Sunday, 25 November 2012

OUGD401 Context of Practice - Essay research and Harvard referencing.

In the last seminar we looked at the 5 different essay questions that were available to pick from and learnt how to use the Harvard referencing system. From this seminar we were given a task:

For my chosen question find 5 books in the college library that I think will help with my essay. Post a bibliography of these 5 books referenced according to the Harvard system. Also reference the shelf code in the library and say why it might be useful.    

The question I have chosen to explore more through this task is 'Focusing on specific examples, describe the way that modernist art and design was a response to the force of Modernity.'

Book One.
Raizman, G. (2003) 'History of Modern Design' London, Laurence King Publishing Ltd. 745.41
This book is one of my favourites I have found in response to the evolvement of modernism. This particular book covers all points of growth and advancement in the response to Modernity 'from the 18th century to the present day.'
'Exploring the dynamic relationship between design and manufacturing, and the technological, social, and commercial context in which this relationship developed. The effects of a vastly enlarged audience for the products of modern design and the complex dynamic of mass consumption are also discussed... The book also explores the impact of a wealth of new manmade industrial materials on the course of modern design - from steel to titanium, plywood to plastic...'
The book discusses the response to development in modernity such as industrialisation and the celebration of new transport systems. The book also details the impact of war and its influence on modernism. The rejection of ornamentation in studies such as Architecture to cohere with the international style, A language made by designers in which people of different languages could communicate freely and easily. The book then goes on to make detail with constructivism and introduce the Bauhaus and Herbert Bayer's (Pioneer of modernism) influence on Modernism.

Book Two.
Smock, W. (2004) 'THE BAUHAUS IDEAL THEN & NOW An Illustrated Guide to Modern Design' Chicago U.S.A, Academy Chicago publishers. 745.41
This book brings to life the 'legacy of modernist design' and heavily details using specific examples how the optimism of the Modernist movement really upgraded the world and its means. 
The book embellishes the transition from hand to machine made, the look toward streamlining and Le Corbusier's 'Machine for living'
Talks of Modernism accelerating life and taking away boring tasks such as washing dishes and hanging out clothes that were replaced with Dishwashers and tumble dryers for a society that were moving at a faster pace and needed new technologies to enable this. 

Book Three.
Mirko, I & Heller, S. (2007) 'The anatomy of design: Uncovering the influences and inspirations in modern graphic design.' United states of America, Rockport publishers. 741.6
This book is more specific than others, focusing on 50 examples of graphic design alone detailing the influences that cause this graphic design to be modern. The book also takes more of a visual approach to research rather than being just text based. 
It details movements such as the procession of design through and in the outcome of constructivism.

Book Four.
Harrison, C. (1997) 'Modernism' London, Tate Gallery. 709.06.
'This introduction looks at modernist works in order to consider what are the defining characteristics of Modernism, and also explores the critical terms in which this art has been represented.'
This book looks what has defined modernism, and what the deciding factors are. What has pushed forward and created this improvements in the modern world such as urbanisation and industrialisation and also the different responses to these changes. 

Book Five. 



OUGD401: Context of Practice. Beauty, Style & Taste studio session.

For this studio session we were to arrive with two pieces of graphic design that focused on just text, another two just image and the last two image and text. One of the two had to be a piece we disliked and the other that we liked. 
The following are the pieces I brought in that I liked:

Text.
(http://www.behance.net/gallery/San-Francisco-Lettering/5898907)
I loved how this piece was so intricate yet simple at the same time. I found that the lack of colour only enhanced the piece and its fluidity, created by the use of render.

Image and text.

(http://www.behance.net/gallery/Pattern-Matters-Tangible-Paper-Infographic/3411991)
I thought this was a really innovative and inventive take on info graphics. Quite usually with info graphics viewers are bombarded with elements such as facts and numbers, however I love the simplicity of this piece and the use of 3D graphics. 

Image.

(http://behance.vo.llnwd.net/profiles/77742/projects/1316541/e0e570c4884690034eb4d3c5f071bf8c.jpg)
I chose this image as I really love illustration and the use of watercolour. However I also like the clever construction of the piece in which the trees slowly escape into the sky hugging the buildings.

The following are pieces I brought in that I disliked:

Text

(http://behance.vo.llnwd.net/profiles/57661/projects/498234/cdb9de16cd4341ffbfb0f05aea267a7d.jpg)
I chose the above design as a piece I didn't like as I didn't like the emphasis on geometric shapes, as well as the use of gaudy colour and uncomplimentary gradients.  

Text and Image.

(http://behance.vo.llnwd.net/profiles/51195/projects/53832/511951199384245.jpg)
I chose this piece both because I found it quite unreadable, and out of personal preference. The use of these particular patterns and exaggeration of black does reiterate the visual of a tribal tattoo which are not in particular to my taste. 

Image.
(http://entelekia.wordpress.com/2008/10/28/campy-art-deco-erte/)
I chose this image piece as one that I disliked as I do not like much design that comes out of the art deco movement. The constant use of geometric shapes and overuse of colours produces an image of clutter and chaos, not the simple and low colour usage I prefer. 

Equipped with our 6 pieces of design we got into groups of 6 and discussed what we liked and what we didn't like about the pieces we had chosen.
Afterwards we individually wrote a list explaining what we did like in the aesthetics of graphic design and what we disliked.

What I like:
Mixed media/ experimental media
Negative space
Subtle/ few colours
Elegance
Simplicity
Fluidity
3D
Clever.

What I dislike:
Gaudy colours
Too much colour
Art deco
Geometric shapes
illegibility
Business
Chaos
Overcomplicated
Too fine art.

After making these individual lists we made the same two lists again as a class.

What we like:
Clean
Simple
Legible
Structured
Geometric
Distinctive
Powerful 
Modernist
Sophisticated
Balanced
Professional
Striking
Intricate
Crisp
Intriguing.

What we dislike:
Cheap
Tacky
Generic
Garish
Cluttered 
Over powering
Busy
Messy
Unclear
Illegible
Chaotic
Overworked

After we had written these lists we were to choose 3 pieces of the work we had brought in one we liked, one we didn't and one other. From these 3 we were to write down 5 words for each from the class lists in which our described our personal opinions of the pieces of work. We then swapped our pieces of work with another person in the room and over a period of 35 seconds they wrote down 6 words for each in which described their personal opinions of the work.
At the end of this task we got back into pairs with the person we swapped work with and sat down in groups of 6 in which we went around the table and found out if people had the same kind of opinions as ourselves.

The three pieces I took into this exercise were 2 I liked and 1 I didn't. below are the images with both mine and Grace's opinions. 

 My Opinions:
Powerful
Simple
Sophisticated
Intricate
Intriguing

Grace's opinions:
Unclear 
Illegible
Dark
intricate
Overworked
Chaotic.

Grace thought I disliked this piece.


My opinions:
clean
Simple
Sophisticated
Balanced 
Striking

Grace's opinions:
Clean
Geometric
Legible
Crisp
Striking
Sophisticated

Grace thought I liked this piece.

My opinions:
Cluttered
Unclear
Overworked
Busy
Overpowering

Grace's opinions:
Garish
Clashing
Busy
Unclear
Overwhelming
Chaotic

Grace thought I disliked this piece.

We found through this exercise from getting 2/3 that we had similar rules of what was good graphic design and clashed on design in which we had a contrasting personal preference.

We then went on to create a list of rules in our pairs that we agreed was what made graphic design aesthetically pleasing. We had to make 10 rules, mine and Grace's are as follows:
1. Should be legible.
2. Image and type should reflect eachother.
3. Colours should harmonize/ balance.
4. Image should reflect message.
5. Should not be overcrowded.
6. Use original work - not always copy and pasting.
7. Use good quality images.
8. Visuals should not disrupt/ take away from the message.
9. Use no more than 3 fonts at once.
10. Use colour on the same semantic level as the message.

From this we were to individually pick 3 rules that we would use to judge design in a following study task, highlighted above are the 3 rules I chose. 






Wednesday, 21 November 2012

OUGD401: Street Art and Graffiti Lecture notes.

Graffiti of a political nature.
Caricature of a politician.

(http://www.wired.com/images_blogs/photos/uncategorized/800pxwwii_memorial_kilroy_was_here.jpg)

Kilroy/Chad - WW1
Engraving of Kilroy on the World War 2 memorial in washing D.C.
the outrageousness is not what it says but where it is found.

(http://ovineyards.com/english/wp-content/uploads/2011/12/nous-sommes-la-pour-boire-68.jpg)


Nous sommes le pouvoir.
Paris unrest 1968.
Figures are shown on the left holding a working tool and on the right raising his fist in a power salute.
The graffiti has merged all the figures together to create one figure, emphasising power.

(http://www.artofthestate.co.uk/photos/insa_tube.jpg)


1970's New york spray can graffiti.
Evolves alongside hip hop culture.
Making language of the streets visible.
Announcing their presence, they will not be ignored. Spraying onto tube cars means that the art and message will travel further, therefore seen by more people.
Portrays the dissatisfaction of class and hierarchies, mostly from less wealthy parts of New York that would travel into the more affluent areas.

(https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZtGrJ8br_43KiHr9b1wUnS8pD4R3JF26IHIug51qzba7W-UWQF-Vb6rywIZCqddCf4WbDLiInHp8S_Gt1E9yLeDHpLQjgrjqDvYUqtd-EhvG85LMcf4Qn5lhyphenhyphen1udKyAx0vcgClivydPY/s640/126036_45JUF6WC7FRINFZAG5PPKR4V27DVAJ_samo_H203507_L.jpg)


Graffiti brought into the art world by Jean-Michel Basquiat.
SAMO. Same old. Intertwines messages and visuals. 
Poetic but confusing style 'Life is confusing at this point'

(http://www.brooklynmuseum.org/exhibitions/basquiat/street-to-studio/images/visual_samo.jpg)


Death of SAMO.
'SAMO IS DEAD'.

(http://news.upperplayground.com/wp-content/uploads/2011/03/f8400d40fcsquiat.jpg.jpg)


Warhol and Basquiat
General Electric with waiter 1984.
One of Americas largest operations.
profited 14.2 billion dollars in 2011 and avoided paying tax.

(http://fashionstyleblog.com/wp-content/uploads/2010/05/keith-haring-radiant-baby.jpg)

(http://www.gwarlingo.com/wp-content/uploads/2012/09/Keith-Haring-on-Street.jpg)

Keith Haring, Radiant baby, 1990.
Added his work to other works such as advertising by often sketching pictures/murals questioning sexuality alongside on black paper.
Making money out of work that originally had a social message.
In subways, breaking down the barrier between high and low art.

(http://upload.wikimedia.org/wikipedia/commons/a/a2/BrokenPromises_JohnFekner.jpg)

Move of the written word, graffiti into fine art, with social message.
John Feckner, broken Promises, 1980.
using word art in a street setting to portray social message.
referencing the misuse of buildings in the city, people are homeless yet there are many empty buildings.

Jenny Holzer makes statements that state the obvious, wanting viewers to think about and consider the obviousness of the statement itself. Wants the viewers to ask themselves, what do these statements mean to me? Below are my 3 favourite pieces of Jenny Holzer works that were a set projected



(http://www.todayandtomorrow.net/2009/02/24/jenny-holzer-projections/)




(http://upload.wikimedia.org/wikipedia/commons/8/8d/Feliz_1984.JPG)


Berlin Wall - Feliz 1984.
An emblem that technology was lacking in west Germany.

(http://farm3.static.flickr.com/2713/4425660137_7e7409a511.jpg)


TATS CRU 1997 for coca cola. 
Graffiti explored in gaming, usually to symbolise freedom.
Tagging in games such as grand theft auto.




Invader french artist, born 1969.
Uses tiles as they are harder to remove than paint, they have permanency and are highly unlikely to be removed by the council. Started in France and then travelled across 22 different countries.
Visual - Space invaders.
Attack of montpellier was a piece of work in which Invader placed tiled pictures of space invaders allover the french town of Montpellier and the public could follow and find these tiled space invader pieces he had placed in the locations on the below map, similar to a game of pacman.  

(http://3.bp.blogspot.com/-4Kr06zMWviM/T4SHQDtIQfI/AAAAAAAAB9M/X9tpiaDZjiI/s1600/mapmontpellier.jpg)

(http://upload.wikimedia.org/wikipedia/commons/thumb/4/45/Space_Invader_-_2007_-_Shoreditch_-_1.jpg/1024px-Space_Invader_-_2007_-_Shoreditch_-_1.jpg)







Wednesday, 7 November 2012

OUGD401 Lecture: Beginnings, A History of Creative Advertising.

Notes copied down from Presentation by Janine Sykes.

Lever born in 1851. 

1851 Great exhibition.

'Colour printing on a large scale was not practised until well into the nineteenth century...with the publications generated by the Great exhibition 1851' (http://www.slideshare.net/GretaMedelyte/a-history-ofadvertisinglecture1112new)

Britain had the largest empire in the world as was the most rich at this point.

Pre packaging.
1860's cereal companies figured out how to print, fold and fill cardboard boxes mechanically.
John and William Kellog.

Lever - 'I was the first to advertise extensively (and pre-package) a tablet of soap'
http://www.slideshare.net/GretaMedelyte/a-history-ofadvertisinglecture1112new

Advertising boom.
Advertising aided by tax cuts on newspapers 1855& paper in 1861.

Printing boom.
Technological progress in reproduction and colour printing, pictoral ads in magazine 1880's.
1890's technology abled paintings to be reproduced.

Lever.
born in 1851 at the height of the empire, international trade routes established.
International exhibition prompted large scale colour printing.

Lever brothers.
Adveritising transformed company. - multinational.

Lever brothers started to use contemporary paintings in their advertising. (Lewis, 2008, p65)
The new frock (1889) used in sunlight soap with copy 'So clean'.
Used paintings of children, women, white linen, delicates etc.


(http://www.liverpoolmuseums.org.uk/ladylever/collections/graphics/large/thenewfrock_large.jpg)


Alice in wonderland exhibition at the Tate liverpool Nov 2011- Jan 2012.
Infant morality rate was high. (19th Century)
Children popular subject.

Paintings and photography.

Signified joy, blessings, purity, innocence and life.

A dress rehearsal (1888) bought by leverhulme. Dress has been passed down by mother and edited for the daughter, for soap 'As good as new'. Uses emotional strategy enhanced by naturalism. Soap for clothing.


(http://www.liverpoolmuseums.org.uk/ladylever/collections/graphics/large/adressrehearsal_large.jpg)


selecting and presenting contemporary artworks (RA) communicated more powerfully a desired message.
Message was told in an interesting and innovative way.
Imagery provided a spectacle and entertainment.

'Adveritising from the moment it was born, was trying to entertain us' (Haggerty)
New lynx campaign.

Lever was among the first global campaigns.
Medicine, chocolate and soaps were among the first to be advertised globally.

The wedding morning (1892) John Henry Frederick Bacon. Bought this painting and began using product placement, taking out pieces of the painting and replacing it with sunlight soap.

1892 Sunlight soap got a royal endorsement from the queen. 

One method of beloved advertisers was to capture the children. (Lewis)

Lever spent 2 million pounds in the first two decades of making/ advertising soap.

Art direction.
Gross suggested plantol (another soap owned by lever brothers) should depict tropical climates and express the care that is exercised in refining oils.

Using ambience.
Innovative spaces. Installations (adverts in train doors) Was careful of where he placed his adverts not putting them in newspapers, and choosing media carefully. (Leverhulme)
Lever amassed was among the innovators of advertising expertise.

Salvation with sunlight.
Many of his earlier adds emphasised that sunlight soap would save women from drudgery. (Lewis, 2008, pg74) Would provoke ease in daily routines. Save time.
Copy in sunlight was directed toward working class housewives. Copy heavily emphasised using the soap would save more time for romance.

20th century- Lever used different international agencies.
Domestic and Imperial markets. Signs of britishness suited all - reference to empire.
Royal imagery appeared all over products packaging etc trading on britishness.

Empire was celebrated on biscuits, cigarettes, soap, chocolate became part of the 'working class fabric'.

Advertisers made it their business to persuade consumers of their hygiene problems.


Psychology of advertising.

skipped slide. thanks teach.

Discrepancy theory.

'Fundamentals of honest business with continue to advance humanity to brotherhood' (Leverhulme)