Y Myfyriwr Ymchwil

Prifysgol Cymru
Cyfrol 2, Rhif 2, Mai 2013, 1923 Y Drindod Dewi Sant

The Student Researcher University of Wales

Vol. 2, No. 2, May 2013, 1923 Trinity Saint David

The Influence of Modernism and Postmodernism on

Graphic Design
Samantha Westwood
Level 5, BA (Hons) Graphic Design

Crynodeb
Termau cymhleth ac astrus yw Modern ac l-fodern. Yn y traethawd hwn amlinellir
egwyddorion cyffredinol y naill fudiad ar llall ynghyd u dylanwad ar arddulliau dylunio
graffig. Trafodir gwaith rhai o ddylunwyr blaengar yr ugeinfed ganrif, sef Josef Mller-
Brockmann, Paul Rand, Tibor Kalman a Neville Brody, fel enghreifftiau allweddol o
ddylunio graffig Modern neu l-fodern.
Geiriau allweddol: Moderniaeth, l-foderniaeth, dylunio graffig, damcaniaeth ddylunio, arddull

Abstract:
Modern and Postmodern are complex and complicated terms. This essay outlines the
general principles of the two movements and their influence on styles of graphic design.
The work of leading twentieth-century designers Josef Mller-Brockmann, Paul Rand,
Tibor Kalman and Neville Brody is discussed as key examples of either Modernist or
Postmodernist graphic design.
Keywords: Modernism, Postmodernism, graphic design, design theory, style

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 20 Samantha Westwood

Attaining a single, accurate, universal definition of Modernist and Postmodernist

is a challenging task. Both words have been employed to describe time eras, artistic
movements, characteristics of designed objects, as well as the thoughts and ideas
attributed to certain historic periods. For this paper, in order to label a graphic
designers work Modernist or Postmodernist, the ideas and principles of each of the
terms needs to be clearly established and applied. This is a difficult but fundamental
academic engagement for graphic design.
The Modernist movement was initiated in the 1860s and continued until the
1970s. It was characterised by its progressive and generally utopian message, which
aimed to improve the social environment. The movement formed a reaction as well
as means of coping with the newly industrialised society (Armstrong, 2009, p. 146).
Witcombe (2009) asserts that the political aspects of Modernism were underpinned
by a firm belief in progress, freedom, and equality. These utopian, revolutionary
ideas are reflected in the art and design of this period; designers sought ideal forms
for products, media, architecture, et cetera, that would hold universal appeal and
transcend individual tastes and socio-economic status. The aim of this universally
appealing design was to put notions of fairness and equality into practice, whilst also
producing timeless objects of work unaffected by fashion trends; the notion of non-
style, which in itself became a style (Oropallo, 2011).
Simplistic, minimal, pure solutions were sought for design projects and briefs;
an emphasis on function and form was central to modernist ideals (Ryan, 2011).
Modernism exudes order and rationality: in the context of the politics that lie behind
this movement, the more ordered a society is, the better it functions (McCandless,
2009, p. 132). Modernist thinking was geared towards the masses and for the good
of society; for example, students of the Bauhaus were encouraged to design products
that could be manufactured on an industrial scale and sold for affordable prices
(Ryan, 2010). It was also during this period that diverse new styles across all the
various mediums developed; for example, the emergence of the use of mathematical
grids in design to provide orderly, simple, unified structure. This would become the
most dominant style in graphic design by the 1970s. First called Swiss Style, it came
to be known as International Typographic Style later on, and the principles of this
approach to design are still incredibly popular in contemporary design (Ayiter, 2006).
These grid layouts, juxtaposed with the use of san-serif typefaces (the most popular of
these being Helvetica) arranged in a harmonious, clear, structured manner, gave the
overall impression of rationality, seriousness, and objectivity (Ayiter, 2006).
Josef Mller-Brockmann (19141996) learned Modernist design principles as
established by the Bauhaus, and was influenced by Jan Tschicholds New Typography
at the Zurich School of Design (Ayiter, 2006). He is considered to be one of the
key practitioners in the Swiss school of International Typographic Style (Schneider,
2011a). Mller-Brockmann rose to prominence in the early 1950s with the creation of
various concert posters in Zurich. He continued in this vein for the next two decades
pursuing the goal of graphic purity. Schneider (2011a) argues that when comparing
his work with design created before this time period, it is easy to see that his work is
a very bold and innovative way of visualizing music. The limited colour palette used,
the careful alignment of simple shapes, and the special consideration taken for spacing
gives the piece a rational, calculated, pure feel. The mathematical harmony instilled by
the structured grid layout arguably mimics the harmony of music (Schneider, 2011a).
The exploration of rhythm and tempo and their transformation into distilled visual
forms mark key points in the evolution of the style (Ayiter, 2006).

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 The Influence of Modernism and Postmodernism on Graphic Design 21

The values of neutrality and objectivity taken from the ground breaking roots of
the avant-garde, and converted into rational, pure, systematic approaches that centred
on grid structures caused a revolution in design (Armstrong, 2009, p. 9). Mller-
Brockmann (1968, p. 7) asserts; The withdrawal of the personality of the designer
behind the idea, the themes, the enterprise, or the product is what the best minds are
all striving to achieve. Many contemporary graphic designers still draw inspiration
from his works and theories: the neutrality of his design is considered timeless, and
the idea that a clients message, not decoration, should be at the forefront of any piece
is held in high regard by designers (Armstrong, 2009, p. 10). The values that infused
the work of Mller-Brockmann are a clear representation of late-Modernist design
theory and principles within graphic design.
Paul Rand (19141996) was educated at the Pratt Institute, Parsons School
of Design, and the Art Students League, and became one of the most famous and
successful graphic designers of recent years. He, along with various other designers
and practitioners helped develop the principles and ideals of the Swiss Style. He is
renowned amongst designers for his instantly recognisable corporate logos, three
of the most notable being IBM, the American Broadcasting Company (ABC) and
the United Parcel Service (UPS) (Schneider, 2011b). In his book From Lascaux
to Brooklyn, Rand (1996, p. 83) discusses his thoughts and ideas on logo design.
He acknowledges that logos are designed primarily as a means of identification, but
argues that they can do far more than this; they can sell products, ideas and values.
Discussing his designs for annual report covers for an engineering and machinery
company (Cummins), Rand (1996, p. 91). writes that this logo is an example of
design that both identifies, and sells. He explains that style and meaning must work
in union; A work of art is realized when form and content are indistinguishable,
when they are in synthesis. Furthermore, Rand (1996, p. 83) summarises his ideas
regarding this subject as follows; Simplicity is never a goal; it is a by-product of a
good idea and modest expectations. Simplicity, legibility, and function, juxtaposed
with san-serif typefaces, accompanied by harmonious colour palettes are trademarks
of his style; and all of which are key Modernist principles within graphic design.
A significant break with these principles began in the 1960s, in a cultural shift
known as postmodernism. There is limited agreement on whether this movement
has an end-point, although some suggest that we are already living in the post-
postmodern world (Armstrong, 2009). The general philosophy of postmodernism
appears to be that there is no absolute truth, and therefore, there is no dogma to
adhere to, and no essence that one should strive to reach. Postmodernists generally
agree that the meaning of the term is deliberately unstable (Armstrong, 2009). In the
1980s it was common to see the word used in various newspapers, magazines and
publications; some articles tried to explain what it was, others just ridiculed it (Poynor,
2003). Poynor (2003, p. 8) writes that; The widespread assumption now, outside the
academy, is that postmodernism has gone the way of so many other intellectual fads;
many people never understood what it was supposed to mean, and even the most
knowledgeable observers are sometimes inclined to treat it with suspicion. Armstrong
(2009, p. 146) writes that critics describe Postmodernism as a reaction against, or a
continuation of, Modernist principles and ideals. McCandless (2009, p. 132) asserts
that Postmodernism is a style of sorts. Ironic and parodying. Very playful, and very
knowing. In summary, Stitzel (2005) concludes that; Postmodern philosophy
encompasses that all truth is relative to the individual, that it is, essentially, whatever
you make of it.

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 22 Samantha Westwood

Tibor Kalman (19491999), an American graphic designer of Hungarian

origin, is described by Heller (2011) as one of the few graphic designers whose
accomplishments were legend within the field and widely known outside it as well.
Kalman had a passion for activism, particularly with regards to rebelling against
corporate influence: Virtually all media, architecture, product and graphic design
have been freed from ideas, individual passion, and have been relegated to a role
of corporate servitude (Kalman, 1998, p. 25). In the 1980s Kalman was renowned
for being the epitome of wise-cracking, game-playing, reference making, Post
Modernism (Poynor, 2003, p. 158). He is perhaps most famous for his work on
the publications Interview and Colors (Flask, 2009a), which are key examples of
Kalmans provocative, emotion-stirring designs. In his book Perverse Optimist,
Kalman (1998, p. 25) explains that he believes that corporations with their Modernist
branding, are responsible for creating a thought-free, passion-free, cultural mush that
will not be loved or hated by anyone. The emotionally charged, thoughtful imagery
on the front of these magazines was a direct attack and critique of what he aptly
called cultural mush. Poynor (2003, p. 158) writes that Kalman hijacked advertisers
techniques in order to apply them to the real issues of the day: for example, ecology,
racism, AIDS. His work has personality: established boundaries are shattered, and
his designs promote thought, opinions, and criticism (Poynor, 2003, p. 159). While
modernists pursued neutrality and objectivity, Kalman works in opposition: there is
no inherent truth, only subjectivity, individual opinion and interpretation.
Neville Brody (b.1957) is an English graphic designer, typographer and art
director. He studied at the London College of Printing, where his experimental work
was often criticised because of the schools tendency towards more traditional printing
methods (Flask, 2009b). Burgoyne (2009) describes Brody as a rare combination
of a designer with something to say about the world and the ability to articulate
those thoughts. Brody rose to prominence during the 1980s when a new style of
design referred to as New Wave emerged. At this time, New Wave and Postmodern
were often used interchangeably (Poynor, 2003). Poynor (2003, p. 33) describes how
Britains new wave was identified with youth culture and popular music and these
designers tended to position themselves outside of designs professional mainstream.
Aptly, Brody has produced album artwork for a plethora of popular musicians.
Abstract and gritty, his work was influenced and shaped by the rebellious, anarchistic
nature of the punk period. (Poynor, 2004). Poynor also notes that designers at this
time; followed no consistent pattern. It was eclectic in inspiration and pluralistic
in its application of style (2003, p. 34). This multi-layered and haphazard design
approach strays completely from the principles of the Modernist movement.
The Modernist pursuit of neutral, objective, structured, pure design as described
by Ayiter (2006) has proved an excellent approach to the formation of stable
identities for large or multinational corporations, but could also be considered to be
incredibly rigid and confining. A world consisting of perfect mathematically-aligned
san-serif typefaces and limited colour palettes conjure images of a sterile dystopian
future, much like the fictional state Oceania as described by George Orwell in his
novel Nineteen Eighty-Four (1949). Assuming that Postmodernism is a reaction to
these principles, the obvious merit is that this movement was about breaking the
rules and boundaries previously defined by the Modernists, leading to a whole new
perspective on design and the world we live in. McCandless (2009, p. 132) explains
that Postmodern art is often self-reflexive or meta, it calls attention to itself, as a
construct. It rejects genre, hierarchy and order, to embrace complexity, diversity

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 The Influence of Modernism and Postmodernism on Graphic Design 23

and ambiguity. With McCandless assertion that, No one knows the truth. Or can
have a better truth than anyone else (2009, p. 132), the messages that postmodern
design communicates are not always clear. With this ambiguous, somewhat carefree
approach, Postmodernism is intrinsically difficult to quantify and therefore, to critique.
The idea is: lets not pretend that art can make meaning or is even meaningful. Lets
just play with nonsense (McCandless, 2009, p. 132). Despite its origin as a reaction
against Modernist alienation, Postmodernism has become shrouded in a mysterious
and somewhat elitist aura.

Acknowledgements
I would like to thank my lecturers David La Grange, Gavin Kirby, Phil Thomas,
Donna Williams and Danielle Peevor for their knowledge and assistance, and thank
Rowan Lear for her guidance.

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