Monday, 6 March 2017

Paul Rand : Modernist design 1930s

As the book 'To Kill a Mockingbird' is set in the 1930s, I thought it would be valuable to explore the most popular design movement of this time and see how the style could be used to influence my design approach and decisions. 

"Graphic designer, evangelical modernist, self-proclaimed autodidact, native New Yorker, writer and teacher."

The Modernist Graphic Design style commonly stuck to a strict, structured grid system with emphasis on negative space and used a clean sans-serif typeface. The movement focuses on creating strong graphics that go against the commercialism, greed and cheapness. 
Typefaces used:
- Franklin Gothic
- Monotype Grotesque
- Futura
- Helvetica Neue

"Modernism was a faith, a religion, a mission to which we committed ourselves with passion and zeal. Paul was our leader and inspiration.”—Louis Danziger

Paul Rand particularly developed his design style with the publication of the Direction magazine covers. Fig. 1 is the Christmas cover, reflecting on Nazi-occupied Europe at the time. It is one of the most iconic covers as it shows the Pushing of boundaries, with a piece of barbed wire crossing the cover in the same way that a ribbon on a box would. Paul Rands layouts seem to focus on the image rather than the type, something that the modernist movement isn't best known for. The experimental approach is achieved through the use of interesting mark making (fig. 2), something that could be applied to the book cover design by taking relevant imagery and using it in a symbolic way on the front cover. Fig. 3 shows a hands-on approach for the design of the front cover, similar to fig. which uses the ideas of collaging, but focuses more on image rather than typography. 

Figure 5, 6 and 7 show my designs that are influenced by the principles of Modernist design and Paul Rand. The designs were produced using Adobe Photoshop, but if they were to be finalised they would be made by hand to more accurately mirror the Modernist design style.   

Fig. 1
Fig. 2


Fig. 3
Fig. 4



Fig. 5

Fig. 6



Fig. 7

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