New Visual Language Res & Dev

NEW VISUAL LANGUAGE FORM FOLLOWS FUNCTION An exploration of Modernism and Post Modernism

U1458749 Matt McGough

RESEARCH

“Perfection is achieved, not when there is nothing left to add but when there is nothing left to remove.”

- Antoine de Saint-Exupéry

Contents Research Modernism Post Modernism

Modernists 04 06

Development Masthead Ideas Page Layout Ideas Cover Development Font Options Font Combinations

38 40 44 48 50

Wim Crouwel RenĂŠ Magritte Josef MĂźllerBrockmann Pablo Picasso Max Miedinger

Post Modernists Analysis 08 10 12 14 16

Neville Brody Andy Warhol David Carson Robert Rauschenberg Wolfgang Weingart

18 20 22 24 26

Magazine Moodboard 28 Magazine Designs 30 Existing Mastheads 36

Define: Modernism - A style or movement within the Arts that aims to depart significantly from classical and traditional forms, and styles.

- Placed an emphasis on function, processes and materials instead of form, could be defined as “form follows function.”

- A term used to describe a collection of movements within the arts, that make more focus towards functionality rather than aesthetics, departing from traditional art styles

Examples of Modernism - The common consensus is that the first true modernist artist was French impressionist painter Édouard Manet (1832-1883), and some of the most famous artists of the 20th century are members of modernist movements.

-Picasso, Dali, Duchamp, Manet, Monet, Magritte, are all examples of modernist artists. The Bauhaus and De Stijl are both seen as major modernist movements.

- Umbrella term that is used to incorporate different movements within many of the arts (art, design, architecture, creative writing), such as cubism, futurism, surrealism, brutalism and impressionism.

-In terms of modernist graphic design, designers such as Wim Crouwel, Josef Müller-Brockmann, Max Miedinger, are all well known for their structured influence on the world of typography, type setting and page layout.

Define: Post-Modernism - In visual arts post-modernism is identifiable as works that contain no formal structure, often using a mixture of style and media, post modernism is much more expressive and increasingly abstract than modernist creations.

- A term used from about 1970 to describe changes seen to take place in western society and culture from the 1960’s onwards, seen to be antiauthoritarian.

- A style or movement within the Arts that aims to depart significantly from its predecessor - Modernism.

- Often characterised by a selfconscious use of earlier styles, methods and conventions, by mixing different styles, media and techniques.

Removing the boundary between fine art and mass produced art, blurring the line between art and everyday life, refusing to accept any one definition of what art is.

Examples of Post Modernism - Some say that post modernist art began with Pop-art and includes most of what followed including, conceptual art, neo-experssionism, and the rebellious art of the feminists and the Young British Artists during the 1990’s.

- Historical avant-garde movements such as Dada and Surrealism are seen as precursors to post modernism due to their use of industrial artifacts and techniques such as collage. Jackson Pollock, Robert Rauschenberg, Yoko Ono, Roy Lichtenstein and Andy Warhol are all examples of Post-Modern artists in the fields of abstract expressionism, assemblage, performance art, and pop art.

-In terms of graphic design post modernist designers were the beginning of what we now refer to as graphic design. Designers such as Wolfgang Weingart, April Greiman, and Jamie Reid, were seen as key influences on the movement.

Name: Willem Hendrik ‘Wim’ Crouwel A. K. A: Mr. Gridnik Born: Groningen, Netherlands, 21 Nov. 1928 Profession: Typographer, Graphic Designer

Wim Crouwel

Wim Crouwel is a dutch typographer and graphic designer, who was especially prominent during the 1960’s.

One of Crouwel’s most well known fonts is “New Alphabet”.

It was created in response to the digitalisation that swept across the word in the mid 1960’s. When he saw the Garamond typeface on the computer he was struck by how ugly it was in comparison to the original manual print typeface.

Crouwel is known for his systematic approach and for using with a strong underlying grid system.

During his time designing for a dutch museum he would design the exhibition posters and catalogues, thinking they should only inform the reader as to the exhibitions works, and not be highly decorative as this would confuse the reader.

So Crouwel decided he would create a typeface for the new machines. During the creation of this new typeface he found that he could not get a smooth, uniform curve across the variety of point sizes that would be required with the use of the computer.

The influence of the modernist Swiss international style is clear to see in the objective, clarity and structure of Crouwel’s work.

Some of his typography work has been labelled as radical and experimental, because of the way it pushed the boundaries of legibility.

Crouwel then set about creating a typeface that only used straight horizontal, vertical and diagonal lines, removing the circumventing the problem with the curved lines.

In the 70’s dutch design as whole became more experimental as dutch art schools began to move away from the Bauhaus style of design education and began to develop their students own personalities through their work.

“A face shouldn’t have a meaning in itself, the meaning should be in the content of the text.”

-Wim Crouwel, taken from ‘Helvetica’

Using an underlying grid, to help with the uniformity and straightness of this font meant that it was a little bit more square in shape than most other typefaces around at the time.

The end result was almost unreadable, without proper and considered kerning, because of the lack of the recognised profile of some of the characters within the alphabet.

This did not bother Crouwel as this was an experiment, it was just an idea for others to look at.

In the 90’s British magazines and designers used the font with some slight alterations for magazine layouts and designs.

^Architype Ingenieur is another grid-based font from Crouwel, which looks similar to Architype Vierkant (below). The Vierkant font is related to the New Alphabet typeface created in 1967, and was created following the same thought process, creating a font using only straight lines so that it could be used by cathode tube monitors and new computers that were revolutionising the world in the 1960’s.

The poster on the right displays the same don’t, and is one of the best known poster designed by Crouwel.>

^Foundry Gridnik was designed

by Crouwel in 1974 and was intended to be used for electric typewriters. Interest in electric typewriters declined during the design process so the commission was cancelled, and the rights returned to Crouwel.

It was later digitised by ‘The Foundry’ and weights added.

The sans serif typeface with 45 degree corners was designed on a square grid. A variant was commissioned by Nike for use on the Dutch 2014 world cup kit.>

Name: René François Ghislain Magritte Born: Lessines, Belgium, 21 Nov.. 1898 Profession: Surrealist Painter

Rene Magritte

Rene Magritte was a Belgian painter and was one of the most well known surrealist painters of all time.

Magritte is well known for his use of juxtaposition and visual contradictions, and is noted for his philosophical approaches to some of his art works.

Magritte spent much of his early experimenting with style, with most of his early work taking on a form similar to Picasso’s cubism, but he took on smaller jobs to pay the bills such as painting cabbage roses for a wallpaper company.

‘The Empire of Lights’ is one typical example of this. It depicts a clear blue sky with some clouds as if it were the middle of a summers afternoon above, and a dimly light street as if it were the middle of a mid-winters night, with only a single street light serving to illuminate the street below.

Magritte began to show signs of working in a surrealist style in the late 20’s, at this point in his life he began to produce a new piece of work everyday. Eventually producing enough work to have his own one man show in Brussels in 1927. However critics reacted badly to his show, so he moved to Paris and became close to Andre Breton and this is where he met surrealism.

Technically the piece shows nothing that doesn’t exist, and there’s nothing that is out of context but the paradox comes from combination of the two. The juxtaposition of day and night within the same composition.

His surrealist work in the late 20’s, wasn’t very well received by the public, because of the bizarre, cavernous scenes he depicted.

He soon returned to his native Belgium and returned to commercial advertising.

The sun is usually used to add clarity to a situation but in this case only serves to confuse the scene and upsetting the

During WW2 Germany occupied Belgium which led to a break with Breton. Towards the end of WW2 he adopted a more colourful style in reaction to his feelings of alienation which came from the occupation.

This was followed by a brief excursion into a crude Fauvist style, but following the end of the war he returned to surrealism.

“Art evokes the mystery without which the world would not exist.”

-Rene Magritte

10

fundamental organisation of life, making the darkness of the shadows even darker then what they would usually be, due to the cloud of confusion that hangs over this piece.

Magritte created this effect intentionally saying:

“My painting is visible images which conceal nothing; they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question ‘What does that mean’? It does not mean anything, because mystery means nothing either, it is unknowable.”

Name: Josef Müller-Brockmann Born: Rapperswil, Switzerland, 9 May 1914 Profession: Teacher, Author, Graphic Designer

Josef Müller-Brockmann Josef Müller-Brockmann was a Swiss Graphic designer and is celebrated for his work on grid systems and typography within Graphic Design.

Perhaps one of MüllerBrockmann’s most well known works is his ‘musica viva’ poster series for the Zurich Tonhalle.

He began his professional career as a design and advertising apprentice before he set up his own studio in 1936. His studio, based in Zurich, specialised in graphic design, exhibition design and photography.

According with the principles of Swiss design all the geometric shapes within his work contain meaning, and nothing was added just for decoration.

By the 1950’s he was one of the leading figures in the application of the Swiss style, a graphic design theory based on an idea to achieve a universal graphic expression, based on a grid system which removed all unnecessary illustrations, decoration and any subjective emotions.

The proportions an spacing of all of the elements were calculated and balanced using mathematical ratios.

His choice of font followed suit, strictly sans serif to avoid any form of ornamentation, to achieve objectivity.

Towards the end of the decade he had help set up, and coedit a design journal ‘Neue Grafik’ (new Graphic Design) which help distribute the ideals of the Swiss style, to a worldwide audience. In the same time period he was also a professor at the school of arts and craft in Zurich. In 1967 he was the European design consultant for computer firm IBM.

Müller-Brockmann’s designs all follow the same rule; content comes before aesthetics, form follows function.

“The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style.”

-Josef Müller-Brockmann

12

Name: Pablo Picasso Born: Malaga, Spain, 25 October 1881 Profession: Artist, Painter, Sculpture, Writer

Pablo Picasso

Pablo Picasso was a Spanish artist who holds international fame and recognition as one of the most influential and popular artists of the 20th century.

The Weeping Woman is one of Picasso’s most recognisable works. Painted in 1937 it was a direct response to the Spanish Civil War, and is a part of a series of works that followed his ‘Guernica’ mural. ‘The weeping woman’ has now become more symbolic of suffering in a universal sense, rather than in specific reference to the Spanish Civil War of the late 1930’s.

He was initially trained by his father in the later part of the 19th century using a realist approach that soon became influenced by symbolism in the late 1890’s. At the turn of the century he was exposed to works by the likes of Toulous-Lautrec and Edvard Munch, combined with Picasso’s love for some of the work by the old masters, this led to a more personal vision of modernism.

The grief felt by the woman is expressed through her form and the colour Picasso uses.

The fragmented nature of the painting could be used to represent how her loss has left her feeling ‘broken’. The hard edges of the composition is reflected in the bold colour palette that Picasso has

Following this was Picasso’s blue period, the sombre colour palette of blue and bluegreen was used to depict subject matter such as those facing hardship and poverty not only in Spain but also in France. This period only last 3 years but was influenced by the sights of a trip through Spain and the suicide of a close friend of Picasso.

His blue period soon gave way to a brighter more optimistic rose period which used a warmer colour palette and often featured paintings of harlequins and circus performers, this is seen as a result of being increasingly exposed to french paintings.

Following this was the early part of cubism which was inspired by the angular and simplistic nature and styling of African art and artefacts, as well as the less than realistic proportions used in African masks.

Picasso developed analytical cubism along with Georges Braque around 1909. It was the birth of cubism and used a more analytical approach to the subject of their paintings and used a more neutral palette of colours such as browns.

Cezanne is said to have influenced the cubists work by his representation of three dimensional objects. Cubists work by analysing their subject from different views, breaking these down and reassembling them in a more abstract form.

“Art is the elimination of the unnecessary.”

-Pablo Picasso 14

used. The yellows and greens indicate decay, whereas the blues used in the lower half of the face reflected her sorrow and sad mood.

All of which serves to create a contrast between the vibrancy of the colours and the depressive mood which so often follows a personal grievance. This contrast serves to heighten the impact of the message behind the painting. The impact is also increased by the fact that the form of the face is recognisably human, creating a more personal connection.

Name: Max Miedinger Born: Zurich, Switzerland, 24 December 1910 Profession: Typographer, Graphic Designer

Max Miedinger

Max Miedinger was a Swiss typographer and graphic designer who is most known for his contribution to the font Neue Haas Grotesk in the 1957, which was renamed to Helvetica in 1960.

Helvetica, as it has become known around the world, was designed by Miedinger but the head of the foundry Edouard Hoffman also had a collaborative role in the production of the original type face.

Miedinger spent much of his early professional life in the commercial world of advertising, despite training as a typographer and typesetter. In the late 30’s he joined the advertising department of a department store before moving into sales and customer relations at the Haas Type foundry 11 years later.

With the renaming coming in 1960, initially the typeface was going to be called ‘Helvetia’ (the Swiss name for Switzerland) but this was changed as it was thought to be inappropriate to name a font after a country so they named it Helvetica - or Swiss - more appropriate for an international market as it would help sell Switzerland as well as the new wave of modernist ‘Swiss design’.

In 1956 he moved out to focus on freelance design work. He was commissioned by his former employers (the Haas Type foundry) to design and develop a new sans serif typeface, a more up to date version of Akzidenz-Grotesk which was the preferred type face of many Swiss type foundries. A year later, Neue Haas Grotesk was released. Over the next two years various weights and styles were added to the font family, before, in 1960, its name was changed from Neue Haas Grotesk to Helvetica so that it could be launched on an international scale.

New weights were added to the family, by other designers from

“For me Helvetica is just this beautiful, timeless thing. And certain things shouldn’t be messed with, you know?”

-Michael C. Place 16

other foundries which led to some inconsistencies amongst the font family. During the 60’s, 70’s, and 80’s it became widespread with brands across the world, leading it to become the most used font in the 20th century.

This has lead to some criticism as people believe that it has become too widely used to be used in a creative or new fashion, seen as it is one of the default fonts on most computers.

But others believe that it is one of the best type faces ever due to its immortal nature and universal application (one of the principles Miedinger wanted to impart with this type), a true test of good design is that its lasted the test of time, and nothing has rivalled it in its time.

Name: Neville Brody Born: London, England, 23 April 1957 Profession: Art Director, Typographer, Graphic Designer

Neville Brody

Neville Brody is an English typographer, graphic designer who also works in art direction, as well as branding and identity.

Brody is known for his album artwork for bands such as Depeche Mode, but made his name whilst working on magazines such as ‘The Face’ and ‘Arena’ during the 1980’s.

With the introduction of the Macintosh computers from Apple in the mid 1980’s, creating letter forms was revolutionised, making it easier to experiment with font making.

Inspired by the punk rock movement of the late 70’s, Brody embraced the new technology and created the FF Blur family.

Neville Brody is one of the most famous names in graphic design in the modern era, and is one of the most celebrated British designers and typographers of all time.

The edges of each of the letter forms are blurred slightly, as if out of focus, or the font has been copied and re-copied on an old photocopying machine. This is very much by design as Brody looks to celebrate imperfection, much like a reflection of Brody’s personal background.

Brody spent most of the 70’s in education, spending the later part of the decade studying at the London College of Printing, where his work was often branded as ‘uncommercial’, due to his experimental approach to graphic design. At the same time punk rock was becoming a major influence on the life of Londoners, as well as the work of Brody. He was almost expelled from his course because of a stamp design that featured the queen’s head sideways.

After leaving education he initially began working in record design. Before moving into art directorship at the Face magazine in 1980. A string of similar roles at other publications followed, including giving The Guardian and The Observer radically new looks and identities.

In the late 80’s the first of two books on Brody’s work was published - which went on to become the world’s best selling graphic design book.

In 1989, he was a founding partner along with Erik and Joan Spiekermann at FontShop, the first font re-seller in digital type history.

In the mid 90’s Brody set up his own studio, which has since grown to become an international agency with offices in London, Paris, Barcelona and Berlin. The studio is known for its creative visual languages that can be applied to a variety of media.

“Punk was probably the most influential thing to happen to me.”

-Neville Brody

18

Name: Andy Warhol (born Andrej Varhola) Born: Pittsburgh, USA, 6 August 1928 Profession: Artist, Painter, illustrator, photographer, filmmaker

Andy Warhol

Andy Warhol is an American artist born in Pittsburgh, Pennsylvania to Slovakian migrants. He is most notable for being one of the leading lights of the Pop art movement in America, which began in the 1960’s.

Following Marilyn Monroe’s death inn 1962, Warhol produced and reproduced over 50 images and works based on the same image of Monroe.

During his time in school Warhol was enrolled into free art classes at the Carnegie institute, and by the age of 9 he had his own camera, which he was used to take his own pictures which he developed in his basement, inspired by his regular trips to the cinema and Hollywood movies.

Warhol used Monroe as a subject as she fused two of his most common themes; death and the cult of celebrity.

After graduating high school, Warhol attended the Carnegie institute of technology, in Pittsburgh, studying Pictorial Design, graduating with a degree in fine arts in 1949, with an aim to become a commercial illustrator.

The 50’s saw Warhol become of the most accomplished artists in his field, his unique, casual and whimsical style quickly raised his profile and earned him numerous awards and rewards.

His ink based drawings were used in magazines and he was soon commissioned to work on record sleeves for RCA records.

Towards the end of the 1950’s Warhol began to work more on fine art.

The 1960’s saw Warhol produce his first silk-screen Pop art works which were based on printed media such as comic strips and advertisements. The decade saw Warhol produce most of his most well known work, including the Campbell’s soup range the

first piece to blur the lines between the fine art world and commercialism. The superstars range which featured pop art portraits of stars like Marilyn Monroe, Elvis Presley and Elizabeth Taylor, as well as his sculpture and moving image work.

In 1964 he opened his studio ‘The Factory’ which quickly became the place for artists and celebrities to hang out.

The 1970’s were less radical, with Warhol spending most of his time producing commissioned portraits of celebrities. He also set up the magazine ‘Interview’ as well as being a co-founder of the New York Academy of Art.

“Art is what you can get away with.”

-Andy Warhol 20

The use of repetition represents Monroe’s ever presence in the media during the 1950’s and early 1960’s, whilst the contrast between the vivid colours used on the left and the black and white on the right shows the contrast between life and death, whilst the slight fade from the left hand side of the right hand portion of the piece to the right also represents the mortality of people and celebrities.

Name: David Carson Born: Corpus Christi, Texas, USA, 8 September 1954 Profession: Typographer, art director, Graphic Designer

David Carson

David Carson is an American typographer and graphic designer who is most known for being the art director for the magazine Ray Gun which used a more radical design sense than most of the other publications at the time. His typographic and magazine styling was imitated and soon defined the “grunge typography” era of the 1980’s and 90’s.

‘The End of Print’ is a collection of Carson’s work, and this image illustrates Carson’s unique and now widely imitated style.

Here you can the variety of font sizes used across the piece, with their being at least 4 different sizes, combined with three different colours of type (black, white and gold).

Carson initially had a very different career to the one he is most known for nowadays, before moving into graphic design Carson was one of the best surfers in the world.

He was also a teacher at a high-school in California before enrolling on a two-week commercial design course, at the age of 26.

After discovering his new calling he enrolled into an art school.

After graduating he began to work part time at various print magazines, soon he got his opportunity to experiment at Transworld Skateboarding. Here he began to develop his signature style of overlapping photos and using a variety of type faces, sizes, and colour which drew a lot of attention, both positive and negative. Photographer Albert Watson, said of Carson’s style; “He uses type the way a painter uses paint, to create emotion, to express ideas.” Traditionalists argued that this method of presentation detracted from the message he was trying to carry across.

The most notable, and symbolic, characteristic of Carson’s style is the complete lack of structure to the type setting. There is mix of caps and none caps as well as the overlapping text which modernists may say impacts on the legibility and readability of the message. This is typified with how the ‘of print’ part of the title is next to ‘David’, leading some to think that it should

In 1992 he was hired as Art Director at Ray Gun. With his radical designs and a young readership he quickly tripled readership figures, this gained the attention of massive companies such as Nike and Levi Strauss who hired Carson to create their print ads and direct their TV commercials.

“Just because something’s legible doesn’t means it communicates.

More importantly, it doesn’t mean it communicates the right thing.”

-David Carson

22

be read as ‘the END Davidof print’ but I think this problem is removed by the use of the different colours inn the title that means it reads as ‘the end of print’ by David Carson.

Carson’s style is a bit more chaotic than the likes of MüllerBrockmann but it also has a bit more of an emotional connection and can create a sub textual message by how it is laid out and arranged, something that is less of a possibility in modernist, grid based designs.

Name: Robert Rauschenberg (born Milton Ernest Rauschenberg) Born: Port Arthur, Texas, USA, 22 October 1925 Profession: Painter, Sculptor, Print maker, Artist, Photographer

Robert Rauschenberg Robert Rauschenberg was an American artist who is most known for his experimental approach to art, sculpture and collage. Rauschenberg is regarded as one of the most influential artists in the United States since the end of World War 2.

‘Monogram’ is one of Rauschenberg’s most famous works as a combine.

The main feature of this combine is the goat with a tyre around its mid-section and multicoloured war paint covering its nose.

The goat stands atop a flat piece of collage created by Rauschenberg. Behind the goat there is a tennis ball, placed to suggest that it has been defecated by the goat.

Before WW2, Rauschenberg studied Pharmacy but following the end of the war he joined Kansas City Art Institute before moving to Paris to study at the Academie Julian. In 1948 Rauschenberg moved back to the states to study at the Black Mountain College.

There he was tutored by Josef Albers who had taught Rauschenberg not to work with any ‘uninfluenced experimentation’ but this inspired Rauschenberg to do that exact opposite. Between 1949 and 1952, Rauschenberg studied at the Art Students League of New York.

In 1952 he began a tour of Europe and North Africa, creating collages from objects found in trash. He kept these and exhibited them in Italy, selling most of them and those that did not sell were thrown away.

His most well known early work was his ‘erased de Kooning Drawing’ in 1953. He erased all the lines of a work by the famous artist with the intent of making a statement about what exactly is “art” (similar to Marcel Duchamp with his series of ‘readymades’).

The rest of his work in the early 50’s were also of a minimalist style. By the mid-50’s he had started to incorporate materials

such as newspaper into his paintings during his red phase, laying the foreground for Rauschenberg’s ‘combine’ phase.

His combine phase blurred the lines between what was considered art and sculpture. It fitted with Rauschenberg’s artist ideal of filling the void between art and life. His combine’s were filled with objects and litter that he found and wanted to change their meaning and purpose by changing their context and repurposing these found objects.

He also included found images in his combines, and transferred them onto his 3D work by silk-screen which had only been previously used in a commercial setting.

This led art critics to say that Rauschenberg had laid the foundations for a bridge from abstract expressionism to neo-dadaism and pop art.

“... I think that symmetry is a neutral shape as opposed to a form of design.”

-Robert Rauschenberg 24

There is a lot of meaning and references in this piece. The goat could be said to represent Rauschenberg, standing over, protecting and destroying the art it is standing on.

Goats in Christian art represent the condemned, as a gay/

bisexual artist born in Texas, his sexuality and profession would not have been widely approved of within the Christian community of one of the more conservative, and less secular, states with the union, at the time.

A similar meaning may be drawn from the tennis ball being defecated from the goat and onto the artwork beneath.

Rauschenberg entitled the piece ‘monogram’ because the intertwining of the goat and tire of personal monograms. It could also be said due to his radical departure for convention that this is Rauschenberg signing his monogram into art history.

Name: Wolfgang Weingart Born: Constance, Germany, 1941 Profession: Typographer, Graphic Designer

Wolfgang Weingart

Wolfgang Weingart is a German typographer and graphic designer who is most known for starting a new movement within typography, called ‘New Wave’ or ‘Swiss Punk’ typography.

This piece is perhaps one of the most stereotypical of how experimental Weingart’s approach was and how it altered the traditional design aesthetic.

Weingart studied applied Graphic arts at the Merz academy in Stuttgart, part of his course included lino cutting, wood block printing and type setting. He then completed a 3 year apprenticeship in Ruwe Printing where he met the companies design consultant who mentorred, Weingart and encouraged him to study in Switzerland.

Traditional Swiss design would have used a strong grid with a more uniform approach to the use of altered tracking.

With Weingart’s creative approach saw the use of curves, a change in point size within the same word as well as a change in the spacing between the letters of this word.

In 1964 he moved to Basel to enrol at the Basel school of design. In 1968 he was invited to lecture at an advanced Graphic Design programme, and for the following 40 years lectured all over the globe including, North America, Europe, and Asia.

Weingart said of his time teaching; “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.”.

During this time he set about creating a more experimental approach to manual type setting. His traditionalist education mixed with his inherent creativity and risk-taking nature meant he soon began to experiment with type

and began to push the boundaries. He began to use curved metal plates, creative discs and spheres of types to be used in printing.

His break from tradition was driven by others of his generation and his students, losing faith and patience with the philosophy of reduction that was behind traditional Swiss Typographic Design. He encouraged more experimentation using a method similar to ‘cut and paste’ that saw students play with layouts and arrangements until they were happy with the final outcome.

“For me typography is a triangular relationship between design idea, typographic elements and printing technique.”

-Wolfgang Weingart

26

As most post-modernists would argue, a non-traditional approach is still as valid as it still works on an aesthetic basis and there is still a fairly defined information hierarchy.

Magazine Design Mood board

28

Existing Magazine Design Cover

Total Film is a monthly magazine that focuses on the film industry, offering features on newly released films to cinema, blu-ray and DVD. It also offers relevant news and reviews on both recently released and up coming films.

The cover art links in with the headline feature in the magazine (and the highest profile release covered in the issue) Marvels Avengers: Age of Ultron. This particular issue has two cover art options available because of the number of stars in the Avengers cast, this one uses blue and white as the main colour scheme whereas the second cover option uses red and white (with alternate cover art). The blue and white is used through the masthead, headline, publishers trademark, and featuring section at the foot of the cover.

All the text on the cover is in caps, the hierarchy is enforced through using a variety of weights and styles, mainly through using a mix of bold and regular, and condensed variation of the same font.

30

Contents Page

The contents page uses a 5 column grid across the one page, with the content spanning across one or two of the columns.

Most of the images span the width of two pages, except the ones that use the TF cover, these much narrower and are placed on a slight angle to break the confines of the column and run into the margin around the edge of the page.

The headline runs across the top of the page, spanning 4 columns with an illustration for one of the features spanning the final column. Contrasting with the cover the headline is in all lowercase with a close tracking to fit the 5 columns.

The main body copy for the magazine is used to accompany in the headline, using Bold black with a regular weight in red. This combination of bold and regular, as well the classic combination of red, white and black is used through the body and sub headings.

This is one of the feature double page spreads within the magazine. It uses a full spread image with the focus of the image being spread across the centre of the spread. The two halves of the spread are very clearly defined and have different layout styles.

The first half (the left hand page) is split more or less in half (horizontally), with all the copy on the bottom half leaving the top half to be image centric. The type of feature is white on red in all caps, in a sub heading point size, and sits just above the article title, aligned to the left edge of the title.

The title is written in white and is sentence cased (the first letter is capitalised but the rest is lower case) but has no punctuation but only spans across two columns on top of the image (leaving the third column empty, transferring focus to Simon Pegg’s face in the image). The title is obviously written in the largest point size on the spread.

Image spread

The body of the article is separated from the title by a white box that sits within 3 of the margins of the page. This box whites out the bottom half of the page making it easy to read the text that sits on top, inside 3 columns plus a margin between the text and the edge of the box. The white in the box is balanced out by the grey and white hashing used in the ‘new film’ section as well as the pull quote and photo caption that sit in the right hand corners of the page.

The article has an hook which acts as a subheading/ introduction to the article. On this line is also the name of the film the article is about in bold, red, sans serif, all caps text and this is set to align with the left hand edge of the title as well as the body of the article.

The body of the article starts with a sideways chevron motif in lieu of a drop cap. The first paragraph is also in a size the same as the sub head but in a serif font, before dropping down a couple of points for the rest of the body.

Total Film, June 2015 Mini feature grid layout

This page is in the ‘agenda’ section of the magazine and see’s the use of blue instead of red as the feature colour. It also clearly features a stronger use of the grid then other pages.

The use of boxes is to separate the different content, offering bite sized chunks of sound bites (hence the name of the feature).

I particularly like this page because I think that is one of the most balanced and organised pages in the magazine, mainly because of the blocky nature of the boxes that have been used here. There is a good mix of the two shades of blue, the predominant shade used is the same as the blue used in the cover but there is a paler shade used to add variety.

With the paler shade the copy is changed to black to contrast with the white used on the darker shade.

There is also a good balance of the bold and regular weights of the typeface used across the page.

List layout

This page acts as the cover and contents page for the ‘screen’ section of the magazine, featuring all the new films that have been reviewed for this months issue their rating and the page you can find the more in-depth review of the film.

The top of the page is dominated by the word screen and is supported by the key that explains the star guide they use in their reviews - this header will not change from issue to issue.

This leaves the bottom 80% of the page for new content. In this issue it is split half and half between the hero image that spans the width of the page and the contents section of the page. The image is for this months Film of the month using a scene of the film with a quote from the review.

The contents section uses 6 columns but doesn’t span the width of the page (leaving room for one illustration/image on the right hand edge) and a caption to accompany it.

Feature intro spread

This is the first spread for the magazines feature on the new Avengers film. It starts with a full double page image of Ultron, the composition uses the rule of thirds with Ultrons eyes sitting a third down from the top of the page, it also fits Ultrons head onto just one page whilst the one shoulder that is visible reaches the far right corner, creating a void for the copy to sit in on the right hand side.

This spread uses a few styles and variations of fonts but only uses two type faces. The sans serif font that is used for the headings throughout the magazine is used again for part of the title, this time in all bold italics and all caps, as well as an outline version for the accented features that add to the rage effect. It is also used in a sentence case for the introductory paragraph, where it is used in a regular weight or bold for the name of the film.

The outline variant is also used for the drop caps through the article. It is also used in the tabs at the top of the page that run through the length of the

feature, the text is white on red in these tabs as well as all caps and bold. These tabs add consistency through the piece.

The serif font (which looks similar to Garamond) is used in the outline variant for the title before returning to a regular styling for the body of the article. When used in the title it is used in a sentence case, this is probably to contrast with the styling of the other half of the title which sits underneath it. Having it this way, I believe makes it more legible.

The hashing that is used throughout the magazine returns but on a reduced scale. It is only used in the margin on the right hand side of the right hand page, but only runs the length of the main body of the article on this page, whilst this doesn’t serve any obvious functionality it does add a rather likable aesthetic function to the page, just by breaking up the dark image of the background.

Esquire, May 2015 Cover

Esquire is a monthly mens magazine, which usually looks at politics, style & fashion, cars and other typically masculine subjects. This issue has a particular focus on style and fashion (as indicated by the sub heading above the masthead in the upper right corner).

Esquire’s contents page is split over two pages that use a very similar styling. The main body of the page is spread across 3 columns (which probably uses a 5 or 12 column grid) with a thick margin around the outside, thick enough to have the word contents and the issue date run down it in a fairly big point size.

The cover art is grey scale image of Tom Hardy in a suit and tie, as the “headline” feature is an interview with the actor. The headline is the biggest piece of text apart from the masthead (which is partially obscured) but doesn’t dominate the page like the Total Film Avengers cover. The colour scheme is much more reduced also, using only black, white and a day-glo orange.

The contents is split across 3 columns, one smaller and two wider ones. The smaller one features images are captioned with the article and page they belong with along with a brief description. The two wider ones are more copy heavy. Split into subject sections (in black, bold, all caps) there is a smaller column that features just the page number, in orange. The body underneath the sections is black and blue (blue used for highlighted text) but the different stories are not listed like other publications but are separated by a hyphen.

All the text on the cover is again in all caps, with the hierarchy being enforced by the use of different weights and sizes of text. The main points of text are in the orange but are supported by white on black. Even the special promo ‘sticker’ is white on orange but uses 2 weights of the font.

32

Contents Page

A hero image of Tom Hardy runs across the top of the three columns

Editor’s Letter

The page dedicated to the editors letter uses the same margin set up as the contents page, using the thick margin (this time filled with red) and placing ‘EDITOR’S LETTER – 05/15” within this wider margin on the left hand side.

The content of the page is spread across two wider columns and a narrower one on the left hand side which is the base for the images. The page probably uses a 8 column grid underneath with the editors picture and captions running across 2 columns, the Tom Hardy runs across 3 with the columns of text spanning across also running across 3 (except where the first has to run around the image of Hardy where it drops to 2). The pull quote runs across 5. The drop cap at the start of the body of copy also takes up one column and 7 lines.

The body is in black sans serif, the drop cap is in red and in the same font as the title, the captions are also in red. Red is also used to underline the pull quote, which is in bold, black, sans serif like the body.

Contributors

The contributors page also features the wider margins around the outside of the spread, but uses a more clearly defined column arrangement, featuring 4 columns across, the arrangement of the rows is a little less defined as there is a certain element of overlap when compared to the columns either side.

Each of the contributors has a small piece, with their pictures tinted with a particular colour. This colour is then used in the heading/name of each of the contributors. The names are written in a bold, sans serif, all caps font, with the rest of the body being in a black, sans serif font which is in sentence case.

Product grid layout

This page is more interesting. It features a more defined grid for the products its trying to feature, the grid for the text is a little less visible because there is not as much text to show, but it still fits in the grid.

The wide white margin used in earlier in the publication has been replaced and continues the artwork used in the page. The section title is instead placed in a smaller box which sits inside the left margin but sits against the top edge of the page.

Within this box is the section name (style), the subsection (fashion) and the page number and the total number of pages within that subsection.

The pictures of the coats all have a caption within their box in the grid, mainly being placed within the top left corner of the box except from the top 2 boxes which are in the bottom left instead. The main body is in the middle right box, using a big title spanning the width of the box minus a little margin, the subtitle is in a smaller size and spans the same width. Both of these are all caps but the body is sentence cased.

Product article

This page features less text but has more decorative features with the graphics towards the bottom of the page.

This page uses the same section box tab at the top of the page, but this time all the text sits within the left hand margin of the page, which spans across two columns which spans about half of the page. The article title is in bold and all caps whilst comfortably spanning these two columns of text.

The subtitle nearly spans this width but being in a regular weight doesn’t quite reach despite being all caps, but it is aligned to the left hand edge of the page.

The image is on the right half of the page with a caption coming from it in the upper right quadrant.

Feature intro spread

This is the introductory spread for the headline feature within this particular issue, and its main feature is the image which is part background on the right hand side, whereas the left hand side is more noticeable in the foreground, this is because of the composition of the image which also lends itself to the layout for the text.

The rule of thirds has been followed vertically, sitting Hardy a third in from the left whilst taking up most of the page in terms of height, whilst the snowdrift in the background covers about half of the right hand page allowing it to be split in half for the text to go on top. The image is in black and white, to help with the contrast with the white text.

The headline sits just above the crest of the snowdrift, where the black is the most undisturbed, allowing for the greatest contrast between the black background and the bold, all caps, white text. It also allows for introductory paragraph to be placed above it, in an italic, serif font. The sub title is in a smaller point

size and is separated from the rest of the text, but is supported by the interview and photography credits.

All the text on the right hand side of the spread is aligned to the centre of the page.

Despite the layout of the page the information hierarchy remains strong due to the weight and size of the font used in the headings and subheadings being bolder and taller than the font used in the text at the top of the page.

Wallpaper*, May 2015 Cover

Wallpaper* is a monthly magazine with a focus on multiple areas of design including architecture, art and fashion.

The cover features the typical style of Wallpaper with the box across the top that features the masthead, date, bar code etc..

The cover image has a more indirect relationship with the headline story. You would not be able to instantly recognise the headline article within this issue if you only had the cover image to look.

The colours of the text sued for the article names is taken from the least abundant colour on the page, in this case the model’s skin. This is supported by a white version of the same font but in a smaller point size, this helps maintain the information hierarchy, whilst maintaing legibility on a darker background. The headline article is represented on the cover by a headline that is in all caps, everything else is in sentence case.

34

Contents Page

The layout of the contents page is similar to that of Esquire’s in that it is slightly more minimalist than Total Film’s. This one starts with the month at the top, with a medium sized picture which links to one of the articles on the page below it (with caption aligned to the top right of the picture).

The magazine is split into different sections and so is the contents pages which are split and sorted alphabetically by these sections (architecture, art, design etc.)

The page number sits to the left (and fractionally higher) than corresponding articles. The lower portion of the page is split roughly in half, and is split using a line, as it is from the margins to the left and right of the page.

The month is the copy in the biggest point size and is in a more decorative font. The section headings are in all caps and a bolder colour than the rest. The page numbers are marginally bigger than the section headings and the article information.

Staff credits

This is credits page of the magazine which features the editorial and printing personnel and other miscellaneous information such as web sites, telephone numbers and address.

This page has a 10 column grid, using one for text and leaving the one next to it empty, to give some more breathing space next to each of the columns of text, but despite having a lot of text there is still a lot of empty space because of this.

The line that runs down the left hand side of the page separates the text from the margin.

I find it interesting how they maintain the information hierarchy. The name of the publication is in the biggest point size, then the credits are broken into two halves (editorial and printing) thres are in a slightly smaller, bold, sans serif font and sit on a hashed background. Under these it is interesting that the roles of a person is in a regular weighted serif font whilst the persons name is in bold.

Contributors

The contributors page is one of the boldest within this months issue.

It features a 4 x 3 grid alternating between squares with copy and squares with images of the contributors. The contributors images are portraits of the staff but in a more arty painted style than standard photographic portraits.

The squares of copy are filled with short bio’s for each of the contributors. It is laid out with the name at the top in black, bold, all caps with a directional chevron indicating which of the portraits belong to the bio, the profession of the person underneath is in a navy blue colour, but this time is in bold and underline, whilst in sentencecase letters. The rest of the bio is in a standard weight serif font (the serif font that is used as the main body font throughout the magazine).

Lines are used to run the length of the feature and are placed inbetween the gutters between the differnent columns of the grid.

Article intro

This page is the first page of an article that runs across 3 pages, and this page features an image that sits across the majority of the length of the page to grab the readers attention.

The page uses 3 main columns of text, and these are placed underneath the title of the article and a short introduction. The title is in a heavier weight of the standard body font, the title also fits within the width of the picture. The introduction is in a sans serif font, and appears to be a lighter weight of the font that is used in the magazines logo, this makes the page more friendly, and the two styles breaks up the page making it easier to read. This introduction runs across two lines, with the first running just outside the width of the picture, but the second line does fit within the width of the picture, The 3 columns of text are set out independantly of the picture and fit within the width of the margins. The margins are not defined by the same lines seen in earlier pages. Each of the columns of text are split by lines hat run just short of the length of the column

Feature intro spread

This is one of the spreads within the magazine and again is the first page in an article that runs across multiple pages. This one is much more image centric, due to the size of the image and the title sitting on top of it.

The title is in a more Art Nouveau / art deco styling, using long or bold lines contrasted with thinner lines. The space between the cap height and the margin is about the same as the height of the cap height again. Immediately beneath the title is a one line tag-line and the photography and writer credits both of which get increasingly smaller as you move down the page. These two supporting lines are both in a sans serif font similiar to the trademark.

The I in impact is positioned to extended the mast in the middle of the picture, this serves to lead the eye down the page from the title and towards the subject of the photograph, and therefore the article.

Article page

The main body of copy for this spread starts with a drop cap that uses the same font as the title, but sits about the rest of the body. The top of drop cap also sits immediately below the baseline of the title. The rest of the body copy is written in the same font as the rest of the magazine.

This page is the second page within a feature on stonemasons. The prodominent feaeture on this page is the picture of the subjects of the feature.

This picture is compoed using the rule of thirds, with the three peoples eyelines all sitting about a third from the top of the page.

The body of the article takes up the empty left hand third of the left page which the image does not run through. The image also doesn’t run through the bottom margin of the spread.

After this the first thing you notice is the massive drop cap O that stits in the basically empty left hand third of the page, this O is filled with the same blue that is used in the jump suits those in the picture are wearing, as is the pull quote that sits in the top left hand corner of the page. The pull quote is in a size that is probably the same as most of the subheadings throughout the magazine.

At the bottom of the column of copy is the caption for the photograph. It is in the serif font that is used in the sub-headings, but is a bold black version and is written in all caps. The bottom of this paragraph aligns with the bottom of the image, just above the margin.

The body of the article is only spread across two columns - the same width of the photograph. There are lines that run down the two middle gutters that run between the three columns. One runs the length of the page from margin to margin, whereas the other only runs the length of the column of copy.

Existing Magazine Mastheads Creative Review

Creative Review is a monthly magazine dedicated to the visual arts such as advertising, graphic design, illustration, typography and photography.

Here you can see the change from how the CR logo use to look before they changed it around 2010. The old mast head was just a square in the top left corner of the cover that used a accented colour from the cover art. In the square was the name of the magazine, the issue title and the issue date, with the CR in a increased point size.

I like this version of the masthead as I think it is less invasive and much more subtle but I do think that due to the size of the masthead it could be lost on the shelf. The most visible aspect of it is the CR but recognition of what this means is dependant on the public already knowing what this means so it may not attract new readers.

Their re-brand saw them change tack with how they put across their brand. Their current visuals are much bolder, changing from an all caps sans serif font to a bold, serif, stencil font which spans the width of the top of the page. The subordinate text (issue title, price, date etc.) uses a traditional serif font in a much smaller point size.

The colours used for the masthead it is dependant on the cover art. The masthead will either use a colour similar to the background colour but a bolder tone; in the case of the world cup special, the background is a light green but the mast head is in a darker shade - a more grassy tone. The two underneath use white on a dark ground to create contrast to aid with legibility. The bottom issue uses a colour picked from the cover art that contrasts with the background colour.

36

In terms of imagery most of the cover art doesn’t obscure the publication name and is designed around this. The exception to this is the August 2014 issue which focus’ on CGI. The image obscures the name and breaks up the pattern of the background as well as highlighting how realistic the CGI face looks.

Esquire Esquire magazine is a mens’ monthly magazine, when founded it aimed to become ‘all things to all men’, with features on fashion, sport, food, culture, politics and women.

The general shape and styling of the Esquire masthead has been fairly consistent for a longer period of time but does vary from issue to issue to match the cover art, which will change to match the headline feature, or cover star, in that particular issue. The rest of the imagery, fonts, colour scheme and layout also vary from cover to cover in order to match the content for that issue.

The script style masthead fits within the width of the page. The styling of the trademark is very curvy and doesn’t have any particularly angular aspects but doesn’t feel feminine due to the width of the writing. Any of the issue-specific information can be fitted around the trademark, either in the gap between the x-height and the caps height above ‘squire’, below the extended baseline underneath the ‘Es’ or the ‘re’ or above the xheight above the ‘re’.

The readability of the trademark can be obscured slightly by the photo of the cover star, but this is dependant on the photo used. A photo that uses a wider shot such as ones that you can the elbows, waist and stomach will have the head in front of the trademark because it usually only covers one or two of the letters which means that the trademark is still readable, but a tighter shot that uses only the head and shoulders will be behind the trademark as this would obscure too much of the trademark to make it readable.

RadioTimes

Wallpaper* RadioTimes is a weekly listings magazine for radio and television and was founded by the BBC. The modern era masthead for the radio times features sentence case sans serif font that runs the width of the page but no longer features a space between radio and times, the two segments of the trademark are broken up by the T being capital compared to the lowercase surroundings.

The sans serif font is used at it feels more modern than the serif font they used in the previous branding pre-80’s. Sans serif fonts are also much easier to read and cleaner than serif fonts. Clarity of using a sans serif font is also added to by the use of the ligature between the ‘T’ and the ‘i’ in Times, using the ligature avoids the two characters looking untidy and perhaps partially overlapping.

The branding of the radio times has remained the same for most of the past decade, using white as the primary colour for their branding with a black stroke and a slight drop shadow, thus allowing it to be placed onto any background without the need to change the colour, keeping the colour scheme the same will also help with increasing brand recognition.

The composition of the cover also effects the trademark, information that the wants to be highlighted without being a headline can be placed above the trademark. Issue date and website can also be placed between the cap height and x height or underneath the trademark, the website can be placed in any of these positions but can also be placed in the space created between the ascender and bowl of the d, the negative space in the caps height above the a, and the bowl of the capital R in Radio.

The readability of the trademark is similar to that of Esquire in that the relationship between the cover art and the trademark, if the photo is a close up or tight shot it will behind the trademark, if its a wider shot it will be allowed to partially obscure the trademark if it doesn’t cover up too much of the trademark and impede the legibility.

Wallpaper (trademarked as Wallpaper*) is a monthly cultural magazine focused on international design, interior design, and lifestyle.

The Wallpaper* masthead changes from issue to issue occasionally has a slightly tweaked design from year to year, for example the third example features a mouse cursor, whereas the forth one has a change in opacity and texture compared to the others.

The masthead runs across the top of the page in a white box which also features the asterisk, the subject the magazine features on, issue date, as well as the cost of the in various countries around the world, as well as the bar code. Occasionally some of the art work from the cover will run up into the background of the masthead.

The trademark is written in a sentence cased sans serif font, making it feel more modern and appropriate for the design sector. The use of sentence case allows for more room around the outside of the word, as well as making it easier on the eye. The space between the edge of the cover art and the trademark is used to accommodate some of the other information such as issue date.

The colours used in the masthead are dependent on the cover art, often using the colour that is least used in the art, in an attempt to highlight this little accent feature in the cover. The use of the white as a background colour helps separate the two parts of the cover and also increases the legibility of the text in the upper segment.

Due to the white background and the separation with the cover art the trademark is rarely obscured.

The fifth example is partially disrupted to match the cover art of the issue which uses a very fractured, cut up approach.

Initial Masthead Ideas

New Visual Language Issue 001 April 2015

New Visual Language 38

Nv L NEW VISUAL LANGUAGE

Language N E W

V I S U A L

N E W

V I S U A L

N E W

V I S U A L

LANGUAGE LANGUAGE

N E W V

I

S

U A L

LA NG UA GE

NVL NEW VISUAL LANGUAGE

NVL New Visual Language

Language NEW VISUAL

New Visual Language

NewVisualLanguage

Page Layout Ideas Logo/ Masthead

article /content

logo/ masthead

article /content

article /content

Article /content Article /content

cover

Article /content

cover article /content

logo/ masthead

cover

article /content

issue title

article /content

issue title

article /content

article /content

logo/ masthead

cover

cover logo/ masthead

issue title issue title 40

cover

logo/ masthead

issue title

Issue title

cover

logo/ masthead

issue title

logo/ masthead

cover issue title

article /content

logo/ masthead

logo/ masthead

issue no and date

issue no and date

CONTENTS

New Visual Language

CONTENTS

issue no and date

issue title

issue no and date

article title Brief desc

pg no.

pg no.

pg no.

pg no.

article title

article title

article title

article title 00

article title 00

article title

contents contents contents contents article title 00

Brief desc

article title 00

pg no.

article title 00

article title 00

article title Brief desc

article title 00

article title 00

article title 00 article title 00 article title 00

article title 00 article title 00 article title 00

pg no.

article title 00

article title 00

Brief desc

00

00

00

00

article title

article title

article title

article title

00

00

article title

article title

pg no.

article title Brief desc

pg no.

ARTICLE TITLE Eraesequisi blan heniam irit adipsuscip exer irit nit vel ulla feum zzrit adiam duissi tat, veraessis niamcommy nonsequat ectem iurerit et, velisit, senibh ex euisi blan henit dolorper at nisl et utem venit iuscil in voloree tumsan hent nullum augiam esendre erat inciliq uipisi blaorem ilit wis adigna conse velesto con venisi tem digna con eugue vel dolore core magna alisit at. Lummy nisse er accum accum velit lut nonullan velent alisi.

Lortio odit lore ercilit ad magna core dui blaor aut vel ullaorp eraessisis nim irillaorem incidui psuscil landrer at, volum illam vulla consed esed tat, vel ut vendrem venim quamcon utpatio dolese dolore magnisc ipisit vullaor eriustrud tat. Os dolobor peratie er sum iustie min volobore minciliquat alit lor sent niam zzriureet nonsenisl iure magna alit vero dolore molesed modipsummy nit wissi bla core tem er amconsequis nulla con eniamco rperat praesto dolortin erilis enit

article title 00

article title

article title 00 article title 00 article title 00

page 00

article title 00

spread

article title Brief desc

00 article title

00 article title

pg no.

page 00

page 00 Eraesequisi blan heniam irit adipsuscip exer irit nit vel ulla feum zzrit adiam duissi tat, veraessis niamcommy nonsequat ectem iurerit et, velisit, senibh ex euisi blan henit dolorper at nisl et utem venit iuscil in voloree tumsan hent nullum augiam esendre erat inciliq uipisi blaorem ilit wis adigna conse velesto con venisi tem digna con eugue vel dolore core magna alisit at.

Lummy nisse er accum accum velit lut nonullan velent alisi.

Lortio odit lore ercilit ad magna core dui blaor aut vel ullaorp eraessisis nim irillaorem incidui psuscil landrer at, volum illam vulla consed esed tat, vel ut vendrem venim quamcon utpatio dolese dolore magnisc ipisit vullaor eriustrud tat. Os dolobor peratie er sum iustie min volobore minciliquat alit lor sent niam zzriureet

spread

page 00

ARTICLE/ TITLE Giam quisl eu facipit dolobor sequis ecte min henibh ex eu feugue del utate tionsed dipit prat lan ulput in ut wisi bla feuissectem zzriure diam verate commodiam, sequam, si tat.

Del del ex elessisim venis etumsan dipissequate euipisi.

Enit lum in velit lumsandipsum iriustrud diat wisl ipsum aci tin henim

nostrud eugue miniam dipissecte velisim irit prat.

Ortie enim ing eugiam, quat niam dolut veliqui tin hent alit, quat prat.

Equam eu feu facin vero enis aciliqu ipsustrud modolor sequi te faccum dolutem ipisi.

Rit velit lore endre velit alit do dolesent iuscipit prat ut nulla faci tet volor augiamconsed tin venis el

spread

Riure ming erci erilisit ad min veriure ex exer autpatis exercinim iure dolorero enibh erosto odolumsan henisis acipit prat eui tinis augiat iriure dipit el dolor sit lortie volor sum zzrit autatie et nonulpute modolesed tionse modolorpero deliquis nibh ecte dit lametum vel endre moluptat num accum dolorti ncincinim euisit lore dunt numsan henim veliquipit iliquipis ea faccumsan vulla autpat ut aut nibh enismol ortinci liquamc

onsequisit, quat wismodi onsequip e n i a t u e r i t doluptating ex eniam, se ming ea adion henim dolorem dipisi.

Put lumsandrero ectem ipis autet, vel ecte dolore et vel ing exer sed tin velestrud et vel dionse tat nim zzriurem nons nons do dolore conum nim zzrit lumsandit utpat inciniatin hendit lorer susto el ute do odipit auguercil dolessit augue magna con ut num vel ullaorerci tisi blamcons esequisit lore c o m m o l o r summod doluptat.

Alit praessi.

Lor sim vel er incilis acipsustin ex ero cons alit ut volorem verciliquat velese tatis non venibh endrem dolor augait acinis et wisl ullamet nim elisi tie molorem quat, sequatet, quisi.

Iquamet uerat.

At, consed dolore magna commod er iusci tatis do core tat, sequat wissis nim zzrilit aciniat ionsed tet prat.

Um zzriliquis nonse velit laortisi.

Ent nis exer sumsan essecte vullamcon ut delit nulput in

spread

ARTICLE/ TITLE Magna feum zzrit nit vel inis nulla feum zzrilla adiam, si.

Am quipsum venim zzriure erat atet aliquisl eugait, cor augait, sequi bla faccummodit, sumsan heniam vel dignissenibh ea con eugait ut velit la con henisis erciniam, ver sum vel il ut dignisit aut ing erat, velese molorperos nim quat pratis eu feummy nosto dolortis nullaor erostrud dolortio duisit, quis nim vel do dolor sectet, volore tat lamconulla ad dipisci pismolore do con endrem eugiamet velit veriliscilla faciliquat. Ating esed doloborper 42

spread

spread

ARTICLE / TITLE

Teri is etod su vasdam inesi tem et C. Ro inatum hoctussices egilicaes, factelus hos, ubis, consullemor audelus soliam men di intudep onductu inclarem in sentes, videlabunum qui ilicipio, ne multurs moent viturobse nerit.

Od serum aucta pra rei patuam es comnontrum ur la propopu blicula buterum oc, facipsena nocaesupim inerumus, quid populic aecrit. Do, nostraris? Averes constra vocchilicam. Rursus, qua inpris nonduco mmovem ad cae idetiu quam

ARTICLE/ TITLE

BoreIt am doloreet iurem veliquatis adit, conumsa ndigniam eu feugue conse dolor in ulla feugait atem iureet alit, vel iliquat numsandre vulputp atiscilit nis

spread

BoreIt am doloreet iurem veliquatis adit, conumsa ndigniam eu feugue conse dolor in ulla feugait atem iureet alit, vel iliquat numsandre vulputp atiscilit nis

BoreIt am doloreet iurem veliquatis adit, conumsa ndigniam eu feugue conse dolor in ulla feugait atem iureet alit, vel iliquat numsandre vulputp atiscilit nis

spread

BoreIt am doloreet iurem veliquatis adit, conumsa ndigniam eu feugue conse dolor in ulla feugait atem iureet alit, vel iliquat numsandre vulputp atiscilit nis

BoreIt am doloreet iurem veliquatis adit, conumsa ndigniam eu feugue conse dolor in ulla feugait atem iureet alit, vel iliquat numsandre vulputp atiscilit nis

ARTICLE TITLE

Eliqui tie eum illandre etum dolore faccum adiam do dit ad magnit la commodo lobore deliquipisi.

Nonulla corpero od ecte faci te venit utpatue riustion venisi bla faccum quis enit aliquisi tio conum zzrilit nisisl ing et nons estin ullan vullute te

spread ARTICLE/ TITLE

Magna feum zzrit nit vel inis nulla feum zzrilla adiam, si.

Am quipsum venim zzriure erat atet aliquisl eugait, cor augait, sequi bla faccummodit, sumsan

heniam vel dignissenibh ea con eugait ut velit la con henisis erciniam, ver sum vel il ut dignisit aut ing erat, velese molorperos nim quat pratis eu feummy nosto

bla alit ipsuscilit ullandion henim iuscin henibh euisi.

Tum iriurem vendit alisi et alit ipis dolore FEATURE TITLE

dolestrud tis eumsan utate feuisit dolor irilla consequat dolut alis at praessequis nos ex eugait dit, quate tie tat voloborerate consed do od digna aciduis adignibh eugiam niamet wismod molor iriureet utpat aliquis niam iureet dolobore del irilit lorperci

Um zzrit luptat at venit

populinum demus castatum pos, quem det vivessu picaet L. Vali, pere firmaxime occhuiurbem a in

autet aut prat.

Loborem

dium probse dius viu meninterum etribul latissit gra? Pero confex se nos, nonocus, ut L. Irmante mordius,

v e l dolortie velit at.

BoreIt am doloreet iurem veliquatis adit, conumsa ndigniam eu feugue conse dolor in ulla feugait atem iureet alit, vel iliquat numsandre vulputp atiscilit nis

nteatis simmoru dampons ultus?

Nostatus ena, teat. Opicum senteristiam nit, te in tabi popondi concupe rcerit graris fuem Romnesu peris. Ehem mo convolin suam se adducon dio, sciem sciem factus medio et; C. Batiaetid iniam ad novericitiem patis intelienata publi senem

atuscru ncendiusa con pone ti, que que fautum se nos, nostintrum orecionsul verum me atin defex maios, nem omantere, nonitra, cula si potionsum sa Serum nonsum, nos ocus res catelarioc, supionfictus publius, quod fic missidenatum sede in sentiss imusce publin terit

ora? Consust riteatiae tala re ad simus, sultoris audeluteatia rem stanterturor pono. mihicaet aritati

ossimovernir in habunum opublia mantientuit convocrem loculus, sus inc re, norum patis, quonsce

spread

eugiat velendrero deliquatie dui blandiatum nullamet vel utEtrentis nortem con Etraet in potilica

BoreIt am doloreet iurem veliquatis adit, conumsa ndigniam eu feugue conse dolor in ulla feugait atem iureet alit, vel iliquat numsandre vulputp atiscilit nis

ARTICLE/ TITLE

Giam quisl eu facipit dolobor sequis ecte min henibh ex eu feugue del utate tionsed dipit prat lan ulput in ut wisi bla feuissectem zzriure diam verate commodiam, sequam, si tat.

Del del ex elessisim venis etumsan dipissequate euipisi.

Enit lum in velit lumsandipsum iriustrud diat wisl ipsum aci tin henim nostrud eugue miniam dipissecte velisim irit prat. Ortie enim ing eugiam, quat niam dolut veliqui tin hent alit, quat prat.

Equam eu feu facin vero enis aciliqu ipsustrud modolor sequi te faccum dolutem ipisi.

BoreIt am doloreet iurem veliquatis adit, conumsa ndigniam eu feugue conse dolor in ulla feugait atem iureet alit, vel iliquat numsandre vulputp atiscilit nis

Ut nissi.

Igna facil iriusci

bla ad er sumsan erosPate

Cover Development New Visual Language

NewVisualLanguage

Language NEW VISUAL

N E W

V I S U A L

LANGUAGE

Issue 000 May 2015

These are my cover options featuring the mastheads i have designed and cover art which I have made previously. The options for the cover art are mainly scanner-gram based, created by using everyday objects such as coloured fine liner pens and the cover of a prospectus booklet and moving these across the bed of a flat bed scanner whilst it is taking a scan.

By leaving the lid of the scanner up and away from the bed you can achieve a dark background, and by scanning at a higher resolution you can get a higher quality result. Higher resolution scans means that the scan takes longer so you can be a bit more considered and much more deliberate with the movements. I added a coloured filter over the top of these in Photoshop to contrast with the mastheads and make them easier to read.

The cover art which uses photography / montage uses an image from a site specific project, where I went out taking pictures of cracks or broken plaster on walls before merging this with a picture of flowers or something similarly vibrant and colourful. The 44

point of this project was to create opportunities for people to escape the greyness of modern cities such as Leeds, on a practical level the photos of the flowers or ‘escapes’ could have been printed and placed in these cracks for people to stumble upon in their day to day lives I have chosen these options for the cover art because they are bold and vibrant, and the irregular nature of the scanner-grams feels much more post-modern and will contrast with some of the more modernist elements inside. I chose the wall flower photomontage because I thought this was much more visual interesting and would appeal to a wider audience.

I have chosen the four mastheads because I think that they are the some of the boldest or most professional looking ones as well as some of the more interesting options that I had created. I think that the first option is definitely the boldest option available and grabs more attention that the other options, due to its shape.

However due to its shape it doesn’t scale up to well

without dominating large proportions of the page.

This contrasts with the font choices used within this option. The heading is Basic Title Font (from dafont. com) and because it is a thin, tall, all caps font it takes up very little space and is much more delicate than the strong shapes used in the logo. The secondary font is Georgia, I chose this because the wider based characters contrast with the lead font, creating a nice harmony and balance between the two typefaces which are clearly of two different styles, one being serif and the other being sans serif.

The other mastheads are more text based, and whilst looking slightly more professional (as many current magazine mastheads are primarily text based) I don’t feel that they are as bold as the first option and as such don’t attract the same amount of attention despite spanning the width of the page and having a slightly more weighty typeface.

The second option of masthead is purely Arial, using the different weights within the family to

separate the different words within the name of the magazine without the use of spaces. The triangle at the end represents delta, a symbol used in science as shorthand for change. It could also be said to represent the pinnacle, with the magazine featuring the pinnacle of current visual language.

The third option is the most professional and friendlier option, using Philosopher italic (from freetypography. com). I used italics because I felt it was more visually appealing and more modern as it uses a descender from the right hand side whereas the regular version uses a descender from the left hand side which creates more of a bowl (similar to the Google ‘g’ logo used for their app) than the italic version does. I used all caps for the new visual part of the name to make it readable due to its slightly smaller point size.

The third option just uses two variants of Georgia as I think this was much more substantial and stable than the other typographic mastheads and is slightly more traditional than some of the options.

New Visual Language

NewVisualLanguage

Language NEW VISUAL

N E W

V I S U A L

N E W

V I S U A L

LANGUAGE

Language

Issue 000 Month 2015

NEW VISUAL

New Visual Language

NewVisualLanguage

Issue 000 May 2015

LANGUAGE

New Visual Language

NewVisualLanguage

Language NEW VISUAL

N E W

V I S U A L

LANGUAGE

Issue 000 May 2015

New Visual Language Issue 000 May 2015

46

NewVisualLanguage

Language NEW VISUAL

N E W

V I S U A L

LANGUAGE

New Visual Language Issue 000 May 2015

Original masthead, white on black

New Visual Language Issue 000 May 2015

Inverted masthead colourway, black on white

New Visual Language Issue 000 May 2015

Offset blue masthead with white text, white on blue on blue

New Visual Language Issue 000 May 2015

Original masthead on blue, white on black on blue

Issue 000 May 2015

Original masthead with transparent lettering on blue, transparent on black on blue

New Visual Language Issue Issue 000 000 May May 2015 2015

White masthead black text, black on white on blue

New Visual Language Issue 000 May 2015

Dark red masthead with white text, white on red on red

Issue 000 May 2015

White masthead with transparent text, transparent on white on blue

New Visual Language Issue 000 May 2015

Pink masthead with white text, white on pink on pink

Font Options Font used in Masthead: ‘Basic Title Font’ Available from dafont.com, free for personal use Basic Title Font 60 pt

Quick brown fox jumps over lazy dog

Basic Title Font 36 pt

Quick brown fox jumps over lazy dog

Basic Title Font 18 pt

Quick brown fox jumps over lazy dog

Basic Title Font 12 pt

Quick brown fox jumps over lazy dog

Secondary Font used in Masthead: ‘Georgia’ System font, available on Windows.

Georgia Regular, 60 pt

Georgia Regular, 36 pt

48

Glyphs available: small selection of accented letters.

Case options: font only available in all caps Weights available: regular only Ideal usage: titles, headers and subheadings

Glyphs available: complete set of glyphs Case options: uppercase, lowercase, small caps, superscipt and subscript Weights available: regular, italic, bold, bold italic Ideal usage: designed to be readable at small sizes, headings and body.

Quick brown fox jumps over lazy dog Quick brown fox jumps over lazy dog

Georgia Regular, 18 pt

Quick brown fox jumps over lazy dog

Georgia Regular, 12 pt

Quick brown fox jumps over lazy dog

Option for use heading/primary font: ‘Bebas’ Available from dafont.com, free Bebas 60 pt

Glyphs available: small selection of punctuation, no accented letters.

Case options: font only available in all caps Weights available: regular only Ideal usage: titles, headers and subheadings, spaces do seem rather small,

may lead to having to adjust tracking manually

Quick brown fox jumps over lazy dog

Bebas 36 pt

Quick brown fox jumps over lazy dog

Bebas 18 pt

Quick brown fox jumps over lazy dog

Bebas 12 pt

Quick brown fox jumps over lazy dog

Option for body/secondary font: Arial System font, available on Windows and Mac Arial Regular, 60 pt

Arial Regular, 36 pt

Glyphs available: complete set of glyphs Case options: Uppercase, lowercase, small caps, superscipt and subscript Weights available: regular, italic, bold, bold italic, black, narrow, narrow italic, narrow bold, narrow bold italic Ideal usage: designed to be metrically identical to helvetica, body.

Quick brown fox jumps over lazy dog Quick brown fox jumps over lazy dog

Arial Regular, 18 pt

Quick brown fox jumps over lazy dog

Arial Regular, 12 pt

Quick brown fox jumps over lazy dog

Font Combinations Basic Title Font

Bebas

HEADER 60PT HEADER 60PT SUBHEADING 24PT

SUBHEADING 24PT

HEADER 60

SUBHEADING 24PT

BODY 12PT Ignim ver in utat utpat iril dolesequat, sit vel dignibh estrud min henissenis ad min henim zzriureet venisit eugue feuguerit il iureet dolorper sustis etueril iquamcor sum velit lor sequisim er sum quipsusci bla aute conum zzrit velisi bla core tet enit inim autet

BODY 12PT Ignim ver in utat utpat iril dolesequat, sit vel dignibh estrud min henissenis ad min henim zzriureet venisit eugue feuguerit il iureet dolorper sustis etueril iquamcor sum velit lor sequisim er sum quipsusci bla aute conum zzrit velisi bla core tet enit inim autet

BODY 12PT Ignim ver in utat utpat iril dolesequat, sit vel dignibh estrud min henissenis ad min henim zzriureet venisit eugue feuguerit il iureet dolorper sustis etueril iquamcor sum velit lor sequisim er sum quipsusci bla aute conum zzrit velisi bla core tet enit inim autet ea

Georgia

Arial

Basic Title Font & Arial

HEADER 60 HEADER 60 SUBHEADING 24PT

SUBHEADING 24PT

BODY 12PT Ignim ver in utat utpat iril dolesequat, sit vel dignibh estrud min henissenis ad min henim zzriureet venisit eugue feuguerit il iureet dolorper sustis etueril iquamcor sum velit lor sequisim er sum quipsusci bla aute conum zzrit velisi bla core tet enit inim autet ea

BODY 12PT Ignim ver in utat utpat iril dolesequat, sit vel dignibh estrud min henissenis ad min henim zzriureet venisit eugue feuguerit il iureet dolorper sustis etueril iquamcor sum velit lor sequisim er sum quipsusci bla aute conum zzrit velisi bla core tet enit inim autet

Basic Title Font & Georgia

Bebas & Arial

HEADER 60 SUBHEADING 24PT

BODY 12PT Ignim ver in utat utpat iril dolesequat, sit vel dignibh estrud min henissenis ad min henim zzriureet venisit eugue feuguerit il iureet dolorper sustis etueril iquamcor sum velit lor sequisim er sum quipsusci bla aute conum zzrit velisi bla core tet enit inim autet ea

50

Bebas & Georgia

HEADER 60

SUBHEADING 24PT

BODY 12PT Ignim ver in utat utpat iril dolesequat, sit vel dignibh estrud min henissenis ad min henim zzriureet venisit eugue feuguerit il iureet dolorper sustis etueril iquamcor sum velit lor sequisim er sum quipsusci bla aute conum zzrit velisi bla core tet enit inim autet ea

HEADER 60 SUBHEADING 24PT

BODY 12PT Ignim ver in utat utpat iril dolesequat, sit vel dignibh estrud min henissenis ad min henim zzriureet venisit eugue feuguerit il iureet dolorper sustis etueril iquamcor sum velit lor sequisim er sum quipsusci bla aute conum zzrit velisi bla core tet enit inim autet ea

Font & Image Combinations Basic Title Font Black on Colured

Georgia (regular) Bebas Black on

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

form follows function

form follows function

White on Coloured

White on Coloured

Black on

NEW VISUAL LANGUAGE form follows function

White on Coloured

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

form follows function

form follows function

Black on white, & white on black

Black on white, & white on black

Black on white, & white on black

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

form follows function

form follows function

form follows function

form follows function

Basic Title Font & Georgia Black on

NEW VISUAL LANGUAGE form follows function

White on Coloured

NEW VISUAL LANGUAGE form follows function

Arial (regular) Black on

NEW VISUAL LANGUAGE form follows function

White on Coloured

Bebas & Arial Black on

Bebas & Georgia Black on

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

form follows function

form follows function

White on Coloured

White on Coloured

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

form follows function

form follows function

form follows function

Black on white, & white on black

Black on white, & white on black

Black on white, & white on black

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

form follows function

form follows function

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE form follows function

Basic Title Font & Arial Black on white, & white on black

Black on

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

form follows function

form follows function

White on Coloured

NEW VISUAL LANGUAGE form follows function

Black on white, & white on black

NEW VISUAL LANGUAGE form follows function