Resolving the brief

"How do consumers relate with Communication Design/Graphic Design within Visual Merchandising?"


"How can communication design through visual merchandising influence consumers in a rush?"

Fits under 'SOCIETY' and is part of the Graphic Discipline 'PUBLIC AWARENESS'.. However, I assume this research brief will overlap realms of Type/Advertising and even Branding under the unofficial category of 'Visual Merchandising'


-Conceptual merit and Justification
-Ascetics and what is created (e.g.: Editorial/ Ad campaign/ Window Display)
-Where/Who/Why? How will individuals 'read' communication design in this genre?
-'Fashion Story' is essentially a Graphic Design concept
-How does Form Follows Function relate to Visual Merchandising?
-Is there an overlap between textiles and digitally rendered print? Isn't Visual Merchandising tangible Graphic Design?

Books:

'An introduction to Information Design'
'Visual Research as an Introduction to research within Graphic Design'


Audience:

Who am I targeting? Am I putting myself in the position of Hermes/YSL/Bergdorf Goodmans and adapting to their target audience to relate to my personal future goals? "Client needs or requirements should outline any specific requirements"

Work this out by creating 3x A3 Customer Profiles

Is it viable?:

What is there to study (ontology)?
How do we know about it (epistemology)?
How do we study it (mythology)?
Design problems- How is this resolvable?

Produce 1xA3 Design Board "Defining the Brief"

http://www.creativebrief.com/agency/feed/22711#case-studies-list

Initial Ideas of Research

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OUGD501: Parody & Pastiche

Fredric Jameson - Postmodernism. p16-19:

Jameson discusses Postmodernism as a modernist code. He explains how a Pastiche is the favourable and evolved version of a 'blank parody', not simply copying a piece of work or concept one for one- yet breaking down the structure of a piece of work, informing a new piece (almost acting as a homage). 
Idiosyncratic - Unusual or individual
Stupendous Proliferation - Amazing Increase

He explains how "the producers of culture have nowhere to turn but to the past: the imitation of dead styles, speech through all the masks and voices stored up in the imaginary museum of a new global culture."

Parody = "Pastiche is without Parodies ulterior motive", it challenges the establishment

Pastiche= "Speech is a dead language". The original is 'dead', by taking the piece out of its historical context it absorbs the iconography into a modern capitalist culture and even communicative design. Jameson says a Pastiche is about extracting signs from their original place in time- and ultimately their meaning.

Linda Hutcheon - p179-186:

Hutcheon's says despite not mentioning the word "pastiche" throughout her academic text... She criticises Jameson by... She is saying a parody is not pointless humour, yet is intact a response to modernism. "Parody finds itself without dedication, replaced by prestige".
'It takes the form of self-conscious, self contradictory, self undermining statement.''
'Ironic re-readigng of the past'
Parody-Repetition with critical difference
Parody + Pastiche are the same

What is it about ?
Pastiche- 'Pastiche is like a parody, the imitation of a peculiar unique, idiosyncratic style, the wearing of a linguistic mask, speech in a dead language.'
Parody - ' Ulterior motives' Comedic viewpoint
He like to challenge
Extracting signs from their originated place in time... and ultimately their meaning
Example - Postmodern architecture

I am in agreement with Linda Hutcheon that Pastiche and Parody is important and does look at the past. I disagree that Jameson rejects it and says that it is wrong.

Fredrick Jameson has a strong opinion on parody and pastiche stating that 'Pastiche is like a parody, the imitation of a peculiar unique, idiosyncratic style, the wearing of a linguistic mask, speech in a dead language.'(Jameson) he likes to challenge capitalists with his views. a good example of pastiche resonantly is the Netflix show stranger things that became very popular due to its title sequence which brought a sense of nostalgia from the 1980s. Contradicting Jameson is Linda Hutcheon who thinks that he is narrow-minded for thinking that pastiche is a bad thing on the past. She says that parody and pastiche are the same and thinks that parody is positive as it is a 'Ironic re-reading of the past' (Hutcheon) a good example of this is stranger and stranger product designers which take influence from victorian culture and let us see what packaging and production was like from the past.

COP Session 01

Jacques Rancière: 'The Flipped Classroom'

      French theorist Rancière's views on education are as ever thought provoking now as they were in 1968. The idea of no hierarchy, no 'old wise one' and emancipated learning isn't necessarily addressed too in modern day, mainstream educational environments yet lives through the lives of some. 
People have always been split into two categories, Theory X and Theory Y. 
      Douglas McGregor's motivational theory says 'theory X' workers/students don't enjoy learning or taking on any kind of responsibility. This 'category' of people needs supervision and incentives to work, and will do very little independently. However, when looking at Rancière's 'flipped classroom' theory, this would only necessarily work with theory Y students who actively take control of their own education, and have the motivation to overturn the social norms of tutor-lead learning. 

As the French culture became more volatile with civil unrest throughout the 1960's, counter cultures started emerging and the birth of the 'free love' movement was born. The acceptance of new forms of social interaction, alongside youth subcultures lead to the traditional gender and social roles being slowly broken down, a process still occurring to this day. Rancière himself was part of the Parisian art school movement in May 1968, advocating a left wing protest. Average workers were rebelling and their messages of change were perpetuated by the visual communication of art students, produced in the print rooms of Les Beaux-Arts. The Parisian students acted as activists to build a revolutionary new world, one that sadly did not fully take full shape. Rancière's idea that education is demeaning and overly-confirmative isn't overtly far from the truth, yet one can argue by having one elected specialist, in full possession of correct factual knowledge, this would guide the additional cohort to a more refined outcome of learning. By adapting the theory of having no teacher, yet realising the value of 'traditionally taught' education, one is free to explore their own practice and take full control of their own learning, with the asked guidance of a 'specialist'. Rancière felt that teachers were only interested in creating specialists, one person assigned to be the best in every job (within societal limitations), a structure the revolutionists tried to break down.

Despite todays educational system still containing a set hierarchy, it is interesting to further break down why that is. Taking on Louis Althusser's ideology that anyone can learn anything, after being exiled from Paris to Flemish speaking Netherlands in the late 18th century, his students were forced into being Theory Y learners by Althessue simply giving them Télémaque, a translatable 1699 novel to learn independently. This technique surprisingly worked, yet one can question wether it was the mental attitude/motivation at the time of the 1700's, or the leadership of such an 'inspirational' figure.     
     It could even be argued that this simplistic leadership technique is still used today by the premise of dissertations; by giving a self-directed task and topics in which to explore, the student is sent away to figure it out for themselves. We however, are less remarkable than those in the early 18th century as we have the aid of the internet. Due to the ability of accessing any information at our fingertips, the need for a hierarchical tutor structure is less needed as any information one needs, they can simply self-seek.

OUGD401// Final Roomae Brand Guidelines

Roomae records was founded on the premise that music and popular culture heavily influenced the art movement, advertising culture and subsequent graphic design. Despite Roomae being fictional it has a corporate identity, values and standards based on postmodern ideologies explored within the essay. 

I attempted a heavily composed publication to add an unusual dimension, highlighting the abstract and explorative styles covered by the likes of David Carlson. In some cases type has been distorted and rearranged conveying the 'form follows function' rule fuelling Graphic Design. My intentions for this were to inspire the ascetics of postmodernism in the modern world, fitting into modern music conventions for unusual reasons. I tried to maintain a fluid colour system, implementing the guidelines I was creating as I went.

"This book contains the brand guidelines, justification and terms of use for Roomae Records.

Roomae are a UK Based record label, founded in Leeds 2016, dedicated to bringing the underdogs and unsigned

acts to public attention, whilst aiding local events. We plan to grow but keep to our roots. 

Appearance may change, genre focus may change yet we will not loose our

ethics or the spirit of music."

Chosen Typefaces and reasoning.

Final Roomae logo chosen after careful development. Half of the 'Roomae' logotype has been removed suggesting submersion into the song, alongside creating a larger distance between the bottom of the circle and x-height of the text. The circle, created of several thin lines is to suggest a record being spun, thus avoiding the need of the word 'record', adding a curious ambiguity to the brand. I opted for K22 Didoni Swash, inspired by Benguiait Caslon- a popular 1960's typeface. I came to this conclusion after the critique, asking which typefaces from the previous set were most appropriate to pursue. As the large Roomae logo is quite detailed and can only be reduced to minimum 75x36, to fit into modern conventions I also created a smaller logo, simply suggesting the presence of Roomae. This is intended for small scale marketing purposes as stated above, ideally on Album Covers/Gig Tickets etc.

Consistent Grid system for positioning work, page layouts. By incorporating modernist techniques I am achieving a consistent positioning easily manipulatable, further reiterating my essay point that modernism and postmodernism essentially have to go hand in hand. 

Spacial awareness and mock ups.

Finalised colour scheme inspired by the Pantone colours of the 1960's. I opted for this era as my essay explores Warhol and the freedom filled culture of the day to essentially kickstart postmodernism. I tried to incorporate aspects of the colour scheme throughout all practical work where appropriate, using a soft but vivid pallet in many forms of marketing or mock ups.

Two forms of marketing showing the use of the Roomae logotype in its correct setting. The left is a poster created for the band Waterfall, based and preforming locally in Leeds- highlighting Roomae's intentions. The glitched effect was created through decoding of the image, essentially removing the 'artistic integrity' decomplying to the clean conventions set forth. I felt glitch art was the most appropriate way to showcase Postmodernism through its deconstructive nature, breaking down what the core of the piece is, yet incorporating modern (digital) processes. 

Exploring formal uses of the logo and logotype, including a mock-up album cover, Business cards and letter heads.

Putting together the book //

Final Images //

Unfortunately due to scheduling issues I was unable to book a photography studio shot and professionally shoot the images, something I plan to work on in future briefs. As a compromise, I was unsure of how to photograph and display my book relating slightly to postmodernism. In Pulp 'Common People', a song influenced by Postmodernism and rebellion they speak of "wood chip on the walls", influencing my product shots and further enhancing the subliminal music connotations.

Flat out view of the book, scaled 250x250mm. I opted for a square scale to differ from other books and brand guidelines I have researched or seen, generally opting for either a A4 or A5 scale. Despite using the laser cutter for cropping the pages, my bookbinding skills are still in progress and the alignment of pages, alongside the stitch is not perfect. If I could reprint I would also be more persistent on a stock choice as currently it feels far too flimsy, not fulfilling my intentions. Unfortunately the stock that I intended (150gsm Matte off white) was not available at the time of print, prompting me to opt for the Matte White 130gsm paper to allow the pages to turn easier. Looking back this was a bad design decision as the quality has been severely reduced, alongside evident creasing in the spine. 

Inside view of stitching. I tried to be subtle and use a white embroidery thread, adding a harsh contrast on the black exterior. The delicate-ness of the thread also contrasts the brutality of the books exterior, yet could perhaps be sewn tighter/thicker thread used to avoid it possibly coming apart. 

Showing Roomae Brand Guidelines compared to other Graphic Design publications. The contextual flow works well in this sequence, showing both modernist and postmodernist design styles. 

Experimenting with a postmodern collage to showcase my final practical piece

Evaluation //

I am happy with outcome seen as I placed myself under unnecessary time constraints. As time progressed I focused more on other modules whilst finalising my concept and idea. After feedback from a group I concluded on all necessary design aspects to cover, including type decisions and interactive design (posters etc). Due to the experimental style Postmodernism brings, I wanted to keep a layer of functionality making it fit for purpose in todays society. I felt by creating a set of brand guidelines (other than an album cover/gig poster,) fitted better into common modern branding, something I feel I need to work on in the future. I am happy with my progress through the course of the project, exploring the visual ascetics and ideologies behind the era and experimentation changing throughout the way. Prior to printing I intended to create a traditional final set of guidelines (as shown), complemented by a glitched version which is virtually unreadable. As my essay explored postmodern doing the opposite and often bizarre I felt this could be portrayed as an anti-guideline protest, suggesting a defiance to conventions and visually complying to the brands ethics. Unfortunately after printing the first copy and working out the costing, it wasn't worth producing a second tangible copy to introduce a 21t century digital quality- further relating to the essay question of Graphic Design "practice" being for the purpose of communication. Unfortunately the glitches version was not producible, yet this has taught me to give myself longer for producing and printing the outcome, allowing further time for changes and print adjustments.

Despite being happy with the brand guidelines I created, I feel I could of pushed this brief further in an experimental style by incorporating more hand rendered methods and unusual techniques.
In a critique I received a piece of advice being "forget everything you have learn't on this course", something I tried to keep in the front of my mind yet found it hard to over come. It was a huge challenge stepping out of my own mind to create something not 'following the rules' we have been taught as Graphic Design students, especially whilst evolving my own style through concurrent Studio Briefs. If I could re-do the practical accompaniment, I would experiment with paint,
scan-ography and possibly refining a promotional campaign for a band similar to Waterfall. Furthermore, I am disappointed with the level of research conducted throughout the practical and academic brief. Despite having the intentions of creating a 21st Century record label styled and based on postmodernism, I feel due to the lack of specific research this has not been communicated as well as it could have been, similarly to some of the points within my essay. I definitely regret not doing more specific formal research and analysing of postmodern music specifically, not just observing rock/punk and Hip Hop, but other acts (both old and new), such as The Lovely Eggs and Dusty Springfield. In the future I will defiantly bare this in mind, blogging as I go and taking a more analytical eye to research conducted- not just blogging about a limited selection of artists/theorists.

With regards to the final book of brand guidelines I am happy with the digital outcome, yet disappointed with the print quality. Due to print technicalities I was unable to produce it to the technical standards I had in mind i the design process, alongside not considering the binding method as well as I could have. I had to opt for a lesser-quality paper quality, causing a heavy crease contrasting against the black down the spine- suggesting a unprofessional and unrefined look.
As Zines initially became popular within postmodern culture a copper staple may have been a more effective binding method than a thin stitch. Despite this, the production of this book has excelled my interest with the InDesign package, alongside editorial design and bookmaking in general.

OUGD401 // Roomae so far

To show-case the Roomae logo in both Logotype and miniature form, I created a small range of album covers/reverse sides to display the correct usage. All album covers are not intended to be real covers, simply to showcase the subtlety and positioning of the logo miniature. By doing this I wanted to see the feasibility of having an intricate small logo, observing and considering any/all alterations. 

Despite being set with postmodern ethics, the essay question asks how this effects Graphic Design practice and subsequently the application in modern use. 

Experimental Posters //

Botanical pattern created experimenting with current Roomae colours. The fluid use of shapes and tight knit composition is popular within todays society, just as it was at the time of postmodernism, which I personally feel kicked off the experimental pattern generation, aided by artists such as Barbra Kruger's powerful layout and Warhols repeat silk screens. In todays design scene, artists such as Majestic Casual opt for a simplistic ascetic rather than a video, something I'd like to achieve with regards to advertising for Roomae.

OUGD401 // Promotional Material

Experimental Roomae Posters //

As a hand rendered quality was consistent throughout my research, I obtained a drawing from a collaborator created to look under the influence of hallucenagenics. As the Postmodern era thrived off unusually stimulating pieces, the lucid quality created by the colours and composition linked well to the style of the time.

Trying to create a digitally rendered form of marketing, implementing forms of appropriate traditionally. The bird has been made prominent to suggest freedom and free-flight, whilst the vivid style experiments with tentative brand guidelines, still incorporating a playful ascetic.

Small selection of experimental posters created for local band Waterfall. All photographic credit is for Michaela McGuinness- BA (Hons) Photography, yet digitally manipulated and decoded by myself. My intention for potraying Waterfall in this way links to the conceptual structure of Postmodernism's rule breaking ways, highlighting soothing secondary colours (such as lilac and blue), calming the viewer through the creation of destruction implemented by the glitch.

Inspired by Majestic Casual for Youtube/Spotify //

Warmer choice of colours, exploring both complementary and contrasting colours. The yellow and green form a 1960's inspired relationship, suggesting postmodernism through design.

OUGD401 // Postmodern Practical Research

Prior to mocking up any poster or album cover designs, I want to investigate what the bands and record companies of the day were doing. As Roomae is a 21st century record company, basing itself on a postmodern philosophy and stylisation, tallied to the graphical standards of the day. I have opted for this as the essay investigates Postmodernism within graphic design practice - suggesting modern practice occurring today.

Looking at subtle ways to introduce the promotors on the band. Def Jam records have a small logotype on all records/CD's/posters to show they are involved, yet many other posters have no record of the supporter anywhere.
Roomae will be featured on all promotional material in some way, I just need to find the best way possible.

1960's and 1970's poster design styling //

Both styles are fluid in design and colour combination, neither using crisp lines or geometric structure. The use of grids is basically non-existant, defying the rules of modernism. A structure does remain yet it is much more fluid and sporadic, with the composition remaining contained and justified.

Colourful posters inspired by traditional processes //

Possible Screen Print and typographic collage. The ransom note style is typical of the pop-punk/teen revolt culture which fuelled Postmodernism, looking to be physically overlaid by hand. The natural harsh accents on the typeface and mix of typefaces perpetuate the philosophy that everything is possible when you break the rules, with the clear use of Helvetica detailing fully informing the viewer of the content. 

Incorporated a grid like structure, experimenting with contrasting colours, two tone photography and solid typefaces. Unfortunately I could not discover the exact printing method, yet due to the simplistic colour pallet I am assuming this was a screen print onto yellow stock.

After investigating the use of traditional print within advertising I was unsure of how to print and display my practical investigation. To fully comply with the genre and my intentions for the brief, screen printing would be the most effective way to produce posters showcasing production methods of the day. However, after asking for feedback about this consideration it was raised that postmodernism is not a method of production, if anything it is an ideology resulting in a generalised ascetic made known by the time. With this in mind, I intend to digitally render and print all methods of communication showing the relationship with postmodernism and current graphic design practice.

1970's Typographic posters //

I opted to investigate 1970's posters to move away from the prominence of the 1960's within my project, especially as the postmodernist revolt was way underway by this point in time.

Exploring typographic posters pre-Adobe introduces a 'DIY' style, creating distortions between each copy through constant rescanning and photocopying. Despite being inspired by the compositional structure and typeface choices, I feel by doing this I would not be exploring the concurrent effect postmodernism has had on Graphic Design practice, simply recreating artwork. Through Sonic Youth, Nirvana, Pink Floyd and Reading Rocks 79', a range of alignments have been used to best communicate what was happening. Despite the ascetic being very experimental at the time, postmodernism structure within Graphic Design practice is still following subtle rules of modernism, something I intend to explore further within my practical investigation. The use of typefaces are interesting perpetuating the use of San-Serif, combined with some heavy serifs. This combination of typefaces creates a juxtaposition between traditionally and modernity, suggesting there is no limitation to what can be achieved.