+ 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.
f u t u r a
f u t u r atR
Wh
at
ma
ke
s c
el
l p
ho
ne
s, l
ap
top
s, iP
od
s, a
nd
te
le
vis
ion
so
en
tic
ing
? Wh
y h
av
e p
eo
pl
e b
ec
om
e
en
fo
ld
ed
by
te
ch
no
lo
gy
? Un
do
ub
te
dly, t
he
an
sw
er
is d
es
ign
. De
sig
n is
re
sp
on
sib
le
fo
r s
olv
ing
c
ur
re
nt
pr
ob
le
ms
wit
h e
ff
icie
nc
y, sp
ee
d, a
nd
st
yl
e. T
he
se
fac
tor
s in
fl
ue
nc
e t
he
bu
ye
r a
nd
de
te
rm
ine
h
ow
fr
eq
ue
nt
ly t
he
pr
od
uc
t is
us
ed
. In t
he
ar
tic
le
, Th
e J
oy
of
Qu
iet
by
Pic
o Iy
er
, th
e d
em
an
d f
or
t
ec
hn
ol
og
y is
qu
es
tio
ne
d b
as
ed
on
th
e in
fl
ue
nc
es
it h
as
ha
d o
n o
ur
liv
es
an
d o
ur
fu
tu
re
. So
me
b
el
iev
e t
ha
t t
he
se
pr
od
uc
ts
sh
ou
ld
be
mo
de
ra
te
d b
ec
au
se
th
ey
do
min
at
e p
eo
pl
es
’ liv
es
, ho
we
ve
r,
th
ey
ar
e n
ot
co
ns
ide
rin
g a
ll
fac
tor
s. In
th
e w
or
ld
of
ad
ve
rt
isin
g, s
uc
ce
ss
is s
el
lin
g a
pr
od
uc
t,
fo
ll
ow
ed
by
ov
er
us
e o
f t
he
pr
od
uc
t. W
hil
e s
om
e m
ay
as
k w
hy
th
e w
or
ld
ha
s c
om
e to
th
is, o
th
er
s
ap
pr
ec
iat
e a
nd
ac
kn
ow
le
dg
e t
he
ac
co
mp
lis
hm
en
ts
of
th
e w
or
ld
’s m
os
t s
uc
ce
ss
fu
l d
es
ign
er
s. W
ith
t
he
ab
ilit
y to
ma
rk
et
ne
w t
ec
hn
ol
og
y to
te
en
ag
er
s w
ith
su
ch
ea
se
, pr
od
uc
t d
es
ign
er
s, g
ra
ph
ic
de
sig
ne
rs
, ad
ve
rt
isin
g d
es
ign
er
s, w
eb
de
sig
ne
rs
, an
d p
ro
mo
te
rs
ha
ve
so
lve
d t
he
big
ge
st
de
sig
n
ch
al
le
ng
e; “M
ar
ke
tin
g to
th
e C
hil
d o
f T
om
or
ro
w” (Iy
er
NP
). It is
cr
uc
ial
fo
r t
he
se
de
sig
ne
rs
to
co
ns
tan
tly
re
ma
in a
he
ad
of
th
eir
co
mp
et
itor
s w
hic
h is
wh
at
ha
s m
ad
e t
he
ma
rk
et
so
su
cc
es
sf
ul
. W
hil
e s
om
e a
re
sp
en
din
g o
ve
r t
wo
th
ou
sa
nd
do
ll
ar
s a
nig
ht
to s
ur
re
nd
er
th
eir
te
ch
no
lo
gy, o
th
er
s
ar
e ta
kin
g it
in s
tr
ide
. Wh
y a
vo
id a
nd
ign
or
e t
he
ad
va
nc
em
en
ts
ou
r g
en
er
at
ion
ha
s c
re
at
ed
? Th
e
po
we
r o
f d
es
ign
sp
ea
ks
pa
st
an
y o
f t
he
do
ze
ns
of
te
xt
me
ss
ag
es
or
th
e c
on
sta
nt
st
re
am
of
te
le
vis
ion
s
ho
ws
.
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