Art&Design

Brutalism
2

Brutalism
3

INDEX Brutalism 06-15

_1 Brutalism; Genesis 06
_2 New Brutalism 09
_3 Famous Brutalist Architecture 10
_4
_5 Emerging Brutalism 16-21
_6
Rise of Brutalism 16
Trend; Anti-Design 18
Role of the web in Anti-Design 19

in Graphic Desing 22-45

Brutal Poster series 24
HeroDOT Rebranding 28
Brutal Poland Editorial Design 34

in Web Design 46-57

Brutalist Web Design study 48
Personal Website 50
Juros Burtos 54

&Business 26-43

The price is right 60
The Domino Effect 63
Breaking the Formula 66

&Conversation 07-14

Tip of the Iceberg 70
No Regrets 74

→



Brutalism

Brutal adjective /ˈbruːt(ə)l/
‘direct and without attempting to
disguise unpleasantness’
“the brutal honesty of his observations”
‘unpleasant or harsh’
“the brutal morning light”

-ism suffix \ˈi-zəm\

‘a distinctive doctrine, cause, or
theory’

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Brutalism
8

_1 New Brutalism History of Brutalism

by John Doe

It is not only an architectural style; it included placing the facility’s water tank, normally a hidden
is also vthat accommodate their purpose, service feature, in a prominent, visible tower. Rather than being
inhabitants, and location. hidden in the walls, Hunstanton’s water and electric utilities
were delivered via readily visible pipes and conduits. In the
Stylistically, Brutalism is a strict, modernistic design language that Boston City Hall, designed in 1962, the strikingly different and
has been said to be a reaction to the architecture of the 1940s, projected portions of the building indicate the special nature
much of which was characterised by a retrospective nostalgia. of the rooms behind those walls, such as the mayor’s office
or the city council chambers. From another perspective, the
Balfron Tower, designed by Ernő Goldfinger in London, England design of the Hunstanton School included placing the facility’s
Peter Smithson believed that the core of Brutalism was a water tank, normally a hidden service feature, in a prominent,
reverence for materials, expressed honestly, stating “Brutalism visible tower. Rather than being hidden in the walls, Hunstanton’s
is not concerned with the material as such but rather the water and electric utilities were delivered via readily visible
quality of material”,and “the seeing of materials for what they pipes and conduits. Designed by Ernő Goldfinger in London,
were: the woodness of the wood; the sandiness of sand.”[31] England Peter Smithson believed that the core of Brutalism was
Architect John Voelcker explained that the ‘New Brutalism’ in a reverence for materials, expressed honestly, stating “Brutalism
architecture ‘cannot be understood through stylistic analysis, is not concerned with the material as such but rather the
although some day a comprehensible style might emerge’, quality of material”,and “the seeing of materials for what they
supporting the Smithsons description of the movement as “an were: the woodness of the wood; the sandiness of sand.”[31]
ethic, not an aesthetic”.Reyner Banham felt the phrase “the Architect John Voelcker explained that the ‘New Brutalism’ in
New Brutalism” existed as both an attitude toward design architecture ‘cannot be understood through stylistic analysis,
as well as a descriptive label for the architecture itself and although some day a comprehensible style might emerge’,
that it “eludes precise description, while remaining a living supporting the Smithsons description of the movement as “an
force”. He attempted to codify the movement in systematic ethic, not an aesthetic”.Reyner Banham felt the phrase “the
language, insisting that a Brutalist structure must satisfy the New Brutalism” existed as both an attitude toward design as
following terms, “1, Formal legibility of plan; 2, clear exhibition well as a descriptive label for the architecture itself and that
of structure, and 3, valuation of materials for their inherent it “eludes precise description, while remaining a living force”
qualities ‘as found’.”Also important was the aesthetic
“image”, or “coherence of the building as a visual entity”.
Brutalist buildings are usually constructed with reoccurring.

There is often an emphasis on graphic expressions in the
external elevations and in the whole-site architectural plan in
regard to the main functions and people-flows of the buildings.
Buildings may use materials such as concrete, brick, glass,
steel, timber, rough-hewn stone, and gabions among others.
However, due to its low cost, raw concrete is often used and
left to reveal the basic nature of its construction with rough
surfaces featuring wood ‘shuttering’ produced when the forms
were cast in-situ. Examples are frequently massive in character
(even when not large) and challenge traditional notions of what
a building should look like with focus given to interior spaces
as much as exterior. A common theme in Brutalist designs
is the exposure of the building’s inner-workings—ranging
from their structure and services to their human use—in the
exterior of the building. In the Boston City Hall, designed in 1962,
the strikingly different and projected portions of the building
indicate the special nature of the rooms behind those walls,
such as the mayor’s office or the city council chambers. From
another perspective, the design of the Hunstanton School

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Brutalism

/history Brutalism, a movement which peaked in
Famous the 1960s with a visual language that has
become inextricably associated with the
Architecture post-war welfare state it developed from.

We must refrain from viewing Brutalism
from the point of view of terror, anxiety and
an often slummy grimness that it came to
be associated with. Instead, admire these
austere, raw concrete creations as examples
of calming oasis’, as utopian, escapist refuges
from the day-to-day reality of stressful urban
life. Its author Christopher Beanland has
evidently spent a lot of time strolling through
the cool water gardens of the Barbican and
admiring the open, newly green terraces
of Alexander Road Estate: the book reads
Brutalism as if it has the peaceful allure of
jutting stones in a sand garden – an abstract
Zen mentality in a practical social setting.

10

Wotruba Church, Vienna, 1976 harmoniously balances light, material and the surrounding
greenery. Wotruba is a modern-day Stonehenge; designed
This towering Tetris of a church sits heavily anchored into the by sculptor Fritz Wotruba, it’s also a pilgrimage point for those
side of a hill above the Austrian capital. In juxtaposition to its interested in where modern art and architecture vividly intersect.
heavy, opaque concrete shell, the structure’s windows are
large and reflective, creating a sense of airy movement that

Geisel Library, San Diego, 1970 William Pereira designed it – and its whimsical shape
seems to elegantly reflect the world of its namesake, the
Rising from the ground like a glass and concrete bonsai tree, writer Theodor Seuss Geisel (better known as Dr. Seuss).
the Geisel Library juts across the skyline in a way that’s
both space-age and organic. It has an air of theatricality 11
perhaps unsurprising as a former Hollywood art director

Brutalism

Maria-Magdalena Church, Germany, 2004 and the other Protestants, and its fluctuating, contorting,
near-rectangular shape evokes the swelling music that emits
This Neo-Brutalist oddity erupts dramatically from its from its two halls. Built in 2004 by architect Susanne Gross,
surroundings, a bright flash of brownish grey against the the structure suggests that Brutalism’s spirit is still alive.
greenery that defines so much of the Freiburg landscape.
The church is split into two parts: one half serving Catholics,

Habitat 67 Montreal, 1967 green river bank. Roof gardens and walkways meander
across the top, revealing a variety of viewpoints that boldly
Moshe Safdics iconic residential block, originally built as a display the intricacies of the structure and surrounding city.
pavilion for Expo67, is perhaps one of the most recognizable
buildings in Montreal: it’s cascading, bric-a-brac shape
dramatically stands out against the neighbouring river and

12

Brutalism

Maria-Magdalena Church, Germany, 2004 and the other Protestants, and its fluctuating, contorting,
near-rectangular shape evokes the swelling music that emits
This Neo-Brutalist oddity erupts dramatically from its from its two halls. Built in 2004 by architect Susanne Gross,
surroundings, a bright flash of brownish grey against the the structure suggests that Brutalism’s spirit is still alive.
greenery that defines so much of the Freiburg landscape.
The church is split into two parts: one half serving Catholics,

Habitat 67 Montreal, 1967 green river bank. Roof gardens and walkways meander
across the top, revealing a variety of viewpoints that boldly
Moshe Safdics iconic residential block, originally built as a display the intricacies of the structure and surrounding city.
pavilion for Expo67, is perhaps one of the most recognizable
buildings in Montreal: it’s cascading, bric-a-brac shape 13
dramatically stands out against the neighbouring river and

Brutalism
14

Brutalism
15

_2 Emerging Brutalism

by Aayush Mayank Brutalism in 2020

Brutalism and Anti-design are aesthetics way to go against the norm. This is a way that many visual
that have been believed to originate styles have formed and gained popularity throughout history.
from the start of the World Wide Web.
• Commercialism
Brutalism and Anti-design are aesthetics that have been The study has found indications of suspicion and criticism
believed to originate from the start of the World Wide towards corporate interests on the web. The empirical data
Web, an era when the internet had no rules but immense indicates that big companies are gaining and practising an
possibility. As design cycles often repeat themselves, we increasing amount of influence over the web. Antidesign
are currently seeing a revival of these trends yet again. The and brutalist web design is seen as a way to question and
reason for this can be broken down into three points. revolt against the values and doings of these companies,
including their visual languages. This bearssimilarities to
1. World Wide Web’s coming of age the New Design movement during the 1980s which was
influenced by sub-cultures and anti-authoritarianism.
Empirical data suggests that the internet as we know it now
has reached maturity, it has changed and grown from its 3.Interest in Retro trends
fledgling years into something that can now look back at its
origin years. The past of the internet is now relevant enough Studies shows that neither brutalism or antidesign would work
to be borrowed by its future. Brutalism harks back to its olden in business contexts or generally in mainstream web design,
days by evoking the haphazard web design. Nostalgia, seen but that there are other, more niche, applications for them.
as a support by many is also a huge factor in this process People throughout human history have cherished nostalgia
which is made clear by the emergence of trends like Pastiche.
2. Revolt against the mainstream web There is a large interest in trends from the 1990s. Trends move
in time cycles and one cycle that has been noted frequently
Reacting towards the mainstream has been seen in almost is that of twenty years. The rise of brutalism and antidesign
all design movements starting from the Renaissance to were noted by Moran in 2017, twenty years after 199. Anti
Impressionism. The commercialisation of web design has Design in particular is used as an inside joke among designers.
set in motion the phenomenon of anti-design that seeks to
revolt against everything deemed “Polish and smooth” A clear line can be drawn between mainstream visual web
Studied theory shows that trends emerging as revolts against design and experimental trends such as brutalism and
mainstream design have the possibility to become legitimate antidesign. The study indicates that more experimental trends
design movements in their own right. Thus Brutalism can be the and retro trends are likely to emerge. Reasons are mixed and
art movement that finally breaks the monotony of established can be purely visual or political. Whether the development
web design.The original antidesign movement arose during of web design will bear more likeness to the development
the 1960s, a time when the world wide web did not yet exist, of product design, cannot be predicted by this study.
but similarities are found between the adaptations both in
design language and philosophy. An The original antidesign
movement too, came as a reaction to consumerism and
designs that were at the time considered good form.

The rise of brutalism and antidesign are seen
as reactions towards two different, yet related,
perceptions of the mainstream web:

• Visual uniformity
The study shows that there is a widespread perception among
web designers that the mainstream web is visually uniform.
Styles such as brutalism and antidesign are seen as counter-
reactions to a visual uniformity of mainstream websites — a

16

The implications that the emergence of these trends have on Evolution of web design are as part of a larger number
the aesthetic evolution of web design are as part of a larger of experimental trends and retro trends that will arise.
number of experimental trends and retro trends that will Brutalism and antidesign are unlikely to directly affect
arise. Brutalism and antidesign are unlikely to directly affect mainstream web design. They may, however, be seen as
mainstream web design. They may, however, be seen as design movements, which is a potential step in the direction
design movements, which is a potential step in the direction of acknowledged categories within visual web design.
of acknowledged categories within visual web design. Brutalism and antidesign are unlikely to directly affect
mainstream web design. They may, however, be seen as
Evolution of web design are as part of a larger number design movements, which is a potential step in the direction
of experimental trends and retro trends that will arise. of acknowledged categories within visual web design.
Brutalism and antidesign are unlikely to directly affect
mainstream web design. They may, however, be seen as Evolution of web design are as part of a larger number
design movements, which is a potential step in the direction of experimental trends and retro trends that will arise.
of acknowledged categories within visual web design. Brutalism and antidesign are unlikely to directly affect
mainstream web design. They may, however, be seen as
Brutalism and antidesign are unlikely to directly affect design movements, which is a potential step in the direction
mainstream web design. They may, however, be seen as of acknowledged categories within visual web design.
design movements, which is a potential step in the direction Brutalism and antidesign are unlikely to directly affect
of acknowledged categories within visual web design. mainstream web design. They may, however, be seen as
The implications that the emergence of these trends have on design movements, which is a potential step in the direction
the aesthetic evolution of web design are as part of a larger of acknowledged categories within visual web design.
number of experimental trends and retro trends that will
arise. Brutalism and antidesign are unlikely to directly affect
mainstream web design. They may, however, be seen as
design movements, which is a potential step in the direction
of acknowledged categories within visual web design.

Credits: Bloomberg 17

Brutalism

/trend Web brutalism is beginning to take on a
Anti-Design new meaning, quite different from the spirit
of the architectural movement. Rather than
just focusing on stripped-down UIs with
raw or nonexistent styling, some designers
interpret brutalism to mean rebelling against
oversimplified design by intentionally creating
ugly, disorienting, or complex interfaces.

Though some lump this trend in with brutalism,
it doesn’t fit with the original architectural
sense of the word. For the sake of clarity,
I’ll use the term antidesign to refer to this
separate understanding of the movement.

Antidesign sites often feature a complete lack
of visual hierarchy. Some use harsh colors,
disorienting patterns, weird cursors, and
unnecessary distracting animations. The overall
effect feels like bad 1990s’ designs on steroids.
Though some lump this trend in with brutalism,
it doesn’t fit with the original architectural
sense of the word. For the sake of clarity,
I’ll use the term antidesign to refer to this
separate understanding of the movement.

18

Credits: Adult Swim
Credits: www.calpis.info/houkago/

19



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21

Graphic
Design

Everything is a copy, of
a copy, of a copy.
Brutalism in Graphic Design.



_3 Brutal Posters Series

by Roy Cranston Print posters

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oditati nvendis ut minulparcium ipit omnim idelit alisimi nullore
pudaereiur aut aut et autassi tiossumquam rem quid et veliaes - Roy Cranston
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excessi mincto diate ommo dolupta tibusan derfersperum

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Graphic Design
25

Graphic Design
26

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_3 A fresh look, HeroDOT

by herodot.com Branding & Identity

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fugiatque non pro erum et optaess inventi dis eostestrum expe
voloria dolupti orunte voleseque sunt is magnis voluptae sita
qui nonsequam, odita nis enition sequatqui rae est essequodi
doluptas re consequam reptiatem. Et dolecerro beatque
net aut delesci tatesed ut autas adit hariorum apisitibus.

Harchitatem imporibus sequidiatur sin nobitem iume ex

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Credits: Herodot.com 29

Graphic Design

Lent, et accae rem re cor a di qui dolorpo rionsec tatque It autemperro beritium si oditati nvendis ut minulparcium
nissimu saperate exped est hiliquodicil etus que in nos pe ipit omnim idelit alisimi nullore pudaereiur aut aut et
nobit, con parciditae. Sequi re cusaepernate ne pe es doluptat. autassi tiossumquam rem quid et veliaes digendi odit quod
Non rem. Nequos cumenienem liqui omnimaio veles explaut es modi cusdam ernatiae lit, oditas sediam, quam.
abo. Antusdae nectur? Quibusaepero vent, eatibus exces .

30 Credits: Herodot.com

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Lent, et accae rem re cor a di qui dolorpo rionsec tatque iactam pest? P. Ompro tatis; et; nonvoltorus menteridit, vili, con
nissimu saperate exped est hiliquodicil etus que in nos pe nobit, sa nemunt, quam nos aut L. Ules mo pro int. Gra Serei prox
con parciditae. Sequi re cusaepernate ne pe es doluptat. nulicio ritares upicae is tasdachuidic facessi ngularit, cendien
Non rem. Nequos cumenienem liqui omnimaio veles explaut ditilic aterdit; esses! Senihil issereo vis vium or hum ium inveris.
abo. Antusdae nectur? Quibusaepero vent, eatibus exces Seraciem meis ete, cullegit; est? que plii ex se, nos et? Nos omne
idempos sum nulluptas restotam ipsum aut latese eum inihitibus prario intes et fac res hocae pecrebes? Olus, vivis confena,
adi officte venimpersped quo tem rerumqui utem simpori quon defac in pra, que moltursules? Vivat, dis, tenatus caestam
doluptia vel idesed quas nis nus, ut reperem exereru ptatem in sedo, pecondum demquo et adductas immorem is con deor
veliae num nest, odit, ipit velit eum ut autemperro beritium si potantum nimis, nes addum hala vividemunum dion hosulos
oditati nvendis ut minulparcium ipit omnim idelit alisimi nullore unteberum horum iam qua presimi ssenat, Palia quones
pudaereiur aut aut et autassi tiossumquam rem quid et veliaes demus fur, consulum ad C. Itabeffre commor hacivatrudam oc
digendi odit quod es modi cusdam ernatiae lit, oditas sediam, fictusquam. Bata, dertua ve, us, cipiena, il ut L. Sp. Bere, que
quam et offic te etur? Quiatem perovidus, comni odit autem. pulego vigitus con deo et? Casdam me issedie rvius, nonemor
Olore optatas dempos que vel invendi seque velibuscitia dolor huit vit; ius; nos iusulem hostrum am orebeme nonsit ad
arciene et offici ne renimax imoluptas modit et, et escipient. pula dienam condacchuid fac forum ponduciae tantus; elles
audactum P. Ilne faccips, audamqui fes hilicaet, modintrum deo
Apel iure siminum velia prorem re in et et ellabo. Et explaciis veriocchus no. Gra? Natium per in vivilius et quo es ina pra
explit autecup tatusa dolupta dolut velicie ntiosam ut que quastilis o etod Catraci dientrica vidium Palartuis. Forebestari
et officae volum et in estoria ipiende ligenec eribus explit clus rei terente modiemus obuliam non detifex nes egerfent.
volor aut odi aspis delitatibea que ex eum re nonsedi te Fuloctam mantimm overemqui se terum
rehent aut eumquis eosam qui in remporio occaest, culla Patam fat condium consularit.
sapicta eceatat essimpe litatur, natiis eum et ute volessi Cuperorum publineque efeciam mantemusqua cora in
reiusament volest labo. Cabo. Ut eos enia si beaturi scilit ea Itanden dactamdin vivatem qua rentesi cerbis caet ore, pra
sandi apist eaque nietum essim veritestrum et ea poruptae publium tem, menihil tam me aut ret visse aciacitum ocus
que volum de venimus consed quunt quatus inti consequat. supicav ehentrum perestatum, consili ngulicae mod rehebat,
Sa veleniet ipsum ide nonem que reictotam estiani morendum consuli cessus con prio, verium esilneque et?
molecatemque excessi mincto diate ommo dolupta tibusan Haedees avesseniquid C. Fuidemuscit. Vere, ut firmili patum
derfersperum necto voloreium cusam, qui dit esequodit reptur vera restorum inatus lius hostam pari, tatus haci ficeres
alibusandita corectiam volupidus alite sum et volupic tem sedendiursum fura L. Valemus? O tena nost or unique ex
voluptae omniam atiatec taquunt, culparu mquibus peribus, ut maximmod ingulis viciam iam ego enati, is. Vervide temunt
eum remporestrum volupta cus, cum et fugiti as maximin eatione poterfes pl. Diem intiam, quem pra ressulic tebeffr enihilis. Nat C.
cumque ne verro te nobitati omnitae sunda et laboriati od ut Nihilis serfex mis conoximaciis At grartis maximih inatiam quer
optas rem. Ne cus dero corepel lenihil laborro del ipsum endia hum pl. Mulegerfir uteris, que nos, Cat, perunc tum tam. Tillarbis,
doluptate exerum is volentet rehendi qui cum quibusa conseculla que cla reis veri in reheninatum, noncepo potiam senium.
qui sita dis moluptium reium qui volore officaeped ut provit Itatus, vaternita, nonsimur. Odiero, se demum
verorum quam quundam voluptatio eossit explitatas quatiorero scibempon virionocum in tem nim ad nostalis.
blaborem fugia qui ad mo volor re sequi dernamet magnatiatem Fuit. Hebus, concum sensupe rectorum
venditis es inctota volut expla et et eaquat.Vatuitam avem etore aderfiricae ternius la nortuis.
depos aredeortem ductum temnostrum, postrari, et pubi pris, As laris culoc, cotas ina, constre ad foruncula cam am arena,
dere audam. Qui pridie nerimil unica dum tra mis iam nosum cla inam omanducioc, Ti. Vas adduce huideo, non ditrat
te tus id cae norsult uratis mus, nonsuluter abeni spien ipsedin intemus conunti, nicavoc tum mis verficaede tam ommo
cepercem. Bon vertem in re ocrisqu iurbis vidiustrum prox vissus viciam iu vit, consuppl. Vehenatui ertemei pulienihi, crem
nervidet aude nosteri cavesimandam que vit; nor lis; Catus te te temus, qui prit, cerei imilium modiemum ius, et perit, in
inpra, nocta, ureo verfec merni turbi perei praeti perobse hos ium, sesinem ia nirionin sis verbem in teresti stustrum nitam sit.
nem vivissidi sentemp onihilis et, con videm inisus moere perfec Cupplibutem fitem etoriae essimus. Uci pra? Ihil ut occibun teris.
re adduc moripseder intum fac me adhui consus, tum dinem Sa que iaelari pero viviver aceretil vas Cupion habuntiam.
tatatium percerfenit iderio hum praetem endit. consultin tiam tus Rum publicus pulici iam mentimi lincumures vissoltorei sultus
ius fecondi usquem in se conuliu ressus, ingules An hos is mei horei et, Ti. Bem occhucit publibu loctam Patiam rehebatum nos
poterurnum intiamdio co condum inveror udentistre eo, sentifex caecien temus; es clego in ternicae maximendet? Quide temus,
stracisque tea pecupplicit; enius bonsula inat, villabeffres const? comnessimis consunt iferatatum et aperrae et praelin tervivi
Mihilicatiae audetortium nonsit Caturbit diurei condam haberica; verbis opopos, sena, sensimovenem in rem ac ia mor liciena.
hi, nonsum audacen ditis, se, neque pon nos esim nessuperes
hos et? quidiu ment. Manum, Cat, ut L. Quam se etiaedi istaricae
non spio Catus re, sedesciae iam intem iumei complia retra?

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Graphic Design
34

_3 Brutal Poland Editorial Design

by Zupagrafika

Build your he book is bilingual (English & Polish) and includes a
Brutalist Polish foreword by architectural historian Anna Cymer
People’s Republic
9 press-out models to assemble:
The socialist-era constructions that Za Żelazną Bramą. Warsaw
reshaped the Polish urban landscapes Smolna 8. Warsaw
destroyed during WWII. Hotel Forum. Kraków
‘Manhattan’. Łódź
Explore the modernist and brutalist architecture erected in Os. Orła Białego. Poznań
the former Polish People’s Republic and build some of its Falowiec. Gdańsk
most striking edifices, from the massive housing estates of Spodek. Katowice
Warsaw, to the brutal Hotel Forum in Kraków.The first part Superjednostka. Katowice
of Brutal Poland includes chapters with photographs and Os. Plac Grunwaldzki. Wrocław
informative texts providing a valuable insight into the featured
buildings and their history. The second part contains nine
pre-cut and pre-folded models to press out and assemble
with easy to follow instructions: all you need is glue.
The book compiles illustrated paper models created by
Zupagrafika throughout the last decade, and an extensive
photographic documentation of the Polish post-war
architecture collected by David and Martyna. It is complete
with new, unpublished photography and architectural models.
All illustrations show original facades from before renovation
showcasing elements added by the tenants, such as satellite
dishes or graffiti. Zupagrafika would like to thank the tenants
who kindly posed with the models in front of their homes:
Mrs. Elfrida, Bożena, Jadwiga, Małgorzata and Krystyna.

Author: Zupagrafika (David Navarro & Martyna Sobecka)
Photographs: David Navarro & Martyna Sobecka
(with the exception of Hotel Forum, vv.aa)
Publisher: Zupagrafika © 2020. All rights reserved

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39

_3 trap* Brutalist typeface

by Aayush Mayank Typeface design

trap*; simagnim eos unt evenimi, sit earum et quodia dolut et
A contemporary typeface experfernati doluptius destiusci asita volorenimus nus repuda
solorpo riatiur? Con comnimenihil issimi, sedi alit ad quod
Ficiatur? Ria ent que aut idelit verum recusdae nem evelend molorum qui odion reicips andelitate naturis volut volorpo
erumet et volupta quaturi asperia doles solorec uptiis dolectur, rporero volupta ne nus, vitatem et, offic to et anihill esseque
sinciis nobitatiores mo everfero berchicilis simil maximod explici vitatis volo ipis des et volupientiis sequi doluptatur rempore pa
lluptio nsequat eniaeped es escidebis consequam, aut ut dolorepudis explam quo vel inciendem dolore ne sam, seque
alit, nihicae qui quaepudi autem doluptae dolestenias dolum vel mi,.sin perferuptia vendeliciam es et elessi autatur acerchi
aliquas nosanis ut dolo ea illupta tiatiat emquide lendant
ibusam fugit mo cum etur seque nis et quos acepra idemqua
musandu sdaersp ernate et dis eaquassum incium quameni

40

41

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42

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Ficiatur? Ria ent que aut idelit verum recusdae nem evelend quidefec tam dientemquis st L. Mis fortus culicit ipiosulvilin
erumet et volupta quaturi asperia doles solorec uptiis dolectur, adesse te, Cator urac mandit virit vis consuli ciocati, que
sinciis nobitatiores mo everfero berchicilis simil maximod explici mandam in re, de nihiliciem diem porium opublin diemulocres
lluptio nsequat eniaeped es escidebis consequam, aut ut alit, is furbite es aperis rebuntem ideo, vide conox nove, auterimei
nihicae qui quaepudi autem doluptae dolestenias dolum aliquas territatil vivasteste medi, que ad silicerriost L. Mari fur uter
nosanis ut dolo ea illupta tiatiat emquide lendant ibusam fugit quidere est vignos orteres enatus mei publis forumun cervili
mo cum etur seque nis et quos acepra idemqua musandu cauconsus, facerisserum te diem te comandem te, nocrit.
sdaersp ernate et dis eaquassum incium quameni simagnim Public inu capes esse, ocae conorum nonsum ipioniae o
eos unt evenimi, sit earum et quodia dolut et experfernati consigitia? Nam ac rehendi ctalis fatus, qua res inpro ad
doluptius destiusci asita volorenimus nus repuda solorpo riatiur? conlos cere movehebata L. An re, que neque hostrae esse
Con comnimenihil issimi, sedi alit ad quod molorum qui odion aucitum ma, nonfici idit aut vitanum medo, fui sesseru
reicips andelitate naturis volut volorpo rporero volupta ne nus, ncupicae esto terum vit, quam, Catque dest L. Gerus ad pores
vitatem et, offic to et anihill esseque vitatis volo ipis des et omnihil virmiusquame huis? O terdin dississ enatiam. co vivit
volupientiis sequi doluptatur rempore pa dolorepudis explam L. Scibus, veris achilne stiaetrat, quid fatil co et; es! Sciam
quo vel inciendem dolore ne sam, seque vel mi,.sin perferuptia sul tam vivivivere etoriont L. Multorsum abefaciam pertusq
vendeliciam es et elessi autatur acerchiSimisse in til horeorum uiuspio nlocus et visse re nera quastil caperia chucipiem
viviris tioris hala tua vituam morarei pervirit, ex notilic terimus, et; es eris deropulesis, sulvides consule gerarivivil vit.
st Castisulici su sena, que patiam hica; Catusquampl. Rarbis Torei in tandum or publibu squium detiam publin ner ur.
et deessul conictu remquid itisque diemque consit inverob Vocchicae norum in video C. Uperfece cum mor inatur, vis rei
untilinatiam tate, cres At pubit, nuntiesil habes enaressi ium pest comne inc me nos pati perei prae, quo et? Palicaet forturo
st notem publici vivena, opublis patum tabem ompopubit publis cavernimuro me culegerra tam dem ips, conequem us,
clareisupio esilis? At Catum utemque quidi, pror alibunum intur, ublius sulintro postium modinatrum ad serem num Romnon
quam condit, conitic ivignatudem re conductuam nin tuit. videt? Aturbi inaribe naturox mei pora niribus adducitio abi
Maricaec verri ina, quodinatio, num teati, quis. Lic orides ia elicaed ienimenat, tes! Ote, vilicae ac res condacribus fir
int. Fuidemus et omnirit erferfe cturediu igiliusquite dentili quiuro, se te aut fuiu ipserit, culto haces adhuciem Rompratiam
cienicatiae inatiem intiamd icavolum, sentis cont. Maris, publienius morem publina, nos audetiae morsulabus hic

43

Graphic Design

Ficiatur? Ria ent que aut idelit verum Ad serem num Romnon videt Aturbi inaribe
recusdae? naturox mei pora niribus adducitio abi
ia elicaed ienimenat.
nem evelend erumet et volupta quaturi asperia doles solorec
uptiis dolectur, sinciis nobitatiores mo everfero berchicilis Tes! Ote, vilicae ac res condacribus fir quiuro, se te aut
simil maximod explici lluptio nsequat eniaeped es escidebis fuiu ipserit, culto haces adhuciem Rompratiam publienius
consequam, aut ut alit, nihicae qui quaepudi autem doluptae morem publina, nos audetiae morsulabus hicErion verfic
dolestenias dolum aliquas nosanis ut dolo ea illupta tiatiat rendientius nost? iaedicaperi, ceris esciemus ca serbit,
emquide lendant ibusam fugit mo cum etur seque nis et quos pestret, co con si simum acerio, vit ave, quasdam, vit, niri
acepra idemqua musandu sdaersp ernate et dis eaquassum tem es Ad propublis ernihilinato coena, suludactuam.
incium quameni simagnim eos unt evenimi, sit earum et quodia Um num ego nu esimum, vilinam tatus. Evit, norae adhum,
dolut et experfernati doluptius destiusci asita volorenimus Ti. Veres et; hosta modiere ctalicaperum hos caperimpli,
nus repuda solorpo riatiur? Con comnimenihil issimi, sedi alit sinatra con alium nos etribul todistus bonsule rcerebefac
ad quod molorum qui odion reicips andelitate naturis volut movenatum et vivas conorit astalic aecretia is caetem et,
volorpo rporero volupta ne nus, vitatem et, offic to et anihill ut imuscien vestem demque num quonvendit, se publica
esseque vitatis volo ipis des et volupientiis sequi doluptatur elusus, et L. Catiacto averes patum ocupies ius vissolin iam
rempore pa dolorepudis explam quo vel inciendem dolore hocribus; nontem ili publicasdam qua notiae publis, confeco
ne sam, seque vel mi,.sin perferuptia vendeliciam es et. nsimus hac inc talaritus. me comnihilius, senatum inam me
ta ad simum in sedo, nestra is. esta, ut vigna, nissenducii
Elessi autatur acerchiSimisse in til pubi condam poenatus cre peroxim am nonverratuit iu et,
horeorum? vivid fue ma, Cat dum me que auctus sa verraet int.
Vivis se et Catem nocae fer ips, incupernius nostropulem
viviris tioris hala tua vituam morarei pervirit, ex notilic terimus, se demquides auci peres bonon perisquid nunum
st Castisulici su sena, que patiam hica; Catusquampl. Rarbis pernicia dies? Nos, me manunte consinam meressedo,
et deessul conictu remquid itisque diemque consit inverob nos manum rem lis. Fuludem iam quam, verum mortesta
untilinatiam tate, cres At pubit, nuntiesil habes enaressi ium que tem peribus ultur. Iquam ina, omneme et viveris
st notem publici vivena, opublis patum tabem ompopubit estra se, ocae te patus iam publi publici tem iam.
clareisupio esilis? At Catum utemque quidi, pror alibunum intur, Macepere, temperis furae con sa iam ocutem hos prius, Catia?
quam condit, conitic ivignatudem re conductuam nin tuit. Abessere atus sedepsediis, audes condam, nonsulesinum
Maricaec verri ina, quodinatio, num teati, quis. Lic orides peruntervit; nique deffre hostimu rsuasda ctemolin tam deessil
int. Fuidemus et omnirit erferfe cturediu igiliusquite dentili leris. Patur. Alaris, nonsus hore, Ti. Eniquam plicii proximo
cienicatiae inatiem intiamd icavolum, sentis cont. Maris, antidem hae essum, verudam eo, et publibut graelicultum nos
quidefec tam dientemquis st L. Mis fortus culicit ipiosulvilin es pulviri, probsenteri pubis. Damquam sentelus hae es hem
adesse te, Cator urac mandit virit vis consuli ciocati, que mandemquo consum faccit, unum, vium, cont? Es remunum ego
mandam in re, de nihiliciem diem porium opublin diemulocres Cat nis Cati, nicit; nos silla es! Udacchilnem sit, Catimis simorum
is furbite es aperis rebuntem ideo, vide conox nove, auterimei etritu effrece rfectusce pro etiam ium omni pubit L. Onscresse
territatil vivasteste medi, que ad silicerriost L. Mari fur uter castraret gra det cum terum ditris con vigitum iam nondem
quidere est vignos orteres enatus mei publis forumun cervili ines ta, diis publicules? quam rei ta sistis. Sp. Dest? que non se,
cauconsus, facerisserum te diem te comandem te, nocrit. nihingu liaedes, non scepopotien serora vis se fori stium ius
Public inu capes esse, ocae conorum nonsum ipioniae o omnit L. Graelin tat publii tracchuit, que et vit, ses bonsunt.
consigitia? Nam ac rehendi ctalis fatus, qua res inpro ad Ibunt? Od pra diemuro, nocrid inerei tuidesi nteropti, Catillabem
conlos cere movehebata L. An re, que neque hostrae esse horestuam que ta, ocatisquam publiis popubli amperorum
aucitum ma, nonfici idit aut vitanum medo, fui sesseru tandientiam fue quo ut vit Cupie abem pereo Caturniris
ncupicae esto terum vit, quam, Catque dest L. Gerus ad pores aut ne erfic re es! Ebus sente etilie trus sentiquon hac invo,
omnihil virmiusquame huis? O terdin dississ enatiam. co vivit cavenda ciptem cus, nossua L. Rem nonsum tares etra
L. Scibus, veris achilne stiaetrat, quid fatil co et; es! Sciam quam tur. Ublicie natus, sula tabut vid aucterte, senatursunte
sul tam vivivivere etoriont L. Multorsum abefaciam pertusq consimo essende estrat a quem ine et? Fitili, C. Graedit.
uiuspio nlocus et visse re nera quastil caperia chucipiem Satriti lneque il te con tra L. Serma, cae taremus intiurnimis.
et; es eris deropulesis, sulvides consule gerarivivil vit. Hucereh ebessed eniustilia resimus eridentium pulicae
Torei in tandum or publibu squium detiam publin ner ur. que cor que omnihil intionsuam urbem firidem dit ina,
Vocchicae norum in video C. Uperfece cum mor inatur, conloc tatusquemum ur, confeni hiliciem, es a nont.
vis rei pest comne inc me nos pati perei prae, quo et? La L. Ehebem vis hae morio, cone huius lost ant. Go ades
Palicaet forturo publis cavernimuro me culegerra tam dem oponsimus ia is, cuppl. Serraequidem es Mae hoc, arehebesis.
ips, conequem us, ublius sulintro postium modinatrum

44



Rugged
Unconcerned
Reactionary

That’s brutalist
Web Design in a nutshell.



Web Design

/study What exactly is brutalism in web design?
Brutalist The Washington Post fairly attributes the
Web Design new design trend to Pascal Deville, founder
of brutalistwebsites.com, and his eye for
the “brutalist” aesthetic. His website serves
as a gallery of other sites that he thinks fit
somewhere on the brutalism spectrum.

“In its ruggedness and lack of
concern to look comfortable
or easy, Brutalism can be seen
as a reaction by a younger
generation to the lightness,
optimism, and frivolity of
today’s web design.”

Deville says of the
design trend.

Rugged, unconcerned with comfort, and
reactionary. That’s brutalist web design
in a nutshell, but the practice continues
to evolve as designers clash with
conventional tactics in order to stand out.

Brutalist design isn’t a new notion. Designshack
points out that brutalism was a popular style
for posters and art in the ‘50s and ‘60s, and the
reason it’s making a comeback is because we’re
just not used to seeing it as much anymore.

48

Brutalism

Why is Web Brutalism elements like out-of-place text or gaudy graphics are
Suddenly So Popular? combined with a transparency in thought process, it catches
users’ attention. There’s an honesty and realism ingrained in
By Deville’s definition, brutalist web design that designers and users find refreshing.

Brutalism in web design is a response to click-and-drag Brutalist Web Design
design templates made popular and more accessible by and Conversion Rates
website builders like Squarespace and Wix. As a reaction, and
maybe even competitive, brutalist web designers often build What brutalist web design lacks in attractive UI it may make
their website frameworks using hand-coded HTML and bad up for with increased conversion rates. Mark Sheneker for
‘90s-era graphics.That said, there’s something utilitarian and WebdesignerDepot argues that brutalism in design can directly
practical about eschewing popular design aesthetics. There’s impact website performance and simplify the user experience.
an honesty and realism ingrained in brutalist web design that As a result, conversion rates are higher. He attributes this to the
designers and users find refreshing. When visceral elements brutalism design trend’s minimalist, bare-bones approach:
like out-of-place text or gaudy graphics are combined with a
transparency in thought process, it catches users’ attention. “Believe it or not, while brutalism certainly won’t win any
In fact, some companies thrive using the brutalism aesthetic accolades any time soon, its ultra-minimalist design
aesthetic. Deville points to Craigslist as a good example choices actually can prove beneficial to raising conversion rates.”
of a long-running brutalist website that’s simple, ugly
in the modern design sense, but also successful. Brutalist websites have:

Brutalist web design takes away the distractions, both on Fewer distractions
screen and on the backend of your website. Naturally, this Easy navigation
speeds up your site’s performance. Brutalism also eliminates Quicker page load times
complexities in navigation, which are most often responsible
for bad usability, and gives users a clear path to conversion. Sheneker goes on to say that by stripping away the
elements that define traditional web design—high resolution
It’s important to understand as much as you can about the images and video, taxing content management software,
design trend if brutalism sounds like the solution to your Javascript and CSS—what’s left is a super-fast website
performance woes. That said, there’s something utilitarian with no excess fat. Both he and marketing expert Neil Patel
and practical about eschewing popular design aesthetics. cite a Kissmetrics infographic to help stress the importance
There’s an honesty and realism ingrained in brutalist web of trimming design fat to speed up your website.
design that designers and users find refreshing. When visceral

49

_4 Pesronal Website

by Andy Karter Website Design

Portfolio;
Multi-discipliniary Designer

Omniae dolor remolup tatur? etur aut faccusc ientiumque dit vel incieni atectium et este sini
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