OUGD501 / Context Of Practice / Development

Inspired by the original introduction page of the book, I have appropriated this and embraced technology using RGB Blue.

Screenshot of the process of the contemporary designer, exaggerating technologies use. 

Using a loud pink for both title and highlighted copy.
I wanted to imitate these highlights by representing a highlighter pen (orange/pink/green were possibilities)

The type has been stretched by 200%, In the Modernist period, this process would have only been made possible by the creation of a new set of a characters!

An eclectic mix or arrangements, left and aligned and centred feature here,
creating an erratic and energetic sense (portraying emotion through a page, as the PostModernist would)

A satirical 'Hi' features next to the highlighted quote: 'The creator disappears completely behind his work. People of today regard the arrogant thrusting forward of the man before his work as aesthetically embarrassing.'

The centred arrangement begins to imitate a script, a format of the pre-Modernist period as well as contradicting
Jan Tschichold's dismissal of the centred layout;
'Centred layout using lightweight sanserif has no visual effectiveness and reaches a
"typographic low" for today' pG 68 

'

This ease of manipulating type has become incredibly easy with the development of editing software,
apparent in its rise in use withing Contemporary Graphic Design; as seen below;

One of the few pages not derived from The New Technology, this layout and stectched imagery were derived from Steve Slocombe's interview with Patrick Burgoyne on the topic 'The New Ugly'.

Set in ALOT Gutenberg 'The Old Typography' sit next to an erratic layer with the stereotypical Drop cap found
in the old style.

Inspired by the Work of the infamous Post Modernist Jefferey Keedy (Who I have quoted within the essay)
The page represents rebellion, dismissal of the opressive 'Good Design'

The exaggeration of this quote sets a satirical tone of voice, mocking Jan Tschichold's oppressive views. 

Embracing the same design process as Steve Slocombe in SUPER SUPER;
'There is no predefined grid: Slocombe starts with the images (which may or may not be in focus) and arranges them so as to maximise the space, just as he and Tillmans would on the gallery wall.'

Using a 200% stretched Helvetica to subtly play with contempoary technologies influence on the distinctly Modernist.
Ignorant of borders, this full page layout 'shouts'.   

Emphasis on 'New!' ironically set in Fraktur.

This illustration of the Golden ratio page, popular in Modernism as it creates a asymmetric page layout.

'The New Art'.
As discussed in my essay, digital platforms such as Tumblr are the new art galleries, art is viewed primarily
through a screen.
I wanted to emphasise this with the framing of all images in the frame found upon all posts on Tumblr.
The blue outer glow is inspired by the blue brand aesthetic of the platform.

A statement.
Malevich's Black Square seen in the digital realm, objectively it does have very little impact.

Two images taken by myself at 'Adventures Of The Black Square'.
The notes on the page are paraphrased from my essay.

Embracing the limits of technology alongside the satirical editing of the book.

Both Windings and Keedy sans are used here;

Inspired by Carson's use of Zapf Dingbats in Ray Gun, which was in rebellion to the content of the article, portraying a point / statement is similar to my intention with this publication.

David Carson’s infamous Zapf Dingbats spread, featured in a 1994 issue of Ray Gun.

Keedy Sans:
Published by one of the frontiers of Post Modern practice; Emigre Fonts.
The quote here emphasises Keedy's PostMo practice, I used the typeface as an agreement with the designers approach.

'In type design, I have never been very interested in pushing the limits of legibility for its own sake. Absolute clarity, or extreme distortion, is too simplistic a goal because it is ground that has already been well covered. I prefer to explore the complex possibilities that lie somewhere between and attempt to do something original, or at the very least, unique.'

Emojis; The New Language.
Emoji's have been embraced in Western Culture, seen as more than illustrations, these symbols have been promoted in our Language system. This appropriation of symbols both represents modern communication and the PostMo practice
of appropriation.

Presenting a page through a screenshot of a page.
Adding this layer deconstructs the page, showing my process, which would normally be invisible; evident.

Unplanned. This notice appeared when finalising the document, more than a simple warning,
This represented the limitations and restriction we currently face in the contemporary design world,
with new technology come new problems.
In hope of a world without these restriction and limitations, I thought this to be a ironic tone of voice to finish with.