Jung+Wenig (update) BOOK,BRANDING,DESIGN, MODERNISM TYPOGRAPHY Solid work in the portfolio of design studio JUNG+WENIG.

F.C. Gundlach INSPIRATION, MODERNISM, PHOTOGRAPHY. Collection images by renowed German fashtion photographer F.C Gundlah

M rnis Swiss Poster archive DESIGN, MODERNISM. The Swiss goverment has launched aposter database featuring just about every poster published and archive in Switzerland. The work of Joseph Muller- Brockmann.

Geigyâ&#x20AC;&#x2122;s graphic design ADVERTISING,BRANDING,DESIGN, ILLUSTRATION, INSPIRATION,MODERNISM, TYPOGRAPHY. Great graphi design circa 1940-1970,from the Swiss chemical company , Geigy.

Studio Laucke Siebein

Whilst researching the subject I came across some interesting information, first of all it states that at the core of Modernism lay the idea that the world had to be fundamentally rethought. The carnage of the First World War led to widespread utopian fevour, a belief that the human condition could be healed by new approaches to art and design, more spiritual, more sensual, or more rational. Then it went on to say The Russian Revolution offered a model for an entirely new society. (Designing a new world V&A: 2) Designing a new world V&A goes on to talk about how modernism was promoted back then. It states that as modernism was campaigned, it generated many exhibitions and countless books, journals, posters and advertisements. Then it goes on to say that in both design and content it would argue the case of ‘New’, often with a generational and political bias against the old. Lastly under “promoting modernism”, it states that Modernist graphic design and advertising came to be known as the New Typography and it favoured sans-serif lettering, sometimes without uppercase letters and Typo-Photo in which photographic images were montage alongside type. Also Colour and composition were influenced by abstract paints.here are some of the example i have been collected for modernism pictures.

Studio Laucke Siebein DESIGN,INSPIRATION,MODERNISM,TYPOGRAPHY. Plenty of solid work to be found over at Studio Laucke Siebein, along with photographs of their nicely appointed workspace

Stout / Kramer. DESIGN, INSPIRATION,MODERNISM TYPOGRAPHY. The cool Modernist / Swiss style of Dutch design studio, Stout / Kramer.

De Stijl Magazine De Stijl, Dutch for â&#x20AC;&#x153;The Styleâ&#x20AC;? was published from 1917-1920 as a document to the Dutch-founded ar tistic movement which ran from 1917-1930. Published by Theo van Doesburg, De Stijl is considered an essential document of the time

De Stiji no1(Delft October 1917)

Theo Van Doesburg The Van Doesburg was a Dutch artist , who practised painting, writting, poetry and architecture. He is best known as the founder and leader od De Stijl. Movement: De Stijl, Elementarism, Concrete art and Dadaism. His first exhibition was in 1908. From 1912 onwards, he supported his works by writing for magazines. Although he considered himself to be a modern painter at that time, his early work is in line with the Amsterdam Impressionists and is influenced by Vincent van Gogh, both in style and subject matter. This suddenly changed in 1913 after reading Wassily Kandinsky’s Rückblicke, in which he looks back at his life as a painter from 1903–1913. It made him realize there was a higher, more spiritual level in painting that originates from the mind rather than from everyday life, and that abstraction is the only logical outcome of this. It was already in 1912 that Van Doesburg was criticizing Futurism in an art article in ‘Eenheid’ no. 127, 9 November 1912, because “The mimetic expression of velocity (whatever its form may be: the aero plane, the automobile, and so on) is diametrically opposed to the character of painting, the supreme origin of which is to be found in inner life.” 6 November 1915 he wrote in the same journal: “ Mondrian realizes the importance of line.The line has almost become a work of art in itself; one can not play with it when the representation of objects perceived was all-important. The white canvas is almost solemn. Each superfluous line, each wrongly placed line, any color placed without veneration or care, can spoil everything – that is, the spiritual

Modernism Movements

eing modern means being up to date but being Modernist is an affirmation of faith in the tradition of the new which emerged as the creative credo of progresive artist in the early years of the twentieth century. Modernism is the umberella name for a bewildering array of movements -Cubism, Expressionism, Futurism, Dadaism, Serialism, Surrealism and ideas abstraction, functionalism, atonality, free verse most of which appeared shorlty before or after the first world war.Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement in the arts, its set of cultural tendencies and associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. In particular the development of modern industrial societies and the rapid growth of cities, followed then by the horror of World War I, were among the factors that shaped Modernism. Related terms are modern, modernist, contemporary, and postmodern. In art, Modernism explicitly rejects the ideology of realism and makes use of the works of the past, through the application of reprise, incorporation, rewriting, recapitulation, revision and parody in new forms. Modernism also rejects the lingering certainty of Enlightenment thinking, as well as the idea of a compassionate, all-powerful Creator.In general, the term Modernism encompasses the activities and output of those who felt the “traditional” forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an emerging fully industrialized world. The poet Ezra Pound’s 1934 injunction to “Make it new!” was paradigmatic of the movement’s approach towards the obsolete. Another paradigmatic exhortation was articulated by philosopher and composer Theodor Adorno, who, in the 1940s, challenged conventional surface coherence, and appearance of harmony typical of the rationality of Enlightenment thinking. A salient characteristic of Modernism is self-consciousness. This self-consciousness often led to experiments with form and work that draws attention to the processes and materials used (and to the further tendency of abstraction).The modernist moment was labeled until the word “modernism” prevailed, was used for the arts (rather than in its original military and political contex.

Cubism

Expressionism

Futurism

Dadaism

Abstract

Surrealism

Bauhaus Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally “house of construction” stood for “School of Building”. The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect; the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a “total” work of art in which all arts, including architecture, would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design. The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it. was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source.

Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally “house of construction” stood for “School of Building”. The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect; the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a “total” work of art in which all arts, including architecture, would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design. The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it. was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source.

To recognize the meaning, the form, the purpose of all things of the material modern world with the same truth as the Greeks, among many others, recognized the meaning, form, an purpose of the column.

It is not easy nowadays to find the exact meaning and the exact form for the simplest things. Adolf Loos

Charles Rennie Mackintosh, Texttile Design, C.1920

Much admired by the Viennese Secessionists, the Scottish architect Mackintosh pioneered a style of decoration which anticipated the geometric purity of Modernism.

Gestalten

Markus Hollmann-Loges, Andreas Payerl, Robert Klanten Gestalten is a publisher and creative agency mostly known for their 350 books on art, architecture, design, photography and typography. The company has 40 staff members through offices in Berlin, London, New York and Tokyo. Gestalten’s books are unique in the industry as all are edited and designed by designers. They typically document and anticipate vital trends in visual culture, the results of which Print Magazine has called “timeless” and “a perfect expression of our time.” Gestalten’s “Logos” series are a long-running bestseller and are influential in art schools and graphic design studios internationally. They have also published the monographs of critically acclaimed designers, including Marcel Wanders, Arne Quinze and Jaime Hayon. In 1994, Die Gestalten created their first book, “Localizer,” together with Chromapark. It was one of the first books to cover the burgeoning techno and electronic music scene in a strong visual and comprehensive survey. In 2002, Gestalten published the world’s smallest book, a leather-bound, 26-page ABC-picture book from artist Joshua Reichert, which came packaged with a magnifying glass and sold at Selfridges for £70. Following the Asian tsunami crisis in December 2004, Gestalten teamed up with UK design agency ILovedust to produce a charity book. “A Book Designed to Help” was released in March 2005 and donated all proceeds to charities in the region. The publication of “Neubau Welt” the same year featured designer Stefan Gandl and his team, and included an encyclopedic catalogue of over 1,000 vector-based drawings of common objects and three original Neubau fonts. According to Creative Review, the book “proved so popular with the design community that the first edition sold out within eight weeks.

Markus Hollmann-Loges, Andreas Payerl, Robert Klanten

1990 Initially founded in 1990 by industrial design students Markus Hollmann-Loges, Andreas Peyerl and Robert Klanten, the company has expanded from graphic design books to a broad range of activities. In addition to producing and distributing video podcasts, calendars, art editions and toys, Gestalten is an international leader in curation (Design Hotels Future Forum), creative direction and design services for the likes of Volkswagen, Uniqlo and Diesel. The company also has its own foundry, Gestalten Fonts, and offers a selection of text fonts, display fonts and experimental fonts created by designers and for designers.

Josef MullerBrockmann Josef Müller-Brockmann, (May 9, 1914, in Rapperswil – August 30, 1996), 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. Müller-Brockman was author of the 1961 publications The Graphic Artist and his Design Problems, Grid Systems in Graphic Design where he advocates use of the grid for page structure, and the 1971 publications History of the Poster and A History of Visual Communication. He is recognised for his simple designs and his clean use of typography, notably Akzidenz-Grotesk, shapes and colours which inspires many graphic designers in the 21st century.

The Swiss Automobile Club Poster: In 1952, he designed an abstract, three dimensional public signage for the Swiss Automobile Club which was set up in Zurich. It included an “Accident Gauge” which advertised the hazards of driving, showing a summary of each week’s total automobilerelated accidents and deaths. His first poster success was for the Swiss Automobile club (“Watch that Child!”) which gained him reputation as a designer. This poster showed MullerBrockmann’s use of photography and typography, rather than illustration. He believed in socially resonsible design and showed this through his health and safety posters.

Muller-Brockmann wrote several books throughout his life, including: “Gestaltungsprobleme des Graphikers/The Graphic Designer and his Design Problems” - 1961 “Geschichte der visuellen Kommunication/A history of Visual Communication” - 1971 “Mein Leben: Spielerischer Ernst und ernsthaftes Spiel” - 1994 “History of the Poster” (with Shizuko MullerBrockmann) - 1971 “Grid Systems in Graphic Design” - 1981 “Photoplakate: von den Anf angen bis zur Gegenwart” (with Karl Wobmann) - 1989

Poster Series at the Zurich Tonhalle: The poster series Josef Muller-Brockmann is most well known for is which he designed for the Zurich Tonhalle. He began producing concert posters in 1951, and continued until 1972. These posters created a mathematical harmony which reflected the harmony of music.

Geigy’s Graphic Design In its heyday in the 1960s, Basel-based company Geigy (now part of Novartis, one of the world’s biggest pharmaceutical multinational) was not just at the forefront of drugs research it was also one of the leading proponents of the International Typographic Style, Switzerland’s influential postwar graphic design movement (recently celebrated in an exhibition, entitled Types We Can Make by Lausanne design school ECAL at the MIT Museum). With their asymmetrical designs, sans-serif typography and block colours, the brand’s Swiss Style advertising and packaging have inspired generations of designers. Now a new exhibition, ‘Good Design, Good Business – Graphic Design and Advertising by Geigy 1940-1970’, is opening in Le Lieu du Design, in Paris’ 12ème arrondissement. Curated by Andres Janser of Zurich’s Museum of Design, it explores Geigy’s innovative brand identity with the help of over 400 objects – including posters, leaflets, promotional gifts and postcards. ‘The design studio at Geigy was crucial for the development and, subsequently, for the international reception of Swiss Style in graphic design,’ explains Janser. ‘Geigy’s typography was as playful as it was controlled, and its design department was known for its use of scarce but strong visual elements, as well as bold colours – unsurprisingly, given that colours, in the form of fabric dyes, were some of Geigy’s most important products.’ Geigy’s packaging, produced in the late 1950s, also broke new ground: ‘It promoted the company brand instead of the product brand, which was a revolutionary step at the time.’

I n t h e 19 6 0 s , t h e c h e m i c a l c o m p a ny h a d ove r 15 0 employees working solely on the firm’s advertising campaigns, packaging and exhibition stands. Its large design team, which included modernist pioneers such as Karl Gerstner and Herbert Leupin, worked in collaboration with Armin Hofmann’s renowned Allgemeine Gewerbeschule school in Basel. It became a real launch pad for many talented local creatives, including Fred Troller, who worked in Geigy’s New York bureau and went on to design posters for Exxon and American Airlines. ‘Geigy’s design team wanted to avoid a too narrow idea of style, and so focused on the idea of “corporate diversity” as the basic principle of the brand’s corporate identity,’ says Janser. And this is evident in the exhibition’s varied displays, which include Gerstner’s Geigy Heute, a book featuring infographics, bold colours and unjustified text (hardly known-of at the time); Victor Vasarely’s Mitin poster (1947) with colourful tartan and typography; and Max Schmid’s packaging for the Pertofran antidepressant (1962), with a black and white ball-and-chain design that the user had to break to open the box.

Richard Paul Lohse Richard Paul Lohse (September 13, 1902, Zurich September 16, 1988, Zurich) was a Swiss painter and graphic artist and one of the main representatives of the concrete and constructive art.Richard Paul Lohse was born in Zürich in 1902. The young Lohse dreams of becoming a painter. However his wish to study in Paris is thwarted due to his difficult economic circumstances. In 1918 he joins the advertising agency Max Dalang where he trains to be an advertising artist. Lohse, the autodidact, paints expressive, late cubist still lifes. In the 1930s his work as a graphic artist and book designer puts him among the pioneers of modern Swiss graphic design; in his painting he works on curved and diagonal constructions.In 1937 Lohse, with Leo Leuppi, cofounds Allianz, an association of Swiss modern artists. In 1938 he helps Irmgard Burchard, with whom he is married for a brief time, to organise the London exhibition “Twentieth Century German Art”. His political conviction leads him into the resistance movement where he meets his future wife Ida Alis Dürner.1943 marks a breakthrough in Lohse’s painting: he standardises the pictorial means and starts to develop modular and serial systems. In 1953 he publishes the book “New Design in Exhibitions”, and from 1958 he is coeditor of the magazine Neue Grafik /New Graphic Design. Important exhibitions and publications bring Lohse’s systematic-constructive art and constructive graphic design worldwide acclaim. He died in Zürich in 1988.

Richard Paul Lohse (September 13, 1902, Zurich - September 16, 1988, Zurich) was a Swiss painter and graphic artist and one of the main representatives of the concrete and constructive art.Richard Paul Lohse was born in Zürich in 1902. The young Lohse dreams of becoming a painter. However his wish to study in Paris is thwarted due to his difficult economic circumstances. In 1918 he joins the advertising agency Max Dalang where he trains to be an advertising artist. Lohse, the autodidact, paints expressive, late cubist still lifes. In the 1930s his work as a graphic artist and book designer puts him among the pioneers of modern Swiss graphic design; in his painting he works on curved and diagonal constructions.In 1937 Lohse, with Leo Leuppi, cofounds Allianz, an association of Swiss modern artists. In 1938 he helps Irmgard Burchard, with whom he is married for a brief time, to organise the London exhibition “Twentieth Century German Art”. His political conviction leads him into the resistance movement where he meets his future wife Ida Alis Dürner.1943 marks a breakthrough in Lohse’s painting: he standardises the pictorial means and starts to develop modular and serial systems. In 1953 he publishes the book “New Design in Exhibitions”, and from 1958 he is coeditor of the magazine Neue Grafik /New Graphic Design. Important exhibitions and publications bring Lohse’s systematic-constructive art and constructive graphic design worldwide acclaim. He died in Zürich in 1988.

Skill without imagination is craftsmanship and gives us many useful objects such as wickerwork picnic baskets.Imagination without skill gives us modern art. Tom Stoppard

Charles Rennie Mackintosh, Texttile Design, C.1920

Much admired by the Viennese Secessionists, the Scottish architect Mackintosh pioneered a style of decoration which anticipated the geometric purity of Modernism.

Hans Neuburg 1904-1983

Swiss modernist graphic designer Hans Neuburg (1904 – 1983) is one of the pioneers of the Inter national Typographic Style along with Brockmann, Crouwel, Aicher, Hofmann, Casey. He’s left a collec tion of stellar work that includes this stunning poster pictured here and as well as this diagonal design. This gallery contains some more of Hans’ excellent poster work. He also authored the classic design books Moderne Werbe– und Gebrauchsgraphik. Graphic Design in Swiss Industry Publicity and Graphic Design in the Chemical Industry and Conceptions of International Exhibition. Neuburg inizia la propria attività nel 1930, in Svizzera, come copywriter. Nel 1932 cura le campagne pubblicitarie di alcune importanti aziende di Basilea.[1] A partire dal 1933, e fino al 1938, cura la pubblicazione del periodico Industriewerbung. Nel 1935 gli viene conferito un premio per un manifesto del grande magazzino zurighese Oscar Weber. Nel 1939 progetta il padiglione per l’esposizione nazionale che si tiene nella città di Zurigo. Sempre in questo periodo inizia l’attività di critico d’arte per il quotidiano Dietat. Nel 1958 fonda assieme a Josef Müller-Brockmann, Richard Paul Lohse e Carlo Vivarelli la rivista Neue Grafik. Le pubblicazioni andranno avanti per 18 numeri, dal settembre del 1958 fino al febbraio del 1965. Obiettivi principali della rivista saranno quelli di divulgare la nuova grafica moderna svizzera, commentare opere influenti, e costituire un tavolo di discussione per i principi spirituali e artistici della grafica contemporanea. Nel 1963 diventa vicepresidente della ICOGRADA (International Council of Graphic Design Associations, concilio che raggruppa associazioni nazionali di grafica rappresentanti paesi di tutto il mondo) e riceve un incarico presso la scuola di Ulm.Nello stesso periodo è membro di giurie in alcune delle principali rassegne di arti applicate.

Carlo Vivarelli Carlo Vivarelli was born on May 8th, 1919 in Zurich, Switzerland. Vivarelli went to the art at the School of Arts and Crafts in Zurich. In 1939, he went to Paris to visit several art school and spent some time with well known graphic artist, Paul Colin. He mentioned that spending time with Paul Colin was not of any great use. In 1946, he was hired by Studio Boggeri in Milan as an art director. A year after, he moved back to Zurich to establish his own studio. In the 1950 he started to paint. His work was exhibited in various occasions in Zurich. In 1958, he took part along side with Hans Neuburg and Richard Lohse in the Konstruktive grafik exhibition at the Zurich Kunstgewerbemuseum.Hans Neuburg compliment his work ” consistency full of responsibility.

In 1960, he began to do sculpture. He is co-publisher and co-editor of the graphic art review New Graphic Design. His design, art and sculpture always look precise. It’s a rare talent to be able conquer the world of typography, painting and sculpture. Carlo Vivarelli (Zurigo, 1919 – Zurigo, 1986) è stato un designer e grafico svizzero.Esponente del movimento Konkrete Kunst e della Scuola svizzera. Ha impiegato fotografia, fotomontaggio e strumenti tipografici per ottenere combinazioni di forme e colori secondo un rigore matematico ispirato al neocostruttivismo russo Dopo aver compiuto il proprio apprendistato presso uno studio di grafica a Zurigo, Vivarelli si trasferisce in Francia, a Parigi, dove studia con Paul Colin. In seguito è in Italia, a Milano, dove nel 1946 assume la direzione artistica dello Studio Boggeri.

Ernst Keller

Ernst Keller (1891 â&#x20AC;&#x201C; 1968) is seen as the father of the Swiss Style. He was a graphic designer, lettering artist and teacher. From 1918 he taught at the Zurich Kunstgewerbeschule (School of Applied Art), where he developed a professional course in design and typography. As a teacher he was the most important single influence on the development of the Swiss style. (Hollis, R.) The economically drawn images and inventive lettering of his posters designed in the 1920s and 30s made an important contribution to Modernism. This is a poster by Ernst Keller for an exhibition at the Zurich Kunstgewerbemuseum, from 1931. Ernst Keller uses the diagonal to catch the eye and to suggest some dynamic activity, a common device at the time, but Kellerâ&#x20AC;&#x2122;s poster is original in its control of space and the integration of text.

Keller created a design system characterized by a rigid grid format, structured layout and unjustified type. The core of these ideas were first presented in the book Grid Systems in Graphic Design by his student Josef Muller-Brockmann.

Ernst Keller (1891 â&#x20AC;&#x201C; 1968) is seen as the father of the Swiss Style. He was a graphic designer, lettering artist and teacher. From 1918 he taught at the Zurich Kunstgewerbeschule (School of Applied Art), where he developed a professional course in design and typography. As a teacher he was the most important single influence on the development of the Swiss style. (Hollis, R.) The economically drawn images and inventive lettering of his posters designed in the 1920s and 30s made an important contribution to Modernism.This is a poster by Ernst Keller for an exhibition at the Zurich Kunstgewerbemuseum, from 1931. Ernst Keller uses the diagonal to catch the eye and to suggest some dynamic activity, a common device at the time, but Kellerâ&#x20AC;&#x2122;s poster is original in its control of space and the integration of text. Eenst Keller seen as the father of the swiss style.

Emil Ruder

The Swiss International Style was refined at a design school in Basel, led by Armin Hofman and Emil Ruder and alos in Zurich under the leadership of Josef Muller Brockmann.

Emil Ruder (1914–1970) was a Swiss typographer and graphic designer, who with Armin Hofmann joined the faculty of the Schule für Gestaltung Basel (Basel School of Design). Ruder was a contributing writer and editor for Typografische Monatsblätter. Ruder published a basic grammar of typography titled Emil Ruder: Typopgraphy. The text was published in German, English and French, by Swiss publisher Arthur Niggli in 1967. The book helped spread and propagate the Swiss Style, and became a b a s i c text for graphic design and typography programs in Europe and North America. In 1962 he helped to found the International Center for the Typographic Arts (ICTA) in New York.

Swiss Style The Swiss Style was defined by the use of sans-serif typefaces, and employed a page grid for structure, producing symmetrical layouts. Ruder first began teaching in 1942 at the Allgemeine Gewerbeschule in the Swiss city of Basel. In 1948 Ruder met the artist-printer Armin Hofmann. Ruder and Hoffman began a long period of collaboration. Their teaching achieved an international reputation by the mid-1950s. By the mid-1960s their courses were maintaining lengthy waiting lists.

The Swiss International Style was refined at a design school in Basel, led by Armin Hofman and Emil Ruder and alos in Zurich under the leadership of Josef Muller Brockmann.

Max Bill As a designer and artist, Bill sought to create forms which visually represent the New Physics of the early 20th century. He sought to create objects so that the new science of form could be understood by the senses: that is as a concrete art. Thus Bill is not a rationalist -as is typically thought- but rather a phenomenologist. One who understands embodiment as the ultimate expression of a concrete art. In this way he is not some much extending as re-interpreting Bauhaus theory. Yet curiously Bill’s critical interpreters have not really grasped this fundamental issue.He made spare geometric paintings and spherical sculptures, some based on the Möbius strip, in stone, wood, metal and plaster.His architectural work included an office building in Germany, a radio studio in Zurich, and a bridge in eastern Switzerland. He continued to produce architectural designs, such as those for a museum of contemporary art (1981) in Florence and for the Bauhaus Archive (1987) in Berlin. In 1982 he also entered a competition for an addition to the Neue Nationalgalerie in Berlin, built to a design by Mies van der Rohe.Pavillon-Skulptur (1979– 83), a large granite sculpture, was installed adjacent to the Bahnhofstrasse, Zürich in 1983. As is often the case with modern art in public places, the installation generated some controversy.

Armin Hofmann

Armin Hofmann (HonRDI) is a Swiss graphic designer. Hofmann followed Emil Ruder as head of the graphic design department at the Schule fĂźr Gestaltung Basel (Basel School of Design) and was instrumental in developing the graphic design style known as the Swiss Style. He is well known for his posters, which emphasized economical use of colour and fonts, in reaction to what Hofmann regarded as the â&#x20AC;&#x153;trivialization of colour. His posters have been widely exhibited as works of art in major galleries, such as the New York Museum of Modern Art. He was also an influential educator, retiring in 1987. In 1965 he wrote the Graphic Design Manual, a popular textbook in the field.

Akzidenz-Grotesk

The Akzidenz-Grotesk typeface became the most frequently used in The New Typography, and almost the norm in later Swiss graphic design. It was liked for its clarity and precision, and the designers mainly used it in its lowercase form. Akzidenz-Grotesk is a grotesque (early sans-serif) typeface originally released by the Berthold Type Foundry in 1896 under the name Accidenz-Grotesk. It was the first sans serif typeface to be widely used[citation needed] and influenced many later neo-grotesque typefaces after 1950.Variants of AkzidenzGrotesk, showing the slight inconsistencies and idiosyncrasies between different weights and widths. The design of Akzidenz-Grotesk was theorized to be derived from Walbaum or Didot, as demonstrated by the similar font metrics when the serifs are removed. However, the font family also included fonts made by other foundries, such as the c. 1880 typeface Royal Grotesk Light from the Berlin foundry Ferdinand Theinhardt Schriftgiesserei, designed by Ferdinand Theinhardt for the scientific publications of the Royal Prussian Academy of Sciences in Berlin. FTS also supplied the regular, medium and bold weights of the typeface. While Hermann Berthold took over Theinhardt’s Berlin foundry in 1908, it wasn’t until the fall of the Prussian monarchy in 1918 that Royal Grotesk was published as part of the Akzidenz-Grotesk font family and renamed Akzidenz-Grotesk Condensed.

Contemporary versions of Akzidenz-Grotesk descend from a late-1950s project, directed by Günter Gerhard Lange at Berthold, to enlarge the typeface family, adding a larger character set, but retaining all of the idiosyncrasies of the 1898 face. Under the direction of Günter Gerhard Lange, he had designed 33 font styles to the Akzidenz-Grotesk family, including AG Extra (1958), AG Extra Bold (1966) and AG Super (1968), AG Super Italic (2001) and Extra Bold italic (2001). In May 2006, Berthold announced the release of Akzidenz-Grotesk in OpenType format, under the name Akzidenz-Grotesk Pro. The Pro family offers extended language support for Central European, Baltic and Turkish as well as Welsh, archaic Danish and Esperanto and is available in CFF PostScript OpenType. Berthold also released Akzidenz-Grotesk Standard, which includes glyphs of Western European character set, in both PostScript and TrueType flavored OpenType.In May 2007 Berthold announced the release of Akzidenz-Grotesk Pro+, which includes Cyrillic and Greek characters.Akzidenz-Grotesk and Georgia are the official fonts of the American Red Cross. Akzidenz-Grotesk is used on the national logo and national guidelines require the font to be used on all chapter logos. All American Red Cross publications must be printed in Akzidenz-Grotesk or Georgia fonts. Akzidenz-Grotesk is also the font used in Arizona State University brand logo.

Univers

U Univers is the name of a realist sans-serif typeface designed by Adrian Frutiger in 1954. Originally conceived and released by Deberny & Peignot in 1957, the type library was acquired in 1972 by Haas. Haasâ&#x20AC;&#x2122;sche Schriftgiesserei (Haas Type Foundry) was later folded into the D. Stempel AG and Linotype collection in 1985 and 1989 respectively. Univers is one of a group of neo-grotesque sans-serif typefaces, all released in 1957, that includes Folio and Neue Haas Grotesk (later renamed Helvetica). These three faces are sometimes confused with each other, because each is based on the 1898 typeface Akzidenz-Grotesk. These typefaces figure prominently in the Swiss Style of graphic design.Different weights and variations within the type family are designated by the use of numbers rather than names, a system since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. However, the actual typeface names within Univers family include both number and letter suffixes.

Univers is the name of a realist sans-serif typeface designed by Adrian Frutiger in 1954. Originally conceived and released by Deberny & Peignot in 1957, the type library was acquired in 1972 by Haas. Haasâ&#x20AC;&#x2122;sche Schriftgiesserei (Haas Type Foundry) was later folded into the D. Stempel AG and Linotype collection in 1985 and 1989 respectively. Univers is one of a group of neo-grotesque sans-serif typefaces, all released in 1957, that includes Folio and Neue Haas Grotesk (later renamed Helvetica). These three faces are sometimes confused with each other, because each is based on the 1898 typeface Akzidenz-Grotesk. These typefaces figure prominently in the Swiss Style of graphic design.Different weights and variations within the type family are designated by the use of numbers rather than names, a system since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. However, the actual typeface names within Univers family include both number and letter suffixes.

Mode

rnism s e l u R e r o M No

Is Post

What

modernism?

for the most part has been a visual and decorative movement. Many designers and design critics contend that postmodernism, in the literary or architectural sense of the term, never really impacted graphic design as it did these other fields. Alternatively, some argue that it did but took on a different persona. This can be seen in the work produced at Katherine McCoy’s program at the Cranbrook Academy of Art in Michigan during the late 1980s to late 1990s and at the MFA program at CalArts in California. But when all was said and done, the various notions of the postmodern in the various design fields never really stuck to graphic design as it did with architecture. Some argue that the “movement” (if it ever was one) had little to no impact on graphic design. More likely, it did, but more in the sense of a continuation or re-evaluation of the modern. Some would argue that this continuous re-evaluation is also just a component of the design process - happening for most of the second half of the 20th century in the profession. Since it was ultimately the work of graphic designers that inspired pop artists like Warhol and Liechtenstein, and architects like Robert Venturi and Denise Scott-Brown, it could be argued that graphic design practice and designs may be the root of Postmodernism.

Postmodernism in graphic design Graphic design saw a massive popular raising at the end of the seventies in form of Graffiti and Hip Hop culture's rise. Graphic forms of expression became a vast everyday hobby among school kids all around the developed western countries. Alongside this 'movement', that took rebellious and even criminal cultural forms, was born the mass hobby of coding computer graphics. This phenomenon worked as a stepping stone towards the graphic infrastructure that is applied in the majority of computer interfaces today. This Constructivist poster uses arbitrary placement of geometric shapes, a convention that would appear in many postmodern graphic design pieces. Postmodernism in graphic design Graphic design saw a massive popular raising at the end of the seventies in form of Graffiti and Hip Hop culture’s rise. Graphic forms of expression became a vast everyday hobby among school kids all around the developed western countries. Alongside this ‘movement’, that took rebellious and even criminal cultural forms, was born the mass hobby of coding computer graphics. This phenomenon worked as a stepping stone towards the graphic infrastructure that is applied in the majority of computer interfaces today.

The Punk Think punk, a few things may spring to mind: mohicans, the Sex Pistols, sad looking teenagers hanging around Camden market. Graphic design may not be one of them. The movement affected illustration, art and print just as much as sales of tartan trousers. The punk movement often used found material to create their band promotion. The loose, arbitrary collage approach woul later inspire postmodernism artists.

Punk aesthetics determine the type of art punks enjoy, usually with underground, minimalistic, iconoclastic and satirical sensibilities. Punk artwork graces album covers, flyers for concerts, and punk zines. Usually straightforward with clear messages, punk art is often concerned with political issues such as social injustice and economic disparity. The use of images of suffering to shock and create feelings of empathy in the viewer is common. Alternatively, punk artwork may contain images of selfishness, stupidity, or apathy to provoke contempt in the viewer. Much of the earlier artwork was in black and white, because it was distributed in zines reproduced at copy shops. Punk art also uses the mass production aesthetic of Andy Warhol's Factory studio. Punk played a hand in the revival of stencil art, spearheaded by Crass. The Situationists also influenced the look of punk art, particularity that of the Sex Pistols. Punk art often utilises collage, exemplified by the art of Dead Kennedys, Crass, Jamie Reid, and Winston Smith. John Holmstrom was a punk cartoonist who created work for the Ramones and Punk Magazine. The Stuckism art movement had its origin in punk, and titled its first major show The Stuckists Punk Victorian at the Walker Art Galler y during the 2004 Liverpool Biennial. Charles Thomson, co-founder of the group, described punk as "a major breakthrough" in his art

Movement

Infiuences

Wolfgang Weingart

Wolfgang Weingart (born 1941 in the Salem Valley in southern Germany) is an internationally known graphic designer and typographer. His work is categorized as Swiss typography and he is credited as “the father” of New Wave or Swiss Punk typography.Weingart spent his childhood in Germany, moving briefly to Lisbon in 1954 with his family. In April 1958 he returned to Germany and began his studies at the Merz Academy in Stuttgart, where he attended a two year program in applied graphic arts. He learned typesetting, linocut and woodblock printing.Weingart then completed a three-year typesetting apprenticeship in hot metal hand composition at Ruwe Printing. There he came into contact with the company’s consulting designer, Karl-August Hanke, who became his mentor and encouraged him to study in Switzerland.

Weingart met Emil Ruder and Armin Hofmann in Basel in 1963 and moved there the following year, enrolling as an independent student at the Schule für Gestaltung Basel (Basel School of Design). In 1968, he was invited to teach typography at the institution’s newly established Weiterbildungsklasse für Grafik, an international Advanced Program for Graphic Design, where he remained a highly influential instructor until 2005. Between 1974 and 1996, at Hofmann’s invitation, Weingart taught at the Yale Summer Program in Graphic Design in Brissago, Switzerland. For over forty years he has lectured and taught extensively in Europe, North and South America, Asia, Australia and New Zealand.

Postmodern His work has been awarded a mark of excellence by the Swiss Federal Department of Home Affairs in Bern. He was a member of the Alliance Graphique Internationale (AGI) from 1978 to 1999, and served on the editorial board of Typographische Monatsblätter magazine from 1970 to 1988. In 2005 he was awarded the honorary title of Doctor of Fine Arts. In 2013 he was a recipient of the AIGA Medal, the highest honor of the design profession, for his typographic explorations and teaching. Weingart has taught and lectured extensively in Australia, Asia, Europe and North and South America. According to Weingart, “I took ‘Swiss Typography’ as my starting point, but then I blew it apart, never forcing any style upon my students. I never intended to create a ‘style’. It just happened that the students picked up—and misinterpreted—a so-called ‘Weingart style’ and spread it around.”

April Greiman

April Greiman (born 10th September 1948) is a designer. “Recognizedasoneofthefirstdesignerstoembracecomputer technology as a design tool, Greiman is also credited, along with early collaborator Jayme Odgers, with establishing the ‘New Wave’ design style in the US during the late 70s and early 80s.”Greiman heads Los Angeles-based design consultancy Made in Space. Greiman first studied graphic design in her undergraduate education at the Kansas City Art Institute, from 1966-1970. She then went on to study at the Allgemeine Künstgewerberschule Basel, now known as the Basel School of Design (Schule für Gestaltung Basel) in Basel, Switzerland (1970-1971). As a student of Armin Hofmann and Wolfgang Weingart, she was influenced by the International Style and by Weingart’s introduction to the style later known as New Wave, an aesthetic less reliant on Modernist heritage. Greiman moved to Los Angeles in 1976, where she established the multi-disciplinary approach that extends into her current practice, Made in Space.

During the 1970s, she rejected the belief among many contemporary designers that computers and digitalization would compromise the International Style; instead, she exploited pixelation and other digitization “errors” as integral parts of digital art, a position she has held throughout her career. In 1982, Greiman became head of the design department at the California Institute of the Arts.In 1984, she lobbied successfully to change the department name to Visual Communications, as she felt the term “graphic design” would prove too limiting to future designers. In that year, she also became a student herself and investigated in greater depth the effects of technology on her own work. She then returned to full-time practice and acquired her first Macintosh computer. ] She would later take the Grand Prize in Mac World's First Macintosh Masters in Art Competition. An early adopter of this computer, Greiman produced an issue of Design Quarterly in 1986, notable in its development of graphic design.

Entitled Does it make sense the edition was edited by Mildred Friedman and published by the Walker Art Center. She re-imagined the magazine as a poster that folded out to almost three-by-six feet. It contained a life-size, MacVision-generated image of her outstretched naked body adorned with symbolic images and text— a provocative gesture, which emphatically countered the objective, rational and masculine tendencies of modernist design.” Miracle Manor, a desert spa retreat owned with her husband, architect Michael Rotondi, is a showcase for her more recent three-dimensional design of space in natural landscapes.

In 1995, the U.S. Postal Service launched a stamp designed by Greiman to commemorate the Nineteenth Amendment to the United States Constitution (Women's Voting Rights .In 2006, the Pasadena Museum of California Art mounted a one-woman show of her digital photography entitled: Drive-by Shooting. She was also recently in the group show at Centre Georges Pompidou in Paris, in a major exhibition Elle@Centre Pompidou.In 2007, Greiman completed her largest ever work: a public mural, "Hand Holding a Bowl of Rice," spanning "seven stories of two building facades marking the entrance to the Wilshire

Vermont Metro Station in Los Angeles.” This is a piece by April Greiman, who was one of Wiengart's students and is known to be one of the best female graphic designers in history. She has created the stepped approach by using expressive lines and has also created a collaged effect by layered certain elements on top of each other. Another element of this piece that reflects the Postmodern era is the spontaneous brush strokes that add flashes of vibrant colours. The function of this poster is to promote the 'China Club' (Nighclub) in Los Angeles. Her approach is somewhat simple but effective as it still manages to convey a fun feeling.

Neville

Neville Brody (born 23 April 1957 in London) is an English graphic designer, typographer and art director. Neville Brody is an alumnus of the London College of Printing and Hornsey College of Art, and is known for his work on The Face magazine (1981â&#x20AC;&#x201C;1986) and Arena magazine (1987â&#x20AC;&#x201C;1990), as well as for designing record covers for artists such as Cabaret Voltaire and Depeche Mode. He created the company Research Studios in 1994 and is a founding member of Fontworks. He is the new Head of the Communication Art & Design department at the Royal College of Art.

Brody

Postmodern

He was one of the founding members of FontWorks in London and designed a number of notable typefaces for them. He wasalsopartlyresponsibleforinstigatingthe FUSE project an influential fusion between a magazine, graphics design and typeface design. Each pack includes a publication with articles relating to typography and surrounding subjects, four brand new fonts that are unique and revolutionary in some shape or form and four posters designed by the type designer usually using little more than their included font. In 1990 he also founded the FontFont typeface library together with Erik Spiekermann.Notable fonts include the updated font for the Times newspaper, Times Modern, New Deal as used in publicity material and titles for the film Public Enemies and Industria.

David Carson David Carson (born September 8, 1954) 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. Carson was perhaps the most influential graphic designer of the 1990s. In particular, his widely imitated aesthetic defined the so-called “grunge typography” era. Early life and career Carson was born on September 8, 1954 in Corpus Christi, Texas. He attended San Diego State University, graduating with a Bachelor of Arts in Sociology. Carson’s first contact with graphic design was in 1980 at the University of Arizona during a two week graphics course, taught by Jackson Boelts. From 1982 to 1987, Carson worked asa teacher in Torrey Pines High School in San Diego, California. During that time, he was also a professional surfer, and in 1989 he was ranked as the 9th best surfer in the world. In 1983, Carson started to experiment with graphic design and found himself immersed in the artistic and bohemian culture of Southern California. He attended the Oregon College of Commercial Art. In 1995, Carson left Ray Gun to found his own studio, David Carson Design, in New York City.

He started to attract major clients from all over the United States. During the next three years (1995– 1998), Carson was doing work for Pepsi Cola, Ray Ban (orbs project), Nike, Microsoft, Budweiser, Giorgio Armani, NBC, American Airlines and Levi Strauss Jeans, and later worked for a variety of new clients, including AT&T Corporation, British Airways, Kodak, Lycra, Packard Bell, Sony, Suzuki, Toyota, Warner Bros., CNN, Cuervo Gold, Johnson AIDS Foundation, MTV Global, Princo, Lotus Software, Fox TV, Nissan, quiksilver, Intel, Mercedes-Benz, MGM Studios and Nine Inch Nails. He, along with Tina Meyers, designed the “crowfiti” typeface used in the film The Crow: City of Angels. He named and designed the first issue of the adventure lifestyle magazine Blue, in 1997. David designed the first issue and the first three covers, after which his assistant Christa Smith art directed and designed the magazine until its demise. Carson’s cover design for the first issue was selected as one of the “top 40 magazine covers of all time” by the American Society of Magazine Editors. In 2000, Carson closed his New York City studio and followed his children to He was also the art director of a spinoff magazine, Transworld Snowboarding, which began publishing in 1987. Steve and Debbee Pezman, publishers of Surfer

Jamie Reid Reid took side with the rebellion in the 70's, leading to 'anarchy' and the punk scene which came from the decade, by ripping out the Queen's eyes and mouth and replacing it with ironic Sex Pistols lyrics. This is appropriate for the era and since has become an iconic poster globally. It's post-modern design is clear in comparison to the modernist era. This poster is experimental, daring to the modernists, through the use of different sized fonts at different angles, and not being produced in a strict format with boundaries and guidelines on only using Helvetica and conforming to the International Typographic Style, postmodernists were breaking away from.

God Save The Queen Poster 1977 Nothing is set out on a grid format, and it relates to more political issues, looking at social class and wealth, which were issues at the time also. However, not everyone believes that issues can be solved through that experimental medium. Massimo Vignelli believes that, "The followers of the Post-modernist are gone, reduced to caricatures of the recent past" summarising how everything that Post-modern designers have created, has only helped improve the Modernist designers. I really like this poster design, however, it wouldn't work well in the current decade, but at the time would of been powerful for the scene's followers.

Art Chantry Arthur Samuel Wilbur Chantry II (born April 9, 1954 in Seattle) is a graphic designer often associated with the posters and album covers he did for bands from the Pacific Northwest, such as Nirvana, Hole and The Sonics.He is also notable for his work in logo design. Chantry designed the cover for Some People Can't Surf, which was written by Julie Lasky. Chantry advocates a lowtech approach to design that is informed by the history of the field. His work has been exhibited at the Rock and Roll Hall of Fame Museum of Modern Art, Seattle Art Museum, the Smithsonian and the Louvre.Chantry received a bachelor's degree from Western Washington University in 1978.

Art Chantry is a Northwestern graphic designer whose lo-fi, high contrast designs have influenced a generation or two of poster artists. He rose to prominence in Seattle, first at The Rocket and then through his posters for bands big and small, including Nirvana, Gang of Four and many many others. Chantry really pioneered the use of mistakes, misprints, "low" visual culture and found imagery in graphic design. Never slick and easy, always throwing a wrench in the works, Chantry traffics in uncompromising beauty and he's held onto analog techniques and ideologies all these years. I'm thrilled to have Art's writing on this site, as well as his posters. For a fun memoir of Art, see Norman Hathaway's piece

Kruger

Barbara

Barbara Kruger (born January 26, 1945) is an American conceptual artist. Much of her work consists of black-and-white photographs overlaid with declarative captions—in white-on-red Futura Bold Oblique or Helvetica Ultra Condensed. The phrases in her works often include pronouns such as “you”, “your”, “I”, “we”, and “they”. Kruger lives and works in New York and Los Angeles.Career in magazine designKruger was born into a lower-middleclass family in Newark, New Jersey. Her father worked as a chemical technician, her mother as a legal secretary. She graduated from Weequahic High School.After attending Syracuse University and studying art and design with Diane Arbus and Marvin Israel at Parsons School of Design in New York, Kruger obtained a design job at Condé Nast Publications. She initially worked as a designer at Mademoiselle Magazine and later moved on to work part time as a picture editor at House and Garden, Aperture, and other publications.[5] In her early years as a visual artist, Kruger crocheted, sewed and painted bright-hued and erotically suggestive objects, some of which were included by curator Marcia Tucker in the 1973 Whitney Biennial. From 1977, Kruger worked with her own architectural photographs, publishing an artist’s book, “Picture/Readings”, in 1979.

The tourism poster has a direct connection with the Postmodern age. World renowned designer, Paula Scher created a magazine advertisement for the Swatch company in 1985 (see below) which was almost an exact recreation Matter's original 1935 poster. "Matter's poster demonstrates the Constructivist" typophoto" technique of postioning a phot of a person floating at the top of the image and looking in the distance. While experienced graphic designers undoutedly recognized the playfull irony of Scherâ&#x20AC;&#x2122;s appropriation of the Swiss poster, the average reader of Mademoiselle magazine where it briefly appeared, would be unlikely to be aware of the imageâ&#x20AC;&#x2122;s antecedents. Scher was publicly criticized for taking the image out of context and parodying it, as some designers saw this type of close copying of an original as close to constituting plagiarism it is quite possible that Scherâ&#x20AC;&#x2122;s critics simply lacked a sense of humour.

Paula Scher

The tourism poster has a direct connection with the Postmodern age. World renowned designer, Paula Scher created a magazine advertisement for the Swatch company in 1985 (see below) which was almost an exact recreation Matter's original 1935 poster. "Matter's poster demonstrates the Constructivist" typophoto" technique of postioning a phot of a person floating at the top of the image and looking in the distance. While experienced graphic designers undoutedly recognized the playfull irony of Scher’s appropriation of the Swiss poster, the average reader of Mademoiselle magazine where it briefly appeared, would be unlikely to be aware of the image’s antecedents. Scher was publicly criticized for taking the image out of context and parodying it, as some designers saw this type of close copying of an original as close to constituting plagiarism it is quite possible that Scher’s critics simply lacked a sense of humour.

Reza Abedini, (born 1967 in Tehran) is an Iranian designer and a professor of graphic design and visual culture at Tehran University.Abedini is one of the most famous graphics designer in Iran because of his modern Persian typography. He combined modern and traditional themes in his unique style.His design influences include Aleksander Rodchenko, Ikko Tanaka, Sani'ol Molk Ghafari, Roman Cieslewicz and Mirza Gholam-Reza Esfahani.Reza Abedini has won dozens of national and international design awards. In 2006 Abedini received the Principal Prince Claus Award in recognition of his personal creativity in the production of special graphic designs, as well as for the personal manner in which he applies and redefines the knowledge and accomplishments of Iranâ&#x20AC;&#x2122;s artistic heritage, thus making them highly interesting.

Reza Abedini

The award also focuses attention on the diversity of both the historical and the modern Iranian culture, recognizing the impact of graphic design as an influential international means of communication. He is a member of the Iranian Graphic Designers Society (IGDS) since 1997, and the prestigious Alliance Graphique Internationale (AGI) since 2001. Abedini was a member of jury at several biennials throughout the world. His name is listed in Meggs' History of Graphic Design, as one of the world's outstanding post digital designers.

i-D i-D is a British magazine dedicated to fashion, music, art and youth culture. i-D was founded by designer and former Vogue art director Terry Jones in 1980. The first issue was published in the form of a hand-stapled fanzine with text produced on a typewriter. Over the years the magazine evolved into a mature glossy but it has kept street style and youth central to every issue.The magazine is known for its innovative photography and typography, and over the years established a reputation as a training ground for fresh talent. Photographers Nick Knight, Wolfgang Tillmans, Juergen Teller, Terry Richardson, Klaus Thymann, Ellen von Unwerth, and Kayt Jones have produced work for i-D. The magazine celebrated its 250th edition at the end of 2004 and its 25th anniversary in 2005. The July Issue of 2009 was the magazines 300th publication, boasting many interesting articles and iconic photography, true to the magazines concept. The content, focused mainly on ideas from past issues and bringing these ideas into 2009. Raquel Zimmerman was the covergirl for this edition.The magazine pioneered the hybrid style of documentary/fashion photography called The Straight Up. At first, these were of punks and New Wave youth found on English streets and who were simply asked to stand against any nearby blank wall. The resulting pictures the subjects facing the camera and seen from “top to toe”are a vivid historical documentary photography archive, and have established the posed “straight up” as a valid style of documentary picture-making.

The Face The Face was a British music, fashion and culture monthly magazine started in May 1980 by Nick Logan.1980sLogan had previously created the teen pop magazine Smash Hits, and had been an editor at the New Musical Express in the 1970s before launching The Face in 1980.The magazine was influential in showcasing a number of fashion, music, and style trends of youth culture including New Romantic, and the “Hard Times” look of the mid-1980s.From 1981 to 1986, Neville Brody was typographer, graphic designer, and art director of the magazine.1990s In 1992, the magazine ran an article which contained a reference to the supposed sexual orientation of the Australian actor and pop star Jason Donovan. Donovan sued the magazine for libel in 1992 and won the case Subsequently, the magazine requested donations from readers to pay the substantial libel damages and court costs which came to £300,000.

Cover featuring David LaChapelle photo of Gisele Bündchen The magazine set up the “Lemon Aid” fund— supposedly so-called because the original article on Donovan had stated that he treated his hair with lemon juice in order to make it blonder. Donovan reached a settlement with the magazine which allowed it to stay in business.Its best selling period was in the mid-1990s when editor Richard Benson brought in a team that included art director Lee Swillingham. Benson ensured the magazine’s written content reflected developments in music, art and fashion whilst Swillingham changed the visual direction of the magazine to showcase new photography, commissioning work by Stéphane Sednaoui, Inez Van Lamsweerde, Steven Klein, David LaChapelle, Norbert Schoerner, Glen Luchford, Henry Bond, Craig McDean and Elaine Constantine. In 1999, Wagadon was sold the title to the publishing company EMAP.

Notable names associated with the magazine were designer & typographer Neville Brody (Art Director, 1981â&#x20AC;&#x201C;86), creative director Lee Swillingham (Art Director 1993-1999), Craig Tilford (Art Directior 1999-2002), Graham Rounthwaite (Art Director 2002-2003), Julie Burchill, Tony Parsons, photographers Juergen Teller, David Sims and writers including Jon Savage, Fiona Russell Powell and James Truman, subsequently editor of Details in the US and editorial director for CondĂŠ Nast in the US. By the time of its May 2004 closure, monthly sales had declined and advertising revenues had consequently reduced. Publishers EMAP closed the title in order to concentrate resources on its more successful magazines. In an ironic twist, Jason Donovan led a consortium that made an abortive approach to EMAP to save the title prior to its closure

Ray Gun Ray Gun was an American alternative rock-and-roll magazine, first published in 1992 in Santa Monica, California. Led by founding art director David Carson, Ray Gun explored experimental magazine typographic design. The result was a chaotic, abstract style, not always readable, but distinctive in appearance. That tradition for compelling visuals continued even after Carson left the magazine after three years; he was followed by a series of art directors, including Robert Hales, Chris Ashworth, Scott Denton-Cardew, and Jerome Curchod. In terms of content, Ray Gun was also notable for its choices of subject matter. The cutting-edge advertising, musical artists and pop culture icons spotlighted were typically ahead of the curve, putting such artists as Radiohead, BjĂśrk, Beck, Flaming Lips, PJ Harvey and Eminem[on its cover long before its better-known competitors. Those choices were guided by Executive Editor Randy Bookasta and an editorial staff that included Dean Kuipers, Nina Malkin, Mark Blackwell, Joe Donnelly, Grant Alden, Mark Woodlief, and Eric Gladstone. Ray Gun produced over 70 issues from 1992 through 2000. Owner-founder-publisher Marvin Scott Jarrett (one-time publisher of a late-1980s incarnation of Creem) also created the magazines Bikini, Stick and huH. Jarret is currently editor-in-chief of Nylon, a New York-based fashion magazine.The most notable common thread among all of Jarrettâ&#x20AC;&#x2122;s magazines (from his latter-day Creem through Nylon) has been an attraction to dynamic next-generation graphic design.

New Graphic Design Neue Grafik Die Neue Grafik In 1959 four zürich-based graphic designers launched the first issue of Neue Grafik magazine. A Magazine devoted to the Swiss style of design and typography. The team of editors constisted of Richard Paul Lohse, Josef Müller-Brockmann, Hans Neuburg and Carlo Vivarelli. The team signed some of their jointly written articles with the acronym "lmnv", formed from their initials. “Neue Grafik” epitomizes Swiss typography of the 1950s. It was the new age manifesto for the design world and it was seminal in its influence on international graphic design after WWII. The publication of the magazine proved an international success making the Swiss Style the International Typographic Style.

The Grid System J.Muller-Brockmann 1968- Niggli Verlag Modern typography is based primarily on the theories and principles of design evolved in the 20s and 30s of our century. It was MallarmĂŠ and Rimbaud in the 19th century and Apollinaire in the early 20th century who paved the way to a new understanding of the possibilities inherent in typography and who, released from conventional prejudices and fetters, created through their experiments the basis for the pioneer achievements of the theoreticians and practitioners that followed. The principle of the grid system presented in this book was developed and used in Switzerland after World War II. (ibid.)But there was no publication that showed how the grid was constructed and applied, let alone how the design of the grid system was to be learned. This book is an attempt to close the gap.

The typographic grid Such a system of arrangement compels the designer to be honest in his use of design resources. It requires him to come to terms with the problem in hand and to analyse it. It fosters analytical thinking and gives the solution of the problem a logical and material basis.A suitable grid in visual design makes it easier a) to construct the argument objectively with the means of visual communication, b) to construct the text and illustrative material systematically and logically, c) to organize the text and illustrations in a compact arrangement with its own rhythm, d) to put together the visual material so that is is readily intelligible and structured with a high degree of tension.

Grid 1. Paper size. This is one of the easiest ways to create a balanced grid. By using the size of the paper as a guide we can divide using ratio to begin creating the grid. you can see through diagrams 1-6 simply layering division upon division to slowly build up the grid.

Now we can begin to experiment with type areas, shapes and composition. we can explore how type and image will work together on the various types of pages our publication will have.

Diagram 7 shows the text area with the first elements of the access structure- runnung heads and folios. Diagram 8 and 9 show how adaptable the grid is to various design options.

Shaping the page

For this grid, we’re going to use the ratio of the page to define the main text, or content, area of the pages. There’s a very simple way of reducing this page size down to make sure the ratio is correctly placed and balanced. See diagram.

Applying the Golden Section Now you’ve read the other articles you will see that applying the ratio to this area is pretty straight forward. The area is divided using Phi which gives us two columns, A and B.

Creating the system So, we’ve got the columns, we now need to flesh out the grid to be able to cope with the different content and page types. First off, we extend the lines of the content area and the columns

We then apply a horizontal rule cutting across content area creation lines. I call these ‘hanging lines’, not too sure what the correct terminology is. But anyway, the content ‘hangs’ from these lines giving us consistency throughout the book. It gives the reader a line, in the same place, to rest their eyes on page after page.

Using the extended lines we can then add areas for the access structure of the book—folios etc. These typically sit outside of the content area, usually with plenty of white space around them, as to show that they are different ‘types’ of content.

Masthead

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New Graphic Design

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Magazine Cover Design

Final Magazine Cover Design

Magazine Inner Pages Design MODERN ARCHITECTURE

Here are some inner magazine design i have done. I would like to keep my design simple.During my reaserches about Modernism and Postmodernism i really liked Modernism it has some rules to it and in my opinion it would looks better for designing magazine. Because of this reason i am also going to keep my magazine Modern Style. I will be do some research about modern architecture, fashtion and alos some artist sresearch who are modern and different.

Magazine Inner Pages Design Historical Buildings

Magazine Inner Pages Design MODERN FASHION DESIGN