Thursday, 13 December 2012

OUGD401: Context of Practice - High Culture / Low Culture: 'Defining the Avant Garde'


  • Understanding the term ' Avant Garde'
  • Question the way art/design education relies on concept of Avant Garde
  • Understand the related concept of 'art for art's sake'
  • Question the notion of 'genius'
Avant Garde
  • Idea of doing art/design work that is progressive - innovating
  • Also refers to group of people being innovative
1. Being Avant Garde in the work you do; challenging, innovating etc.
2. Being part of a group - member of the Avant Garde

  • Avant Garde: Experimental, challenging conventions, rebellion - Marcel Duchamp
  • 'Fauves' - Wild Beasts (Untrained, weird style)
  LCAD quotes prioritise certain concepts
  • Innovation - Creating new 'stuff'
  • Experimentation - Process to create new 'stuff'
  • Originality - Copy is bad, new is good
  • Creative genius - Hidden creative depth held deep within the student
  •  Chatterton
  • Avant-Gardism - Relies on individual being a genius/superior (Myth)
  • Vanguard - Elite Troops, driving us forward
  •  Remind people of exploitation when people were painting the sheen of the city
  • Whistler - Nocturne in Black and Gold: The Falling Rocket (1875) - No political message, just seeking to look Avant Garde / experimental
  • "I got paid twenty ginnies for all the knowledge I've learned in a lifetime"
Two approaches to Avant Garde
  • Socially committed - Pushing forward political objectives
  • Art that seeks only to expand/progress what art is (in itself and for itself) art for arts sake
  • Clive Bell (Critic) - Significant form, "Relations and combinations of lines and colours which when organised give the power to move someone aesthetically" 
  • His favourite painting: Cezanne Mount St. Victoire (1900)
  • Art for arts sake approach - 20th Century
  • Radical, Avant Garde in Russia - Banned by Stalin, 'no one understands it'
  • Major Problem for the Avant Garde - 'Elitism' 
  • Members of the 'left wing' rely on academic techniques
  • Clement Greenback : Avant Garde - Pollock, pinnacle of art. Kitsch - Commercial, mass marketed
  • Constable Haywain - art, high culture not kitsch
  • Contable Haywain reproduced on a plate - Kitsch, bought and sold, not serious
  • Thomas Kinkade - Sells art work on QVC
  • Jack Vettriano - Not an artisit
  • Carl Andre 'Equivalant VIII' - Is art despite being described as a 'load of rubbish'
  • Turner Prize - Tracey Emin's Bed - Not art, Avant Garde?
  • K-Foundtion - Group of Avant Garde artists 'art terrorists', Burned one million pounds
  • Rachel Whiteread won Turner Prize (Which celebrates the greatest artists) and the K-Foundation award (For the worst artists)
  • Damien Hirst - Brand? Hirst only comes up with the idea, the piece is made by others
  • Avant Garde - Found in media, film and design


Friday, 7 December 2012

OUGD401: Context of Practice - The Auteur: Alfred Hitchcock


  • Auteur - Film maker, who's films have had creative influence 
  • Other Auteurs - Stanley Kubrick, Jean-Luc Godard and Tim Burton
  • Auteur - French for Author
  • Politique des auteur - A Manifesto
History of film as the history of auteur
  • Like artists
  • Original work
  • Creative Control
  • Personal film language
  • Start conventions of drama
Notes on the auteur theory - Sarris, 1962
  • technical competence of the director 
  • Distinguishable personality 
  • Interior meaning
Hitchcock, why?
  • Long career, in the early years of the film industry
  • Worked in Europe and America
  • Innovation in film making
  • Master of suspense
  • Influenced slasher Italian Giallo and Psychological thriller movements
  • Inspired iconic expressionism and surrealism
Technical competence of the director 
  • expressionist lighting
  • story telling visually in silent era
  • use of the subjective camera
1920 - Hitchcock joined the film industry

  • Noskeratu, 1922 - F.W. Murnau
  • The Lodger, 1927: Glass floor which showed figure from below - innovative
  • Champagne, 1928 - Subjective camera shot, put yourself as part of the film
  • Hitchcock invented the 'Dolly Zoom'
  • Vertigo - uses shape and perception to show anxiety and mans fear of heights
  • I look up, I look down
  • Perspective and scale
Cutting and montage
  • "what is drama but life with bits cut out?"
  • Iconic shower scene in Psycho - 78 pieces of film condensed into 45 seconds
  • Restrictions meant it had to be filmed expressionistically
  • "Position of imagery in various sizes"
Personal Style
  • expressionism - form evokes emotion (suspense, darker)
  • Cameo appearance from the director
  • narrative is often visual rather than through dialogue
  • Works with the same actors - Cary Grant, James Stewart, Tippi Hedren, Doris Day
  • Hitchcock blondes - 'Blondes make the best victims"
  • Suspense - audience can see the danger the character cannot - "No terror in the bang of the gun, only the anticipation of it"
Expressionism
  • Not concerned with realism
  • He is interested in the story
  • Voyeurism - Vertigo
  • Trauma - Effects on the individual
  • Decent into madness
  • "Spy on my wife, she's acting strangely"
  • Subjective point of view
  • Uses repetition
  • Vertigo - Surrealist dream sequence, Colour filters (symbolism)
  • Cameo of the director - 'Signing the film'
Interior Meaning
  • 1938 - Hitchcock leaves Gainsborough studios - To work in America
  • David O Selznick introduces him to psychoanalysis 
  • Rebecca 1940, Spellbound and Notorious
  • Collaborated with Salvador Dali
  • Birds eye view - Motif of fear and doom
Hitchcock's self proclaimed fears
  1. Small children
  2. Policemen
  3. High places
Themes within his film plots
  • Mistaken Identity
  • Sly
  • Murder
  • Madness
  • Sly Wit
  • Darkest corners of the mind
  • Relationship between order and chaos
Critique of the auteur
  • Canon of films made by the 'elite' males
  • It disguises the work of others - Cinematographer, Art Director, etc.
  • It offers universal view of quality 
  • Capitalist device by selling a film by virtue of its director


Wednesday, 28 November 2012

OUGD401: Context of Practice - The History of Type

Aims:

  • Simple introduction into the history of type
  • Introduce six classifications
  • Famous typefaces and their connotations
  • Introduction into the metalinguistic function of typography 
  • Bore everyone to death talking about kerning and x-heights
  • Typography exists at the interception of visual communication and verbal communication
  • Typography = Meta-communication, Paralinguistic's and Kinesis
BE VERY VERY CALM NOW - Use of uppercase and the colour red give the impression the statement is being shouted.

CLASSIFICATIONS 
  • Humanist
  • Old Style
  • Transition
  • Modern
  • Slab Serif (Egyptian)
  • Sans Serif
113AD - The first recognisable letterforms on Trajan's Column - The letterforms we serif as they were chiselled into stone.

1450s - The lat age of print
  • The Gutenberg Press was invented - For the first time individual letterforms could be produced and therefore the printed word was widely available to a mass audience.
  • Knowledge was spread
  • Typography Started
  • Gutenberg Gothic Script, 1450 - Based on Medieval handwriting 
  • Humanist Typefaces - Which were the earliest forms of typography were also inspired by handwriting
  • Early Humanist typefaces such as Jenson have a diagonal axis on the bar of the lowercase 'e'
  • Centaur Font - Based on Jenson
15th Century, Venice

  • Refined Humanist fonts - Oldstyle, axis of bar on lowercase 'e' is horizontal
  • (New) Oldstyle: Palatino, Garamond, Perpetua and Goudy Oldstlyle
  •  Specimen - John Baskerville and Aspecimen by William Caslon - "Ultra thin strokes on Baskerville's Specimen would blind audience"
Modern / Didone Typefaces
  • Bodoni - No attempts to look like handwriting
  • Ultra modern
  • Used in Fashion e.g. Vogue and Grazia magazines - Accepted language
  • Elegant
  • Came from French Revolution 
1800s - Slab Serif / Egyptian
  • Egyptian - Reference to orientalism
  • Brass - For industrialisation 
  • Fatface Typeface - Hyperbold Style

  • I ♥ NY - Slab Serif used by Milton Glaser
  • Modernism - Sans serif is modern, progressive and forward facing
  • Times New Roman by Stanley Morrison - Created in 1932 and was reference to the type on Trajan's Column
  • Cooper Black, 1921 - Used by The Beach Boys, Dad's Army and Easy jet
  • Helvetica - Modernist
Difference between Arial and Helvetica:
  • Helvetica 'G' has a Spur
  • Arial 'G'  does not have a Spur
The Arial Typeface was created by IBM for their computers as they did not want to pay Helvetica royalties and therefore created a their own type face which was similar.

1994 - Post Modern
  • Grunge Typography - Almost illegible and against communication
  • Used by David Carson

Monday, 26 November 2012

OUGD401 : Context of Practice - Year One Essay - Bibliography

'Focussing on specific examples, describe the way that modernist art and design was a response to the forces of modernity'

Smock, W (2004) 'The Bauhaus Ideal Then and Now' USA, Academy Chicago Publishers

Lambert, S (1993) 'Design in the 20th Century Form Follows Function?' England, Victoria and Albert Museum

 Hollis, R (2008) 'Swiss Graphic Design - The Origins and Growth of a International Style 1920-1965' London, Laurence King Publishing Ltd.

Eidelberg, M (2001) 'Design 1935-1920 What Modern Was' New York, Harry N. Abrams Inc.

Shaughnessy, A (2009) 'Graphic Design: A User's Manual' London, Laurence King Publishing Ltd. pp192-195

Friday, 23 November 2012

OUGD401: Context of Practice - Graffiti and Street Art (Wall and Street Art)


  • Caves at Lascaux, France - drawings and paintings on cave walls from the Palaeolithic period (17,300 years old) created using animal bones -Early form of graffiti? 
  • Ancient Roman graffiti - Rude, Modern
  • Graffiti Character, Kilroy (US) or Chad (UK) "Wot no..." On the engraving on the World War Two memorial in Washington DC - Not what it said but where it was placed
  • First examples of graffiti as an art form - Paris riots, May '68, civil unrest in the city inspired cultural/creative material e.g. 'We are the power'
Contemporary/urban graffiti
  • Emphasis on anonymity 
  • 1970s New York
  • Created using spray cans
  • Evolves alongside HipHop culture
  • Language of the street visible 
  • Announcing presence - 'We will not be ignored'
  • The HipHop music genre was seen as a 'Political Disco' whereas Disco was seen as superficial or fluffy
  • Jon Naar - Photographer, 1973 - Photos of graffiti which sent a message throughout the city as it was spray painted on train carriages, showed the difference in wealth
Jean-Micheal Basquiat
  • Started as a graffiti artist 
  • Neo-expressionist
  • Created character, SAMO (same old)
  • Warhol and Basquiat - General electric with waiter, 1984
Keith Haking - Readiant baby, 1990
  • Sketches on existing advertising boards
  • 1981-first chalk drawings
  • Subway art - Message about sexuality
  • Haking was criticised for commercialised Popshop - Making money from something which originally had a social message
  • John Feckner, Broken Promises, 1980 - Political misuse of space, stencilled
  • Jenny Holzer, Times Square show, 1980 - LCD display, truism
Video Game culture
  • Comment on lack of availability of brands and technology in the eastern block
  • Commercialisation of Graffiti - TATSRU, 1997 - Coca-Cola
  • Bomb the world - Viewer can virtually paint train
  • Jet Set (2000 - 2003)
  • Sideways New York PS3 2011
  • Grand Theft Auto
Invader
  • French born graffiti artist, 1969
  • Moves graffiti on
  • first mosaic in mid 1990s Paris - Like pixels
  • Mosaics are weather proof
  • 'invasion'
  • Conceptual element - points on a map from a space invader
Re-emergence of street art 
  • Graffiti into the gallery 
  • Shepard Fairey, 2008
  • Banksy - Kate Moss
  • Parisian photographer JR, Favela Morro - Da Provienda, Rio, 2008 - Highlight social realities 
  • BLU (Italy) and Os Gamesos (Brazil) Lisbon 2010 - Taking the worlds resources, animated graffiti (2008)
  • Corsa Advertisement 2011
  • 123 Klan (France) -Lamborgini, Nike and Sony, Kept own practice 
  • Stussy artist series
  • Paul Curtis (Moose) - Reverse graffiti, blasts off dirt with a water jet and stencils - used by Smirnoff
  • Global Picture - Free art friday, an art movement which places free are in the street for people to enjoy and take home, portable and moveable - resistant to capitalism
  • Sam 3 (Spain) Murcia 2010 - only use black paint, response to a existing environment
  • VHILS a.k.a Alexandre Farto (Portugal) London 2008 - knocks away from plaster to make image
  • Faith 71 - Amsterdam, red stickers around a hole in plaster
  • Diva (Brooklyn, New York) - Way of escaping gender, pink and orange colours
  • Fafi (France) - Feminisation of the street - Japanese manga style like Miss Van and Herakut
  • Swoon - Reference to historical or folk figure
Art of Resistance
  • Image pasted onto wall on Palestine
  • Banksy 2005 - Wall as invitation for decoration, Girl with balloons
  • Graffiti Tourist 
  • Indigenous Graffiti
  • Wall as public expression
  • Ctrl + Alt + Delete - Remove wall through language



Thursday, 22 November 2012

OUGD401 - Studio Session 2, Beauty Style & Taste

In preparation for our second Context of Practice studio we were asked to collect and bring six images; two purely typographic, two purely image and two type and image. Three of these images would be ones we liked and three were ones we did not like.
To the rest of our group we were asked to explain why we chose our images and what we did or did not like them, from these explanations we were able to create two lists of words which described the images we had brought in, one which described the images we liked and one which described the images we did not like aesthetically.

GOOD

  • Unusual
  • Bold
  • Simplistic
  • Detailed
  • Colourful
  • Eye-catching
  • Experimental
  • Hand-rendered
  • Minimalistic
  • Legible
  • Clean
  • Thoughtful - Does not describe the aesthetics
  • Clever - Does not describe the aesthetics
  • Memorable?
  • Structured
  • Geometric
  • Distinctive?
  • Powerful
  • Modernist
  • Sophisticated
  • Balanced
  • Impressive
  • Professional?
  • Striking
  • Intricate
  • Crisp
  • Intriguing?
BAD
  • Garish
  • Illegible
  • Boring
  • Irrelevant - Does not describe the aesthetics
  • Cheap
  • Tacky
  • Generic
  • Cluttered
  • Over powering
  • Busy
  • Messy
  • Misplaced?
  • Static
  • Common?
  • Mediocre - Does not describe the aesthetics
  • Overworked
  • Chaotic
  • Underworked
  • Pointless - Does not describe the aesthetics
From the six images we brought to the session we were asked to choose three; One we liked, one we did not like and one other image and write five descriptive words for each. We then swapped these images with another member of the group who was sat on a different table.

We then placed these new images face down on the table, we then turned over each image for five seconds and wrote one descriptive word, then ten seconds and wrote two descriptive words and then for twenty seconds and wrote three descriptive words. This enabled us to make quick judgements on each of the images. From these judgements we had made we were then asked to decide which of the images our partner liked and which they disliked.

After discussing our observations about the tasks in our pairs, we were then asked to discuss and decide on ten aesthetic rules for Graphic Design;

10 RULES
  1. Graphic Design should be balanced
  2. Graphic Design should be legible
  3. Graphic Design should have no more than three fonts
  4. Graphic Design should always be engaging
  5. Graphic Design shouldn't let style take over communication
  6. Graphic Design should have a purpose and the purpose should be clear
  7. Graphic Design should be aesthetically appropriate for the audience
  8. The colours used in Graphic Design should be relevant and appropriate
  9. Graphic Design should be innovative / creative and well executed
From these rules we selected three, I chose;

2. Graphic Design should be legible
6. Graphic Design should have a purpose and the purpose should be clear
9. Graphic Design should be innovative / creative and well executed

Study Task 2:
  • Choose 3 new examples of graphic design that fulfiill each of your 3 aesthetic rules (9 examples in total).
  • Briefly summarise the aesthetic relationship between each of the three images.
  • Select 5 further examples for each rule that come from other (non-graphic design based) creative practices such as photography, installation, architecture, film etc.
1. Graphic Design should be legible


Examples for the rule from Graphic Design





I have chosen these examples for my aesthetic rule 'Graphic Deign should be legible' as although the designer has experimented with the legibility of each of the designs, for example how Paul Rand has replaced the letterforms with pictograms in the IBM logo, the viewer can still read the logo as IBM.

Examples for the rule from other practices


-Fine Art

- Packaging

-Fine Art

2. Graphic Design should have a purpose and the purpose should be clear


Examples for the rule from Graphic Design





For my second aesthetic rule 'Graphic Design should have a purpose and the purpose should be clear' I have chosen these three designs the designer has had a specific purpose and particularly in the branding design fir Mylene Poisson the designer has used the purpose of the design to influence the form of it.

Examples for the rule from other practices

- Packaging

- Photography

3. Graphic Design Should be innovative / creative and well executed


Examples for the rule from Graphic Design







For my final aesthetic rule 'Graphic Design should be innovative/creative and well executed' I have chosen these three examples as each of the designs have experimented with innovative techniques and styles particularly the poster design by Saul Bass who's iconic style inspired a generation of designers.

Examples for the rule from other practices

 - Street Art

- Photography

- Street Art

-Architecture

- Packaging

Sunday, 11 November 2012

OUGD401: Context of Practice - Beginnings : A History of Creative Advertising


Creative Advertising

  • Key points in the historical narrative presented 
  • The contexts (historical, political, economic etc.) in which modern advertising emerged internationally
  • Lever Brothers Soap Ads 
Beginning
  • 'advertising, the most fun you can have with your clothes on' (2009)
  • Robin Wight (WCRS) 118 118 and the futures bright... advertising campaigns
  • William Hesketh Lever 
  • Lever Bros (1851-1925) 
  • Founding members : James Darcy and William Hesketh Lever
  • Lady Lever Art Gallery, Port Sunlight Liverpool
  • Bill Bernbach
  • Lever Brothers - First British tycoons
  • Gallery and village and soap factory commissioned by Hesketh in Port Sunlight
  • Lever Born - 1851
  • George Cruikshank (etching) - All the World Going to See the Great Exhibition of 1851
  • 1851 - First colour printing on a large scale for publication for the great exhibition
  • Advertising an essential
  • British Empire - Largest and richest
  • Pre Packaging, 1860 - Cereal companies figured out how to print
  • Lever was the first to package soap 'I lifted sunlight soap to a class by itself'
  • Advertising aided by tax cuts on newspapers 
  • New of the World, 2012 - ended because advertising pulled out
  • Printing Boom, 1890s - technology enabled contemporary paintings to be reproduced
Lever
  • Born at height of empire - International trading routes established
  • International Exhibition - First world exhibition
  • Large scale printing
  • First multinational - 1930s : Unilever was the largest multinational company
Sunlight Soap adversing
  • Contemporary art in their advertising campaigns with copy e.g. 'So Clean' advertisement which uses 'The New Frock (1889) - White linen and Children are signs.
  • Lever would buy the copyright of contemporary art
  • Exhibition Tate Liverpool - Alice in Wonderland (November 2011 - January 2012) - Paintings and photography all to do with Alice in Wonderland
  • Children were a popular subject - Signified joy, blessings, purity, innocence and life
  • Infant mortality rate was high
  • George Dunlop
  • A dress rehearsal was bought by LeverHulme in 1888 and used for 'As Good As New' advertisement in 1889 to sell soap - emotional strategy, enhanced naturalism 
  •  selected and presented contemporary art works - more powerfully and in an interesting and innovative way.
  • Adding simple end lines - Lever changed the meaning of the image to his advantage
Entertainment

  • Unilever who produce Axe - A product targeted at young males, aims to give confidence to teenagers
  • Axe, Online game and first real time novel - teenagers can join in game, appears to involve the audience
  • 'advertising from the moment it was born has aimed to entertain us' - Hegarty
  • Prince Harry lynx advert
First creative advertising agencies
  • Cracknell (2011) - in late 19th century ad agencies sold space in newspapers, commission / negotiations 
  • Client created content - changed with publications (US) Rowell American newspaper 
First global campaigns
  • Medicine, chocolate and soap
First use of product placement
  • Wedding Morning (1892) bought by Leverhulme - soap replaced clock and cup, shows brand loyalty
Innovative events
  • Lever Brothers, F. H. Lavenchy - Clarke - Washing competition 
  • Sunlight Soap - Royal endorsement from 1892, democratisation
  • Wrapping promos - 1890 Sunlight Soap magazine ad
  • One method beloved of advertisers was to capture the essence of children - Give away free gifts
  • Target mothers - 'good mothers use Sunlight Soap'
Investing in advertising
  • Lever spend 2m in the first decades of making soap
  • in 1889 Lever purchased a Philadephia soap firm
Art direction
  • Gross suggested Plantol should depict tropical climates and express the care that is exercised in refining oils
  • Vision to disguise slavery
  • Palm oil is one of the main ingrediants used in soap
First worldwide ECD
  • Collaborative Creativity
  • Lever  Employed international expertise
First Ambient
  • Innovative spaces, doors left open and station 
  • Choosy where he advertised - quality of media
Ad expertise
  • Lever ambassed an was among innovators of advertising expertise
  • Salvation in sunlight - Early ads emphasised that Sunlight Soap would save women from drudgery
  • Copy in Sunlight Soap - Working class housewives, giving time for romance
World domination
  • Different international agencies
  • Domestic and Imperial markets Britishness suited all
  • Royal, national and imperial imagery
  • Context of thousands of ads
Imperial Mission
  • To Civilise
  • No commodity aided more than soap 
  • Wash and Clothe the native and cleanse the 'great unwashed'
  • Empire celebrated
Levers Achievement
  • Not only wanted but needed the product
  • Victorians conquered the world
Psychology of advertising
  • Discrepancy between self and ideal image of self
  • Publics leisure practicing
  • First Soap Opera - Continuing Dramas
Unileverseries
  • Sponsor annual contemporary artist
  • Would exhibit in Turbine Hall, Tate Modern
Critics of ad mass
  • Boom in consumption
  • Highly criticised in inter-war years
  • Left wing critics appalled by produced of capitalism and mechanisation 
  • Haussmann, Mechanical Head
Ad mass advocates
  • Ecomic liberals
  • Celebrated agency of the consuming individual
  • 'Advertising creates more jobs' Hegarty
Summary
  • Starts with Wright, So Clean, Sunlight vision and Alice in Wonderland
  • Histotrical, political, comic and technological contexts - Level's pioneering advertising to emerge
  • Colour printing

Thursday, 1 November 2012

OUGD401 - Context of Practice, Task 4

Study Task Four : Collect and critically analyse 5 examples of Modernist and Postmodernist Graphic Design. When analysing each image focus on;

a) why you consider each image to be Modernist / Postmodernist
b) whether you think that the image is successful or unsuccessful
c) relate your analysis to the terminology intoruced in the session
d) use at least one quote from the essay by Massimo Vignelli to back up your analysis

Modernist


I consider this cover design by Carlo Vivarelli to be a modernist piece as it has been specifically designed to be functional which is a trait of the modernist movement. The design itself has is quite 'minimalistic' style, Vivarelli has not 'embellished' the design but instead focused on the function of the magazine which is shown by the title of the magazine, which is in three languages French, English and German so it can be understood internationally.     
I believe this piece is successful as a magazine cover, as Vivarelli has communicated the subject of the magazine through his design which is the aim of a magazine cover. I also believe that although it was designed over fifty years ago, that this design would still be relevant today.


I consider this design to be a modernist piece, as like Carlo Vivarelli's design for New Graphic Design, the designer has considered the function of the design during the design process. I believe the piece which aims to advertise or promote the Bauhaus, fulfils its purpose as the designer has incorporated a photograph of the establishment as well as its name and the dates in which it was open.
  I feel this design is successful as an advertisement for the Bauhaus as the designer has successfully communicated the experimental style which the establishment was famous for.


I consider this magazine design by Herbert Bayer to be modernist as again, Bayer has kept the cover design as minimal as possible, with no 'embellishment' such has price, barcode or titles of articles inside the magazine. Bayer also used photography as media for this piece, which during the modernist movement was relatively modern technique and threatened the use of paint which was the current way to document.



I consider this piece, 'Beat the Whites with the Red Wedge' by El Lisitsky to be modernist as Lisitsky has used basic shapes to simplify the portrayal of the storming of the Winter Palace in 1917, where the communists (or the 'Reds') fought the Tsarist forces (or the 'Whites').
I believe the basic shapes used Lisitsky, successfully create a striking layout particularly the red triangle which stands out against the black and white imagery.


I consider this poster design by Rodchenko to be modernist as again, the design has minimal 'embellishment' as Rodchenko has laid out the information so it is legible to the viewer which is the function of a poster. Rodchenko has also shown influence of modernist piece, 'Beat the Whites with the Red Wedge' by mimicking the 'circle and triangle shape' within this design.

Post Modernist


I consider this piece by David Carson to be post-modernist as Carson is trying to convey his belief that the legibility of design is not equate to it communicating, whereas modernists believe design should 'answer all the questions posed by the problem' and be functional. 


I consider this magazine cover to be a post-modernist piece, as compared to Carlo Vivarelli's simplistic and functional cover for New Graphic Design this piece is over the top and garish. Unlike Vivarelli, the designer has not considered the function or legibility of the magazine which is evident from word 'Art' which has been placed upside down.


I consider this piece by Neville Brody to be post-modernist as again, compared to the simplistic design by Vivarelli for the cover of New Graphic Design this piece has many different styles and ideas incorporated into it. I also believe by applying a 'blur' effect to the image and altering the orientation of the title, 'Face' Brody has shown experimentation into what is legible and how far he can push his design, which is a common trait within the post-modernist movement.


I believe this is a postmodernist piece as the 'smashed' effect the designer has used on the photograph, makes it illegible, the designer has used this effect to experiment with layout and not considered the legibility of the image. This is an example of function following form which is a common trait in post-modernism.


I consider this double page spread by David Carson to be post-modernist piece as Carson has not considered the function of the piece, which is an article about musician Bryan Ferry. As the typeface for the article, Carson has used Zapf Dingbats which is uses symbols instead of letterforms and is therefore illegible.

Sunday, 28 October 2012

OUGD401 - Studio Session 1, Critical Analysis

OUGD401 : Context of Practice - Studio Session 1, Critical Analysis

As part of our first Context of Practice studio session, we focused on crirical analysis. In groups of six and using the four examples of graphic design we had each collected as preparation for the session we were asked to separate the images into 'good' and 'bad' examples of graphic design.
We based these judgements on criteria such as;
  • Layout
  • Colour
  • Context
  • Content (visual)
  • Fuction
  • Concept
  • Composition
  • Legibility
  • Communication
  • Visual quality / skill level
  • Non-visual content
I was then required to analyse graphic design in more depth by, pairing up and using DIET to analyse one piece of graphic design chosen by me and one chosen by Danielle, who I was paired up with.

D - Describe (What  can you see?)
I - Interpret (What is it about?)
E- Evaluate (How good is it?)
T - Theorise (How could it be improved?)



D - This is a book illustration which is typography based and uses a bold blue / red colour scheme. It also shows experimentation, as the designer has used a scanner to achieve the 'broken up' effect.
I - The design aims to visually communicate the instruction 'don't answer the phone' which is a 'rule' in horror films. To convey this idea the designer has used the 'phone cable' imagery and the colour red which is often associated with danger.
E - Although I like the designers use  of experimentation, I feel, at first the design is not legible and therefore would not communicate to an audience.
T - To improve the design, I feel the design could rework the type, particularly the words 'the' and 'answer' to improve the legibility.



D - This piece of design is a business card for the company Fresh Air Farm, its aim is to advertise and promote the services of this company.
I - The design has a minimalistic style to it which is conveyed by the two colour process and the simplistic illustrations used, I also like the retro-style curved corners as I feel it is quite unusual.
E - I feel the piece works well as an advertisement, as the layout is simplistic and all the information is legible. I also like how the designer has used the 'cloud' illustration to create the idea of fresh air which links in with the name of the company.
T - Although I believe the design communicated its function, personally, It does not stand out or would be memorable to me. I feel the designer could experiment more, particularly with the layout of the design. 

'Identify and explain five reasons why critical analysis is useful'

Inspire own ideas - Critically analysising others work is particularly useful as as well as inspiring my own design work it, it can also inform it by showing me what does or does not work.

Improves contextual knowlegde - I find the critical analysis of others work is useful as it has improved my contextual knowledge of artists/designers and art movements.

'Identify and explain five reasons why the critique is useful'

Confidence - I have found, that the crit is an effective way to improve confidence, particularly the formal crits which require us to present our outcomes to a large group. However, recieving positive feedback from other members of the group has also improved confidence within myself and my work.

How to improve - During the crits, I have found the constructive feedback, where members of the group have suggested how I can improve my design particularly useful as it has helped me to develop my work to appeal to an audience.

What to do next - Particualry in the interim crits, I have found it useful to recieve from students and tutors, what I could do next to develop my work.

Learn about others ideas and styles - As every member of the group has been given the same brief, I find the crit to be a particularly interesting way to see how others have interpreted the brief and see their design style.

Communication - I have found the group crits particularly useful for communication, as I am often in a group with members of the class who I have not spoke to before, which act as an 'ice-breaker'.

'Five Criteria'

Layout - I personally, prefer an minimalistic or simplistic layout to an 'busy' layout as I feel it is more striking. I believe the layout of this CD cover works well as particularly on the back cover, the design has been able to include all the relevant information without over-crowding the design.



Colour - As with layout, I also prefer the colour scheme to be minimalistic. In my own design work, I prefer to use two or three colours as I believe that several colours within one design can sometimes look tacky, and also distract from the design itself. I feel the colour scheme in the this Peter Rabbit inspired design works well as the bright blue used for the title contrasts well with the black and white design and make its more interesting.



Content (visual) - Within my own design work, I like to use both type and image. I particularly like the use of type and image within the logo design for IBM by Paul Rand, I like how rand has connected the imagery and type together by using stripes.


Concept - I believe that the concept, is an important part of the design. I particularly like design work where the designer has shown experimentation, as I feel these designs are often more visually appealing, which is a trait I would like in my own work. This design, by Lewis Caroll is page layout for his book Alice in Wonderland, I like how Caroll has used the type to create an image as although this is a simplisitic idea it stands out and is more interesting than a page of type.








Visual Quality / Skill Level - Although, I believe a lot of skill goes into computer generated design, I personally associate visual quality and skill level with hand-rendered design. I particularly belive that paper-cutting art shows skill level as the designs are often very intricate and would be hard to reproduce.





Wednesday, 24 October 2012

OUGD401: Context of Practice - Graphic Design : A Medium for the Masses


Graphic Design
  • Origins of Graphic Design
  • Graphic Design in relation to fine art and advertising
  • Graphic Design as a tool of capitalism
  • Graphic Design as a political tool

  • Bison and Horses - Cave Painting, Lascaux, France - Simplistic form to communicate
  • Giotto di Bondone, Betrayal, c. 1305, Fresco, arena chapel, Padua, Italy - Relays the story of Christ - Art, visual communication
  • John Everett Millias, Bubbles 1886 - Pears soap advertisement, relationship between art and design
  • William Addison Dwiggins (Successful designer)

  • Herbet Spencer : (about Graphic Design) 'Mechanized art'
  • Max Bill and Josef Muller : 'Visual Communication'
  • Richard Hollis : Making or choosing marks to communicate and idea

  • 'Looking Closer' - Series of 5 books - Library?

  • Edward Manet (1832-83) - Money to spend
  • Henri de Toulouse-Latrec - Fine Art
  • Artistide Bruant -1893
  • La Goulue - 1890 -Early Graphic Design lins to advertising
  • Alphonse Mucha - Art Nouveau style, created avertisments
  • Charles Rennie Mackintosh - Scottish Musical Review, 1896
  • Koloman Moser, 13th seccession
  • Peter Behrens, AEG 1910- Links to fine art, simplified
  • Saville Lumley, 'Daddy what did YOU do in the Great war?' - fine art with type place onto it

  • Julius Gipkens - Trophies of the air war
  • Wassily Kandinsky - breaking down images into geometric shapes
  • El Lissitsky - 'Beat the whites with the red wedge' -abstract shapes inspired by fine art

  • London Underground map - simplified design
  • Simon Patterson - 'The great bear' 1992, Graphic design into fine art

  • Oskar Schiemer - Bauhaus Logo
  • Kandinsky 60th birthday exhibition, Herbet Bayer - Modernist

  • Piet Zwart, Phone book (Dutch) 1938
  • Herbet Matter - Swiss Tourist board
  • AM Cassandre - L'Intran

  • Britain, 1937 - fineart / illustration

  • Ludwig Hohlwein - Reichs sports day for the association of German girls
  • Degenarate Art - collected by Hitler, who did not like abstract art

  • The New Star of freedom - Josef Renau, Screen print, interesting use of type
  • Let's Squash Fascism, Pere Catala 1936 - Rising up from the streets, media for the masses

  • G.lucis (Russian) - using new technology

  • Abram Game 'Exhibition of Science' - Celebrate Britain, festival of Britain
  • Saul Bass, Man with the gold arm, anatomy of murder - Hotchcock films, pop culture

  • Paul Rand, Iconic American designer - American Brodcasting Company logo and IBM logo

  • Ken Garland - First things first manifesto 1964 - Designers should consider what they are doing, think of the community - Step back to propaganda and informing the audience not advertising to them
  • FHR Henrion, Stop nuclear suicide poster, 1960 - social conscience
  • Hippy Movement - Starts as political movement
  • Art works coalition, Q: and babies? A: and babies - stark imagery

  • Hipgnosis - over indulged CD covers
  • Jamie Reid, 'Never mind the bollocks...' - simplistic
- Both convey genre of music

  • Peter Saville, The factory night poster - Tony Wilson emplyed him on the basis of this piece which was completed two days late
  • New Order, Blue Monday sleeve design, 1983 - company lost 30p for every one sold, more interested in creating a beautiful design than making money
Post Modernism
  • Neville Brody - Face Magazine, 1980s

  • Public Image Limited, stayed away from embelishing the product - says what it is
  • Peter Blake, Band Aid : Do they know its christmas? - British Pop Art Movement
  • Chumbawamba
  • Designers Republic - pop will east itself
  • Julian House, 2000
  • Mark Farrow, Ladies and Gentlemen we are the floating in space - spritulised, limited edition designed to look like pill packets - blur between function of packaging and beautiful 'un-opened' object.

  • The Coup, Party music - Made one month before 9/11, was withdrawn

  • Stephen Hellar- cometry on Graphic Desgin, 1991
  • Olympukes - what purpose does it serve?
  • Naomi Klien - No logo
  • United Colours of Benetton (1990-92) - shock advertising, nothing to do with the product they were selling
  • Judy Blame, Keep Britain Tidy t-shirt - Graphic Design / fashion
Final thoughts / summary
  • Graphic Design is a relatively young discipline
  • The links between Graphic Design and different diciplines, e.g. fine art, advertising are arguably becoming increasingly blurred
  • Although it was born out of consumerist / capitalist interests, Graphic Design is arguably becoming increasingly concerned with social issues.

Monday, 22 October 2012

OUGD401: Context of Practice – Image Analysis


Despite the two images, Schumacher and Ettlinger’s The Uncle Sam Range and Savile Lumley’s Poster being from two different eras, there are several common themes between the two. Such as patriotism, duty and the market they are targeted at.

Compared to the poster by Savile Lumley, the style of type and illustration within The Uncle Sam Range by Schumacher and Ettlinger is more elaborate, which I believe is to convey wealth. The designers have also used the typeface to convey this effect, by using a wild-west ‘saloon’ style typeface in a rich, gold hue to symbolise the ‘American Dream’ and the ideals that every American man has the opportunity for prosperity and success.
   Although Savile Lumley’s poster also shows an aspirational and wealthy lifestyle, the overall design is more subtle than The Uncle Sam Range. Lumley’s focus for his design is to make the audience feel guilty, he has achieved this by using the type to target the audience, specifically by underlining and capitalising the word ‘you’ to create emphasis and make the audience think.

Despite both Schumacher and Ettlinger’s The Uncle Sam Range and Savile Lumley’s Poster being advertisements, both designs sell a better or aspirational lifestyle to the audience rather than a specific product.
The purpose of Schumacher and Ettlinger’s design is to sell The Uncle Same Range; the design however, is not product-centred and instead sells a ‘wealthy’ lifestyle to the consumer that will supposedly come with the product.
The stereotypical English family in Lumley’s design also suggests he is selling a better lifestyle to the audience; however, his design also sells an opportunity. During the war, the man of the house was expected to sign up. I believe Lumley’s illustration exploits this by showing the future, where a man, who when asked by his children is ashamed that he did not sign up to war. This gives the audience an opportunity to learn from his ‘mistake’ and make their own children proud of them.  

As well as both The Uncle Sam Range and Lumley’s Poster being targeted at middle class families, I also believe they are both specifically targeted at men, who –at the time- where responsible for providing for their family.
   Although the style of illustration and imagery used in The Uncle Sam Range suggests wealth, I believe the target market is middle class families, as Schumacher and Ettlinger are trying to sell a wealthy lifestyle which the upper class have and the middle class aspire to. As men were the main ‘breadwinner’ at this time, it would be their responsibility to attain it.
   Lumley’s Poster would again, be targeted specifically a middle class men, who unlike the lower class had a choice in whether they signed up for war or not. Again, this poster has a particular emphasis on the man of the house, and it being their responsibility to make their family proud by being part of the ‘Great’ War.

Friday, 19 October 2012

OUGD401: Context of Practice - Post Modernism


Post Modernism

  • 1960s - present day
  • Critics state post modernism is over and we have entered a phase of post-post modernism.
Post Modernism is;
  •  reaction to the rules of modernism
  • starts as a critique of the international style
Robert Venturi, Learning From Las Vegas, 1972
Ideas Developed by Charles Jencks
  • Only one rule - no rules
Characteristics of Modernism :
  • Simplified aesthetic
  • Utopian Ideas
  • Truth to materials
  • Form follows function
Characteristics of Post Modernism
  • Complexity
  • Chaos
  • Bricolage
  • Parody

  • Questioning conventions (especially those set out by modernism)
  • Post modernism aesthetic = multiplicity of styles and approaches
  • Theme of 'double coding', borrowing or 'quoting' from a number of historical styles
  • Le Corbusier, Chapel of Notre Dame Du Haut
Robert Venturi

Las Vegas - Post Modernist city

Victor Papenek (1995) The Green Imperative : Ecology and Ethics in Design and architecture

Post Modernism architecture
  • Sony Plaza (former AT&T building) New York, 1978
  • Takes Classic styles and 'adds' to them
  • Renzo Piano and Richard Rodges, Pompidou Centro, Paris, 1972
  • James Stirling, Neue Staatsgalerie, Stuttgart, Germany, 1977 - 1983
Post Modernism in Design
  • Michael Graves, Kettle for Alessi, 1985
  • Performs function - who you are, if you have money?
  • Phillippe Starck, Juicy Salif 1990
  • recall - not fuction, who you are as a consumer
Fashion
  • Huessein Chalayan, After Words, 2000 - In response to civil war
  • Veiled and Unveiled / Chardor, 1998
Fine Art
  • Mark Rothko, Murals For Four Reason Restaurant, Sengram Building
  • Andy Warhol, Campbell's Soup Cans, 1962 - Blur between culture and art
  • Roy Lichtenstein
  • Jeff Koons, Dirty - Jeff on top, 1992 - tacky, kitch?
  • Jeff Koons, Michael Jacson and Bubbles, 1998
  • Marcel Duchamp
  • Michael Craig-Martin, An Oak Tree, 1973

  • Slide on eStudio - Michael Craig-Martin
  • Damien Hirst, Mother and Child Divided, 1993
  • Tracey Emin, Everyone I Have Ever Slept With 1963/95 - 1995
  • Tracey Emin, My Bed - 1998
  • Sarah Lucas, Au Naturel 1994
  • Jake and Dinos Chapmen - Shock

  • Chris Ofili, No Woman, No Cry, 1998 - Stephen Lawrence
  • Holy Virgin Mary 1996
  • Popular Culture - Captain Shit and the Legend of the Black Starts, 1997

  • Martin Creed, Work no. 227: Lights Going On and Off
  • Mark Wallinger, Sleeper
  • Volkswagen, Think Small - Helmut Krone

Graphic Design
  • Ray Gun, double page spread - David Carson
  • Don't Mistake legibility for communication - David Carson
  • Barbara Kruger, I shop therefore I am - Selfridge, Buy me I'll change you life
  • Banksy / Warhol - Parodies of Campbells Soup (Tescos Soup) and Marilyn Monroe (Kate Moss)
  • Rachel Whiteread (1963-), House - 1993
  • The K Foundation (KLF) nailed to the wall, 1994 and How to burn a million quid
Summary
  • Post Modern attiude of questioning conventions (Especially Modernism)
  • Post Modern aesthetic = Multiplicity of styles
  • Shift in thought and theory