FORM FOLLOWS FUNCTION
SOPHIA RIMMER
KEY WORDS
From the brief “New graphic design� i have taken away key words that i feel are key to the project. Moderism Post-modernism Society Industry Polictics architecture Art Bauhaus Swiss Ray gun Utopia Constructructivism Futurism Cubism Dada Wim Crouwel Max Miedinger
MODERNISM When?
Modernism started in the early 20th century. Society was experiencing war, the industrial revolution and new technology.
What?
Modernism was more than a ‘style’; it was way of thinking, conditioned by the new perceptions of space and time. It was a rejection of the historical precedents and a simplification of forms by a reduction of ornament. Within modernism, design seen the Art Nouveau, Cubism, Futurist, Bauhaus, Dada, Suprematist and the Neo-Plasticist movement.
Why?
William Morris outlined the modern belief that utility was as important as beauty he said “have nothing in your house that you do not know to be useful or believe to be beautiful.” “Form follows function” is the most influential quotation from modernist ideas said by Louis Sullivan. This was an idea Bauhaus designers followed.
Characteristics?
clean, straight lines, stainless steel, crome, metals, minimalism, lack of clutter and primary colours.
Graphic designers within modernism…
Max Bill, Armin Hoffman, Wim Crouwwel, Andolin Meaueler, Joseph Meueller, Alexi Brodovitch, Paul Rand, Bradbury Thompson, Saul Basws, Herb Lubalin, Milton Glaser and Max Miedinger.
“Have nothing in your house that you do not know to be useful, or believe to be beautiful,� Morris outlined the modern belief that utility was as important as beauty.
“Form Follows Function” -Louis Sullivan.
“A pioneer of abstract art, Malevich believed that it was possible to convey specific impressions through the interaction of squares, rectangles, circles, and triangles. In his 1915 Black Rectangle with Blue Triangle, the tension between the black and blue shapes is so intense that one can almost feel it, taste it and hear it. Malevich contributed to graphic design by celebrating the supremacy of black over all other colors. As far as he was concerned, a black square was the most powerful form there was. Dutch architect and typographer Piet Zwart, whose surname means “black,” agreed with Malevich: he used a stark letter P alongside an oversized black square as the logo for his letterhead. To this day, black is perceived as the color with the greatest graphic impact. Not only did Malevich influence the Constructivists, the De Stijl neoplasticists such as Zwart, and the Bauhaus minimalists, but also his work never ceased to be a reference forw countless designers eager to understand the principles of Modernism.” http://www.fastcodesign.com/1671117/9-big-ideas-that-changed-the-face-of-graphic-design#1
ARMIN HOFFMAN
ALEXEY BRODOVITCH
JOSEF MULLER-BROCKMANN
JOSEPH MUELLER
MODERN LAYOUTS
BORIS VARGAS VASQUEZ
MODERNIST TYPE Bayer Modern is based on Bauhaus artist Herbert Bayer’s universal alphabet designed in 1925. In the spirit of reductive minimalism, Bayer held radical opinions about functionality in typography and design.
Is it possible to find a strong friendly feel in a simple geometric face? Chogolisa is a fine modernist sans suitable for any purpose.
MODERNIST TYPE A modern geometric typeface influenced by architectural reproduction drawings such as blueprints and dyelines. The concept was to create a font that displays a simple elegance at large scale and would also be able to produce great legibility for body text.
Modulus is a clean, minimal, modern sans typeface. It looks smooth in any layout with its sleek rounded lines, use it for your magazines, brochures and editorial layouts.
SWISS STYLE
MĂźller-Brockman asymmetric layouts
developed in Switzerland in the 1950s that emphasizes cleanliness, readability and objectivity.
sans-serif typefaces
Akzidenz Grotesk, Emil Ruder, Armin Hofmann, Univers,
De Stijl
reduction to the essentials of form and colour. Theo van Doesburg. architects Gerrit Rietveld, Robert van ‘t Hoff, and J.J.P. Oud.
Architecture
Max Bill Bauhaus
MAX BILL
Max Bill was a Swiss Graphic designer. Bill is widely considered the single most decisive influence on Swiss graphic design. His WORK HAS expressive qualities deriving from the combination of colours used in each.
Max Bill wanted to design our environment. His life’s work has shown that beauty lies in total reduction or simplicity. He said, you do not see an object but a composition that is effective thanks to its creative elements.
POST-MODERNISM
When?
1870’s onwards. The world had just been through a war.
What?
Design era that followed modernism. Post Modernists believe in no absolute truth or objective reality. It’s an extremely visual and decorative movement.
Why?
Post modernism was a rebellion against the stiffness, limitations and aesthetic qualities of modern design. Charles Jenks says how post modernist designers “simply enjoy variety and take pleasure in the mixture of cultures.” They are only interested in new ideas; they try and promote parody, irony and playfulness. Society had just been through a world war, which put restraints on design, post modernist designers saw the change in society as an opportunity to experiment and develop new ideas.
Characteristics?
Impure, chaotic, irregular, crude, ‘Ray Gun effect’, ripping, shredding, remaking of letters, playfulness, collages and heightened use of colour.
Graphic designers within Post modernism…
Terry Jones, Kurt Schwitters, David Carson, Neville Brody, Jeffery Keedy, The Memphis group, Wolfgang Weingarts, Tibor Kalman and April Greiman.
“pretty much everything was allowed in the professionalized field of graphic design� -Mr. Keedy published in 1998 in Emigre 47.
NEVILLE BRODY
MARIE LEIGHTON
JAKE PEARCE
DAVID CARSON
DAVID CARSON
David Carson uses abstractness and harsh contrasts in textures, type and colour to create designs that are truly inspiring and fun to view. “Incredibly chaotic, colourful, intuitive, self indulgent, emotional,experimental and expressive. ”- The Graphic. Computer Arts: Do you think designers need to put more emphasis on readability or tone when selecting type? David Carson: They don’t have to be exclusive. The emotion of a piece and its type are extremely important to sending your message. Hopefully the writing actually backs up the design. But I’d say pick a font that expresses the tone of the message first.
TERRY JONES
EXPERIMENTATION
EXPERIMENTATION
Inspired by the way Max Bill uses architecture to influence his graphic work I decided to go out onto the streets of Huddersfield do some primary research to help influence my design. Firstly I looked at old buildings, these contained curvy structures and heavy detailing. When I looked at this building I noticed how the modernist approach contained minimal detail and geometric shape.
EXPERIMENTATION
POST MODERNIST TYPE
DAVID CARSON
POST MODERNIST TYPE
JAMIE REID
MAST-HEAD
EVOLUTION OF THE MODERN GRID
After World War II, a number of graphic designers, including Max Bill, Emil Ruder, and Josef Müller-Brockmann, influenced by the modernist ideas of Jan Tschichold’s Die neue Typographie (The New Typography), began to question the relevance of the conventional page layout of the time. They began to devise a flexible system able to help designers achieve coherency in organizing the page. The result was the modern typographic grid that became associated with the International Typographic Style. The seminal work on the subject, Grid systems in graphic design by Müller-Brockmann, helped propagate the use of the grid, first in Europe, and later in North
GRID LAYOUTS
The Rule of Thirds is a visual arts rule that states that an image should be imagined as divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections. Aligning a composition according to Rule of thirds creates more tension, energy and interest in the composition than simply centering the feature would.
MAST-HEAD New Graphic Design
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Graphic Des Graphic Design Graphic ap phic Design g Graphic p Design Graph ph hic h ic Desig Design aphic Des Design
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MAST-HEAD
Form Follows Advertising Function
MAST-HEAD
Design week
The New Basics
FRONT COVER
FRONT COVER
FRONT COVER
FRONT COVER
FRONT COVER
FRONT COVER
FRONT COVER
GG RAPHIC
NEW
NEW
MAST-HEAD
RAPHIC
DESIGN DESIGN
FRONT COVER
MAST-HEAD
FRONT COVER
FRONT COVER
MAST-HEAD
NEW GRAPHIC
DESIGN
FRONT COVER
FRONT COVER
FRONT COVER
FRONT COVER
GRIDS
LAYOUTS
LAYOUTS
DEVELOPMENT
DEVELOPMENT
DEVELOPMENT
DEVELOPMENT
DEVELOPMENT
DEVELOPMENT
DEVELOPMENT
DEVELOPMENT
MODERN DEVELOPMENT
MODERN DEVELOPMENT
MODERN DEVELOPMENT
MODERN DEVELOPMENT
MODERN DEVELOPMENT
MODERN DEVELOPMENT
MODERN DEVELOPMENT
MODERN DEVELOPMENT
FINAL DESIGNS
FINAL DESIGNS
FINAL DESIGNS
FINAL DESIGNS
FINAL DESIGNS