During the 1990s, many designers energized their work through advanced computer graphics. New directions migrated from personal
exploration and design education to the mainstream as editorial designers for specialized magazines applied computer experimentation to their pages. As art director/designer for Transworld Skateboarding (1983–1987), Musician (1988), Beach Culture (1989–1991), Surfer (1991–1992), and Ray Gun (1992–1996), ____________ shunned grid formats and a consistent approach to typographic layout. Instead, he chose to explore the expressive possibilities of each subject and each page or spread, rejecting conventional notions of typographic syntax, visual hierarchy, and imagery. In the 1994 article "Morrissey: The Loneliest Monk," in Ray Gun (Fig. 24-13), the unusual photographic cropping and deconstructed headline convey the musician’s romanticism and mystery.
David Carson also disowned grid designs as well as a consistent form methodology. Alternatively, he decided to investigate any single subject's or page's linguistic ability, ignoring conventional grammatical syntax, visual design, or imaging. This part has been used by mixing photography, digital effects, layering, collage, or typographic usage.
