natasha kosak new visual language TFD1411-1415: 1415 - Foundation Studio Practice
TFD1411-1415: 1415 - Foundation Studio Practice
Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.
Antoine de Saint-Exupery
TFD1411-1415: 1415 - Foundation Studio Practice
Modernism can be defined as a philosophical movement which took place during the late 19th and early 20th century. Factors that shaped modernism were the development of modern industrial societies and the vast growth of cities, followed then by World War I. This movement of modernism included art styles such as; Impressionism, Cubism, Fauvism, Futurism and Surrealism. Artists from the modernist era include; Matisse, Fernand Leger, Max Ernst, Magritte, Kandinsky and many others. ‘Function should always dictate form’ was a huge focus in this movement. The movements overall concept was to completely reject all prior theories and design, specifically the idea of ‘realism’ and to create something more unique, original and at the time often controversial. Modernism drastically changed many aspects of design including typography. Prior to the movement typography was very elaborate and over-decorated however after this movement type bean to become more simplistic, clean and structured with the introduction of the grid system. These new typefaces included; Helvetica Neue, Futura and Franklin Gothic. TFD1411-1415: 1415 - Foundation Studio Practice
Modernism
modernism mɒd(ə)nɪz(ə)m noun modern character or quality of thought, expression, or technique. “a strange mix of nostalgia and modernism” a style or movement in the arts that aims to depart significantly from classical and traditional forms. “by the post-war period, modernism had become part of art history” a movement towards modifying traditional beliefs in accordance with modern ideas, especially in the Roman Catholic Church in the late 19th and early 20th centuries.
Postmodernism was an art movement during the a late-20th-century that was a progression from modernism in the arts and architecture. Postmodernism is known as ‘weird for the sake of weird’. It is often chaotic and meaningless , it is very fragmented. Postmodernism includes interpretations of culture, literature, art, philosophy, history, economics, architecture, fiction, and literary criticism. It is often associated with deconstruction and post-structuralism because its usage as a term gained significant popularity at the same time as twentieth-century post-structural thought. Modern design treats ornament, or decoration, as a dangerous supplement. It seeks the foundations of design and rejects the unnecessary. The term postmodernism has been applied to a host of movements, mainly in art, music, and literature, that reacted against tendencies in modernism, and are typically marked by revival of historical elements and techniques.
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Post Modernism
postmodernism pəʊstˈmɒdəˌnɪz(ə)m noun a late 20th-century style and concept in the arts, architecture, and criticism, which represents a departure from modernism and is characterized by the selfconscious use of earlier styles and conventions, a mixing of different artistic styles and media, and a general distrust of theories.
Expressionism
originated in Paris in the 19th century. Artwork created throughout this era was typically lacking detail as the concept of this movement was to re-create something by just a quick glance usign short, harsh brush strokes. Impressionist art creates the illusion of movement using unusual angles and lighting tricks using different brush strokes. The most famous impressionist artists include; Claude Monet, Édouard Manet, Paul Cézanne and Camille Pissarro.
Cubism
Cubism was one of the most radical, innovative and influential ‘ism’ of the twentieth century. It began in the early 20th century and was a joint invention by Pablo Picasso and George Braque in Paris in 1907. The complete flattening of space and the use of blocks of colour seen in Klee’s painting derived from the cubists paintings recently seen in Paris. Their achievement was built upon the foundation of Picasso’s early work.
Dadism
The dutch term ‘de stijl’ means ‘the style’. The movements leading artist was Piet Mondrain (18721944). Beginning with work quite similar to Picasso’s ‘Ma Jolie’, he gradually moved from radical abstractions of landscape and architecture to a simple form of geometric art. Mondrain disliked the sight of nature so much, that when seated at a table in a restaurant with a view of the outside, he would ask to be moved. Artist associates with the De Stijl movement include El Lizzitsky and Gerrit Rietveld.
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The Dada movement began with the opening of the Cabaret Voltaire in Zurich of February 5th, 1916. The Carabet’s founders, German actor and artists Hugo Ball (1886-1927) and his companion, Emmy Hennings, a nightclub singer, had moved to neutral Switzerland when the war broke out. The carabet immediately attracted a circle of avantgarde writers and artists of various nationalities who shared in Ball’s and Hennings’s disgust with bourgeois culture, which they blamed for the war. The term ‘dada’ was chosen for its flexibility. In German the term means baby talk; in French ‘hobbyhorse’; in Russian, “yes, yes”; and in Romanian, “no, no”.
De Stijl
Modernist Movements
was a modernist movement that originated in Germany in the beginning of the 20th Century. It originally began in poetry and painting. Expressionist artists aim was to express meaning or emotional experiences rather than physical reality. Expressionism was developed as an Avantgarde style before WW1. The style affected a wide range of art including architecture, painting, dance, theatre and film. Expressionism remains popular during the Weimar Republic, expecially in Berlin. The Weimar Republic was the part of the interwar period between Germany’s defeat in World War I in 1918 and Hitler’s rise to power in 1933
Impressionism
Pop Art
In the second phase of abstract expressionism, (late 1940’s) two different approaches emerged. One of which, based on active painting handling, i.e. action painting or gesturalism. Jackson Pollock began to replace painted symbols with freely applied paint.
Minimalism
is used to describe a trend in design and architecture, where the subject is reduced to its just its necessary elements. In the arts, minimalism began in post–World War II Western Art 1960s and early 1970s. It derives from the reductive aspects of modernism. Architect Ludwig Mies van der Rohe adopted the motto “Less is more” to describe his design aesthetic. Artists associated with minimalism include Donald Judd, Agnes Martin, Anne Truitt, and Frank Stella
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Abstract Expressionism is a term that designates a wide variety of work - not all of it abstract nor expressionistic - produced in New York between 1940 and 1960. Abstract Expressionism is also known as the art of The New York School, a more neutral label many art historians prefer. The Abstract Expressionists found inspiration in both cubist formalisation and surrealistic automatism, two very different strands of modernism. One of the first artists to bring these influences together was Arshile Gorky (19041948) and Jackson Pollock (1912-1956). The most famous Abstract Expressionist, Jackson Pollock was influenced into action painting.
Action Painting
Post Modernist Movements
around 1961, several exhibitions in New York City featured art and played on popular culture for subject matter and style. Many critics were alarmed by the movement of Pop Art, uncertain whether it was embracing or parodying popular culture and thought might threaten the survival of both modernist and high culture. American artists such as Roy Lichtenstein were the first to embrace the look, as well as the subjects of popular culture. In 1961, Lichtenstein began producing paintings whose style - featuring heavy outlines and benday dots, used to add tone in printing - and imagery were drawn from cartoons and advertisements. Artists from the Pop Art movement included Roy Lichtenstein and Andy Warhol.
Abstract Expressionism
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Modernism to Post Modernism
The decline of Modernism in the various arts was neither uniform nor sudden. Its gradual erosion occurred over a long time and was the result of many individual transformations. The many approaches to act that have emerged from the ruins of modernism are designated by the term of postmodernism.
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Bauhaus
During the 1930’s in Germany, there was a strong political reaction to avant-garde art. One of the principal targets was the Bauhaus, the art and design school founded in 1919 by Walter Gropius, where Paul Klee, Wassily Kandinsky, Josef Albers, Ludwig Meis Vander Rohe and other luminaries taught. Through much of the 1920’s The Bauhuas has been struggling against an increasingly hostile political climate. In order to avoid having the school shut down, Gropius moved in to Dessau in 1926. Gropius left the Bauhaus not long after its relocation. His successors faced increasing political pressure on the school because it was one of the prime centers of modernist practice, and again they were forced to move it in 1932. This time to Berlin. After Adolf Hitler came to power in 1933, the Nazi party mounted an aggressive campaign against all modernist art. During Hitlers first year of regime, the Bauhaus was forced to close for good. Key ideas constituted the Bauhaus philosophy include new ideas in practice, visual science, ‘utopian dream/ aspirations’ and revolution in art education. The foundation course we know today came from the Bauhaus School. Bauhuas has a huge emphasis on geometry and primary colours in the foundation course. They produced many items we still use today. Many ‘bauhaus’ products would not look out of place as a modern piece in our houses today. We are still producing and selling a wooden shape game said made out of colours, geometric wooden shapes that was designed by a Bauhaus student. Theatre was also a vital part of Bauhaus as it brought lots of different artist movements together (Triadisches Ballett) Professor Kurt Kranz was the first graduate to then go on to teach at Bauhaus Due to the Bauhaus, graphic design was completely re thought - serif fonts were basically banned and layouts were completely rethought.
1890-1941 El Lissitzky was a russian painter, typographer, architect and designer, born in Polshinok. He studied architecture at the Polytechnic in Darmstadt (years 1909-14) and returned to Moscow where he began to work in an architect’s office. In 1817, Lissitzky began to illustrate Jewish books for children, in a style influenced by Chagall and popular prints. In 1919 Lissitzky was appointed professor of architecture and applied art at the art school in Vitebsk. He began to make abstract pictures which he called ‘Prouns’, as ‘the interchange station between painting and architecture’. Lissitzky designed books and periodicals with radical innovations in typography and photomontage. He id no further painting, but devoted himself mainly to designing periodicals and exhibition displays, including an exhibition room for the Landesmuseum. Lissitzky died in Moscow in 1941.
1. Part of the Show Machinery 1923
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6. Sportsmen 1923
El Lissitzky
9. Gravediggers 1923
10. New Man 1923
Study for Homage to the Square 1963
Delta 1939
Josef Albers
Untitled Abstraction V c.1945
Study for Homage to the Square 1964
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1888-1976 German-American painter and teacher Josef Albers was born in Bottrup, Germany. He tained as a teacher at Büren 1905-08 and taught for several years in a school. Studied at the Royal Art School, Berlin, 1913-15 (painting his first abstract picture in 1913), the School of Arts and Crafts, Essen, 1916-19, the Munich Academy 1919-20, and the Bauhaus, Weimar, 1920-03, studying assemblage glass painting. He was on the staff of the Bauhaus 1923-33, first at Weimar and then at Dessau when the school moved, teaching typography, furniture design, basic design and more. After the closure of the Bauhaus in 1933 he settled in the USA where he taught at Black Mountain College, North Carolina, 1933-49, was head of the Department of Design, Yale University, New Haven, 1950-09. He also taught widely elsewhere. His interest in making series of colour or tonal variations using a standardised abstract compositional schema began in 1932-05 with his ‘Treble Clefs’ and culminated from 1949 onwards in the series of paintings (see right), lithographs and screenprints ‘Homage to the Square’ as a systematic exploration of colour relationships. in 1976, Albers died in New Haven.
Swinging 1925
Braunlich (Brownish)1931
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Composition VIII 1923
Cossacks 1910–1
Wassily Kandinsky
1866-1944 Russian-born painter, wood-engraver, lithographer, teacher and theorist; pioneer of abstract art, Kandinsky was born in Moscow and studied law and economics at Moscow University. He declined the offer of a chair at the University of Dorpat in 1896 and moved to Munich to study painting. Kadinsky spent two years at the AzbĂŠ School, afterwards attended the Academy under Stuck. Kandinsky began creating paintings and woodcuts inspired by Russian folk art and fairy tales, and also landscape studies painted directly from nature. He developed rich, Fauvelike contrasts of colour, then began to eliminate the representational element from his paintings and compose with abstract colours and shapes, which he is famously known for now. Began to work with precise, geometrical forms and published in 1926 Point and Line to Plane. After the closure of the Bauhaus by the Nazis, spent his last years from 1933 in Paris, where he died.
1887-1948 Kurt Schwitters was a german painter, sculptor, typographer and writer, born in Hanover. He studied at the School of Arts and Crafts in Hanover 1908-09 and at Dresden Academy 1909-14. Expressionism and Cubism were hude infulences for Schwitters. In 1918 he created his own form of Dada in Hanover called ‘Merz’, using rubbish materials such as labels, bus tickets and bits of broken wood in his collages and constructions. Schwitters fled to London, after release from internment on the Isle of Man in 1940 and spent seventeen months in internment camps, then lived in London until the end of the war. In 1945 he moved with his English partner Edith Thomas to live in Ambleside in the Lake District. There, largely unknown and unrecognised, he struggled to earn a living by painting portraits of local people and Lake District landscapes.He began a further Merz construction in an old barn at Langdale. He died at Kendal in 1948.
Z 105 Portals of Houses 1918
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(The Clown) c.1945–7
Kurt Schwitters
Chicken and Egg 1946
Opened by Customs 1937–8
1947Jamie Reid is an English artist and anarchist, his work, featuring letters cut from newspaper headlines in the style of a ransom note, came close to defining the image of punk rock, particularly in the UK. His best known work includes the Sex Pistols album Never Mind the Bollocks, Here’s the Sex Pistols and the singles “Anarchy in the UK”, “God Save The Queen”, “Pretty Vacant” and “Holidays in the Sun”. He was educated at John Ruskin Grammar School in Croydon. Reid produced a series of screen prints in 1997 for the twentieth anniversary of the birth of punk rock. Then ten years later on the 13th anniversary of the release of “God Save the Queen”, Reid produced a new print entitled “Never Trust a Punk,” based on his original design which was exhibited at London Art Fair in the Islington area of the city. Reid has also produced artwork for the world music fusion band Afro Celt Sound System.
No Feelings 1977
Work and Play 1972
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Jamie Reid
God Saved The Queen
International Festival of Creativity 8.4.15
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GRAFIK 15 Zurich, March 2015
International Festival of Creativity 8.4.15
David Carson
1954 David Carson is an American graphic designer and art director. He is best known for his innovative magazine design, and use of experimental typography. Carson was hired by publisher Marvin Scott Jarrett to design Ray Gun, an alternative music and lifestyle magazine that debuted in 1992. 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. Carson’s first contact with graphic design was in 1980 at the University of Arizona during a two week graphics course, taught by Jackson Boelts. He attended San Diego State University, graduating with a Bachelor of Arts in Sociology. 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. He named and designed the first issue of the adventure lifestyle magazine Blue, in 1997. David designed the first issue and the first three covers, after which his assistant Christa Skinner art directed and designed the magazine until its demise. Carson’s cover design for the first issue was selected as one of the “top 40 magazine covers of all time” by the American Society of Magazine Editors.
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Neville Brody
1957 Neville Brody born in London is an English graphic designer, typographer and art director. He attended Minchenden Grammar school and studied A-Level Art, very much from a fine art viewpoint. In 1975 Brody went on to do a Fine Art foundation course at Hornsey College of Art. In 1976, Brody started a three-year B.A. course in graphics at the London College of Printing. His tutors often condemned his work as “Uncommercial”, often putting a heavy emphasis on safe and tested economic strategies, as opposed to experimentation He 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. By 1977, punk rock was beginning to have a major effect upon London life and, while this had a great impact upon Brody’s work and motivation, was not well received by his tutors. At one point he was almost thrown out of the college for putting the Queen’s head sideways on a postage stamp design. 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.
Zurich Juni Festwochen Poster 1957
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Zurich Beethoven Poster 1955
Brahms Strauss Poster 1955
Josef Muller-Brockmann
1914 - 1996 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. Born the 9 May 1914 in Rapperswil, Switzerland M端ller-Brockmann studied architecture, design and history of the art at the University and at the Kunstgewerbeschule of Zurich, under Ernst Keller and Alfred Williman. After an apprenticeship at Walter Diggelman, he established his own design practice in 1936 in Zurich, specializing in graphics, exhibition design and photography. He designed his first poster for the Tonhalle-Gesellschaft of Zurich in 1950 and his friendship with Samuel Hirschi, secretary of the Tonhalle, resulted in many years of collaborative work (till 1972). In 1958 M端ller-Brockmann went on to found and co-edit the Neue Grafik magazine with Richard Paul Lohse, Hans Neuburg and Carlo Vivarelli. His clients included the Tonhalle-Gesellschaft, the Opernhaus of Zurich, the Kunstgewerbemuseum in Zurich, Swiss Automobile Association Poster 1957 L+C, De Bijenkorf, Rosenthal, Geigy, Olivetti, IBM, 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.
Swissted is an ongoing project by graphic designer Mike Joyce, owner of stereotype design in New York City. Drawing from his love of punk rock and swiss modernism, two movements that have (almost) nothing to do with one another, mike has redesigned vintage punk, hardcore, new wave, and indie rock show flyers into international typographic style posters. Each design is set in lowercase berthold akzidenzgrotesk medium (not helvetica). Every single one of these shows that the posters advertised actually happened.
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Mike Joyce
Leading Leading refers to the spacing between the baselines of type where the letters ‘sit’. Leading is an essential design aspect that determines how text is spaced vertically in lines. Descenders, the parts of certain letters that are longer, such as a lowercase g, fall below the baseline. Ascenders are the opposite, letters with taller features, such as the letter h. Like kerning, leading can also be changed manually to change the aesthetics and to even save space on the page. Tracking Tracking is often confused for kerning, but the concept is a little different. Tracking involves adjusting the spacing throughout the entire word. Once you’ve determined the right spacing between each letter, tracking can be used, with great restraint, to change the spacing equally between every letter at once. Tracking is generally used to fill a space that’s larger or smaller than currently suits the type’s parameters or to make a single word seem airy and impressive. You should be very careful when changing the tracking, as it can quickly lead to difficulty in reading.
The Modern typography states as its first objective to develop its visible form out of the functions of the text. For modernist designers it is essential to give pure and direct expression to the contents of whatever is printed.
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“There are times when I think I can take a shortcut, and work directly on the computer, and there’s maybe one or two times when that’s been successful for something very specific, but usually, I find that it somehow controls the way I think, and I can’t articulate how it’s affecting me but I do know it’s affecting me. It causes me to make strange decisions.” says Bantjes.
Typography
Kerning Kerning also adjusts space, but of the distance between two letters. Set too closely together, words are impossible to understand; set too far apart, and they’re awkward to read. If some letters have wider spacing and others narrower, it can be frustrating for someone to read without fully understanding what’s wrong.
The hallmark of early modern typography is the sans-serif typeface. “Because of its simplicity, the even weight of its lines, and its nicely balanced proportions, sans serif forms pleasing and easily distinguished word patterns — a most important element in legibility and easy reading.”
A Grid System is a structure made up of a series of horizontal and vertical lines which intersect and are then used as guides to arrange the documents content. It is a way of providing a consistent system for designers so that they can work to a structured layout to present the documents content in a more readable and manageable way. By using a grid system it becomes extremely easy to achieve consistency in your designs, which would be nearly impossible otherwise. The Grid System was made popular by the International Typo graphic Style movement and pioneered by legends like Josef Müller-Brockmann and Wim Crouwel.
Although the grid system is something that becomes invisible to the final viewer, but it is an incredibly vital tool to a designer.
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Although grid systems have been a significant tool to designers in print media, web developers have only recently noted interest in it. Some grid systems have fixed-width elements with pixels, and some are ‘fluid’. This means that they call for page element sizing to be in relative units like percentages, rather than absolute units like pixels or points.
The Grid System
After World War II, graphic designers Max Bill, Emil Ruder, and Josef Müller-Brockmann, began to question the relevance of the typical 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 America.
“ The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice. ” Josef Müller-Brockmann
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Hustwit urged us throughout a guest lecture with him and at the end told us if we take anything away from this talk it should be to pursue any ideas or concepts we have in the future that we think could be great because it is likely that someone else has the same idea and will either do it first or could help you achieve it. We also watched the Helvetica documentary this week during our Thursday seminar. I found it incredibly interesting and also found some artists that I think will inspire me in the future. I made a note of these for future reference. What I found most interesting from the guest lecture was a students question - Did Gary ever get the fonts mixed up and try include a clip of something that was a font that was not Helvetica? Gary said he often mixed them up and when he took the clips to the producers they would point it out and he had to take out a lot of footage due to this. This makes me feel much better about myself often missing fonts up. Characteristics tall x-height, which makes it easier to read in smaller sizes. An oblique rather than italic style, a common feature of almost all grotesque and neo-grotesque typefaces. two-storied a (with curves of bowl and of stem). narrow t and f. square-looking s. bracketed top serif of 1. rounded off square tail of R. concave curved stem of 7 Due to the sheer popularity of this typeface, and how well it suits a modernist theme I am going to be using a form of Helvetica throughout my research and my magazine.
Helvetica
HELVETICA Helvetica is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with input from Edouard Hoffmann. It is a neo-grotesque or realist design, one influenced by the famous 19th century typeface Akzidenz-Grotesk and other German and Swiss designs. One of the most popular typefaces of the 20th century, its use became a hallmark of the International Typographic Style that emerged from the work of Swiss designers in the 1950s and 60s. Over the years a wide range of variants have been released in different weights, widths and sizes, as well as matching designs for a range of nonLatin alphabets. Notable features of Helvetica include the termination of all strokes on exactly horizontal or vertical lines and unusually tight letter spacing, which give it a dense, compact appearance. The typeface even inspired a compelling and successful movie (Gary Hustwit’s Helvetica), whose premise is that on the streets of the world, the font is like oxygen. You have little choice but to breathe it in. Gary Hustwit is an independent filmmaker and photographer based in New York and London. He has produced and directed a number of documentaries including the 2007 film Helvetica During this guest lecture Hustwit discussed with us his trilogy of films 2007: Helvetica 2009: Objectified 2011: Urbanized. One of the reasons the trilogy was so successful was that in Hustwit’s interview’s the speakers were also given more freedom to talk about their passion, creating a more authentic conversation rather than a simple question/answer interview.
Louis Sillivan made his now famous remark that the development of a species comes about through the need to survive: the form of a creature is modified and develop to satisfy its basic needs. For example, the form of a Giraffe is explained by the function of feeding off the top branches of a tree - its as if the giraffes developed over time from straining to reach the top branches, stretching the neck.
Form Follows Function ‘The design/style comes after the main purpose/designed form’ ^ the design/style of something is pointless if the function is not considered For example, a Bird of prey - its hard to imagine that anything now isn’t designed and suited to its survival. In our world, an eagle is a perfect example of form follows function
Not all function is designed specifically for that, sometimes form is masked as function. I.e. streamline cars - if the shape specifically to make them more streamline or it is simply to attract it to a certain audience ‘… form ever follows function. That is the law.’ Sullivan thinks ‘true’ design evolves like species culture explained as nature is ideology all functions have a form but not all form is functional it ‘is’ the law, and it aught to be the law
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The development of things means the designs are formed to perfectly suited to its needs. i.e cars - the shaping of a car makes it more streamline so it goes faster, the engine etc. However the colour doesn’t effect the use of the car, that is purely visual/form.
Form Follows Function
Darwin over turned this idea, some thirty years before Sullivan wrote his article. Darwin showed that variations in the form of a species meant that some of them could function in the new and changing environments, but others could not. For Darwin, some could say ‘Functions follows Form’.
Kinfolk Magazine is an independent , relaxed lifestyle magazine, published by Ouur, that looks at ways for it’s readers to simplify their lives, cultivate community and spend more time with friends and family. It is based in Portland, Oregon, United States. Kinfolk was created by Nathan Williams, his wife Katie Searle-Williams and their friends Doug and Paige Bischoff in July 2011. The lifestyle magazine is aimed at young professionals. It aims to focus on home, work, play, food and community through photo essays, recipes, interviews, profiles, personal stories and practical tips. The writers, photographers, designers and chefs that contribute to Kinfolk are drawn from a large international pool of creative people, often featuring more than 50 individual contributors an issue. Kinfolk has been praised for its clean design and photographic aesthetic. The magazine is published in Chinese, Russian and Korean, and the company launched a Japanese edition in 2013.
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Kinfolk Magazine
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Magazine Content-City in flux
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Magazine Content-Earth Artfict
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Magazine Content-Typography
Typical errors * Too much material for the space allotted * Insufficient grouping * Masthead set in a face so small and dark it looks like a smudge * Slogan too overbearing * Date and volume information too large
Full bleed pictures used as a background: Amazing images can be as startling (and therefore useful for opener pages) as white space of huge type set sideways. If they are in colour, so much better. If you have such an image to use, you must restrain from spoiling it. Allow it to speak for itself, by adding an inescapable minimum of words.
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Contents To succeed, the contents page must be lucid, easy to absorb and simple enough to require no effort in anyones part to figure out. Also, the contents page must appear important, underlining the inherent importance of the material covered by the publication.
Article Pages Big pictures as openers: Vertical barrier The large vertical barrier is an excellent barrier between the page opposite and the start of a feature section if two conditions exist. (1) The page opposite must be in colour and the image in black and white (or vise versa) so that there is a visible split between the to images. (2) the direction of the image in the picture itself must force the viewer’s eye to the right, drawing it towards the head and text. If the picture were set to the left, it would pull the reader’s attention towards the page opposite this is exactly NOT the purpose of it. The headline typography is also best to be quite large, to act as a second attention grabber, if the vertical image in the gutter my the readers who flip through the magazine while holding the spine, causing them to miss the image all together. Horizontal magnet for the eye: A large picture used as enticement for the eye and attention of the reader, must have an interesting context as well as size. Just making any old image large cannot be expected to do the requisite job: the picture must also be journalistically meaningful.
Designing for magazine
Cover Page ‘The front cover of a magazine is what everyone on a publication cares about. It is an attention-grabber on the newsstand; an attention-seeker on a desk or on a coffee table; a curiosity arouser tempting one to look inside; in short, a showcase for the product.’ * The cover is what the public see first * It much express character as well as content * It must be believable, individual, have its own identity and its own image * It has to be manipulated in such a way that the reader, the buyer and the advertiser can all judge the book by its cover The magazine cover should appeal to the reader’s selfinterest Covers are made up of four elements 1) The basic format (the normal arrangement of the page, issue to issue) 2) The logo and ancillary information such as date etc. (Usually varying in colour) 3) The illustration (varying in subject and graphic treatment, issue to issue) 4) The cover lines (varying in words, of course, but also in position if the format allows)
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Current Mastheads
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Masthead development
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NL V NL V NL V NL V
N V L
I developed my logo by placing the letters NVL on top of each other and playing around with the alignment. I used different parts of each letter to make this up as when I had the whole of each letter they were crossing over too much and it was too complex. To simplify it to fit with the modernist design, I deleted parts of the letter so I just had the major points.
I developed another design further as I think I preferred the more abstract look. I looked in to all the colour combinations I could use Researching colour theory so make sure my logo had the right connotations.
Orange (Suffering an identity crisis) This colour is seen as cheerful, warm and extroverted. Apparently, orange was not a colour until the fruit ‘orange’ came to the UK. However, it is also used for prison jumpsuits. This is where the identity crisis comes in. On one hand it is bright and cheerful, but on the other it has this unpleasant attraction to danger and wrong doing due to the prison jumpsuits.
Green Green is associated to life, energy, nature and stability. It is the most restful colour as we are surrounded by it. it is seen as normality. However, the colour green can also represent decay, in china the colour green symbolises infidelity and in Israel it is seen to represent bad news.
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Yellow This is seen as a cheerful, happy colour. Our eyes react to yellow the most- it hits the retina first as it is such a light colour. On photoshop, when using the saturation, every colour gets darker yet yellow gets brighter. Yellow can also be seen as a cautious colour. In Japan the colour yellow means courage, but ‘Yellow House’ is a Russian colloquialism that means “insane asylum”.
Masthead development
Red (Primary Colour) This colour is seen to represent danger, anger and even romance. An example of the connotation danger can be seen in Schindler’s List, the girl in the red coat. In a very dull scene your eyes are drawn to this small girl in a red coat who is in danger of the german nazi’s finding her.
Blue Blue is understood to symbolise solitude, tranquility, isolation and melancholy. Yet is also has negative connotations such as sorrowful and ‘feeling blue’. In Russia blue symbolises homosexual, Germany means drunk and in Belgium the stereotypical gender influences are swapped. For a baby boy the go to colour is pink, and for a baby girl it is blue. A lot of banks use the colour blue in their logos and advertisement as the colour symbolises security and wealth.
Red (Primary Colour) This colour is seen to represent danger, anger and even romance. An example of the connotation danger can be seen in Schindler’s List, the girl in the red coat. In a very dull scene your eyes are drawn to this small girl in a red coat who is in danger of the german nazi’s finding her.
Yellow This is seen as a cheerful, happy colour. Our eyes react to yellow the most- it hits the retina first as it is such a light colour. On photoshop, when using the saturation, every colour gets darker yet yellow gets brighter. Yellow can also be seen as a cautious colour. In Japan the colour yellow means courage, but ‘Yellow House’ is a Russian colloquialism that means “insane asylum”. Purple Purple is a colour that is known to symbolise decadence, luxury and sensuality. It is known as an expensive colour. For example, cadbury uses the colour purple to imply the chocolate is an expensive luxury.
TFD1411-1415: 1415 - Foundation Studio Practice
Orange (Suffering an identity crisis) This colour is seen as cheerful, warm and extroverted. Apparently, orange was not a colour until the fruit ‘orange’ came to the UK. However, it is also used for prison jumpsuits. This is where the identity crisis comes in. On one hand it is bright and cheerful, but on the other it has this unpleasant attraction to danger and wrong doing due to the prison jumpsuits.
Masthead development
Green Green is associated to life, energy, nature and stability. It is the most restful colour as we are surrounded by it. it is seen as normality. However, the colour green can also represent decay, in china the colour green symbolises infidelity and in Israel it is seen to represent bad news.
TFD1411-1415: 1415 - Foundation Studio Practice
Masthead development
I decided to look back at my original sketches for logo designs and came across the more complex layered logo. I developed this using the same techniques as the previous one and I think this is the one I will use in my magazine. I think the way the shapes are formed look more like the letters ‘NVL’ than previously seen so I feel it represents the brand more and creates a more recognisable brand identity. Again I used the colour theory to develop my ideas and decide on colour. I am going to create a blue/green logo as the colour blue has connotations of solitude, tranquility, security and wealth, and the green life, energy and stability. I feel like this suits a modernist design magazine very well.
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Current Magazine Covers
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Current Magazine Covers
<------ Why my design WILL NOT be like this.
* Simplistic design * Follows modernist connotations * Aesthetically appealing * Complementary colours
<------
Why my design will be more like this.
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Current Magazine Covers
* No glossy headlines * In your face imagery * Crammed to the edges with overpowering text * I will aim for a simple, modernist design * I will focus on aesthetics, rather than â&#x20AC;&#x2DC;selling pointsâ&#x20AC;&#x2122; * Grid structure & organized layouts * Complementary colour scheme
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Magazine Cover Development
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Magazine Cover Development
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Magazine Cover Development
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Magazine Cover Development
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Current Magazine Layouts
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Current Magazine Layouts
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Current Magazine Layouts
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Layout development
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Layout development
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Layout development
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Layout development
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Layout development
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Layout development
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Layout development
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Final Page Designs
Stokstad, M. (1995). Art History. New York: Harry N. Abrams.
http://annetruitt.org
Kibbee, W: “Modern Trends in Typography”, The American Journal of Economics and Sociology, page 218. 1948. http://www.stcsig.org/mgt/docs/ModernTrendsinTypography.pdf
http://www.tate.org.uk/art/artists/el-lissitzky-1519
McLuhan, M: The Guttenberg Galaxy, page 258. University of Toronto Press, 1968
http://www.tate.org.uk/art/artists/wassily-kandinsky-1382
White, J.V. (1982). Designing for magazines (Second ed.). United States of America: R. R. Bowker Company.
http://www.tate.org.uk/art/artists/josef-albers-636
http://www.tate.org.uk/art/artists/kurt-schwitters-1912 http://www.danzigergallery.com/exhibition/pulse-miami
Marcotte, Ethan (March 3, 2009). “Fluid Grids”. A List Apart.
http://www.tate.org.uk/art/artworks/reid-no-feelings-t12836
http://www.tate.org.uk/art/
http://www.tate.org.uk/art/artworks/reid-work-and-play-t12837
White, J.V. (1982). Designing for magazines (Second ed.). United States of America: R. R. Bowker Company.
http://www.davidcarsondesign.com
http://www.paulshawletterdesign.com/2014/06/thenomenclature-of-letter-forms-a-brief-review-of-the-literature/ http://www.merzbarn.net/elterwatermerzba.html http://www.thegridsystem.org http://www.smithsonianmag.com/arts-culture/postmodernismsnew-typography-77489071/?no-ist
http://www.webdesignstuff.co.uk/di101/2012/01/25/gridsystems-in-web-design/
http://www.modern-theory.com/directories/muller-brockmann-josef/ http://www.swissted.com http://www.spherelife.com http://i-d.vice.com/en_gb http://www.fashionmagazine.com http://www.iconeye.com/magazine http://www.granddesignsmagazine.com http://www.demagazine.co.uk
http://www.ibiblio.org/wm/paint/auth/kandinsky/
http://www.kinfolk.com
http://totallyhistory.com/claude-oscar-monet-famous-paintings/
http://wallpapers.trending.space/wallpaper-magazine-logo-font/
http://www.arthistoryarchive.com/arthistory/cubism/Pablo-Picasso.html
http://yukoart.com/category/press/?year=&category_name=press&press_type=magazine
http://www.keithgarrow.com/modern-art-styles/dadaism-art.html
http://www.illumaphotography.co.uk/about-illuma-photography/
http://www.wikiart.org/en/el-lissitzky/preliminary-sketch-for-a-poster-1920
http://www.pinstopin.com/vogue-logo/ZWxsaW90Z2FybmVyKmZpbGVzKndvcmRwcmVzcypjb218MjAxMXwwM3x2b2d1ZV9sb2dvKmpwZw_ZWxsaW90Z2FybmVyKndvcmRwcmVzcypjb218MjAxMXwwM3wwMnxpLWdvdC10aGUtdm9ndWUtcGxhY2VtZW50fA/
http://www.tate.org.uk/art/artworks/lichtenstein-whaam-t00897 http://www.jackson-pollock.org
http://magazines.famousfix.com/tpx_2026106/vogue/1950_2
Bibliography
http://voyager.jpl.nasa.gov/spacecraft/goldenrec.html
http://www.researchstudios.com
TFD1411-1415: 1415 - Foundation Studio Practice
https://creativemarket.com/blog/2014/09/18/whats-thedifference-between-leading-kerning-and-tracking
https://uk.pinterest.com/natashakosak/-bookmagazine-layouts-/