For part 1 of the assignment, the document discusses recreating a poster using three design principles: placement, scale, and color. The author struggled at first but eventually figured out how to utilize the vectors and apply the design principles. For part 2, the task was to recreate posters in the style of three selected designers. At first the author replicated the designs directly, but then tried to apply key characteristics like primary colors and symmetry while avoiding duplication. Biographies of the three designers, Piet Zwart, Max Huber, and Theo Van Doesburg are provided, discussing their backgrounds and design philosophies emphasizing simplicity, clarity, and use of elements like grids. Sketches, refinements and final poster redesigns in

1. Objectives
Part 1
For part 1, we were assigned a specific poster and our goal was to
recreate it using 3 different design principles: placement, scale and
color. This was a good exercise to get our feet wet with the most
interesting design and important design principles. I think I did a
good job. At first I struggled to use the vectors, but then I figured out
how to replicate them and utilize them. I feel there are so many pos-
sibilities with just one of the design principle, let alone three. I made
six sketches of placement, and I felt like I could do a lot more. This
realization of possibilities increased as I did placement and scale
and finally all three. I like my final three posters for their simplicity. I
like simple and clean designs and I applied that in my posters.
Part 2
For part 2, we were suppose to choose three designers from a pro-
vided list and recreate these posters in there style. At first, I basi-
cally replicated their designs, which was not a good idea. Then I sat
down and picked out few characteristics of their designs and tried
to apply that to my creations of the posters in their style. All three
of my designers use primary colors and symmetry. To force myself
into their style was difficult, no matter how much I tried to not
duplicate their design, I kept compelling to it. There are definitely
some improvements that need to be made. A little bit of it may seem
duplicated, but I tried my best to stay away from mocking and actu-
ally using their design standards as key principles in my re-design of
the poster.
Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part I and II

2. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part I: Placement Sketches

3. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part I: Placement and Scale Sketches

4. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part I: Placement,Scale and Color Sketches

5. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part I: Placement Refine

6. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part I: Placement and Scale Refine

7. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part I: Placement,Scale and Color Refine

8. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part I: Placement Final

9. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part I: Placement and Scale Final

10. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part I: Placement, Scale, and Color Final

11. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part I Final

12. Piet Zwart attended school of arts and crafts in Amsterdam, where
he studied painting, architecture and furniture design. Working
under architects Jan Wils and H.P Berlage he showed awareness
of function and clarity of proportion. After that he was influenced
by a members of De Stijl movement and other graphic designer.
Zwart called himself a typoket because to him it conveyed “equal-
ity between his designs for two and three dimensions” The form
of the letter in its most simple and abstract shape was really the
catalyst and inspiration to Zwart’s typographic achievements. He
was strongly influenced by De Stijl perspective, he used rules and
other graphic elements to create “dynamic page compositions using
Piet Zwart [those] typographic elements alone” and express using “purely
abstracted forms [with a] respect for mechanical products”. Some
key components of Zwart’s work include strong diagonals, primary
1885-1997 colors, large use of scale, varying typefaces, repetition for strength
Birth: Zaandijk, Netherlands
and careful asymmetry. His three main goals were function, simplic-
Death: Wassenaar, Netherlands
ity, clarity. He focused on scale and layout, thus mastering space
and composition. Zwart wrote his own copy to fully understand the
message meaning and expression.
Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part II: Piet Zwart Biography

13. At age 17, Max Huber was attending Zurich School of Arts and
Crafts where his teachers were Ernst Gubler, Gottlieb Wehrli, Heinri
MŸller, Walter , Otto Weber and Alfred Willimann. Huber began
his career in Avant Grade Environment. At age 21, Huber moved
to Milan and worked under Antonio Boggeri. Huber saw Milan, and
studio Boggeri in particular, as the melting pot in which illustra-
tion, painting, photography and printing could come together. Huber
always mixed unframed flat photographic and typographic elements
with strips of color to convey a certain feeling of dynamism and
speed. His work concentrated on photographic experiments and
clear type combined with the use of bold shapes, strict grid and
Max Huber primary colors. Huber favored clarity, rhythm and synthesis. He
used succinct texts, composed from different hierarchical groups; a
large title with secondary information in a smaller type, a sequence
1919-1992 of levels. One of Huber’s favorite design job was of record covers,
Birth: Barr, Switzerland
posters and publications for jazz events. He was fond of jazz-music
Death: Sagno, Swiss
and linked it to his own design by bringing the rhythm into his visu-
als.. Max Huber was influenced by many friends, relatives (Japa-
nese major designer (Father-in-law) and coworkers, with major
emphasis on Avant Grades and Swiss background.
Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part II: Max Huber Biography

14. Theo Van Dosenburg was a Dutch painter, designer and architect,
who was highly influenced by Impressionism, Expressionism and
Cubism. In 1915, he met Mondrian and switched his approach to
that of total abstraction cofounded the De Stijl movement in 1917
and devoted his career to spreading the group’s ideas. During the
1920’s he traveled across Europe promoting his artistic beliefs, set-
tling only for a short time from 1922 to 1924 to teach at the Bau-
haus. In the same decade, he switched from his horizontal and
vertical line compositions and began incorporating diagonals in
his series, Counter-Compositions. Doesburg titled this new style,
Elementarism. He moved to Paris in 1929, set up a studio in the
Theo Van Doesburg suburbs and published a manifesto of Concrete art a year later. In
his final year, he held a meeting in his studio that resulted in the
founding of the Abstraction-Creation association.
1883-1913
Birth:Utrecht, Netherlands
Death: Davos, Switzerland
Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part II: Theo Van Doesburg Biography

15. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part II: Piet Zwart Sketches

16. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part II: Max Huber Sketches

17. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part II: Theo Van Doesburg Sketches

18. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part II: Piet Zwart Refine

19. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part II: Max Huber Refine

20. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part II: Theo Van Doesburg Refine

21. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part II: Piet Zwart Final

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Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part II: Max Huber Final

23. Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part II: Theo Van Doesburg Final

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1.Kammermusikabend der tonhalle-gesellschaft
zurich, Donnerstag, den 30. okt. 1958, 20.15 uhr
kleiner tonhalle-saal
paul hindenmith drittes streichquartett
alban berg lyrische suite béla bartók
viertes streichquartett
Karten zu fr. 3.30-7.70
vorver kauf tonhalle-kasse, hug.jecklin, kuoni
dep. Kasse aerlikon der schweiz kreditanstalt
Honey Patel Visual Literacy Fall 2009 Deconstructing the Masters: Part II Styles