Monday 28 March 2011

Defining Avant-Gardism

In terms of art and design, avant-garde is usually defined through innovation and exploration of emerging styles and techniques. It is known to originate in the 1850's with the realism of Gustave Courbet who was influenced by previous socialist ideas. The term is synonymous with modernist design as the concept of 'pushing ideas forward' is evident in both. People often use the term to refer to works which are deemed experimental or novel.

The belief that the artist should be an agent for change is what avant-gardism strives to achieve. The term is associated with art considered socially progressive, innovative and that which seeks to break down the boundaries of normality. Recently, however, the term has neutralised, without meaning. The origin of the term is often disregarded and is now applied to mundane 'things'. Nevertheless, contemporary designers constantly strive for new and progressive ideas as evident in the following designs:


Corporate America Flag [online] Available at: http://www.adbusters.org/cultureshop/corporateflag


Adbusters is an anti-consumerist organisation devoted to challenging consumerism and how our culture is led by commodities. It is well known for their 'subvertisements' - spoofs of popular advertisements. The 'Corporate America Flag' suggests our ever-growing commodity culture is, in this case, controlling America. The stars which depict the 50 states of the USA have been replaced with popular logos in order to connote their domination and manipulation in our society. The designer has challenged the social normality and disregards any potential copyright issues by using well known brands and their identities to portray an apparent corrupt culture.



United Colors of Benetton (1991) [online] Available at: http://press.benettongroup.com/ben_en/about/campaigns/list/newborn_baby/

The Benetton group is a fashion brand who appointed Oliviero Toscani, a famous Italian photographer, to direct the 'United Colors' campaign. It featured images which had social and universal relevance but evidently created immediate controversy. The majority of these striking imagery (in this case, a newborn baby) were set against a white background accompanied simply with their logo. This campaign was intended for peace, multiculturalism and harmony but has instead, instigated anger. Nevertheless, Toscani states it is not Benetton, but the media that presents us with a distorted image of the world: 

‘We are getting further away from reality of the world. We have no point of view any more, because we read the paper, watch TV. Women have to be blond, tall and thin. Everything is based on the fact that we have to be accepted in society. Everybody needs consensus. Everything is getting flatter and flatter. People say that what I do is ‘just a provocation’. It’s not true.’ 

The aforementioned image encapsulates the definitive aspect of avant-gardism - to push the boundaries of what is considered socially acceptable by striving for originality.

Sunday 27 March 2011

Deconstruction - 'Thinking with Type' Task

According to Lupton, text has more 'integrity and wholeness' as opposed to content surrounding it. Text is usually composed and treated for a specific purpose or context as indicated by either the writer or the designer; each of which poses its own limits. However, although the main purpose of typography within text is to engage people with the written word, Lupton suggests its focus is to 'help readers avoid reading'. This is supported by the views of deconstructionists who believe readers should not be forced to read though a particular structure but instead, text should instigate shortcuts and offer the readers own interpretation.

Before printing allowed text to be mass-produced, handwritten documents were abundant with individual errors which would be duplicated and altered when copies and copies of copies were made. Due to the innovation of the printing press, authors were put in the forefront and people were made well aware of the ownership of a particular piece of text. This form of closure meant the text was unchangeable and as a result, provided one meaning; the meaning what the author intended to evoke.

Roland Barthers, in his essay 'From Work to Text', disputes two forms of writing, the 'closed, fixed work' in comparison to the 'open, unstable text'. As typography was fixed and unchangeable due to printing and mass production, written text was supported by features which enhanced the readers navigation and engagement with the aforementioned text; some of which include page numbers, footnotes and contents. As a result, the 'death of the author' emerged and indicated how typography allows the reader to create meaning and understanding by looking at the form aswell as the intended function.

Deconstruction was a term coined by Jacques Derrida for the comparison of the conceptual binary oppositions or distinctions of a given subject to prove that one is not more fundamental than the other. It became a dominant mode of graphic design in the 80s and 90s as contemporary designers began to explore Barthes's theory - that the author no longer controls the significance of text but instead its form indicates how it should be interpreted.



Katerine McCoy, Cranbrook Graduate Poster, 1989 [online] Available at: http://www.webdesignstuff.co.uk/hp005/2011/01/26/deconstruction-and-web-page-design/

Katherine McCoy was a leading tutor for the design program at Cranbrook Academy of Arts. Pluralism and the art of combining pre-existing materials through photo montage and overlaying text is evident in this design by McCoy and is typical of deconstructionist graphic design. Rather than conforming to a usual structure, McCoy seems to have spontaneously placed the text to allow open interpretation for the reader. The design has been composed so there is no definitive starting point and as a result, creates a non-linear structure. 

Monday 21 March 2011

5 Examples of Postmodern Graphic Design

In art, it is said that postmodernism is a reaction or challenge against modernism. It breaks down the boundaries between high and low culture and refuses to have its own distinctive style; it encompasses pre-existing techniques, processes and materials and has no definitive reasoning. These are some examples of where I believe postmodernism is apparent in graphic design.



Barbara Kruger Exhibitio, 1991, [online] Available at: http://www.pbs.org/art21/artists/kruger/card2.html

This exhibition space by Barbara Kruger is typical of postmodern design, combining a range of pre-existing materials and quotes, predominantly black and white photographs overlaid with quotes. The text doesn't conform to a usual structure but is instead strewn across the walls, floor and ceiling.



Katherine McCoy, Cranbrook Graduate Poster, 1989 [online] Available at: http://www.webdesignstuff.co.uk/hp005/2011/01/26/deconstruction-and-web-page-design/

There is an onslaught of type and image. Katherine McCoy rejects rigid genre boundaries and breaks typical conventions by avoiding a uniform grid and composition. The majority of the body text is illegible due to the photo montage imagery underneath - the basis that function follows form. 



Artist unknown, Strawinksy Berg Fortner

Similarly to the previous designs, this does not conform to a stereotypical grid. There is no coherence to image and type as the shapes, although following the same perspective as the type seem to be spontaneously placed.


Part graphic design, part fine art. The designer has re-created the Mona Lisa - a 16th century oil painting portrait in just 140 coloured dots. Pluralism - it has references to high and low culture (traditional paintings and pop art).



David Carson, Ray Gun Magazine Cover, [online] Available at: http://clickyclacky.tumblr.com/post/1980763392

Typical of Ray Gun magazine covers by David Carson, this design overlays type on image. Although still legible, the text has been devised to confuse the reader - the tracking has been increased, some letters have more emphasis despite having no particular importance and the main body has been aligned to the right.


Advertising Essay - Bibliography

Cook, G, 1992, The Discourse of Advertising

Williamson, J, 1984, Decoding Advertisements

Heath, R, 2001, The Hidden Power of Advertising

Karl Marx, 1848, Communist Manifesto

Jeremy Bullmore, 1998, Advertising and its Audience. [online] Available at: http://www.wpp.com/NR/rdonlyres/ED5FD8FF-F951-4C77-8ADA-FB5E61C85587/0/advertising_and_its_audience.pdf

Apple, 2011, Apple Reports First Quarter Results. [online] Available at: http://www.apple.com/pr/library/2011/01/18results.html

Coca Cola, 2011, Coca Cola Brands. [online] Available at: http://www.thecoca-colacompany.com/brands/

DifferenceBetween, 2010, The Difference Between Diet Coke and Coke Zero. [online] Available at: http://www.differencebetween.net/science/health/difference-between-diet-coke-and-coke-zero/

The Independent, Jannson-Boyd, 2010, Gender Targeting is Advertising industry's secret weapon. [online] Available at: http://www.independent.co.uk/life-style/food-and-drink/features/men-buy-mars-women-prefer-galaxy-gender-targeting-is-advertising-industrys-secret-weapon-1922941.html

matgomad, 2006, British Coke Zero ad. [video online] Available at: http://www.youtube.com/watch?v=7A8DNWu2c5k

Advertising Essay - Final Essay

‘Advertising doesn’t sell things; all advertising does is change the way people think or feel’ (Jeremy Bullmore). Evaluate this statement with reference to selected critical theories (past and present).

Wherever we go, we are subject to an onslaught of promises, messages and unattainable desires that we cannot escape. The aforementioned statement by Jeremy Bullmore not only encapsulates this essence of advertisement persuasion but also implies the value of advertising is “doubted by many of those who pay for it”, as suggested by Jeremy Bullmore himself in the 1998 Advertising Association lecture. As a result, activist consumers believe advertisements should be stripped of any sense of "mass-mediated persuasion". Advertisements succeed by influencing us both consciously and subconsciously; changing our outlook on all things around us – not only in relation to the brands themselves but our way of life.

Guy Cook in ‘The Discourse of Advertising’ (p. 17) defines advertisements as ‘…merely the invisible conveyers of undesirable messages’.  Advertising is seen as a harmful, social source that is used solely for manipulation, persuasion and to "appeal to feelings of inadequacy". It seeks for us to question our existing materials and as a result perpetuates false needs. 

For example, Apple is a multinational corporation specialising in consumer electronics and software. Every year, multiple products are released, whether this be an update to a previous model, such as the iPhone, for example or something entirely new. The first iPhone was released in January 2007 and the iPhone 3G was released just a year and a half later with entirely new features, design and a brand new worldwide advertising campaign. 



The 3G in its name showcases its new feature; 3G is a wireless internet access which mobile users can access from their phones. Although this technology was readily available, Apple only released this feature with the second generation of its iPhone giving the impression that Apple has listened to its consumers and provided a service which they didn't have with the previous version. However, this case study fits perfectly with Guy Cook''s perception of advertising - Apple consumers question their existing products, what is deemed as an 'older generation' and as a result, existing consumers upgraded their phone to the new model - a brilliant marketing and advertising scheme which has proved to be extremely successful. Objects, or in this case, Apple products, display social status and are used as symbols we associate with one another. Apple is a brand which aims to exceed its expectations and meet the growing needs of its consumers; although these needs are somewhat artificial and instigated by Apple. 

In ‘The Hidden Power of Advertising’ (p.40), Robert Heath states: “The way we reference intuition is through a system of markers generated from past experience and brands are able to influence us by exploiting these”. The advertising industry is forever evolving and these aforementioned social markers are interchangeable. Brands need to adapt to this ever-changing world by seeking new ways to target a specific demographic. 

The Coca Cola brand has over 3,300 beverages, 800 of which are low and no-calorie and is a perfect example of how brands change their means of advertisement or in this case, devise new products, depending on altering factors. As not one product appeals to the mass consumer audience, Coca Cola has devised a diverse and wide range of products; all of which appeal to a certain demographic. For example, their sports drinks are advertised to provide 'rapid hydration and terrific taste for fitness-seekers at any level'. This implies that the consumer would not only benefit from the taste of the product, but that the product can aid their athleticism - no matter what 'level' the consumer is in terms of fitness. As a result, consumers believe that by obtaining this product, they would become a better athlete and ultimately become invigorated.

A debate which has arisen from the Coca Cola products has been the difference between Diet Coke and Coke Zero, two diet variations of the original Coca Cola. Diet Coke was introduced by Coca Cola in 1982 and soon afterwards became the number one sugar-free drink due to its suggested beneficial qualities. It is predominantly aimed towards those who are “calorie conscious” and most importantly, women. Jansson-Boyd explains, “On pack messaging has an important role to play, with products clearly marked ‘low calorie’ or ‘healthy’ predominantly aimed at, and bought by, women.” 




Conversely, Coke Zero, was introduced in 2006 but is inversely approached in terms of marketing. Despite only a subtle variation between the two products in relation to the proportion of ingredients, the connotations in which they evoke are fields apart. As ultimately, men are reluctant to purchase Diet Coke, Coke Zero has been marketed solely for exploitation, to appeal more towards men as opposed to women. By connoting masculinity through its advertising and fundamentally imposing a belief that it is okay to purchase this product, men will be less reluctant to buy this diet variant of coke as opposed to the more female orientated, Diet Coke. 

For example, a television advertisement released soon after the Coke Zero launch featured a man’s bewilderment at discovering that removing sugar out of coca cola does not impair the taste. He then goes onto say, “Why can’t all things in life come without downsides?”.. “like girlfriends without five year plans.” Evidently this is an attempt to relate to the stereotypical man by incorporating everyday ‘pub banter’ - as portrayed later on in the advert. As the advert progresses, more men join his movement, each carrying a bottle of Coke Zero and inputting their own responses to the rhetorical question, “Why can’t all things in life come without downsides?” including, “..bra’s without the fumbling”.





Aforementioned, the subtle difference between Coke Zero and Diet Coke is the proportion of ingredients – the latter having half a calorie less. It is interesting to see how two products, although similar, are marketed on two different ends of the spectrum. Although a diet variation of Coca Cola, the majority of advertisements for Coke Zero feature limited aspects of its diet benefit whereas this is the opposite for Diet Coke. It gives the impression it is a more “acceptable” drink for men to have with their friends and in result, provides a diet product that is seen to improve their masculinity, not hinder it. This is supported by their decision to be the primary sponsor of the Coke Zero 400, a NASCAR cup series car race, a sport predominantly targeted towards males. They have also sponsored the latest James Bond film, Quantum of Solace, a suave, sophisticated film which ties in with Coke Zero's red and black corporate colours, connotations of which are power, sophistication and masculinity. All these factors come hand-in-hand. The imagery portrayed not only in Coke Zero adverts but the majority of advertisements for other products, ‘create a false desire to gain the symbolic associations’.

Judith Williamson once stated, “Instead of being identified by what they produce, people identify themselves through what they consume.” The basis of this quote relates directly to how the connotations portrayed through the Coke Zero advertisements affect our social interaction; in this case, how the product can emit masculinity. Advertisers want the consumers to believe that their products will change the way they are perceived by others and as a result, create a false façade. However, some argue that by using the latest product or trend as a social status symbol, our culture will soon be controlled by consumerism and our social markers will be instigated by our commodities. In the Karl Marx Communist Manifesto (1848) and subsequently referenced by Marx cultural theorists, it is stated that commodities control how our society works as we as consumers “begin to define ourselves and each other on the things we buy”. To summarise, they critique our consumer and commodity culture, the detrimental effect of capitalism and how this influences individuals.

Jeremy Bullmore believes advertising changes the way we feel as opposed to its primary focus - to sell. Regardless of this, changing the way consumers feel about themselves will in someway result in sales. Consumers have an ideology they wish to obtain and will go through all means to achieve it; advertisers are able to exploit the consumers’ naivety by targeting their feelings of inadequacy. 

Advertising Essay - Research sources

Jeremy Bullmore: Advertising and its Audience lecture
1998 Advertising Association lecture [online] Available at: http://www.wpp.com/NR/rdonlyres/ED5FD8FF-F951-4C77-8ADA-FB5E61C85587/0/advertising_and_its_audience.pdf


Here is a key point which is referenced in his lecture published online.



He states that advertisings precise function is still unknown, despite being a multi-billion pound industry that affects us all either consciously or subconsciously. 


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The difference between Diet Coke and Coke Zero

Both ‘Diet Cokes’ and ‘Coke Zero’ are low calorie soft drinks compared to regular coke. Both have similar ingredients which are carbonated purified water, flavour, artificial sweeteners aspartame, acesulphame potassium, preservative and caffeine.

Diet Coke came on market in 1982; preferred by many in America and became the number one sugar-free drink. Diet Coke is also known as ‘Coca-Cola light’ in some countries and it is the No. 3 soft drink in the world. It is preferred by people who want no calories, but plenty of taste. Diet coke comes in many different flavours such as Black Cherry Cola Vanilla, Cola, Cola Green Tea, Cola Lemon, Cola Lemon Lime, Cola Lime, Cola Orange and Cola Raspberry.

But Coke Zero only offers’ Coca-Cola’ taste with zero calories. It is preferred mostly by young adults and it is sweetened with a blend of aspartame and acesulfame potassium (Ace K).
So overall the only key difference between the two drinks is in the proportions of the ingredients, which actually give different flavour profile.

Coke Zero has 0.5 kilocalories per 100ml while Diet Coke contains 1 calorie. It’s been believed that men are more reluctant to buy diet coke because the word ‘diet’ associated with women. Therefore, to market the product ‘Coke Zero’ been produced to associate masculinity.

Article found online at: http://www.differencebetween.net/science/health/difference-between-diet-coke-and-coke-zero/

Monday 7 March 2011

Deconstruction Seminar

  • Deconstruction became a dominant mode of graphic design in the 80s and 90s, especially in America
  • Integration of theory and practice
  • Result of post modernism - questioned unwritten assumptions and had a multiplicity of styles and approaches


No coherence to type, grid etc, anti-technique & anti-aesthetic; doesn't rely on colour theory; references to high and low culture - pluralism (...the doctrine that reality consists of several basic substances or elements .)

  1. Deconstruction = Approach associated with post-structuralism and Jacques Derrida
  2. Blended with 20s Russian constructivism = Deconstruction in architecture
  3. Deconstructionism = Visually interpreted in design

Jacques Derrida

Deconstruction was a term he coined for the critical examination of the fundamental conceptual distinctions, or “oppositions”. These oppositions are characteristically “binary” and “hierarchical,” one of which is assumed to be more fundamental than the other, the latter being secondary.

"Approach to texts which analyses their systems of representation - the systems which frame communication."
  • Anything in culture that can be read and analysed
  • Hidden contradictions below surface level meaning
  • Construction of binary opposites is flawed - we often privilege one over another
An example of this can be the comparison between speech and writing. Speech is often treated as a more authentic form of language than writing whereas deconstructions disputes the hierarchal ordering.

Speech
- Interior to the mind
- Requires no equipment
- Spontaneous
- Natural, original
- Present subject

Writing
- Exterior to the mind
- Requires equipment
- Culturally constructed
- Artificial
- Absent subject


Form/Content

- Design is seen as secondary to content
- Content is privileged over form
- Is form invisible in books/posters/typography?

Conventions of typography include grids, weight, legibility, spacing, kerning, layout, style, page settings etc. However, are these are a vehicle for content or are they secondary? Does text influence how we interpret content or does form convey as much as context?


Cranbrook Academy of Art
  • Graphic design co-led by Katherine McCoy
  • Late 1970s and through 1980s
  • Influences of post-structuralist theory (among other approaches)
Roland Barthes

Death of the Author (1968)
- The illusion that the author gives meaning
- People can be readers and can bring their own interpretation but decide not to; instead they follow the norm


Deconstruction in Graphic Design

1) Visible Language special issue, 'French Currents of the letter' (1978)


  • Text slowly deconstructs itself 
  • Columns become fragmented
  • Spaces are irregular and spontaneous
  • Relationship between body and reference is disrupted
  • How controlled are you by a typographic layout?


2) David Carson: Ray Gun Magazine (92-95)


  • Onslaught of type and imagery
  • Overwhelming - no structure/order
  • Stylistic
  • 'The end of print'

3) Peter Eisenman: Tokyo Office block
  • Doesn't conform to usual structures
  • Expositing limitations of creating a building
  • Deconstructing architecture through architecture

4) Bernard Tschumi: Le Parc de la villette


  • Contructed on 3 planes: Lines, surfaces, points
  • All overlay across each other
  • Thinking simultaneously 
  • Constantly shifting meaning

Summary
  • Derrida re-examines the relationship between speech and writing
  • Taken up in architecture (as an imposed 'ism')
  • Invoked in graphics at Cranbrook Academy of Art
  • Recognised in works of others e.g. David Carson
  • Overlaps with stylistic traits of postmodernism.