Tuesday, 23 October 2012

GRAPHIC DESIGN & MODERNISM SEMINAR

- Modern
- Modernity
- Modernism

Pre-Modern .to Modern: 1700s, urbanisation, industrialisation. Form follows function, truth to design and materials. Celebratory, positive, championing the modern. Designs appealed to a mass audience, so needed to be made with appropriate materials which were true to design, and reproducible at a large scale. Back to basics. Internationalism.

Post-Modern: Design and Cultural Chaos. Negativity and naiveness. Social status and wealth conscious. Form doesn't follow function.

Modernism in Graphic Design:
- Rejection of ornament (Adolf Loos (1908) ornament and crime).
- Being stripped down to bare basics - minimalism
- Form Follows Function (Louis Sullivan (1896) "The Tall Office Building Artistically considered"

"All good Graphic Design should be invisible" - Should be able to read a page and not know that it has bee designed. If a design has been noticed it isn't good.

Designers:
- Appollinaire (1918, Il Pleut)
- Cheret
- The Futurists Design Group
- Toulouse-Lautrec (Poster Designer)
- Fortunato Depero (1927, Bolted Book)

Features:
- Flatter Colours
- Cheaper/Easier to manufacture
- Flat aesthetic
- Image based text
- Aesthetic innovation
- Thought provoking design
- Concrete poetry
- Industrial materials
- Stripped down to basics
- Typography

1927 - book about modernist type, history etc. Only 'Grotesk' fonts were used (geometrical, stripped down Sans Serif font). This turned into Helvetica, which is Roman for Switzerland where the typeface was designed.

International Typographic Style:
- Switzerland post WWII
- Grid Structure, Columns, Tightly organised
- Aksidenz Grotesk/Helvetica
- Flushed left, ragged right text
- Logical order
- Abandoning of drawn illustration in favour of photography


Neve Graphic Journal - New Graphic Design (German Magazine)
Written in French, German and English, being relatable to the entire world, even though this was just after the war. This way though there was no confusion, and it was all to the point. It was set out in order of importance and each language was each page. It was in black and white only.

Joesph Muller Brockman - Swiss Graphic Designer
- Overlay (grids without hiding visibility)
- horizontal/vertical text
- photographs
- hierarchy/scale

Modern and Post-Modern Designers:
- Neville Brody
- Experimental Jet Set
- NOTM
- Massimo Vignelli
- Wim Crowell
- Matthew Carter
- David Carson
- Max Huber

Matthew Carter and Massimo Vignelli have totally opposite ideas of design. Vignelli was structured with his work. Very modern, straight edge, to the point, minimal and made everything legible and understandable to all people. Whilst Carson's designs aren't necessarily straight forward and are more experimental which his designs allowing for 'accidents' to happen.

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