Module TFD1064.Design for Communication DesignGraphic Design GroupProject - ‘New Graphic Design’Student - Rahul KararaStudent number - U1260645Contact details - 07935083689

Modern Art includes artistic works pro-duced during the period extending roughly from the 1860s to the 1970s, and enpotes the style and philosophy of the art produced during that era. Mod-ern artist experimented with new ways of seeing and with fresh ideas about the nature of materials and functions of art. Modern art began with artist like Vincent van Gogh, Paul Cezanne, Paul Gauguin, Georges Seurat and Henri de Toulouse Lautrec all which were essential for the

development of modern art.

Futurism was an artistic and social move-ment that originated in Italy in the early 20th century. It emphasized and glorified themes associated with contemporary concepts of the future, including speed, techonology, youth and violene, and ob-jects such as the car, the aeroplane and the industrial city. It was largely an Italian phenomenon, though there were parallel movements in russia, England and else-where. The futurists practiced in every medium of art, including painting, sculp-ture, ceramics, graphic design, industrial

design, interior design

urban design, theatre, film, fashion, tex-tiles, literature, music, architecture and

even gastronomy.

Postmodern art is a body of art move-ments that sought to contradict some aspects of modernism or to have emerged or developed in its aftermath. In general, movements such as Inter-media, Installation art, Conceptual art and Multimedia, particulary involv-ing video are described as postmod-ern. There are several characteristics which lend art to beign postmodern; these include bricolage, the use of words prominently as the central ar-tistic element, collage, simplification, appropriation, performance art, the recycling of past styles and themes in a modern-day context, as well as the break-up of the barrier between fine and high arts and low art and popular

culture.

Neo-dada is a art movement that was mad during the post modernism era. Neo-dada is aminor audio and visual art movement that has similarities in meth-od or intent to earlier dad artwork. While it revived some of the work of art pro-duced rather than on the concept gener-ating the work. It is foundation of Fluxus,

pop art and nouveau realisme.

neo-dada is exemplified by its use of modern materials. popular imagery, and absurdist contrast. It also patently denies traditional concepts of aesthetics. The term was popularized by Barbara Rose in the 1960s and refers primarily, although not exclusively, to a group of artwork cre-ated in that and the preceding decade.

Pop art is an art movement that emerged in the mid-1950s in Britain and the late 1950s in the United States. Pop art pre-sented a challenge to traditions of fine art by including imagery, news, etc. In pop art, materials is sometimes visually re-moved from its known context, isolated, and/or combined with unrelated material. the concept of pop art refers not as much to the art itself as to the attitudes that led

to it.

Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that is publicized and taught. The German term Bauhaus literally ‘house of construction’.stood for ‘School Of Building’. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design. The Bauhaus had a profound influence upon subseqent developments in art, architecture, graphic design, interior design, industrial design and typography. The Bauhaus movement really did see some great artist come through, such as Max Bill, Wassily Kandinsky and Oskar Schlemmer just to name a few of the talented bunch.

‘‘If today’s art love the machine, technology and or-ganization, if they aspire to precision and reject an-ything vague and dreamy, this implies an instinctive repudiation of chaos and a longing to find the form

appropriate to out times.” OSKAR SCHLEMMER

The motivations behind the creation of the Bauhaus lay in the 19th century, in anxie-ties about the soullessness of manufacturing and its products, and the in fears about art’s loss of purpose in society. Creativity and manufacturing were drifting apart, and the Bauhaus aimed to unite the once again, rejuvenating design for everyday life.

Bauhaus maintained a stress on intellectual and theoretical pursuits and linked these to an emphasis on practical skills, crafts and techniques that was more reminiscent of the medieval guild system. Fine art and craft were brought together with the goal of problem solving for a modern industrial society. In so doing, the Bauhaus effec-tively levelled the old hierarchy of the arts, placing crafts on par with fine arts such as sculpture and painting, and paving the way for many of the ideas that have inspired artist in the late 20th century.

The stress on experiment and problem solving at the Bauhaus has proved enor-mously influential for the approaches to education in the arts. It has led to the ‘fine arts’ being rethought as the ‘visual arts’ , and more as a kind of research science.

Central to the school’s operation was its original and influential currculum. It was de-scribed by Gropius in the manner of a wheel diagram, with the outer ring representing the vorkurs, a six-month preliminary course, initiated by Johannes Itten, which concen-trated on practical formal analysis, in particular on the contrasting properties of forms, colours and materials. The two middle rigs represented two three-year courses, the formlehre, focused on problems related to form, and werklehre, a practical workshop

instruction that emphasized technical crafts skills.

Obviously the creators of this program were fabulously talented faculty that Gropius attracted. Avant-grade painters Johannes Itten and Lyonel Feininger, and sculptor Ger-hard Marcks were among his first appointments. Johannes Itten was very important, he was very much the centre to the creation of the vorkurs, his background in Expres-sionism lent much of the tone to the early years of the school, including its emphasis on craft ad its medievalism. Johannes Itten left and was replaced by Lazlso Moholy-Nagy, who reformed vorkurs into a program that embraced technology and stressed its use for society. Other important appointments included Wassily Kandinsky, Paul Klee, Georg

Muche, and Oskar Schlemmer.

Made popular by the International Typographic Style movement and pioneered by legends like Josef Müller-Brockmann and Wim Crouwel, the grid is the foundation of any solid design. The Grid System is an ever-growing resource where graphic designers can learn about grid

systems, the golden ratio and baseline grids.

Created by Antonio Carusone, graphic designer and author of the design and typography blog AisleOne. Special thanks to Duane King for his help and wisdom.

Walter Dexel is one of the outstanding exponents of 1920s Constructivism. As a painter Walter Dexel was an autodi-dact. He studied art history under Hein-rich Wolfflin and Fritz Burger in Munich from 1910 to 1914. In 1912/13 he pro-duced his first pictures during a study trip to Italy. His early pictures were in-fuenced by Cezanne’s landscapes, with his later work being influenced by Cub-

ism and Expressionism.

In the early 1920s Walter Dexel’s work moves on to Constructivism, which he approaches in a comprehensive way. He was not restricted to panel painting but also worked as a typographer, an advertising designer and designed inte-riors and stage settings. For me person-ally Walter Dexel’s work is laid out in a very bold way, like in your face type of thing, which really stands out to me, and

the reason i picked him as a artist.

David Carson is an American graphic designer, art director. He is best known for his innovative magazine design, and use of experimental typography. 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. David Carson was perhaps the most influential graphic designer of the 1990s. In particular, his widely imitated aesthetic defined the so-called ‘grunge typography’

era.

David Crason has written and co-au-thored a handful of books characterizing design trends. he continues to be active in the surfing community. Clients include Quiksiver, Suicide Girls, Samsung, Adi-das, Nine Inch Nails, Pepsi and Toyota. David Carson’s Design aesthetic is best seen through hs work. His typographical treatment are first-rate, and he integrates photography to produce a minimal, low-fi look. In his recent work, David Crason has branched out into television and video as well, producing commercials,

documentaries, short films and more.

David Carson’s work intrests me bec-uase of how it is laid out and the lay-ers and layers used to create his work, which give his work a amazing look and

the only designer

that can pull something off like that, en-joy it very much.

Jean-Michel Basquiat was an American artist. He began as an obscure graffiti artist in New York City in the late 1970s and evolved into an acclaimed Neo-expressionist and Primitivist

painter by the 1980s.

Throughout his career Basquiat focused on ‘suggestive dichotomies,’ such as wealth versus poverty, integration versus segregation, and inner versus outer experience. Jean-Michel Basquiat’s art utilized a synergy of appropriation, poetry, drawing and painting, which married text and image, abstraction and figuration, and historical information mixed with contemporary critique. Utilizing social commentary as

a ‘springboard to deeper

Truths about the individual’, Jean-Miche Basquiat’s paintings also attacked power structures and systems of racism, while his poetics were acutely political and direct in their criticism of colonialsim and

support for class struggle.

The reasons for picking Jean-Michel Basquiat was for one his work and the free and creative way it has been laid out. The way he expresses him self in his work stands out to me, and there’s so much energy going on, which it

amazing.

Neville Brody is an english graphic de-signer, typographer and art director. Nev-ille Brody is an alumnus of the London College of Printing and Hornsey College of Art, and is known for his work on The Face magazine, and Arena magazine, as well as for designing record covers for artists such as Cabaret Voltaire and Depeche Mode. He has created the co-moany Research Studios in 1994 and is founding member of Fontworks. I am very much attracted to Neville Brody’s work because of the understanding he has of using colours on his work, which i feel will help me a lot when picking the

right colours for my work.

ON this page are different types of pages layouts that i took out from three different books. The first book i used was G1-Subj: Contemp Design, Graphic Lewis Blackmen & Neville Brody,the second book was David Carso - The end Of Print and the third and final one was David Crason - The End Of Print 2. Looking through these book i knew these would be helpful to me in a big way and

of course very intresting layouts.

P o s t e r, N u n - C o m m i s s i o n e d , Drawing on British Cafe Signage.

Poster promotion of exhibition and talk by Willie Cole in Sabn Francis-

co.

Poster/map on printing in London 1476-1995 vetterpress for HQ

magazine, munich

Experimental typeface F Santo Do-mingo, exploring the theme of su-

perstition.

Oar photo: dc. Typeface “Manifesto” by Vera Daucher and Francis

Stebbing.

Snowboarding article, 1990, to get the desired copy shape, which reflects the altitude and attiude, the

article was repeated twice.

Property fearure, 1991. “ The last hold out” Subeet is explored in heading type, where the 1920s is sur-

rounded by a new face.

David lynch profile, 1990. Carson interpret, the sub-title rule, breaking of lynch’s work by breaking, an unquesting rule of type that you don’t run body copy draw the gutter. The second column runs down with the staples right trough it. The black shape at the bottom is the result of not putting the copier further

down.

On this page i have gathered different types of mastheads, which looked very interesting to me, bold and stand out to me. All the mastheads that have been done on these magazines have been done to a very high standard as you can tell, the ‘i-D’ masthead lvery simple but still looks very good to look at and also the ‘eye’ masthead. The ‘babyboss’ and ‘massive’ masthead look like they have had more time spent on them but stil as good as the other three. Overall these mastheads will help me a lot further on

when i start making mine.

Here on this page are my first masthead designs for the front cover of the magazines. Basically they are all the same but just done in different colours to give me different options and not have just one set of col-ours to pick from and have a range of colours to pick from. The font for this masthead i have used is called American Typewrite. The design it self is basic but done to a good level i feel. With the ‘New Graphic Design’ i have overlapped them a bit, which i think has worked well, and also added two arrows on the top and the above, with a outline for all three of the designs. Personally my favourite one is the pink/red one which for stands out very good and has a bold look to it, looks better than the other two i have done, and if i choose to take this masthead forward the

pink/red one will be the one to take forward.

NEWGRAPHICDESIGN

NEWGRAPHICDESI GN

NEWGRAPHICDESI GN

These are my second masthead designs that i have done for my magazine covers, which i must say have a very funky and new style to it, which looks very good and very different to the other masthead designs out there. Its may have a new sort of feel to it, but also has a very ancient feel to it with the triangle used for the ‘a’ in graphic, which i like very much. The font I’ve used for this masthead design is called Attitude, which fits nicely with the title ‘New Graphic Design’. Again i have done this masthead in three different colours to give myself more options and not have a limited amount of colours to pick from if i am going to take this masthead design forward and use it on a front cover. Over all i am happy with this masthead but i don’t think i will be taking this forward, but will put it on a front cover to see how it works out and looks and may

change my mind on it.

NEWGRAPHICDESIGN

NEWGRAPHICDESIGN

NEWGRAPHICDESIGN

Here is my third and final masthead design, and this is my favourite one. Its just the way i have really overlapped the whole ‘New Graph-ic Design’ and just looks really good and its not confusing at all, to other people. Done the three colours again, this is probably the best set of colours i have used, it was hard to pick the right one, but i went for the classy sort of look at went with the black/gold colouring, thinking it looks bold and will stand out very well, popping out in some cases. The black/red and black/orange are also good but not as good as black/gold. This may be the one to use over all, but again there may be some

changes ahead.

ISSUEONE

FORMFOLLOWS

FUNCTION ISSUEONE

FORMFO LL OWSFUNCTION

Here are the three front cover designs that i created, obviously one for each masthead i made earlier on. The front covers have turned out brilliant and to a high standard, i ma very pleased with them all, but will have to choose one to take forward, but overall very happy

with the outcome.

NEWGRAPHICDESIGN

ISSUEONE

FORMFOLLOWS

FUNCTIONThis is my first front cover magazine design. As you can see i’ve continued the overlap process with the ‘form follows function’ and ‘issue one’ which has gone well. I think personally in all the backgrounds i have done have very futuristic theme to it, which fits in really well, i do think this is my best one and will use this as

my final one.

I SS UEONE

FORMFOLLOWSFUNCTIONHere is my second one i have created. This has all sorts going on, very much like a 3D effect, kind off fitting in nicely with the title ‘New Graphic Design’ I wouldn’t say its as good as my first one but has a very energetic feel to it, and just pops out at you, but its not as classy as the first one, so i won’t be taking this one any further

from here.

This is my final one that i made. Honestly this had me thinking hard between this one and the very first one i did. The text used for this is very different to ay other out there and gives it a ancient/futuristic look to it which i haven’t seen before. It was hard deciding which to pick but i stuck with my first choice, because it looked more

professional to me .

NEWGRAPHICDESIGN

ISSUEONE

FORMFO LL OWSFUNCTION

01

NEWGRAPHICDESIGN

02

NEWGRAPHICDESIGNNEWGRAPHIC

DESIGNISSUE

ONEFORMFOLLOWS

FUNCTION

MAY 19TH 2013

NEWGRAPHICDESIGN