OUGD504: Responsive - Cath Kidston print.

In order to get ideas flowing about starting points for my print, I began to consider, what is quintessentially British?

… and based on our…

• British sense of humour and cheekiness
• English heritage (Taken from brief)

Below I brainstormed a number of possibilities:

- Tea, cake, buns, teapots. 
(In the brief it is not only described how the brand plays upon british heritage, but how the demographic audience of Cath Kidston likes 'Making stuff… be it food for friends or cushions for her new sofa' see brief.

- Red telephone box. 

- Red postbox and stamps. 

- Polo (sport).

- Yorkshire terrier.

- Mini cooper. 

- Red bus. 

- Sticks of rock, Deck chair, Windmills. (British seaside), Ice cream.

- Beefeater. 

- Picnics. 

- Sailing (seafaring nation).

- Hare.

- British shorthair cats. 

- Penny farthing.

Before I get down to any type of sketching/ idea generation I want to look at how the prints are already presented and if they have a certain style. 

'We are looking for an original theme and a fresh new take on our unique visual style. Your print can take any visual direction you wish, as long as you believe it to be in tune with our brand.' (Taken from brief)

The prints which we design will be used across 3 areas of products:
- Women's fashion.
- Women's accessories. 
- Home.



I found that when looking at this collection of prints, there was a distinct style that was existent throughout each. The prints have most definitely been handrawn before moving onto digital work, Therefore I will endeavor to work solely by hand when drawing up the design. 

I also found that the prints follow a very painterly theme that is often accompanied by some pencil sketching. 
For example in the horse print:

  

The painterly effect is particularly reminiscent of oil paintings, Although trying to design using acrylics may prove inappropriate on a timescale, as they take so long to try, I could design in a quicker alternative such as acrylics. Which I would then import into a program such as illustrator. It is important to realise the aesthetic which the Cath Kidston brand has already created as this is particularly stated on the brief.

Cath Kidston's floral prints .vs. oil paintings.

An important detail I have also seen within the prints is there is no evidence of blending colours together to create a collection of tones, shadows, highlights etc. Instead Cath Kidston uses block colours in a variety of shades, placed next to each other in order to create extra dimension, this style is reflective of the arts and crafts movement. The floral pattern seen above, looks particularly like some wallpaper I found from the arts and crafts movement. 

I compared my list of initial ideas to current prints, to see if any of them were of similar concept. The brief states that they are looking for a fresh design, 'Our prints are... reinventing our favourites but not copying our past.' (taken from brief) Therefore, I wanted to avoid anything that would lean upon my design being similar to previous ones. 

Below is the list of initial starting points I came up with, I have marked the ones with an x that are similar to the prints that Cath Kidston has already had:

- Red telephone box. 
- Red postbox and stamps. 
- Polo (sport) - X
- Yorkshire terrier.
- Mini cooper. 
- Red bus - X
- Sticks of rock, Deck chair, Windmills. (British seaside), Ice cream.
- Beefeater - X
- Picnics. 
- Sailing (seafaring nation) - X
- British shorthair cats. 
- Penny farthing.

I have seen that previously in many of the Cath Kidston prints that horses have been quite a frequent icon, and so to avoid any sort of repetition I have decided to stray away from any pattern that would include this symbol, thus ruling out polo. I have also seen a red bus within Cath Kidston's iconic London themed print, a print with repetitive use of the london guards, and a print already influenced by sailing. Therefore I will not be persuing any of these 4 ideas. 
Below are the 4 prints that have already been influenced by these themes. 

The two themes that I would like to work with, which I have seen no influence of in previous Cath Kidston prints are:

- Red postboxes and stamps.

- The british seaside. 

As Cath Kidston has its roots firmly set within the british landscape I want to create a print that really celebrates the British Heritage. The red postbox is a hugely iconic british symbol, as is the stamp which houses the portrait of our queen. However I also wanted to try and work on an idea that was quite contrasting to many that Cath Kidston had already produced. In many of the previous prints the place in England that is most celebrated is the capital - London. However I found there wasn't much within the previous range that celebrated other areas of Britain, for this reason I wan't to celebrate a part of the nation that is often cast aside and understated - The British seaside. 

I Then began to brainstorm symbols or things associated with the British seaside, I went on to ask my class mates what first came into their minds when they pictured the british seaside. I recorded all these results in a spider diagram.

(Insert picture)

I managed to find a list of 28 things that I and other people associate with the phrase 'British seaside'. From these 28 I began to think about which words would be most relative for the target audience of Cath Kidston. For example, I didn't want to include things within my print that would be more appropriate for a younger audience, and so this made me rule out ideas such as, rock, ice cream, seagulls, rides, donkey's and mini golf etc. 

I also had to consider the dynamic of the print, how would each of the symbols relate and harmonize?  How would an object such as a stick of candy floss fit cohesively with a lighthouse without them looking like they had just been thrown together like miscellaneous objects into a pattern? For this reason I decided to only pick out subjects from the brainstorm which were landscape/setting based. 

There were 9 things within the brainstorm which I thought were most appropriate. These are underlined. These 9 things were:

- Beach huts.

- Deck chairs. 

- Carousel. 

- Parasol.

-Pier.

- Sand castle.

- Lighthouse. 

- Shells.

- Sunshine. 

However 9 subjects would prove to be too much for a Cath Kidston print as the aim is for the pattern to not be too fussy and cluttered, for this reason I have decided to narrow down my subjects to the following 5:

- Beach huts. 

- Deckchairs. 

- Pier.

-Sancastle.

- Shells. 

OUGD504: Responsive - Cath Kidston print.

Brief:

The Creative Challenge

Design one new conversational print taking into account our brand values and print style. Examples of conversational prints within our range would include Cowboy, Garden Birds, Guards of London – these are prints with a recognisable picture within them. Classic Cath Kidston floral, spots or stripes would not be described as a conversational print.

The print should be designed to be used across three of our product categories; Women’s Fashion, Women’s Accessories and Home. We are looking for an original theme and a fresh new take on our unique visual style. Your print can take any visual direction you wish, as long as you believe it to be in tune with our brand.

A selection of entries will be exhibited at our new London flagship store at 180 Piccadilly (opening December 2013) during April 2014. All commended entries will be considered for a 12 month internship within our Print Design team.

Creative Requirements

Please submit the print in both repeat tile and stepped out versions, and create three different colourways. You should use a maximum of 12 colours.

OUGD501: Lecture 7 - Censorship and 'Truth'.

Lecture 7.
Censorship and 'Truth'. 

- The indexical qualities of photography in rendering truth.
- Photographic manipulation and the documentation of truth. 
- Censorship in advertising. 
- Censorship in art and photography. 

Combine photographs to create something different to what should actually be communicated 

Russian revolution of 1917, Images etc were filtered to disguise the truth. 

Elliot Aronson.
‘At that time [World War II], I fervently believed just about everything I was exposed to in school and in the media. For example, I knew that all Germans were evil and that all Japanese were sneaky and treacherous, while all white Americans were clean-cut, honest, fair-minded, and trusting.’

Vue magazine death of a soldier. 

- It is the reflection of basic reality
- Masks and perverts basic reality. 
- It masks the absence of basic reality. 

Photographers of the Gulf war controlled by US Government, everything was censored by them. 
'The unseen gulf war'.

Ken Jarecke - Iraqi soldier. 
English newspapers were criticised for putting such a shocking image on the front page. This image was only too true. But then, do we want what we read in the news and believe to be factual to be controlled by someone else opinion?

OUGD501: Globalisation, Sustainability and the media.

OUGD501.

Lecture 6.

The medias role in perpetutating an ever expansive global system based on dominant interests and capitalist powers. One system of organising the world into a larger system. 

A world were a series of radically different culturees were existent has now been taken over by a mono culture. Unified into a single society to function together. A combination of economic, technological, sociocultural and political forces. Globalisation was desired as it was seen as a change in which would push people to join together. 

Capitlism. 

The elmimination of state-enforced restrictions on exchanges across borders and increasingly integrated...

Globalisation:

- About the process of spereading free market policies across the world. 

- Conciousness, thinking about the world and eachother - dominance of a western culture, the spread of an american or western way of life. 

- Technology makes us interelated. 

- Realizing one single culture - negative or positive?

Cultural globalisation:

- Capital marketing becomeing existent and growing within other cultures. 

- 'McDonaldization' Taking over the globe, as mcdonalds can be found in any major city. 

- A particular way of ordering the world, an amerian way transposed into other cultures. 

- Fast food - Eating quickly. No bonding through eating, fragmented culture. 

- Work under american capitilist model. 'Mcjob' a job someone has to do but doesnt want to do. 

- Work as a way of contributing to society, taking an identity with your work. 

- A forced spread dominating society. 

Marshall Mcluhan. 

'Today after more than a century of electric technology, we have extended our central nervous system in a global embrace, abolishing both soace and time as far as our planet is concerned' 

- An extension of our senses. 

- Radio means we can hear stuff on the other side of the world as well as tv.

- We can experience the effect of our actions on the rest of the world. 

- Our ability to empathize with others will bring us closer into a global embrace. 

Global villagige thesis. 

The world shrinks to be a global villaige, our realationships become those like villaigers, a community. 

1964 - Prophet of the internet. 

We are able to view events in live time - tradgedies in other countries. 

Contrary to this, this global embrace has not happened, we are not necessarily sympathetic. We are nor aware of the consequences of our actions in such a way.

We live integrally, The electronic age has sealed the entire human family into one tribe. 

Rather than a global system emerging, Rival ideologies are emerging and tearing the world apart. 

Centripetal forces - Bringing the world together in a uniform global society. 

Centrifugal forces - tearing the world apart in tribal wars.

We DO NOT have a global embrace 

GLOBALIZATION:

Sovereingnty: Challeneges to the idea of nation-state. 

Accountibility: transnational forces and organizations, who controls them?

Identity: Who are we? nation, group community, we lose ourselves. 

When a company is based in more than one country, it become impossible to police, you can pass a law in england but it wont apply in other countries. Effectively businesses are almost more powerful than governments, multinational can act outside of the control of governments. In the spread of multinationalist capitilist businesses. the process of mcdonaldization is occuring. One particular culture is being spread across the world. 

Cultural impreialism.

Chomsky. 

The spread of culture through art design television and film, is as much a product of multinationalal business such as mcdnoalds. 

The whole world is a market, everyone is on a playingfield, all equal/fair - free market. 

- Media conglomerates operate as oligopolies. 

- Giant clusters of businesses in the control of one central business.

Six companies are controlling the entirity of the worlds media, all of which are american. 

Time warner. 

Umberella company, lots of sub companies. All of these comapies which impart lots of the worlds media are all earned by one american comapny. The one company controls the cultural output of a vast percentage of the worlds media.

America is the prime market (North America)

Western Europe, Japan and Australia. 

Developing economies (India, china, brazil, eastern europe)

The rest of the world (Africa)

Concerns of northern america will be prominent in magazines that are distributed in africa. Because American business’ have the most money. tHEY ARE INDOCTRINATED TO ACCEPT THAT THIS CULTURE IS ‘THE’ WAY OF LIFE. AND SO THEY ASSOCIATE THEIR NEEDS ETC WITH THOSE OF THE AMERICAN CULTURE. You are what you own, not appropriate for other countries such as Africa, as they cannot keep up with money fuelled countries such as North America. 

Cultural packages sold all over the world but presented as iunique, repackaging the ska ecommodities eg. big brother. 

India - Skin whitener, to get the american look. the whole world is being assimilated.

Chomsky - Manufacturing consent. 

The news- we believe we can watch the news and know what is happening. The news reader is the key part of propaganda. 

• Ownership: Larger percentage of newspapers owned by Rupert Murdock. His agenda is to make as much money for himself as possible, most of his papers run stories appearing as factual, the stories are self serving. The sun determined the output of U.K elections, Tories made a deal with Rupert Murdock, Tories allowed him to buy more news organisations. The media have immense power. It is a mistake to think that stories reported in these newspapers are without bias views. 
• Funding
• Sourcing: What is reported is what is allowed to be reported. Funders of these media organisations will not have it. Advertisers will withdraw there money, bosses at newspapers will not allow it, and journalists would lose their jobs. They must print stories which are sympathetic to the governing body. 

Flak.

US based Global climate coalition. 

Get stories into newspapers, stories that paint oil companies in a great light.

Propaganda disguised as news. 

Visual communication is an incredibly powerful media for influencing the consciousness. 

An inconvenient truth - film. 

Flat earthers - People who believe the world to be flat. 

Global summit- Kyoto. Try to thrash out a solution to global warming. Ever sanction is stopped by the US and China because it would cause money loss for both of these countries. Polluting the world is secondary to profit. To save the planet it is not to overthrow these countries, produce less CO2 and plant more vegetation. Deforestation is decreasing at a must faster rate than we can keep up with. Solutions to world problems is to buy more things, The American culture are the reason for these problems, they want you to buy to solve these. 

Sustainability:

• Supposed to be sympathetic towards this. 
• introduced in the 80’s - has a view towards stopping the depletion of all the worlds resources, allow societies to sustain themselves. 

Erin Balser. 

More expensive to be sustainable. 

Solve the problems of capitalism by capitalism is flawed from the start. companies are exploiting the fact that people are concerned about the planets welfare. Green washing - Comapanies make a green product. 

‘Most things are not designed for the needs of people but for the needs of the manufacturers to sell to people. The media plays a role in perpetuating this system. The way to challenge this is to challenge the system. 

OUGD501: Study task 5 - Triangulation.

OUGD501.
Study task 5 / triangulation.

'Using the texts Garland, K. 'The First Things First Manifesto (1964); Poyner, Lasn et al (2000) ' The First Things First Manifesto 2000'; Poyner, R. (2000) 'First Things First Revisited' and Beirut, M. (2007) 'Ten Footnotes to a Manifesto' write a triangulated critical analysis of two media images (works of graphic design / advert / TV commercial / publicity poster / magazine cover / news story). This analysis should discuss the ethical role of the designer, and ideally should compare one example of 'ethical' design with another 'unethical' one. 

Make sure that you compare the opinions of the four different writers and not simply quote but draw out subtle similartities and differences in their positions. Refer to the writing guide on eStudio for help constructing a triangulated written argument.'

Figure 1.

Figure 2.

Many writers have contributed to and further enriched the long standing discussion of the ethical role of the designer, and, in consequence, their involvement in the rise of consumerist needs and advertising over improvement of our national welfare. This critical issue is heavily debated in the original First Things First manifesto written by Garland, and in three further additions written by ad busters, Poyner, and Beirut in which concerns raised originally are both recognised and to a certain degree, rejected.

All three editions of the First Things First manifesto and the Ten footnotes to a manifesto debate the use of a designers skills. Described mainly as a theme throughout is the normalcy of what heavy consumer advertising seems in the current age, opposing the heavy shriek between the whispers that it used to be. 'We have reached a saturation point  at which the high pitched scream of consumer selling is no more than sheer noise'. (Garland, K: 1964) This is particularly emphasised in the third edition written by Poyner, whom construes how those who have been raised within the climate of consumerist advertising find it difficult to see a world, outside of the one that they know. More so, he accentuates, how this issue is being magnified by those who have the ability to deny the issue, rather than aid its growth. 'Meanwhile, in the sensation-hungry design press, in the judging of design competitions, in policy statements from design organisations, in the words of design's senior figures and spokespeople and even in large sections of design education, we learn about very little other than the commecial uses of design.' (Poyner: 2000) And therefore, although we are aware of the issue no one, not even those with the assured power and voice to evoke change does so.   

In both the initial First things First manifesto and the first revised edition by Ad Busters, it is spoken about how designers should be imbuing their invaluable skills into design that envisions a more positive and beneficial outcome for the cultural and social aspects of society. 'There are pursuits more worthy of our problem solving skills. Unprecedented environmental, social and cultural crisis demand our attention.' (Ad Busters: 2000) Figure 1 is a striking example of what Garland, Ad Busters and Poyner describe to be a piece of design that has only increased on'es need to posses a trivial item instead of investing in the development of the oublics well being. The advert promotes a gratuitous purchase well beyond the realms of obsessive consuming. Pictured is the Lysol 'no touch' Hand soap system, in which customers are reassured that by owning the product they 'never have to touch a germy soap pump again!' A persuasive strap line that wil touch the hearts and souls of hygene driven consumers everywhere. However much purchasers will fail to interpret the ruse interjected into the advertisement by Lysol. In the same advert which they promote the product, Lysol, also render it useless, as the product released from the pump of a regular bottle of Lysol soap will kill the same amount of bacteria as the no touch, meaning it doesn't matter whether or not a 'germy' pump has been touched beforehand or not. 

Figure 2, an advertisement for the UHD Downtown University is a stark contrast to that seen above and would be very much looked at with admiration by Garland and Poyner. The advert suggests a bettering and improvment of national prosperity, as sending people into education, will better national growth, rather than hinder it. the advertisement also tackles, according to Poyner and Garland, issues on a larger scale. Although, it can be seen that the advertisement still uses the same persuasive skills as the one created by Lysol. Beirut questions whether in fact the use of the same tools for a different purpose trult makes the advertisement ethical. 'What a dissapointment to learn that this revolution is aimed at replacing mass manipulation for commerical ends with mass manipulation for cultural and political ends.' (Beirut : 2007) Beirut continues to question the idea of the ethical designer in Ten Footnotes of a Manifesto. He discusses the idea of designing for education, something that would be looked at with excitement and vitality by Garland, Poyner and Ad Busters. However he queries where one draws the line between what is ethical and what is not. One of Beirut's favourite clients is a non-profit organization in which supports the training of younger performers, and is looked upon as a cherised ornament by its surrounding neighborhood. Its purpose is much like that of the advertisement for the University of Downtown Houston (Figure 2) which advocates an investment in the improvement of society, by leading more people into education and supporting them throughout. Nonetheless the non-proit organisation is sponsered, as many are, but by the Phillip Morris company, a large supplier of tobacco products. And so Beirut poses the question, 'So am I supporting an admirable effort to bring the arts to new audiences? Am I helping to buff the public image of a corporation that sells things that cause cancer?' (Beirut: 2007) 

Thus as designers living and working in with the 21st century where the advent for ethical design is 'more urgent than ever; the situation it lamented incalculably more extreme' (Poyner:2000) we are pressured to ask ourselves, is it wrong to design for schemes which Garland and Poyner would label as a waste of skill and talent? or would rejecting this completely take all the fun out of design? Beirut focuses on a subect that could be considered by many designers more important than the question of striped toothpaste or science, e-cigarettes or education, but what is right and owed to the audience. 'They may not be the ones who pay us, nor the ones who give us our diplomas and degrees. But if they are to be the final recipients of our work, they're the ones who matter.' (Beirut: 2007) Although the idea of designing for meaningless commodities goes against the grain of anything perscribed by the previous three manifestos, we should more so learn to accept and focus on our critical role as a designer. To communicate effectively and clearly with our audience, whether this be for Lysol, or UHD downtown university. 

OUGD504: Design for print research.

Design for print. 
Contextual research. 


What is the purpose of print coating?

Print coatings are used on printed products primarily for protection or to achieve certain visual effects. Coatings can provide protection from moisture, scuffing, scratching and finger prints. They can also be applied to one or both sides of a printed piece to create a glossy or dull finish or can be applied selectively to highlight a certain visual element. Source

There are 4 different types of print coating:

• Aqueous Coating

  
  
  
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  Aqueous coating is a clear, fast-drying water-based coating that is used to protect printed pieces. It provides a high-gloss or matte surface that deters dirt and fingerprints. Aqueous coating improves the durability of postcards and other mailed pieces as they go through the mail, and protects business cards as they ride around in people's wallets. It also looks beautiful on brochures, catalog covers, and presentation folders. Aqueous coatings provide more substantial scuff-resistance than varnishes. Aqueous is typically applied to the entire printed piece, usually by the last unit on a printing press. Due to its water base, aqueous coating is more environmentally friendly than varnish or UV coatings. Source

Best for protecting work and resisting the natural elements that come with design being passed around and damaged. Protects a piece from effects such as dirt and fingerprints. It is an ehtical choice as it is more environmentally friendly than other processes such as varnish and uv coating. 

• Varnish

  
  
                          
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  Varnish is basically clear ink and can be gloss, satin or matte. A flood varnish covers the entire printed page for protection or sheen. A spot varnish allows you to highlight specific areas of a printed piece and adds shine and depth to specific elements on the page such as a logo or image. Varnishes are also applied on-press, but they are heavier-bodied and can be applied (like inks) to only certain areas (spot varnish). A plate must be created to apply a spot varnish, so artwork is necessary.

Must have a plate created in order to apply a spot varnish and for this reason you must produce an artwork. Varnish can be applied to specific areas or flooded over the whole piece. It can be applied alone to a piece to create an effect or over design. 

• UV coating

  
  
  
  Source

  UV coatings are cured by exposure to ultraviolet light to quickly dry and harden the coating. UV coatings provide the highest gloss versus other coatings but may crack when scored or folded due to the thickness and hardness of the coating. Some find it too shiny for some uses. UV coatings can be applied as a flood (covering the entire printed sheet) or as a spot coating and can be applied on or off press. UV compatible inks must be used on sheets that will be UV coated. UV coated sheets can not be foil stamped and embossing should be done after the coating.

  
  
  Uv coatings are dried via the use of a uv light in which the coating hardens. A uv coating provides the highest density of of glass versus others however it has other downfalls. Because the solution of a uv coating is thick compared to others, it could break down and crack, for example folding a business card could cause the UV coating to break apart. If you are wanting to combine processes such as foiling or embossing, these must be applied after the coating as a pose to before.

• Soft Touch® Coating

  
  
  
  Source

  
  

  This coating creates a velvety texture. The paper becomes "soft" to the touch and increases the tactile appeal. It creates a softer look and feel on printed materials than either aqueous or UV coating, while creating a barrier which is fingerprint resistant. It dries fast, is non-yellowing, and is eco-friendly. Luxurious and sophisticated are words often used to describe the effect Soft Touch® coating produces.
  
  
  This type of coating might be found on higher end work with a more affluential audience, the coating creates a velvety appeal, as if it is 'soft' to the touch. 

OUGD501: COP2 - The gaze and the media seminar.

The gaze and the media. 
seminar.

'Men act, women appear' (Berger, 1972) In western culture men have been presented as those who act, whereas women appear, this has been acknowledged but is a long way from being changed. Women are seen more as objects than people, treated as a subject, rather than an individual. Broadly in our society visual representations are skewed. Visual culture broadly represents the attitudes of men. Women are commonly objectified in western culture. 

Hans Memling (Vanity)

Artists were mainly men and those who bought art were mainly men, this was because society was patriotic, Men were in control of the business, property, means of production, they had the financial and economic power. Exploitation and domination of women by men. Not created for beauty, created to make money, created for the man. 
The woman is constantly on display for you to look at and posses, to own in a way that you can never own a real women, it is a fantasy that never challenges you. She never confronts you or meets your gaze, she stares away and glances at you through the mirror to check that you are still gazing, encouraging the men. 
Makes comedy out of women for being innately vain, sexualising a women then laughing at women for them caring about how they appear. 

Birth of Venus (1863) and Olympia (18)
To be an artist at this time, you had to exhibit your work in the salon, your work had to be approved, the public saw it and critics judged it. This was the most popular picture. 
Olympia was in the same salon and caused scandal. Both depict female nudes but they are entirely different. Birth of venus is passive, allowing you to gaze at her, whereas olympia offers you a challenge and confronts the gaze. The birth of venus is also seen as a flirtatious character. Her fully body is on display whereas olympia forces her self to cover up the conflict the mans gaze. Both are goddesses of love, however Olympia is a prostitute, BOV is a fantasy and the other is sorded reality, the sexually availible female that you have to pay for in reality, the reality of sexual relations. This is also not as stable as you would like, she is not a sexually available as you would like to fantasise. The black cat is a symbol of independence, Titans venus of urbino, there is a dog, a much more loyal pet in society. Olympia stands to be a much more feminist piece. Looking at BOV and TVOU paintings is in no way wrong, however it is, it is sexual it is voyueristic. Pigeon holes women into certain roles, ways of acting and behaving, they are here to serve the men. It is a woman job to look good for the man, to create space to nurture the man. 

Men dream of women, women dream of themselves being dreamt of. - John Bergers, ways of seeing documentary. 

Contemporary representation of this:

The way she appears to men is crucial and is thought of as the success of her life - John Bergers, ways of seeing documentary. 

A nude has to be seen as an object in order to be a nude. A nudist is art, to be naked is to be yourself, but nude is being seen naked by someone else, and not realising you are being seen in this representation, not knowing you are a subject. 

Analysis, using 5 quotes from the text.