Shay Doyle New Visual Language Magazine

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City In Flux Here are my final four graphics peices for the project city in flux. My idea was to show signs control us and to show that they arent just those every day obejects that we see. The idea of these four contempary styles is to be rather simple and easy to look at and not take to long to get the idea of what you really need to look at.

My insperation and ideas for this city in flux project all came from the Chris Brown music video “Dont think they know�. At the start of this music video it shows street signs in colour and everything around it was in black and grey.

This video is what gave me the idea to do something rather simular but i My idea of showing that signs control was in two minds if i should just do the flux or the movement of the the same and make a video with people with in the city. Even though near enough the same consept or if i we see signs every day and we take should just do still images/ them so sub contiously to the point photographs of signs and to show where we follow what they say with people in these images to show that out even knowing that we are doing even though people are going on so. about there own business they are still having to follow what signs with My head set starting out in this in the city say and controls where project was to show the flow with in they go or how they do things. the city and that was that but as i procided through my project i started to become fixated on the idea of these signs we see to try and change it so we are free to do what we want when we want and how we please with out having to follow the rules of what these signs say.

Earth Artifacts Here is my Earth artifacts project final graphics pieces. My idea was to show simple illustrations of the anatomy of Earth, Animals, and the human body.

For the illustrations i wanted them to be really simple and not to busy.

The way i was looking at the illustrations to be done was to be simple and easy to look at like a three or four year old looks at images as thats how i thought an alien would look at the images as it would be something new to be looking at and trying to understand.

The text in my final pieces are just lines and lines or paragraphs of information to do with the illustrated image an to give the information of the anatomy of earth, animal (elephant), and human anatomy.

When doing this project i found it rather hard to get the ball rolling for ideas and once i started to get ideas i started to make head way throught my project and ihad chosen to go with this idea because it seemed to catch my eye more than the others, i dont have any other reason apart from that.

When i look back at these pieces i would probably change a few things but also if i was given the same brief again i would defiantly try another idea and different outcome not because i thionk it would be better although it may be but because id like to try different variuations of my styles and probably go back to my origional style where as in this first year i have tried different things to expand my self and find my own style.

Typography To create a typeface you need to have a rather steady hand, and to also think about it rather carefully and to think of how the out come of the type will look visually. Also to consider if your type would be used for web or for a tpe print.

At the start of coming up with the sketches for coming up with my ideas.I used a range of sources to get my insperation in which i would be able to create a typeface. I had done something of a simular thing of creating a typeface once before in college for a brief that we was given.

For this typeface we had to look at a variety of artworks and typefaces. I had a look at a variety of styles of different typefaces and when looking and trying out different styles i had gone for a thin or slim stylke of typeface but when it came to doing my final the continuation of my own side projectthat i was doing intailed in using brushes and scruffy brissols so my typeface came a lot from that.

To come up with my final design i had gone and used a drawing tablet to create the final type and used a brush stroke onto my typeface to get the look i wanted.

To the right is my final typeface, i believe i have created what i wanted to create which is a simplistic and clean yet slightyl messy as it isnt a typeface with clean cut edges and lineslike a lot of typefacesare.

Ithink all the letters in my typeface flow well together. I believe that my type would be used for web instead of print. And that this type would be used more for titles and headings.

Overall i am rather happy with my work. The final outcome that i have come up with works rather well even though it is also rather simple instead of busy and a lot going on with it.

Modernism Modernism, what is Modernism?

Well Modernism refers to the broad movement in western art, architecture and design which self consciously rejected the past as a model for the art of present, and placed an emphasis on formal qualities within artworks and processes and materials.

Modern art has also often been driven by various social and political agendas. These were often utopian, and modernism was in general associated with ideal visions of human life and society and a belief in progress.

The terms modernism and modern art are generally used to describe Modernism, which gathered pace the succesion of art movements that from about 1850, proposes new critics and historians have identified forms of art on the grounds that since the realism of gustav courbet, these are more appropriate to the culminating in abstract art and its present time. it is there for developments ip to the 1960s. By characterised by constant innovation that time modernism had become a and a rejection of conervative values dominant idea of art, and a such as the realistic depiction of the particularly narrow theory of world. This has led to experiments modernist painting has been with form and to an emphasis on formulated by highly influetial processes and materials. american critic clementgreenberg.

A reaction then took place which was quickly identified as postmodernism.

Brockman Josef M端ller-Brockmann was a swiss graphic designer and teacher. He was one of the leading pioneers of the Swiss Modernism and regarded as one of the most talented and resourceful advertising and design artists in Switzerland.

He was born the 9 May 1914 in Rapperswil, Switzerland and studied architecture, design and history of the art at the University and at the Kunstgewerbeschule of Zurich, under Ernst Keller and Alfred Williman.

He founded in 1967 M端ller-Brockmann & Co with Max Baltis, Rueddi R端egg and Peter Andermatt and was responsible for the signage of Zurich Airport and the identity of the SBB Swiss Railways

After an apprenticeship at Walter Diggelman, he established his own design practice in 1936 in Zurich, specializing in graphics, exhibition design and photography.

In 1943 he married violinist Verena Brockmann and changed his name to Joseph M端ller-Brockmann.

He is the author of several books such as The Graphic Artist and His Design Problems (1961), The History of Visual Communication (1971), History of the Poster (1971) and Grid Systems in Graphic Design (1981).

He has lectured at the International Design Conference (1956), the World Design Conference in Tokyo (1960), the University of Osaka (1961) and at Ulm Hochschule fur Gestaltung (1962-1963).

He was member of the Swiss Werkbund (1937), Verband Schweizer Grafiker (1938), He designed his first poster for the the Alliance Graphique Internationale (1951), Tonhalle-Gesellschaft of Zurich in 1950 and received several awards such as the Honorary his friendship with Samuel Hirschi, secretary Royal Designer for Industry (1988) decreed by of the Tonhalle, resulted in many years of the Royal Society of Arts, London and has had collaborative work (till 1972). exhibitions in Europe, Japan and the United States.

In 1957 he succeeded to Ernst Keller as graphic design teacher at the His clients included the Tonhalle-Gesellschaft, Kunstgewerbeschule of Zurich (till 1960) the Opernhaus of Zurich, the and in 1958 founded and co-edited the Kunstgewerbemuseum in Zurich, L+C, De Neue Grafik magazine with Richard Paul Bijenkorf, Rosenthal, Geigy, Olivetti, IBM, Lohse, Hans Neuburg and Carlo Vivarelli. the Zurich Airport and the SBB Swiss Railways.

He kept working, traveling and exhibiting his work until he died the 30 August 1996 in Zurich.

Hoffman Hoffmann was born in Brtnice, Moravia (now part of the Czech Republic). He studied at the Higher State Crafts School in Brno (Brünn) beginning in 1887 and then worked with the local military planning authority in Würzburg.

There after he studied at the Academy of Fine Arts Vienna with Karl Freiherr von Hasenauer and Otto Wagner, graduating with a Prix de Rome in 1895.

In Wagner's office, he met J oseph Maria Olbrich, and together they founded the Vienna Secession in 1897 along with artists Gustav Klimt, and Koloman Moser.

Beginning in 1899, he taught at the University of Applied Arts Vienna. With the Secession, Hoffmann developed strong connections with other artists.

He designed installation spaces for Secession exhibitions and a house for Moser which was built from 1901-1903. However, he soon left the Secession in 1905 along with other stylist artists due to conflicts with realist naturalists over differences in artistic vision and disagreement over the premise of Gesamtkunstwerk. With the banker Fritz Wärndorfer and the artist Koloman Moser he established the Wiener Werkstätte, which was to last until 1932. He designed many products for the Wiener Werkstätte of which designer chairs, most notably "Sitzmaschine" Chair, a lamp, and sets of glasses have reached the collection of the Museum of Modern Art, and a tea service has reached the Metropolitan Museum of Art.

Vignelli January 10, 1931 – May 27, 2014) was an Italian designer who worked in a number of areas ranging from package design through houseware design and furniture design to public signage and showroom design.

He was the co-founder of Vignelli Associates, with his wife, Lella.

His ethos was, "If you can design one thing, you can design everything," and this was reflected in the broad range of his work.

Vignelli worked firmly within the Modernist tradition, and focused on simplicity through the use of basic geometric forms in all his work.

Vignelli studied architecture at the Politecnico di Milano and later at the UniversitĂ di Architettura, Venice. From 1957 to 1960, he visited America on a fellowship, and returned to New York in 1966 to start the New York branch of a new company, Unimark International, which quickly became, in scope and personnel, one of the largest design firms in the world.

The firm went on to design many of the world's most recognizable corporate identities, including that of American Airlines (which forced him to incorporate the eagle, Massimo was always quick to point out).

Vignelli designed the iconic signage for the New York City Subway system during this period, and the 1970s–80s map of the system. Contrary to news reports, Vignelli did not design the Washington Metro Map, which was designed by Lance Wyman and Bill Cannan. Vignelli created the signage and wayfinding system for the DC Metro and suggested it be named "Metro" like many other capital city subways. Its original name was a mishmash of various states and transportation groups.

In 1971, Vignelli resigned from Unimark, in part because the design vision which he supported became diluted as the company diversified and increasingly stressed marketing, rather than design. Soon after, Massimo and Lella Vignelli f ounded Vignelli Associates.

Crouwel Willem Hendrik "Wim" Crouwel (born 21 November 1928) is a Dutch graphic designer, type designer, and typographer.

Between 1947 and 1949, he studied Fine Arts at Academie Minerva in Groningen, the Netherlands. In addition, he studied typography at what is now the Gerrit Rietveld Academie in Amsterdam.

In 1963, he was one of the founders of the design studio Total Design (currently named Total Identity). From 1964 onwards, Crouwel was responsible for the design of the posters, catalogues and exhibitions of the Stedelijk Museum in Amsterdam. In 1967 he designed the typeface New Alphabet, a design that embraces the limitations of the cathode ray tube technology used by early data display screens and phototypesetting equipment, thus only containing horizontal and vertical strokes. Other typefaces from his hand are Fodor and Gridnik.

In 1970 he designed the Dutch pavilion for Expo '70 (Osaka, Japan).

Later, Crouwel designed the Number Postage Stamps for the Dutch PTT, well known in the Netherlands during its circulation from 1976-2002.

In the years Crouwel worked for Total Design, he designed many geometric wordmarks, one of which is the wordmark for the Dutch Rabobank, designed in 1973. The lettershapes have been influenced by the fact that the wordmark had to be used as a 3D light box. After the 3D application was finalized, the 2D design for print was adapted.

According to Wim Crouwel, New Alphabet was ‘over-the-top and never meant to be really used’. However, as unreadable as it was, it made a comeback in 1988 when designer brett Wickens used a version of the font on the sleeve of Substance by Joy Division.

Boynton Jack Boynton was born in Fort Worth, Texas in 1928, and was known professionally as James until the early 1970s when he started signing as ???. He graduated from Lamar High School in 1945, received Bachelor of Fine Arts (1949) and Master of Fine Arts (1955).

He worked as an instructor at University of Houston from 1955–57, San Francisco Art Institute from 1960–62, and as a professor at University of St. Thomas (Texas) from 1969-1985.

He began exhibiting paintings in 1950; has been included in numerous group exhibitions, nationally and internationally, since that time at museums, galleries and universities. Boynton was a key figure in the post-World War II Houston arts scene.

According to a Houston Chronicle article written by Douglas Britt, Boynton garnered national attention in the 1950s and 1960s for his modernist, largely abstract paintings.

In 2008 Jack Boynton said: Artists in Houston in the 50s, 60s and 70s would have been Jim Love, Dick Wray, Herb Mears, Dorothy Hood, Charles Pebworth. Lowell Collins still had status in the 50s, and Henri Gadbois. Mildred Dixon Sherwood had some prominence. Of course, people like Stella Sullivan, you know. Stella was sort of conservative, even then.

The 50s was sort of the interim that Jerry MacAgy had big influence, and she had people that were either very enthusiastic about her, or were very negative about her. She didn’t seem to hit the halfway mark. Nobody was indifferent. Then in the 60s I moved to San Francisco, and back in ’62—and somewhere in that interim Sweeney came to town, and Sweeney sort of had sway for a while.

by Sarah C. Reynolds.

Post - Modernism Firstly, postmodernism was a movement in architecture that rejected the modernist, avant garde, passion for the new.

Modernism is here understood in art and architecture as the project of rejecting tradition in favour of going "where no man has gone before" or better: to create forms for no other purpose than novelty.

Modernism was an exploration of possibilities and a perpetual search for uniqueness and its cognate--individuality.

Modernism's valorization of the new was rejected by architectural postmodernism in the 50's and 60's for conservative reasons.

They wanted to maintain elements of modern utility while returning to the reassuring classical forms of the past.

The result of this was an ironic brick-a-brack or collage approach to construction that combines several traditional styles into one structure. As collage, meaning is found in combinations of already created patterns.

Following this, the modern romantic image of the lone creative artist was abandoned for the playful technician (perhaps computer hacker) who could retrieve and recombine creations from the past--data alone becomes necessary. This synthetic approach has been taken up, in a politically radical way, by the visual, musical,and literary arts where collage is used to startle viewers into reflection upon the meaning of reproduction. Here, pop-art reflects culture (American). Let me give you the example of Californian culture where the person--though ethnically European, African, Asian, or Hispanic--searches for authentic or "rooted" religious experience by dabbling in a variety of religious traditions. The foundation of authenticity has been overturned as the relativism of collage has set in. We see a pattern in the arts and everyday spiritual life away from universal standards into an atmosphere of multidimentionality and complexity, and most importantly--the dissolving of distinctions.

Carson David Carson (born September 8, 1954) is an American graphic designer, art director and surfer. He is best known for his innovative magazine design, and use of experimental typography.

He was the art director for the magazine Ray Gun, in which he employed much of the typographic and layout style for which he is known. In particular, his widely imitated aesthetic defined the so-called "grunge typography" era.

In 1983, Carson started to experiment with graphic design and found himself immersed in the artistic and bohemian culture of Southern California. He attended the Oregon College of Commercial Art. That year, he went to Switzerland to attend a three-week workshop in graphic design as part of his degree.

The teacher of the workshop, Hans-Rudolf Lutz, became his first great influence.

Carson became the art director of Transworld Skateboarding magazine in 1984, and remained there until Carson's first contact with graphic 1988, helping to give the magazine a design was in 1980 at the University distinctive look. By the end of his of Arizona during a two week tenure there he had developed his graphics course, taught by Jackson signature style, using "dirty" type and Boelts. From 1982 to 1987, Carson non-mainstream photographic worked as a teacher in Torrey Pines techniques.

High School in San Diego, California.

During that time, he was also a He was also the art director of a professional surfer, and in 1989 he spinoff magazine, Transworld was ranked as the 9th best surfer Snowboarding, which began in the world. publishing in 1987.

Brody Neville Brody (born 23 April 1957 in London) is an English graphic designer, typographer and art director.

Neville Brody is an alumnus of the London College of Printing and Hornsey College of Art, and is known for his work on The Face magazine (1981–1986) and Arena magazine (1987–1990), as well as for designing record covers for artists such as Cabaret Voltaire and Depeche Mode. He created the company Research Studios in 1994 and is a founding member of Fontworks. He is the new Head of the Communication Art & Design department at the Royal College of Art.

He was one of the founding members of FontShop http://www.fontshop.com in London and designed a number of notable typefaces for them. He was also partly responsible for instigating the FUSE project an influential fusion between a magazine, graphics design and typeface design. Each pack includes a publication with articles relating to typography and surrounding subjects, four brand new fonts that are unique and revolutionary in some shape or form and four posters designed by the type designer usually using little more than their included font. In 1990 he also founded the FontFont typeface library together with Erik Spiekermann.

Rand Paul Rand (August 15, 1914 – November 26, 1996) was an American art director and graphic designer, best known for his corporate logo designs, including the logos for IBM, UPS, Enron, Morningstar, Inc., Westinghouse, ABC, and Steve Jobs's NeXT. He was one of the first American commercial artists to embrace and practice the Swiss Style of graphic design.

Rand was a professor emeritus of graphic design at Yale University in New Haven, Connecticut from 1956 to 1969, and from 1974 to 1985.

He was inducted into the New York Art Directors Club Hall of Fame in 1972.

Paul Rand (Peretz Rosenbaum) was born on August 15, 1914 in Brooklyn, New York. He embraced design at a very young age, painting signs for his father's grocery store as well as for school events at P.S. 109. Rand's father did not believe art could provide his son with a sufficient livelihood, and so he required Paul to attend Manhattan's Harren High School while taking night classes at the Pratt Institute. Rand was largely "self-taught" as a designer, learning about the works of Cassandre and Moholy-Nagy from European magazines such as Gebrauchsgraphik. " Rand Also attended Parsons The New School for Design and the Art Students League of New York.

Vanderbyl Michael Vanderbyl' (born February 9, 1947 in Oakland, California) is a multidisciplinary designer based in the San Francisco Bay Area, and the principal of Vanderbyl Design. He received a Bachelor of Fine Arts in Graphic Design in 1968 from California College of Arts and Crafts (now known as California College of the Arts). He has taught graphic design at CCA for more than 30 years and currently serves as that college's Dean of Design.

He was one of the artists in the early 1980s that helped establish the San Francisco Bay Area as a center of the postmodern movement in graphic design. He established his own practice, Vanderbyl Design, in 1973.

Over the years his work has expanded from graphic design to designing furniture, products, showrooms and retail spaces.

Clients have included Esprit, Baker Furniture, The Walt Disney Company, IBM, AmericaOne, Robert Talbott, Teknion, The Blackstone Group and Luna Textiles.

He has designed products for, among others, McGuire Furniture, and HBF.

In 2000 Vanderbyl was awarded the medal of the American Institute of Graphic Arts (AIGA). He has been a member of the Alliance Graphique Internationale (AGI) since 1987. He was the recipient of a Lifetime Achievement Award from the International Interior Design Association (IIDA) in 2006. In 2012, he was inducted into the IIDA Hall of Fame.

His work is in the permanent collections of the San Francisco Museum of Modern Art, the Denver Art Museum, the Cooper-Hewitt National Design Museum, and the Library of Congress.

Kalman Tibor Kalman (July 6, 1949 – May 2, 1999) was an American graphic designer of Hungarian origin, well known for his work as editor-in-chief of Colors magazine.

Kalman became founding editor-inchief of the Benetton-sponsored Colors magazine in 1990. In 1993, Kalman closed M & Co. and moved to Rome, to work exclusively on the magazine. Billed as 'a magazine about the rest of the world', Colors focused on multiculturalism and Kalman was born in Budapest and became a U.S. resident in 1956, after global awareness. This perspective was communicated through bold he and his family fled Hungary to escape the Soviet invasion, settling graphic design, typography, and in Poughkeepsie, New York. He later juxtaposition of photographs and doctored images, including a series attended NYU, dropping out after in which highly recognizable figures one year of Journalism classes. In the 1970s Kalman worked at a small such as the Pope and Queen Elizabeth were depicted as racial minorities.

New York City bookstore that eventually became Barnes & Noble. Kalman remained the main creative force behind Colors, until the onset of He later became the supervisor of their in-house design department. non-Hodgkins lymphoma forced him In 1979 Kalman, Carol Bokuniewicz, to leave in 1995, and return to New York. and Liz Trovato started the design firm M & Co., which did corporate In 1997, Kalman re-opened M&Co and work for such diverse clients as the continued to work until his death in Limited Corporation, the new wave 1999 in Puerto Rico, shortly before a group Talking Heads, and Restaurant retrospective of his graphic design Florent in New York City's work entitled Tiborocity opened its Meatpacking District. Kalman also U.S. Tour of the San Francisco Museum worked as creative director of of Modern Art. A book about Kalman Interview magazine in the early and M&Co's work, Tibor Kalman: 1990s.

Perverse Optimist, was published by Princeton Architectural Press in 1999.

Helvetica Developed by the Haas'sche Schriftgiesserei (Haas Type Foundry) of M端nchenstein, Switzerland, its release was planned to match a trend: a resurgence of interest in turn-of-thecentury grotesque typefaces among European graphic designers that also It is a neo-grotesque or realist saw the release of Univers by Adrian design, one influenced by the Frutiger the same year. Hoffmann was famous 19th century typeface Akzidenz-Grotesk and other German the president of the Haas Type Foundry, while Miedinger was a and Swiss designs. Known as the "invisible typeface" due to the extent freelance graphic designer who had formerly worked as a Haas salesman of its visibility and influence, it is and designer. among of the most popular typefaces of the 20th century, its Miedinger and Hoffmann set out to use became a hallmark of the International Typographic Style that create a neutral typeface that had great clarity, no intrinsic meaning in emerged from the work of Swiss its form, and could be used on a wide designers in the 1950s and 60s. variety of signage. Originally named Over the years a wide range of Neue Haas Grotesk, it was rapidly variants have been released in different weights, widths and sizes, licensed by Linotype and renamed after the Latin adjective for as well as matching designs for a Switzerland. A feature-length film range of non-Latin alphabets. directed by Gary Hustwit was released Notable features of Helvetica include the termination of all strokes in 2007 to coincide with the 50th on exactly horizontal or vertical lines anniversary of the typeface's introduction in 1957. and unusually tight letter spacing, which give it a dense, compact appearance.

Helvetica is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with input from Edouard Hoffmann.

Grid system In graphic design, a grid is a structure (usually two-dimensional) made up of a series of intersecting straight (vertical, horizontal, and angular) or curved guide lines used to structure content. The grid serves as an armature on which a designer can organize graphic elements (images, glyphs, paragraphs) in a rational, easy to absorb manner. A grid can be used to organize graphic elements in relation to a page, in relation to other graphic elements on the page, or relation to other parts of the same graphic element or shape.

The less common printing term “reference grid,� is an unrelated system with roots in the early days of printing.

A page layout grid (shown in white lines) composed of a series of intersecting vertical and horizontal grid lines. The text (content) is not part of the grid.

The text content is applied to a particular page using the grid "flush left" along the bottom sides and right-hand sides of grid lines. The same grid may be applied to multiple pages using different types of content or different styles of the same content type.

The grid

Manifesto I aim to achieve my goals by trying out new things and styles and to experiment with my style and to change up the way i work.

Before i start the work i think about what i need to do and with in what the order of my work and what order i would do it in. So then i can organize myself and plan out what to do and when, although my time management for these projects this year haven’t been the best.

This year i have aprouched my work going against the grain and tried doing things differently and i have to admit not getting the best of work as i have been trying out new things with my work. I believe i have found my style and i am going to go back to that style and work on getting better at that style.

So for my second year i am defiantly going back to my own style and way of working and i believe my work will improve with staying with that style and also developing with in my skills as i would still be learningnew things.