OUDG401// What is Research?

When it comes to research, the process is more important than the outcome. If we allow ourselves to focus too much on the end product we won't try anything new as practitioners or challenge ourself! A thought inspired by 'An Incomplete Manifesto' by Bruce Mau Design. 

"Research is to see what everybody else has seen, and to think what no-body else has thought" - Albert Szent-Gyorgyi. Wether this be in forms of Qualitative or Quantitive, the 'research' element is what we take from the collected data at hand. 

Naturally, success within the creative industries stems from having 'genius' ideas, frequently and close together. This increases our chance for success and to be a desirable innovative designer. But the question is, how do we generate these ideas?

• Stimulated approach // This consists of watching and reading possible texts of interest/ doing and discussing thoughts you have from this or even going and experiencing places/ events to inspire possible primary sources of research.
• Systematic approach // This is much more linear in methods and is essentially experimenting through starting points and working through possibilities to resolve a thought/ idea.
• Innovative approach // For me this is the most common but is still influenced by 1 + 2. This approach is where ideas are generated from what we've already seen and experienced, so it comes straight to mind.
•  Only by curating the stimulated and systematic approaches do our 'back-catalogue' of information become vast enough we can derive references and ideas instantly.

The main thought I had from thinking about this, is without a life- you're not a designer. Without a life you have no inter contextual references to come to mind when you're on the spot for a moment of 'genius'.

... But what is research?

Types of research include:

• Primary Research// Collected first hand and for a specific purpose
• Secondary Research// Already collected for another purpose
• Quantitate Research// Measurable data and facts. Easily analysed and objective
• Qualitative Research// Opinions or feelings, harder to measure and subjective

However, the important thing when analysing any form of research is to make it specific to you. There is no need to research something parallel to your topic if it will not lead you to a more defined idea or route to take.

Information is essentially "adding knowledge to the person receiving it" (Fred Bates), but this does not have to be in a boring 'excel' kind of way. In the creative industries especially research can be presented as anything- a map, a story, a physical task. As long as the research is competently collected it can take any form.

Basic Methodologies//

(01) Assimilation > (02) General Study > (03) Development > (04) Communication

This basically means after accumulating the specific data (01), you need to investigate a range of possible solutions (02), leading to a development of more tentative solutions (03) when you will finally be able to convey the information/ ideas in the best way (04).

You always need to remember that even though research is cyclical and always going on in one sense or another, you need to know when to stop. Over research (for me at least) is the most confusing part of the design process, as when more than one amazing idea develops and you try and find middle ground- everything becomes foggy.

// In conclusion, start everywhere. It's the questions you ask yourself that lead to success within your research, thus leading to the creation of genius ideas.

OUDG401// Essay Plan - Study Task 5.2

“How did Postmodernism impact on Graphic Design practice?"

Expanding from my brainstorm about possible points I can discuss within the topic of postmodernism, I am in the process of gathering my thoughts and considering essay structure.

Academic Sources of Reference:-

• No More Rules: Graphic Design and Postmodernism, 2013, Rick Poyner
• A Critical and Cultural Theory Reader, Second Edition, 2004, Easthope and McGowan
• Fotografiks: an equilibrium between photography and design through graphic expression that evolves from content, 1999, David Carlson and Phillip B Meggs
• 'The Politics of Postmodernism', 1989, Linda Hutcheon
• Looking Closer- Critical writings on Graphic Design, Allworth Press, pages 25, 28, 44, 45, 50-65, 79, 80, 101-105, 130-131, 155, 156

Analysing Graphic Design:-

• David Carson- http://www.davidcarsondesign.com - Many of Carson's graphic design is appealing to me for this topic, as not only is his work firmly within the 21st century- it also epitomises postmodernist qualities. His use of obscure and un-linear typography combined with block colour and a collage-esc composition personifies the journey of postmodernist influences into the modern day, as well as incorporating some traditional techniques where appropriate. 

• I-D Magazine- 'The Art Issue' and like issues from 1985. I want to explore a range of experimental covers from the time to showcase and investigate how postmodernism was broadcast to the masses through publications. It is noticeable at the time that like magazines such as Vogue or Vanity Fair were taking a traditional approach and sticking to the conventions. 

                       

OUGD401// Planning & Structuring an Essay - Study Task 5.1

“How did Postmodernism impact on Graphic Design practice?"

//Area's to investigate:

• What is Postmodernism?
• How has postmodernism progressed to be no longer 'the norm'?
• Key theorists and writers/ designers within Postmodernism
• Known practices and how they have changed
• Graphic Designers/ Creatives who have been visibly influenced by Postmodernism today

//Remember:

• 'What?'- Meaning what evidence is there to be collected to back up/ challenge if my thesis is true?- this comes in early within the essay.
• 'How?'- Look from a readers point of view and find out if my thesis is true in all cases. This is the section to counter argue and include the counter references.
• 'Why?'- What larger implications are created from the thesis? Asses the essay's points in a larger sense, explore knock on effects of Postmodernism today and possibly its implications for the future. This section should also voice my thesis/ postmodernism relevance to me/ Graphic Design now. Essentially, why is this important. 

//References & Artists to explore:

• 'The Politics of Postmodernism', Linda Hutcheon
•  Section 6 of 'A critical and Cultural Theory Reader- Second Edition', East-hope and McGowan
• Barbra Kruger / Larry Carlson/ David Carlson
• 21st Century Album Artworks
• V&A 'Postmodernism Teachers Resource' ('Style and Submersion 1970-1990)
• 'No More Rules'- Rick Poynor
• Wolfgang Weingart/ Steff Geissbuhler/ Odermatt & Tissi
• Looking Closer- Critical writings on Graphic Design- Allworth Press

//Possible Thesis: 

• 'Postmodernism has given the green light for anything to go within Graphic Design'...
• 'Postmodernism is ugly but freeing'

//Brainstorm: 

Postmodernism today is brought into the spotlight by indie hipsters who want to be different. This is through the use of wacky album artwork and the evident defiance for conventions. As an outsider of postmodernism it seems more negative design stereotypes are referenced to postmodernism than any other recent era, possibly why this 21st century sub culture is forcefully trying to bring it to the surface? Furthermore, the mainstream design industry, of clean design and simplification references Modernism more, due to artists such as Vignelli and inspired Swiss Cultures. 

To me, it almost seems that postmodernism is the less loved 20th Century child which still manages to pull on the heartstrings of modern individuals-  but is this for its artistic integrity or for its lack of?

How do you define postmodernist artwork? Date? Style? Colour and composition?

//Wider research:

Shawn Rider- 'Writings'
V&A Postmodernism
Open University- The Postmodernist Movement
WTTW- Robert Venturi Postmodernism & Postmodernism Timeline
Open University- Modernism
Postmodernism for Beginners - Richard Appignanesi & Chris Garratt
Sample essay on Graphic Design and Postmodernism
Graphic Design blog
Postmodernism and David Carlson
http://www.visual-arts-cork.com/postmodernism.htm
http://www.visual-arts-cork.com/postmodernism.htm#principles
http://www.liketotally80s.com/2007/08/80s-capsules-1980/
http://www.bbc.co.uk/news/entertainment-arts-12628516
http://www.cassetteprint.com.au/blog/tips/technology-vs-art-graphic-design-of-the-1980s/
 http://www.independent.co.uk/life-style/health-and-families/features/the-seven-ages-of-drug-addiction-the-highs-and-the-lows-by-those-who-experienced-them-7820948.html
https://www.typotheque.com/articles/deconstruction_and_graphic_design_history_meets_theory

OUGD401// Poynor- "No More Rules" Summary

"No More Rules", Rick Poynor

Pages 18 - 37 from Rick Poynors 'No more rules: Graphic Design and Postmodernism' is essentially a debate with previous leading practitioners views on postmodernism- wether they be good or bad. The text throughout is divided into positive and negative tones of voice, starting with design critic Corin Hughes-Stanton dismissing postmodern styles as "[lacking] originality, and the fact it has not produced it's own contemporary style". This is later emphasised by fellow critic Mark Treibec commenting that "postmodernism's assault on the eye with pages of blips, slits, dots and zits was initially enjoyable, an exhilarating relief from ordinary design, but has rapidly become tedious and exhausting" suggesting "this is not charred complexity, this is just noise".
This is counter argued regularly as the text later discusses postmodernist designers being visual interpreters of hybrid design, providing the information in the most ascetically challenging and innovative way they could think of. Postmodern Graphic Design is 'the medium of a new sensibility, informed, playful, ironic...', a pleasant change of pace from the constraints of modernism. Postmodernism within Britain's new-wave was identified strongly youth culture from 1960's- 1980's, possibly because 'modernism never dominated the face of British graphic design' unlike overseas. Since the introduction of the Punk movement and experimental sensory designers such as Vivienne Westwood pioneering the way in individuality, the tastemakers of the day pursued postmodernism more so in the UK than in the US. In conclusion, postmodernism has divided industry professionals such as Wolfgang Weinkarte, Robert Venturi and critics such as Corin Hughes-Stanton and Mark Treibec with their opinions. It is evident postmodernism has been subconsciously created as a design wave to be the experimental sibling of 'modernism', whilst essentially freeing the artists creativity to a new level through experimental composition and digital colour ways.

OUDG401// Rick Poynor - No More Rules (pages 18-37)

Poynor - "No more rules" is essentially a written counter argument discussing the legibility and reasoning of post-modernism.

(01)

Key Points:-

// Post modernist designers are basically visually interpreters of hybrid design, providing the information in the most ascetically challenging and 'new' way they could think of. This means post modernist design "carried the spores of its own cooperation and failure".

//"The postmodern city can seemingly exist in harmonious balance with the surrounding landscape only so long as clear limits to growth- symbolised by a warning style stamped across a whole area".

//Britain's new-wave was identified with youth culture from 1960's-80's- possibly because of "modernism never dominated the face of British graphic design", so now The Sex Pistols and Queen Viv are pioneering the way in individuality- the kids have gone mad. This also saw the birth of a new 3D trend, especially around the music scene- very sensory.

//Post modern Graphic Design is "the medium of a new sensibility: informed, playful, ironic..etc". It predicts modernist boundary breakdowns.

//Post modern is something strange and paradoxical. The introduction of mad collages inspired by "art deco, architecture and fused typography".

Key Quotes:-

//Robert Venturi: "Architecture should evoke many levels of meaning. It should be possible to read it and interpret differently- the same goes for Post Modern design".

//Critic Mark Treibec: "Post modernism's assault on the eye with pages of blips, slits, dots and zits was initially enjoyable, an exhilarating relief from ordinary design, but has rapidly become tedious and exhausting"... "this is not charred complexity, this is just noise"

//Charles Jenks, architect and one of the first who commercially said 'post modern': "Postmodern style is 'hybrid, double-coded and based on fundamental dualities".

//Hughes Stanton: "[Its an attitude and lacks originality]" However, "Its roots are deeper embedded in society than the modern school".

//Wolfgang Weinkarte pioneered post-modern Graphic Design and commented to say: "It seemed everything that made me curious and was forbidden" when asked about post-modernism.

OUGD401 // Image Analysis Exercise

The 1876 advertisement for "The Uncle Sam Range" cooker created by Schumacher & Ettlinger instantly showcases patriotic symbolism for the USA, portraying the 'American Dream' in all its glory. The wealthy are portrayed dining on their lavish food all cooked by their new state of the art cooker- making onlookers aspire to be "upper class" and have their lifestyle. This is emphasised by the extravagant home setting and garments of those present, especially the young girls titled as individual American states in the background. At a closer look, the clock dates are 1776 and 1876- marking 100 years since the Declaration of Independence, suggesting this advertisement and stove may be limited addition to mark the occasion. The use of the Western style typography, and "Feeding the world with the aid of.." shows unity within the empire; distilling the ideologies that the powerhouse US is not a force to be reckoned with, boasting about their progress within a mere 100 years. 

A racial undertone is apparent as the black figure serving their food is made to look slightly comical and inferior to the others, which is ironic seen as America is built on a healthy immigration system. 

Similar messages are cast in Adrian Allison's 'East African Transport Old Style' and 'East African Transport New Style' (1930-1931). It seems the intended narrative of the two images here is to show investors that the British Empire are making improvements to the world, and therefore we should put our trust (and funding) into the empire. This is suggested by the deliberately illustrated sad/angry faces to show the natives are not happy with their 'old' way of life, thus prompting the British to intervene and 'improve' quality of life overseas. However, I take a negotiated reading to this image and feel that the 'new' way of life is not the British empowering the Africans, but once again connoting the racial undertones (similar to the US). The white man is now in the focal point of the image, overlooking the once free. This is represented not only in a change of mood, but also in a change of attire. In the 'old' scene, they are wearing their own tribal regalia contrasting the uniformed white cloth sorts in the 'new' scene. This way of thinking may be because as a citizen of the 21st Century, we are aware of the history and cruelty that has taken place in the past which has tainted our view on images like these. This brings up more similarities with regards to empire as both Western 'powerhouses' are creating high quality propaganda to show off how fantastic they are, implying to the African onlookers (and the rest of the world) they would be nothing without the empire. In the 'new style' scenario by Allinson technology has been introduced by the west, making bridges and bringing large trucks. This image is also purely male, connoting to sub tones that women are inferior despite being the time of the suffragette movement was well underway. In conclusion, despite both images seeming different from the outset, their use of ‘The Empire’ as an underlying theme casts very clear similarities. The use of illustration and painted colours with a hand rendered distortion also ties them into a very similar genre artistically, whilst the undertone of ‘the man’ being in control ties them culturally.

OUGD401// The Lecture that Made me Hungry

Context of Practice 1 // Visual literacy lecture // OUGD401

Visual literacy is based on a shared understanding of sign/ symbol and gestures. Without a cultural or global understanding of certain symbols, meaning would be near impossible to transcend through many language barriers. Through the lecture we looked at 10 Principles to consider and how to "work the metaphor" in a creatively stimulating way. 

By introducing Visual Syntax, Visual Semantics and Semiotics into our thinking, we have a better understanding of how to use symbolism correctly- and how it will be percived in different places. 

One part of the lecture that I found the most interesting is that if we switch gender stereotyping colours (pink/blue) on symbols less known, such as Mars and Venus, we loose confidence in our knowledge and start questioning the true meaning- (I wonder what else this applies to?). Colour is a HUGE impact on what the symbol means and by adding a certain colour and changing the shape slightly, we have a range of brand new symbols with entirely different meanings.