Research and Development - New Visual Language

New Visual Language

Research

Process and Production & Nicole H.D.W. Sinclair

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Final Outcome

Contents

Research............................... 3 - 29 Initial Ideas............................... 30 Experimentation.................. 31 - 32 Masthead Design................ 33 - 37 Front Cover.......................... 38 - 46 Contents Page Design............ 47 Double Page Spread........... 48 - 55 Final Design......................... 56 - 57 Evaluation................................ 58 Bibliography......................... 60 - 61

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Modernism Modernism was developed as a term to counter the greed, conflict and inequality, which was present during the 1st world war and Russian revolution. It wasn’t actually used to describe a graphic style until the late 1920’s and this was due to the increasing success of mass media, which also required them to alter their work accordingly, as to be produced on a large scale.

Within modernist design geometry, colour and shape tend to be used greatly as a tool to envisage movement. Architecture was also a great feature within modernism as architects and sculptures created abstract forms. They rejected the notions of fashion and style and understood the geometric forms as being a universally understood means of design.

It was regarded as an escape from the negative effects resulted from the First World War, it became an ideal for a way to be. Modernism used the Russian revolution as a model for how society could be. With the emphasis being on “new” ways and “new” ideas it later adopted the title of “The New Typography”.

Being opposed to the ornate designs of past movements such as romanticism they strived to attain what they called “form follows function”. They wanted this to permeate all areas of life, from graphic design to household objects and architecture. Their aim in doing was to benefit society and create an ideal lifestyle and culture, which would eradicate distractions and focus on the important. Furthermore it would embrace simplistic design and aid human kind in their pursuits. However there is the more abstract area of modernism in which it contradicts the utopian ideas of the movement and instead attains a more experimental nature.

Through the use of primary shapes and colours they devised a few children’s toys, which would help teach children these basic lessons from an early age and within a fun context. One example of this is in the Bauhaus’s toy ship as created

by Alma Siedhoff-Buscher(as seen right).

One example of their use of geometric shapes and that of simplistic design is the B3 Wassily armchair, created by Marcel Breuer in 1925. This design was inspired by the tubular steel used to create his bicycle and after producing the B3 he produced further tubular steel chairs, including that of the B32 which comprises of one tube which creates the whole basis of the chair.

Marcel Breuer -B3 Wassily -1925

Marcel Breuer - Model B32 - 1928

Josef Muller Brockmann, Opernhaus Zurich Poster, 1966

Especially in regards to graphic design the designers of the time aligned type and image within a structured grid and were keen to follow the grid always. However in cases where they wanted a piece to stand out or excite, they would following from the constructivists lead, set some if not all of the elements out using a diagonal grid.

The use of this diagonal grid presents movement into their work.

Swissair 1956

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Bauhaus The Bauhaus set up in 1919 by Walter Groupius, was based in Germany and moved base two times before being forced to close due to the Nazi’s. Before the Bauhaus art and design were kept separate as two different teachings, Groupius wanted to change that. They aimed to make a utopian school of art, once which taught all basic principles and more. The teachings which went on at Bauhaus were akin to that of the arts and crafts movements, they wanted to bring together groups of artists and designers from different fields and teach them the basics as a foundation to develop upon. However, Unlike the arts and crafts movement, Bauhaus wanted to simplify design and rationalise it to its pure form.

They concentrated heavily on colour theory and geometric shapes. Bauhaus literally translated to “building house” and this is quite appropriate in terms of it building an art and design education and with its different creations of design. Bauhaus was very much focused on architecture as a design outcome and this is reflected in the geometric style they developed. They believed at Bauhaus that not only can you have an individual style but that it can still be part of a uniform set of rules and therefore understood and appreciated by all.

Bauhaus Logo, 1919

A key statement made by the Bauhaus is that “form follows function” and they always pursued this ideal.

“Let us strive for, conceive and create the new building of the future that will unite every discipline, architecture and sculpture and painting, and which will one day rise heavenwards from the million hands of craftsmen as a clear symbol of a new belief to come.” - April 1919, Weimar Bauhaus Manifesto

One artist which is particularly of interest in terms of geometric forms is that of Wassily Kandinsky. He made use of the circle for the most-part and combined the triangular, rectangular and circular shapes with that of typically primary colours to form these expressive abstract paintings. I find I prefer the more expressive pieces in comparison to the more structured and composed images. I prefer Kandinsky’s pieces due to the emotional response which can be felt from viewing such, they are alive in composition through energetic placement and vibrant use of colour.

At the Bauhaus they taught a range of skills, from colour theory and photography to textiles and typography.

This range of knowledge combined with that of the expertise of the tutors forged the success of the art school.

The tutors at the school were picked form the top designers and artists of the time, including Johannes Itten and Vasily Kandinsky, while succeeding students such as Herbert Bayer progressed to also teach at the school.

Bauhaus Building in Dessau

Wassily Kandinsky, Yellow-Red-Blue, 1925

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Minimalism and Flat Forms

Le Corbusier

A useful point to note is that the ideas of using line to dictate image have very early beginnings and some theories behind modernist painting go back to Immanuel Kant’s ideas of subjectivity and objectivity.

However these are studied and re-interpreted by Clement Greenberg whom took influence from Kant, though in a very focused mindset he views images as being purely objective. Greenberg then in turn casts aside Kant’s alternative viewpoints on the same subject and takes this forward to determine that when paint has been placed upon the canvas even in a way to retain the flat essence of the medium, it then has a sense of depth created within it. He takes notice of the modernist painters whom are more and more, especially throughout the 60’s onwards using the canvas as the focal point rather then the medium and therefore celebrating the limitations it provides as oppose to painters of the past whom strived to achieve exact likeness.

Born as Charles Edouard Jeanneret but most commonly known as “Le Corbusier”.

Corbusier created the Le Modulor, as basis for designing the mathematics to architecture and even door handles as it were. However some people criticised his design due to his use of a six-foot man, which I must add he noted from reading novels as a typical measurement, as the standard measurement for the human body. However, I find it makes sense to measure ceilings for instance at this height, as only the can you ensure it is accessible to everyone, though in regards to positioning door handles that may differ. Corbusier Is most famous for his rules “Five Points of Architceture” which were published in 1926, these ideas paved the way for Modern architecture as we know it. Open plan with plenty of windows, in particular across the building’s horizontal surface as to allow even light distribution, we see this within buildings more and more. There are three points to which we don’t often see though are set upon intuitive theories, which could if employed today help with encouraging recycling, the development of allotments and general nature reserves. This is through the use of lifting the buildings up onto Pilotis and making use of the roof also as a garden.

The use of flat shapes and colours further added to the idea of abandoning old styles and using minimalist forms to achieve its function.

Kazimir Malevich, ’Suprematist Composition - White on White’, 1918, Museum of Modern Art

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Le Corbusier, Villa Savoye in Poissy, 1931

Dada It’s name has been debated on as to how it came about, some saying it was selected at random by stabbing a knife into a book, which would display Dada’s protest against reasoning. Another suggestion is that due to its multitude of varying meanings, including that of “hobbyhorse” it was chosen and this would have demonstrated Dada’s rejection on objectivity and rather viewing art as subjective to the individual.

Dada was against the traditional preconceptions of how art should be and who should create it. They believed anyone could create art and rather then please the eye they aimed to create eyesores in a way. They did this through their eclectic use of form and medium in such a way that was almost disorganised. They shocked by introducing items such as urinals as pieces of art, all in the name to shock and question what is preserved as art. Not only were they protesting against the general assumption of how art should be but also of the social standings and viewpoints of the time. They disagreed with the brutality and violence that pursued during World War One. Tristan Tzara founded the movement and wrote their manifesto in 1918. However, from reading his Dada manifesto it can be seen that as much as this is a document of aims for the movement, it is at the same time against such set out aims and therefore contradicts itself. But in the spirit of Dada this is irrelevant, it doesn’t aim for common sense or rule abiding strategies but aims to break out against such and encourage individuality overall. Tzara sates that he detests “greasy objectivity” and therefore claims he is opposed to the idea of a one for all system, a one for all appeal to art.

Marcel Duchamp, Nude Descending a Staircase, 1912

Marcel Duchamp, Fountain, 1917

The name for this piece “Da Dandy” is a play on the name of “Dada”. This could possible be her stating that the piece reflects “dandy” dress sense and therefore she has taken such imagery and made out of them this collaged mess.

Hannah Hoch creates a mockery of mass media and regurgitates it into this collaged form using a mixture of pre-existing imagery and publications.

Although seeming to have an aim in mockery there actually was no aim to Dada, their aim so to speak was merely to have no aim.

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Hannah Hoch, Da Dandy, 1919

Post-Modernism De-constructive, rule defying, the Post-modern era redefined graphic design once more, taking the modernist principles and breaking them down into arbitrary signs.

To the right are images of two famous music magazines. The first Kerrang!, An issue from the 90’s makes use of both modernist and post-modernist styles. While using the post-modern collage style of arrangement with the use of a variety of fonts both stylised in hand-drawn manners and a more clean-cut sans-serif they are also using the modernist method of selecting red, black and white for the design’s vital features. This brings your attention straight to the magazine and invites the reader in while the use of hand-drawn fonts creates an interesting contrast to other magazines on the shelf.

Post-modernism was a rebellious reaction against conforming to the norm (in regards to animation at any rate), yet at the same time is very conformist in terms of the world and its culture. So it was defiant in terms of graphic rule sets but celebrated culture in all its forms as it were. It strived to display all the rules to its viewer before playfully breaking them. In conjunction with the links of pop art, post modernism in its own way aims to level the playing field in terms of high and low art.

In regards to the Raygun magazine the first thing that strikes me is the use of kerning in such a way which completely breaks the rules. However it does so to such an extreme that it is stylised and in combination with other elements on the page such as the hand-drawn script creates a unified appearance. I find the combination of images, background coloured shapes and altered text to create a mound of interest and therefore creates an exciting experience for the reader.

As mentioned earlier it celebrates the world as it is, without a bias towards one or the other. Featuring experimental use of colour and typography, the post-modern movement to some was that even illiterate type held meaning and purpose if the message became “exciting” and more engaging for the viewer. Collage is one element that features often within graphic design throughout this movement and began to emerge within the modernist movement, as if a precursory for the design which was to come. However one vital difference between these is the use of many influences, post-modernism drew influence from varying styles from the past combining them into a collaged de-fragmentation of society.

At points post-modern designs would parody themselves and make fun of the connotations they were promoting and techniques they used. However once popular culture magazines such as Kerrang! and MTV caught onto the trend, they began to “tame” the movement and this is where grunge culture became popular. Through punk fashion and underground publications the chopped up, unmoored style became a common sight to the horror of the modernists. The post-modernists too had a message to shout about though this one wasn’t about creating a utopian world, but rather celebrating the diversity that our culture and world displayed.

Kerrang!, May 1995

David Carson, Raygun Magazine, Page 7

Modernism vs Post-Modernism These two movements share some tensions such as culture ideals and our way of thinking, though each movement deals with them in a very different manner. Whereas on one hand you have the clean, precise and grid structured look of the modernists, you also have what could be called the yin to their yang in post-modernism. Postmodernism takes the modernist design and calls it mundane and conformist and reacts against the movement with a radical and outrageous outburst of experimental, rebellious design. This experimental design comes in the form of using a combination of typefaces together and rearranging their physical appearance and sizing as to rebel and reflect the messages meaning and connotation. However the modernists had also encouraged experimentation, though this was in a more abstract and sculptural format. One example of experimentation, which was carried out

and rather took the stance that objects such as highly manufactured furniture could be art. Dada was essentially an early predecessor of Post-Modernism, though sharing modernists ideas of changing culture through art and design. It is for this reason that I have categorized Dada under Post-Modernism.

This image, from the Dada movement as featured in Schwitters’ Merz 3 Solution has strong elements of modernism in the use of colour and geometry, though has a slight post modern feel due to the use of collage and abstraction from the grid.

Post-modernity and modernity are much similar in terms of structure then what is generally regarded. There are tensions in modernism, which influence post-modernism and aspects of post-modernism, which then reflect back onto modernism. around the same time as modernism, though with a very post-modernist feel, is that of Dada. Dada was against reasoning and logic and fought to create visuals which wouldn’t be necessarily attractive, instead they would be reflective to how culture was at the time, especially with going through the first world war.

They disregarded the view of fine art as being definitive of all that is “art”

Schwitters, Kurt. 1923.

Merz 3 solution. First of portfolio Merz publisher (Merz 3 Mappe. Erste mappe des Merz Verlages)

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Typefaces Helvetica - The Be All and End All? Helvetica has been popular now for 50+ years and is so due to its neutrality in form.

Its neutral appearance enables the designer to use it for a multitude of different projects.

These can vary from a hospital sign to a new household product’s advertisement campaign. Most commonly Helvetica is found within informational documents as issued by the likes of government and local councils in regards to public information. It is also found on road signs, directions and shop displays, it is so commonly used in fact that many people are unaware to its ubiquity. It has become a default font in a way, as for some designers it’s the go to font that they know can be adaptable to its purpose. However It’s strength is also its Achilles heel as its due to this neutral vision that the font can become a bland and lifeless choice, especially so If the subject requires invigorating energy or a hint of elegance for example. For these jobs it is much more appropriate to use a different font, for example perhaps using a serif font to display a sense of quality and elegance through its decorative flourish.

However, Helvetica can still to a degree attain a sense of emotional connection through how the designer “dresses” it up. What I mean by dressing the typeface up is by using a certain colour, or colour variations to identify with a brand that then takes on the typeface as “its own” identity. One way in which designers have been known to use Helvetica within brand identity is by customising certain letters of the font within the logo, or even as is the case with Skype softening the edges to give a more friendly, homely approach.

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Helvetica when compared against Helvetica Neue has a smaller range of weight variations and when compared directly against Helvetica Neue it is apparent that the form is less smooth. When using Helvetica I tend to use Helvetica Neue due to the reasons mentioned, also I find the smoother curves on Neue give a more friendly appeal to the typeface.

Marlboro, a famous cigarette brand and instantly recognisable due to its use of the typeface Neo Contact. In the film “Helvetica” Eric Spiekermann argues that if it wasn’t for their choice of typeface the brand wouldn’t have been as successful. He states that if Helvetica had of been used it would be very generic and therefore bland without personality. It is here that Helvetica can be seen as being critiqued for its uniform appearance. It is examples such as these to which I agree with that stated as some brands need the flourish of decorative type in order to stand out.

Herbert Bayer Herbert Bayer, once student turned tutor at Bauhaus became a master at typography. Bayer created the universal typeface in 1925 and this was digitalised in 1969 when another designer picked up on the work and created his own interpretation from such. Since then there have been many reinterpretations of the Universal typeface which is now typically named after the school “Bauhaus”. The digital typeface most true to that of the original sketches, though it must be noted as being merged with Alber’s KombinationsSchrist also, is ITC Bauhaus, a design created in 1975

by Ed Benguiat and Victor Caruso. Although a key difference between this interpretation and that of the original is that the original “Universal” typeface was consisting of lower-case letters alone as Bayer felt such a typeface design would have no need for upper-case. This is another example of their form follows function ethos.

Josef Albers

Walbaum-Fraktur, 1800

When compared against the traditionally used font in German at the time it is clear to see why Bayer and the Bauhaus both agreed that a new typeface was in order. The complex serifs and decorative motifs seen within the Fraktur typeface require a high level of reading and due to this and the growing demand for quick information the Universal type idea was born and all that followed.

Josef Albers, Kombinations-Schrist, 1926-31

Although heavily influencing graphic design he considered himself most and foremost a painter, though while encompassing all aspects of the arts and crafts within such. Examples of this can be seen in the way he composes his imagery and uses geometric forms as the predominant feature.

Herbert Bayer, Universal for Bauhaus,1925 - The Red List

Josef Albers inspired many artists including that of Robert Rauschenberg and was an important teacher on colour theory. In particular he would talk about the difference and contrast between colours and how what our eyes see isn’t necessarily the case.

The above image, also created as a universal typeface is made up of the ten components seen in the top row. His idea behind the KombinationsSchrist, or Combination Type as it translates, was to simplify the alphabet to using a maximum amount of shapes as to achieve the “perfect” typeface. The aim of such was to provide clarity and in turn easy reading.

According to Bauhaus-online.de there was also an aim to ensure a minimal maintenance requirement for using such as outdoor typography. Thus the curved shapes would allow any debris or snow to slide off the type.

Some letters such as the t could become misconstrued as the r for instance, with the limitations on form restricting legibility.

Herbert Bayer, Kiosk Designs, 1924 Page 10

Neville Brody Neville Brody, born and raised in South London achieved a foundation in art and design before proceeding to the London College of Printing in order to achieve a BA(Hons) in Graphic Design. However he found his experience at the college of printing to be one of restricting expression and felt whenever his tutors liked one of his pieces then it ought to need improvement. He had this view due to his understanding that unless a person dislikes hos work then they are not questioning it and this is the ethos that Brody portrays. Brody wants people to question his work, discuss its meaning and representation and then create their own work inspired from his.

Brody is one of the most well known graphic designers associated with the Post-modernism movement.

At the same time as he was studying for his BA (Hons) degree, the punk movement emerged with its anti-establishment voice and aims for challenging the norm. This movement within culture was right up Brody’s street and merged with his style of design nicely and so once graduated from the London College of Printing he began to design covers for

record companies, typically that of the rock genre such as “Fetish Records”. It was from here that Brody’s work began to be recognised as he proceeded to create unconventional abstract designs for magazines such as “The Face” and “Arena”.

He was inspired by the Sex Pistols album cover for “God Save The Queen” and 20th century designers and movements including Dada and Pop Art. His inspiration from looking at pieces such as the Sex Pistols cover can be seen in his deconstruction of typography and form. As seen within his design for the front cover of “The Face” magazine, there is a stylising of geometric shapes in the way of rectangles, squares and triangles, this is reflective of modernism. However, we also have the post-modernist styling of using different typefaces and in a mixture from bold to light and back again. This creates a fragmented structure for the viewer to make their way around requesting further time from the viewer’s attention.

Brody later set up Research studios which has recently been re-named to Brody Associates, an advertising and design agency that has worked with many top brands and companies. Also in addition to Brody Associates he created in 1991 with Jon Wozencroft the Fuse magazine. This magazine was one which would push the boundaries of legibility and readability alike and created a storm of conversation between designers. Other designers involved within the magazine publication included David Carson John Critchley. The designs created were very much focused on reflecting social and political issues appearing at the time which further prompted discussion.

Neville Brody, Fuse Magazine

I find some of the work displayed within the Fuse magazine to be almost undistinguishable in terms of legibility to such a degree that some may be unable to read the text, as I find myself to only discern certain words from the image shown above. Though I feel this is the look Brody was going for, as he said in an 1994 interview with Rick Poyner “I enjoy creating modes of communication, but I don’t enjoy communicating”. This shows an enthusiasm for the means of communicating but perhaps not for making the message clear. Rather then communicating a literacy message it instead conveys one of emotion and a is therefore a visual response to the content.

Neville Brody, Fetish Records, Pow-wow, 1982 Neville Brody, The Face Magazine, 1984 Page 11

David Carson David Carson believes graphic design should inform the viewer of its content without them even needing to read the text. This is through emotional response and connotation. He very much loves the traditional techniques of graphic design and even when designing for Raygun magazine, about half of the designs he created were using traditional techniques.

Quite controversially and surprisingly Carson doesn’t use a grid in his designs. He says he was never taught that it was wrong not to, so it didn’t occur to him that he was breaking any rule of design. Carson Just went with what looked aesthetically correct, by eye alone.

Although he doesn’t follow all the rules he does follow some, these include determining who your audience are, how they think, what they like. Working out both your target audience and the feel the client wants to exude are key factors in design choices and help to shape the ideas you create.

From reading a quote by Robert Elms as quoted within the book “No More Rules”there is a sense by one reviewer that the disarray of type and image across the page creates an adventure for the viewers eye.

This is a visual journey the viewer takes part in and therefore the emotional connections play a large role in telling that story. A unique signature trademark that Raygun had in comparison with other magazines is that its cover and masthead would alter in style every issue. This created for a invigorating exciting design challenge each month while also providing an element of surprise for the reader.

The three images shown feature two from Raygun and one from MTV magazine. I like how the Raygun magazine above contrasts from the gritty scratched out type design to the more clean, spaced out modernist style seen to the left. Although the latter is set out to resemble that of the Swiss Style its unique personality still comes through due to the use of the distressed masthead and tightly kerned type. The MTV Magazine has the cover lines set to a particularly small font in comparison to that of the main kicker and the juxtaposition of such being set at a horizontal angle frees the main image from distraction. While being set at an angle it requires the viewer to pay more attention and interact with the magazine physically in order to read it.

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Magazine Covers Richard Turley Richard Turley works for Bloomberg and talks in this video about their purchase of Business Week and how they took a more experimental free approach to the design as to revitalise the market for it. Turley talks about how in the modern age people want instantaneous content and therefore he and Bloomberg in a way treated the front cover to as that, an instantaneous social device. From a more technical perspective he mentioned how the Business Week has a “Bottom Line” to go with the headlines and captions which enables you to skim through the magazine and find an article or interview you are interested in quickly and with ease.

They used the front cover as an image which could be shared through social media and from there be promoted and become more popular as well as bringing to attention the varying design of the magazine. As you can see from the images on this page the front covers are very tongue in cheek and playful. The use of playful and satirical humour creates an emotional connection with the viewer through laughter.

To watch the interview between Turley and Gestalten follow the below link: http://www.gestalten.tv/motion/richard-turley

Using sex appeal, satire and comedy gimmicks, Turley brings a new leash of life into the Business Week magazine. Using a minimalist design approach with a pop-art like satirical twist the covers are clear, simple, legible and intriguing.

They keep a consistent theme running through the cover, for instance with the Twitter representation to the bottom right, the illustration is classic looking and so has been paired with a serif typeface to reflect the sophisticated Victorian style “characteristics” the bird appears to convey.

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Magazine Spreads

Sebastien Hayez

I find the following examples as a nice balance between modernism and post-modernism in a way that leaves the articles readable, clear and organised while still having a little flair of decoration. In regards to the upper left image I find the use of justified columns combined with the more abstract diagonal strips of text to be engaging and create interest to what would otherwise be a bland page. The use of colour is sensitive and although the background is different in hue, the shading is similar which prevents the colours from distracting away from the copy. I particularly like the last three images shown. Using an image to cover two-thirds off the page in comparison to the vertical running contents list, has created a subtle contrast between the horizontal and vertical alignments. This has been aligned nicely underneath the wide spaced header. Finally the last two spreads have a nice mixture of large type contrasted against a smaller point sized body text in correlation with a geometric styled number, which I am presuming to be the page number.

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Magazine Spreads Sebastien Hayez

I find the use of geometric shapes as a background to be clean and refreshing, though is typically seen nowadays when companies and brands aim to be appealing to the younger generation. In regards to the images directly above I find the use of a more elaborate font for the Title and headers to create interest for the viewer and use of the grid is clearly shown throughout these designs while the geometric patterns breaks this up visually. I particularly like the vertical strip within the right-hand side spread in which a photo is only just revealed but this creates a nice break from the blocks of text seen. The quote is seen here then overlapping the said image and it seems the patterns and text when placed on top of the images, are being put there as to invigorate the image with colour.

I find the alignment of the text to co-inside with the geometric patterns as to create this triangle of type to be interesting and intuitive, though reading such may therefore be a longer task due to the change in sizing.

I find the use of bringing out the pull quote across one and a half columns, while retaining a colour which matches that of the accompanying photo, to be intuitive and pulls the readers attention to the text.

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Magazine Spreads

Slanted

Slanted is a magazine which focuses upon graphic design and typography. I came across there recent issue via an e-mail newsletter and found that the magazine is free to read online.

Further to this I found their magazine spreads and covers designs interesting in terms of similar compositions to that of Raygun magazine and the post-modern movement.

The cover shown to the upper right reminds me very much of Neville Brody’s “Face” magazine designs. The bright neon colour scheme and abstract forms combined with the condensed font create a bold look. The use of the title juxtaposed at the bottom of the cover, before disappearing halfway creates an arbitrary but stylistic nod to post-modernism while also bringing attention to the grid.

Similair to Raygun they also change their masthead according to theme of the cover, though not as often I must say. I like the literal visual translation of the magazine name “slanted” used within the top middle image.

Slanted, Issue 25 - Paris Selection of Slanted’s different issue covers Page 16

Album Covers Never Back Down Records I came across the following record company and found their published albums to replicate movements of modernism, post-modernism and also including a slight influence from Russian Constructivism in terms of iconography.

In terms of the latter this comes in the form of the album depicted to the bottom left within the image to the right. The typeface used is strong, bold and makes a statement while the juxtaposing of the hammer, which looks very similar to that featured on the Russian Soviet Union Flag, apparently breaking this rebellious sentence featured on the cover. Never Back Down are a record company that signs and produces albums for heavy rock and metal bands, their album covers reflect the loud noise filled contents.

I particularly like the Overload-We Live Here And Now and the Sanity’s Dawn/ Wadge Split covers. The first I like due to the atmospheric photo which communicates a sense of noise and adrenaline through the Ben-Day dots applied to the piece, this is extenuated through the cloud like markings which the text seemingly appears from.

The second has a kitsch feel to it and this is drawn from combining the high-brow morbid topics of nuclear or bomb explosions with that of lowbrow cutesy toys and colour themes.

The mixture combined with the grunge typeface creates a thought-provoking cover to go with the hard-hitting music.

Furthermore the facial characteristics on the toy lamb suggest mischievous and therefore it could be construed that the lamb whom first appears as innocent has actually set off the bomb.

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Magazine Covers

The magazine covers shown on this page are photographed by myself and include a mixture of popular culture, student news, property advertisements and portfolio range. The images to the top left are very much modernist in approach through their adherence to the grid and minimalistic application of text.

The two magazine shown above are Women’s fashion, make-up and culture magazines and depict the typical stylising of both culture, fashion and TV magazines. They feature the masthead in a very large type setting as to achieve hierarchy over the competing elements. If already well-known the designer may obscure portions of the masthead as is required for the photograph in use, though due to the arrangement of letters paired with the common knowledge of the magazine it remains legible. Furthermore the cover will have an array of kickers and cover-lines as to inform the viewer of its top content, therefore aiming to attract buyers against competitors.

However this is not always the case, as in some cases magazines may chose to go for small cover-line placed to aside of a main featuring image which is used as the attention grabber. Last but not least some issues of a magazine may feature a “flash” or “slash” as to bring a promotion to the foreground attention of the viewer.

The three magazines shown left are different in audience and therefore this is reflected in how much they populate their magazine with flashes and cover-lines as well as a displaying a differentiation in grid structure. The image closest to the right is that of the University of Huddersfield student’s magazine and entails a post-modern feel.

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Post-Modern Video Icon For Hire The Following screen-grabs are taken from the short video which shows Icon For Hire’s Ariel pursuing her dressmaking hobby. What interested me about this film was the use of sepia toned filters, geometric patterns, mixed type and flickering textures. This mixture of components creates a contemporary film with styles borrowed from the modernists and post-modernists. The collaged appearance of the film also points towards the Dadaists and their collaged imagery.

The video can be seen here: https://www.facebook.com/iconforhireofficial/videos/ vb.142385805784176/895738117115604/?type=2&theater

Modernist Style Cover I found this poster(shown right) in which the type is set in alignment to the spaces between the buildings to be very effective in creating a grid structure. This is due to the perspective of the shot in combination with the type.

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Magazine Designs Modernist Style

https://www.pinterest.com/pin/539869074057721647/

https://www.pinterest.com/pin/539869074056615912/ Page 20

https://www.pinterest.com/pin/539869074055772487/

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Magazine Designs Modernist Style

I have looked at a range of different magazine covers and spreads as to get an idea of the different possible layouts, colour compositions, elements and style collaborations I could employ into my own design. I have also categorized these as to further learn the differentiations between modern, post-modern and contemporary styles. The image to the far right on the opposite page is using an interesting mixture of modernist principles of the grid paired with sans-serif type while taking a subtle post-modern twist to the piece. This comes in the form of the movement evident within the typeface as it has been blurred or smudged to the side, combined with the equally manipulated illustrations. The next two images along have a simple and concise grid structure which contains the type while on the upper image there are further symbols almost floating around such, though still pertaining to the grid as to create extra interest.

The magazine design seen on this page was a remarkable find, which at first I had presumed to be from the modernist era until further investigation. The designer has ensured all elements are confined to the grid while geometric shapes particularly circles and rectangles are featured within the design, as well as the use of the background sepia tone, subtle red and black. The logo to the magazine is odd in a way, it exudes modernist feel due to the industrial feel it exudes, however in terms of its actual letters its much more post-modernism due to the bulky form and legibility issues.

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Magazine Designs Contemporary

The magazine design shown on either side of this text I find particularly engaging and this is due to their large point sized headers and use of solid block colours. The contrast between the bright yellow and bold black create instant appeal to the eye and draws in the attention.

The masthead to the magazine design is simple but effective. It has a clear subtle use of reversing one of the e’s as to spice up the feel of the brand. They also make good use of spacial awareness and this is distinct upon the second and third double-page spreads In regards to the magazine design shown to the far right, the use of typography as an image is prominent and striking.

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Magazine Designs Contemporary

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Within this page of contemporary designs the typefaces used are thin and elegant. This gives off a feel of exuberance which heightens the commercial value of the product while stating a sense of up to the minute style.

I really like the use of horizontal laying text on one side of the spread in comparison with vertical laying text on the other. The thin typeface used allows the pages to breath and stops the text detracting from the featured image.

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Magazine Designs Modernist Style

The stylising of the masthead shown to the upper left reminds me of bar-codes on shopping, although not totally familiar with such it has that feel due to the rectangular shape stretched across the width of the page. This brings to mind the protective wrappers you can sometimes find when purchasing a new book for instance. I am particularly drawn to the overlapping of type across the photos. The burst of coloured type draws extra attention to the image and matches the overall colour to the image as to connect association.

I find the extra large type set in bold used within the magazine design right, to be engaging and creates a big statement. This is paired nicely with a much smaller description as to allow the photograph and type to work the page.

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The third magazine design, for Eye magazine, has a dynamic use of typography in terms of the angle to which the text has been set. The word “Amplify!� Starts off small as to represent depth to the page and dramatically increases as it ends.

This creates movement and energy within the meaning of the message. https://www.pinterest.com/pin/539869074057739735/ https://www.pinterest.com/pin/539869074057739772/

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Magazine Designs Collage/Post-Modernist Style

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Out of the different stylised magazine designs I have looked at, I would say the ones I have added to this page would be my favourite.

This is due to the strong emotional power that the hand-drawn and stylised typefaces provide, while the adornment established by the elaborate illustrations (image to the far left) creates a wealth of visual interest for the reader. The use of colour within the first image is generally mute with the exception of the bright fuchsia which creates a burst of life in the page. The same goes for the images shown to the bottom left and the bright red overlaid type.

The elaborate illustrations are however balanced out by the use of a strong sans-serif typeface, this ensures the page isn’t too busy. In regards to the upper right image I notice how the headers and kickers are set at a small point size in a legible manner, while juxtaposed against this is the de-fragmented composition of what appears to be two blocks of text. One using the positive space and the other the negative, which creates for a visual treat.

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Art and Design Magazines Pre-existing Designs

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Art and Design Magazines Pre-existing Designs

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Primary Research & Experimentation Photography

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Primary Research & Experimentation Photography

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While being out and about I kept in mind the modern and post-modern styles and key features such as geometric shapes, primary colours and of course the architecture styling paired with the form follows function approach. I photographed the shown images which depict different buildings, sculptures, signposts and business cards featured within Huddersfield and Wakefield. I have included the image of the printing press which featured in the Hepworth Wakefield Print Fair due to the connection with typography and graphic design. I would say the design pieced together by the staff is that of a merge between modernism and post-modernism as it uses the grid, though at the same time the border is abstract in juxtaposition.

Initial Ideas

Audience, Content and Voice

I noticed some of my peers had examined art and design magazines in particular, I decided to take their lead and also look a selection of such. I decided this was particularly important, as although I had looked at various magazine designs already I hadn’t looked at that of design magazines in particular. With the brief requiring the magazine to be based upon design and my previous work, this makes sense as a place to take inspiration from. I found some of the images shown on the WHSmith website on their online shelf for art and design magazines, I started my search here at to find what the current popular magazines are and then proceeded to search for a few of these as to find previous issue’s covers. I choose to include designs on the mood-boards which have a varied feel and style. From contemporary minimalist to covers emulating post-modernism in terms of typographic style composition and medium choices.

While observing the different covers I considered how I could combine the same approaches within my own work. Juxtapoz and Computer Arts are two example where the cover is filled with elaborate illustration, while the focus is kept upon the masthead. Computer Arts achieves this through placing the masthead to the upper left, which could be said as emulating the golden ratio in terms of the movement and direction the illustration displays through composition. In Regards to Mark magazine this is an interesting twist on similar such as Exit and Mix, although they all feature a sans serif typeface Mark stands out by incorporating its head-mast into the photography.

After considering the target audience and voice of pre-existing magazines, I considered my target audience to be that of young design professionals and those currently working in the design business such as design strategy studios. Perhaps the magazine would hypothetically end up on the table in the staffroom or a designers desk, this is my target audience and therefore the design needs a professional and informed feel while remaining creative in approach. With my design I want the modernist and post-modernist themes to converge and as an outcome have a post-modern feel while reflecting contemporary magazine layouts. I have decided to focus on Post-modernism as I feel it is the more challenging of the two movement. My reasoning for believing this is due to the ambiguous nature of the movement as oppose to the clear-set rules of Bauhaus and the International style.

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Experimentation Traditional Letter-Press

As an initial experimentation I decided it would be useful and of interest to create some traditional printed type. I carried this out on a Adana desktop printing press which my dad owns. I found the process to take much longer then I had expected and therefore this added to my appreciation for the time and attention to detail it must of taken those designers pre-computers. I enjoyed using this method due to the hands-on application and this encouraged me to further engage with the type while printing. I had to remove the plate at two points as to adjust the kerning. The first time I carried this out I found I had made a mistake so continued to correct this and I was quite pleased with the result, though in order to effectively be able to use the traditional method I would need to do further research and therefore learn the techniques and technicalities to this craft. I decided to create the sentence within a post-modern stylising and therefore I chose a combination of serif and sans serif fonts. I created the words “Post Modernism� and used all

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upper-case within such, while one strip f leading I used to sit the type within the plate gave me this ruled line which was unintended, though I decided to keep this in the design for effect.

I was fairly happy with the result though disappointed that I hadn’t enough time to create further examples. Another difficulty I came across was the ink on the plate beginning to dry up as i made adjustments to the kerning of the text and through this process I learnt just how important it was for typesetters to have their type-setting ready before printing. However, although this is the case I have still been able to incorporate the creations into my magazine design.

Experimentation Traditional Letter-Press

The following images are scans of my traditional printing and I found after having the prints stored within a plastic wallet that some of the ink transferred onto the wallet and so I decided to scan these also as to demonstrate and document the textures which resulted. Further along the project these then came in use when I used the ink blots from the plastic wallet to create the ink “drips� on my Masthead design.

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Initial Ideas

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Masthead

Initial Ideas

Typeface Selection Before creating the head-mast I first needed to consider which typeface to base it upon. I initially chose Helvetica due to its simplistic shaping which allows for easy customisation. I developed a few of my initial designs as I went and it was suggested to me by one of my peers that I try a slab serif font. At first I was sceptical as to whether this would work due to the box constraints I had applied to many of my designs, though I was keen to experiment. However I found the slab serif typeface “Nexa Rust�, which works well with adaptation for my design due to its gritty appearance.

I came across and chose the following three typefaces to experiment with and offer to my design. These are (left to right), Paneuropa Neue - a simplistic sans serif similar to Futura but with a slimmer width and smoother finish, Nexa Rust and Penultimate.

http://www.fontsquirrel. com/fonts/nexa-rust http://freetypography. com/2014/11/09/freefont-paneuropa-neue/ http://www.fontsquirrel. com/fonts/josefin-slab

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Experimentation Masthead I started my digital version of the typeface with the image shown to the top left, a block geometric design. However I found the design as it appeared on screen didn’t work very well in terms of aesthetics. I proceeded to consider some of the more simplified designs and experimented with different colour arrangements. I looked at representing print through the use of CMYK colours and then on screen publishing through RGB. Throughout all my experiments and developments it became clear that the CMYK combination was much more appealing. This may be due to the physiological relationship with pink and yellow colours, which promote love and happiness and when combined with blue this perhaps creates a calming effect. The black within this colour theme makes the masthead stand out and creates a bold stance on the page.

In order to achieve a more legible differentiation between the letters enclosed with the masthead, I decided to split each one up by varying colours and in certain designs add an element of transparency to the text as to allow the background forms to reveal themselves.

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Developments Masthead I found the bottom right masthead design to be that of the most effective in terms of combining the letters as one and due to the bold bright colours gives off an 80’s feel which then reflects the times that post-modernism was prevalent.

Particularly with the slab serif fonts, I began to look at how I could create geometric shaping using the type alone. Later I looked at how I could manipulate the letter forms as to allow their use within square and rectangular shapes. The idea behind using a square or rectangle was to represent the geometric styling of the modernist period while achieving more abstract forms within such.

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Developments Masthead

The following designs show how I progressed in order to achieve the final design, as seen above. I created another variation of the above in which I used the textures achieved from my printing press experiment to create negative space from the “Ink blobs�. The shapes seen used as the backdrop for the masthead was also created in this manner.

In order to isolate the ink impressions from the plastic wallet which had stored the prints, I first imported the scanned image into Photoshop before selecting and removing the white colour from the image. I used the colour range tool to select the white areas and altered the selection as accordingly.

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Initial Ideas Front Cover

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Image Options Front Cover

I looked over the photographs which I had taken over the last year and selected the following ten images. I selected those seen to the right due to the connection with Huddersfield and the bursts of colour combined with that of the performances can co-inside with the abstract post-modernist styling. The images shown to the left are mainly based upon modernist principles in terms of geometric architecture.

However the image to the top left is much more post-modern in terms of the combination of fonts used within the laid out printing plate.

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Initial Ideas Front Cover

I decided to size my magazine at A4 as this is similar to most magazines with the exception of those set to a custom sizing or perhaps the smaller mini-magazines. I chose to have a four column page which I then split into quarters vertically also. This was to create a basic grid as to position my magazine components within. At first I experimented with using a kicker heavy design though later removed these as to create more focus upon the image. I found the this image of the modernist styled building didn’t work very well in combination with the multi-coloured type and so I began to place the masthead variations upon the other images available. I did find however, that the plain black typographic masthead worked well. This is due to the minimalistic style of the building in combination with the limited colour palette.

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Development Front Cover

In regards to the more colourful and decorative images, I decided to pair this with a “sticker”. I chose to use a sticker as to draw the viewers attention to the text, while using similar colours at to not completely distract from the image. However, I felt the sticker looked too flat in comparison to the abundance of energy which was captured in the images. I went onto Lynda.com and watched a tutorial in creating a sticker with depth and a peel. Though here I decided a peel may be unnecessary, if I were to design this again I would create a “peel”. I found the short tutorial to be useful and I applied the newly learnt skills to the object. In order to not cause too much for the eye to take in, I selected colours which were similar in tone and shade as to that appearing elsewhere. I obtained the bar-code from Google images as a sample bar-code.

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Development Front Cover

I experimented with attaching a sense of use to the sticker emblem as to co-inside with the de-stressed typeface of the headmast. However this didn’t work as it instead felt too trying and so I reverted this back to its former look. My final step with this design was applying the finished head-mast to the cover, as shown right.

Issue 1 - May 2015

FORM FOLLOWS FUNCTION An exploration of Modern and Post Modern design

Type Transcription Earth Artifact City In Flux

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Development Front Cover

Here I looked at the juxtaposition of the issue information. The information needs to be small but readable and therefore I looked at areas of the page I could incorporate the text into the design. I decided on giving the test its own space below the head-mast. Setting the text as white on black makes it readable and noticeable, while the size difference between it and the head-mast ensures the head-mast and all other elements of the page retain hierarchy.

Whereas when set on the upper right hand side, the issue required a box set apart from that of the head-mast and I felt as though this would distract from the main elements.

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Development Front Cover

I looked at the above typeface options as to see if I could find one which emulated, or find the typeface which matched that I used within the letter-press experiments. However I was unable to match the thick bold font from my experiment print to that of one in my font library and so instead looked at these alternatives which had a feel similar to that. In regards to the options above, I found a few obscure and near to illegible fonts which i decided to try due to the manual organic form of printing in which the photograph depicts. However, the extreme of these clearly didn’t work partly due to the design of the typeface but also due to the use of solid block colours, whereas the surrounding text does not consist of such. However I found that Josefin Slab Bold and Paneuropa Neue Normal worked reasonably well together due to the close width sizing. Due to the clash between the digital type and the printed type the page seemed haphazard and too many fonts were in use.

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Development Front Cover Due to the issue mentioned of the previous page I decided to remove the kickers and instead feature the printed type as a pull to engage the viewer. I felt this worked well with the cover due to the background photograph, though the black text was too obscure and therefore distracts the eye away from the image as the reader tries to interpret the text.

Therefore I went back into Photoshop and altered the colour of the image several times as to achieve a clearer contrast.

As you can see below I looked at applying the images colour scheme to the piece, though i felt this only worsened the readability of the text. I chose to set the printed text as white in the end as although the top half of the image is absorbed into the background, the latter half, of which there is more, is much clearer to read and contrasts with the image. This contrast against the image brings it back to the viewers attention once they have read the byline.

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Final Design Front Cover The two images shown right are cover designs which I am happy with and I would say are to a finished standard. Personally I prefer the image on the far right due to the bursts of colour seen lighting up the dark setting. However, in terms of following the brief I am choosing the one to the left as my final cover design. This is because the image’s subject is much more relevant with the content and audience. The traditional typesetting scene paired with the printed type seen hovering above creates a make-shift image and in turn has a welcoming friendly voice.

Accompanying that is the sans serif type at the bottom of the page which speaks to us in an informative voice, therefore explaining that the magazine is going to provide us with insight into the methods displayed and more.

Issue 1 - May 2015

Issue 1 - May 2015

FORM FOLLOWS FUNCTION An exploration of Modern and Post Modern design

Form follows Function An exploration of Modernism and Post Modernism

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Type Transcription Earth Artifact City In Flux

Developments Contents Page

Out of my initial ideas for the contents page I felt the use of my signpost photograph would be of most interest as this co-insides with the contents page purpose. I then decided to convert the image into a black and white vector image as to avoid any distraction from the information. Following on from this I felt as it stood the piece could then be improved further and more integrated within the page and so I identified the typeface originally used upon the signpost(as seen left) and used the same typeface, in this case Helvetica neue, which originally I had identified as Regular but then found this didn’t quite match the required thickness and so I used Helvetica Neue at Medium width. I then aligned my text up with the position of that which I was to remove as to achieve a realistic look to the text. I decided to leave the remaining text seen in the background two way-finders seen below the modernism and post-modernism signs as I felt without that text there it would lose its sense of depth, though on reflection I have looked at removing this section of the post, though I found this made the signpost look quite odd in composition and so retained the background directions as to keep the design consistent. I also experimented with using the full title of the magazine within the central signpost’s top and found the design to work well with this was that of the head-mast text on its own as its abbreviated format. This keeps the design simple and retains hierarchy upon the contents information.

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Initial Ideas

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Double Page Spread

Initial Ideas & Developments Title Imagery

I decided for my double page spreads that i would create a graphic artwork to represent the subjects title and above you can see how my initial idea for the modernism page has developed from that of using the shapes associated with Bauhaus and their simplistic approach to this more minimalist typesetting composed with the modernist, almost grid structured building.

I felt this was a simple but effective strategy and adapted the design for each or most subjects the magazine covered.

For the post-modernism section I decided to use this colourful and movement filled photograph I took at the light festival which took place in Huddersfield last year.

I chose this image as I felt the abstract and almost geometric stylised costumes paired with the face make-up gave for a twist on the modernist principles which the motion in the image has created this motion blur which gives a nod towards post-modernism.

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Initial Ideas & Developments Title Imagery

I decided to experiment with creating a typographic image at one point for the modernism page which would incorporate the architectural designs happening at the time based upon the “form follows function� approach. The first Image I felt lacked interest due to the flat format and lack of dynamic movement. I therefore created a vector trace of one of the modernist buildings and placed the text seen left above such in a bright red as to create a statement. I think this worked well though I chose the design shown on the previous page due to the simplicity and finished look, as I felt this piece needed much more work before being usable.

For the City In Flux header page I decided to create a typographic image using a post-modern approach and therefore flipped a few of the letters as to create this abstract image. Furthermore I believe the image represents the city well in regards to industrialisation as the text forms a shape would could be compared to that of a factory producing smoke from its chimney.

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Developments Double Page Spread

Screen-grab showing my use of a sized line as to align text boxes against an image, while leaving the same sized margin as seen elsewhere.

Here I have documented my skills of InDesign showing how I have manually altered the tracking as to reduce the risk of rivers, while also setting up an array of paragraph styles.

For my post-modernism subject title page I decided to place the graphic representation upon the right hand side page, this is to create contrast against those seen in the rest of the magazine and especially of that laid out within the modernist category. I have looked at how the accompanying text works with the reference image.

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Developments Double Page Spread

For this spread I have looked at the use of colour and as seen above, where I have used the basic body-text and begun to write about the topic in question I have brought this to the viewers attention using a drop-cap. This engaging the viewer with the text and brings their eye to the body text once they have viewed the title and graphic representation. For one or two of the dropcaps I was require to Kern the type as the text fell too close to the letter creating a distracting build up of the grey area.

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Developments Double Page Spread

On the above Images you can see I have just looked at how using an underline affects the visual feel of the design and also how the title works with the body text once a Drop-cap has been implemented. I looked at the latter as to create a balance between the two which would allow the title to retain first priority while the body text comes in at a close second while still being striking.

Before Kerning

After Kerning

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The images to the left show how the title looked before and after kerning. The font I used was one available for free online and as it was typed out there was a lot of room for improvement within the font at this point size. I decided to give a relatively large spacing between the title letters as to reflect the sizing of such.

Developments Double Page Spread

Here you can see I looked at the composition of my double page spread and what juxtaposition of the elements works well. I chose to have the title and description text to the left hand side as I felt this split up the sections clearer and therefore co-insides with the way in which people generally read, left to right and top to bottom, with the exception of east Asian countries.

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Final Touches Credits & Pricing

The above images show how I adapted the design of my back cover and also added onto the front the pricing information. In order to give a professional finish to the document I used the official university logo on the back of my publication as typically when a company is credited it is their official logo which is used. I had the choice of the smaller blue version or the white version which usually sits on a background coloured with the University’s branded blue. I decided to place the pricing information parallel to the issue number as to achieve a universal look. When placing this around the bar-code there wasn’t enough space for each of the elements and so looked clunky in form.

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Final Design

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Front and Back Cover

Final Design

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Double Page Spread

Final Design

Evaluation How Did You Find It? I found this project to be highly of interest due to its nature and my interest in book covers which could lead me onto designing magazines in the future.

I found myself to adapt a design for the magazine quite quickly after creating my initial sketches, but I would have liked to have maybe been a bit more daring and experimental. I enjoyed seeing how the traditional and digital elements worked together and composing the magazine as it began to take form.

Did You Achieve What You Set Out To Accomplish?

Yes though not to the extent which I would have liked. I would have liked to have documented more about the different movements which appeared throughout the modernism and post-modernism periods. I was unable to do so due to getting behind in my work and so something I have learnt this year is to be much more timely and to stick to a schedule or work-plan rather then spending too much time on just one element of a project such as research, as this reduces the quality of the rest, due to time constraints. Although I have learnt about such movements in my lectures I wanted to ensure I had everything fresh in my mind and correct as I was writing it and due to this I haven’t documented as much as I could have done. In regards to the overall design of my magazine I am pleased with the outcome, though I would have liked to have created some more experiments using the traditional printing techniques.

What Would You Change?

As mentioned above I would have liked to have included much more information about the different movements within each art and design period.

Further to this I would have liked to create some more responses to the movements and styles I encountered, whether this be through typography, collage or another medium.

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Bibliography Photos

Reading and Films

Modernism http://www.vam.ac.uk/users/node/1435 http://www.metmuseum.org/toah/works-of-art/1980.351 https://www.pinterest.com/pin/539869074057703640/ http://www.modern-theory.com/directories/muller-brockmann-josef/ https://www.pinterest.com/pin/539869074057703692/ https://www.pinterest.com/pin/539869074057703689/ http://commons.wikimedia.org/wiki/File:Bauhaus.JPG http://www.wassilykandinsky.net/work-52.php http://commons.wikimedia.org/wiki/File:Kazimir_Malevich_-_%27Suprematist_Composition-_White_on_White%27,_ oil_on_canvas,_1918,_Museum_of_Modern_Art.jpg

Books No More Rules - Rick Poynor

Post-Modernism http://greenday-scans.tumblr.com/post/60084302246/kerrang-546-20th-may-1995-get-the-full-sized# https://www.pinterest.com/pin/539869074057739319/ Le Corbusier http://en.wikipedia.org/wiki/File:VillaSavoye.jpg Dada https://www.pinterest.com/pin/539869074057739488/ https://www.pinterest.com/pin/539869074057764462/ https://www.pinterest.com/pin/539869074057764460/ https://www.pinterest.com/pin/472878029595718674/ Sebastien Hayez https://www.behance.net/gallery/19527637/Various-Logos https://www.behance.net/gallery/19630537/Artbooks http://hayez.kudeta-graphic.com/fiction-format-mook-proposition-non-retenue/ David Carson https://www.pinterest.com/pin/539869074057124715/ https://www.pinterest.com/pin/147141112798119817/ https://www.pinterest.com/pin/409827634813781872/ Neville Brody https://www.pinterest.com/typecolor/fuse-neville-brody/ https://www.pinterest.com/pin/480196378991376556/ https://www.pinterest.com/pin/218424650650235061/

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Modernism https://shanny12.wordpress.com/modernism-vs-postmodernism/ http://www.vam.ac.uk/content/articles/m/modernism/ https://www.youtube.com/watch?v=315C6s5zrCo https://www.youtube.com/watch?v=ZQa0BajKB4Q http://architizer.com/blog/corbusier-videos/ https://rebeccareilering.wordpress.com/2009/01/20/modernism-and-graphic-design/ http://joachimpissarro.com/cat/writing/greenberg-kant-and-modernism/ http://www.wwnorton.com/college/english/nael/20century/topic_2_05/welcome.htm http://architizer.com/blog/corbusier-videos/ http://99designs.com/designer-blog/2013/08/15/know-your-design-history-the-bauhaus-movement/ Dada http://www.dada-companion.com http://www.391.org/manifestos/1918-dada-manifesto-tristan-tzara.html#.VVZQ9evdup1 https://www.youtube.com/watch?v=EqkIJ0odFxA#t=10 http://joachimpissarro.com/cat/writing/greenberg-kant-and-modernism/ http://www.theartstory.org/definition-flatness.htm Bauhaus http://www.smashingmagazine.com/2009/08/02/bauhaus-ninety-years-of-inspiration/ http://www.designishistory.com/1920/the-bauhaus/ http://www.designishistory.com/1920/herbert-bayer/ http://www.bauhaus-dessau.de/the-bauhaus-building-by-walter-gropius.html http://www.linotype.com/762/paulrenner.html http://bauhaus-online.de/en/atlas/das-bauhaus/idee/manifest http://creativepro.com/the-bauhaus-designer-paul-renner/ http://www.identifont.com/show?17B http://fontsinuse.com/uses/5/typefaces-at-the-bauhaus http://www.designhistory.org/Avant_Garde_pages/BauhausType.html http://bauhaus-online.de/en/atlas/werke/lettering-set Designers http://www.printmag.com/design-inspiration/the-fuse-box-faces-of-a-typographic-revolution/ http://nicolesinclairsportfolio.blogspot.co.uk/2013/12/magazine-design.html https://prezi.com/nbausqrmbjtt/neville-brody/ http://www.johncoulthart.com/feuilleton/2006/04/23/neville-brody-and-fetish-records/ http://thecreativeexchange.org/people/neville-brody https://www.youtube.com/watch?v=jW2H-gmUl6c https://www.youtube.com/watch?v=f1pQTuJfUi8 https://www.youtube.com/watch?v=ttdDGnmDbBw Magazine Inspiration and Etxploration https://vimeo.com/107852963 https://vimeo.com/104617820 https://www.youtube.com/watch?v=5ewm8H6vwhk http://www.gestalten.tv/motion/richard-turley

Bibliography Cont.

Photos

Typefaces

Misc http://en.wikipedia.org/wiki/File:Fraktur_walbaum.png http://en.wikipedia.org/wiki/File:Bauhaus_and_Bauhaus_93_Typeface.pdf http://subtilitas.tumblr.com/post/1346452712/typography-as-advertising-herbert-bayers-kiosk http://theredlist.com/wiki-2-343-917-998-view-type-profile-bayer-herbert-2.html#photo https://www.pinterest.com/pin/304063412316548593/ http://formfiftyfive.com/2013/03/richard-turley-bloomberg-businessweek/ http://adage.com/article/the-media-guy/10-awesome-covers-richard-turley/292777/ http://issuu.com/slanted http://www.neverbackdownrecords.bigcartel.com https://www.facebook.com/iconforhireofficial/videos/vb.142385805784176/895738117115604/?type=2&theater https://www.pinterest.com/pin/539869074056615912/ https://www.pinterest.com/pin/539869074057721647/ https://www.pinterest.com/pin/539869074057721474/ https://www.pinterest.com/pin/539869074057736714/ https://www.pinterest.com/pin/539869074057721499/ https://www.pinterest.com/pin/539869074057110960/ https://www.pinterest.com/pin/539869074055772487/ https://www.pinterest.com/pin/539869074057739648/ https://www.pinterest.com/pin/539869074057722097/ https://www.pinterest.com/pin/539869074057721504/ https://www.pinterest.com/pin/539869074057739617/ https://www.pinterest.com/pin/539869074057739772/ https://www.pinterest.com/pin/539869074057739735/ https://www.pinterest.com/pin/539869074057739739/ https://www.pinterest.com/pin/539869074057736632/ https://www.pinterest.com/pin/539869074056750720/ https://www.pinterest.com/pin/539869074056485100/ https://www.pinterest.com/pin/539869074057721443/ https://www.pinterest.com/pin/539869074056485057/

http://www.fontsquirrel.com/fonts/nexa-rust http://freetypography.com/2014/11/09/free-font-paneuropa-neue/ http://www.fontsquirrel.com/fonts/josefin-slab

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New Visual Language Nicole H.D.W. Sinclair University Of Huddersfield Š 2015