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Ithas been argued philosophically that deconstruction is not a style or ‘attitude’ but rather a m o d e o f q u e s t i o n i n g t h e technologies, f o r m a l d e v i c e s , social institutions, and metaphors of representation. Deconstruction belongs to both history and theory; It has been embedded in visual and academic culture, but at it’s core, it describes a strategy of critical form-making which is performed across a range of p r a c t i c e s , b o t h histor ical and contemporar y.
Deconstuctionsim in graphic design also aimed for a distinct breakaway from the old standards of design that were found i n p r e v i o u s m o v e m e n t s such as Constructivism and Modern i sm . I t was an opposition to the prior graphic design styles and to the past’s purist aesthitic ideals. The world was changing, the ideals of society as a whole were c h a n g i n g , a n d technology was changing. The entrance of the computer into the graph ic des ign field was a powerful catalyst for change.
The body of work within
Deconstructionism is far more
informal than that of the other
schools of design. This seems
to be a reaction to the technical
perfection and stylistic mannerism
of the professional mainstream of
graphic design. The mainstream
prefers ordered, structurally refined,
and typographically proper design,
whereas Deconstruction prefers
the intentional chaos of
unmannered, hand drawn, and
initially disorienting design.
Deconstruction is characterized by
it’s use of fragmentation, layering,
non-linear shapes, distortion, and
dislocation. Deconstruction also
utilizes an unorthodox manipulation
of typographic elements in it’s designs.
Some of these manipulations include
irregular kerning, overlapping text,
non-linear text
placement, inc
onsistant
typeface, exaggerated sizes, and
mulit-directional/flipped/inverted text.
Deconstruction In Design
“How does the external image of things get inside the internal essence of those things? How does the surface get under the skin?”
Design can critically engage
the mechanics of representation,
exposing and revising its
idealogical biases; design can
also remake the grammer of
communication by discovering
structures and patterns within
the material of visual and verbal
writing. Deconstruction shows the
multiple layers of meaning at work
in language. In Derrida’s view, text
has contradictory meanings and
different interpretations, which
shows language is constantly changing.