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PART 1Research into Modernism and Post Modernism explor-ing the origins and philosophy of the movements. (cub-ism, dadaism, Your visual work should be an expres-sion of the movement and not a pastiche.You should aim to convey the essential nature of the movement.You will need to understand the social, industrial and political concerns which influence both movements.

PART 2You are to submit designs for a magazine, which should be based on your personal and original visual research.

RESTRICTIONS: - MastheadCover designInner page/sCopyMasthead: New Graphic DesignSub heading: Form follows Function - an exploration of Modernism and Post Modernism Issue 1Date:SizeA3 Portrait CoverA3 Portriat InnerYou should experiement with single and double page spreads

REQUIREMENTS:• Body of original visual research based upon Modern-ism / Post Modernism • Evidence of thumbnail visuals and design layouts• Evidence of grid, layout, type and image selection and experimentation• Evidence of multiple solutions and design refinement• Mast head• Sub header• Issue 1 date• Magazine cover• Inner pages

MODERNISM:In art, Modernism explicitly rejects the ideology of

realism and makes use of the works of the past, through the application of reprise, incorporation,

rewriting, recapitulation, revision and parody in new forms. Modernism also rejects the lingering certain-ty of Enlightenment thinking, as well as the idea of

a compassionate, all-powerful Creator.

People focus on Modernism as an aesthetic intro-spection. This facilitates consideration of specific

reactions to the use of technology in the First World War, and anti-technological and nihilistic aspects of

the works of diverse thinkers and artists spanning the period from Friedrich Nietzsche (1844–1900) to

Samuel Beckett (1906–1989).

- Not a period but a movement- Contains relevant texts- Unified explanations metta-narrative- Co-existed with other styles and concerns- Nationalism- a source of conflict- Design driven by reason- Driven by BaauHaus movement- Fine art became political and ‘avant-garde’ or art for art’s sake- WW1 had a massive impact on modernists and consequently post modernism

German philosopher and artist who deconstructed morality and celebrated the Roman-tic myth as an expression of life. Nietzsche was very much drawn to culture and art, especially music, from early in his life. Being a great admirer of Wagner and Strauss,

Nietzsche naturally became a defender of the Romanticist art movement, which empha-sized subjective emotional experience and aesthetics over rational analysis and scientific

explanation.. The glory of adventure and lawless forests were common subjects in the Romanticist movement, contrasting its religious idealism against the rational humanism

of the past Enlightment age. Under heavy influence from Schopenhauer’s “The World as Will and Representation,” Nietzsche developed a unique relationship to art, one that

gradually began to define his own philosophy of life and also pointed straight to the core of metaphysics.

FRIEDRICH NIETZSCHE:

This is the front cover art for the book The Birth of Tragedy Out of the Spirit of Music written by Friedrich Ni-etzsche. The book cover art copyright is believed to belong to the publisher or the cover artist.

BAUHAUS:The motivations behind the

creation of the Bauhaus

lay in the 19th century, in

anxieties about the soulless-

ness of manufacturing and

its products, and in fears

about art’s loss of purpose

in society. Creativity and

manufacturing were drift-

ing apart, and the Bauhaus

aimed to unite them once

again, rejuvenating design

for everyday life.Although the Bauhaus aban-

doned much of the ethos

of the old academic tradi-

tion of fine art education,

it 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 sys-

tem. Fine art and craft were

brought together with the

goal of problem solving for

a modern industrial society.

In so doing, the Bauhaus ef-

fectively leveled the old hi-

erarchy of the arts, placing

crafts on par with fine arts

such as sculpture and paint-

ing, and paving the way for

many of the ideas that have

inspired artists in the late

20th century.

Rejected any of the traditional skills and thinking of the past, having access to higher sources of inspiration and talent-Mythology. The artist has a unique and temperamental personality. He seen as being ‘other’ separated from normal category of life and lifestyle thinking. (Mark Rothko.)

naive modernism and folklore in contemporary graphic designNAIVE:

Naive: Modernism and Folk-lore in Contemporary Graphic Design documents the recent wave of design work inspired by Classic Modernism.They covered many of the art-ists including Matte Stephens, Helen Dardik, Scotty Reifs-nyder, Spike Press, Tes One, Adrian Johnson, Doublenaut, Darling Clementine, Andrio Abero, Methane Studios and Tad Carpenter on grain edit over the last couple of years,

Postmodernism is in general the era that follows

Modernism. It frequently serves as an ambiguous overarching

term for skeptical interpretations of culture, literature, art, philosophy, economics,

architecture, fiction, and literary criticism. Because

postmodernism is a reactionary stereotype, it is

often used pejoratively to de-scribe writers,

artists, or critics who give the impression they believe in no

absolute truth or objective reality (surrealism).

For example, it may derogatori-ly refer to “any of various move-

ments in reaction to modernism that are

typically characterized by... ironic self-reference and ab-

surdity (as in literature)” or to “a theory that

involves a radical reappraisal of modern

assumptions about culture, identity, history,

or language”. It is also confused with

deconstruction and post-structuralism because its

usage as a term gained sig-nificant popularity at the same

time as twentiethcentury post-structural

thinkers.

POST MODERNISM:

April Greiman with Jayme Odgers, Wet magazine cover, 1979

Ray Gun #24, November 2004, David Carson. Carson decided that the Bryan Ferry feature was too boring to

be published regularly so he changed the font to Zapf Dingbats. - Postmodern Graphic Design.

A legible version of the interview was found in the back.

Pop art is an art movement that emerged in the mid-1950s in Britain. Pop art presented

a challenge to traditions of fine art by including imagery from popular culture such as advertising, news, etc. In Pop art,

material is sometimes visually removed 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. Pop art is used in advertising, comic books and

mundane wcultural objects.It is widely interpreted as a reaction to the

then-dominant ideas of abstract expressionism. And due to its utilization

of found objects and images it is similar to Dada. Pop art is aimed to employ images of

popular as opposed to elitist culture in art, emphasizing the banal or kitschy elements of any given culture, most often through the use

of irony. It is also associated with the artists’ use of mechanical means of reproduction

or rendering techniques.

The movement pri-marily involved visual arts, literature, poetry, art manifestoes,art theory, theatre, and graphic design, and concentrated itsanti-war politics through a rejection of the prevailing stand-ards in art through anti-art cultural works. In addition to being anti-war, Dada was also anti-bourgeois and had political affinities with the radical left.

Pop art and minimalism are considered to be art movements that precede postmodern art, or are some of the earliest examples of Post-modern Art themselves.Pop art often takes as its imagery that which is currently in use in advertising. Product labeling and logos figure prominently in the imagery chosen by pop artists, like in the Campbell’s Soup Cans labels, by Andy Warhol.

POP ART:

DADA

ISM: Dada was an artistic

and literary move-ment that started in Europe when World War I was going on. Because of the war, many artists, intel-lectuals and writ-ers, especially those from France and Germany, moved to Switzerland, which was a neutral coun-try. Instead of being relieved that they had escaped, the artists, intellectuals and writ-ers were furious with the modern society. So, they decided to show their protest through artistic medi-um. They decided to create non-art since art in the society any-way had no meaning.

‘Dada talks with you, it is everything, it in-cludes everything, it belongs to all religions, can be neither victory nor defeat, it lives in space and not in time.’(Marcel Duchamp)

‘No more painters, no more scribblers, no more musicians, no more sculptors, no more religions, no more royalists, no more radicals, no more imperialists, no more anarchists, no more socialists, no more communists, no more proletariat, no more democrats, no more republicans, no more bourgeois, no more aristocrats, no more arms, no more po-lice, no more nations, an end at last to all this stupidity, nothing left, nothing at all, nothing, nothing.’ (Hugo Ball)

Form and Function. Despite its variety, all design is related through the expression, “Form follows function.” Good design re-sults from a partnership between “form” and “function” as utility. Consider one of your favorite possessions. What did the designer have in mind?Which features speak to form and which to function?

FORM FOLLOWS FUNCTION:It captures Attention -

It controls the eye’s movement cross the page or screen -It conveys information -

It evokes emotion -Form

In print design, form is both the overall look and feel of the page as well as the shape and look of the individual components - the type-faces, the graphic elements, the texture of the paper. Form is also the format whether the piece is a poster, a tri-fold brochure, a saddle-stitched booklet, or a self-mailer newsletter.

Function

For designers, function is the practical, get-ting down to business part of the process of design and desktop publishing. Function is the purpose of the piece whether it is to sell, to inform or educate, to impress, or to enter-tain. It includes the copywriting message, the audience, and the cost of getting the project printed.

Form and Function

Function needs form in order to accomplish its goal. Form without function is just a pretty piece of paper

BOOK COVERS:

The magazine was de-signed by Terry Jones who

utilized aggressive collages, heightened use of color,

and experimental typogra-phy to achieve a striking,

dramatic design aesthetic. As postmodernism favors expressive designs and a rebellion against for strict

constraints, and many of the designers who pioneered

this movement were young, the design aesthetics of a

magazine centered around a postmodern youth cul-

ture proved to be a perfect catalyst for such experi-

mentations in typography and image manipulation. An important facet of postmod-

ern design theory is the idea of anti-humanism, which explains that a universal

principle cannot possibly be shared by all human beings,

and insists that any princi-ples must be determined historically and culturally I-D, the British youth culture magazine, quickly became

an iconic representation of the new-wave and postmodern graphic design gaphic design aesthetics upon its publica-

tion in 1980.

MAGAZINE COVERS:

LAYO

UTS:

GRIDS:When detractors attack graphic design -

Swiss design in particular - they point out that visual expression based on mathematical

grids must be dull and inexpressive. In fact, the opposite is true. Grids means freedom.

And what’s more, artists have always known this.

TYPEOGRAPHY:

MASTHEAD:

14523 Graphic Design

MARBLING EXPERIMENTS:

MAST

HEAD

LAYO

UTS:

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FRONT COVER:

EXPERIMENTS: I like simplisity, and the black and white images /drawings work well. I really like the one on the left because of the sketches. The one on the right I have tryed to over lap the image to see if the mast head still works even if some is missing.

POP ART:

DEVE

LOPM

ENT:

I need my text to stand out over the top of the marbling, so I tryed it with a back ground. I do like this but I dont think it works as good because it makes it too busy.

I feel that number version of the word ‘new’ looks far better, it makes it stand out more. I think as long as with the promotion of the magazine I show and explain that 14523 stands for the word new then that will be fine.

PLAN CONTENTS:fronrt cover

modernisum post

artistnaive ad