new visual language sketchbook

Page 1

new visual language


Brief

“Perfection is achieved, not when there is nothing left to add, but when there is nothing left to remove.” - Antoine de Saint-Exupéry Brief: You are to submit design proposals for a new graphic design publication entitled, New Visual Language. The first issue will focus on Form follows function - an exploration of Modernism and Post Modernism. Part 1: Research into Modernism and Post Modernism generating a body of work that explores the origins and philosophy of the movements. Your visual work should be an expression of the movement and not a pastiche. You should aim to convey the essential nature of the movement. You will need to understand the social, industrial and political concerns which influence both movements.

Part 2: You are to submit designs for a broad sheet, which should be based on your personal and original visual research from the year. To include edited versions of the following: Streetgraphic Cabinet of curiosity Earth Artifact Type


Brief Requirements: • Body of original visual research based upon Modernism / Post Modernism • Evidence of thumbnail visual and design layouts • Evidence of grid, layout, type and image selection and Copy Masthead: New Visual Language experimentation • Evidence of multiple solutions Sub heading: Form follows and design refinement Function - an exploration of Modernism and Post Modernism • Masthead • Broadsheet cover Issue 1 • Contents page Date • Inner page You should produce: Masthead Cover design Contents page Inner page/s

Size A3 Portrait Cover A3 Portrait Inner

Modernism: Term used to embrace a diverse range of art movements and ideas that emerged during the first half of the 20th C and profoundly influenced the subsequent development of art, architecture and design. There was also a widespread utopian belief that mechanization and technology if properly used could produce a better less divided society.

Post Modernism: Design movement that evolved in the mid 60’s as a critical response to the dominance and perceived sterility of Modernism. Embracing art, architecture and design. It re established interest in ornament, symbolism and visual wit. Unconstrained by dogma, post-modern designers rejected modernism’s obsession with progress and challenged the fundamental tenets of order and discipline espoused by the Bauhaus.


part one primary research


Helvetica Helvetica was designed by Max Miedinger and Eduard Hoffmann at the Haas Type Foundry in Switzerland in 1957. The foundry wanted to develop a type to compete with AkzidenzGrotesk, a typeface released by the Berthold Type Foundry. It was originally called ‘Neue Haas Grotesk’ named so because it was based on two other fonts

Schelter-Grotesk and Haas’ Normal Grotesk. It’s name was changed to ‘Helvetica’later as they felt the‘Grotesk’wouldn’t go down well in the American market. They did want to call it ‘Helvetia’ after the latin for Switzerland but were advised naming it after a country wasn’t a good idea as it my some how alienate prospective users so decided to use ‘Helvetica’ instead.

In 2007, to coincide with 50 years of the typeface, director Gary Hustwit released a documentary film called Helvetica in which

he interview various notable graphic designers/typographers about the production and their view on the font.


Magazine Design Contents

There are various factors that determine the design of a list of contents. The main one is, of course, the character of the magazine itself: special interest and current affairs magazine require a different approach from that of, say, lifestyle. The form is dictated by the function. If people only read the magazine selectively, the list of contents will be different from that of a magazine that people leaf through either no particular item in mind, just waiting or something to catch their eye. In all cases though, the list should reflect the structure of the magazine, following its sections and the order of its articles. Generally there are two levels, one pictorial and one textual, either the emphasis

again depending on the nature of the magazine. Pictures may be used to emphasise certain central themes, but they also help to attract the more visually orientated reader to one particular subject. For this reason, such pictures should be supplemented with captions and page numbers. The contents page is especially attractive to advertisers, as most readers will turn to it and lengthy lists are often spread out over two separate pages so that they can be split up by two full-page ads. For the reader, though it’s clearly easier to follow if the contents are on one page or, in really thick magazine, put together one double-page spread. In some high-quality magazine, the list of contents written by a journalist in order to make sure that the

letters, appear as comments or columns on the opinion pages. Again, the design should make them easily recognisable and they’re often combined with a photo or drawing of the author. As well as purely textual contributions there ay be columns that lay emphasis on pictorial comparisons. The various Columns columns and comments may be Every feature in a magazine will one-off or regular and obviously add up to a general reflection of the former offers more freedom editorial opinion. With political to the designer than the latter. magazines it’s important for the reader to know the [arty line that’s being followed, but many magazine also pride themselves on publishing articles that express views independent of or even contrary to, those of the editors. Such contributions along with reader’s linguistic style is homogeneous. The page numbers themselves must be clearly laid out, either to the right or left of the subject matter; there’s little room here for experimentation, because in its role as an instrument of navigation, the list’s highest priorities should be clarity and ease of use.


Magazine Design Imprint

A publisher’s imprint s required by law. Everyone responsible for content and ads must be names and the imprint must also contain copyright details. All other information concerning the published and editorial staff is for the benefit of clients and readers.

Captions

Captions are not headings, even if some creative spirits prefer to put them above the picture. In terms of content, a caption should provide a meaningful explanation of the picture, rather then merely describing it. A popular form is the division into a factual part and a commentary, sometimes separated by a column. In the layout, the gap between picture and caption

must be clear and the font must also be easily distinguishable form that of the main text. There’s no need for the picture themselves to conform to the layout grid. Quite often captions are actually positioned within the photo, either by reversing them out or by overprinting. This method cannot be applied indiscriminately, but must fit in with the overall concept of the magazine. The higher the qualify and information content of the picture, the more irksome will be the incorporation of text. A carefully though out combination of picture and text can have a definite impact on the style of a magazine. As regards the use of purely symbolic pictures, captions are superfluous, since there would actually destroy the whole purpose of the symbol.

Subheadings

Longer texts can be structured thorough the use of subheadings, of which there are two basic types. The first is determined by the content of the article and denoted the start of a new segment. From a design point of view, this type of subheading cannot be shifted. The second type is movable and can be inserted wherever the designer feels it should go. Its function is to create an optical break in the mass of text, and so its content must be les precise because the text will, so to speak, flow round it.

Quotes

Like the free-standing subheading, quotes function as a means of breaking up the text in order to make it more accessible.

They can be direct quotation, or they can be in the form of short summaries. In both cases, they can create a second level of information which should be designed in such a manner that it stands out from the rest of the text and gives the reader a new impetus. There are lots of formal variations possible – a different font from that of the plain text, other typographical distinctions and even the possibility of combining the quote with photos and coloured areas.


part two secondary research


Modernism Modern art is a term that describes artistic works produced during the period extending roughly from the 1860s to the 1970s. Modern art is usually associated with art in which classical traditions of the past (painting something realistically to the best of ones ability etc.) have been rejected in favour for spirit of experimentation. Modern artists looked at the world with a fresh perspective and had different ideas about materials and what the function of art actually was. These artists tended to lean away from the narrative and towards abstraction which is by far the characteristic of most modern art. The heritage of modern art without doubt

in primitive art, the colours and rhythmical succession of the dancing nudes convey emotional liberation. Initially influenced by Lautrec, Gauguin aswell as other 19th century innovators such as Pablo Picasso made his first cubist paintings based on began with painters such as van Cézanne’s very Bauhaus ideas that nature can be reduced to three solids: cube, sphere and cone. With Gogh, Cézanne and Toulousethis Picasso created the painting Lautrec. At the beginning of Les Demoiselles d’Avignon the 20th century Henri Matisse in which woman appear very and several other young artists reminiscent of tribal masks revolutionised the art world of mixed with his Cubist inventions. Paris with wild, multi-coloured, expressive landscapes and figure paintings that the critics called ‘Fauvism’. Matisse’s two versions of The Dance signified a key point in his development of modern


Realism

Realism 1850-1880 Realism in France appears after the 1848 Revolution. These realists positioned themselves against romanticism, a genre dominating French literature and artwork in the late 18th and early 19th centuries. Realists believed in being objective and revolted against the exaggerated emotionalism of the romantic movement. Artists include: Rosa Bonheur Thomas Eakins Gustav Courbet

Gleaners by Jean-François Millet (Bottom Left) Un enterrement à Ornans by Gustav Courbet (Top Middle) Fin du travail by Jules Breton (Bottom Middle) The Horse Fair by Rosa Bonheur (Above)


Impressionism Impressionism 1867-1886 Impressionism originated with a group of Paris-based artists whose exhibitions brought them to prominence during the 1870s and 80s. Characteristics of Impressionist paintings are small brush strokes, open composition, and accurate depictions of changing light. As well as common subject matter and the inclusion of movement and strange visual angles. Artists include: Édouard Manet Claude Monet Edgar Degar Auguste Renoir

Impression, soleil levant by Claude Monet (Bottom Left) Bal du moulin de la Galette by Auguste Renoir

(Top Left)

Petite fille dans un fauteuil bleu by Mary Cassatt (Middle Left) Un dimanche Grande Jatte

après-midi à by Georges

L’Absinthe

Edgar

by

Degas

l’Île de la Seurat (Left) (Top

Middle)

Les Deux Sœurs (Sur la terrasse) by Auguste Renoir (Above)


Post Impressionism

Post Impressionism 1885-1905 The Post Impressionists were a few independent artists at the end of the 19th century who rebelled against the limitations of Impressionism to develop a range of personal styles that influenced the development of art in the 20th century. The movement was massively influential to many other movements such as Cubism, Fauvism and Expressionism. Artists include: Vincent van Gogh Georges Seurat Paul Signac Paul Cézanne

I have seen this painting at The National Gallery in London. Bathers at Asnières is suprisingly large at a huge 3m x 2m. Also whilst the colours individually are all very muted but together seem very bright and vibrant. Its suprisingly simple style still manages to convey amazing detail. Portrait de Félix Fénéon by Paul Signac (Bottom Left) De sterrennacht by Vincent van Gogh (Middle Top) Mont Sainte-Victoire by Paul Cézanne (Middle Bottom) Une Baignade, Asnières by Georges Seurat (Above)


Symbolism Symbolism 1885-1910 Symbolism originated in France, and was part of a 19th century movement in which art became infused with mysticism. It was a continuation of the Romantic tradition and a reaction to the realistic approach of impressionism. The term Symbolism means the systematic use of symbols or pictorial conventions to express an allegoric meaning. Artists include: Odilon Redon Henri Rousseau Edvard Munch Paul Gauguin

La Vision après le Sermon (La Lutte de Jacob avec l’Ange) by Paul Gauguin (Bottom Left) La Bohémienne endormie by Henri Rousseau (Middle Top) Roger et Angelica by Odilon Redon(Bottom Middle Left) Skrik by Edvard Munch (Bottom Middle Right) Das Lied des Hirten by Pierre Puvis de Chavannes (Above)


Art Nouveau Art Nouveau 1890-1910 Art Nouveau is a global approach to decoration and architecture that dates back to 1890s. A reaction to academic art of the 19th century, it was inspired by natural forms and structures, not only in flowers and plants but also in curved lines. Architects tried to harmonise with the natural environment. Art Nouveau is considered a “total” art style, embracing all aspects of art and design. According to the philosophy of the style, art should be a way of life. For many welloff Europeans, it was possible to live in an art nouveau-inspired house with all art nouveau furnishings. Artists desired to combine the fine arts and applied arts, even for utilitarian objects. Artists include: Gustav Klimt Antonio Gaudi Henri de Toulousse Lautrec Egon Schiele

The

Kiss

by

Gustav

Klimt

(Left)

Sagrada Familia nave roof detail by Antonio Gaudí (Top) Unknown

by

Alphonse

Mucha

(Above)


Fauvism Fauvism 1900-1907 Fauvism is the style of les Fauves (French for “the wild beasts”), a short-lived and loose group of early twentieth-century modern artists whose works emphasised painterly qualities and strong colour over the representational or realistic values retained by Impressionism. Artists include: Henri Matisse Andre Derain Maurice de Vlaminck Georges Rouault

Charing Cross Bridge by André Derain (Bottom Left) Street Decked with Flags by Raoul Dufy (Middle) The Turning Road, L’Estaque by Andre Derain (Top) La

Danse

by

Henri

Matisse

(Above)


Expressionism Expressionism 1905-1925 Started in Germany out of fauvism as a way to use distortion and exaggeration to have a more emotional effect with the use of intense colors and bold brush strokes and outlines. Artists include: Ernst Ludwig Kirchner Emil Nolde Wassily Kandinsky Oskar Kokoschka

Adolf Loos by Oskar Kokoschka (Bottom Left) Komposition VII by Wassily Kandinsky (Middle Top) Skizze Wassily

für “Komposition Kandinsky (Middle

II”

by Bottom)

Seated Ernst

Girl (Fränzi Fehrmann) by Ludwig Kirchner (Above)


Cubism

Cubism 1908-1914 This was a movement that looked at the subject in a new way and from different viewpoints by analysing breaking it up into an abstracted form. Artists include: Pablo Picasso Georges Braque Marc Chagall Jean Metzinger (From

Left

Women’s The Violin Les

Head

Green and Demoiselles

to by

RIght)

Pablo

Picasso

Violinist

by

Pablo

Picasso

Palette

by

Pablo

Picasso

D’Avignon

by

Pablo

Picasso


Futurism Futurism 1909-1916 Artistic Movement that originated in Italy and was founded by Filippo Tommaso Marinetti. The artists expressed movement, speed, technology and violence as their subjects in their work. Artists include: Filippo Tommaso Marinetti Bruno Munari Igor Severyanin Vladimir Mayakovsky

Unique Forms by Umberto

of Continuity in Boccioni (Bottom

Space Left)

Abstract Speed + Sound by Giacomo Balla (Top Middle) The City Rises by Umberto Boccioni (Bottom Middle) Cyclist

by

Natalia

Goncharova

(Above)


Suprematism Suprematism 1915-1916 Russian abstract art movement that officially began with its first show in December, 1915. It was founded by Kasimir Malevich, who began developing the style in 1913. The style put emphasis on basic geometric shapes, namely the square, along with circles, rectangles, and triangles. Artists include: Kazimir Malevich El Lissitzky lya Chashnik Alexander Rodchenko

(From Black

Left Square

Suprematism Suprematist on White

to by

by

Kasimir Kasimir

Composition by Kasimir

Right) Malevich Malevich White Malevich


Dada

Dada 1916-1922 Dada or Dadaism was an art movement of the European avant-garde in the early 20th century. Dada was a movement that responded to the horrors of war and modern society. They saw World War I as being so insane that its existence called into question the validity of the society that produced it. Dada proclaimed itself anti-war, antiart, and was, in many ways, anarchic. The nonsense name and works of the movement were meant to draw attention to how nonsensical violence and war can be, and how insane it is to carry on with everyday life when such atrocities are occurring. Artists include: Marcel Duchamp Max Ernst Jan Tschichold Kurt Schwitters

(From

Left

to

Right)

In advance of the broken arm by Marcel Duchamp Bicycle Fountain

Wheel by

by

Marcel Marcel

Duchamp Duchamp


De Stijl

De Stijl 1917-1931 De Stijl was a Dutch artistic movement that also goes by the name of “neoplasticism.” The artists attempted to create a utopian ideal by reducing objects into pure, abstracted images that utilised horizontal and vertical lines as well as primary colors and “non-colors.” Artists include: Piet Mondrian Theo van Doesburg Bart van der Leck Jean Gorin

(From Composition and Yellow

Left

to with by

Contra-Construction Axonometric by

Red, Piet Piet

Right) Blue, Mondrian Project Mondrian

Broadway Boogie Woogie by Theo van Doesburg


Constructivism Constructivism 1919-1934 Constructivism was a Russian movement founded by Vladimir Tatlin and Alexander Rodchenko in 1915. Stylistically, it was influence by Cubism and Suprematism, but ideologically, it was a response to the modern world and its new technologies. Constructivist artists allowed the material to define the art work, and sought to create pieces that were either functional, or celebratory of the industrial world. According to their manifesto, “Constructivism is a purely technical mastery and organisation of materials.� It contrasted with Suprematism in that it did not wish to represent anything at all, not even ideas or feelings. Artists include: Vladimir Tatlin El Lissitzky Laszlo Moholy-Nagy Alexander Rodchenko

(From Design Third

Left for the International

Constructed Corner

to

Head

Right)

Monument to by Vladimir No.

Counter-Relief

2 by

by

Naum

Vladimir

the Tatlin Gabo Tatlin


Art Deco Art Deco 1920-1930 This movement finds itself as the most “modern” style for the time. Mostly associated with architecture, the machine-like chrome and industrialised metals, created a new look that caught the wave of the “The Golden Age” and the Roaring Twenties. Artists include: William Van Alen Tadeusz Lucjan Gronowski Tamara de Lempicka Josef Hoffmann

(From

Left

Poster starring de la

Right)

for Victorien Sardou`s Gismonda Sarah Bernhardt at the Théâtre Renaissance by Alphonse Mucha

Chrysler New York The

to

Musician

Building, by William by

Tamara

Manhattan, van Allen de

Lempicka


Surrealism Surrealism 1920-1940 A literary and artistic movement of dream-like expressionism. Combining prose, poetry, story, and art works, the authors and movers of this movement were specifically obsessed with capturing imagination and solving the mysteries that lie beneath the subconscious matters of the human mind. Artists include: Salvador Dali Man Ray Paul Klee Andre Breton

(From The Adam The

Left Persistence

of

and

Little

Elephant

to Memory Eve

Celebes

Right)

by

Salvador

DalĂ­

by

Paul

Klee

by

Max

Ernst


Abstract Expressionism Abstract Expressionism 1946-1960 Abstract Expressionism marks the shift of focus of modern art from Europe to the United States. The movement began post-world war II. Although the exact date of its start is unclear, the first use of the name “Abstract Expressionism” in regards to American Artists was in 1946 by art critic Robert Coates. Artists include: Jackson Pollock Mark Rothko Willem de Kooning Barnett Newman

Onement, I by Barnett Newman (Bottom Left) Full Fathom Five by Jackson Pollock (Bottom Middle) Who’s Afraid of Red, Yellow and Blue I by Barnett Newman (Bottom Right) Autumn by

Rhythm Jackson

(Number Pollock

30) (Above)


Colour Field Colour Field 1950-Present Colour Field painting is a style of abstract painting that emerged in New York City during the 40s and 50s. It was inspired by European modernism and closely related to Abstract Expressionism, while many of its notable early proponents were among the pioneering Abstract Expressionists. Colour Field is characterised primarily by large fields of flat, solid colour spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favour of an overall consistency of form and process. Artists include: Kenneth Noland Mark Rothko Hans Hofmann Morris Louis

Where The

by Gate

Morris by

Hans

Louis Hofmann

(Top

Left)

(Bottom

Left)

Mountains and Sea by Helen Frankenthaler (Top Right) No. 61 (Rust and Blue) by Mark Rothko (Bottom Right) Beginning

by

Kenneth

Noland

(Above)


Pop Art

Pop Art 1954-1970 Pop Art was the art movement that characterised a sense of optimism during the post war consumer boom of the 1950’s and 60’s. Pop Art was brash, colourful, young, fun and hostile to the artistic establishment. It included different styles of painting and sculpture from various countries, but what they all had in common was an interest in popular culture. The stark look of Pop Art emerged from a fusion of Dada collages and ‘readymades’ with the imagery of the consumer culture. It was seen as an antidote to the introspection of Abstract Expressionism. Artists include: Jackson Pollock Mark Rothko Willem de Kooning Barnett Newman

Just what is it that makes today’s homes so different, so appealing? by Richard Hamilton (Bottom Left) Drowning Girl by Roy Lichtenstein (Bottom Right) Flag by Jasper Johns (Top Left)


Photorealism Photorealism 1960-1970 Photorealism is the genre of painting based on using cameras and photographs to gather visual information and then from this creating a painting that appears to be photographic. Artists include: John Baeder Robert Bechtle Charles Bell Tom Blackwell

(From Ralph’s Monopoly

Left Diner by

to by

Ralph Doug

Right) Goings Bloodworth

John’s Diner with John’s Chevelle by John Baeder


Minimalism Minimalism 1960-1975 Minimalism was a reaction against the emotionally charged techniques of Abstract Expressionism and a further refinement of pure abstraction. It was an attempt to discover the essence of art by reducing the elements of a work to the basic considerations of shape, surface and materials. Colour was simply used to define space or surface. Artists include: Donald Judd John McCracken Dan Flavin Frank Stella

(From

Left

Free Voice IKB Hyena

Ride of

to by

Fire

191 Stomp

by by by

Right)

Tony

Smith

Barnett

Newman

Yves

Klein

Frank

Stella


Existing Covers Covers are very important to a magazine design. They are the first thing the potential audience sees and it is important to attract them and encourage them to buy/read your magazine as if they are not regular subscribers are bad cover design will no doubt make or break a potential sale. A cover will most likely consist of the masthead along with possibly a subtitle. Other text may also be on the front such as an insight or snippets taken from the inside articles so people will know what is contained within. There may also be an issue number or date of the issue, an image which is possibly somehow incorporated in with the text, perhaps by overlap. As well as this a barcode and publishers icon might also be featured (especially on the spine).

The text on the cover is itself slightly illegable, the gradients and change in opacity make it a beautiful design in itself so you tend to ignore the text.

This simple black and white design is elegant and although their are lots of different fonts within the front cover image, they all work as it is a typography issue. The amazing complexity of the front cover (the negative of the letters is cut out from the front revealing the page behind) is simply beautiful. Obviously this would be hard to repeat and would most likely be a one off due to the time taken to produce.

This magazine is a little unconventional and that’s probably why I’m not a fan. The image is very small, and has a lot of accompanying text and the font used in the masthead is some what illegable. It would be nicer if the image was larger and the large amount of text was designed. Maybe arranged in the shape of the image or in a single column down the side of the image.


Existing Covers Again lovely and simple, a nice monochromatic look. However I am not a fan of the massive masthead.

Another beautifully and intricately cut design. Whilst looking messy and unaligned, the well placed text in the larger gaps provides a nice effect. The grey and bright pink, whilst being fairly garish is a nice contrast especailly with the white.

While this magazine cover may be your run of the mill design but I’m not a fan. Lots of different sizes of text and weights I think make it look unorganised. All it’s different elements I just think look messy.

This is a nice and simple magazine cover. The model’s hair, and dress work perfectly together with the background and the masthead goes infront of her head instead of behind like in most mastheads.


Existing Covers I enjoy this Joker reference. However I’m not sure about the rest of the cover. A very simple image with a black, white and red theme is fine but I don’t like the large masthead or the different weights and sizes of the fonts.

I love this beautiful cover of the new yorker. This masthead only design with a beautifully illustrated Lincoln Memorial and Reflecting Pool.

This cover has a large bold patternd masked by an ugly font. In a word horrid.

Lovely illustration. I like the way they have used half a flap to mean when opened it provides a larger version. It’s both clever and beautiful.


Existing Covers I really don’t like the New York mastheads as the font is irregular. The accompanying text is of different weights and sizes and just looks odd. The accompanying illustration is just ugly.

This beautifully evocative magazine cover came in the wake of the Boston marathon bombings. Shoes of runners were collected and used to make this wonderful heart for the May 2013 editions cover.

It is rare that one issue of a magazine has more than one magazine cover. In this case ‘Variety’ has five versions. This simple cover with half of two peoples faces on each with a grey gradient. The masthead some what contrasts with dark hair but doesn’t look so good with the model with light hair. The yellow text is also a bit illegable.

This magazine cover is a desaturated photo of a chalk drawing on a wall. This was because it was ‘The Learning Issue’ and chalk is associated with learning. It is a beautiful cover.


Magazine Layout Magazine pages are often layed out on the grid system. This system is used as it leads to the page appearing profesional and well organised. When not using the grid pages can become clutered and look uneven and generally messy or on the other hand you may end up with large amounts of empty space which not only makes it look as if you haven’t bothered to create enough content but could end up costing you more money when it comes to printing as you could have put more content on the page which would have resulted in printing fewer pages. I came across these magazine pages and gridded them up and then recreated the layout used. Red areas represent images, black titles and subtitles etc. and grey is general text/content. I did this so I could get a general idea of what layouts are popular at the moment.


Magazine Layout


part three development


Masthead Designs

I decided to start of the creation of my masthead by rearranging the lettwers ‘NVL’ and ‘NEW’ in a large variety of ways. First of all I tried reflecting the different letters.


Magazine Layout


Masthead Designs


Masthead Designs

Then I tried this again but this time duplicating and offsetting the letters as well.


Masthead Designs

I then tried offsetting the letters individually before experimenting with removing the corners.


Masthead Designs

I decided to change to the light version of Helvetica and experiment with overlapping and individual rotation.


Masthead Designs

I also tried incorporating the words within the letter ‘N’ s well as creating some what of a continuous pattern.

NVL NVL

NEW

L

UA

VIS

LANGUAGE

GE

A GU

AN

L

UA

VIS

LL

UA

NEW

VIS

LANGUAGE

W

NE

N NN


Masthead Designs

I thought introducing some masking into the composition might look good too.

v v

NEW VISUAL LANGUAGE

NEW VISUAL LANGUAGE

new visual

new visual

language

language


Masthead Designs

NEW

VISUAL LANGUAGE

I also thought about the possibility of incorporating all three words as opposed to just the initials in the logo.

new visual language

newvisuallanguage NEWVISUALLANGUAGE NewVisualLanguage

new visual language


v

Masthead Designs

new visual language

Finally I decided the top four were my favourite and I would like to incorporate these into one somehow. The bottom idea is what I came up with.

new visual language


Masthead Designsnew

new

new

visual language

visual language

visual language

visual language

visual language

visual language

I then added some colour into the logo. I wanted to go with primary colours as it implies a Bauhaus Modernist theme. I wanted to hint at the classic Bauhaus red square, yellow triangle and blue circle. I didn’t like having the main feature of the logo (the ‘N’) being the lightest colour on there so that eliminated two options. I also didn’t want the ‘L’ to be yellow as I felt this gave off a very

National Geographic vibe. This left me with two options, (red ‘N’, yellow ‘V’ ,blue ‘L’) or (blue ‘N’, red ‘V’, yellow ‘L’). Since I did want to abide by the Bauhaus shape/colour therom as far as possible, I thought since the ‘L’ looks more like a square than the ‘N’, the ‘L’ should be red. This left me with my only remaining option.

new

visual language

new

new

new

visual language

new

new

new

new visual language

new


Masthead Designs Logo Specifications for New Visual Language — Main Version

Logo Specifications for New Visual Language — Short, Logomark & Favicon/Social Media Version

BRAND LOGO — MAIN VERSION

BRAND LOGO — SHORT, LOGOMARK FAVICON/SOCIAL MEDIA VERSION PRIMARY COLOUR PALETTE&— PANTONE, CMYK, RGB AND HTML

new

I then put these specification sheets. various versions of

on logo Producing the logo.

visual language

new

new

visual language

Grey padding indicates the Safe Zone; this is an area where other elements can be positioned

Pantone Violet C

Pantone 1797 C

Pantone Yellow C

C 100 M 100 Y 0 K 0 R 46 G 49 B 146 HTML #333092

C 0 M 100 Y 100 K 0 R 237 G 28 B 36 HTML #ED1C24

C 0 M 0 Y 100 K 0 R 255 G 242 B 0 HTML #FFF200

Pantone

Pantone 425 C

Pantone Gray 9 C

C 100 M 100 Y 100 K 100 R0 G0 B0 HTML #000000

C 0 M 0 Y 0 K 75 R 99 G 100 B 102 HTML #636466

C 0 M 0 Y 0 K 50 R 147 G 149 B 152 HTML #939598

visual language

The inner white area indicates Clear Space. This area must be kept free of other elements.

safely without encroaching on the logos Clear Space; think personal bubble.

The above Pantone colours speciification should be used where ever possible. When Pantone colours are not availble for real-world application then The inner white area indicates Clear Space. use the CMYK values indicated. This area must be kept free of other elements. When designing for the web then the above RGB or HTML values can be used.

According to Pantone Bridge each of the selected Pantone colours are, reasonably accurately, reproducible out of CMYK and RGB.

Grey padding indicates the Safe Zone; this is Thiswhere ensures thatelements wherevercan thebethe logo applied the brand colours an area other positioned keep aencroaching level of continuity. safelywill without on the logos Clear Space; think personal bubble.

TYPEFACE SELECTIONS BRAND MARK CREATION

BRAND MARK CREATION

Primary Typeface — Helvetica Neue Thin

new visual language

123457890 !@£$%^& * ()- =+ abcd efghijk lm no pqrs tu v wx yz AB CD EF G HIJ K LMNOPQRSTUV WX YZ

The objective was to fashion a brand mark that visually encapsulated the initials ‘NVL’ but also represented the topic,

The objective was to fashion a brand mark that visually encapsulated the initials ‘NVL’ but also represented the topic,

the colours representing the prinary colours. Which I believe heavily represent Bauhaus..

the colours representing the prinary colours. Which I believe heavily represent Bauhaus..

new visual language

New Visual Laguage logo & brand identity designed and developed by Rowan Hunt


Masthead Designs Finally I decided to remove the words from within the logo and create the words as an addition to the design. I performed an opinion poll on my friends and family and it was almost unanimous that the bottom was the best of all the potential outcomes.

new visual language


Masthead Designs This is my of my main

final specification masthead version.


Cover Designs

I took an image from each of my projects and experimented with them as a cover. The one above is from my street graphics project and shows the old weather worn sign that is outside my local pub.

This image is from my cabinet of curiosity project. The line, when overlaying a map, depicts the migration of my family. (The lowest point being london and the highest being Edinborough).

This is an image of earth taken from my earth artefact brief. The one on the right is from one of my cabinet of curiosity artist experiments inspired by Adrian Limani.


Cover Designs

I decided to experiment a little with the first cover design. It only confirmed my opinion that i don’t like it, mainly becasue the magazine is to be called ‘new visual language’ and this sign is old and delapitated.


Cover Designs I decided that despite the strong national geographic feel I want to go with the earth design. I think the detail and realism speaks to the modernism vibe I am trying to create with my magazine as opposed to the post modernism feeling the other designs give off.


Cover Designs Out of my three final choices I like the middle one best. I think that’s because the large masthead and blocked subtitle are more like the modernism magazines as opposed to the other designs with the vertical subtitle which are more like post modern magazines.


Cover Designs Finally I aligned and justified the subtitle to get it just how I wanted it. I also removed the barcode from the front and decided to put it on the back. Since I also needed a back cover design, I decided to use my Adrian Limani study for that as I felt since I wouldn’t be putting my artist studies in the actual magazine I would quite like to feature one in there somehow.


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