Influences – Geometric-Based Design

The next area for investigation was the current use of geometry within graphic design. In order to ensure my work remains current and relevant it is important to compare it to the work of others in my field.

Recently many designers are taking a geometric based approach, and thanks to available vector-based software fully scalable geometric based work can be created.

The following examples utilise a range of techniques incorporating geometry within their pieces.

Diego Bellorin with the Virtual Chaos and Escapulario projects uses simple geometric forms to create abstract worlds. These pieces are of interest to me as they show such seemingly complex work can be formed from the simplest geometric forms. I am interested in exploring the messages that can be conveyed using these simple building blocks of geometry. I would be interested to know the intention of the artist when creating these pieces, as little description is available, and it is always advantageous to compare the working process of others to that of yourself.

Bellorin, D., 2011. Virtual Chaos. [electronic print] Available at: <http://www.behance.net/gallery/Virtual-Chaos/925898> %5BAccessed 3rd December 2011].

Bellorin, D., 2011. Escapulario. [electronic print] Available at: <http://www.behance.net/gallery/Escapulario/954638> %5BAccessed 3rd December 2011].

Charis Tsevis meanwhile, explores the use of breaking an image down into its geometric roots, stemming from cubism and futurism, this is an alternative approach to geometry within graphic design. I find it important to consider a variety of different styles relating to my chosen subject area, although within my initial investigations I discussed the possibility of forming a larger piece from a variety of components, it is advantageous not to restrict ones research so greatly at such an early stage of the project. This ensures I will follow the most suitable path for my body of work.

Tsevis, C., 2010. Turkey 2010 Basketball Championship Illustration. [electronic print] Available at: <http://www.behance.net/gallery/Turkey-2010-Basketball-World-Championship/688187&gt; [Accessed 3rd December 2011].

Following a visit to the Science Museum, London, I considered the recently redesigned geometric based logo.

Banks, J., 2009. Science Museum. [electronic print] Available at: <http://editorial.designtaxi.com/news-newscience/1.jpg> %5BAccessed 3rd December 2011].

Released in 2009 by Johnson Banks, following a commission to increase the attraction for visitors, the designers attempted to form an identity for the Museum which would convey the message of its exhibitions.The logo incorporates a geometric grid and simple geometric forms, aiming to convey the message that science require decoding and understanding.1 Further information relating to the formation of the logo and branding design can be found at the Johnson Banks website – http://www.johnsonbanks.co.uk/thoughtfortheweek/index.php?thoughtid=583

The work of Johnson Banks relating to the Science Museum was an interesting avenue of investigation for me, it allowed exploration into the manner in which other designers tackle problems of conveying a message in a simple manner and retaining (and gaining) public interest.

Another example of a use of geometry within design is an architectural one; The Kirkcaldy Maggies Centre by Architect Zaha Hadid.

Hadid, Z., n.d. Maggies Centre Kirkcaldy. [electronic print] Available at: <http://scmhardsoft.altervista.org/wp-content/uploads/2010/11/Maggies_Centre_Fife_by_Zaha_Hadi-16.jpg&gt; [Accessed 3rd December 2011].

Anon, n.d. Maggies Centre Kirkcaldy. [electronic print] Available at: <http://my.opera.com/POM032002/albums/showpic.dml?album=210943&picture=3178933&gt; [Accessed 3rd December 2011].

Her buildings, including the above example, often utilise geometric forms both within the plan and 3D form. However Hadid has faced criticism as they often fail to contain their geometric forms for a specific purpose and are only utilised at their aesthetic value.

Here I have investigated two alternative uses of geometry, that for purpose within the Science Museum, and that for aesthetic value.

This contradiction; using geometry to enhance a message or purely for aesthetic purposes is intended to be explored within the project. I believe geometry should not be used as ornamentation, I believe I follow many of the modernist principles, that every part of the design should play a purpose.

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1. Banks, J., 2010. Science Museum. [online] Available at: <http://www.johnsonbanks.co.uk/identity-and-branding/cultural/science-museum/&gt; [Accessed 3rd December 2011].

Influences – Geometric Type

Following my extensive investigations into the subject of typography for my SAT1 assessment I wanted to include a typographic element to my design for the practical assignment. I therefore begun to investigate the amalgamation of typography and geometry both currently and throughout the history of typographic design.

Wete – Roke 1984

In the below piece, Wete constructs the characters of his Roke 1984 by allocating geometric transformations to letter forms.

Wete., 2010. Roke 1984. [electronic print] Available at: <http://www.behance.net/gallery/ROKE1984/762721> [Accessed 30^th October 2011].

I find the utilisation of geometric transformations to form characters an interesting approach, however those used appear almost arbitrary and it does not seem that a strict set of rules were followed to create a logical typeface. The overall effect I believe is visually pleasing, however I would be interested to investigate the process undertaken to achieve the letterforms or if Wete chose their transformations simply for aesthetic value? I would be interested to see how literally this project could be taken, is it possible to create the letterforms from the transformations illustrated from starting geometric shapes?

I find it difficult to respond to the typeface provided by Wete further, as there is limited information regarding its composition. It appears the geometric transformations listed on the letter forms are ornamentation alone, as someone who likes to implement regimented forms and structures around my work I would prefer if the transformations listed were relevant to the letter forms.

Urs Lehni, Juerg Lehni and Rafael Kock – Lego am and Lego pm

Lego am and Lego pm was developed originally as part of a student project at the Schule für Gestaltung.¹ The construction of letters solely through individual lego units, responding to post-modern principles and an anarchy against ‘slick computer aesthetics’.² The isometric projection used in the final piece responds well with the simple ‘lego’ shapes used.

Lehni, U., Lehni, J., and Kock, R., 1999. Lego am and Lego pm. [electronic print] Available at: <http://lineto.com/1.0/content_55.html> [Accessed 16^th November 2011].

I enjoy this simple piece, by limiting the design to a simple set of units to construct the letters an interesting, engaging post-modernist piece is produced.

Further development of this work resulted in an exhibition poster. The title, in the typeface, is not instantly understandable, the audience is required to engage more in order to decipher the meaning.

The typeface itself was released in a ‘cut-n-paster’ manner to allow users to ‘construct’ their own letter forms from the individual ‘lego’ blocks.

I appreciate the rigour in which the typeface was approached, by adhering to a strict set of principles to create the letterforms. By taking the modular and alignment ideas from International Style and applying them to a childlike form before applying geometric transformations the piece becomes distinctly post-modern.

By looking at these current examples of the use of geometry in relation to typography I have established several points which I wish to bring into my own work;

• Any geometric transformations utilised must be for a purpose or adhere to a strict set of instructions. I find it difficult to appreciate Roke 1984 any further than as an aesthetic piece as the geometry does not relate to the letter forms.
• Attempt to follow strict guidelines and principles as utilised with the Lego am and Lego pm to experiment with the possible outcomes from following such rigorous procedures to the end.

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References

1. Triggs, T., 2003. The Typographic Experiment: Radical Innovation in Contemporary Type Design. London: Thames and Hudson. p.108.

2. Triggs, T., 2003. The Typographic Experiment: Radical Innovation in Contemporary Type Design. London: Thames and Hudson. p.109.

Investigating Contradiction

Within a previous post I had investigated the relationship between image and text, focusing on the four primary categories, symmetry, enhancement, counterpoint and contradiction.

 Among my initial investigations for the practical task I begun to consider the most extreme relationship, that of contradiction. As previously discussed true contradiction between text and image is difficult to achieve as firstly it is subjective and secondly it is rare to find examples of contradiction unless comic.

 As Jeroen Breen stated for Eye Magazine in 2010;

“Traditionally, a graphic work is built from two main elements: images and words. The images create a certain atmosphere, feeling or metaphor – in other words, emotion. And then words are used to put across information”¹

This is something I wished to explore, the importance of the two main elements, images and text. Breen believes that words convey the information, however, in the previously discussed case of enhancement words elaborate on the information, or in symmetry do not provide any further detail to the audience. I wanted to challenge the importance of type over form, and drew the following illustrations of contradiction.

Here you experience the conflict between the left and right hemispheres of your brain. The left-hemisphere primarily wants you to read the word while the right primarily wants you to decipher the shape.

A more common example of this is the left-right conflict colour test. Try to say the colour of the word, not the word itself.

Anon. n.d. Left Right Conflict. [electronic print] Available at: <http://www.few.vu.nl/~feenstra/gif/colours_1.jpg> [Accessed 19^th October 2011].

For many this task is a struggle as again the left-hemisphere primarily reads the word while the right-hemisphere primarily will try and say the colour.

I wanted to research further into the neurological processes that control our interpretation of images and text, I read an interesting article in The New Scientist.

Lee, J., 1997. Before Your Very Eyes. New Scientist, [online] Volume 2073. Available at: <http://www.newscientist.com/article/mg15320739.000-before-your-very-eyes.html?full=true> [Accessed 1^st December 2011].

Following this I became interested in the connection between science and design and considered a feature in Eye Magazine, relating to the forthcoming task for scientist of making their ‘invisible’ discoveries ‘visible’ and the relationship they must hold for the future with designers.

McKee, S., 2005. Making visible the invisible. Eye Magazine, [online] Volume 57. Available at: <http://www.eyemagazine.com/feature.php?id=124&fid=549> [Accessed 1^st December 2011].

Within the article McKee establishes the relationship between science and images, something which is present throughout history with geometry. The visualisation of solid and planar objects is not a new concept. Within the article McKee discusses how an image of a scientific concept is inherently important in retaining interest.

While McKee concentrates on a more complex subject matter than the basics of geometry that I have previously uncovered, I believe it is important to consider the relationship between the text and the image in order to best convey the meaning of the piece.

Considering this in light of my investigation into contradiction I believe this is inappropriate for the practical aspect of the project. I wish to engage and convey the meaning of the chosen word, geometry utilising both image and type complimentarily, not in contradiction.

I will now research into the techniques used by other designers to convey messages responding to geometry.

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References

1. Breen, J., cited in Farrelly, L., 2010. Making Each Letter Speak Out Loud. Eye Magazine, [online] Volume 75. Available at: <http://www.eyemagazine.com/feature.php?id=175&fid=790> [Accessed 29^th Novemeber 2011].

Investigation into the Primary Elements of Geometry

Following the initial sketching, I begun to focus on the primary elements of geometry. I investigated the basic building blocks of “geometry” before delving deeper into the topic.I believe I work in this manner of forming the basic foundation before developing it as I prefer to be thorough with my investigations before exploring further into my own practical work.

I undertook research via the internet, through journals and mathematics textbooks I had from my education to establish the basics of geometry.

Geometry

“the branch of mathematics concerned with the properties and relations of points, lines, surfaces, solids, and higher dimensional analogues.”¹

The word geometry developed from Latin and Greek, “gӗ” meaning earth and “metria” meaning metric. Therefore the word literally translates as earth measuring.

Geometry consists of solid and planar elements.

Planar Geometry

Solid Geometry

Geometric transformations alter the appearance of basic shapes.

Scale

Rotation

Reflection

Angle

I develop solutions to creative problems by assessing the work of others, utilising it as precedent for my own work and then expanding from there with my own experimentation.

I use the work of others and focusing on the scientific and mathematical background of the project to generate new ideas using a combination of these techniques. Upon embarking on a project I will evaluate the ideas by comparing them with the work of others in my field and considering if they compliment the goal I had set out to achieve. By looking at the initial building blocks of geometry I was able to plan where to take the project next. I considered how I could build these forms into characters.

For theses primary investigations I used simple tools to record my findings, in my sketchbook before representing in illustrator to form the simple shapes. I found this was a good stage to transfer the simple primary shapes to illustrator. This allows me to test my illustrator skills and practice ready for the later part of the assignment.

Once I had considered all the primary elements of geometry and represented them in illustrator I decided I was ready to begin considering further the implications of the project.

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References

1. Oxford Dictionary, 2011. Oxford English Dictionary. London: Oxford University Press.

The Importance of Sketching

“A picture is worth a thousand words”

– Napoleon Bonaparte (August 15th 1769 – May 5th 1821)

The importance of images can never be diminished. While viewing an image engages the audience with instant understanding, sketching ideas opposed to writing them often allows exploration in directions potentially unconsidered via text alone.

As with the earlier brainstorming technique, sketching has been encouraged throughout my education, and is now inherent to my own practical process. Subsequent to completing the brainstorm I begun sketching relating to the chosen subject ‘geometry’, exploring the areas previously identified. Unlike brainstorming, sketching offers me a continual thought path to follow. This more constrained approach allows me to thoroughly explore my channels of thought potentially overlooked with a less linear strategy. By following an organised procedure I was able to progress with the Practice 1 assignment.

Initial Sketches

The initial sketches are rough and potentially lack interest to the audience. Unfortunately when embarking on the primary sketches for this project I begun to suffer again from ‘sketching anxiety’. In the previous months when there has been little pressure to undertake sketching exercises I have been able to sketch freely without direction. However, upon setting myself the task to begin with the fundamental sketches for the project I was unable to move the thoughts and images from my head to a tangible form. Until researching for this blog I believed I was alone in my inability to perform under pressure due to anxiety, but this sketching situation is shared by others. Jonni expressed similar concerns within their blog, detailing how fear prevents us from expressing the creative side held in our brain.¹ I have since identified myself as a shy sketcher. It is a physical struggle for me to sketch in public as I believe others are constantly judging my efforts.² Despite my fears, I believe sketching is fundamental to the artist process and the only way for me to fully access a project.

When sketching I have a preferred set of equipment honed through years of practice.

Firstly, I always use sketchbooks small enough to fit in my bag, this allows me to sketch in the spare time I have available commuting and previously while working in the call centre. I found occupying part of my mind partially with repetitive tasks, for example selling call packages, I was able to sketch without the anxiety of the achievement of the drawings.

Next I always use 2B pencils, chosen through my experience of being soft enough to allow freedom and shading techniques however not too soft to smudge. I do not trust myself with the elegant clutch pencils previously used by my fellow students.

Caran D’ache clutch pencil

Anon. 2011. Caran D’ache Clutch Pencil. [electronic print] Available at: <http://www.artsupplies.co.uk/img_item/cd_clutch_pencil_1.jpg&gt; [Accessed 30th Novemeber 2011].

Throughout my own sketching exercises I chose to investigate why we sketch, what others achieve from sketching and their approach.

The majority of designers believe sketching is necessary to the process of design. Douglas Bonneville advocates sketching is fundamental to the generation of ideas amongst graphic designers. Bonneville states the designer will struggle without rudimentary sketching skills. While it may not be necessary to form beautiful sketches for every project, without the ability to quickly transfer your thoughts onto paper you will hinder yourself, both through university and in real life client situations.³

Glen Elkins suggests taking sketch breaks instead of mindlessly surfing the internet to “untangle [his] brain”. Here Elkins relates the therapeutic side of sketching, demonstrating the freedom it can deliver, provided you avoid sketching anxiety!⁴

Furthermore Web designer Ash Smith suggests sketching to identify and prevent future mistakes. I agree with this method to quickly test out multiple ideas.⁵

Tsutsumi questions why we sketch. Many of the points raise within the post agree with the reasons for my own sketching.⁶

While researching I encountered a variety of sketching styles, from the neat and meticulously finished to rough working sketches.

Daniela, D., 2011. Summer Sketchbook Day 6. [electronic print] Available at: <http://lh6.ggpht.com/-lpmWqdzhPEU/TjfH3KxyOkI/AAAAAAAABPA/52ehPvtr0Q8/Summer%252520sketchbook%252520pear_thumb%25255B2%25255D.jpg&gt; [Accessed 30^th November 2011].

Adolfsson, M., n.d. 12 Horsepowers. [electronic print] Available at: <http://www.mattiasadolfsson.se/sketchbookpages/12horsepowers.html&gt; [Accessed 30^th November 2011].

It is reassuring to read other designers and artists still sketch and we haven’t moved to an entirely digital age. As discussed, Elkins suggests sketching as an alternative to the digital. Similarly following a post on the Smashing Website relating to the combination of digital and analogue techniques recently, many comments relate to the importance of sketching and how it is still refreshing to see sketching and analogue techniques as a feasible alternative to digital output.⁷

“these digital tools approximate their analog parents”.⁸

– Douglas Bonneville, 2010

Overview

Many of us were encouraged to sketch, throughout school, throughout University. Previously a chore, it is possible to now understand why we were forced to sketch. By continually accessing this process of searching for solutions to creative problems by sketching them out we develop an affinity with sketching and eventually it becomes a natural tool to utilise when approaching a project.

I made the decision to proceed via sketching based on past experience, what others are doing and how I believe the best way will be to achieve the desired outcome.

By sketching out ideas it is possible to quickly understand how an idea will appear to the audience. This is an accepted method for generating new ideas as you can appreciate how your ideas will appear and also distribute them in order to receive feedback.

These ideas are evaluated firstly through your own judgement; by having intuition into which direction you wish to take with the sketching you can assess your own work to decide whether or not it is achieving your required goal. Secondly the ideas can be evaluated by your peers, potential clients, tutors, any exterior person. Unlike written work it is far easier for someone else to appreciate and quickly respond to sketching.

Following the initial sketching stage of my investigation I will analyse those which appear successful or achieve the desired outcomes, set by both the project brief and my own study proposal before developing them further into a potential body of work. I follow advice from my tutors, fellow designers and compare my work to that of others in order to assess the best possible route for progression.

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References

1. Jonni., 2010. Fear of Drawing? Sculpture Anxiety? Creative Block? Ultimate Paper Mache. [online] Available at: <http://ultimatepapermache.com/random-thoughts/fear-of-drawing&gt; [Accessed 30^th November 2011].

2. Sandor, A., 2006. Sketching for Shy. Art-SX. [online]. Available at: ,http://www.art-sx.co.uk/content/view/473/200/&gt; [Accessed 30^th Novemeber].

3. Bonneville, D., 2010. Why Graphic Designers Should Learn to Draw. Bonfx. [blog] Available at: <http://bonfx.com/why-graphic-designers-should-learn-to-draw/&gt; [Accessed 29th November 2011].

4. Elkins, G., 2011. Why I Take Sketch Breaks Instead of Surfing the Internet. Lifehacker. [blog] Available at: <http://lifehacker.com/5854926/why-i-take-sketch-breaks-instead-of-internet-surfing&gt; [Accessed 31st October 2011].

5. Smith, A., 2011. Why I Sketch (It’s all in the UX). [online] Available at: <http://ashsmith.co/2011/06/why-i-sketch-its-all-in-the-ux/#.TvCPaiM9VYg&gt; [Accessed 29th November 2011].

6. Tsutsumi, D., 2007. Why Do We Sketch? SimpleStroke Blog; Art of Dice Tsutsumi. [online] Available at: <http://www.simplestroke.com/wp/?p=64&gt; [Accessed 28^th November 2011].

7. Mottram, D., 2011. Mixing Up Illustration: Combining Analogue and Digital Techniques. Smashing Magazine. [online] Available at: <http://www.smashingmagazine.com/2011/12/07/mixing-up-illustration-combining-analog-and-digital-techniques/&gt; [Accessed 7^th December 2011].

8. Bonneville, D., 2010. Why Graphic Designers Should Learn to Draw. Bonfx. [blog] Available at: <http://bonfx.com/why-graphic-designers-should-learn-to-draw/&gt; [Accessed 29th November 2011].

Further Reading

Additional reading of interest surrounding the importance of the image

O’Hagan, S., 2010. Writing and photography – is a picture really worth a thousand words? The Guardian. [online] Wednesday 4th August 2010. Available at: <http://www.guardian.co.uk/artanddesign/2010/aug/04/writing-about-photography-robert-adams&gt; [Accessed 29th November 2011].

Beakes, G., 2003. A picture is worth a thousand words. A personal view of using images in the teaching of the biological sciences. Bioscience Education. Volume 1. Issue 1. [online] Available at: <http://www.bioscience.heacademy.ac.uk/journal/vol1/beej-1-3.aspx&gt; [Accessed 29th Novemeber 2011].

Bonneville, D., 2010. Should Graphic Designers Know How to Draw or Not?. Bonfx. [blog] Available at: <http://bonfx.com/should-graphic-designers-know-how-to-draw-or-not/&gt; [Accessed 29th November 2011].

Bonneville, D., 2009. Every good graphic design starts with a good drawing. Bonfx. [blog] Available at: <http://bonfx.com/every-good-graphic-design-starts-with-a-good-drawing/&gt; [Accessed 29th November 2011].

Brainstorm

“To have a great idea, have alot of them”

– Thomas Edison (February 11th 1847 – October 18th 1931)

Brainstorming is a commonly utilised, important tool for generating a variety of ideas focussed around a core topic. In order to engage with the given brief for the practical aspect of the design course I undertook a brainstorming exercise. I believe I instinctively use brainstorming as an initial method of idea generation when embarking upon a task as throughout my education it has been actively encouraged. From an early age children are urged to utilise brainstorming techniques to trigger a wide range of cerebral function.

Definition: to suggest a lot of ideas for a future activity very quickly before considering some of them more carefully ¹

I find brainstorming an effective method to relax and access my mind, allowing rapid exploration through a variety of options, primarily within a creative context. A successful brainstorm will significantly increase productivity as it removes avenues of investigation unlikely to bear merit early without necessarily following a linear thought path, allowing the progression required for submission.

A deeper investigation into the theory behind the method supported my initial reasoning behind utilising the brainstorm method;

“The brain works by making patterns, and this process can be visualized through a medium called visual tools”

– David Hyerle, 1996. ²

 Brainstorming is one of these visual tools, allowing us to access and understand thought processes prior to utilising them. During my brainstorming exercises I also consulted a visual thesaurus. The Visual Thesaurus is intended to assist brainstorming with loosely connected images to one of the 250 key words.

Goveia, C., 2003. Visual Thesaurus: A Quick Flip Brainstorming Tool for Graphic Designers. Massachusetts: Rockport Publishers.

Phil Scott takes brainstorming further, arguing that brainstorming itself is an artform. ³ Scott raises an interesting point; is the creative method art or a means to achieve art?

Scott, P., 2011. The Art of Brainstorm. [electronic print] Available at: <http://wellingvisualarts.org/the-art-of-brainstorm.html&gt; [Accessed 29th Novemeber 2011].

Meanwhile The School of Visual Arts NYC is was actively encouraging brainstorming anywhere with its ‘Think’ campaign. Everyday items around the school were printed with college ruled paper. ⁴

Blaine, E., 2009. 37587_2_600. [electronic print] Available at: <http://www.trendhunter.com/trends/school-of-visual-arts-think-campaign#!/photos/37587/2> %5BAccessed 29th November 2011].

As demonstrated, it is accepted within the creative community that brainstorming is an appropriate method of idea generation, psychologists however  believe the performance of the individual can be hindered with subject  to pressure from either social situation or the individual themselves to succeed. ⁵ Recently the term brainstorm came under scrutiny, believing to cause offence to the mentally ill and epileptic. ⁶

Following my brainstorming exercises I explored the word “geometry” and associated areas of interest. From this I was able to draw out key themes and consider pursuing them further.

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References

1. Cambridge University Press, 2001. Cambridge Advanced Learner’s Dictionary & Thesaurus. [online] Available at: <http://dictionary.cambridge.org/dictionary/british/brainstorm_1&gt; [Accessed 29th November 2011].

2. Hyerle, D., 1996. Visual Tools for Constructing Knowledge. Alexandria: Association for Supervision and Curriculum Development. p.96.

3. Phil Scott, 2011. The Art of Brainstorm. [online] Available at: <http://wellingvisualarts.org/the-art-of-brainstorm.html&gt; [Accessed 29th Novemeber 2011].

4. Blaine, E., 2009. College-Ruled Toilet Paper. [online] Available at: <http://www.trendhunter.com/trends/school-of-visual-arts-think-campaign#!/photos/37587/2&gt; [Accessed 29th November 2011].

5. Lamm, H. and Trommsdorff, G., 1973. Group versus individual performance on tasks requiring ideational proficiency (brainstorming): A review. European Journal of Social Psychology, December 1973, Volume 3, Issue 4, pp.361-388.

6. Allen, N., 2008. Council bans brainstorming. The Telegraph, [online] 20th June 2008. Available at: <http://www.telegraph.co.uk/news/uknews/2162568/Council-bans-brainstorming.html&gt; [Accessed 30th November 2011].

Geometry

The keyword for my FAT1 Practice Module has been selected, and I chose the word ‘geometry’.

During my education, initially embarking upon a Mathematics degree I have held a close regard for the integration between mathematics, predominantly the geometrical aspect, and design.

Within my study proposal I highlighted my interest with the combination of geometrical forms and their effects within typography. Additionally for the previous SAT1 study I undertook an investigation into typography.

Therefore it seemed appropriate to further investigate ‘geometry’ from a graphic design standpoint, combined with typography.

Bibliography – Typography

From my Research and Enquiry module I have chosen to publish the bibliography section below, detailing important and canonical texts within the field of typography.

1.

Bayer, H., 1967. On Typography.

In: Bayer, H., 1967. Herbert Bayer: Painter Designer Architect.

New York: Reinhold. pp.75-77.

Anon, n.d Front Cover. [electronic print] Available at: <http://www.modernism101.com/images/bayer_reinhold.jpg&gt; [Accessed 26th December 2011].

Herbert Bayer, a principle instructor within the Bauhaus School, was responsible for the reduction of typography to the bare essentials. Within On Typography, Bayer begins by assessing the disgruntled designers awaiting the typographic revolution. This is a useful text for dispelling old beliefs and explaining the requirements for a revolution, coupled with Bayer’s idea’s for prior advancement. Themes remain similar to Beatrice Warde (1930), with regards to the fundamental purpose of typography, as a ‘service art’; the successful communication of the written word. Disappointingly some reproductions of the essay are printed in serif type and occasionally with the re-introduction of the uppercase, dis-regarding Bayer’s fundamental typographic concepts outlined within the text.

Postmodernist Viewpoint

From reading Steven Heller’s “Cult of the Ugly” (1993) and watching Paula’s speech regarding “Serious Play” interesting arguments were evoked in the world of postmodernist graphic design.

Several themes of agreement connect between Heller and Scher’s observations:

• Firstly, Heller and Scher agree that experimentation, and fundamentally failure are requirements for progression within design. However disagreement is raised with regard to the necessary components. Heller states that instinct, intelligence and discipline are required, while Scher advocates playing and a complete lack of former knowledge.
• Secondly, Heller comments that students at the Cranbrook Academy of Art have “deliberately given themselves warts”, making their designs ugly by convention in an attempt to follow an alternative approach. Similarly Scher, in her initial position as a designer of music covers wished to fight the tradition of her peers and as a result would experiment with a mixture of various movements instead of following the rules dictating ‘attractive’ design at the time.
• Furthermore the view that previous perceptions of art and design were one dimensional is held by both Heller and Scher. They both saw the necessity to fight modernism, demonstrated by Scher with her reaction to the “helvetica” generation, expressing her view with parody posters.
• While Scher never intentionally set out to shock with her campaigns, this was the result, which she later regarded as positive, equivalent to Heller’s statements that shocking the viewer can result in good design.
• Finally both Heller and Scher agree that once something becomes mainstream, it becomes boring and less effective. The Public Theatre identity campaign by Scher is a prime example, once it became famous, the unique identity dissolved. Similarly Heller agrees (quoting Emerson), as with modernism, that once a design becomes standard, it may as well not be designed at all.

Agreement to postmodernist theory

Both Heller and Scher ask the reader and viewer to accept non-conventional standards.

Through postmodern theory, reality is only a social construct, and therefore subject to change. Similarly Scher points out that what is seen as good within design is flexible, in agreement with Heller and his belief that beauty is subjective.

Postmodernist theory attacks the existing accepted rules, seeking to break all. However unlike other movements, the postmodernists were aware that reaction was entirely subjective, and one could no-longer define beauty. It is impossible to form something ugly to each one of the seven million people on the earth, therefore it is impossible to fully contradict beauty.

By focussing with the extreme of ugly design the viewer is forced to consider, to investigate the possible beauty in ugly design. As Heller shows us ugly forms can result in food design, for example Art Chantry’s Punk Vernacularism.

Various Art Chantry Album Covers

“Extremism gave rise to fashionable ugliness” – Heller

Meanwhile Scher states, we must stop being solemn, resonating with postmodernist theory of disregarding all concepts connected to the solemn nature of capitalism and the narrow nature of the western world. Furthermore Scher wishes to oppose that which is socially correct, necessary and accepted as it is not the best way to form good design. Similar to the postmodernist belief that the socially acceptable modernist design needed changing.

Furthermore Scher shows us serious design is about invention, change and not about perfection. Again aligning with postmodernist theories regarding experimentation.

Scher believed that by fighting Helvetica, she was fighting the fascism of the time, again a fundamental backbone to the postmodernist movement. Hating lead to serious play, which is to Scher her best time of design. Many argue that the postmodernist movement is in fact born out of hate. Hating can bring good design, by truly fighting to oppose something, something new and wonderful can be achieved. Heller finally argues that what was previously considered ugly, can now be beautiful without the oppression, hence with the success of postmodernism.

What can be learnt about postmodernist experimentation?

As both Heller and Scher agree, postmodernist experimentation is fundamentally necessary for advancement in the field of design. Initial attempts by some postmodernist designers sought to deliberately oppose beauty, the Cranbrook Art Students’ Output magazine, cited by Heller.

“Ugly” Postmodern Design

Output Magazine – 1992

However, looking deeper into Postmodernist, it will be understood that the crucial principle of beauty, is that it is entirely subjective, therefore impossible to oppose. Just as Voltaire taught that an ‘ugly’ toad will find beauty with another ‘ugly’ toad, an ugly design will have an element of the beauty.

Those who believe beauty can be entirely disregarded, do not understand beauty. Physical beauty can still be admired in those who are not conventionally beautiful. Architectural beauty can still be seen in buildings which are commonly regarded as ugly. For example, who would admire a multi-story car-park on the surface? However consider the engineering required to hold each story of the car-park together, preventing sagging and structural collapse. Consider the calculations required to ensure the ramps are suitable for all cars regardless of weather conditions, yet steep enough to prevent using extra space for circulation. Beauty can be found in the functionality and necessity of the design.

With regards to failed experimentation, this is of paramount importance for advance of design. If all experiments were successful and led to instant progression humans would have nothing left to discover and would fail to be captivated with experimenting. It is the failure that is often more exciting than the success.

Again, opinions echoed in the work of Scher and Heller, show that challenging the current design paradigm should not only be tolerated but encouraged, as this sort of play can result in serious play.

Scher’s statement that to truly experiment and succeed one must have no idea what they are doing, can resonate with modern designers. By following trends, pre-described rules after learning so much one can only achieve similar to what has been laid before. However by disregarding the trends, and perhaps the best way to achieve this is by knowing nothing of them, truly original work can be created.

Maybe it should be questioned when something is considered a failure in design? If, even something deemed unsuccessful and ugly, paves one part of the path to a successful unique design was it ever a failure?

The modern designer must learn from the values held by the post-modernist, taking a gamble is not a bad thing, only through experimentation and mistakes can anything of value be learnt.

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References

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http://gra313.tumblr.com/page/2

TED, 2008. Serious Play. [Video Online] Available at: http://www.ted.com/talks/paula_scher_gets_serious.html [Accessed 28th October 2011].

Heller, S., 1993. Cult of the Ugly. Eye Magazine, 9. Available at: http://eyemagazine.com/feature.php?id=40&fid=351 [Accessed 28th October 2011].

My Position In the Graphic Design Industry

Hello All

Here is my map of where I believe my position in the industry is at the minute.

1. My position is currently as a Graphic Designer for a small Interior Design Company based in London. As I don’t have much commercial experience my map focuses more on where I want to go and how I intend to get there. My primary audience is the clients of the company, high-class individuals.

2. I want to be in a more creative, broader position allowing me to engage better with the industry.

3. The nearby industries to my own are that of Interior Design, Architecture and Graphic Design.

4. I engage with these industries, and my own ambitions to grow through the industry both online and offline.

Nadine’s Map