Based on the lectures we have received on Modernism and Post-Modernism, we have been asked to produce 5 examples of Modernism and 5 examples of Post-Modernism.
Modernism:
1. LMNV- This journal from Switzerland encompasses all that is Modernist as it is written, not just in 1 langauge but, in 3 languages which were, at the time, the most popular spoken langauges. As it is inclusive of a large audience range, this ideal indicates that the Journal is utopian as it is trying to bring the world together through Graphic Design. The layout is columnised via the use of a Grid and lacks colour or decoration, reflected by the use of the sans serif typeface, Aksidenz Grotesk. From this clean, informative and direct aesthetic, it is a very successful piece of Modernist Design.
2. Harry Beck- The Construction of the London Underground Tube Map allowed for a simple piece of communication to be produced for instant understanding of how the underground worked and what train lines go where. The use of colour is only used in regards to presenting the information neccessary and for clear legibility therefore not decorating the map, which is complimented by the specially comminssioned typeface, Underground. The reliance on a key and an undetailed map is very unrealistic of the real world and phas been laid out in a simple format. The fact it is to be used by a collective of worldwide users highlights how successful the communication in this piece of design is in a Modernist sense.
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"Zurich Tonhalle Poster" (1955) by Josef Muller Brockman
Reference- Williams Purcell, K. (2006) "Josef Muller- Brockman" 1st ed., London: Phaidon Press Limited |
3. Josef Muller- Brockman- The grid formation, use of sans serif swiss font and the verticle, columnised type suggests a modernist approach to layout and presentation. The rectangles act, not as decoration but, as a piece of ambiguous information as it acts out the subject matter- musical notes. The type then seems to replicate and mirror this vision with it's placement. The use of only one colour (blue) and white is stark yet gives it the egde that it needs to make it catch the audiences eye. This may have been better if the background was black to reference music notes, however, The blue colour used is a striking bit of design.
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"Zang Tumb Tumb" (1914) by Filippo Tomasso Marinetti
Reference- Bartram, A. (2005) "Futurist Typography and the Liberated Text" London: The British Library |
4. Filippo Tomasso Marinetti- This typography experimentation was created to produce a visual interpretation of Marinetti's own work, thereby allowing people to understand it regardless of reading capabilities. This use of Aesthetic Self-Reflexiveness allows the type to produce the imagery within the poetry. The futurists existed at the beginning of modernism showing early signs of the aestehtic, like the lack of ornament and the industrialisational approach to layout. The use of onomatopoeic lexis produces an ability to reach out to an international audience thereby making it easily accessible to bring news to other parts of the world thereby giving it a purpose.
5. Herbert Bayer- The san-serif type and selectively off-centered composition of the image and type with all lack of ornament, sticking to a rigid formula of information and essence of the image means that this piece of design is Modernist as it holds the ideal of form over function close to it's intention. The layout is considered and grid-like as lines are a strong part of the overall placement of the componants- as if it was produced by machines. The rigid structure and postcard-esque aesthetic to the design makes it seem quite intimate even though this is for a grand audience, as if Bayer is talking to the audience individually as well as as a whole making this piece successful.
Post-Modernism:
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"Contents Page" (1987) by David Carson
Reference- Blackwell, L. (2000) "The End of Print: The Graphic Design of David Carson" 2nd ed., London: Laurence King Publishing |
1. David Carson- Carson's approach to layout is disorganised and disfunctional as he uses type and image in a way where they lack relevancy to each other, instead focusing on the aesthetic appearance of the work he is producing which is why it is successful as a post-modern piece of design. It is non-sensical, disconnected and lacks any purpose in regards to the design choices of why it is laid out in this manner- It is expressive but a step too far.
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"New Order Cover, The Face, No.39" (July 1983) by Neville Brody
Reference- Wozencroft, J. (2001) "The Graphic Language of Neville Brody" Thames & Hudson |
2. Neville Brody- Brody's front cover is abstract and lacking in fluidity throughtout the whole design. The type is off-center and, in regards to the title header, decrorative replacing letters with shapes thereby distinguishing it as a post-modernist creation. The strange camera angle and angular cropping edit is intriguing as it gives an aura of mystery to the subject matter, making people what to know and read the magazine. Despite this, the type in regards to colouration doesn't function as a unit and seems to float in mid-air without any regards to placement.
3. Andy Warhol- Warhol's Pop Art prints of the everyday soup can managed to bring together the ideal of the high end culture of design and the use of the everyday object. This imagery has managed to become a piece of Popular Culture in its own right which is quite ironic for something that shows something so ordinary making it an extra-ordinary piece of Post-Modernism design. It's distinctive realism juxtaposes the simplicity of the line and form used to produce the can itself and the colour is rich and deep.
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"I'm Fine with Government Regulated Execution" (2012) by Kevin Paolozzi
Cranbrook Academy of Arts (2012) "2D Department" [Internet] Cranbrook Academy of Arts USA: Michigan Available from http://www.cranbrookart.edu/Pages/2D.html (Accessed 27th October 2012) |
4. Kevin Paolozzi- This poster design is disjointed and messy in its presentation as it doesn't have a set layout. The mixture of 2 loud and brash typefaces which both have decoration of there own overwhelm the audience with thier over-zealous patterns and clashing colourations, making the poster appear cheap and kitsch. Also, this doesn't aid the legibility of the poster making the message difficult to read and lost in translation.
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"The Beatles St.Pepper's Lonely Hearts Club Band" (1967) by Peter Blake
Reference- The Beatles (1967) "The Beatles St. Pepper's Lonely Hearts Club Band" [CD] Middlesex: EMI Records Ltd |
5. Peter Blake- Blake's design for the sleeve cover of the album is over-the-top, over-indulgence and breaks all the rules to become a piece of kitsch design that has become one of the biggest pieces of Popular Culture that exists in the world today, making it one of the biggest pieces of Post-Modernist design around. The complex chaos of using different images and layering to produce the crowd of icons is playful and applies alot of different surfaces and textures to the overall image. It isn't focused on the band, as thier costumes and appearance is iconic in itself and the cover is too busy and over-crowded not allowing you to focus on any aspect of it.
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