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became art director of Beach Culture magazine producing a total of six magazines before the journal folded, this earned him more than 150 design awards (Encyclopaedia Britannica, 2012c) and a new position in a design role at its sister publication Surfer magazine, which catapulted him into the design spotlight. Carson then caught the attention of Marvin Jarret, publisher of Ray Gun an alternative music publication, who hired Carson as its art director in 1992. The monumental success of the publication between the years 1992 and 1995, with the help of Carson’s radical design vision, saw Ray Gun’s subscribers triple in numbers. This feat is most commonly attributed to the design strategy that seemed to be particularly appealing to the youth demographic (Kenyaferrand.com, n.d.) which led to several large corporations spotting an opportunity in Carson’s design work to increase youth sales of their respective products. Commissions earned by Carson followed to design printed advertisements and direct television commercials.

 

In 1995, Carson left Ray Gun and established his own design company David Carson Design. The business was an instant success, and Carson was able to secure a large and diverse corporate client base with companies such as Microsoft, Pepsi and Giorgio Armani. Carson’s first book titled The End of Print: The Graphic Design of David Carson, released in 1995 and has since become the top selling graphic design book of all time with sales in excess of over 200,000 copies (David Carson Design, n.d.). Followed by the boldly experimental books 2nd Sight (1997), Fotografiks (1999), and Trek (2003) (Encyclopaedia Britannica, 2012d).

 

Post-modernist design and its influences on David Carson

Post-modernist design, described in the art and popular culture encyclopaedia as:A cultural, intellectual or artistic state, which lacks a clear central hierarchy or organizing principle and which embodies extreme complexity, contradiction, ambiguity, diversity and interconnectedness (artandpopularculture.com, u.d.).

 

This is evident in Carson’s hallmark style of distorted type and his rejection of the conventional ideas of typographic syntax, visual hierarchy and imagery. The text in Carson’s work often challenges the fundamental criteria for legibility by the exploration of reverse reading, extreme forced justification, columns jammed together with no gutter and the erratic letter spacing across images, arranged in expressive rather than normative sequences.

 

In his book, A Century of Graphic Design, author Jeremy Aynsley (2001: p. 233a) states that:Carson’s work is greatly indebted to the work of Wolfgang Weingart and the Cranbrook academy, belonging to the tradition of deconstructive typography.

 

This statement holds a immense amount of strength as Carson has characterised his style by e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。