Observations, feedback, notes (design)

While carrying on the first brief for Knowledge Gateway logo, I noticed that I give so much more attention to graphic details around me. I realized I'm actually thinking of how designs work, what could inspire me. While sitting on bus or looking out the car window, walking through the streets or shopping - I consider the colour palette, font being used and a variety of ideas for branding and logo design. I actually start to wonder if I like them or not. I observe more and I notice things I wasn't aware before, such as letter 'S' in Costa logotype which looks like a steam from a cup of tea or coffee.
When thinking about my future designs of any sort (either as employed or as self-employed) I would definitely like them to be ethical and environmentally friendly.

(General thoughts)



Great idea is all about simplifying our complex solutions from the first stage of creation process. Thoughtful, but rather simple concept should drive our development for the brief. Our hobbies and interests and our self-vision of who we are, should come to work in design. Our work should be a reflection of ourselves. Possibly a good idea is to have your inspiration/interests imagery in front of you in the working space. I also really liked Stuart Turnbull's video about his personal inspirations and very energetic Susumu Mukai soundtrack. It gave a feeling of being active and in a way it encouraged creativity/active start point.

(Workshops with Stuart Turnbull)

Jean Jullien

Peace for Paris 2015

Very interesting interview with the artist on the following website: http://www.wired.com/2015/11/jean-jullien-peace-for-paris/ 

Robbie Gonzalez Design (2015) French illustrator Jean Jullien's unifying symbol for peace shared worldwide

[Accessed on 18 Nov 2015]

In November 2015 Paris was terribly affected by terrorist attacks and the whole Europe faced a terrific awareness of consequences of ISIS appearance and activity in the world. Support and solidarity need its visual supplement, something that people can use to show it, a symbol. And that's what artist or designer can offer. It's incredible how quick and spontaneous the artistic reaction can be... In this case it was about minute or two to come out with something that now becomes one of the iconic 21st century symbol. It doesn't even need any words at all. Generally anyone can recognize peace sign and make a connection between Eiffel Tower and Paris (France) and so connection of these two speaks globally. It has universal translation and that's why it became so powerful. We understand it with no extra knowledge or background. This simple image by London-based, French graphic designer and illustrator Jean Jullien, was widely shared across social media, it was a design with a purpose for good, spread worldwide. ''There is a time for pen to touch paper, and this was too quick.'' (J. Jullien). Personally I really appreciate the design and its cause for unfortunate recent events in the world. However I thing more designers and artists should stand out for what's happening. Paris was a another terrifying and biggest entry to Europe from ISIS terrorist group, but I happens in other places too (possibly not as close to us mentally as here in Europe, right next to us), such as Kenya terror which happened in almost the same time. People die terribly everyday in the 21st century, killed by barbaric medieval forms of terror; in the war and for their beliefs. I think more could be done; there could be more campaigns to spread awareness of that hopefully for better governments solutions or just simple solidarity with all, not just with selected ones.

"It was the most spontaneous thing. I heard the news on the radio, and I had this heartfelt reaction. I wanted to draw something that could symbolize peace and solidarity, and I wanted something with the context of Paris." Jullien tells CNN.

Stephy Chung, CNN (2015) French illustrator Jean Jullien's unifying symbol for peace shared worldwide, http://edition.cnn.com/2015/11/15/design/peace-for-paris/ [Accessed on 18 Nov 2015]

 (News)

I have looked into a few blog designs for more recognition of what good template should be. I reflected on it and I think that the presentation of online appearance is extremely important (obviously in the creative industry, in graphic design), especially now, when most people use digital communication. My research blog for degree studies should definitely be well considered and most of all clear and easy to access (a picture suggesting each post/topic could help or option for 'read more' with extra hidden information). It should show my progression and it doesn't have to chronological. My posts should also link in some way and lead to one direction of my personal philosophy (there should be a narrative in it; my development story). I think it should be a reflection of myself and my work as a graphic designer. At the moment what matters to me most it's the content (research for PDP and contextual studies will be hopefully useful to me in later stages, so I am trying to make it rather detailed and fully recorded); more professional outlook will surely develop.

(Seminar with Sean O'Dell)

EWC/EWG project for Cameron Jenning Limited (visual identity: logo, advertising concept and hang tags) was a live brief undertaken by group of four. It was my first real life project, first interaction with a client. It was an interesting adventure and a challenge. It was also very exciting. I was especially pleased with it, because my logo concept has been chosen by the group to be developed. It was a great lesson for the future (the main thing I learnt it was financial conditions which should be all agreed before starting the project).

Advertising poster

The whole concept was based on triangle shape. Logo was made out of initial letters of new brand name (changed into EWG in the ends). Colour yellow and triangular shape relate to pre-existed brands in America (selling products for workers or with similar character) and European road signs. Yellow colour also relates to other brands within the subject, catches attention and stands out in a friendly way (bright, happy, manly). The Pantone shade was picked by comparison with European flag's stars.  

(Life project - general reflection)

Historical and Contemporary Practitioners. Inspiration.

Marcel Duchamp

Duchamp was born in 1887, in France, Blainville, and he is known as the father of Dadaism. In his early years of his career in 1904, he moved to Paris, there he studied painting until 1905. His early work was Post-Impressionist. Years later, in 1908, Duchamp's exhibited his work at the Salon di Automne, and in 1909 at the Salon Des Independants, both in Paris. After the statement of war, in 1914, Duchamp, flew to America. He quickly made friends with Man Ray, and a number of well-known figures.  Duchamp basically launched the Dadaist movement in New York, and in the end, with Beatrice Wood and Henri-Pierre Roche, published a Dada magazine, entitled The Blind Man. During WWI a number of ex-futurist artist joined the movement of Dadaism as a protest. The aim was to speak out to the public the disaster of WWI, including political, moral and aesthetic ones. Dadaism was related with collectivism, in their common aim to bring to the end bourgeois society, its logical and financial structures. Marcel Duchamp wanted to speak the revenge of 'non-sense' and 'anti-art', to show how war had nonsense. Dadaism also created that element of liberation, abstraction and freedom in art, with no imagination limit.

'L.H.O.O.Q.'

Marcel Duchamp (1919)

Readymades series (Dada)

One of the well-known work that Duchamp did was the ’Mona Lisa' a copy of Da Vinci’s masterpiece which was drawn with a moustache and the short form quote of L.H.O.O.Q., which when translated into French can spell vulgar statement. During this movement he also introduced and developed the 'found art' and one can mention the 'Fountain', a urinal with his signature that he wanted to exhibit in 1917, but was rejected because it was not considered as art. By the end of the century, this work was considered as one on the most influential work. In the early 1920's he started to take part in a sequence of teamwork with Andre Breton, Man Ray, Marc Allegret among others. In 1923 Duchamp was hardly taking part and participate as an artist, and he considered himself as a victim of chess.

'Fountain'

Marcel Duchamp (1917)

Readymades series (Dada)

"Readymades" were found objects which Duchamp chose and presented as art. In 1913, Duchamp installed a Bicycle Wheel in his studio. However, the idea of Readymades did not fully develop until 1915. The idea was to question the very notion of Art, and the adoration of art, which Duchamp found "unnecessary.''


(Wikipedia)






Alfons Mucha

Alfons Maria Mucha (24 July 1860 – 14 July 1939), often known in English and French as Alphonse Mucha, was a Czech Art Nouveau painter and decorative artist, known best for his distinct style. He produced many paintings, illustrations, advertisements, postcards, and designs.

Alfons Mucha was born in 1860 in Moravia, the modern Czech Republic. He worked as a painter and studied art in Austria and Germany, before moving in 1887 to Paris, France, where he struggled to make a living as graphic artist producing book illustrations and calendar art.

In 1895, he was commissioned to create a poster for Sarah Bernhardt's play "Gismonda". The immediate success that followed, the originality and sensitivity of Mucha's new distinct style and wide public appreciation, made the legendary actress sign him to a six-year contract to design posters, stage sets and costumes for her plays.
By 1898, Mucha had become a famous and creative Art Nouveau artist. He designed and published postcards, theatre and advertisement posters, numerous illustrations and decorative panels series, set around central themes inspired by nature, some printed on silk. He produced an astonishing amount of drawings, pastel or watercolour studies and designs for interior decorations, cutlery and dinner object, jewellery and fashion. In 1902, he published the visual statement of his artistic creed, the portfolio "Documents Décoratifs", in which he established his theories and the main decorative elements of Art Nouveau. From 1907 to 1928 he worked on "The Slav Epic", a huge mural paintings series for the city of Prague.

Contemporary of Victor Horta's Art Nouveau designs in Brussels, Alphonse Mucha was influenced by Symbolism and by the social aspects of William Morris' Arts and Crafts Movement in England. He attempted to give access to the beauty of art to every social class and to elevate the decorative elements to the status of works of art. He developed his own aesthetic ideals and original style, which became the hallmark of his time and was also known as "Mucha Style".
His graphic works are based on a strong cantered composition and symbolic themes, featuring idealized young female figures in sensuous or provocative poses, entwined in vaporous hair and light dresses enriched by decorative ornaments inspired by nature, such as willowy foliage, flowers and extravagantly beautiful jewels. The figures are detailed by expressive darker lines and enriched by natural soft colours and gold; functional and decorative friezes usually frame the illustrations and the background space is filled by floral or abstract patterns.

(Wikipedia)

'The Seasons'

Alphonse Mucha (1897)

'Bieres de la Muse'

Alphonse Mucha (1897)

'Zodiac'

Alphonse Mucha (1896)

Zodiac was Mucha's first work under his contract with the printer Champenois and was originally designed as an in-house calendar for the company. In this composition, Mucha incorporated twelve zodiac signs in the halo-like disk behind the woman's head, one of Mucha's customary motifs. The majestic beauty of the woman is emphasised by her regal bearing and elaborate jewellery.
The striking design of the Zodiac calendar quickly attracted the attention of Léon Deschamps, chief editor of La Plume; he bought the rights to distribute it as the magazine's calendar for 1897. It became one of Mucha's most popular designs; at least nine variants of this lithograph are known, including this one which was printed without text to serve as decorative panel.

Foundation, M. (2016). Zodiac - Browse Works - Gallery - Mucha Foundation. [online] Muchafoundation.org. Available at: http://www.muchafoundation.org/gallery/browse-works/object/242 [Accessed 30 Jan. 2016].




Gustaw Klimt 

Gustav Klimt (July 14, 1862 – February 6, 1918) was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, and other objects d'art. Klimt's primary subject was the female body, and his works are marked by a frank eroticism. In addition to his figurative works, which include allegories and portraits, he painted landscapes. Among the artists of the Vienna Secession, Klimt was the most influenced by Japanese art and its methods.

Klimt's work is distinguished by the elegant gold or coloured decoration, often of a phallic shape that conceals the more erotic positions of the drawings upon which many of his paintings are based. This can be seen in Judith I (1901), and in The Kiss (1907–1908), and especially in Danaë (1907). One of the most common themes Klimt utilized was that of the dominant woman, the femme fatale. Art historians note an eclectic range of influences contributing to Klimt's distinct style, including Egyptian, Minoan, Classical Greek, and Byzantine inspirations. Klimt was also inspired by the engravings of Albrecht Dürer, late medieval European painting, and Japanese Rimpa school. His mature works are characterized by a rejection of earlier naturalistic styles, and make use of symbols or symbolic elements to convey psychological ideas and emphasize the "freedom" of art from traditional culture.

(Wikipedia)

'The Tree of Life, Stoclet Frieze'

Gustav Klimt (1909)

'The Kiss'

Gustav Klimt (1907-1908)

Abram Games

Abram Games OBE, RDI (29 July 1914, Whitechapel, London – 27 August 1996, London) was a British graphic designer. The style of his work – refined but vigorous compared to the work of contemporaries – has earned him a place in the pantheon of the best of 20th-century graphic designers. In acknowledging his power as a propagandist, he claimed, "I wind the spring and the public, in looking at the poster, will have that spring released in its mind." Because of the length of his career – over six decades – his work is essentially a record of the era's social history. Some of Britain's most iconic images include those by Games. His work is recognised for its "striking colour, bold graphic ideas, and beautifully integrated typography.''

Exhibitions

• Abram Games, Graphic Designer (1914–1996): Maximum Meaning, Minimum Means, Design Museum, London, 2003
• Abram Games, Maximum Meaning, Minimum Means, The Minories, Colchester, 2011
• Designing the 20th Century: Life and Work of Abram Games, Jewish Museum London, 2014–2015
• Abram Games - Maximum Meaning Minimum Means, Dick Institute Kilmarnock, East Ayrshire, 2015

(Wikipedia)

'Air Mail' (Unpublished Poster)

Abram Games (1935)

'Talk May Kill' (War Office Poster)

Abram Games (1942)

Abram Games was born in Whitechapel in the East End of London on the day that World War I began in 1914. He belonged to the golden age of British graphic design when the commercial artist produced hand crafted concepts in the days before corporate design agencies devoured the individuality of the graphic designer. As a freelance commercial artist he produced posters for an astonishing list of clients that included Shell, London Transport, BEA, BOAC, Guinness, The Royal Shakespeare Company, London Zoo, The Metropolitan Police, The Times and The Financial Times.

Abram Games 'Air Mail' poster of 1935 incorporates the main elements of his design philosophy: a perceptive combination of image and text that communicates a concept with ‘maximum meaning' using 'minimum means’.
Abram Games' reputation as a graphic designer is based on his ability to weave together layers of ideas with a great economy of means. He realized that if you combine several images in one iconic design, the result involves the spectator in a visual game to unravel the layers of meaning within. Games explained, "A poster with a measure of intrigue engages the mind of the spectator and he looks again. You have to take him along with you so he follows your line of thought. The best way I can describe what happens is to say that as the designer you wind the spring, and it is released in the mind of the viewer." (Artyfactory, 2016)

Artyfactory.com. (2016). Abram Games - Maximum Meaning, Minimum Means. [online] Available at: http://www.artyfactory.com/art_appreciation/graphic_designers/abram_games.htm [Accessed 30 Jan. 2016].

Edvard Munch

Edvard Munch (12 December 1863 – 23 January 1944) was a Norwegian painter and printmaker whose intensely evocative treatment of psychological themes built upon some of the main tenets of late 19th-century Symbolism and greatly influenced German Expressionism in the early 20th century. One of his most well-known works is ''The Scream'' of 1893.

'The Scream'

Edvard Munch (1893)

A majority of the works which Edvard Munch created, were referred to as the style known as symbolism. This is mainly because of the fact that the paintings he made focused on the internal view of the objects, as opposed to the exterior, and what the eye could see. Symbolist painters believed that art should reflect an emotion or idea rather than represent the natural world in the objective, quasi-scientific manner embodied by Realism and Impressionism. In painting, Symbolism represents a synthesis of form and feeling, of reality and the artist's inner subjectivity.                         

Many of Munch's works depict life and death scenes, love and terror, and the feeling of loneliness was often a feeling which viewers would note that his work patterns focused on. These emotions were depicted by the contrasting lines, the darker colours, blocks of colour, sombre tones, and a concise and exaggerated form, which depicted the darker side of the art which he was designing. Munch is often and rightly compared with Van Gogh, who was one of the first artists to paint what the French artist called "the mysterious centres of the mind." But perhaps a more overreaching influence was Sigmund Freud, a very close contemporary. Freud explained much human behaviour by relating it to childhood experiences. ((Edvardmunch.org, 2016)

'The Dance of Life'

Edvard Munch (1899)

Edvardmunch.org. (2016). Edvard Munch - Paintings,Biography,Quotes of Edvard Munch. [online] Available at: http://www.edvardmunch.org/ [Accessed 15 April 2016].



Sagmeister & Walsh

Sagmeister & Walsh is a NYC based design firm that creates identities, commercials, films, books and objects for clients, audiences and ourselves.

Stefan Sagmeister        

Stefan Sagmeister was born in Austria and lives and works in New York. He has worked for the Rolling Stones, The Talking Heads, Lou Reed, The Guggenheim Museum and Levis. Exhibitions on Sagmeister's work have been mounted in New York, Philadelphia, Tokyo, Osaka, Seoul, Paris, Lausanne, Zurich, Vienna, Prague, Cologne and Berlin.

Jessica Walsh       

Jessica Walsh is a multidisciplinary designer working in New York City. Her work has won design awards from the Type Director’s Club, Art Director’s Club, SPD, Print, and Graphics. She has received various celebrated distinctions such as Computer Art’s “Top Rising Star in Design,” an Art Director’s Club “Young Gun,” and Print Magazine’s “New Visual Artist”

Behance.net. (2016). Behance. [online] Available at: https://www.behance.net/sagmeisterwalsh [Accessed 25 April 2016].

Aizone SS14 (2014) campaign

The Aizone Fall/Winter (2013) campaign

Writing/judging the visual: asethetics and criticism /lecture

7th March 2016 

Lecture: Writing/judging the visual: aesthetics and criticism
By: Dr Matthew Bowman


Being judgemental is possibly a bad thing, but judging as categorising something as bad or good is an inseparable element of our existence. Being judgemental is usually I guess relating to often wrong, rushed or uninformed decisions. While judging, we should perhaps have proper reasons based on knowledge not easily made predictions (who/what? right/wrong/good/bad?). It is important to make a point based on a reason and to find balance between information and analysis. It is crucial most of the time to actually look into backstory or to understand intentions of the author, the purpose.

Sometimes it is about the function too. As Nikolaus Pevsner suggests in ''An Outline of European Architecture'' (1943): ''A bicycle shed is a building, Lincoln Cathedral is a piece of architecture. Nearly everything that encloses space on a scale sufficient for a human being to move in is a building; the term architecture applies only to buildings designed with a view to aesthetic appeal.''

'Aesthetica' (1750)

Alexander Gottlieb Baumgarten

aesthetics: (Greek aisthesis) originally aesthetics meant sensory experience (ability to see, feel, taste, hear, smell - experiential, perceptions; it remains present in the medical term 'anaesthetic', general meaning has changed into a very complicated view (book 'Aesthetica', published in 1750, where aesthetics' analysis described it as philosophical aesthetics, part of philosophy; however philosophy of art generally represents different understanding of art's significance, so those terms shouldn't be used interchangeably)
Aesthetics and philosophy of art are usually divided.

There is no absolute agreement about the aesthetics as shown today on example of two contrasting most influential philosophers in Europe: Kant and Hegel.


Immanuel Kant: (1724-1804) German philosopher, one of the most influential thinkers in the history of Western philosophy and central figure of modern philosophy. He examined the philosophy of aesthetics in his book 'The Critique of the Power of Judgement' (1790). It questioned beauty, the sublime, subjective judgement , and what it means to have a good taste. It is the final part of set of three critiques along with: 'The Critique of Pure Reason' (1781) about how knowledge is possible and 'The Critique of Practical Reason' (1788) about morality.  


Disinterested judgements focus on the form of artefacts, not on their meaning context, usefulness, politics, morals, or anything outside its form, for example saying that something is beautiful is a disinterested judgement (no objective rules or concepts, reflective judgements). Kant describe aesthetic judgements as disinterested and reflective.

'Wanderer Above the Sea of Fog' (1818)

Caspar David Friedrich

Caspar David Friedrich is one of the known artists who impressed Kant. He finds a sublime in his paintings, such as 'Wanderer Above the Sea of Fog' (1818) or 'The Monk by the Sea' (1808-10). He states that beauty is not subjective, but it is voice of community, not personal taste. Liking something doesn't mean that everyone else will feel the same about it. Calling something beautiful demands from others equal appreciation. Aesthetic judgement, as mentioned before, should be in his opinion disinterested. His theories would also apply to any design or visual style. Aesthetic judgements are not determinate judgements which are driven by rules and pre-established concepts.

''Concepts without intuitions are empty, intuitions without concepts are blind.''
(Immanuel Kant, 'Critique of Pure Reason, 1781)

By intuition Kant means sensory experience which relates to state about determinate judgements.



Georg Wilhelm Friedrich Hegel: (1770-1831) German philosopher, one of the greatest systematic thinkers in the history of Western philosophy in the 19th century (considered as one of the most difficult as well) who reacted to Kant's theories (book 'Phenomenology of Spirit, 1807 & Lectures on Aesthetics, 1820s-1830s)


He claimed that 'art has come to the end.' Job that art used to do is now done better by philosophy. He talks about materialisation of concepts in art as without concept/material form it cannot be communicated in any way. Kant stated that aesthetics involve too complex ideas to be closed enclosed in material form (his philosophy limits that to investigation of experience). It brings an argument if art is conceptual or not. Hegel also effectuated the periodization of art history  based on analysis of form and philosophical content. He found that the balance between them was only perfect during the Classical time in ancient Greece and Rome in sculpture where 'exterior realises interior.'



''I identify Modernism with the intensification, almost the exacerbation, of this self-critical tendency that began with the philosopher Kant. Because he was the first to criticise the mens itself of criticism, I conceive of Kant as, the first real Modernist...''
(Clement Greenberg, 'Modernist Painting,' 1960)


Conceptual and postmodernist art was often deliberately anti-aesthetic or made into an art parody (e.g. Jeff Koon's' works). In the last few years some got interest in rethinking the issue (e.g. Thierry de Duve, Jacques Ranciere, Stephen Melville).

Michael Jackson and Bubbles

porcelain sculpture (1988)

Jeff Koons

Denis Diderot: French writer who was one of the earliest critics. His essays judged and described the paintings shown at the Paris Salon exhibitions. These essays were mostly intended for audiences far from Paris, but also to define artistic standards.


A lot of artists are also art critics (visual practice + critical writing). Self-understanding of own art enables them to critically reflect upon other artists. ''Writing can be writing alongside art rather than merely about it.'' (Bowman, 2016)
Criticism, aesthetics and judgement are all related to writing. Matthew Bowman notices that criticism can also become a form of art. This fact unifies theory and practise. There are indeed numerous artworks which engage in other forms of art, often even unintentionally challenging them. One straightforward example I have in mind would be Leonardo Da Vinci's 'Mona Lisa' and Marcel Duchamp's 'L.H.O.O.Q.' Duchamp's 'Fountain' was also challenging when entering modern world of art. It was and it possibly is still quite controversial.

'Bicycle Wheel' (1913)

Readymades series

Marcel Duchamp

Art intervention is an interaction with a previously existing artwork, audience, venue/space or situation. It has the auspice of conceptual art and is commonly a form of performance art. It is associated with the Viennese Actionists, the Dada movement and Neo-Dadaists. It has also been made much use of by the Stuckists to affect perceptions of other artwork which they oppose, and as a protest against an existing intervention.
Art intervention can also refer to art which enters a situation outside the art world in an attempt to change the existing conditions there. For example, intervention art may attempt to change economic or political situations. Common interventions often lead to debate as to the distinction between art and vandalism.

"Banksy" is the operating name of one of the best-known interventionists in the UK. He has carried out many graffiti stencilling, usually with a specific message or comment. He has also infiltrated his own artwork into museums, where they have remained for varying amounts of time before being removed. In May 2005, for example, he hung his own version of a primitive cave painting, showing a human hunting with a shopping trolley, in the British Museum. His work is now a desirable art commodity.

(Wikipedia)

'There is Always Hope' /Girl With a Balloon (2002)

Banksy

South Bank, London

The words ‘There Is Always Hope’ are written just behind a young girl, who can be seen reaching for a balloon in the shape of a heart. Intense debate has raged on over the years regarding the true meaning of this stencil (love, innocence, hope).

Essay (notes)

Thinking of a topic...

advertising strategies/different touchpoints/media /new formats (how the strategy changes and why?)

advertising as a tool for information/awareness

integrated ad campaigns (D&AD archive, resource)

strategies in social and environmental issues advertising

Social and environmental issues of the 21st century:

illnesses

lack of safety, war in some parts of the world, terrorism

addictions (e.g. Sebastian Pytka's illustration)

lack of humanity (animal testing, human rights), ethics

stereotyping

abuse, violence, bullying

racism, sexism

depression

homelessness

classism, discrimination

food modification

global power hold by very few

global warming

pollutions and planet degradation

Most of graphic design areas are more or less related to advertising. Designs either on packaging, shop fronts or magazine pages are all meant to attract the eye and send an appropriate message (usually to encourage to buy something or to use services presented). It also has its function, such as being source of information. As it is really wide topic I have decided to narrow it down to social and environmental issues awareness and to analyse strategies and media being used to deliver the intended message. I am quite interested in advertising as part of working in the creative agency. However it is often seen as a very negative thing, helping marketers exploit their customers. For this reason I wanted to show that advertising also acts for a good cause, advertising beyond profits

(after I have seen examples of D&AD White Pencil awarded work in design and advertising: creativity for good).

‘’Advertising justifies its existence when used in the public interest – it is much too powerful a tool to use solely for commercial purposes.’’  

(Howard Gossage by David Ogilvy)

Essay title: (trial) An interactive relation between advertising and graphic design elements as a vehicle of information and awareness of social and environmental issues.

Essay title: (development) Advertising as a tool for social and environmental issues awareness. 

'Lego: Everything Is Not Awesome' campaign for Greenpeace (2014)

Don't Panic, London

'Parkinson's – Everyday' campaign for Parkinson, UK (2013)

The Assembly Network

'Save Paper. Save the Planet.' campaign for WWF (2007)

Saatchi & Saatchi Denmark

'Talk May Kill' (1942)

Abram Games

Social advertising is advertising that relies on social information or networks in generating, targeting, and delivering marketing communications.

    

Sustainability advertising is communications geared towards promoting social, economic and environmental benefits of products, services or actions through paid advertising in media in order to encourage responsible behaviour of consumers.

(Wikipedia)

'Under the sea', for Greenpeace, Switzerland

DraftFCB/Lowe Group

'Homeless Penguin' (2007) for WWF

EuroRSCG, Finland

Samusocial: Asphaltisation, 2 (2010)

Publicis Conseil, France

Essay writing tips: (PDF format)

• 'Six P' rule ( Prior Preparation and Planning Prevents Poor Performance)
• relevant reading materials, primary research
• essay must address the title
• writing should be critical and analytical with statement/point of view/ argument
• 3rd person should be used instead of first in sentences
• clear structure (planning sections, points plan, order)
• What do I think? Agree/Disagree (contexts, current thinking/debates; are there any missing bits that weren't previously considered?)why to believe or not of what's been told?                       own evidence, reasons
• balance between description and analysis (fact, so what?), critique
• recognising of the limitations in own evidence, argument, and conclusion
• (''This is not conclusive...'')
• body of essay (case studies, context) should be the start of work (introduction in the end: you can't introduce something without knowing it)
• case studies: modern, postmodern, contemporary  
• University of Leicester guides

References:

Adsoftheworld.com. (2016). Homeless Penguin | Ads of the World™. [online] Available at: http://adsoftheworld.com/media/print/homeless_penguin [Accessed 14 March 2016].

Adsoftheworld.com. (2016). Samusocial: Asphaltisation, 2 | Ads of the World™. [online] Available at: http://adsoftheworld.com/media/print/samusocial_asphaltisation_2 [Accessed 14 March 2016].

Don't Panic London, (2015). Save the Arctic campaign by Greenpeace. [video] Available at: http://www.dandad.org/awards/professional/2015/white-pencil-creativity-for-good/24233/lego-everything-is-not-awesome/ [Accessed 20 Feb. 2016].

Games, A. (1942). Talk May Kill. [Colour offset lithograph on paper] London: V&A.

Saatchi & Saatchi, Copenhagen, Denmark, (2007). WWF Paper Dispenser. [image] Available at: http://adsoftheworld.com/media/ambient/wwf_paper_dispenser [Accessed 20 Feb. 2016].

Switzerland, D. (2016). Greenpeace - Under the Sea by DRAFTFCB/LOWE GROUP AG - Print. [online] AdForum.com. Available at: http://www.adforum.com/creative-work/ad/player/6698277/under-the-sea/greenpeace
[Accessed 14 March 2016].

The Assembly, (2013). Parkinson's - Everyday. [image] Available at: http://www.dandad.org/awards/professional/2013/outdoor-advertising/19824/parkinsons-everyday/ [Accessed 2 Apr. 2016].

Eamonn MacCabe/guest lecture

24th February 2016


Today I had a chance to meet Eamonn MacCabe, picture editor and photographer, currently working for Guardian, London. He told us about his journey into the creative industry, his approaches in different disciplines and long experience in photography. I found it really interesting. He gave us a lot of good tips as well.

He was devoted to few activities in his early career, especially sport and film. He was also a member of garage band. Music was his another big passion. Eamonn has photographed various bands (he stated that bands were actually the worst to photograph and it was crucial to have some sort of concept/idea; often accidents or unexpected surprises occurring would solve the problem of lacking it). There was an in intriguing story about his first portraiture approaches out of old family album (''I was missing the trick by ignoring the photo album.''; he was ripping out photographs out of the reprint gallery and playing with the outcomes). There was another one about his air expedition for a single shot. As I am really interested in filmmaking lately, it was very motivating to hear that it is quite relevant in self-branding. I am hoping to put a little entry of it in my creativity along with the online presence I will be making shortly. There was incredibly big change in the process of photography and video making to compare with traditional methods - it is definitely easier and more convenient now (although the analogue photography is a real magical experience and I really enjoyed doing my support module last year which involved working in the darkroom etc.).

Photograph by E. MacCabe

Everyday moments and good observation of the things around us are great exercise and often source of fantastic photos, he said. I definitely agree with that. I take photo of the weirdest things too sometimes. To keep stuff simple is often the best solution. Other time it is just about the pinch of wit and humour attached to the situation and a bit of interaction with the subject (evident in the above picture where the fancy had was not intended at first and presented by the person surprisingly). Saying 'yes' to offers (trying different poses, props 'would you like me to wear my hat?'etc.) can be definitely beneficial.

Photograph by E. MacCabe (Watching football behind bars)

I really appreciate black and white photography (white expands, black shrinks the overall outlook) and his great use of negative space. Eamonn suggested that often stripping the colour adds emotions, brings the power and soul of the presented form. In case of colourful photos, the palette around is also essential in the overall appearance.

Photograph by E. MacCabe

Similarly to artwork or design, sometimes we are not happy with the outcome. He strongly suggests not to throw away any old or unwanted photographs, as they may get popular one day (''nostalgia sells''). Eamonn MacCabe has also spoken about the best use of portraiture making time: the importance to ''boss your five minutes'' Control of the situation and confidence is often essential. Photographer should learn to say: 'I want you to do this/like this' etc. It is definitely good to do numerous angles too. Sometimes very simple move or little detail can make big difference, for instance the direction of looking or changing position from sitting up-right to leaning on something. He noticed that it is usually hard to get honesty on the photographs. It is important to try to make the subject comfortable (relaxed atmosphere equals excellent results). In case of double portraits there is also the attention to interaction between people required. He also pointed that often the truth of the photograph is not up to the photographer, but picture editor or company and the way it is used.

AP, Royters: picture agencies

LMA picture stock

Daily Telegraph: good resources

Professor Peter Gurney: Consumerism / lecture

11 January 2016

Lecture: Consumerism
By prof. Peter Gurney

Consumerism vs. Minimalism

consumerism - 1: the promotion of the consumer's interests. 2: the theory that an increasing consumption of goods is economically desirable; also: a preoccupation with and an inclination toward the buying of consumer goods.


The last lecture about globalisation has already touched the topic. Today professor Peter Gurney, lecturer in the history department at the University of Essex and author of ''Wanting and Having'' (Popular politics and liberal consumerism in England in 1830-70) book, published in February 2015 by Manchester University Press, presented its full analysis with more details and points for consideration.

Description

''Nineteenth-century England witnessed the birth of capitalist consumerism. Early department stores, shopping arcades and provision shops of all kinds proliferated from the start of the Victorian period, testimony to greater diffusion of consumer goods. However, while the better off enjoyed having more material things, masses of the population were wanting even the basic necessities of life during the 'Hungry Forties' and well beyond. Based on a wealth of contemporary evidence and adopting an interdisciplinary approach, Wanting and having focuses particularly on the making of the working-class consumer in order to shed new light on key areas of major historical interest, including Chartism, the Anti-Corn Law League, the New Poor Law, popular liberalism and humanitarianism. It will appeal to scholars and general readers interested in the origins and significance of consumerism across a range of disciplines, including social and cultural history, literary studies, historical sociology and politics.'' (Manchester University Press, 2016)

Buying and exchanging goods for other goods/services or various form of payment, go as far back as ancient civilizations. Professor Peter Gurney focuses on the history of nineteenth and twentieth century, birth time and the most intense development of consumerist society. However it is arguable that the process has started during the Middle Ages. But definitely the origins of consumer society reach as far as the eighteenth century. It is time of imperial domination, exploitation of goods and commodities (import of goods, such as cotton, tea, sugar or spices) and slavery. It is also time of material culture explosion while production has become cheaper and more efficient. More people got more and more goods and new methods of labour control have developed. Fashion became more generalised in terms of gender (macaroni style). Consumer demand grew pushing new approaches into goods production (posh pottery, furniture, clothes etc.).  Considered one of the greatest critics and essayists in the history, English philosopher William Hazlitt, made an important critique also on fashion: ''Fashion is gentility running away from vulgarity and afraid of being overtaken.''

Consumerism ''kicks off in the nineteenth century'' (1840s) and starts its dominance hand in hand with capitalism (hegemony of the modern consumer). It includes simple transactions (produce-sell-buy) and all elements of citizen-consumer activities, such as education or health care. It gives job opportunities and improves level of life of worker class. Market expanded, followed by mass production. In the nineteenth century as much as now really... consumerist goods helped with classes identification, whether we want to consider society in diversified categories (classes) or not. The reinvention of Christmas shopping festival and department stores (Victorian invention) took place. In 1851 Prince Albert and Queen Victoria organised The Great Exhibition (with the help of Henry Cole – the inventor of the Christmas card). This enormous department store was held in newly built Crystal Palace in the Hyde Park and it aimed to show off and celebrate modern industrial designs.
However during the 1840s consumerist goods were restricted to upper classes. While some were enjoying their consumption, other were starving to death (usually poor workers) and had no basic necessities ('Hungry Forties').

Crystal Palace, Hyde Park, London (1851)

We have freedom of choice and competitive products and services to compare, especially now in the twenty-first century, market is overwhelmed with goods. This individual choices and possibilities define ourselves and give an impression of who we are. It has brought changes in economy and politics.

The Golden Age of Capitalism in Great Britain, was a period of economic prosperity in the mid-20th century which occurred, following the end of World War II in 1945 (particularly from 1949). It lasted till early 1970s and ended with economical crash in England in 1972. It was so easy to get a job then... you could go to work in the morning, quit and come back with another job in the evening. With time, more and more people became beneficial and being able to purchase things. Ordinary people weren't excluded from society anymore. Mass market has started expanding into unrestrained consumerism. Society was ''swallowing'' everything that word brought (constant dissatisfaction, lack of fulfilment, desiring possessions). The majority would simply absorb the domestic  consumption. Soon growing consumerism would meet religious opposition (antagonists) educating that it should be more restricted. Some started to identify the capitalism as a devil (demystification).

Consuming Anxieties: George Cruikshank

''A Swallow At Christmas'' (1841)  

However at the time of Cold War period capitalism was badly criticised what evolved into new idea of socialism and communism. In Poland it was hard time of Soviet Occupation (repressions, social unrest and economic depression). Communism lasted until 1989. During that time people were struggling to get any products in the shops. Stores were very empty until product would be delivered all at once and people would have to stand in the queue for long ours. People had tickets with restricted amount of goods they could get for particular period of time. Some would pay others to stay in the queue for their shopping (possibly the best consumerist position then was to be an owner of a shop).

In 1950-60s the consumer association has appeared, movement against capitalists exploitation. They wanted better value for money and they questioned the actual quality of goods; aiming to protect consumers (''Witch'' magazine articles). There is a special legislation for customer protection nowadays. Illustrative artists, such as George Cruikshank produced several artworks with graphic design character (that's sort of work considered as first graphic designs) - satiric images associated with politics (social or political critique).

Ingram Pinn
Financial Times, 13 August 2011

We're overwhelmed with goods and services now in the twenty-first century more than ever. We have rather high demands and expectations. It is perhaps caused by better comfort, access (online shopping, reviews), availability (also globally) and variety. We want more than we need and we have rather high aspirations. Consumption is celebrated. Market is so wide and so competitive. We live in the world where bank cards became people's identity. Most things can be purchased online. It's more convenient and less real - sometimes easier spent than cash, I guess.

Manufacturing is not as good anymore as retailers set minimum prices. Essentials are overlooked. Handmade and organic products raise their value and are often more appreciated. The scientific advances and technological progress turned our contemporary world upside down. Well-made (made to last) items that could be inherited by generations (such as clothes, furniture, domestic things) are replaced by cheaply made mass production. Even most expensive product is not necessarily good and can have very poor quality. Some cleverly done advertising campaigns have managed to develop great brand loyalty. However bad quality can be easily found and good one will retain as the companies are more transparent and they need to care about customer feedback.

There is a lot of negative aspects of consumerism, but there are some good sides too (cheap airlines and easy travel, shopping bargains on location and online). Fashion and trends are changing rather quickly. We have no choice, we have to consume, but it all seems to go in bad direction and eventual self-destruction, often without any consideration for future generations and bad or tragic effect on the planet. We're so digitally advanced, but the madness of Black Friday clearances seem to reach the same level of madness as during the 1900s department store sale sending 'You need it' message. I like shopping, it can be relaxing, but in times I feel it gets to much, for example before Christmas or on Boxing Day I guess when people go to get even more things they don't really need instead of spending quality family time. I think sometimes I fall for the brand and I stay loyal with some products I use like some cosmetics. In terms of food I completely don't trust brands any more. I found that often cheaper option could be healthier by simply reading ingredients and researching. In terms of fashion, as soon as I feel good and I look good I don't care about the brand or latest styles. But often even unconsciously we line ourselves with brands and linking physical goods, lifestyles etc.
I would like to be my own original style. I do get particular things in places like Primark. It all depends on what I actually need or want and its purpose. Most of all it is about the budget. I would often prefer to get something handmade like a piece of garment or furniture that will last longer - but it all depends on budget, if I can afford it or wait to save for better quality item. I don't mind mending things (especially for favourite things or those with sentimental value) or second hand things in good condition. I do love charity shops, where I can often find great and incredibly cheap things that look like new or can be used for art purposes. Some of them are also a great places for inspiration. People generally don't like to repair things. In some cases it may cost more or require more effort.

As graphic designer I think its important to make decisions based on knowledge and understanding of the choices/options. Graphic design is a creative, vibrant, productive and exciting industry where everyday things are communicated. However it is all controlled by consumerism. The most important tool enabling buy-sell consumerist action, advertising, directly relies on graphic design. It is extremely important to be responsible for creative outcomes and set a moral compass, ethics that are evident throughout the career. I think it is often forgotten that children are included in consumerism too. They grow up and develop their personalities based on what they see around them. It will be crucial thinking for me. While choosing either to take a project or not I'll keep that in mind. Although it will surely depend also on my financial condition - need for money going into necessities or luxuries. But I will never design something intending to manipulate people in harmful way. I will consider the background and the idea behind the project before I'll take responsibility for it. It's definitely enough insincerity or understatements within marketing strategies and I don't want to be part of anything like that.

Looking at the huge consumerist waste of visual communication work pushes us to think... where is the value of graphic design? Leaflets often go straight to the bin or decorate sides of the streets. There is no longevity in them at all and they function/purpose of making is usually ignored or dismissed. Packaging... most goes straight into the rubbish bin after use and hopefully reach the recycling cycle (it can be reusable so it is a good thing; function + longevity). However some graphic pieces are kept and collected. Many people stash things, especially when they're aesthetically pleasing. In fact I do that a lot. That's also a great source of inspiration. It is another important matter of good design. Some of them stuck in viewer's mind, having an impact on their thinking/behaviour. Consumerism has become a threat to the natural environment and basic needs for future generations. That's why conscious consumption and sustainability are extremely important. We're now far too close to the critical point of living. Negative consequences also include: global warming, animals extinctions, deaths, labour slavery, lack of resources, FUTURE.

It's quite funny or a bit sad that we always need more. Often people desire what others have. It becomes a habit to update things sometimes, such as mobile phones. Apple company makes so much money by producing slightly different shape for their product, adding few details... and suddenly everyone wants new phone. Personally all I care about is the quality of my phone's camera. It took me time to actually want to get my first iPhone. I had mobile phone with possibility of making and receiving a phone call, quite good camera at that time and Skype. I didn't have any desire for anything else. I got an iPhone with the same features now and few new apps I use, but every time I update my device I miss that old one just a little. I don't like that it becomes bigger in size. Smart phones are a big part of most lives now, possibly too big... I think it's important to try to understand it while designing and to ask ourselves a question: what would somebody/our audience like to consume and use/have? Target audience is an essential consideration while doing a project.

Edyta Lowicka-Thorpe, Sakile Stephen

Consumerism Poster (2015)

Designing poster for this lecture was a task and one of the live briefs I was intended to do in a group. I had couple of different concepts for it and the above outcome was a result of compromising the subject. The base for all of our ideas was a black and white barcode that can be found on most consumerist products. We are all familiar with an underlying desire to buy cool stuff. The overwhelming consumerism and advertising takes those desires into quite inappropriate and exaggerated level. Generally it is extremely effective. It is unavoidable and continuous cycle we have to get involved to more or less. Consumerism is everywhere within making (production) and buying (consumption). Black and white choice of image in the above graphic relates to the historic aspect of traditional B/W photography and TV (advertising). The font is relatively identified as a barcode - the rooting point in consumerism itself. Silhouette of a man suggests no identity (anyone) and it's part of the word 'consumerism' (The colour is completely stripped out to show that care for material goods leads nowhere. Minimalist approach to create the poster also encourages the reflection and finding more common sense in what we buy.

Wanting more means more work as we need spending to get stuff. People are in debt more than ever before as well. Unfortunately conspicuous consumption (extravagance) takes place and affects attitudes. Companies often exploit their customers and the Earth: good example is mentioned here British Gas (Centrica): first half profits'15 £528 mln 'profiteering'? Privatisation of goods which should serve people (owned by foreign investors) becomes a 'rip-off'', making money out of customers. It seems ridiculous. In the same time people die from cold and hunger (more deaths from hypothermia, England and Wales 2013/2015 mentioned on death certificates and raise of needs in the food banks. e.g. Trussel Food Banks).


I think consumerism has its good and bad sides ( so as advertising). Here are some good statements of advice I have found on the website together with the picture of apples I placed at the beginning: Consumerism vs. Minimalism):

• Learn to be more conscious of my impulses when I’m ready to buy something.
• Learn to pause, and to breathe, to let the physical desire wane.
• Force myself to wait, if the purchase isn’t an absolute necessity.
• Let myself think about it, and analyse whether it’s something I really need to buy. Often the answer is no.
• Slowly improve upon this, over time, as I always make mistakes. (BabyStepsToGreatHealth Editorial Team, 2016).

All of it made me think of few advertising slogans/concepts for social awareness:

Future counts on you. Sustain what you can. ( you. CONSUMERISM. future.)
Unlimited sales. Limited value. / Unlimited calls. Limited value.
Buy less. Make more.
Labelling kills. / Love for sale.
To buy or not to buy. That's the question.

Credit card front (typographic campaign).










References:

Manchester University Press, (2016). Manchester University Press - Wanting and having. [online] Available at: http://www.manchesteruniversitypress.co.uk/9780719091452/ [Accessed 14 Jan. 2016].

Merriam-webster.com, (2016). Definition of CONSUMERISM. [online] Available at: http://www.merriam-webster.com/dictionary/consumerism [Accessed 13 Jan. 2016].

Team, B. (2016). Consumerism vs. Minimalism – BabyStepsToGreatHealth.com. [online] Babystepstogreathealth.com. Available at: http://babystepstogreathealth.com/consumerism-vs-minimalism/ [Accessed 13 Apr. 2016].