Style "constructivism" in design
Constructivism is the direction that is primarily associated with architecture. However, such a vision can be called one-sided or even fundamentally wrong, because before becoming an architectural method, constructivism existed in design and printing. In graphic forms of creativity, constructivism was characterized by the use of photomontage instead of a hand-drawn illustration, extreme geometrization, the subordination of the composition to rectangular rhythms. The color range was also stable: black, red, white, gray with the addition of blue and yellow.
Style "Classic" in design
Graphic design in classic style is based on strict canons: clarity, conciseness, harmony and consistency. Only typological features of the image are used. The classics are always timeless and today are as popular as they were several decades ago. In this style, business cards, calendars and other office printing are performed. Elements of the classical style: strict frames, shiny, shiny gradients, various decorative elements. As for the color solutions of the classical style, as a rule, these are saturated and bright shades in combination with silver or gold color.
Victorian design style
The main feature of the Victorian style - the saturation of the details. Here the concept of “fear of emptiness” again came into use, but, unlike the traditional interpretation, for example, in the art of Baroque, it became a reflection of a different, eclectic thinking. This is noticeable in the design and residential interiors, and characteristic for this period of advertising posters.
Avant-garde style in design
Avant-garde is a generalized name for trends in European art that emerged at the turn of the 19th and 20th centuries, expressed in polemical fighting form. Avant-garde is characterized by an experimental approach to artistic creativity that goes beyond classical aesthetics, using original, innovative means of expression, as well as an underlined symbolism of artistic images.
American design mid-20th century
In the 40s and 50s, the concept of “good design” was established throughout Europe. In Italy, it received the name "bell design", in Germany - "good shape", in the north of Europe - "Scandinavian design". The main need of people in the postwar years was the establishment of a normal peaceful life. A design that meets this social request should have been of high quality, “calm”, economical, and pleasing to the eye. The society did not want a challenge, a protest, or elitism from things.
Empire style in design
The Empire style is often associated with St. Petersburg, as the main theme of the style is monarchical and heroic. This style is often focused on the ancient images of Greece, Rome, Egypt. Power, majesty, monumentality characterize the Empire. As a decor, various military motifs can be used: armor, laurel wreaths, eagles, Egyptian ornament is often found. In modern advertising, most often this style is used by manufacturers of alcoholic beverages to emphasize the solidity and masculinity of the brand. Empire is able to create the effect of royalty, majesty.
Style "Modern" in design
Modern or art nouveau - the exact opposite of the classics and empire. Its distinctive features are: rejection of straight lines and angles in favor of more natural, “natural” patterns, non-standard proportions, asymmetry, and floral patterns. This lightness and romance is usually expressed in the use of pastel colors. Modern denies the canonicity and clarity of the elements of the composition. It is usually used to attract a female audience.
Art Deco style in design
Art Deco (Art Deco) is derived from avant-garde. The main features: the pattern, ethnic geometric patterns, luxury. The exoticism of this style is expressed in the use of elements of culture and traditions of different countries and peoples. This ancient Mesopotamia, and the Mayan people, and the Egyptian culture of the era of the Pharaohs. Often used references to the culture of ancient Greece, Rome, China and Japan, and not least - Russia. You can find repetitive geometric shapes: circles, squares, arrows - this is the result of the influence of America of the 20s, when mechanical and industrial forms became sources of inspiration for designers. A striking example of art deco style is the design of a pack of cigarettes Lucky Strike.
Style "Minimalism" in design
This style is based on simplicity and conciseness. Monochrome, simple shapes, neutral colors - this is the price you should pay if you want to focus on the main object or image. Good examples of minimalism can be found in Japanese designers. Elegance and simplicity. Sometimes this is all that is needed to arouse interest in the image.
Style "Pop Art" in design
Pop art (or popular art) aims to display precisely mass images - from consumer goods to celebrities. The most memorable images of this style were the images of Ernesto Che Guevara and Marilyn Monroe from the founder of the style of Andy Warhol. The main characteristics of the style: bright, rich colors and sharp contrasts. This style is aimed at attracting a mass audience, mostly to young people.
Typography style in design
Typography can be considered the basis of modern graphic design in advertising. Its main task is to inform. In typography, one element is text. Further manipulations of the designer can be made with fonts, color, arrangement of the text itself. A classic example of this style is various labels, information leaflets.
Style "grunge" in design
At one time, the grunge style emerged as an alternative to combed glamor and unnatural fake beauty, idealized to closeness. Such definitions as dirty, deliberately untidy, sometimes even ugly can be applied to grunge. Now grunge is a powerful steady trend of web design, giving a lot of room for self-expression.
Modern grunge does not seek to totally use all the "gadgets" from its arsenal, in order to resemble a dump or a pile of garbage. Just a few visual elements - and the design gets a completely different sound. The visual component of grunge is more likely transformed into a form of slight negligence or fading by time from long and frequent use.
Grunge is one of the most creative and fun web design styles. It gives ample opportunities for experiment, allows to try various graphic elements. And while there is no need to adhere to strict forms and rules.
Designers from Yourinspirationweb considered 4 main components of the grunge style. It is the presence of one or several such elements that determines the belonging to this style.
- Grunge color palette
In a grunge design, vibrant and vibrant colors are usually replaced with more subdued and matte. Typical colors are beige, brown, black and gray. Grunge avoids pastel shades as well as typical Web 2.0 style colors. - Textures and patterns
It can be said that this is a fundamental element for the grunge style. For the background, various “untidy” visual elements are used, such as: images of steel reinforcement, torn jeans, wooden surfaces, as well as surfaces with various noises and scuffs. Here is a huge field for experimentation. The main thing is that it is appropriate. - Realistic details
Grunge, like the style of hand made, has a weakness for all sorts of man-made things. These can be stickers, Polaroids, scraps of paper, pieces of paper tape, clips. As well as items such as blots, stains, splashes and stains on the surface. - Grunge fonts
Grunge font can have scuffs, roughness, creases. It may consist of uneven and irregular lines and look as if it had been manipulated with something. Or, alternatively, it may be a handwritten font.
New trends in graphic design appear quite rarely. As one trend replaces another, it becomes visible only as time passes, and even then not always. Some ideas and patterns originate within large digital communities, such as Drebbble or Behance, but only a few experts will be able to accurately predict which particular trend will most strongly influence culture, fashion, and the entire graphic design as a whole.
Graphic design trends are never short term and never disappear without a trace. They penetrate our lives gradually, slowly gaining popularity. And also slowly fade into the background, becoming less popular. All the major trends that will be relevant in 2016 did not appear out of nowhere. These trends have dominated over the past few years, changing slightly, but remaining absolutely recognizable.
Many graphic designers follow what is happening in their industry and try to use new approaches in their work. It makes sense - analysis of trends allows you to get rid of cliches and cliches. What trends will be most significant in 2016?
MODERN RETRO
Unlike the usual retro, modern retro-style focuses on the style of the 70s and 80s. This is the era of the first personal computers, video games, active space exploration and the rapid development of digital technologies. As an example, the work of the Philippine designer Ralph Numbers is in his work - nostalgia for the recent past is very clearly seen in his work. In the “Retro-technology” series, he collected many recognizable objects and devices that almost no one uses today - film, audio tapes, floppy disks, turntables, pagers, and much more.
Designers of The Welcome Branding Group’s studio also turned to retro style when they were instructed to create a series of posters for the MusicLab shop selling vinyl records. As a result, the design looks like it was created in the mid 70s of the last century.
But in the design of the products of the brand Write Scetch & the graphic style of the 80s is clearly visible.
Designer Aline McGuire, working on decorating cans for Coca-Cola, was inspired by the once-popular arcade game Space Invaders, which appeared in 1978 and was incredibly popular. The result was a funny pixel art, forcing you to recall the very first computer games.
MATERIAL DESIGN
Modern graphic design and digital technologies are connected so closely that designers are influenced by trends that dominate other industries, for example, in web development. When Google introduced its Material Design concept, hardly anyone expected it to have an impact on the entire design. This visual language is distinguished by deliberate color choices, large-scale typography, and bold use of white space.
Material Design is in many ways similar to the Flat 2.0 style, but this is a completely separate direction in design. It has more realism, depth, volume and movement. And although Google has created its own visual language for use in the digital environment, its principles can be used in many different kinds of design.
BRIGHT COLOR PALETTE
Such trends as modern retro and Material Design are related to the use of bright and unusual color combinations in the design. Consequently, designers will actively use bright colors in their projects. And despite the fact that the trend to use muted tones dominates in the web, in graphic design everything is the other way around - bright and saturated colors are in fashion.
- PANTONE 13-1520 Rose Quartz
- PANTONE 15-3919 Serenity
- PANTONE 12-0752 Buttercup
- PANTONE 16-3905 Lilac Gray
- PANTONE 15-1040 Iced Coffee
- PANTONE 16-1548 Peach Echo
- PANTONE 19-4049 Snorkel Blue
- PANTONE 13-4810 Limpet Shell
- PANTONE 17-1564 Fiesta
- PANTONE 15-0146 Green Flash
Obviously, there is a trend to use bright colors, such as peach, yellow, rich blue and bright green. The combination of bright green and yellow colors was used by the designers of the studio In The Pool, who worked on the creation of a poster for the international conference Paris Climat 2015 devoted to the problem of global warming.
The 80s graphic images were inspired by the designer Tron Burgundi while working on a poster for the Walk The Moon show. Bright colors and geometric shapes lead us to recall another trend that is gaining momentum in graphic design.
GEOMETRIC FIGURES
The use of geometric shapes is a noticeable trend, although the difference in approaches is obvious. Today, an increasing number of designers use the so-called polygons, which are used to create three-dimensional models and video games. More recently, this graphic technique would be incomprehensible to the viewer, but now everything has changed and illustrations in which geometric figures are used in one way or another will appear more often.
NEGATIVE SPACE
Negative or negative space is an integral part of any good design. Using this technique allows you to add to the design depth or double meaning. Most often, negative space is used when creating a logo or in branding, but nothing prevents it from being used in other types of graphic design.
Designer John Randal has created a very interesting logo for The Swan & Mallard restaurant, where the swan, duck and ampersand are very well combined, and all this thanks to the skillful use of negative space.
Another example is the concert poster for the 123 Years The Best Of British Music event. The viewer first sees the violin and only then distinguishes the numbers 1, 2 and 3, which are in the title of the event.
EMOTIONAL TYPOGRAPHICS
This trend indicates that typography can be used to create a dramatic effect. Large letters attract attention, and you can enhance the impression through the use of bright color combinations, textures and unusual arrangement of elements.
UNIQUE ILLUSTRATIONS
Designers gradually refuse to use stock illustrations. The reason - too similar images and lack of individuality. No designer wants his work to look like a cliché, the same goes for brands that are struggling to stand out from the competition. The use of stock images in design reduces originality and, moreover, there is a risk that some elements can be seen in the works of other designers.
So in 2016, the trend for custom illustrations will be very noticeable. They will be used in a variety of projects, ranging from the design of printed materials and ending with the landing pages of sites.
INSTEAD OF CONCLUSION
Follow the trends, of course you need. But to use new approaches in design just because they are in fashion is not a good idea. And if you really want so much to try something new, it is better to make sure that a particular trend fits well with the project and will be correctly understood by the audience. Nevertheless, it is better to remain pragmatic and use only those elements or color combinations that will look appropriate in the design.
The international typographic style or Swiss style has appeared and developed in Switzerland since 1927.
Unconditional and unconditional founder of the Swiss school of graphic design is considered to be Jan Chikhold (1902-1974). Unusual for his time personality, Jan was born in Germany, in the family of the artist and in combination - the designer of signs. It was in the family that he received his first craft and calligraphy skills, subsequently enrolling in the Leipzig Academy of Graphics.
The trend of modernism in art had a strong influence on the young Chikhold - in 1925 his article Elementary Typography was published, which described the basic concepts of the new style - simplicity, brevity and ease of perception. The entire arsenal of graphics turned out to be aimed at interacting with the viewer, using contrasting colors, rich chopped fonts, and asymmetrical blocks.
Representatives of the Swiss school of typography use sans serif headsets in their works. So Ian Chihold developed fonts - simple and easy to read.
Transit (1931) Saskia (1931/1932) Zeus (1931) Uhertype Grotesk (1933-1936) Sabon (1966/1967)
In 1935, the Swiss style of graphic design was described in detail in another book by Kirhold “Printing Design”. The principles described more than 80 years ago have not lost their relevance today:
Simplicity and functionality Free space access Asymmetrical block layout Readability (sans serif headsets)
A no less valuable gift from the Swiss school is the modular grid, which absolutely every graphic today uses.
Josef Müller-Brockmann, also the founder of the Swiss style, in his book “Grid Systems in Graphic Design” (“Modular grids in graphic design”) outlined the theory of one of the most popular methods of designing printed products - the modular grid.
Posters by Joseph Muller-Brockmann
Until the 50s, the Swiss school of graphics alternately gained and lost supporters. A significant contribution to the popularization of the direction was made by V. Herdeg, editor-in-chief of the magazine “Graphis”.
The Swiss graphics reached the peak of its heyday in the post-war years, when European industry recovered from the damage and began to offer its products abroad. The Swiss style was perfect for attracting the attention of a multinational consumer. One of the areas where the international style has received the most development has become the pharmaceutical industry.
The largest Swiss manufacturers of drugs to create their corporate identity and packaging appealed to outstanding graphic designers, such as Josef Muller-Brockmann, Karl Gerstner, Armin Hofmann, Gerard Ifer, Nelli Rudin, Jörg Hamburger, Andreas His, Stephan Gaisbühler, Max Schmid.
Introduction
1. A brief description of classicism as a trend in art
2. Using classic style in graphic design
Introduction
The best, exemplary works of art that become standards of style are commonly called “classics” at all times. In the process of the development of art, classical patterns of style that dominated in one or another epoch are necessarily replaced by examples of the style of another, new, often completely rethinking and denying the previous one. However, over time, having spun off from the progenitors and fully standing out in a separate direction, the new style loses the energy of denial and takes its rightful place among others. Characteristic features of the classical style are proportionality and symmetry, clear and regular geometric shapes of volumes, solemnity and monumentality. The peculiarity of the classical style is that it allows you to combine it with elements of other styles.
1. Classicism (from the Latin. Classicus - exemplary), artistic style and aesthetic direction in European literature and art of the 17th - early 19th centuries, one of the most important features of which was an appeal to the images and forms of ancient literature and art as an ideal aesthetic standard.
Classicism is formed by experiencing the impact of other European directions directly in contact with art in art: it repels itself from the Renaissance aesthetics preceding it and opposes the actively coexisting baroque art with it, imbued with the consciousness of universal discord created by the crisis of the ideals of the past epoch. The principles of rationalism underlie the aesthetics of K. They define the view of a work of art as an artificial creation - consciously created, reasonably organized, logically constructed. Putting forward the principle of "imitation of nature", classicists consider it an indispensable condition for its strict observance of the unshakable rules drawn from ancient poetics and art, defining the laws of the artistic form, in which the rational creative will manifests, transforming the vital material into a beautiful, coherent and clear work of art.
The concept of "classical" itself implies an organic whole, to which nothing external can be added and from which nothing can be removed without violating integrity and completeness. The classic principles of design and decoration apply to all aspects of the visual arts. Since the Renaissance, every artistic style up to our century has been judged by the degree of its closeness and adherence to the absolute values of classical antiquity.
In classicism, the main elements of modeling the form were the line and chiaroscuro, the local color clearly reveals the plasticity of the figures and objects, shares the spatial plans of the picture, becoming common European style, was also formed mainly in the womb
french culture is strongly influenced by the ideas of the Enlightenment. In painting, his features such as the use of cold tones, black and white contrasts, as well as a clear separation of the plans of images are distinguished. The principles of rationalist philosophy that underlie classicism determined the view of theorists and practitioners of the classical style to artwork as the fruit of reason and logic, triumphant over the chaos and fluidity of sense-perceptible life. Orientation to a rational beginning, to imperishable patterns determined a firm normativity of ethical requirements (submission of personal to common, passions to reason, duty, laws of the universe) and aesthetic demands of classicism, regulation of artistic rules.
2. Graphics - a direction in art (graphic - made in the style of graphics. Graphics (German. - Graphik, Greek. Graphikos-inscribed) - the art of depicting objects with lines and strokes, without colors, as well as works of this art, painting and graphics.
Graphic Design Directions:
- form style;
- fonts;
- book graphics;
- newspaper graphics;
- magazine graphics.
The main expressive means of graphics is not a picturesque richness of color, but a line, a stroke. The basis of the font is writing; the nature of each font pattern depends on the tool with which it is performed; Each technique of execution most of all corresponds to a particular font style. Englishman Edward Johnston, who is considered the pioneer of modern type art in Western Europe
and America, in essence, only revealed to us anew the skill of the old masters of writing. As a result of his work, the work of his students and their followers, the art of type has again taken its rightful place in a number of other arts.
Graphic design is currently one of the most informative forms of art. Creating visual concepts, graphic design allows you to improve your corporate policy, develop different areas in business and strengthen your image. Classic graphic design served as a marketing function - printing design was aimed at producing advertising products. Today, developing a corporate identity, brand, logo, graphic design helps to create unique concepts. Graphic design performs several functions:
- thanks to a variety of technical capabilities, graphic design allows you to achieve not only visual appeal, but also informative. Branding in the face of fierce competition explains the active development of design and engineering services that underlie graphic design;
- The emotional impact on the audience is one of the main characteristics that distinguishes graphic design. Corporate identity is usually developed in order to create associative links between the brand and the audience of its customers. The image of any company is formed by means of graphic design - the logo symbolizes the specialization of the company, corporate symbols emphasize high status. High-quality graphic design is not only evidence of good taste, but also professionalism;
- the ability to use information technology significantly expands the scope of graphic design. Corporate identity is based on a combination of colors, shapes and silhouettes. Thanks to modern research,
you can analyze the impact of certain images on users. Predicting results helps to create a competent graphic design that becomes part of the corporate image. Graphic design is based on the concept, the idea, speaking its materialization through a visual image. The idea is always primary, and the visual image (along with the original slogan) - its competent implementation in reality
The genre composition of graphic design is extremely wide: fonts and signs, corporate identity and packaging, outdoor and urban advertising. Recently, television and computer graphics, multimedia and web-design have been added to them. But the paradigmatic core of the profession is still typography - the queen of graphic design. And the typography works essentially with one single paint - white. In the end, the designer can get both a sign, a font, an ornament, an illustration drawn by another artist, and a photograph taken by a photographer. But all the same there will be a need for a specialist who can expressly place it in the empty space of a white sheet.
In typography, the space of the classics in its most generalized form is imprinted with the help of the image of "silver." Typographic “silver” is the harmony of the “figure” and “background”, their mutual dissolution, balance, nuance balance of “black” and “white”, generating a visual sensation of a gray, silver tone. The harmony of "silver" is a visual concept of a classic typography, embodied in a special type of vision, which guides the actions of the designer-graphics in various compositional situations.
From the point of view of the structure of space, the classic is symmetry. The main characteristic of the classical space is the central-axial symmetry, organizing typographic compositions for several centuries. Different concepts of time are associated with different concepts of space. For centuries of classics, all the best is retrospective, it
it was already in the past, in antiquity or in other "golden ages", in contrast to modernism, which lived with a perspective, a bright future, it was considered that the design was, by the nature of things, directed towards the future.
The main object of the carrier of aesthetics in the historically huge artistic period, called the “classics”, was the book, where for several centuries the unshakable “diamond laws” and “golden rules” of professional culture concerning all its components were perfected.
Studying and mastering the classical paradigm, one constantly has to turn to the creative heritage of Jan Chihold (1902-1974), an outstanding graphic designer, who was a tireless researcher of classical aesthetics, the most consistent, striking of its propagandist.
Classic retrospective, she went crazy for antiquity. It is not surprising that the common name for classic fonts is antiqua. When we say "classic font, we mean, typological and not historical aspect, according to which" Renaissance antiqua "or" Old Style "," transitional "," baroque "," classic ", etc. are different. For us, only that all of this is antiqued, serif typefaces.
Antiquas are primarily grace, refinement, pedigree, readability. Most antiquarian fonts are characterized by a small point of lowercase letters with long headlamps that create an extensive aura around them that requires large aproscae around the letters. Spacious, free intra-sign spaces of antique letters are intricately arranged by hand. Antiquas are distinguished by a soft, gentle change in the thickness of strokes, calligraphic design, the warmth of the handmade traces, the low contrast of the main connecting strokes, the presence of small elegant open elements and delicate serifs. Antiquarian fonts create a feeling of lightness, airiness, transparency, harmony. "Silver" classic space
it is born already at the level of letters that breathe with a complexly organized balance of black and white.
Classical typography for font-type accidents usually uses uppercase letters and types them off, with fairly large inter-letter spaces. Discharge should visually balance intra-letter and inter-letter empty spaces, to achieve their harmonious balance. This is the “golden rule” of typography of a classic word in Chihold's formulation: “Upper case always and under all circumstances should be typed off, and spaces between upper case letters should be carefully correlated with the optical value of these letters in relation to each other.”
Sometimes in words there are complex combinations of letters with an overestimated space, creating problems for a harmonious set. In these cases, word balancing, weighting and optical alignment of the “space between” should begin with such combinations, taking the space as the initial measure of “visual gravity”. The space between VA should be used as the smallest optical distance. Even between the letters LA you should always put a thin space, at least a card space material.
It is in classical proportions that the architectonic nature of graphic design is most pronounced. Proportion is a sense of form. A form can follow a function, an idea, an emotion, another form. But the professional result of the designer’s work - regardless of whether he or not focuses on communication, social function, or even on the fundamental formlessness - is always a form. Classical aesthetics of form-bras is otherwise called aesthetics of completion.
As a rule, the font is developed taking into account the intended area of its use - it is a book or magazine production, scientific or fiction, children's or educational publications. Sometimes fonts,
being developed for narrow intra-company use, they are becoming common cultural heritage. For example, the Times font was once designed for the text set of the newspaper "The Times", the Frutiger font was developed for visual communications of the Paris airport, both fonts are widely used in all areas of graphic design so far. In creative work, it is often necessary to justify the expediency of choosing a particular font, and only by comparing the graphic nuances of different typefaces, the smallest details of the signs that determine the difference between an elegant, constructive, or sloppy font, can one find the right solution. The graphic designer chooses and applies one or another font after careful analysis of the clarity and readability of the font of its aesthetic qualities and their consistency with the concept of the project as a whole. The designer has a large selection of formal methods for solving his creative tasks and the ability to choose the best option for each project is necessary. A graphic project that is correct and subtle in terms of style establishes an exact connection between form and content, in which the message and its visualization imposes an ideal ratio, in which the form goes unnoticed and plays the role of a “silent servant” of content. Compliance or creation of a unity of utilitarian and aesthetic is an indispensable condition for creative activity, and its perfection depends on the designer’s professionalism, professionalism not only in the knowledge of design technology techniques, but also in perfection and refinement of taste, which implies an understanding of the existing styles and prediction of graphic design development trends.
At the word typography many designers of the slice come to mind layout of a book, magazine or brochure. Indeed, the direct translation of English "typography" sounds like "typography." Having originated many years ago such a graphic design application area as packaging, typography became
the art of choosing the font, formats and proportions, the set itself as a means of communication. Naturally, two-dimensional, sealed parts of bulk packaging, or a label, like sheet products, are subject to the same general set laws as the imprinted page of the advertising booklet.
Modern packaging is increasingly absorbing typography techniques inherent in composing publications. Now, well-known techniques of layout and design, such as magazine covers, can be found on a regular package of shoes, and juicy forms of a separate font sign can be found on a wine label.
Not surprisingly, typography is at the heart of packaging design, because packaging is essentially interested in distributing and even promoting information. Products and products have their own names - brands describing the content and its consumer characteristics. There is a need for the location on the packaging of the rules and instructions for use, the components of the product and their properties, indications and contraindications, warnings about the danger warning the customer. There must also be information about the manufacturer. All these details should be shown on the packaging in a clear typographical manner that will allow consumers to read and, most importantly, understand the information to which they paid attention.
A modern designer is faced with a huge variety of typographical choices. This also applies to fonts and typing. Any font library catalog will offer hundreds of options. Others are much younger - these are products of computer technology and new software. If the task is to recognize a company, to create a certain image in documents: reports, letterheads, business cards, then the most important principle is respect for the measure. In serious documentation, the font also has a meaningful function, as a rule, use fonts that are associated with wealth, respectability, for example, classic fonts such as Garamond or Baskerville. These are really solid fonts,
to whom you want to take your hat off. They are very difficult to use and put additional demands on the design as a whole. This requires from the author of the design project additional knowledge of history and typography. Initially, the task of the designer is to select a font that will display information in an easy-to-read format. This choice is predetermined by factors like the size of the package or label, the degree of consumer information and printing technology. The standard sizes of the sealed areas of the package have an impact on all of its typography, as the format of a multi-band edition dictates some rules of typing. Typographic choice is important when considering brand identity. Fonts, like people, have characters that can be exploited by designers. This character can be conveyed by the effect of font style - by its courage or delicacy - or by its own elements of characters such as ligatures, risers, serifs and loops, which fill the words with personality. Grotesque or antiqua - this issue in packaging design is often resolved by a simple methodology. Modern packaging and youth brands to sans serif fonts, drawn or programmed. On the contrary, products that want to be perceived as classical or luxurious, or those that originate from historical or national traditions, can use antiqua or fonts with ornamental decorations. Ornament is a special kind of artistic creativity, which, as many researchers believe, does not exist as an independent work, it only decorates this or that thing, but, nevertheless, it is a rather complex artistic structure, for the creation of which various expressive means. Among them - the color, texture and mathematical foundations of the ornamental composition - rhythm, symmetry; graphic expression of ornamental lines, their elasticity and mobility, flexibility or angularity; plastic - in relief ornaments; and finally expressive
the quality of the used natural motifs, the beauty of the flower drawn, the bend of the stem, the pattern of the leaf. The term ornament is associated with the term decor, which never exists in its pure form, it consists of a combination of useful and beautiful; at the core lies functionality, beauty comes after it. Decor must support or emphasize the shape of the product. Classicism introduced simple and strict motifs to the decor and ornament, in which flower garlands and baskets of flowers, rosettes, festoons, griffins and sphinxes, fauns and cupids, heroes of mythological plots, etc. were the most popular.
Graphic design in the classic style on the basis of strict canons, thereby revealing the harmony and logic of the universe itself. Classicism is based only on the eternal, unchanging - in each phenomenon it seeks to recognize only the essential, typological features, discarding random individual signs.
The classic style of packaging design is very popular these days. It traditionally marks the labels and labels of expensive, elite brands of alcoholic beverages, premium-class confectionery. Examples of labels and packages made in the classical style are Korkunov candies, “Lev Golitsin” champagne and many others.
In the design of modern labels are actively used such elements of the classical style as "silk" gradients, a variety of gold and
Silver rigorous frames, rich decorative elements. The color palette of the classical style involves the use of rich shades and contrasting combinations in the design of the package - crimson, bright marsh, dense brown in combination with gold.
Typography can play an important role in connection with the location of the brand on the packaging. Using these or other methods, the designer can make the product for its perception by the consumer classic or modern, functional or handmade. Of course, when we think of typography as a first approximation, we recall the set of fonts installed on a computer, but this term also covers the process of arranging an inscription made by hand. There are cases when, in the opinion of the consumer, this form of typography can select goods from a succession of similar products much faster. Designers are not limited to the implementation of the classic set rules. Font combinations and typograms are not so rare in the package. The temptation to use the shape of a set for illustration, which is consonant with the product or its image, makes it necessary to use the techniques of text highlighting or figure drawing out information in silhouette along with the usual traditional typography.
The most famous graphic element is the logo. Graphic design aims to visualize the competitive advantages of your company. Thanks to web services, now you can easily create a logo reflecting the specialization of the company and its other features. Text, graphic, combined logos are part of the corporate identity. In everyday life, we constantly encounter thousands of logos. Some are quickly forgotten or simply pass unnoticed. Others are deposited in our memory due to some successful / unsuccessful highlights or due to the associations caused. The logo is made by writing the name of the company / product with the selected typeface. Depending on the type of headset used
This group can be divided into two subgroups: classical execution and decorative execution. To classic fonts we assign the Times serif and Pragmatica chopped fonts:
as well as similar, differing from the first in width / thickness of letters, proportions of upper / lower case letters, and the execution of individual letters of the alphabet. As decorative sets we will consider all the others. This is the easiest and fastest way to make a logo. But at the same time there is a risk of being lost in the gray mass of similar versions, which are in any market more than we would like. You can highlight your logo with frequent advertising and / or high quality accompanied products, as was done, for example, by electronic giants Sony and Matsushita (Panasonic).
... or using the original typeface (possibly created specifically for this logo.
During the XIX century. Especially in its second half, the classical visual paradigm was blurring. However, the system-forming principles of the classical paradigm — central-axial symmetry and the “silver” of graphic space — survived all the turbulent times and existed relatively well until the 10–20s. XX century. The victory of modernist aesthetics in the twentieth century did not remove the classics from the historical arena, but only pushed it into less relevant stylistic and genre niches. But to the classics there will always be genres associated with artistic
heritage, with increased attention to historicism, seeking to demonstrate the solidity, sustainability, reliability, culture. State structures, large banks, and many artistic institutions are predisposed to the classical style in design.
The classic style is following the best traditions of ancient architecture and the Italian High Renaissance. Characteristic features of the classical style are proportionality and symmetry, clear and regular geometric shapes of volumes, solemnity and monumentality. A work of art, from the point of view of classicism, should be built on the basis of strict canons, thereby revealing the symmetry and logic of the universe itself. The interest for classicism is only the eternal, unchanging - in each phenomenon it seeks to recognize only the essential, typological features, discarding random individual signs. Classics - a harmonious, harmonious system built on the "golden rules", illuminated by centuries-old traditions. However, the almost inevitable legacy of this canonical system is the categorical categoricalness with which its adherents speak of the eternal, perfect laws of typography, which can only be comprehended and bowed before them.
Bibliography:
Graphic design. Properties of materials used [Electronic resource] .– Access mode: http // rosdesign.com.
Nine packages that changed the world [Electronic resource] .– Access mode: http: //article.unipack.ru/
Serov S.N. Harmony of classical typography [Electronic resource] .– Access mode: http: //issuu.com.
Vintage classic and modern fonts [Electronic resource] .– Access mode: http: //www.streamtop.ru/
Art styles [Electronic resource] .– Access mode: http: //www.design-artel.com.ua.
Modern design school [Electronic resource] .– Access mode: http://www.mukhin.ru.
Morand truffle packaging design from Soldis
TM “Morand” chocolates are marketed as fresh cream truffles and excellent dark chocolate, produced according to traditional French recipes. Festive packaging was supposed to preserve the positioning of the brand, create an atmosphere of festivity and refinement of TM. The design reflects sophistication, self-sufficiency, classic style, success, elegance, solidity and prestige. At the insistence of the client, it was necessary to retain the obligatory elements: the Morand logo, the naturalistic image of the grocery zone, the product name — Truffes, the main claim — “Fresh cream truffles”. Finesse and aristocratic refinement of the product is transmitted. With laconic packaging, the decorativeness of light lines and elegant typography create a pleasant sensation.
Examples of packages made in classic style
The absence of decorative elements, a laconic rectangular outline of a glass bottle, a strict white label, an elongated octagonal transparent lid all express a love for geometry and functionality as the basis of the classical style.
Forgeron - beer packaging "with foam"
concept of belgian dark beer. The label in a classic style is applied by screen printing. The shape of the glass packaging is visually reminiscent of a large beer mug. The decorative cap is similar to the “frothy cap” of fresh beer.
Packaging design - label for candy.
Design for candy segment of the average price category in the concept of an elite imperial classic style with gold elements
Ornaments. Styles, classicism, Western Europe
Classic fonts in the design
If you are thinking of ordering a corporate identity or creating a logo for your brand, or are you interested in designing the packaging of your products, and you are not indifferent to the retro style - welcome to our time machine, and let history create inspiration!
Modern graphic design often refers to bygone eras and to the history of style and design. Inspiration can eagerly draw on the aesthetics and culture of the past, but the simple way to copy and imitate the past days in your design is better to rethink and update the history. Look into the past, but look at the present.
Take a pen and paper - we are going to plunge into the past. Let's take a look at the 150-year history of graphic design, starting in 1850 and ending with 2000, and see what can be inspired by the development of corporate identity.
01. Victorian style (1850-1900)
The graphic design of the Victorian era is attached to the typography and the principle "the more the better." The era, named after the reign of Queen Victoria, which preceded the industrial revolution, witnessed radical shifts in production, social and cultural change.
New technologies made printing and paper more accessible, and entrepreneurs began to use graphic design for the commercial development of their business. Printing houses developed new and new decorative fonts, lettering, drawing ingenious posters, advertisements, making out pages of magazines and any other printed materials with complex, symmetrical and patterned aesthetics.
Order Corporate Identity in the Victorian manner:
Paint the page - every inch, - but keep the symmetry
Experiment with lettering and complex embossing.
Add shadows, outlines and any artful decorations.
Combine text and image into one piece of art
The graphic design of the Victorian era is a good choice for cafe-bars, in the interior of which there are various unique and inventive details, patterns, ornaments. This style is especially successfully combined with names in which there is the word “Victoria”, as on the Victoria Brown logo - a symmetrical layout, characteristic typography, ornate forms and a crown, crowning the composition.
02. The movement of arts and crafts (1870-1910)
If you think that Victorian design is the most patterned design of all, then you are deeply mistaken. The movement of arts and crafts was a reaction against the production of consumer goods and low-quality goods of the Industrial Revolution. Led by William Morris, the defenders fought for a return to manual design and proclaimed joy in labor. They used traditional production patterns, turned to natural materials and were inspired by the ideas of the past.
Creating a logo in the style of the Arts and Crafts Movement:
Use natural, natural color palette.
Create dense, intertwining compositions, floral and with curved shapes
Depict natural and floral themes.
Use medieval typography
The presented brand identity is not made in such a dense layout, but inspired by the image of nature as we see it in life, naturalness is emphasized by the calm color gamut. The result is an aesthetic desire to admire, and then eat these vegetables.
03. Art Nouveau (1880-1910)
Art Nouveau is often perceived as something twisted and curly. In fact, this style expresses the psychological changes and anxieties that occurred at the turn of the twentieth century, and most often the flowing and tortuous design reflects this state of flow and change. It was time for discoveries, new technologies, deep knowledge of the world. Moreover, the atmosphere of emancipation was vital in the air; in the face of a liberated, modern woman, men began to feel an opponent for the title of master of life - now not only could they learn, work and even imagine cycling.
Creating an Art Nouveau logo:
Emphasize linear and abstract shapes, flat design inspired by Japanese tradition.
Use curved and flowing lines and shapes that transform, move and melt.
The design should express the portrayed subject.
Depict women's faces
The cover of this book of ancient tales of Japan is inspired by the influence of Japanese design, which was popular in the era of Art Nouveau. The letters "C" and "J" in the name are transformed by natural patterns; feeling like flowers grow from the bottom of a book; and the dragonfly - a popular symbol of the current - flies by in the upper right corner.
04. Dadaism (1910-1920)
The style of Dadaism or Dada became a reaction to the First World War as a counter-aesthetic movement, which focused on anti-war policy.
For Dadaists, war does not make any sense, and the society that participates in it is questioned - which means that the art itself is also in doubt.
Artists sought to destroy traditional values in art and replace the old with the new. They disposed and experimented old typography, revolutionizing the “idiotic and nauseating concept of old-fashioned books,” and as a result, the design of promotional items spawned spontaneous lettering and images that were supposed to “double the amazing power of words.
Creating a logo in the style of Dadaism:
Experiment with fonts, layout and empty space.
Break all the rules and follow the mess
Make collages from pictures, tickets, newspapers and any other printed materials.
Speculate meanings and meanings by combining incompatible images and texts.
05. Avant-garde (1920-1930)
The period between the two world wars marked the era of inventions and innovations, and the term Avant-garde refers us to the people who worked at that time. Indeed, avant-garde experimenters and innovators expanded the boundaries of design. In the Netherlands, artists went into the abstraction of shapes and colors to express new utopian ideas of spiritual harmony and order. In Russia, constructivist artists merged art with new technologies and political ideology to support the revolution.
Order corporate style in the style of Avant-garde:
Follow clear geometric lines and shapes.
Use primary colors in rich hues.
Include photo montage
Choose big and bold fonts
The cover of this CD clearly refers us to the work of Russian constructivists in its red-black-and-white palette. Pronounced lines outline a square, and black and white elements merge in a photomontage.
06. Art Deco (1920-1930)
From the roaring 20s to the Great Depression in the United States, Art Deco was designed to boost production and consumption. This style was born in France, where luxury items epitomized a short-term economic revival. French artisans used exotic materials, revived traditional methods, and welcomed the classic experience of the colonial world to create exclusive piece goods. When Art Deco spread in America, the designers adapted its aesthetics for the modern urban lifestyle - consumer society.
Creating an Art Deco logo:
Stick to straight and ray-shaped geometric lines.
Stylize abstract lines for flat 2D images, as if frozen in place.
Be inspired by skyscrapers, cars, transport and the age of jazz
Create shiny, shiny, glossy surfaces
07. The international style (1950-1960)
Have you ever wondered where your legs grow from Helvetica (sans serif fonts)? Now you know. After the upheavals of the Second World War, the international (or Swiss) style sought simplicity, minimalism and precision. In the 1950s and 1960s, Swiss designers pushed the modernist ideals of Avangrad even further, experimenting with typography and photomontage. They did not feel the need for self-expression. The style became the embodiment of the mantra “form follows function” - the designers created a universal, anonymous, objective graphic language.
Order Corporate Identity in International Style:
Use strong typography such as Helvetica fonts.
Include photos instead of illustrations and drawings.
Bring more space into your design
Structure Asymmetry
A bold, easy-to-read font, lots of space, photographic images and a very simple color palette - an internationally conceptual design.
08. Medieval Modern (1950-1960)
Meanwhile, in the middle of the century, America enjoyed a good life filled with optimism and prosperity after the Second World War.
Designers appealed to the ideals of European modernists and connected them with this optimistic feeling and well-being to create bright, colorful and full of life works that appealed to society to consume, consume, consume.
Order corporate identity in the style of medieval modern:
Use bright, emotional colors.
Leave a lot of space
Insert fun and expressive illustrations
Create lively and fancy compositions.
These wooden cars are reminiscent of the time when there were no plastic toys. Development of packaging design is aimed here at precisely that era. Medieval modern in this design is embodied by bright, abstract illustrations of machines, symbolizing speed and movement.
09. Psychedelic (1960-1970)
The psychedelic movement grew due to the spread of hallucinogenic drugs in the 60s and 7s. When the post-war generation came of age in those years, they put America’s materialistic and conservative values into great doubt, with the result that the revolutionary youth movement marked revolts and a time of experimentation. Music festivals and concerts, of which drugs were an integral part, are characteristic attributes of the social landscape. Graphic design visually expressed this feeling of “turning off from reality” with the help of rich colors, twisted lines and shapes (which is similar to Art Nouveau) and barely readable fonts.
Creating a psychedelic style logo:
Choose bright and contrasting color shades.
Do not leave a single untouched place.
Insert faces
Create the illusion of movement from clear winding lines.
This poster is a fantastic piece of art, referring us to psychedelic design and advertising the concert tour of The Black Keys rock band. There is not a centimeter on it that would remain intact, the mass of lines and shapes move and flow into each other.
10. Postmodernism (1970-1980)
Postmodern design, what is it all about? After the order and rationality that prevailed in the design of modernity, postmodern designers threw out convention and seriousness from the window and worked in a bold, screaming, faddish design. In the end, the courtyard stood the 80s. Traditional conventionality was ignored; instead, an expressive, playful design was created combining elite and mass cultures.
Order corporate identity in the style of postmodernism:
Mix and match as many bright colors as possible.
Play, leave seriousness, think about the form, not the content
Photomontage - for fan and aesthetics, but not for meaning
Focus your design on a pop audience.
As the journalist wrote on the portal itsnicethat.com, “the ability to recognize a celebrity by its parts is actually the only thing that distinguishes a person from a beetle bug”
11. Grunge (1990s)
Nirvana, Pearl Jam, Stone Temple Pilots - the era of grunge in the 90s gave us quite a lot of great music, as well as examples of beautiful “dirty” design. As postmodernism was a reaction to the functionalism of modernism, the muted grunge became a reaction to the colorful postmodernism. It was supposed to be a more accurate and realistic depiction of real life with its dirty spots, blurred images, abrupt and dirty textures. David Carson, one of the grunge designs, experimented with expressive typography, backgrounds and textures.
Order corporate identity in the manner of Grange:
Use a subdued and dull color palette.
Experiment with blurred and distorted images.
Use dirty textures and elements like stains or tears.
Add handwritten elements and broken fonts
Your turn
Fashion and trends in graphic design are cyclical (as in web design, which we wrote about in this article). Look back in the past for meaningful, not just aesthetic inspiration, and try to become an innovator, not just an imitator. Historical trends in design are best interpreted when there is meaning and relevance in their meaning and context of use.
