Early Post Modernism

Any discussion of postmodernism must be preceded by first explaining the definition of Modernism. Modernism began at the end of the 19th Century and was influenced by the new technologies and ideologies that permeated the period.  In short form follows function. By the 1970s, it was believed that Modernism was drawing to an end in art and design as well as culture. By the time postmodernism came along, many designers were quite happy to dismiss it as a trendy fad or irrelevant rambling, and be done with it. From this point on tradition was no longer a crucial element to follow. Now designers were able to work in a more open-minded and democratic world. Modern artist did not look back to the traditional ideas but looked into the future. Everyone was free to express him or herself, and equality was given utmost importance.

Going back a few years to 1960, designers within the Swiss Design movement were starting to question its principles and ideas towards typographic principles. Since the International style spoke mainly about clarity, order and objectivity, design schools did not encourage the use of playing around with various elements and exploring text in a different way. The International Style had become so popular that it was time for change.

Linol Cities Druck,  by Siegfried Odermatt, 1952. 
Siegfried Odermatt was in fact one of the first designers to help the Swiss Style break away from its principles. Not having any formal education on the International Style, his work broke free from traditions, making use of colour, cropping photos, dividing and organising space on a page as well as a new fresh design arrangement when it came to the elements in his composition. This design was refreshing against the neutrality and order of Swiss type. Odermatt went on to opening a design studio, whose works featured the reducing and breaking of the grid, as well as the opportunity and chance for designers to design unusual and original compositions.

Wolfgang Weingart
In Basel, Wolfgang Weingart was a lecturer at the Swiss design school. He studied under various designers such as Ruder and Hoffman however he taught differently. In fact Weingart came to feel that the International Style had reached a stalemate. This means that he felt Swiss design could no longer progress and indeed it was time to change. He was interested in changing the way typography looked, whilst still retaining its meaning.

“What’s the use of being legible, if nothing inspires you to take notice of it” – Wolfgang Weingart

Typography 4 and 5, Wolfgang Weingarts early days of experimentation.
Weingarts inspiration came mostly from the Constructivist’s way of placing random shapes in space as well as the Dadaists who used collage in a breaking order. However more of Weingart will be discussed in further detail when it comes to New Wave design.

Kunstdruck, graphik, antiquariat, bucher, 1962, Wolfgang Weingart   

As we’re beginning to witness designers began to feel that “Less is a Bore’ into a postmodernism context. They began defining the present in terms of the past, which was mainly opposing and breaking away from the style that preceded it (modernism). Unlike Modernism, Post-modernism does not reject Modernism, rather embraces it as its predecessor, still taking influence from it. Postmodernism was basically a development from Modernism, which without it would have never taken place.

Bibliography

Keedy, M., 2006. Graphic Design in the Postmodern Era. [Online] Available at: http://www.emigre.com/Editorial.php?sect=1&id=20 [Accessed 12 January 2015].
Meggs, P.B. & Purvis, P.W., 2011. Meggs' History of Graphic Design. 5th ed. Wiley.
Shanny12, 2010. Modernism vs Postmodernism. [Online] Available at: https://shanny12.wordpress.com/modernism-vs-postmodernism/ [Accessed 12 January 2015].


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