+ TYpographic spreads

+ Constructvistpropaganda

+ The FUTURA IS NOW

issue number oneTWO THOUSAND AND TWELVE

CO NTENTS

3+Constructivist Propaganda

5+The Futura is now

7+Typographic spreadsA magazine displaying expressive typography

with german constructivist characterstics.

Included in this issue are type spreads and

articles with various graphic elements. With a

selective color palette and incorporating

experimental approaches, TYPO is the only one

of it’s kind.

[tahy-pog-g-ruh-fee]

The art or proccess of printing type.

TAB

LE OF

CO NStr

Uv

i StArtists, storytellers, and designers are believed to draw a fine

line of who will succeed in the near future and who won’t, based

upon the scientific testing where there is a clear distinction

between the right and left hemispheres of our brains. Also, it is

proven that in order to be completely successful, we must have

control of both parts of our brain, meaning that they are

completely functional. It is said that we are being trained as

“knowledge workers”, saying that society is making less of the

demand of “creators and empathizers”. There are three essential

questions in conveying the importance and reliance on the right

brain including; Can a computer do it faster? Is What I’m Offering

in demand in an age of abundance? Can someone overseas do it

cheaper? Once answered, all these questions reflect how vital

the right hemisphere is to promoting success in a rapidly moving

future. Design has become democratized. A Yale University

psychology professor is developing an alternative SAT exam

targeting right brained individuals called the Rainbow Project.

This project gives students five blank New Yorker cartoons, giving

students the instructions of writing humorous captions for each

one. In addition, they must write a narrative using solely a title

given to them by the test givers (sample: “The Octopus’s

Sneakers”). The students are also given real life scenarios where

they arrive at a party where they don’t know anyone or the must

convince friends to help move furniture. Studies show that this

project has been twice as successful than the SAT in prediction

how well a student will perform in college. It is proven that

there are multiple ways in which we can “tame” our right

hemisphere and push ourselves into a better balance. Included in

these suggestions are; keeping a sketchbook/notebook, read design

magazines, do not specialize, ask yourself if you have created an

original idea, concept or if there is any value in what you

disseminate, know everything about the history of your profession,

There are six fundamental human abilities that are essential for

personal and professional success and fulfillment including; design,

story, symphony, empath, play, and meaning. In addition, there are six senses which have been outlined

that are vital to success in a design driven economy. This emphasizes that high concept and high touch abilities

are directly related to the right

hemisphere which are reliant on those six senses. It is proven that in

order convey value in the conceptual age, one is to get

involved in activities that entail notion or high touch aptitudes.

This will induce creativity and imagination. Also, it helps one to become more aware of prospects. The brain, mainly the right hemisphere, is designed to visualize and interact

with all activities, and these hands on activities initiate

the brain to work in ways left brainers are not used to. It

is believed that by incorporating these human capabilities

that are used through the right brain will lead to

originality and noticeable achievement in the workplace,

regardless of the job or position. In addition, those who ignore the possibilities that their right brain offers, will not benefit from, and in fact endure difficult times in the

financial system that is coming in the near future.

Prior to the emergence of Constructivism, there were multiple artis-tic expressions originating form Russia including Suprematism andCubo- Futurism. Created by Vladimir Tatlin, Constructivism was clas-sified as a Soviet youth movement which rejected traditional art andobsessed over industrial and graphic design. The most well known early constructivist was the painter, El Lissitzky who among his fellow constructivists, declared themselves for an artistic revolu-tion. Among Lissitzky and the Constructivist artists, Communism was believed to created new and innovating technology, catering to the needs of an evolving society. In 1921, Germany was classified as a meeting place from eastern and western artists to share ideas. Ger-many was noted for having superior printing capabilities, assisting designers such as Lissitzky into developing typographic skills and innovative ideas. These possibilities which were facilitated by the Germans promoted willingness to experiment with multiple mediums

including printmaking, typography, painting, graphic design, photo-montage, and industrial and architectural design. The time these Constructivists spent in Germany allowed them to share the construc-tivist message to society through meetings, lecture, and visual graphics, inspiring a new method of design there. These opportuni-ties allowed Constructivists to influence typography as well as

other experimental approaches by making letters and words and sharp, ninety degree angles which were framed by bold borders usuall y in one or two bright colors. The emergence of Constructivism had a positive effect on Germany and the political scene where you would frequently notice these

distinctive posters created by some of the great-est Constructivists in history. While many were using Constructivism as a way of creative expres-sion, it was quickly adapted into the Nazi Regime

where they also used bold colors and lines as a technique of propaganda. This method of communica-tion served as a way of facilitating the Nazi

message, implying that Nazi Germany was superior,

strong, and bold, just like the designs them-selves. Although many of the propaganda posters of World War II are not identical representations of

traditional constructivist art, they resemble and

display a common theme of bold, geometric typogra-phy and the dominance of space whether it was

carried out though photos or shapes.

Constructivism was an important factor in the

theory of Propaganda in World War II because it was a clean, simple way of communicating important beliefs held by some of the most influential people in human history. Throughout the war, there were six reoccuring themes that were crucial in the propaganda design and message including; the nature of the enemy, the nature of our allies, the need to work, the need to fight, the need to sac-rifics, and the americans.

Constructivism was an important factor in the theory of Propaganda in

World War II because it was a clean, simple way of communicating impor-

tant beliefs held by some of the most influential people in human his-

tory. Throughout the war, there were six reoccuring themes that were

crucial in the propaganda design and message including; the nature of

the enemy, the nature of our allies, the need to work, the need to

fight, the need to sacrifics, and the americans.

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Several fall intimidated by the incredible style and efficiency of the technological

designs, however, those open to change and willing to succeed appreciate the work of these design phenomenons. In

conclusion, the successes of advertising are demonstrated by the high demand for

technology in the current times. Some may criticize the reliance this generation has

on technology, but the reliance on it supports and upholds the talent of so

many designers. From the article The Joy of Quiet by Pico Iyer, we can conclude that joy is the result of good design, and design

is certainly never quiet. U f

WITH

ALL

PASSION

OR NOT AT

DO

THINGS