Madeleine Morley; Master László Moholy-Nagy Saw Photoshop Coming, 90 Years Ahead of Time (2019), AIGA Eye on Design, László Moholy-Nagy; Typophoto (1925): Graphic Design Theory: Readings From the Field by Helen Armstrong on pages 32-34, Jan Tschichold, “The Principles of the New Typography” 1928: Graphic Design Theory: Readings From the Field by Helen Armstrong on pages 35-38.
According to the text, the writers did not want to be limited by a specific design style, but rather wanted to approach a new style in order to break through the traditional design/typography of the past and be more expressive and creative with their work. These authors moved towards more simplicity and aesthetically visual in their work. It gave them a greater understanding of how to integrate new styles. I especially believe that because of the new style, artists are able to include more elements in their designs without worrying about making it too stuffy, and they can experiment with the design, which can be all over the place, making it asymmetric, and experimenting with the visual hierarchy and color choices. Typography, photography, and other media are definitely embracing this new approach to style by being more creative. In the advertising world, for example, we now see a lot more simple yet aesthetically appealing posters than in the past. In typography, we see a more clean and aligned yet asymmetric style, which influenced the aesthetic forms and theories in early twentieth-century design. By creating these posters and ads, artists demonstrated how they affected the new contemporary world, since we see a lot of posters and ads in our daily lives, whether on our phone, the street, or the subway.
In this poster, we can see how they employed colors and font size to indicate the hierarchy, as well as grids to align the texts. Colors and patterns that are aesthetically appealing were being used. The design style is likewise asymmetric, demonstrating how the painters’ innovative approach inspired the modern world.
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