A two-page spread from Dlya golosa (For the Voice) designed by El Lissiztky
- Lissitzky uses a limited colour palette of red and black.
- Simple sans serif fonts are used with the addition of a few serif characters and basic geometric shapes forming type on one occasion.
- The layout is a response to the De Stijl, Suprematism and Construvism movements of the era and utilizes asymmetry, simple geometric shapes and negative space.
- In this book, Lissitzky designed title spreads for each poem to visually express the meaning or content of those poem. In this case, the large red circle represents the sun.
- This book was published in Russia in 1923 during a period of modernism and experimentation, the constructivism movement started was present in Russia at this time and was heavily influential in art and design.
- Lissitzky and Mayakovsky's collaboration was meant to communicate the idea that the visual expression of the words of the poems should appropriately represent but also enhance the reading experience.
Design for Swiss Tourist Board by Herbert Matter
- Matter employs a cool and refined colour palette of light blue in combination with greyscale which suitably represents the icy mountains of Switzerland. Key words are emphasized in red, evocative of the Swiss flag.
- The purpose of the type on this page is simply to inform, there are no larger headlines, therefore an easily readable sans serif font is used in paragraphs.
- This page is taken from promotional material for the Swiss Tourist Board which Matter designed for between 1932 and 1936. The purpose of this design is to inform and subsequently promote skiing in Switzerland, therefore its aimed at anyone who would be interested in skiing.
- Matter uses a combination of photo-montage, photography and typography to create a dynamic and appealing design.
A Spread from the Magazine 'Westvaco Inspirations' by Bradbury Thompson
- This magazine spread by American designer Bradbury Thompson, utilizes typography as an essential part of the layout; printed in bold 'CMYK' colours Thompson effectively uses the letter R as a grid here, placing images within the counters and between the stems with smaller R's printed in each corner. The vibrant colours show examples of overprinting when overlapping. The layout is the same on each page except for having a 180˚ difference.
- As part of an art, design and architecture publication in the mid 1950's, this design is meant to not only inform but also visually impress.
Poster for the Band 'Buzzcocks' by Linder Sterling and Malcolm Garrett - 4 November 1977
- This poster by Linder Sterling and Malcolm Garrett is a classic example of the graphic design that the 70's punk scene inspired. Bright eye-catching yellows and blues clash melodically while the iron headed figure of the poster, designed by Sterling, is a stylish and bespoke version of the photomontage that appeared in the 'D.I.Y' punk design of the period. Garrett brings together image and type efficiently and stylishly in this layout with the name of the single - 'Orgasm Addict' - fitted between stripes in right angled shapes, in a light sans serif font, its unusual structure possibly eluding to the fundamental disorder of the punk genre.
Cover of Raygun Issue #50 by David Carson - October 1997
- This cover of Raygun Issue #50 featuring Oasis exemplifies Carson’s instantly recognisable ‘Grunge’ typography style. Minimal sans serif type is used with effect; standard grid systems, spacing and arrangements are discarded for a more expressive approach to typography. The cover effectively communicates the style of the magazine by appearing distressed, worn and handmade; smudges of ink, scrawled handwriting and patchy printing all show how Carson successfully embraces imperfections in his work. When it comes to colour and imagery, the subtle yellow and black colour palette is applied deceivingly precisely and the worn mirrored images of the Gallaghers appear like a grungy hand printed playing card - perfectly in keeping with the tone of the publication.
No comments:
Post a Comment