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mbracing what could be considered as vernacular design, upsetting the rules of modernist typography with inconsistent weights and spacing of letterforms and adopting a multi-layered approach to both word and image; a style that has been an identifiable hallmark and key aspect of post-modernism.

 

Aynsley (2001: p. 233b).goes on to explain how:Carson counters the modernist position “form follows function”, instead opting to use layout to explore the meaning. The typographic form is expected to represent ideas actively, rather than present a transparent medium.

 

Much of Carson’s work has also been influenced by the surfing sub-culture; his early professional surfing career allowed him to identify with and relate to his target audience. In his interview with Marc Cameron, Carson states: ‘growing up around that culture put me in a more experimental mindset’ (Cameron, 2012b). This experimental and somewhat chaotic approach to design appealed to the sub-culture that surrounded the surfing and skating communities, and in a sense gave them their own identity with the styling of publications related to their specific demographic. Aynsley (2001: p. 232) has claimed that advertisers soon noticed the potential benefits of someone who could embody the interests of young consumers.

 

The work of David Carson and its post-modernist theories

The impact of David Carson on modern graphic design:David Carson is arguably the most innovative and influential graphic designer of the 1990’s (Blackwell, 1995: p. 1) and without doubt the most talked about, gaining an army of both admirers and detractors throughout his career. Blackwell (1995: p.10) has noted how ‘Carson has progressed from being an unknown designer of a short-lived specialist magazine to being one of the most decorated designers in the world’. This statement that holds weight in the sense that Carson’s work has made a breakthrough from sub-culture to the mainstream of mass communication his work now considered being ‘the cutting edge of the leading communications culture’ (Blackwell, 1995: p. 18).

 

Carson’s continual reinvention of the relationship between design and type, has changed the course of graphic design and crystalized the look and attitude of an entire generation, making him a powerful catalyst for design change (Aynsley, 2001: p. 233c). Running several workshops for graphic design students worldwide has provided Carson with a cult following of inspired young designers while at the same time angering some communications professionals who believed he had ‘crossed the line between order and chaos’ (Meggs, 1998: p.463). The lack of a prominent theory or a defined set of rules within Carson’s work does not necessarily mean that the work is chaotic; instead it challenges conventional design practices with Carson’s belief that as Blackwell (1995: p 27) claims that ‘you cannot not communicate’ and exploration of the full range o本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。