Tuesday, April 28, 2015

OUGD505 / Methodology

Identifying my Graphic Design methodology

'Methodology is the systematic, theoretical analysis of the methods applied to a field of study. It comprises the theoretical analysis of the body of methods and principles associated with a branch of knowledge.'

The synthesis of my research, existing morals, approaches and taste level underpins my practice; my methodology.

Context is to be considered before identifying an end user, taking this step before defining a target audience creates a base to develop upon. This context derives form the manner of the project; why it is you are completing the project, from my experience there are several contexts in which a project is to be completed:

-       To respond to a set brief for financial gain
-       To develop and experiment for personal gain
-       To respond to a set brief to complete marked criteria
-       To develop work for a portfolio that expresses my practice, interests
and focus.
-       To adapt briefs to complete work that you are to enjoy

These contexts skew each approach to a brief and it is necessary to identify before starting research; as the context will define this.

I aim to define a set of limitations as narrow as possible to direct design decisions, although this could appear to limit my own practice, I believe the opposite. Defining each aspect of the brief (Tone of voice, TA, Aims) as narrow as possible; subjectively of course, will direct the creative outcome. This defines a designer and their practice.

User research is one of the most important aspects of a methodology, more than simply identifying, a designer must gain an understanding of the user, encompass their taste level, understand their behavior and somewhat predict their reaction to work. A designer must identify an aesthetic and channels that are comfortable for the TA while identifying an educated presumption of the users reaction to visual content.

Research methodology is to follow identification of a target audience and context; this is a time to identify the context of forms (typeface, layout, color, etc) that can relate to the content of the response. The typeface used for the branding of Disobedient Objects; Doctrine was derived from the only airline in North Korea, it is context driven design like this that can be appropriated to create strong, substantial connections; although they may not be apparent to the eye.

Working with pre conceived ideas are a safe manner to work with, subjectively I don’t agree with the use of these, the arrangement of hierarchy is pre conceived for example, but why should a headline sit above copy in the top quarter of a page? It is the questioning of these pre-conceived ideas that underpins my practice, practice I believe to be incredibly interesting and innovative.


Applying a subjective taste level is the practice that creates a designer’s ‘style’, I do not agree with this practice, as I believe every brief should be approached differently.



OUGD504

You’ve developed a very thoughtful approach to research and development.
The avenues that you explore are helping to define your own design voice although a little more work at the end of the project to up the quality of the production/presentation would start to do more justice to your output. The
collaborative briefs appear to have been the most troublesome for you: with both the i-D and the fashion identity project having been most troublesome. Despite this, it all seems to be heading in the right direction with the effort put into the Secret 7 solution yielding some very interesting results.

OUGD503

A good body of work that demonstrates your growing confidence as a designer. Your ability to reflect and evaluate is particularly commendable. Some of the ideas haven’t always been carried through to your work successfully but you notably address these issues when summarizing what you created. Plus you’re consistently engaging with contemporary design and increasing your understanding substantially.

Identifying 3 point for improvement:

Final outcome and production;

Directly influenced by time management, I need to better plan my time and allow for printing and production. I am to do this in OUGD505 by planning time to print and bind my final response.

Applying ideas into design;

Directly influenced by the development stage, I need to somewhat ‘slow down’ when going through this stage. I need to thoroughly consider and as mentioned in methodology; narrow my direction by defining the project in its earlier stages.

Collaboration work;


This was somewhat due to unfortunate events however it is nonetheless on my behalf that I need to plan for such situations as well as better choosing working partners. Finding people who I don’t work well with is as productive as the opposite, as I now know to be more cautious in my selection.

Wednesday, April 22, 2015

OUGD505 / Studio Brief 01 / Research / VISUAL SELF-HELP VOL-1: HOW TO BE FUN - Rory DCS

How to be FUN



'Having spent the past eight years as a university lecturer, I found that teaching materials, self-helps and academic writings were filled with lots of aesthetically unpleasant books and often lacked a sense of humour. Visual Self-Help is an attempt to rectify that using (I hope) nice photos and (again, I hope) laugh out loud statements.'



The minimal approach to text and focus on imagery drew me to the project by Rory DCS; A lecturer at CSM. The direction and styling by Rory captures the intersection between ruggedness and luxury; an intersection that creates aesthetically pleasing images and emphasises a focus on fashion.

This weighting towards photography as a primary means of communicating a social, ethical or political message is a rarity; a rarity I would like to complete myself.

Visual self - help = A technique I had not considered previously.

Monday, April 20, 2015

OUGD505 / Studio Brief 01 / Research / KATSU

'KATSU is a prolific artist, vandal and hacker who emerged in New York City in the late 1990s. He tags both with “KATSU” and has also developed a single stroke skull icon.'

The social, ethical and political messages Katsu conveys are examples of how visual communication can be used to challenge society and conceive new ideas that can be both progressive and negative.

Katsu's 'tag'
'KATSU
Remember the Future
January 8 – February 22, 2015

The Hole is proud to announce the first solo show with the gallery by artist KATSU, Remember the Future. KATSU has participated in thematic group exhibitions in the gallery the past year that have focused on new ways to use technology in painting; however, this January, he stretches out to fill the entire main space with conceptual works in new media. In Remember the Future, KATSU exhibits many diverse pieces—including the Drone paintings he pioneered—that all look at how humans interact with the tools they have created.'


An eclectic exhibition of pieces that question the constructs of contemporary society.
Here we see two portraits made from the artists faeces, a sparring dummy made to imitate a police officer and a live installation of GTA: A game criticised for it's controversial manner.
The whole exhibition sits on a rubber floor, similar to that found in children's play areas, intended to portray the exhibition as expression of play / fun .  

In the opposite corner of the room, a series of static drones suspended from the roof rest below an artificial cloud to add to this sense of hovering. The drones are not the art piece here, they are somewhat a reminder of Katsu's well documented curation of the drones work (covered below). 


The provocative installation of a dummy wearing a police hat can portray a varying range of messages;
'Punch a police officer'
'Take your aggression towards the Police here; can be extended to a rebellion against society'
It could also relate to the retaliation of society to the killing of the innocent public by Police Officers; just as the incident that sparked the London Riots.


A mockery of the contemporary ravishing of selfies, this piece sits in between the frightening thought of a AI invasion and the comical values of taking such 'selfies'. A comment on the current and potential future of social construct.

'KATSU’s graffiti drone, which he hopes will soon be capable of autonomously creating its own artworks, challenges our notions of authorship, creativity and power: Who's the artist, the human or the machine? '

'He has developed a system to attach a spray can to a quadcopter, creating the world's first true graffiti drone. The drone is capable of spraying canvases or walls hundreds of feet high, granting the artist access to physical spaces that were previously inaccessible.'
Although the aesthetic of splattered paint is nothing innovational, it is the process and conceptual approach that renders the work innovational, embracing technology and raising the ever growing conversation about ownership and the new possibilities that conceive with progression in technology.



Friday, April 10, 2015

OUGD505 / Studio Brief 01 / Research / Skinhead: An Archive

The covers illustration shows a 'skinhead' on a cross,
insinuating the compaison between the subculture and a religion. 



'‘Skin’ is a headline font designed by Jamie Reid to mark the launch of the landmark new publication Skinhead: An Archive'





http://shop.dittopress.co.uk/products/copy-of-skinhead-an-archive-1st-ed

'Skinhead: An Archive, is a landmark new publication and exhibition exploring one of the most controversial, misunderstood and radical subcultures. Designed by Jamie Reid and published by Ditto, with printed material curated by Toby Mott, the book examines this multi-faceted culture through the filter of printed material, zines, posters and films. Divided into sub-sections looking at the original iteration of skinhead, the fascist interpretation, the socialist counterpoint, queer skinhead culture, exploitation literature, skin girls, and everything in between.

Reflecting the powerful aesthetic sensibility of the movement, featuring thoughtful use of Risograph and offset printing to reproduce the rough immediacy of the original material. The book features an exclusive font design, developed and adapted from a skinhead article in Penthouse magazine, which will be available to download in the Ditto store. Alongside a wealth of unseen visual material, the book will contain texts from writers with unique experience of the culture, including Bruce la Bruce and Garry Bushell.

Published/ Printed by Ditto Press'

OUGD505 / Studio Brief 01 / Research / Protesting with faeces



http://www.vice.com/en_uk/read/a-brief-history-of-people-protesting-stuff-with-poop-197?utm_source=vicefbuk

'In fact throughout history, whenever oppressed masses have dropped their shit as arsenal,
rulers have been shaken because it often marks the beginning of a social uprising.'

'In 2011, at least one protestor seemed to think it was a good idea to squat on a cop car at the Occupy Wall Street protests (despite all the flak and heat protestors were taking for poor sanitation at their campsites and the plethora of other avenues of effective dissent open to them.)

In 2012, members of the Continuity Irish Republic Army imprisoned in the high-security Maghaberry facility outside Belfast launched a "dirty protest" against new full-body search protocols, smearing their cells with stink streaks in a meaningful callback to the strategies of IRA prisoners held in abysmal conditions in North Ireland's Maze prison in the early 1980s.

In 2013, protestors in Cape Town, South Africa perhaps planted ideas in the heads of the current student protestors by launching a mass (bowel) movement, pinching and pitching loafs onto the provincial legislature building, the international airport, the bus transporting the regional premier, and throughout a series of low-income settlements to protest poor sanitary conditions and economic disparities. The same year, a similar tactic spread to Zimbabwe, where a man spared a free speech charge by using a campaign poster from dictator-President Robert Mugabe's political party to wipe his wide load. Even Texans may have joined in, as highly contested reports emerged that summer that 18 jars of waste were confiscated from pro-choice protestors demonstrating outside of the state senate as it debated stringent new abortion restrictions.'



This portrait of Mark Zuckerberg, founder of Facebook, is painted in faeces by Amerian artist Katsu; his rationale for the work:

'"Mark is Mark. He's this mutation, this gross aspiration everyone idolises. His face has reach. He deserves to be ridiculed," the artist told Gizmodo at the time. "There are some that are fighting to protect privacy, anonymity and freedom and those who are trying to control, monitor and make profits. I want to let people know my beliefs."' 

'A portrait of Mark Zuckerberg painted from human faeces is being exhibited in New York as part of an exhibition commenting on technology's effects upon humanity.'



OUGD505 / Studio Brief 01 / Research / YOU ARE NOW ENTERING FREE DERRY

Free Derry Corner is a historical landmark in the Bogside neighbourhood of Derry, Northern Ireland.

'Free Derry was a self-declared autonomous nationalist area of Derry, Northern Ireland, that existed between 1969 and 1972.

The area, which included the Bogside and Creggan neighbourhoods, was secured by community activists for the first time on 5 January 1969 following an incursion into the Bogside by members of the Royal Ulster Constabulary (RUC).'

The slogan was first painted in January 1969 by John Casey, since then, the mural has developed greatly from the original defacement.

The mural was professionally repainted in time for the visit of the British Home Secretary.





The mural has been a target for several defacements with the intent of communicating a social / political message in its damaging; the charred marks were created from the burning of poppy wreaths; laid to pay homage to fallen soldiers.
The aesthetic created from this defacement is strong and intriguing.




Instagram proved to be an efficient source of research;
Finding 9 variations of the mural that are hidden somewhere in the deep dark web.












This is an example of a social / political / ethical practice in design. 
The mural has transcended it's original context and is now seen as a symbol for larger topics such as human rights, justice, international conflict, remembrance and raising awareness. 

The appropriation and adaption of the mural to better relate with ever changing contemporary issues explores this efficient platform of communication, as seen above, placing the wall in pink to represent Gay Pride Week.


OUGD505 / Studio Brief 01 / Research / The Gutenberg Bible


Johann Gutenberg’s Bible, the first real book to be printed using the technique of printing which Gutenberg invented in the 1450s.

Gutenberg

In the mid-15th century Johann Gutenberg invented a mechanical way of making books. This was the first example of mass production in Europe.

Before Gutenberg, every book produced in Europe had to be copied by hand. (Although the Chinese had been mass producing books since the ninth century.) Now it was possible to speed up the process without sacrificing quality.

We know for certain about this first printed Bible from a letter of 12 March 1455.

Construction

The paper size is 'double folio', with two pages printed on each side (four pages per sheet). After printing the paper was folded once to the size of a single page. 

The folio size, 307 x 445 mm, has the ratio of 1.45:1.

A single complete copy of the Gutenberg Bible has 1,286 pages.

The handmade paper used by Gutenberg was of fine quality and was imported from Italy. Each sheet contains a watermark left by the papermold.

The were between 160 - 185 copies created.

Stock differs between Vellum and Paper. 

Golden Ratio?

Historian John Man suggests that Gutenberg's Bible page was based on the golden ratio (commonly approximated as the decimal 0.618 or the ratio 5:8), and that the printed area also had that shape.[15] He quotes the dimensions of Gutenberg's half-folio Bible page as 30.7 x 44.5 cm, a ratio of 1:1.45, close to Rosarivo's golden 2:3 (1.5) but not to the golden ratio 1.618.

Counter argument:

'To reach this ratio more closely the vertical size should be 338 mm, but there is no reason why Gutenberg would let this non-trivial difference of 8 mm go by in a work so detailed in other aspects.'




Typeface

Gutenberg developed an oil-based ink that would better adhere to his metal type. His ink was primarily carbon, but also had a high metallic content, with copper, lead, and titanium predominating.

The first part of the Gutenberg idea was using a single, hand-carved character to create identical copies of itself.

Copies were then produced by stamping the original into an iron plate, called a matrix. A rectangular tube was then connected to the matrix, creating a container in which molten type metal could be poured. Once cooled, the solid metal form was released from the tube.

Copy was set in a 2 column grid.

Copy is fully justified.

Illustrations and punctuation are to sit in the margins.

Hanging punctuation is used in the Gutenberg bible.


Textualis, also known as textura or Gothic bookhand, was the most calligraphic form of black letter, and today is the form most associated with "Gothic". Johannes Gutenberg carved a textualis typeface – including a large number of ligatures and common abbreviations – when he printed his 42-line Bible.'

ALOT Gutenberg A is a digital interpretation of the font.




A copy on show at The NY Public Library.

The copy has been digitised for viewing online here:
http://molcat1.bl.uk/treasures/gutenberg/search.asp

The copy has been digitised for viewing online here:
http://molcat1.bl.uk/treasures/gutenberg/search.asp

Each edition is bound and decorated individually.
Illustrations are individual to each copy.
The pages left Gutenberg's press without bounding illustration, binding or rubrication.

Rubrication is highlighting of copy, usually with red to signify a type hierarchy.

OUGD505 / Studio Brief 01 / Research / Gluten Free Museum


Sufferers of Gluten intolerance / sensitivity can now enjoy art works without the gluten.

Taking all food products (even farming tools) containing / affiliated with gluten are removed from their original art work.

The content is user generated and followers are encouraged to submit their gluten censoring.  

Although this is solely intended to be a humorous blog, 
there is possibility for this 'censorship' to have scope within a more serious 
social, political or ethical context.

Just as Hank Willis Thomas has edited existing advertisements to convey his message, 
art works are edited here to convey the abundance of gluten a non - sufferer may not realise.

Appropriation used again.