Studio Brief 2: From Theory Into Practice

'Design, develop and produce a publication that explores A Brief History Of...'
The publication must be:
-Historical and chronological
-Social and cultural
-Technological
-Political

Elements to consider which can create strong juxtapositions and contexts:
-Choice of type
-Image
-Layout used in the correct manner

5 requirements/aims for the final publication:
-Context
-Synthesis - theoretical and practical relationship
-Analysis - primary and secondary sources
-Research
-Communication

-The publication can be based on any aspects/topics taught in previous Context of Practice sessions.

I have decided to focus my publication on Modernism vs. Postmodernism. I intend to define the key differences between these two art forms through thorough research and my own interpretations. I will also experiment with a variety of different layouts in order to create the clearest and most appropriate outcome.

I began by researching into modernism. I was mainly interested in the history of the Bauhaus and also the large impact of Swiss Modernism.

www.designhistory.org
typophile.com

Modernism in typography, as in art, is generally a movement which began around or after World War I, flourishes between the wars, and is then challenged and diluted after World War II, although never fully vanquished. At its best and strongest, modernist typography is marked by a fairly coherent set of aesthetic beliefs: priority is to be given to function (the "decorative" is not beautiful); rational principles (systematic geometry, grids) are essential; there is nothing wrong with the mass-produced, and there is no special value to be attached to the appearance of the "hand of the craftsman"--much less to thefalse pretense of craftsmanship in items that are in fact a product of the machine.

In typography these principles tended to manifest themselves in such matters as: a preference for "industrial" typefaces (Akzidenz Grotesk, Helvetica) or geometric typefaces (Futura) over types modelled on or aping earlier forms; a preference for sans serif type over type with serifs (since, on one view, a serif is a form of decoration); a preference for "rational" (especially asymmetric) layouts and grids over traditional centered or "artistic" arrangements; a dislike of decoration; a preference for the honestly industrial (standard sizes, ordinary paper) over the crafty or handmade. Typographic modernism flourished in Germany in the 1920s, under the influence of the Bauhaus and through individuals such as Paul Renner and Jan Tschichold, it flourished in Switzerland in the 1950s and 60s. It remains significant to this day, especially in Europe (it was never so influential in America).