* In what ways can products/services relate to consumers identities?
- Everything we buy, wear, consume affects our perception of the person in order to establish and maintain identities and to signify group memberships.
- Everyone is taught from an early age that products and brands have meaning.
- Material goods have meaning.
- The consumer chooses what to buy and what not to buy.
- 'avoid certain brands in order to distance themselves from what they stand for'
- 'There is no doubt that individuals make use of goods and services to 'make sense' of those around them, to compare themselves to other, and to signal group memberships.' 'All three examples clearly show a strong association between people and material possessions.'
* How do consumers use products/services within social interaction?
- Defining social groups
- Distinguish an individual from others.
- Comparing someone else's similarities and differences to ourselves.
- Challenging self-esteem
- 'Basically, theory suggests that the sense of who we are is shaped by us being able to imagine how we are perceived by others'
'there are three steps to self-fulfilling prophecy: (1) people must have expectations of what another person; (2) the person (x) who holds the expectations of what another person is like; (2) the person (x) who holds the expectations must be influenced by their beliefs in how they act towards that person (y); and (3) person (y) must subsequently respond by behaving in line with the other person's (x) expectations.'
* Using the theories discussed: suggest some visual communication strategies that effectively promote a product to its target consumer.
The Ladbrokes life - Building personas that the target consumer compared himself/herself to.
BET 365 - 'I am part of the world's favourite online betting company', 'and I bet responsibly at bet 365 - Raymondo
Remel London - ' Get the London look.'
* Are there any ethical issues?
Should people be judged by what they buy/look like?
Making unrealistic body ideals.
Over consumption
Self-esteem
Summary -
The essay by Cathrine Jason-Boyd, Consumer Psychology explains the relationship between identities and the consumer. Explaining that everything we buy, wear, consume affects our perception of the person in order to establish and maintain identities and to signify group memberships. Stating 'There is no doubt that individuals make use of goods and services to 'make sense' of those around them, to compare themselves to other, and to signal group memberships.' these three examples are explained again through Higgins self-discrepancy theory explaining '1 Actual self - the way people are at the present time. 2 Ideal self - the self that we aspire to be. 3 Ought self - they way we think we should be'. Through social groups is another way that the relationship between identities and the consumer can be effected. 'Tajfel described social identity as "that part of the individuals self-concept which derives from their knowledge of their membership of a social (or groups) together with the value and emotional significance of that membership (1931,p.255). It is increasingly common that groups use consumption to signal to others that that they somehow belong to each other' This relationship between identities and the consumer can be exploited by the designer whether this is ethical remains to be seen. In terms of creating personas for target audiences this way of thinking about how consumers react to brands can be use to the designers advantage.
Wednesday, December 14, 2016
Monday, November 14, 2016
OUGD501 - Study task 05 - Studei brief 02 Research
Research for practical work.
Task 1: Contextual Research.
- Louis Sullivan - Form Follows Function. - Modernist fundamentals
- The Bauhaus - Walter Gropius - German Architect founder of the Bauhaus. -
"The ultimate aim of all artistic activity is building! ... Architects, sculptors, painters, we must all get back to craft! ... The artist is a heightened manifestation of the craftsman. ... Let us form ... a new guild of craftsmen without the class divisions that set out to raise an arrogant barrier between craftsmen and artists! ... Let us together create the new building of the future which will be all in one: architecture and sculpture and painting." - Walter Gropius 1919
Joseph Albers
Lazio Moholy-Nagy
Mies Van De Rohe - Less is more, God is in the details
Piet Mondrian - De Stijl
Theo Van Doesburg - De Stijl
Gerrit Reitvield - Furniture design
Reitvield Schroder - De Stijl House
Le Corbusier - Modernist Architect - Social Planning
Massimo Vignelli - The Vignelli Canon
Total Design - Wim Crouwell, Ben Bos, Benno Wissing, Paul Schwarz, Dick Schwarz - Dutch Modernism - New Typography
Experimental Jetset - Statement & Counter Statement - Contempary Modernism
Task 2. Target Audience Research
Geographic - Western World, Europe and North America
Demographic - Designers, Architects, Creatives, how this relates to the outside world.
High to medium income design solutions. Branding companies, Buildings. Conscious design world.
Psychographic - design theory, design strategies, socialist, modernist, postmodernist, design for the future. Shaping the world through design.
Persona 1.
British male designer, working for an architects firm, design conscious, design educated. Interests in typography, art, architecture, design and the creative industry. Medium to high-level income. Socialist. Politically aware. Knowledge of architecture and design.
Persona 2. Dutch Female Creative. Working for a design studio, design conscious, Interests in typography, art, architecture, design and the creative industry. Loves modernist architecture and ideas, Interested in design driven architecture. Knowledge of Total Design Studio.
Persona 3. Design Student. Tentative knowledge of design, eager to learn about design ideas, Interests in typography, art, architecture, design and the creative industry.
Task 3.
Reitveild Schroder House.1924
TP 1 radio/phono combination, 1959, by Dieter Rams for Braun
Wim Crouwell, Stedelijk Musuem Poster
The Farnsworth House was designed and constructed by Ludwig Mies van der Rohe between 1945 and 1951.
kiosk design by herbert bayer 1924
Task 1: Contextual Research.
- Louis Sullivan - Form Follows Function. - Modernist fundamentals
- The Bauhaus - Walter Gropius - German Architect founder of the Bauhaus. -
"The ultimate aim of all artistic activity is building! ... Architects, sculptors, painters, we must all get back to craft! ... The artist is a heightened manifestation of the craftsman. ... Let us form ... a new guild of craftsmen without the class divisions that set out to raise an arrogant barrier between craftsmen and artists! ... Let us together create the new building of the future which will be all in one: architecture and sculpture and painting." - Walter Gropius 1919
Joseph Albers
Lazio Moholy-Nagy
Mies Van De Rohe - Less is more, God is in the details
Piet Mondrian - De Stijl
Theo Van Doesburg - De Stijl
Gerrit Reitvield - Furniture design
Reitvield Schroder - De Stijl House
Le Corbusier - Modernist Architect - Social Planning
Massimo Vignelli - The Vignelli Canon
Total Design - Wim Crouwell, Ben Bos, Benno Wissing, Paul Schwarz, Dick Schwarz - Dutch Modernism - New Typography
Experimental Jetset - Statement & Counter Statement - Contempary Modernism
Task 2. Target Audience Research
Geographic - Western World, Europe and North America
Demographic - Designers, Architects, Creatives, how this relates to the outside world.
High to medium income design solutions. Branding companies, Buildings. Conscious design world.
Psychographic - design theory, design strategies, socialist, modernist, postmodernist, design for the future. Shaping the world through design.
Persona 1.
British male designer, working for an architects firm, design conscious, design educated. Interests in typography, art, architecture, design and the creative industry. Medium to high-level income. Socialist. Politically aware. Knowledge of architecture and design.
Persona 2. Dutch Female Creative. Working for a design studio, design conscious, Interests in typography, art, architecture, design and the creative industry. Loves modernist architecture and ideas, Interested in design driven architecture. Knowledge of Total Design Studio.
Persona 3. Design Student. Tentative knowledge of design, eager to learn about design ideas, Interests in typography, art, architecture, design and the creative industry.
Task 3.
The Farnsworth House was designed and constructed by Ludwig Mies van der Rohe between 1945 and 1951.kiosk design by herbert bayer 1924
Monday, October 31, 2016
OUGD501 - Defining -
1. Research Question - (initially)
What can graphic design learn from architecture in relation to social and aesthetic issues?
What are the continuities of architecture and design in principles and practice?
What is there to study? - De stijl, Modernism, the ideologies of architects and architecture, Ideologies of graphics, form follows function.
Looking at ways of working, branding, exhibition design.
How can we know about it? - In the architecture, in critical writings on both graphics and architecture, museum branding (closer links with architecture). The history of architecture and design. The classics of design and architecture (Mies Van de Rohe, Walter Gropious, Le Corbuiser)
How do we study it?
Through first and second-hand observation, theory, principles, ideas and theories.
2. Defining the design problem -
What role does architecture have in influencing the modern day graphic design?
What can graphic design learn from the principles of architecture?
3. "Client" needs or requirements -
The design community? Architects?
4. Audience -
As the project looks at the theory and principles of architecture and design then, designs are architects are the audience.
5. Mandatory requirements
Work with the theories and principles of architecture, be recognisable as architectural influenced graphics, Exhibition branding, Stedlijk Museum.
What can graphic design learn from architecture in relation to social and aesthetic issues?
What are the continuities of architecture and design in principles and practice?
What is there to study? - De stijl, Modernism, the ideologies of architects and architecture, Ideologies of graphics, form follows function.
Looking at ways of working, branding, exhibition design.
How can we know about it? - In the architecture, in critical writings on both graphics and architecture, museum branding (closer links with architecture). The history of architecture and design. The classics of design and architecture (Mies Van de Rohe, Walter Gropious, Le Corbuiser)
How do we study it?
Through first and second-hand observation, theory, principles, ideas and theories.
2. Defining the design problem -
What role does architecture have in influencing the modern day graphic design?
What can graphic design learn from the principles of architecture?
3. "Client" needs or requirements -
The design community? Architects?
4. Audience -
As the project looks at the theory and principles of architecture and design then, designs are architects are the audience.
5. Mandatory requirements
Work with the theories and principles of architecture, be recognisable as architectural influenced graphics, Exhibition branding, Stedlijk Museum.
Sunday, October 30, 2016
OUGD501 - Essay question thoughts and ideas
Question
Architecture and Graphics, after thinking about what to pick for an essay questions as I feel COP is something I feel I need to improve and really try and enjoy in level five picking a question will be key in my engagement with the work. Architecture is a subject that has always been an interest and there are many connections with the ideologies of architecture and graphic design and design more broadly. The connection of lack of connection with architecture and graphics is a area that could have many interesting and critically engaging enough to formulate research and and essay. Outlining possibilities for this question was something key to highlight for the initial steps of this project. Using the planning and structuring and essay document on estudio as a basic guide I listed the following ideas and themes.
Initial broad question. - To what extent does architecture influence graphic design?
- This question not specific enough and needs refinement. Identifying this overarching theme first would allow me to break it down. The next questions are refinements that are more sepcfific of the orginal quesition.
How has architectural ideas of the Bauhaus influenced modern and postmodern graphics?
What role does contemporary architecture have in influencing graphics and typography?
What do I aim to argue? - Graphics and Architecture... areas of interest and connections between them.
Possible research points -
Architecture and Graphics, after thinking about what to pick for an essay questions as I feel COP is something I feel I need to improve and really try and enjoy in level five picking a question will be key in my engagement with the work. Architecture is a subject that has always been an interest and there are many connections with the ideologies of architecture and graphic design and design more broadly. The connection of lack of connection with architecture and graphics is a area that could have many interesting and critically engaging enough to formulate research and and essay. Outlining possibilities for this question was something key to highlight for the initial steps of this project. Using the planning and structuring and essay document on estudio as a basic guide I listed the following ideas and themes.
Initial broad question. - To what extent does architecture influence graphic design?
- This question not specific enough and needs refinement. Identifying this overarching theme first would allow me to break it down. The next questions are refinements that are more sepcfific of the orginal quesition.
How has architectural ideas of the Bauhaus influenced modern and postmodern graphics?
What role does contemporary architecture have in influencing graphics and typography?
What do I aim to argue? - Graphics and Architecture... areas of interest and connections between them.
- What are the links between?
- Differences in practice?
- How regimented the structure is?
- How rules are followed and broken?
- Social Obligations?
- Shaping the future?
- Links with space and atmosphere?
- The common connection of way-finding?
- Building a landscape?
- Following trends?
- Use of the grid systems?
- Cultural Changes?
- The art of simplicity?
Possible research points -
- Dutch Design and the Netherlands
- Ben Bos, Wim Crouell (Total Design)
- De Stijl
- Piet Mondrian
- Theo Van Doesburg
- Rietvield Schroder
- Modernism
- Experimental Jetset
- Le Corbusier
- Walter Gropious (Bauhaus)
- Form follows function
- Brutalism
- Mies van de Rohe
- Engineering
- Dieter Rams
- Gregory Hodkinson
- Humanistic architecture.
- Oase Magazine
OUGD501 - Postmodern
Frederic Jameson
What is this about? An analysis and critique of postmodernism as 'blank parody' without political bite. A mix match of history and culture. Constantly looking back through parody's. Parody is emphasised for style.
- De historical
- The past as code
- Modernism is king
- postmodernism is capitalist
What is Jameson's definitions of parody and pastiche? Quote? -
Parody ---- 'Pastiche is, like parody, the imitation of a peculiar or unique, idiosyncratic style, the wearing of a linguistic mask, speech in a dead language.'
Pastiche ---- 'But is is a neutral practice of such mimicry, without any of parody's ulterior motives, amputated of the satiric impulse, devoid of laughter and of any conviction that alongside the abnormal tongue you have momentarily borrowed, some healthy linguistic normality still exists.'
Examples?
Parody - "the Faulknerian long sentence, for example, with its breathless gerundives; Lawrentian nature imagery punctuated by testy colloquialism; Wallace Stevens's inveterate hypostasis of nonsubstantive parts of speech ('the intricate evasions of as')"
Pastiche - "randomly and without principle but with gusto cannibalizes all the architectural styles of the past and combines them in overstimulating ensembles"
Parody - This historical novel can no longer set out to represent the historical past; it can only 'represent' our ideas and stereotypes about that past (which thereby at once becomes 'pop history we are condemned to seek History by way of our own pop images and simulacra of that history, which itself remains forever out of reach"
Linda Hutcheon
What is this about?
Parody is Pastiche in her view.
Re-reading of the past
The past incorporated
Post modernism is king
modernism is capitalist
In the defense of postmodernism.
What is her definition of parody?
- Parody—"often called ironic quotation, pastiche, appropriation, or intertextuality—is usually considered central to postmodernism, both by its detractors and its defenders"
How does this relate to pastiche?
"an internalised investigation of the nature, the limits, and the possibilities of the language or discourse of art."
"takes the form of self-conscious, self-contradictory, self-undermining statement"
On the surface, postmodernism's main interest might seem to be in the processes of its own production and reception, as well as in its own parodic relation to the art of the past. But I want to argue that it is precisely parody - that seemingly introverted formalism - that paradoxically brings about a direct confrontation with the problem of the relation of the aesthetic to a world of significance external"
How does she criticise Jameson?
"the paradox of postmodernist parody is that it is not essentially depthless, trivial kitsch, as Eagleton and Jameson both believe."
In 'Postmodernism or the cultural logic of late capitalism' by Fredric Jameson he giving his views on postmodernism, parody and pastiche suggesting 'Pastiche is, like parody, the imitation of a peculiar or unique, idiosyncratic style, the wearing of a linguistic mask, speech in a dead language.' and parody as 'B a neutral practice of such mimicry, without any of parody's ulterior motives, amputated of the satiric impulse, devoid of laughter and of any conviction that alongside the abnormal tongue you have momentarily borrowed, some healthy linguistic normality still exists.' In terms of postmoderist architecture Jamerson explains how through parody 'randomly and without principle but with gusto cannibalises all the architectural styles of the past and combines them in overstimulating ensembles'. Linda Hutchton however disagree with Jamerson's views on postmodernism and pastiche suggesting parody is the same as pastiche On the surface, postmodernism's main interest might seem to be in the processes of its own production and reception, as well as in its own parodic relation to the art of the past. But I want to argue that it is precisely parody - that seemingly introverted formalism - that paradoxically brings about a direct confrontation with the problem of the relation of the aesthetic to a world of significance external" . Hutchton also critiques Jamersons views on postmodern architecture explaining "the paradox of postmodernist parody is that it is not essentially depthless, trivial kitsch, as Eagleton and Jameson both believe." and that "On the surface, postmodernism's main interest might seem to be in the processes of its own production and reception, as well as in its own parodic relation to the art of the past. But I want to argue that it is precisely parody - that seemingly introverted formalism - that paradoxically brings about a direct confrontation with the problem of the relation of the aesthetic to a world of significance external".
OUGD501 Pastiche * Parody
L Mulvey - Visual Pleasure and Narrative Cinema. Primary Document, A critical essay on 'the male gaze'. Established British feminist film theorist, professor of film and media studies at Birkbeck University London.
Woman are seen as the spectacle of sexual attraction not the narrative.
Refers to the woman as a heroine as an Alien presence. Supported by 'Buddy Movie' point on homosexual eroticism of the central male figures can cary the story without distraction.
The visual presentation of women in a film works against story line.
J Storey - Cultural Theory and Popular Culture.
1. Agrees with Mulvey
R Dyer - Stars. men and women are both objectified but it is less obvious and the cinema mainly tries to keep away from this.
1. The moviegoer is positioned according to the pleasures of male heterosexual desire. - L Mulvey's point.
2. Dyer argues that the film continually ok at the male body
3. Steve Neale argues that the looks towards the male are there to divert the erotic potential
4. Dyer agrees with Neale through his explanation on how on how male models look away from the spectator.
5. Dyers point on male pin-up models is parallel to Holden/Hal's role in Picnic. How the male models divert their sexuality through their gaze is equivalent to how Holden's acting and anecdotes distract the viewer from the 'reality' of his objectification.
After highlighting the key points views and other important information I have written up this sumary.
Visual Pleasure and Narrative Cinema written by L Mulvey gives an insight into how women are perceived in narrative cinema in this case in 1940 - 1950 Hollywood. L Mulvey introduces us to the theme of the 'male gaze' and the idea that in mainstream films the role of the female within this has no significance but to be displayed as sexual objects. L Mulvey explains woman are seen as the spectacle of sexual attraction not the narrative, 'The presence of women is an indispensable element of spectacle in normal narrative film, yet her visual presence tends to work against the development of a story line'. L Mulvey described the woman as a heroine as an 'Alien' presence. Supported by 'Buddy Movie', 'homosexual eroticism of the central male figures can carry the story without distraction'.
R Dyer, on the other hand suggests that men are also objectified in cinema, it is the way they are presented in the film that diverts this objectification. In the text R Dyer references Steve Neale 'that looks between male characters on film are made obviously threatening and aggressive in order to divert their erotic potential'. R Dyer explains how male objectification is avoided through cinematic techniques 'male pin-ups appear in the image to be looking in ways which suggest they are not an erotic object. This can involve looking off as if disinterested in the viewer, glancing upwards to appear lost in a higher spiritual form of thinking'. Dyers point on male pin-up models is parallel to Holden/Hal's role in Picnic. How the male models divert their sexuality through their gaze is equivalent to how Holden's acting and anecdotes distract the viewer from the 'reality' of his objectification. 'Holden's star image as 'a red-blooded American boy', his ambivalent attitude to acting and anecdotes about his reckless stunts when showing off to acquaintances are read by Cohan as constructing a star profile which attempts to counteract Holden's objectification and authenticate the 'reality' of his masculinity'.
J Storey's Cultural Theory and Popular Culture gives an explanation of Mulvey's longer essay, offering no real new information to the argument or discussion rather just highlighting the key themes and points. J Storey paraphrases Mulvey 'she suggests that it is always more than just the please of looking: scopophilia involves 'taking other people as objects, subjecting them to a controlling gaze'. The notion of the controlling gaze is crucial to her argument.'
Comparing the thoughts of both R Dyer and L Mulvey both agree that women are objectified through the male gaze using the example of 1940's and 50's Hollywood. 'The presence of women is an indispensable element of spectacle in normal narrative film, yet her visual presence tends to work against the development of a story line' - L Mulvey. R Dyer's point though is that not just women are subjects of this objectification. Explaining when the male actor in the film Picnic removes his t-shirt the female cast 'each register their erotic recognition of the objectified male body.' However R Dyer does suggest that 'that looks between male characters on film are made obviously threatening and aggressive in order to divert their erotic potential' and 'male pin-ups appear in the image to be looking in ways which suggest they are not an erotic object. This can involve looking off as if disinterested in the viewer, glancing upwards to appear lost in a higher spiritual form of thinking'. In the writings of J Storey's Cultural Theory and Popular Culture, Storey explains 'Visual pleasure and narrative cinema' is perhaps the classic statement on popular film from the perspective of feminist psychoanalysis' outlining that Mulvey's views could be bias. As R Dyer is homosexual this could be seen as similarly bias. Both opinions are written from two contrasting perspectives so may not give the most rounded views. As R Dyer acknowledges the idea that men and woman can be subject to the idea of objectification 'Studlar's account of masochism suggest how the image of the female star can represent a power found in performance which transforms the pleasure anf control of the male gaze' his argument can be seen as more balanced.
Woman are seen as the spectacle of sexual attraction not the narrative.
Refers to the woman as a heroine as an Alien presence. Supported by 'Buddy Movie' point on homosexual eroticism of the central male figures can cary the story without distraction.
The visual presentation of women in a film works against story line.
J Storey - Cultural Theory and Popular Culture.
1. Agrees with Mulvey
R Dyer - Stars. men and women are both objectified but it is less obvious and the cinema mainly tries to keep away from this.
1. The moviegoer is positioned according to the pleasures of male heterosexual desire. - L Mulvey's point.
2. Dyer argues that the film continually ok at the male body
3. Steve Neale argues that the looks towards the male are there to divert the erotic potential
4. Dyer agrees with Neale through his explanation on how on how male models look away from the spectator.
5. Dyers point on male pin-up models is parallel to Holden/Hal's role in Picnic. How the male models divert their sexuality through their gaze is equivalent to how Holden's acting and anecdotes distract the viewer from the 'reality' of his objectification.
After highlighting the key points views and other important information I have written up this sumary.
Visual Pleasure and Narrative Cinema written by L Mulvey gives an insight into how women are perceived in narrative cinema in this case in 1940 - 1950 Hollywood. L Mulvey introduces us to the theme of the 'male gaze' and the idea that in mainstream films the role of the female within this has no significance but to be displayed as sexual objects. L Mulvey explains woman are seen as the spectacle of sexual attraction not the narrative, 'The presence of women is an indispensable element of spectacle in normal narrative film, yet her visual presence tends to work against the development of a story line'. L Mulvey described the woman as a heroine as an 'Alien' presence. Supported by 'Buddy Movie', 'homosexual eroticism of the central male figures can carry the story without distraction'.
R Dyer, on the other hand suggests that men are also objectified in cinema, it is the way they are presented in the film that diverts this objectification. In the text R Dyer references Steve Neale 'that looks between male characters on film are made obviously threatening and aggressive in order to divert their erotic potential'. R Dyer explains how male objectification is avoided through cinematic techniques 'male pin-ups appear in the image to be looking in ways which suggest they are not an erotic object. This can involve looking off as if disinterested in the viewer, glancing upwards to appear lost in a higher spiritual form of thinking'. Dyers point on male pin-up models is parallel to Holden/Hal's role in Picnic. How the male models divert their sexuality through their gaze is equivalent to how Holden's acting and anecdotes distract the viewer from the 'reality' of his objectification. 'Holden's star image as 'a red-blooded American boy', his ambivalent attitude to acting and anecdotes about his reckless stunts when showing off to acquaintances are read by Cohan as constructing a star profile which attempts to counteract Holden's objectification and authenticate the 'reality' of his masculinity'.
J Storey's Cultural Theory and Popular Culture gives an explanation of Mulvey's longer essay, offering no real new information to the argument or discussion rather just highlighting the key themes and points. J Storey paraphrases Mulvey 'she suggests that it is always more than just the please of looking: scopophilia involves 'taking other people as objects, subjecting them to a controlling gaze'. The notion of the controlling gaze is crucial to her argument.'
Comparing the thoughts of both R Dyer and L Mulvey both agree that women are objectified through the male gaze using the example of 1940's and 50's Hollywood. 'The presence of women is an indispensable element of spectacle in normal narrative film, yet her visual presence tends to work against the development of a story line' - L Mulvey. R Dyer's point though is that not just women are subjects of this objectification. Explaining when the male actor in the film Picnic removes his t-shirt the female cast 'each register their erotic recognition of the objectified male body.' However R Dyer does suggest that 'that looks between male characters on film are made obviously threatening and aggressive in order to divert their erotic potential' and 'male pin-ups appear in the image to be looking in ways which suggest they are not an erotic object. This can involve looking off as if disinterested in the viewer, glancing upwards to appear lost in a higher spiritual form of thinking'. In the writings of J Storey's Cultural Theory and Popular Culture, Storey explains 'Visual pleasure and narrative cinema' is perhaps the classic statement on popular film from the perspective of feminist psychoanalysis' outlining that Mulvey's views could be bias. As R Dyer is homosexual this could be seen as similarly bias. Both opinions are written from two contrasting perspectives so may not give the most rounded views. As R Dyer acknowledges the idea that men and woman can be subject to the idea of objectification 'Studlar's account of masochism suggest how the image of the female star can represent a power found in performance which transforms the pleasure anf control of the male gaze' his argument can be seen as more balanced.
Tuesday, April 26, 2016
End of module Evaluation
End of module evaluation.
At the beginning of this project I was very sceptical about my ideas, my essays theme was on propaganda in art and design, how the image can influence the world of politics. After a discussion on the appropriateness of my writing, my essays content had a significant improvements and the essay seemed to be more succinct. The theme I explored as more the obligation arts and designer feel to respond to a politically or socially driven issue. With these changes in mind I was much more confident in my essay writing and research. On top of this I found an area of design that really fascinated me, this made research and development of ideas much more enjoyable.
After identifying these alterations and completing all the study tasks required I began to do some much more in-depth research into some more academic writing on the Russian constructivist works of Rodchenko and El Lissitzky, these research revealed their knowledge at the time of there work somewhat rewriting the rules of design in Russia. These points seemed to work interestingly in conjunction for my essay. It took a lot of further research to find the sources appropriate to my work. As well as this I looked in detail into the work of American political artist Shepard Fairey, his work for the Obama presidential campaign brought up some very engaging points that played on this idea of a social obligation to act for change. The book Art of Obama included interviews with the artist detailing his involvement in the project and why it was he create the iconic HOPE poster. From these sources I found examples of research not only in physical paintings, and posters but how online means of communication can be used as a tool for promoting and communicating change.
This research for my essay went on to inform my further research that would go on to inform my practical work. The political artist Ai Weiwei's film NEVER SORRY was one of the first in-depth pieces I had seen on his work and not only the form his work to up but the way he spoke about art as a almost political revolution. The film gives an insight into the artists life and practice but also the ongoing oppression and censorship the Chinese government puts the Chinese people under. This was an issue I had very little knowledge on and they way Ai Weiwei spoke about this issue really opened my eye to this theme. Video and film content is a theme I didn't really explore but is possibly the most direct way of communicating a theme in politics due to the clarity of information and that there is no limitations to how much visual stimulus can be communicated. Ai Weiwei's approach to issues around the world I found really inspiring and wanted to know so much more. I looked a a number of books on his work to try and understand how he goes about his work and how I could translate some of his throughs processes and idea into my own designs. He speaks a lot in his work about the popularity of his blog and he had no idea of the power of the internet to reach out to as many people as possible, he describes the web as the greatest art form of the twenty first century and that this is the best for of direct communication to a wide spread audience. He often takes to social media like Instagram and Twitter to promote issues he feels strongly about, recently posting hundreds of photos of the Syrian refugees to try and raise awareness of this issue. Another piece of work that Ai Weiwei had a part in that really stood out was the three art books he printed in China informing the Chinese people on the censored work of modern and contemporary art. The work had to be distributed through word of mouth in a more secretive and underground way this for me was fascinating as well as this different platform for communication of politically driven themes through art and design was very interesting.
Considering this I began to plan my practice work in response to this. I felt creating an online publication to celebrate all aspects of art and design under this theme seemed an appropriate response. In my research for the content I looked at more classical mural pieces, poster designs, instillation works and more current online means of communication. As well as this I visited the Tate modern and saw first hand the work of the Guerrilla Girls and an piece of Latin American photo books, this work showed me how just simple uses of type and imagery can be combined to make really engaging and throughout provoking designs. Typography I knew would be key in this project as this would be the main part of my designs and layout of the different works doing some additional research into the use of type was something I knew I needed to work on. The magazine Baseline had an article on use of type in somewhat controversial political parties and dictatorships, the article spoke of type being a really tool of expression and using type can denote so many theme that can have a major influence on the communication. Another magazine I looked closely at in my research was the work of Adbusters, this became a major influence into my magazine designs. The kind of communication I was looking at reflected in their work and this abrupt and impacting design was also what I looked to replicate. Taking all my research and transferring it into content gave me a few features that would make up the magazine. Creating the writing for the magazine is something I really struggled with I feel if I was more confident in my own writing ability my work would have been much more engaging. This in a way is true in my essay the writing is something I do not feel totally confident with and getting across my point is a long time consuming process.
Overall I feel my practical (see Issuu Publication THE ART OF POLITICS on COP Blog) work has stemmed from some interesting themes I looked at in my essay and I feel my knowledge of the subject and why it is useful to look for more academic writing has really improved. I would however have improved my idea generation for this project I feel as if I may have just gone with my first idea and not pushed this enough, as well as this I feel I could have looked to include my works seen in my essay in the online publication. There is clear links in my practical work and my essay both exploring the theme of a obligation to act on issues the artist or design feels strongly on. Context of Practice for me has been one of the most challenging modules to date, initially I found it really hard to start my work but I found leaning to enjoy what I was doing helped me in this. The more detailed writings on graphic design is something I find very interesting and learning more on where the ideas have come from and this further analysis of why it has been done will help me as a design put more reasoning behind my work. There has been a lot of things in COP I found challenging and out of my comfort zones but I am confident now I can push on to really improve on my work in the second and third year.
At the beginning of this project I was very sceptical about my ideas, my essays theme was on propaganda in art and design, how the image can influence the world of politics. After a discussion on the appropriateness of my writing, my essays content had a significant improvements and the essay seemed to be more succinct. The theme I explored as more the obligation arts and designer feel to respond to a politically or socially driven issue. With these changes in mind I was much more confident in my essay writing and research. On top of this I found an area of design that really fascinated me, this made research and development of ideas much more enjoyable.
After identifying these alterations and completing all the study tasks required I began to do some much more in-depth research into some more academic writing on the Russian constructivist works of Rodchenko and El Lissitzky, these research revealed their knowledge at the time of there work somewhat rewriting the rules of design in Russia. These points seemed to work interestingly in conjunction for my essay. It took a lot of further research to find the sources appropriate to my work. As well as this I looked in detail into the work of American political artist Shepard Fairey, his work for the Obama presidential campaign brought up some very engaging points that played on this idea of a social obligation to act for change. The book Art of Obama included interviews with the artist detailing his involvement in the project and why it was he create the iconic HOPE poster. From these sources I found examples of research not only in physical paintings, and posters but how online means of communication can be used as a tool for promoting and communicating change.
This research for my essay went on to inform my further research that would go on to inform my practical work. The political artist Ai Weiwei's film NEVER SORRY was one of the first in-depth pieces I had seen on his work and not only the form his work to up but the way he spoke about art as a almost political revolution. The film gives an insight into the artists life and practice but also the ongoing oppression and censorship the Chinese government puts the Chinese people under. This was an issue I had very little knowledge on and they way Ai Weiwei spoke about this issue really opened my eye to this theme. Video and film content is a theme I didn't really explore but is possibly the most direct way of communicating a theme in politics due to the clarity of information and that there is no limitations to how much visual stimulus can be communicated. Ai Weiwei's approach to issues around the world I found really inspiring and wanted to know so much more. I looked a a number of books on his work to try and understand how he goes about his work and how I could translate some of his throughs processes and idea into my own designs. He speaks a lot in his work about the popularity of his blog and he had no idea of the power of the internet to reach out to as many people as possible, he describes the web as the greatest art form of the twenty first century and that this is the best for of direct communication to a wide spread audience. He often takes to social media like Instagram and Twitter to promote issues he feels strongly about, recently posting hundreds of photos of the Syrian refugees to try and raise awareness of this issue. Another piece of work that Ai Weiwei had a part in that really stood out was the three art books he printed in China informing the Chinese people on the censored work of modern and contemporary art. The work had to be distributed through word of mouth in a more secretive and underground way this for me was fascinating as well as this different platform for communication of politically driven themes through art and design was very interesting.
Considering this I began to plan my practice work in response to this. I felt creating an online publication to celebrate all aspects of art and design under this theme seemed an appropriate response. In my research for the content I looked at more classical mural pieces, poster designs, instillation works and more current online means of communication. As well as this I visited the Tate modern and saw first hand the work of the Guerrilla Girls and an piece of Latin American photo books, this work showed me how just simple uses of type and imagery can be combined to make really engaging and throughout provoking designs. Typography I knew would be key in this project as this would be the main part of my designs and layout of the different works doing some additional research into the use of type was something I knew I needed to work on. The magazine Baseline had an article on use of type in somewhat controversial political parties and dictatorships, the article spoke of type being a really tool of expression and using type can denote so many theme that can have a major influence on the communication. Another magazine I looked closely at in my research was the work of Adbusters, this became a major influence into my magazine designs. The kind of communication I was looking at reflected in their work and this abrupt and impacting design was also what I looked to replicate. Taking all my research and transferring it into content gave me a few features that would make up the magazine. Creating the writing for the magazine is something I really struggled with I feel if I was more confident in my own writing ability my work would have been much more engaging. This in a way is true in my essay the writing is something I do not feel totally confident with and getting across my point is a long time consuming process.
Overall I feel my practical (see Issuu Publication THE ART OF POLITICS on COP Blog) work has stemmed from some interesting themes I looked at in my essay and I feel my knowledge of the subject and why it is useful to look for more academic writing has really improved. I would however have improved my idea generation for this project I feel as if I may have just gone with my first idea and not pushed this enough, as well as this I feel I could have looked to include my works seen in my essay in the online publication. There is clear links in my practical work and my essay both exploring the theme of a obligation to act on issues the artist or design feels strongly on. Context of Practice for me has been one of the most challenging modules to date, initially I found it really hard to start my work but I found leaning to enjoy what I was doing helped me in this. The more detailed writings on graphic design is something I find very interesting and learning more on where the ideas have come from and this further analysis of why it has been done will help me as a design put more reasoning behind my work. There has been a lot of things in COP I found challenging and out of my comfort zones but I am confident now I can push on to really improve on my work in the second and third year.
Saturday, April 23, 2016
Practical work evaluation
After completing my practical work for this project I can now reflect on successful I feel it has gone. My ambitions were to create an publication in the form of an online to inform the reader on examples of art and design in politics and what this can do to help change the world.
As highlighted in my essay I feel both artists and designs when confronted with an issue they feel in touch an passionate about they feel a social obligation to act in some way. Exploring examples of this theme a range of formats shows how varied each example of can be and still have a lasting impact. Within my essay I spoke of the image being a powerful tool of promote change, this is explored in a range of examples in the magazine, through painting, sculpture, installation art, photography, graphic design, mural design and using social media I planned to give an overview of the power of the image and feel I have done so with success.
For the format of the magazine in my research the artist Ai Weiwei spoke of the internet being the greatest art form of the 21st century and the best and most accessible platform to voice your opinion, due to this I wanted to make my designs work in an online format and using the website 'issuu' meant I could display and share my designs with ease. As shown in the issuu link bellow.
In terms of design and content I looked closely at the work of Adbusters, Baseline magazine and The Black Cover Book', 'The Grey Cover Book' and 'The White Cover Book' works by Ai Weiwei, all with an emphasis on highlighting political and social issues around the world. There design in essence was direct and impacting, the use of large bold typography and black backgrounds was a design feature seen throughout the various design this was then something I knew I had to translate into my own designs, and I feel I have done this to good effect. The choice of dynamic images was something that really adds to this, using either black and white images or image with a strong use of colour, overall I feel with the photos I have picked they are appropriate to the content and are engaging in the context. Some elements of the design I feel could have been improved upon the use of consistent typography, for me this is something that can be changed throughout a publication but some my think it needs to be totally consistent throughout. Another issue I feel I could have improved could be thinking about a range of ideas, I feel I may have just gone with my initial idea and a range of ideas would bring up theme I didn't initial think of. Lastly the other thing I feel I could definitely have improved upon is the creation of my own additional content, my idea is to celebrate politically driven art and design but inclusion of my own design work in response could have proved engaging.
Overall in my practical work for Context of Practice I feel my design fully relate to the themes in my essay and the designs I have created are to a high standard with a lot of research and development backing up my design decisions. I feel my knowledge of politically driven art and graphics has greatly improved but I would like to look to keep improving on my essay writing and application of design principles and ideas highlighted in more complex texts. Context of Practice is the project I feel I struggled with most on my time in the first year, I found it difficult to get motivated for the projects but after I reworked my essay after my feed back and may my work relate more in line with my interests in graphics I found I really enjoyed a further level of analysis in the theme of graphics. Feedback is a large part of making insuring my designs are appropriate and competent but is another aspect I feel I could have pushed and improved upon. I am pleased all in all with my final outcomes for this brief and would like to look to continue to explore the them of politically driven art and design.
As highlighted in my essay I feel both artists and designs when confronted with an issue they feel in touch an passionate about they feel a social obligation to act in some way. Exploring examples of this theme a range of formats shows how varied each example of can be and still have a lasting impact. Within my essay I spoke of the image being a powerful tool of promote change, this is explored in a range of examples in the magazine, through painting, sculpture, installation art, photography, graphic design, mural design and using social media I planned to give an overview of the power of the image and feel I have done so with success.
For the format of the magazine in my research the artist Ai Weiwei spoke of the internet being the greatest art form of the 21st century and the best and most accessible platform to voice your opinion, due to this I wanted to make my designs work in an online format and using the website 'issuu' meant I could display and share my designs with ease. As shown in the issuu link bellow.
In terms of design and content I looked closely at the work of Adbusters, Baseline magazine and The Black Cover Book', 'The Grey Cover Book' and 'The White Cover Book' works by Ai Weiwei, all with an emphasis on highlighting political and social issues around the world. There design in essence was direct and impacting, the use of large bold typography and black backgrounds was a design feature seen throughout the various design this was then something I knew I had to translate into my own designs, and I feel I have done this to good effect. The choice of dynamic images was something that really adds to this, using either black and white images or image with a strong use of colour, overall I feel with the photos I have picked they are appropriate to the content and are engaging in the context. Some elements of the design I feel could have been improved upon the use of consistent typography, for me this is something that can be changed throughout a publication but some my think it needs to be totally consistent throughout. Another issue I feel I could have improved could be thinking about a range of ideas, I feel I may have just gone with my initial idea and a range of ideas would bring up theme I didn't initial think of. Lastly the other thing I feel I could definitely have improved upon is the creation of my own additional content, my idea is to celebrate politically driven art and design but inclusion of my own design work in response could have proved engaging.
Overall in my practical work for Context of Practice I feel my design fully relate to the themes in my essay and the designs I have created are to a high standard with a lot of research and development backing up my design decisions. I feel my knowledge of politically driven art and graphics has greatly improved but I would like to look to keep improving on my essay writing and application of design principles and ideas highlighted in more complex texts. Context of Practice is the project I feel I struggled with most on my time in the first year, I found it difficult to get motivated for the projects but after I reworked my essay after my feed back and may my work relate more in line with my interests in graphics I found I really enjoyed a further level of analysis in the theme of graphics. Feedback is a large part of making insuring my designs are appropriate and competent but is another aspect I feel I could have pushed and improved upon. I am pleased all in all with my final outcomes for this brief and would like to look to continue to explore the them of politically driven art and design.
Final Magazine designs.
This image above is the cover I have selected for my magazine, after comparing a few different possibilities this image best reflects the content of the magazine and remains eye catching and engaging. The use of type really brings out this, the graphic nature of TIMMONS NY that I have identified being used in the AdBusters magazine.
This page is my into page and contents page, using black and white backgrounds with white and black type makes the content really stand out. I wanted to keep the consistency from the cover and the black background emphasis this. Using a different typeface for each of the pieces of content on show in the magazine mean each are distinctive and different, this puts emphasis on the fact each section of the magazine explores political art and design in very different mediums. These pages show an introduction into the magazine and have been designed without images for this reason.
This next spread is on the recent burning of Donald Trump effigies in Mexico, I wanted the layout of images to reflect the different stages of it being carried to being set on fire and then being burnt. The two images on the far right hand side are the most engaging so they have been made very large. The type then sits alongside this, as this is more of a playful feature of the magazine this had to be reflected in the designs as shown above.
This spread is for the feature on Ai Weiwei's recent work at the Konzerthaus building in Berlin, as the image is very striking displaying it full bleed on the right hand page then all the type on the right puts the emphasis on the bright orange of the 14,000 refugees life jackets. The type on the left as Ai Weiwei has been so influential not only in modern political art but in my project, I wanted to display his name in an as impacting and way as possible, the use of the large AI adds to this alongside the black background and white type. The type dominates the space and reflects nicely the columns of the building and artwork.
This spread looking at Political Murals it was vital in the designs to make sure all the images are as large as possible and show the different scales of each mural. As red and black stands out in these images I wanted to use the image with the most red at the bottom of the page and the least or no red at the top, this creates a appropriate hierarchy to the designs and intuitively feels right. This compositions allows for an appropriate amount of space for the fairly large amount of text.
This page for JR I have kept similar from the initial designs. I looked as using alternative characters in the typeface to make sure the information is communicated in as clear way as possible. The more rigid letter R shown above felt much more consistent and appropriate.
This page continues on from the page above on the artist JR I have once again not changed much from the initial designs, I wanted to let the images be the focus and show best the large scale of the designs.
This image is the back page of the magazine, keeping the designs as minimal as possible just featuring my name and link to website. Overall the designs of this magazine I feel reflect my research into Adbusters and Baseline magazine. Being impacting and engaging were the two design elements I knew I wanted to include in this design and I feel this is echoed throughout the publications design.
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