Postmodernism shook up graphic design in the late 20th century. It tossed out modernist rules, embracing chaos and mixing styles. Designers got playful, using irony and layered meanings to challenge norms.

This shift mirrored broader cultural changes. New tech, global influences, and consumer culture all fed into postmodern design. It reflected a world growing more complex and interconnected.

Key characteristics of postmodern graphic design

Rejection of modernist principles

• Postmodern graphic design rejected the strict rules and principles of modernism, embracing experimentation, deconstruction, and eclecticism
• Challenged the notion of a universal visual language and a single, objective truth in design
• Embraced subjectivity, ambiguity, and multiple interpretations of meaning
• Questioned the role of the designer as a neutral, objective communicator

Layering and appropriation techniques

• Postmodern designers often used layering, collage, and appropriation techniques to create complex and multi-layered visual compositions
• Incorporated elements from diverse sources, such as popular culture, art history, and vernacular design
• Used digital technologies, such as Photoshop, to manipulate and combine images in new and unexpected ways (April Greiman's "Design Quarterly" cover)
• Challenged traditional notions of originality and authorship in design

Irony, parody, and pastiche

• The use of irony, parody, and pastiche was prevalent in postmodern graphic design, often challenging or subverting traditional meanings and expectations
• Appropriated and recontextualized familiar images and symbols to create new meanings and associations (Barbara Kruger's "I Shop Therefore I Am")
• Used humor, wit, and playfulness to engage and challenge the viewer
• Blurred the boundaries between high art and popular culture, often incorporating elements of kitsch and camp

Expressive and unconventional typography

• Postmodern typography was characterized by the use of expressive, unconventional, and often illegible typefaces, challenging the notion of readability
• Experimented with layering, distortion, and fragmentation of type (David Carson's "Ray Gun" magazine)
• Used type as a graphic element in its own right, often blurring the boundaries between text and image
• Incorporated handwritten, vernacular, and digital typefaces, often mixing different styles within a single composition (Neville Brody's "The Face" magazine)

Influences on postmodern graphic design

Consumer culture and mass media

• The rise of consumerism and mass media in the post-World War II era led to a proliferation of visual imagery, which postmodern designers often appropriated and recontextualized
• Incorporated elements of advertising, packaging, and popular culture into their designs
• Critiqued the role of graphic design in perpetuating consumer culture and creating desire for products
• Used strategies of subversion and detournement to challenge the dominant messages of mass media (Adbusters magazine)

Technological developments

• The development of new technologies, such as photocopiers and early computer graphics software, allowed for greater experimentation and manipulation of images in graphic design
• Embraced the aesthetics of low-resolution, glitch, and digital distortion (April Greiman's "Design Quarterly" cover)
• Used digital tools to create layered, complex compositions that challenged traditional notions of space and perspective
• Experimented with the possibilities of interactive and multimedia design, often blurring the boundaries between graphic design and other fields such as video and web design

Cultural and intellectual movements

• Postmodernism in graphic design was influenced by broader cultural and intellectual movements, such as poststructuralism, deconstruction, and critical theory
• Questioned the notion of a stable, fixed meaning in visual communication, emphasizing the role of context and interpretation
• Challenged the idea of the designer as a neutral, objective communicator, instead positioning the designer as an active participant in shaping cultural meanings
• Embraced a more pluralistic and inclusive approach to design, often incorporating elements from non-Western and marginalized cultures (Sheila Levrant de Bretteville's "Women in Design" poster)

Globalization and cultural exchange

• The increasing globalization and cultural exchange in the late 20th century exposed graphic designers to a wider range of visual influences and styles
• Incorporated elements from diverse cultural traditions, such as Asian calligraphy, African textiles, and Latin American folk art
• Challenged the dominance of Western modernist design principles, often adapting and remixing them with local and regional styles
• Reflected the growing diversity and interconnectedness of global culture in the age of the Internet and mass media

Prominent postmodern graphic designers

Wolfgang Weingart

• Wolfgang Weingart, a Swiss graphic designer, is considered a pioneer of postmodern typography, known for his experimental and expressive use of type
• Challenged the rigid, grid-based approach of Swiss typography, introducing organic forms and playful compositions
• Used photolithography and letterpress printing to create layered, textured compositions that emphasized the materiality of type
• Influenced a generation of designers, including April Greiman and Dan Friedman, who further developed his experimental approach

April Greiman

• April Greiman, an American designer, was one of the first to embrace digital technology in graphic design, creating complex and layered compositions that challenged traditional notions of space and perspective
• Used early Macintosh computers and software such as MacPaint and Photoshop to create digital collages and manipulated images
• Incorporated elements of science fiction, cyberpunk, and digital culture into her designs (e.g., her "Design Quarterly" cover featuring a digitally manipulated self-portrait)
• Pioneered the use of video and multimedia in graphic design, often collaborating with artists and musicians

Neville Brody

• Neville Brody, a British designer, is known for his innovative and unconventional typography, often incorporating elements of punk and new wave aesthetics
• Designed record covers and posters for underground music scenes, using bold, expressive typography and raw, DIY aesthetics
• Art directed "The Face" magazine, introducing a new visual language that combined experimental typography, photomontage, and unconventional grid systems
• Influenced the look of 1980s and 1990s graphic design, particularly in the music and fashion industries

David Carson

• David Carson, an American designer, is famous for his deconstructed and chaotic layouts, often using illegible type and unconventional grid systems
• Designed "Ray Gun" magazine, pushing the boundaries of legibility and conventional typography to create a raw, expressive visual language
• Used distorted, layered, and fragmented type to create a sense of visual noise and information overload, reflecting the chaotic nature of contemporary culture
• Influenced the "grunge" aesthetic of the 1990s, which embraced a lo-fi, DIY approach to design

Postmodern vs previous design movements

Modernism vs postmodernism

• While modernist graphic design emphasized simplicity, clarity, and functionality, postmodern design embraced complexity, ambiguity, and subjectivity
• Modernist designers often adhered to strict grid systems and used sans-serif typefaces (e.g., Helvetica), while postmodern designers experimented with unconventional layouts and expressive typography
• Modernist graphic design often aimed to communicate a clear and universal message, while postmodern design often challenged or subverted traditional meanings and interpretations
• While modernist designers often saw themselves as problem-solvers and communicators, postmodern designers often positioned themselves as authors and cultural commentators

Rejection of grand narratives

• Postmodern graphic design often questioned the grand narratives of progress, rationality, and social utopia that were central to modernist design
• Embraced a more fragmented, pluralistic, and relativistic worldview, often incorporating elements of irony, parody, and pastiche
• Challenged the notion of a singular, universal truth in design, instead emphasizing the role of context, interpretation, and subjectivity
• Embraced a more inclusive and diverse approach to design, often incorporating elements from non-Western and marginalized cultures

Blurring of boundaries

• Postmodern graphic design often blurred the boundaries between high art and popular culture, often incorporating elements of mass media, advertising, and consumer products
• Challenged the traditional distinctions between graphic design, fine art, and other creative fields, often collaborating with artists, musicians, and filmmakers
• Embraced the possibilities of new media and digital technologies, often experimenting with interactive, multimedia, and web-based design
• Reflected the increasing hybridity and interconnectedness of contemporary culture, where images and ideas circulate freely across different media and contexts