Response from email

One of the female design collectives in which I was highly interested in emailed me back a response to my previous questions. she suggested magazines in which already attempt to do this, but they are based in America and thus I still believe that their is a large market for the product within the UK. Although these magazines may be explored further in order to gain a greater stance upon how they tackle the issue.

She asked how I would raise money for the magazine, how I plan on being compensated for my efforts, and stated that I should build contracts for artists work in which I plan on exhibiting to protect myself.

As a result of this I would suggest that if this publication was to be developed commercially I myself would initially fund the project with contributions being made by individuals in which I plan to exhibit. In terms of how I would be commended for the project, I would do it for free as I believe that females being involved within design is a highly important issue. I must also develop a contact for individuals who are involved within the magazine.

Spread research

Spreads were researched in order to gather a greater understanding upon what forms of design are best at exhibiting design pieces. 

The above post modern approach is fun and loud, although the artwork individually does not stand out but rather the impact of the design in mass. As I aim to complete a catalog in which explores both postmodern and modernist work I believe that this style would not be effective and thus an alternative should be explored. 

The amount of text apparent in this spread is not relevant to that of the catalogue although the placement of the images is highly relevant. The busy movement explored is very intriguing and thus would gain the consumers attention. 

Clean and clear the large margins explore a fresh nature. As Vignelli previously stated that small margins create tension a larger margin would develop a fresh, innovative take on spread design. 

The segregation using glazed plastic is highly effective in this approach although I am again unsure as of environmental implications. 

Large images clearly explore work, with fun and interesting placements being made. I feel like the movement of images upon a page is far more engaging that basic images laid out in a formal catalogue design. 

The overlapping of images in my context would not be successful as it would obstruct other designers work. It may also then be difficult to distinguish whose work is whose. 

Block colours have been used by the editor in this instance in order to produce a highly eye-catching approach. This could not be developed for the catalogue as it expresses my own unique style and therefore would distract from the the design work. 

In this piece two double page spreads have been developed in which appear highly impactive. Although this is effective the whole publication could not be produced in this manner as otherwise it would become highly repetitive. 

catalogue structure research

In order to gather some initial ideas, research was firstly developed focusing upon the publications structure. Although the publication should stand out it must be considered that the publication should be cheap as it 

Acetate can be an effective way in which to develop a fun and engaging piece, especially when involving typography. When referring back to the theorists in which I have previously outlined they have all suggested that environmental design is of a large importance and thus I believe that the usage of plastic in a product that has a very short shelf life would not be correct. 

This design focuses upon a layered approach upon a printed platform. Although I really like this idea I am unsure how I could infiltrate it into a design in which is there to inform rather than to express my own unique style. As a result of this I believe that my own cover should explore a non-decorative approach, with limited design appearing apparent. 

As the publication is to follow a catalogue format it is important that the structure is noted. The above structure of a perfect bind would be a suitable method although it should be further suggested whether this is environmentally friendly. 

This saddle stitched approach is highly effective and would be rather light. The production is also cheap, a factor in which would be highly relevant to who will be producing the publication. 

A boxed approach is really effective and would make the design appear important, although the cost of this would be far greater than a saddle stitched approach. This therefore leaving myself to develop a strong piece of design in which appears expensive although it is not. 

It may be suggested that if the publication set off on a large scale then a perfect bound cover could be developed? The individuals who want to exhibit their work could all pay £10 for a slot and thus when including 100 designers a thousand pounds would be made. This in turn allowing for mass publications to be developed and given to creative agencies. 

Saddle stitch designs can appear strong if the design apparent is effective and an appropriate stock is selected. this will be discussed with my peers as I am currently unsure whether this would be appropriate. 

The above design explores a very expensive approach in which would definitely target the audience. The production of further publications should be discussed. 

Survey

What design appeals most to men?

Obviously as I am myself a women it would be unfair to suggest what forms of design males like and thus I completed a survey in order to gain a more in-depth knowledge. The results from the survey have been expressed below.

When asking a wide variety of males aged 18-55 it became apparent that the form of design in which appealed most to them was that of typography, with the second favourite being that of photography.

When discussing favourite colours blue was number one, with red coming in second. 

When discussing whether they preferred serif or sans serif it was evident that a large number of the consumers did not know the difference as they were not designers. If i were to complete this survey again this should have been outlined. From the results collected it was evident that sans serif is the most loved.






From completing this small survey it is evident that men largely prefer typographic pieces of design, although this depends upon the context. When completing the survey I was going to ask whether they preferred modern or postmodern design but felt like this would contract my essay, as if no postmodern design was involved within the practical work than the two would not link.

Who will the publication be by?

When thinking about who is going to fund the publication it is fair to suggest that many female collective may want to complete such action, or if not I could myself set up such a collective in order to promote myself and my fellow female peers work.

Emails were sent to multiple female collectives in order to ask what they personally think about the project, and whether they themselves would invest in such project. I felt this highly important as I believe that female design should be explored more within the creative industries. 

Outline of the publication

When discussing my ideas with my peers they suggested that I should develop a fully pledged purpose for the publication. From this it was discussed whether the publication should be a one off or whether it should be a biannual publication. As the need for female designers is a highly relevant issue it was decided that the publication should be produced biannually.

As a result of the critique the below was outlined:


Aim-The aim of the publication is to get female work out there to creative directors in the hope that young female creatives will gain equal opportunity. 

Function-The publication should function in a way whereby my own design style is not obstructive. The publication should be easy to read, and should be environmentally friendly. 

Shelf life- The shelf life of the product should be at least a couple of weeks to allow the creative director to read through the publication fully. it must be considered that some will initially throw the product away, and some will keep the product for far longer than intended. Good design will allow the consumer to keep the product. 

Character profile

In order to gather a greater idea upon who the product would be targeting a sample was constructed of potential consumers. This therefore allowing myself to be able to refer to this later on through the design process.




Name:Paul
Age:45
Job:Creative director 
Salary:45k-70k
Children:2
Relationship status:Married
Car:Audi
Hobbies: Fishing, shooting


Name:Richard
Age:50
Job:Creative director 
Salary:45k-70k
Children:3
Relationship status:Divorced
Car:BMW
Hobbies:Sci fi films, sailing

Name:Tim 
Age:35
Job:Creative director 
Salary:45k-70k
Children:0
Relationship status:single 
Car:Tesla
Hobbies: socialising, football 

Name:Mike
Age:55
Job:Creative director 
Salary:45k-70k
Children:2
Relationship status:Married
Car:Mercedes 
Hobbies: Fishing 


Name:Derek
Age:50
Job:Creative director 
Salary:45k-70k
Children:2
Relationship status:Married
Car:KIA
Hobbies: Fishing, Lambretta's, Darts. 

Target audience/Generation X research

As the target audience is creative directors research must be conducted into who are the lead creative directors in the UK. This will allow for an overall target audience to be established.

Who are the main creative directors? 

'Women influence 80% of consumer spending. Yet, women make up only 3% of creative directors. ' ("Only 3% Of Creative Directors Are Women. Here's Why.")

As only 3% of creative director are female it should be suggested that the target audience for this product would be that of males. 

When looking at the general age of creative directors it became apparent that the smaller the business the younger the creative directors are for example a business in which employs 5 people the creative director is more likely to be 30, whereas if it is 100 people they are more likely to be aged 45 plus. The general aging for creative directors is thus 40-55. 

As creative directors earn plus of £60,000 a year, it is fair to suggest that they would be of an ABC1 demographic. 

From the results found an in-depth knowledge of the target audience can then be formulated..

This demographic fall under Generation x. 

Generation x. 

Who are they?

Generation X, born sometime between the years of 1965 and 1980. They love the new tech of the century, their families, freedom and independence. Generation X has seen heavy events, civil rights movements, several wars across the Atlantic not to mention the grunge fashion movement. A stereotypical X-er will be family oriented, financially responsible and self-reliant.

Tech? 

Generation X can be the hardest generation to pin down. You’ve got two types of Xers;

Those born earlier in the generation tend to hold some of the values of the Baby Boomers. While those born later in the generation have some Millennial style traits.

It’s surprising how different each end of the generation can be. Across the generation ideals and ability with today’s tech vary quite a bit. Earlier members of the generation may still have trouble with technology such as computers and phones, while the later members have no trouble at all and actually be enthusiastic early adopters. So more tech dependant marketing techniques may appeal more to the younger X-ers and miss the older sect all together. Even with their differences, some types of marketing works universally well across the generation and the need for proper tonality and an authentic message apply throughout.

Marketing? 

They’re not as conservative as their parents, but not as liberal as their kids. By now Gen X-ers are typically between 35 and 50, so you can actually get away with some older-fashioned marketing tactics, as well as incorporating new ones.

What are their main desires? 

Their desire to provide for their families. Whether you’re selling home furnishings, exotic vacations or luxury watches, pitching your products and services as lasting values, once-in-a-lifetime experiences or heirlooms to hand down will resonate with this generation.

Their desire to take care of themselves. If you’ve marketed products or services to health-conscious baby boomers, try expanding your target market to Gen X as well. Healthy foods, supplements, exercise equipment and apparel, weight-loss products, and fitness classes are just some of the things that appeal to this generation as they hit middle age.

Their desire to play it safe. Worried about crime and climate change, stressed about saving for retirement or leaving a worthy inheritance, Gen Xers are no longer the “extreme” generation of the X Games—they want reassurance and security. Emphasize how your products and services can protect their homes/the planet/their families/their hard-earned money, and you’ll win them over.

What can be learnt from this exercise? 

• They have a liquid income 
• Some are advanced with technology/ others are not. As the product would be targeting creative directors it is fair to suggest that they would be good with technology due to their job. 
• They have a desire to provide
• They are very health conscious
• They don't like taking big risks 

The selected target audience for the product is males aged 40-55 of an ABC1 demographic profile. 

Aim of the publication

The aim of the publication would be to express female design work to creative agencies, in turn promoting their work and getting more male based companies to hire/work with female designers. The publication would work in a catalog format, listing the individuals next to their artwork or in the index (this will be discussed later). A variation of female design will be explored. In relation to the essay it would be fair to suggest that trends of postmodern female design are expressed throughout, in turn expressing female design as differing to males. This will be highlighted within the publication, although further work may explore modernism, this suggesting that women no longer have to feel the need to 'break free' of male trends and can explore their own minimal design.

The target audience for the publication will be creative directors as hey are the most influential within design fields.

Attempt to get into contact with mushpit

As mushpit is already a lead based female magazine I wanted to contact, in turn gaining greater knowledge upon their practice and role as female designers.

The magazine was initially contacted through instagram whereby a private email was then given by them.

When contacting their email address there has been no response, and thus the interview questions have been sent on multiple occasions. As they are obviously very busy this is understandable, although I felt that talking to them would increase my practice and the research for my practical.

The questions asked all related to the production of my design in some format. For example asking whether they believe mush pit fills a gap in the market. 

Dieter Rams-Principals for good design

In order to gather a greater understanding a design theorists Dieter Rams was studied. When reading his principals for good design the below comments stood out to me the most, as being relevant to the current project. 

• Good Design Is Unobtrusive : Products fulfilling a purpose are like tools. They are neither decorative objects nor works of art. Their design should therefore be both neutral and restrained, to leave room for the user’s self-expression.

• Good Design Is Environmentally Friendly : Design makes an important contribution to the preservation of the environment. It conserves resources and minimises physical and visual pollution throughout the lifecycle of the product.

• Good Design Is as Little Design as Possible : Less, but better – because it concentrates on the essential aspects, and the products are not burdened with non-essentials. Back to purity, back to simplicity.

The above quotes give a greater insight into what makes design powerful. From this I am able to gather that the catalog shouldn't be decorative as it is expressing others work and thus my own personal style would dictate the impact of the work and whether the consumer liked it. The second quote suggests that all good design should be environmentally friendly. This is one of my own personal beliefs and thus it is important that this is implemented within my design. The third quotes suggests that less is more in terms of design and thus large amounts of negative space should be present. I feel this relevant when referring to Vignelli. 

10 rules of graphic design by theorist Sonia Harris

10 BASIC RULES FOR GRAPHIC DESIGNERS


1. LOOK OUTSIDE OF DESIGN FOR INSPIRATION. 

Other visual disciplines can offer a new perspective. Instead of only looking in our specific field, go to photography exhibitions, fashion shows, old movies and look at what excites you. This will help you to avoid simply copying whatever is already being done (because if you do so, whatever you make runs the risk of being old-fashioned by the time you're finished).

2. FORM FOLLOWS FUNCTION.

Before you begin designing anything, learn as much as you can about who the design is for (or targeted towards), what it is intended to do, what it is meant to convey, and how it will be manufactured/produced. Consider treating the design like a person, and ask what the person's favorite film, color, or magazine is. The design will be shaped by these answers and the more you know, the easier it will be to get started.

3. SAVE VERSIONS, SAVE LAYERS.

As you work and revise your designs, remember to keep the various layers and early iterations, even if you have 10 versions in one day. That way, if you make a mistake or change something drastically later, you can go back to it. At the end of a project, you can get rid of these old files and clean up your files (good practice so that you can easily find things later). However, you might also find that one of those early versions of the design make a good basis for a different project, so if you have the memory, stash those early files for a little while.

4. SIMPLIFY.

Have a reason for every design element. Use as few typefaces, lines, shapes, frames, colors, even case (i.e. upper and lower), as possible. This doesn't always mean going for a minimal approach, it just means understanding what everything you're doing is conveying. In a ridiculous number of projects, three colors are all you'll ever need, and two of them are already chosen (black and white), so you usually only need to find one color. In business, that color is usually blue or red.

5. USE A GRID.

Be aware of how every element relates to every other element. Grids are obviously essential when you're laying out a book, magazine, or web page, but there is also an invisible grid of alignment linking every visual element around us. When you break the grid and allow elements to tilt or straddle two columns, do it aggressively so that it is clear that it is a conscious choice.

6. MAKE MISTAKES.

Allow yourself to try things out, see what works that you didn't expect to work, give your eyes new things to look at in your own work. If you do like your mistakes, then make it a big enough "mistake" that it is clear that you did it on purpose. E.g. If you use a broken line, break it repeatedly. If you angle an image, make it more than 5º, if your colors clash, make them clash a LOT, etc.

7. BRAINSTORM. 

Discuss and share your initial designs. Even if you don't use any of their input, simply talking about the options and explaining your work will spark new directions for you. Know your own feelings about the design and be clear with yourself about what works for you and what doesn't. You don't need to argue about the work, you can just take on their input and use what is helpful to you.

8. DON'T STRETCH A FONT.

Typeface design is a very skilled, time-consuming job, so you don't want to break them. If you want a headline to be taller and thinner, look for the condensed version of a font (or conversely, the expanded version for wider looks). While you may not think that anyone can see when the weight of a descender is out-of-balance, everyone can see it. They might not know what they see that makes the design look cheap and untrustworthy, but on a subliminal level, they see it.

9. TRACK YOUR TIME.

Simply write down how much time you spend on each project each day. Be aware of how long it takes you to design something, even if you're not charging anyone by the hour. Knowing what you're capable of will help you in the future, when you're choosing what kind of project to focus on, what kind of work to look for, how to get the most out of your skillset, and where you need to strengthen your focus.

10. SHARE KNOWLEDGE.

Nearly everything I learned, I learned from working with friends and colleagues. We didn't even necessarily on projects together, but sometimes just because they recommended a website or a book, or simply from working in the same room together and talking about how we do things. It could be as basic as learning a keyboard shortcut to do something (which, incidentally, you should try to learn now because it will save your wrists in the future, as will learning to get comfortable with using a mouse with your left hand - another thing a colleague suggested), or as big as learning about a new design style which could transform your career. Go to free classes, talks, etc, and read about design for fun. Get books out of the library, put up posters, keep packaging, immerse yourself in designs you like and let them become part of your life.

Female collectives

In order to gather a greater understanding upon how female designers attempt to be acknowledged it was decided to formulate research surrounding pre-existing feminist collectives, in order to discover the methods in which they use to promote one anothers work.

When searching it did not take long to discover a large arrangement of material relating to women within design. Multiple collectives maintain websites whereby charitable aspects are often a large key. In terms of websites it felt as if they were focused more directly at an art base rather than design. Tumblrs and instagrams were also apparent, with strong iconography being used. Zines and pin badges were also a frequent reoccurrence, with slogans often reoccurring.

No design related catalogs were discovered, a factor in which leads myself to suggest that their would be a large market for my final outcome.

Vignelli's Canon

As a publication was decided upon as the final outcome research was undergone into theorists and their beliefs of books design. Vignelli was specifically researched, with canon being read. Key notes and ideas were gained from this. Some in which have been expressed below.



Environmental aspects 

'In graphic design the issue of responsibility assumes particular importance as a form of economic awareness toward the most appropriate solution to a given problem. Too often we see printed works produced in a lavish manner just to satisfy the ego of designers or clients. It is important that an economically appropriate solution is used and is one that takes in proper consideration all the facets of the problem.'

The above quote from Vignelli suggests that often design is developed in a non-environmental matter just to please individuals and thus this should be altered. The design implications/waste of a product should be designers responsibility and thus the designers should be held responsible for their environmental impact.



'Standardizing paper sizes, and consequently publication sizes, is a conscious contribution to the environment, ultimately saving trees, reducing pollution and waste. The choice of a publication size should be made with an awareness of its consequences, understanding that ethics and aesthetics have a common semantic root that should be respected. It is our professional imperative to see that these issues are respected.'

From this quote it is evident that the less paper used, the less trees damaged. It is also stated that subsequently less ink will be used, in turn being more environmentally friendly.



Grid systems 

'For the design of a book the grid provides again structure and continuity from cover to cover. In a picture book, according to the content, the grid could have a number of columns and subcolumns to organize the information accordingly. In agreement with the content the size of the book will be the first thing to be determined. A book with square pictures will be square, a book with rectangular pictures will be rectangular or oblong, in accord with the most appropriate way to exhibit the material. The content determines the container - a basic truth also in book design. It is a good practice to relate the grid to the proportion of the majority of pictures, so that there will be the least need for cropping their images. Today photographers are more careful about the composition of their images, so the grid should be devised to take that in proper consideration. By structuring the grid accordingly the book will have a higher level of integrity than otherwise.'

From the above quote surrounding grid layouts within books it is evident that the shape of individual images must be determined by the shape of publication. Therefore as I am using individual images in which are rectangle, the book itself should be rectangular. 




Typography

Vignelli goes onto state that he only uses the typefaces: Garamond, Bodoni, Century Expanded, Helvetica, Optima, Futura, Univers, Caslon and Baskerville. Due to their classic nature expressive style and clarity. As a result of this I will attempt to stick to these typefaces within my publication.


'Most of the time we use flush left. This type of alignment derives from metal composition, particularly in Linotype. Formerly it was faster to keep the alignment on the left side rather then having to kern the slug for every line. It also makes more sense since in our culture we read from left to right and it is better for the eye to go to the next line than having to cope with hyphens all the time. However, it is important to control the shape of the rugged side by shifting sometimes the text from line to line to obtain a better profile. This may be time consuming but aesthetically rewarding. We use centered for lapidary text, invitations, or any rhetorical composition where it may be more appropriate, or for the address at the bottom of a letterhead, and for business cards. Justified is used more for text books, but it is not one of our favorites because it is fundamentally contrived.'

From the above quote it is evident that flush left is far easier to read due to the ways in which humans within Britain read although it may be suggested that other ways of formatting text may be used when less is needed.


'One of the most exciting elements of typography for me is the contrast of scale on a printed page. I love the play between a very large type size for headlines versus a much smaller type size for the body text, with proper white space in between. White space for me is a very important element in graphic composition. It is really the white that makes the black sing. White, in typography, is what space is in Architecture. It is the articulation of space that gives Architecture the perfect pitch.'


It is important to note that multiple sizes of typography can be highly effective and allow for hierarchy within a piece.

'Our first rule is to stick to one or two type sizes at the most. If necessary, there are other devices such as bold, light, roman and italic to differentiate different parts of a text, but even there, stick to the minimum. Type weights can be used to great advantage when dedicated to a specific function, rather than be used for color purposes or even worse as a phonetic analogy'

Only two types sizes should be used, with bold etc being used in order to distinguish against texts. 


Colour

'Most of the time we use color as a Signifier, or as an Identifier. Generally speaking we do not use color in a pictorial manner. Therefore, we tend to prefer a primary palette of Red, Blue, and Yellow. This may seem restrictive. This doesn’t mean that we do not like colors or that we are not sensitive to them. It merely means that most of the time we like to use color to convey a specific message, therefore, we tend to use it more as symbol or as an identifier.' 

Vignelli suggests that colour should be used in order to convey meaning, as otherwise the consumer has little or no relation to the design. 


Layouts 

'Any kind of publication has different layout requirements. However, it is inevitable that the layouts reflect the interpretation of the designer. Most publications are composed of text, images and captions and the task of the designer is to sift through the images to select those which best portray the essence of the content and possess the quality of becoming an icon. An icon is an image that expresses its content in the most memorable way.' 

'Once the outside margins are established (I tend to like narrow margins to increase the tension) the basic grid should be devised according to the nature of the publication: 2, 3 or 4 columns for a book or a brochure, 6 or more, for a newspaper. Once the number of vertical divisions are decided the next step is horizontal divisions which will provide the number of modules per page. Again 2, 3, 4, 5, 6, 8 or more, according to the variety need of the publication. In defining the grid, one has to keep in mind what kind of visual material will comprise the layout.'

Composition must be explored within the pieces, with relevant iconography being selected.  Smaller margins also allow for more tension to be derived within the publication. 


'Ultimately the most important device is the management of the white space in the layouts. It is the white space that makes the layout sing. Bad layouts have no space left for breathing - every little space covered by a cacophony of type-sizes, images, and screaming titles.'

In reference to the above quote large amounts of negative space should be considered. This making the design more visually engaging.



What can be learnt from this?

• The smaller the publication size, the less environmental waste 
• Rectangular images equal rectangular publications, square with squares etc. 
• Garamond, Bodoni, Century Expanded, Helvetica, Optima, Futura, Univers, Caslon and Baskerville are the most effective typefaces. 
• Primary colours or the signifier. 
• Relevant iconography should be selected- images should go with one another.
• Smaller margins equal more tension
• Negative space makes a design more visually intriguing. 

design catalogue

In order to gather some general ideas surrounding design catalogues/magazines research was partaken in which focuses directly upon the structure and aesthetic of the design. 

This design focuses upon an innovative structure which follows a two size paper format. This structure is highly engaging and draws the consumers interest initially. Bright colours have then been used in order to draw the consumers eyes. An off white stock has been used in order to allow for easy to read typography. 

Embossing has been used in order to appeal to designers and to appear physically attractive. An off white has been used in order to comply to that of Vignli's rules. A bold sans serif has been used in order to appear strong and impactful. A minimal design has been used in order to contrast against the vivid design apparent within the publication. 

Grey is often used in book cover design in order to express less relevant information. This is far more effective than using black as this often overpowers the main text. 

Large images gain mass attention. When completing spreads it is often a good idea to explore a variation of sizes in order to develop a design in which does not appear boring. 

This design explores a minimal approach. The effective nature of the lines intrigues the audience into why they have been crossed out and thus the consumer is much more likely to engage with the product. 3 tone effects are highly impactful as this allows for concentration to be made on the typography rather than the vivid colours present. 

This folded structure explores an untraditional format and thus would appeal to a creative consumer. Typography has been explored in a creative way in order to formulate a design in which uses typography as a decorative aspect. 

Female design catalogue

When thinking about pre-existing female design catalogues it became evident that there are no catalogues as such, but rather books exhibiting female design. The idea of exploring design through a catalogue would allow it to be easily assessable to design agencies and a broad creative network, in turn getting female design out there.  

The above spreads have been taken from a female design book in which focuses upon the objectification of women. The large images are eye-catching and draw focus upon the design work. Little text is used in which paraphrases the work as well as highlighting the designer. 

The above extract is discussing 'Women in graphic design'.  This book explores a more historical approach rather than focusing directly upon design. In order to express a modern approach and to effectively target design agencies, it may be suggested that a pure design approach should be completed for the catalogue. This in turn promoting the designers rather than their struggle. 

Simple in design, this book explores women as being strong and powerful. The minimal typographic approach explores a modernist design in turn provoking the idea that women are able to complete all forms of design, not just post modern. The minimal design also allows the female design to stand out against the page, in turn provoking impact. 

What is postmodern design??

Although I would suggest that I have a pre-existing knowledge upon postmodern design it was decided that further research should be conducted in which outlines what is postmodernism and postmodern trends.

'Postmodernism is a late-20th-century movement in the arts, architecture, and criticism that was a departure from modernism. Postmodernism includes skeptical interpretations of culture, literature, art, philosophy, history, economics, architecture, fiction, and literary criticism. It is often associated with deconstruction and post-structuralism because its usage as a term gained significant popularity at the same time as twentieth-century post-structural thought.

The term postmodernism has been applied to a host of movements, many in art, music, and literature, that reacted against tendencies in modernism, and are typically marked by revival of historical elements and techniques.'-http://www.historygraphicdesign.com/the-age-of-information/postmodern-design


Characteristics of postmodernism 

• 'There is no absolute truth - Postmodernists believe that the notion of truth is a contrived illusion, misused by people and special interest groups to gain power over others. 

• Truth and error are synonymous - Facts, postmodernists claim, are too limiting to determine anything. Changing erratically, what is fact today can be false tomorrow. 

• Self-conceptualization and rationalization - Traditional logic and objectivity are spurned by postmodernists. Preferring to rely on opinions rather than embrace facts, postmodernist spurn the scientific method. 

• Traditional authority is false and corrupt - Postmodernists speak out against the constraints of religious morals and secular authority. They wage intellectual revolution to voice their concerns about traditional establishment. 

• Ownership - They claim that collective ownership would most fairly administrate goods and services. 

• Disillusionment with modernism - Postmodernists rue the unfulfilled promises of science, technology, government, and religion. 

• Morality is personal - Believing ethics to be relative, postmodernists subject morality to personal opinion. They define morality as each person’s private code of ethics without the need to follow traditional values and rules. 

• Globalization – Many postmodernists claim that national boundaries are a hindrance to human communication. Nationalism, they believe, causes wars. Therefore, postmodernists often propose internationalism and uniting separate countries. 

• All religions are valid - Valuing inclusive faiths, postmodernists gravitate towards New Age religion. They denounce the exclusive claims of Jesus Christ as being the only way to God. 

• Liberal ethics - Postmodernists defend the cause of feminists and homosexuals. 

• Pro-environmentalism - Defending “Mother Earth,” postmodernists blame Western society for its destruction.'http://www.allaboutphilosophy.org/characteristics-of-postmodernism-faq.htm

What I would suggest are postmodern trends in graphic design

• San serifs are most prominently used
• Collage/other mediums other than cad
• Going against the 'norm' 
• Bold colours
• Movement in typography 
• 
  

Paula Scher

'She left CBS to work on her own in 1982. Scher developed a typographic solution based on Art deco and Russian constructivism, which incorporated outmoded typefaces into her work. The Russian constructivism had provided Scher inspiration for her typography; she didn’t copy the early constructivist style but used its vocabulary of form on her works.'

'In 1994, Paula Scher was the first designer to create a new identity and promotional graphics system for The Public Theater, a program that become the turning point of identity in designs that influence much of the graphic design created for theatrical promotion and for cultural institutions in general.'

http://www.historygraphicdesign.com/the-age-of-information/postmodern-design/207-paula-scher



'Scher went on to be the first female principal at illustrious design agency Pentagram and almost single-handedly define the look of New York's cultural scene in the 1990s and beyond.'

'Scher's style evokes bold imagery and uses typography in an almost illustrative rather than print style and she continues to this day to push design boundaries and her own.'

'Her early work for the city's Public Theatre, with its graffiti-like style combined with elements of traditional woodcuts and Victoriana, became a watchword in theatre promotion due to its appeal to an urban population previously inured to the perceived pretentiousness of the arts scene. It also went on to pick up the coveted Beacon Award in 1996. She has also provided all the identity work and design for promotion for the Theatre's long-running Shakespeare in Central Park series since the early 1990s.'

http://idesigni.co.uk/resources/graphic-design/contemporary-graphic-designers-paula-scher

Feminist based design magazines

Mushpit

'After nine issues and five years, the Mushpit (founded by Bertie Brandes and Charlotte Roberts) has made a name for itself as London’s most-loved satirical fashion/political/feminist magazine. Inspired by 90s/00s anarchic mag Cheap Date, Mushpit was born as a zine in a Dalston flat share and found its legs being sold on the dancefloor of The Alibi. Typically, each issue takes the theme of a particular crisis Brandes and Roberts are experiencing; there has been “The Sell Out” and “The Confused” issue, and their latest, issue 09 – almost double the content of previous ones – is steered by a post-Brexit climate and aptly dubbed “The Crisis Issue”.

Now a fully fledged glossy, even on a shoestring budget – partly due to their strict no ads policy and the fact that just breathing in London is extortionate – Mushpit’s covers have been lensed by Tyrone LeBon (issue 06) and Alice Neale (issue 07). And while it’s easy to appreciate Mushpit on the surface, spend some quality time between those covers and it’s clear that the true beauty lies in its details. Aimed at a generation of short attention spanned 20-something-year-olds and packed with quizzes, “advertisements”, a centre-fold, fashion shoots, and a lonely hearts classifieds page, for any impatient page-turner Mushpit demands that your attention is well-spent with them. Thought-provoking, humorous, and eye-opening/eye-rolling... with heapings of genius, Mushpit offers the approach that if we don’t laugh then, well, we’re fucked.'

Mushpit is a London based magazine in which has been set up by two best friends who work alongside one another in order to develop a visually engaging, humorous and politically charged magazine. The majority of the content is parody in which pokes fun at the mainstream media, and other magazines. Following a teen magazine idea, the magazine frequently makes visual and written puns surrounding the ways in which women are treated within society, including that of gender norms and female pressures.

The design aesthetic used may be deemed as 'overly female' with bright pinks frequently being used, this again relating to the parody present within the magazine. By visioning these generic gender ideologies the magazine is able to have a larger stance upon that of other feminist magazines in which follow a stricter, less ironic approach. This may be explored as a way in which to make a strong female design catalogue, embedding the idea that the lack of females within design is stupid.

Being one of my favourite spreads this design highlights consumerism in a way in which subtly undermines new building developments. The design uses parody in such format in order to develop a lasting impression, as well as gaining the consumers attention. 

‘The Mushpit Guide to Dating in Your Twenties’ spread follows that of a typical dating add aesthetic in order to communicate the idea, again in a parody format, that dating is often placed upon young women as a necessity. 

A typical teen girl magazine style which has been used in a format in which again intelligently uses parody. Maybe a similar design to this could be added to the catalogue in order to formulate the idea that women should not be treated differently to men in the workplace.

The Gentle Woman 

'The Gentlewoman celebrates modern women of style and purpose. Its fabulous biannual magazine offers a fresh and intelligent perspective on fashion that’s focused on personal style – the way women actually look, think and dress. Featuring ambitious journalism and photography of the highest quality, it showcases inspirational women through its distinctive combination of glamour, personality and warmth. These qualities are also at the heart of its website, thegentlewoman.com, a virtual place where real women, real events and real things are enjoyed.'

Focusing largely upon the fashion industry this feminist based magazine explores the idea of empowering modern women through the basis of a people based magazine. The idea that fashion can alter how you are perceived and how you perceive yourself is the main ideology present. The idea that women often feel self-conscious when around men, and often feel judged. The quote below by Penny Martin explores this further.

'Any fool can make a fifteen year old look good in a sample, let’s put that to the side. The real work is making women look great and feel confident in clothes that weren’t designed for their bodies. We commission unexpected women – scientists, astronauts […] Now already they’re thinking how they’re going to be represented. First of all they’re not going to have an option of wearing their own clothes. They’re going to think, ‘You’re going to force me into something that I don’t really like and I feel really uncomfortable and then I sit on the set and the stylist comes over and the hair and make-up and everybody’s watching me thinking ‘Oh God she’s really big’’ or y’know whatever. That’s what they think they’re going to have to go through. And then they’re going to get on to the set and they won’t really like the pictures and then they’re going to go back into their profession and they’re going to go to a conference where they’re representing, y’know… ‘Women in Urology’ and there going to think that they’re male colleagues are saying [sniggers] ‘Did you see that picture of her in that women’s magazine’ and they think they’re going to undo all the work they did in their career by associating with fashion. That they’re actually vain and vapid after all. Don’t forget their Fields Medal or whatever it was they got, or Nobel Peace Prize nomination. They were in the women’s pages of a newspaper and they looked foolish. So that’s what happens as soon as I ring up.' http://www.rarelywearslipstick.com/2015/04/feminism-friday-the-gentlewoman-in-fashion/

The editorial design of the magazine positions the consumer to slowly encounter each page, absorbing relevant details present. The minimal design layout following strong photography further embeds this. Exploration of type size complies to legibility, alongside gaining the consumers attention when its needed. This is often embedded further with the design language used in which captivates the consumers attention. 

Ladybeard

Unique in its own terms, Ladybeard, focuses largely upon gender roles, and the suppression in which occurs between both sexs. The above issue focuses upon the way in which sex can be suppressed amongst women, with slut shaming being a re-occurring theme. Using 'shocking' imagery, the magazine attempts to gain attention by using photographs/symbols in which are not frequently expressed upon that of glossy mainstream magazines. 

Visual queues are referenced throughout the magazine, alongside that of interviews in which focus upon the facts on the matter and attempt to exclude no gender. The art direction itself is bold and impactful with many spreads boldly hitting the consumer due to the vast amounts of colour used.