Steph's Blog

Flea Markets and Postmodernism

On any given Saturday afternoon in the 90s, my family could be found rummaging through a garage sale or hitting the road to some little downtown to explore the antique shops. Department stores, with their carefully selected, priced, and arranged items were not for us. We were after unique items with a story that spoke to us on a personal level.

There was one type of venue that was always my favorite: the flea market. Not the antique shop on the square, where all the items are thoughtfully curated and overpriced. No, I am talking about a true flea market located in the still-to-be-renovated part of downtown. It is open during odd hours and the only way to find it is to follow the hand-painted signs. It’s a risk. You might get lost, or you might find a fabulous chandelier.

This to me is postmodernism.

Flea markets reject the grid. You walk in and there is a table full of dingy stuffed animals, dishes, and spare car parts to your left. To your right is a hodgepodge of furniture. There’s an add-on where the carpet changes color and slopes down into a room of flower pots and romance novels. No signs, no flashing lights, you the shopper must make sense of it all (Figure 1).

Figure 1. April Greiman, The Modern Poster, The Museum of Modern Art, New York, 1988. Text swirls in space, some is set at an angle, and it is up to the viewer to decide what to look at first.

The flea market embraces the juxtaposition of retro and contemporary. New stuff is mixed in with old stuff. A 20s flapper dress dangles off a rack next to a flat screen TV. “High art” mixes with “Low art”: a stack of dogeared People magazines sits atop a shelf of encyclopedias.

 

Figure 2. Herb Lubalin, U&Ic Magazine Cover, 1978. Retro type mixes with a new technique of inserting photography into type.

Nothing is priced in the flea market. Value is in the eye of the shopper. A $35,000 antique armoire could go for $50 if the shopper is a good haggler. On the other hand, a broken radio worth nothing to most people might sell for a few hundred bucks to someone who sees it as sculpture art.

You get the idea. postmodernism design can appear disorganized, embraces retro typefaces and vernacular, and caters to the individual. It is risky, but worth it to a willing audience.

Image references

Greiman, A. (1988). The Modern Poster, The Museum of Modern Art, New York. New York, N.Y.: Accessed through ARTStore Slide Gallery, 9/7/2017.

Lubalin, H. (1978). U&Ic Magazine Cover. New York, NY: Herb Lubalin Study Center of Design and Typography. Accessed through Graphic Icons by John Clifford, pg 148.

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Steph's Blog

Defining Postmodernism

Rick Poyner writes in No More Rules that “Postmodernism cannot be understood without reference to modernism.” (Poyner, 2003, p. 10).

Therefore, as a design theory, I define postmodernism as an extension of modernism: postmodern design is an expansion of typographic rules and an evolution of spacial understanding. For starters, in typography even the rebellious Wolfgang Weingart first learned the modernist rules of typography during his apprenticeship at a letterpress before he and his students began experimenting. Their work eventually became known as New Wave Typography. (Meggs, 2012) They sliced up characters, explored wide tracking, mixed typefaces, and pushed the bounds of readability in favor of imagery.

Second, in postmodern compositions I find example after example of letters and objects floating in space. In a complete rejection of the grid, postmodern design embraces intuition and favors personal interpretation. Without a grid, there is little in the way of traditional hierarchy to guide the eye through a design; looking at a poster, some viewers may see an object first, some may see the title first, some may see a quirky piece of punctuation first, and so on (see Figure 1). In postmodern design, this is an acceptable approach because typography is an experiment and space is subjective.

Greiman, postmodernmism poster.
Figure 1. April Greiman. Sci-Arc Poster, 1991. ARTstor Slide Gallery, accessed 9/7/2017. The photograph of the hand anchors the poster, but from there where does the eye go? To the eyeball at the top? The title in reverse? Or to “1991” with the thick border?

 

Portfolio

Nut Exactly Snack Bites Redesign

As part of an introductory Packaging/User Experience course at Texas State University, Stephanie re-designed Fisher’s Nut Exactly Snack Bite bag. The project consisted of building personas, testing mock ups, designing graphics, and compiling a process booklet.

Click here to view the whole project from beginning to end!

Portfolio

UX/UI App Design

As part of an introductory User Experience (UX) course at Texas State University, Stephanie designed a few screens of an app she called “The Tool Box.” It was designed to be an app for neighbors to borrow and lend tools. The purpose of the assignment was to get a quick and dirty intro to UX/UI design, persona building, planning, and user testing.
Click here to view thumbnail sketches and roughs.
Portfolio

Type Specimen Booklet, Rockwell

Stephanie designed a type specimen booklet for an introductory typography course as part of the MFA Communication Design program at Texas State University. The assignment was to create a grid, write the content, and design a booklet celebrating a classic typeface. Stephanie chose the 1930’s slab serif Rockwell.
Click here to view the final project online.

Grid setup

 

Portfolio, Steph's Blog

Self Intro Type Poster

Last week was the beginning of Semester Two of the never-ending MFA program I got myself into (why do I do this to myself!?). I am a little more organized this semester. I bought a 3-subject, college-ruled notebook with dividers and pockets. And I revamped my blog so I can try to share what I’m up to with my 2 followers–one of whom is my mom, Hi Mama!
Our first project was pretty simple. A warm-up for the punishment that is to come, I’m sure. We each prepared something to introduce ourselves, using only type.  So … I designed a poster, featuring my scarf collection… tada!

 

An 11x17 poster, scarves shaped into letters to spell out "Stephanie" with a short paragraph describing Stephanie.
Meet Stephanie
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Dust Jacket Book Cover

As part of an introductory typography course at Texas State University, Stephanie designed a dust jacket book cover. The assignment was to use only type to illustrate the content of the book. Stephanie found that most existing covers for this particular title are far too mild for the content, so she created a cover that reflects the darkness of Toni Morrison’s award-winning novel, Beloved.

Dust jacket book cover design for Beloved by Toni Morrison

Portfolio

Self- Branding Logo Design

Stephanie explored logo design and self-branding for a class project in the MFA program at Texas State University. The logo is based off the Mayan symbol for “9,” Stephanie’s galactic tone. Nine appropriately symbolizes connection and patience, two necessities in the field of Communication Design.