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N E W G R A P H I C D E S I G N
James Wallis
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These are just some onfthe different styles from the Modernist era. There were many movements during this era including ; De Stijl (The Style), Dada, Cubism, Bauhaus, Pop Art and Swiss International Style.
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HAfter this I am going to choose a few artist from each intivitual movement within the modernist era and and try and convay there style
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Herbert Bayer
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Walter Dexel
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Jan Tschichold
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Bart Van Der Leck
Theo Van Doesburg
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Piet Mondrian
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Hannah Höch
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Marius de Zayas
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Pablo Picasso
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Jean Metzinger
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Emil Ruder
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Armin Homann
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Andy Warhol
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Roy Lichtenstein
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Neville Brody
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David Carson
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I am now going to do some research into magazine layout, I need to look out for the columns and image positions.
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As I have been looking through these layout I have realizes that you can create a certain style through the layout. Modernist magazine layouts use grids and they do not stray from the columns, where as post-modernist try to brake the rules and go through or past the grid columns.
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ContentI am going to up the ‘First Things First’ 2000 re-write, writ-ten by Rick Poyner and signed by various other artist and designers. I believe that the first version on this manifesto highlighted some important points about design becoming lazy and uncritical. It was one of the first manifestos to talk up again the boring and bland design of it era.
I also believe the new version on the same manifesto is a refreshing reminder about the state on design and how it is becoming more and more commercialized. I there for think it is important in the ‘New Graphic Design’ Magazine to feature it in the first issue, therefore I will be using it in my magazine layouts.
I am going to insert the text of the manifesto onto the next page to see what size and shape the copy will be to help with design-ing and images setting.
FIRSTTHINGS
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We, the undersigned, are graphic designers, art directors and visual communicators who have been raised in a world in which the techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable use of our talents. Many design teachers and mentors promote this belief; the market rewards it; a tide of books and publications reinforces it.
Encouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, light beer and heavy-duty recreational vehicles. Commercial work has always paid the bills, but many graphic designers have now let it become, in large measure, what graphic designers do. This, in turn, is how the world perceives design. The profession’s time and energy is used up manufacturing demand for things that are inessential at best.
Many of us have grown increasingly uncomfortable with this view of design. Designers who devote their efforts primarily to advertising, marketing and brand development are supporting, and implicitly endorsing, a mental environment so saturated with commercial messages that it is changing the very way citizen-consumers speak, think, feel, respond and interact. To some extent we are all helping draft a reductive and immeasurably harmful code of public discourse.
There are pursuits more worthy of our problem-solving skills. Unprecedented environmental, social and cultural crises demand our attention. Many cultural interventions, social marketing campaigns, books, magazines, exhibitions, educational tools, television programs, films, charitable causes and other information design projects urgently require our expertise and help.
We propose a reversal of priorities in favor of more useful, lasting and democratic forms of communication - a mindshift away from product marketing and toward the exploration and production of a new kind of meaning. The scope of debate is shrinking; it must expand. Consumerism is running uncontested; it must be challenged by other perspectives expressed, in part, through the visual languages and resources of design.
In 1964, 22 visual communicators signed the original call for our skills to be put to worthwhile use. With the explosive growth of global commercial culture, their message has only grown more urgent. Today, we renew their manifesto in expectation that no more decades will pass before it is taken to heart.
This is the copy the will be on the single and double page spread.
Jonathan BarnbrookNick BellAndrew BlauveltHans BocktingIrma BoomSheila Levrant de Brette-villeMax BruinsmaSian CookLinda van DeursenChris DixonWilliam DrenttelGert DumbarSimon EstersonVince FrostKen GarlandMilton GlaserJessica HelfandSteven HellerAndrew HowardTibor KalmanJeffery KeedyZuzana LickoEllen LuptonKatherine McCoyArmand MevisJ. Abbott MillerRick PoynorLucienne RobertsErik SpiekermannJan van ToornTeal TriggsRudy VanderLansBob Wilkinson
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I then started to look at creating my own layouts but I also tried to use elements of the layouts in my research.
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After my thumbnails layouts I am going to chosen three of them and created full size mock-ups of them to see how they look and to compare them against each other.
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I am going to start looking at mastheads now to see how there made up. I am also going to look for ideas to incorporate into my masthead, but I want to make sure it unique and original.
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Raygun has a very grungy post-modernism feel about its masthead, the kerning is up even and the letters are textured. This all creates a rebellious almost ‘rock and roll’ style which works well with its content.
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After looking through my masthead research I have come to the conclusion that the masthead has to be simple, legible and has to work with any kind of cover.
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NEWGRAPHICDESIGN
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The Graphic Design Magazine
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GRAPHICDESIGNNEWNEW
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NGDNEW GRAPHIC DESIGN
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After creating my ideas, I am going to develop three of them and then I will choose one to put on my cover design.
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After choosing the best mastheads from the development sheet I have done, I am going to apply them to various front covers that I have found on the internet. This will help to make sure I choose a masthead that will be able to be used on any cover.
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James WallisNE
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