Monday, November 30, 2015
OUGD601 / Context Of Practice / Radical Commodities - Rudy VanderLans / The 'underground'
http://www.emigre.com/Editorial.php?sect=1&id=17
6.
"I never felt an affinity for the theoretical underpinnings that informed some of the work coming out of Cranbrook. What I did recognize, though, was a common interest in the Macintosh, a curiosity to question typographic traditions and, more importantly, the need to create work that allowed room for the designer's voice. "
Criticisms of theorectical work coming from such institutions is yet again incredibly subjective however, in a undiluted sense, this work wasn’t for a commercial environment, it was a practice of converting theory into visual, as seen with (discourse poster) it translated the content of (names) lecture into the promotion poster, the target audience would have been interested, as students of Cranbrook, so to disregard this design is to be irrespective of context or target audience.
7.
"Just as the music of Punk was a direct response to the corporate glitter and glam rock of musicians such as David Bowie and Brian Ferry, I saw the work created at Cranbrook and CalArts as a response to the slick, wasteful, corporate and somewhat elitist design methods of the 70s."
Relate this to the whole discussion of the dissertation. Action – reaction, Mainstream – Independent, Design – anti-design. Amongst other binary oppositions that are a catalyst for innovation, creating fringes and the informing of each by one another.
8.
"In the same interview, however, Fella also stated his frustration about how difficult it had been for him to have this experimental work be accepted in a commercial market, explaining that the work was only accepted by art organizations. He thought that although the experiments were worthwhile, he seemed doubtful whether they would ever be used."
The relationship between experimental and commercial, how can the new enter the old, the sterile nature of the commercial environment lacks welcome to the injection of activity found in experimental work until… Émigré & RayGun.
9.
"'Ever since Nirvana brought alternative music to the masses," Jarrett said in an interview in Emigre 24, "I believe there has been a need for a magazine to cover this phenomenon.'"
10.
"When you decipher it, it's like being let in on a secret, and you feel like you belong to the club."
Subcultures and clubs, acceptance being granted by ‘getting it’. A sense of admiration of those in the club and a desire to be in sed club. Mention Hebdige etc.
11.
"I believe it is the spontaneous, nonauthoritative, anti-design feel of Ray Gun that must account for the fact that so many of its readers feel quite uninhibited to write in and respond to everything from the writing to the use of the typefaces."
Anti design, possibly devaluing the product subsequently allows greater interaction with the product. This is an interesting point as the ‘aura’ of print is usually granted as an attribute in which the print, physical object is greater appreciated and even fetishized. Perhaps it is the design that dictates this aura.
12.
"Ray Gun once and for all showed that the use of non-traditional typefaces and extreme typographic variations are possible within mainstream magazine publishing"
Why did Ray Gun succeed? Was it because of the accepting nature of it’s target audience, was it because the design reflected the content, was it because of it’s public relations, was it because of the backing it received and the subsequent benefits of these backers or was simply because it was unlike anything else, it had a unique selling point. Was it because of David Carson or the editors that curated content? These could all be possibilities individually or an accumulation of all however it does realize the idea that there is room for such design in a commercial environment, although Ray Gun was never an independent magazine it showed the visual aspects of such, bringing to question would it have survived independently. (Look at Face, I-D to the new Dazed, POP etc)
13.
"This closely resembles the exciting changes that have taken place within typeface design and manufacture in the past five to ten years. "
Independent music built it’s own platform such as design has done done, Émigré is Def Jam in the sense that Émigré’s platform for experimental fonts is Def Jam’s platform for hip-hop and rap, both had products that were somewhat counter culture, not accepted, conformist or evident in mainstream media until such a platform was created. This initial platform serves as a catalyst for future platforms, look at myspace and the subsequent development to Facebook and twitter.
14.
"The resulting availability of thousands of typefaces, with dozens added each month, is proof of a completely democratized field and shows us that graphic designers have use for more than the tried and the true. Although it would be easy to find a good deal wrong with the results, I would like to focus on the positives. No longer are graphic designers dependent upon the work of an elite of traditional typeface designers who produce fonts primarily for use in text. Today, graphic designers have access to nearly as many typefaces as there are Pantone colors, greatly increasing and enhancing the variety of work being created."
The negative aspects of democratization include a saturation, in which the innovators create original work, this is then copied or diluted, weaker work appears, this saturation can shadow the original stronger work, this is evident in independent publishing, just because an individual or collective have the access and reducing skillset needed to publish doesn’t grant satisfactory results or mean they should. It is not a myth that many independent publications fails, this can be accredited to poor consideration of the market, product and simple over-eagerness, with the ease of producing should come a growing awareness and criticalness.
15.
"Besides the fact that this small revolution has questioned the very foundations of graphic design and type design, of what is good and what is bad, of what is legible and illegible, personally I also find it amusing to see established companies like Agfa putting out type brochures that echo the experimental qualities of Ray Gun, and a company like Adobe releasing a series of typefaces called 'Wild Type.' "
Refer to the dilution and looking over of original work, in a mainstream media context these once truly original and innovative ideas are unregarded due to saturation and ease. If it is easy is it worth any less?
16.
"The design critic and historian Robin Kinross, who's a little less optimistic, referred to these formal exercises as a "sad, restless search for whatever might look new" and wrote that "formal innovation has meaning only when connected to a context of human need and use." Kinross, for instance, is partial to Tschichold's typeface "Neue Schrift" designed in 1929, because it addresses previously unexplored issues of phonetics."
/
17.
"It required the release of fonts such as Modula and Matrix, which were derived from those first experiments but had greater appeal because they looked more familiar, to provide an income. Remedy, too, which was philosophically the exact opposite of Licko's early font designs, and offered no value other than a stylistic one, became a huge commercial success."
Dilution of theoretical practice has a stronger possibility in a commercial market, aesthetics are considered over theory / concept based work. This discussion can refer to the majority of creative outputs, look how music is diluted in a commercial environment, it uses the signs of early innovation but looses the signified. In design, aesthetics are taken without the theory, taken out of context without the signified in order to fit a commercial environment. Is this a criticism or can it be justified in the sense that the majority of a commercial audience has no grasp on visual communication theory, does theory and concept engage with an audience, does it even need to? In a realistic, capitalist consumerist society, it is commercial viability and sustainability that is considered greatest, in order to sell and sustain a publication would it be wrong to use aesthetic outside of the context or smart?
18.
"When I first saw Henry Rollins in Fortune magazine advertising the Apple's PowerBook, my first reaction was to think, Henry, you're selling out! Henry Rollins probably epitomizes American Punk music, or at least he used to. What's he doing advertising PowerBooks? But then I thought, why not? The PowerBook is not a bad product and the money he's earning probably goes right back into his independent book publishing company. So why not? Henry's paid his dues. For over 15 years, he's traveled around the world, sleeping in vans and dirtbag motels, getting beer thrown at him and spit on by his fans. I think he did the right thing. What else is Henry to do, wait for the NEA to provide him with funds to finance his publishing? I think not."
Relating to comment 17, as soon as a commercial aspect is involved in sustaining a business, it conceives a compromise unfortunately, however overcoming this compromise can be done, moral and ethics stand in one corner while the commercial environment stands in the other; in order to sustain and continue pushing beneficial agendas would it be wrong to compromise in doing so? Does the stubborn designer stay with a theorectical approach that struggles in a commercial environment or adhere and adapt in order to sustain and continue promoting benefical example. Can a business ‘stay true’ and succeed. Compare to the selling out (criticisms) of contemporary publishers, capitalist machines such as i-d and Dazed.
19.
"So, too, Ray Gun. Although much is made of the current commodification of the "Ray Gun style," one could argue that Ray Gun was already the commodification of the formal experiments done in typography at Cranbrook, CalArts and other places. Although Ray Gun positions itself as an anti-establishment magazine with a street attitude, from the very beginning it was financially backed and distributed first by Ingram and currently by Time Warner, two of the largest magazine distributors in the U.S. And its "attitude" can hardly be explained as having risen from the streets. Carson, a college graduate and sociology teacher with many years of design experience at mainstream lifestyle magazines, often collaborates on Ray Gun with graduate design students from Cranbrook, CalArts and Yale. Not exactly the staff of Scratch and Sniff magazine. When it comes right down to it, no matter how alternative or anti-design it might look, Ray Gun is a corporate tool to help sell records, and lots of 'em. So when this "anti-design" or "Ray Gun style" eventually shows up in Pepsi Cola or Nike ads or the Time Warner Annual Report, which it inevitably does, I don't see how that is any more or less appropriate. Pepsi Cola and Nike, like Ray Gun, all sell products and all go to roughly the same kind of audience. Does that particular design approach belong any more to Ray Gun than it does to Pepsi or Nike? Or did it really only belong to the arts organizations Ed Fella worked for?"
RayGun wasn’t independent, it received backing and this porbably why it succeeded, can a truly independent magazine do the same, well it has done with the face and i-D, early examples of zines that have overtime adhered to commercial limitations, or have they?
20.
"When Martin Fox, the publisher of Print magazine, wonders why America doesn't have much of an avant garde, and goes on to ponder that perhaps "it's because the avant garde is forever being coopted by the mainstream culture," one could argue that the avant garde is perhaps alive and well; it just happens to be selling merchandise worth millions of dollars. Instead of always looking at it from the point of view that mass consumption is a bad thing, and anything assisting it is guilty by association, perhaps a bit of credit is due to the mainstream for taking some risks, and to the avant garde for infiltrating mainstream culture. What, otherwise, is the purpose of an avant garde, and what is expected of mainstream culture if both are continually expected to play out their stereotypical roles of fringe innovators and greedy but clueless copycats? I'm not saying here that the avant garde exists simply to supply the commercial world with the means to sell more products, but I do think it can be beneficial for both to occasionally share ideologies"
Refer to the relationship between the mainstream media and avant garde, perhaps the avant garde is becoming the mainstream as younger audiences are no longer simply screened to the aesthetic of the elite magazines, but exposed to the fringe of design online as well.
21.
"That's why I get a great kick out of seeing Barry Deck's typeface Template Gothic used in the Times Warner Annual Report or Sue Laporte's typeface in a Nike ad, or Jeffery Keedy's typeface in a Fox television commercial. Who's using who. anyway? I'd like to believe that Def Jam's president Davis Harleston is right when he says: "Why we feel lucky is because over the last five or six years, the entry of Rap into more mainstream America, or the crossing over of our kind of Hip-hop into the pop world, has really been more about the pop world coming to us, and less about us going to them."
As reflected at Def Jam and hip hop music, can the commercial print industry come to the radical, benefical, individual, anti-design world of independent publishing without their being compromise. Can adverts adhere to the audience without having to compromise content, without considering isolating people, can ‘true’ really exist within a commercial environment. (Find examples)
22 & 23.
"Ask Barry Deck why he designed these fonts and he'll tell you that it was cheaper for him to draw his own typefaces than to go out and buy them. Actually, you could say that here human need and use was the motive, although the CalArts curriculum, which greatly encouraged type design, should receive some credit as well. To say that the work loses its original experimental or subversive qualities when coopted by mainstream campaigns is perhaps infusing it with a bit too much specific meaning in the first place. And to say that it is used everywhere simply because it's currently the cool font is discounting the fact that perhaps it has certain universal qualities that foster its widespread use, which is usually seen as a great asset for a typeface."
Perhaps commercialization is not a bad thing, for what is the real intent of any creating anything, to be appreciated, is not money a translation of appreciation? Is cool not okay, is to be innovative and well renowned, even for a short time, not an achievement, is not the designer / publishing / creators own fault for not editing or creating something newer to stay cool? This is due to the speed in which cool appears and disappears is ever growing due to the speed of communication and the internet.
24.
"we have long ago moved from the idea of addressing human needs to that of satisfying desires"
The moving away from the modernist idea of type performing to fulfill a function allows innovation, development and 'another typeface’.
25.
"In regard to a typeface, this means that it should have foreign accents resulting in over 250 characters. "
Perhaps this is the difference between professional and amateur publishing of any material. A high level of skill remains in this creation of 250+ characters that amateur may not be able to do, yet do ‘well’, although the idea of ‘well’ can be questioned. Does a amateur designed font need these characters if the only intended use is, for example, their own magazine.
27.
"They stand as another great example of how individuals become empowered when using the Macintosh computer and taking matters in their own hands. "
"The rise of desktop publishing democratized independent publishing, the barrier that can be seen as the book publishing no longer existed and amatuers were now freely allowed to enter through the gate of publishing. "
6.
"I never felt an affinity for the theoretical underpinnings that informed some of the work coming out of Cranbrook. What I did recognize, though, was a common interest in the Macintosh, a curiosity to question typographic traditions and, more importantly, the need to create work that allowed room for the designer's voice. "
Criticisms of theorectical work coming from such institutions is yet again incredibly subjective however, in a undiluted sense, this work wasn’t for a commercial environment, it was a practice of converting theory into visual, as seen with (discourse poster) it translated the content of (names) lecture into the promotion poster, the target audience would have been interested, as students of Cranbrook, so to disregard this design is to be irrespective of context or target audience.
7.
"Just as the music of Punk was a direct response to the corporate glitter and glam rock of musicians such as David Bowie and Brian Ferry, I saw the work created at Cranbrook and CalArts as a response to the slick, wasteful, corporate and somewhat elitist design methods of the 70s."
Relate this to the whole discussion of the dissertation. Action – reaction, Mainstream – Independent, Design – anti-design. Amongst other binary oppositions that are a catalyst for innovation, creating fringes and the informing of each by one another.
8.
"In the same interview, however, Fella also stated his frustration about how difficult it had been for him to have this experimental work be accepted in a commercial market, explaining that the work was only accepted by art organizations. He thought that although the experiments were worthwhile, he seemed doubtful whether they would ever be used."
The relationship between experimental and commercial, how can the new enter the old, the sterile nature of the commercial environment lacks welcome to the injection of activity found in experimental work until… Émigré & RayGun.
9.
"'Ever since Nirvana brought alternative music to the masses," Jarrett said in an interview in Emigre 24, "I believe there has been a need for a magazine to cover this phenomenon.'"
Note the similiarities between music
and design again, design can be used to express music, it’s nature to a
specified target audience, for example, it would be unlikely for punks to
appreciate Helvetica as it would be cybergoths to use Bodoni, if not
satirically ofcourse, but design does create relationships between people and
consumables. Design adheres to it's specified target audience, as is the case
with independent publishing, due to it’s attributes that compliment counter
culture, the design is 'anti', non conformist to that of the commerical sterile
environment, but expressive, rude and even harsh.
10.
"When you decipher it, it's like being let in on a secret, and you feel like you belong to the club."
Subcultures and clubs, acceptance being granted by ‘getting it’. A sense of admiration of those in the club and a desire to be in sed club. Mention Hebdige etc.
11.
"I believe it is the spontaneous, nonauthoritative, anti-design feel of Ray Gun that must account for the fact that so many of its readers feel quite uninhibited to write in and respond to everything from the writing to the use of the typefaces."
Anti design, possibly devaluing the product subsequently allows greater interaction with the product. This is an interesting point as the ‘aura’ of print is usually granted as an attribute in which the print, physical object is greater appreciated and even fetishized. Perhaps it is the design that dictates this aura.
12.
"Ray Gun once and for all showed that the use of non-traditional typefaces and extreme typographic variations are possible within mainstream magazine publishing"
Why did Ray Gun succeed? Was it because of the accepting nature of it’s target audience, was it because the design reflected the content, was it because of it’s public relations, was it because of the backing it received and the subsequent benefits of these backers or was simply because it was unlike anything else, it had a unique selling point. Was it because of David Carson or the editors that curated content? These could all be possibilities individually or an accumulation of all however it does realize the idea that there is room for such design in a commercial environment, although Ray Gun was never an independent magazine it showed the visual aspects of such, bringing to question would it have survived independently. (Look at Face, I-D to the new Dazed, POP etc)
13.
"This closely resembles the exciting changes that have taken place within typeface design and manufacture in the past five to ten years. "
Independent music built it’s own platform such as design has done done, Émigré is Def Jam in the sense that Émigré’s platform for experimental fonts is Def Jam’s platform for hip-hop and rap, both had products that were somewhat counter culture, not accepted, conformist or evident in mainstream media until such a platform was created. This initial platform serves as a catalyst for future platforms, look at myspace and the subsequent development to Facebook and twitter.
14.
"The resulting availability of thousands of typefaces, with dozens added each month, is proof of a completely democratized field and shows us that graphic designers have use for more than the tried and the true. Although it would be easy to find a good deal wrong with the results, I would like to focus on the positives. No longer are graphic designers dependent upon the work of an elite of traditional typeface designers who produce fonts primarily for use in text. Today, graphic designers have access to nearly as many typefaces as there are Pantone colors, greatly increasing and enhancing the variety of work being created."
The negative aspects of democratization include a saturation, in which the innovators create original work, this is then copied or diluted, weaker work appears, this saturation can shadow the original stronger work, this is evident in independent publishing, just because an individual or collective have the access and reducing skillset needed to publish doesn’t grant satisfactory results or mean they should. It is not a myth that many independent publications fails, this can be accredited to poor consideration of the market, product and simple over-eagerness, with the ease of producing should come a growing awareness and criticalness.
15.
"Besides the fact that this small revolution has questioned the very foundations of graphic design and type design, of what is good and what is bad, of what is legible and illegible, personally I also find it amusing to see established companies like Agfa putting out type brochures that echo the experimental qualities of Ray Gun, and a company like Adobe releasing a series of typefaces called 'Wild Type.' "
Refer to the dilution and looking over of original work, in a mainstream media context these once truly original and innovative ideas are unregarded due to saturation and ease. If it is easy is it worth any less?
16.
"The design critic and historian Robin Kinross, who's a little less optimistic, referred to these formal exercises as a "sad, restless search for whatever might look new" and wrote that "formal innovation has meaning only when connected to a context of human need and use." Kinross, for instance, is partial to Tschichold's typeface "Neue Schrift" designed in 1929, because it addresses previously unexplored issues of phonetics."
/
17.
"It required the release of fonts such as Modula and Matrix, which were derived from those first experiments but had greater appeal because they looked more familiar, to provide an income. Remedy, too, which was philosophically the exact opposite of Licko's early font designs, and offered no value other than a stylistic one, became a huge commercial success."
Dilution of theoretical practice has a stronger possibility in a commercial market, aesthetics are considered over theory / concept based work. This discussion can refer to the majority of creative outputs, look how music is diluted in a commercial environment, it uses the signs of early innovation but looses the signified. In design, aesthetics are taken without the theory, taken out of context without the signified in order to fit a commercial environment. Is this a criticism or can it be justified in the sense that the majority of a commercial audience has no grasp on visual communication theory, does theory and concept engage with an audience, does it even need to? In a realistic, capitalist consumerist society, it is commercial viability and sustainability that is considered greatest, in order to sell and sustain a publication would it be wrong to use aesthetic outside of the context or smart?
18.
"When I first saw Henry Rollins in Fortune magazine advertising the Apple's PowerBook, my first reaction was to think, Henry, you're selling out! Henry Rollins probably epitomizes American Punk music, or at least he used to. What's he doing advertising PowerBooks? But then I thought, why not? The PowerBook is not a bad product and the money he's earning probably goes right back into his independent book publishing company. So why not? Henry's paid his dues. For over 15 years, he's traveled around the world, sleeping in vans and dirtbag motels, getting beer thrown at him and spit on by his fans. I think he did the right thing. What else is Henry to do, wait for the NEA to provide him with funds to finance his publishing? I think not."
Relating to comment 17, as soon as a commercial aspect is involved in sustaining a business, it conceives a compromise unfortunately, however overcoming this compromise can be done, moral and ethics stand in one corner while the commercial environment stands in the other; in order to sustain and continue pushing beneficial agendas would it be wrong to compromise in doing so? Does the stubborn designer stay with a theorectical approach that struggles in a commercial environment or adhere and adapt in order to sustain and continue promoting benefical example. Can a business ‘stay true’ and succeed. Compare to the selling out (criticisms) of contemporary publishers, capitalist machines such as i-d and Dazed.
19.
"So, too, Ray Gun. Although much is made of the current commodification of the "Ray Gun style," one could argue that Ray Gun was already the commodification of the formal experiments done in typography at Cranbrook, CalArts and other places. Although Ray Gun positions itself as an anti-establishment magazine with a street attitude, from the very beginning it was financially backed and distributed first by Ingram and currently by Time Warner, two of the largest magazine distributors in the U.S. And its "attitude" can hardly be explained as having risen from the streets. Carson, a college graduate and sociology teacher with many years of design experience at mainstream lifestyle magazines, often collaborates on Ray Gun with graduate design students from Cranbrook, CalArts and Yale. Not exactly the staff of Scratch and Sniff magazine. When it comes right down to it, no matter how alternative or anti-design it might look, Ray Gun is a corporate tool to help sell records, and lots of 'em. So when this "anti-design" or "Ray Gun style" eventually shows up in Pepsi Cola or Nike ads or the Time Warner Annual Report, which it inevitably does, I don't see how that is any more or less appropriate. Pepsi Cola and Nike, like Ray Gun, all sell products and all go to roughly the same kind of audience. Does that particular design approach belong any more to Ray Gun than it does to Pepsi or Nike? Or did it really only belong to the arts organizations Ed Fella worked for?"
RayGun wasn’t independent, it received backing and this porbably why it succeeded, can a truly independent magazine do the same, well it has done with the face and i-D, early examples of zines that have overtime adhered to commercial limitations, or have they?
20.
"When Martin Fox, the publisher of Print magazine, wonders why America doesn't have much of an avant garde, and goes on to ponder that perhaps "it's because the avant garde is forever being coopted by the mainstream culture," one could argue that the avant garde is perhaps alive and well; it just happens to be selling merchandise worth millions of dollars. Instead of always looking at it from the point of view that mass consumption is a bad thing, and anything assisting it is guilty by association, perhaps a bit of credit is due to the mainstream for taking some risks, and to the avant garde for infiltrating mainstream culture. What, otherwise, is the purpose of an avant garde, and what is expected of mainstream culture if both are continually expected to play out their stereotypical roles of fringe innovators and greedy but clueless copycats? I'm not saying here that the avant garde exists simply to supply the commercial world with the means to sell more products, but I do think it can be beneficial for both to occasionally share ideologies"
Refer to the relationship between the mainstream media and avant garde, perhaps the avant garde is becoming the mainstream as younger audiences are no longer simply screened to the aesthetic of the elite magazines, but exposed to the fringe of design online as well.
21.
"That's why I get a great kick out of seeing Barry Deck's typeface Template Gothic used in the Times Warner Annual Report or Sue Laporte's typeface in a Nike ad, or Jeffery Keedy's typeface in a Fox television commercial. Who's using who. anyway? I'd like to believe that Def Jam's president Davis Harleston is right when he says: "Why we feel lucky is because over the last five or six years, the entry of Rap into more mainstream America, or the crossing over of our kind of Hip-hop into the pop world, has really been more about the pop world coming to us, and less about us going to them."
As reflected at Def Jam and hip hop music, can the commercial print industry come to the radical, benefical, individual, anti-design world of independent publishing without their being compromise. Can adverts adhere to the audience without having to compromise content, without considering isolating people, can ‘true’ really exist within a commercial environment. (Find examples)
22 & 23.
"Ask Barry Deck why he designed these fonts and he'll tell you that it was cheaper for him to draw his own typefaces than to go out and buy them. Actually, you could say that here human need and use was the motive, although the CalArts curriculum, which greatly encouraged type design, should receive some credit as well. To say that the work loses its original experimental or subversive qualities when coopted by mainstream campaigns is perhaps infusing it with a bit too much specific meaning in the first place. And to say that it is used everywhere simply because it's currently the cool font is discounting the fact that perhaps it has certain universal qualities that foster its widespread use, which is usually seen as a great asset for a typeface."
Perhaps commercialization is not a bad thing, for what is the real intent of any creating anything, to be appreciated, is not money a translation of appreciation? Is cool not okay, is to be innovative and well renowned, even for a short time, not an achievement, is not the designer / publishing / creators own fault for not editing or creating something newer to stay cool? This is due to the speed in which cool appears and disappears is ever growing due to the speed of communication and the internet.
24.
"we have long ago moved from the idea of addressing human needs to that of satisfying desires"
The moving away from the modernist idea of type performing to fulfill a function allows innovation, development and 'another typeface’.
25.
"In regard to a typeface, this means that it should have foreign accents resulting in over 250 characters. "
Perhaps this is the difference between professional and amateur publishing of any material. A high level of skill remains in this creation of 250+ characters that amateur may not be able to do, yet do ‘well’, although the idea of ‘well’ can be questioned. Does a amateur designed font need these characters if the only intended use is, for example, their own magazine.
27.
"They stand as another great example of how individuals become empowered when using the Macintosh computer and taking matters in their own hands. "
"The rise of desktop publishing democratized independent publishing, the barrier that can be seen as the book publishing no longer existed and amatuers were now freely allowed to enter through the gate of publishing. "
Saturday, November 28, 2015
Friday, November 27, 2015
OUGD601 / Context Of Practice / Plan Of Action / Initial
Context
Of Practice Plan Of Action
Research
Project
To what extent has independent media
influenced contemporary Graphic Design?
A summative investigation of the discourse
between independent and contemporary publishing.
Stage
1 Independent Media
Investigate the use of Independent Media by
past subcultures, individuals and collectives in the past to identify defining
aspects of media outside of a commercial environment
Investigate the opposite of independent
media; commercial work and the effect commercially viability has upon content /
design / approach.
Investigate the context in which
independent media arises and the subsequent effect this has upon form and
function of such media.
Stage
2 Contemporary Publishing
Initiate an investigation into contemporary
editorial design alongside contemporary methods of communication relating to
the publishing of content. Investigate the methods, aesthetic, attitude and
other factors that dictate the creation and curating of content and how these
have adhered to youth culture.
-
Explore contemporary publishing
and the social, political and ethical amongst other factors that dictate the
creation of content.
-
Explore and investigate the
industry from a business perspective, explore the ulterior motives that are
visible within the industry and the effect these have upon publishing such as
advertising and sponsorship.
-
Critically analyze contemporary
graphic design within publishing, the motives, the concepts and the technology
amongst others that influence design decisions.
-
Critically analyze contemporary
publishing and the new methods of communication that have been made possible by
new media, new forms of communication and technology; such as the introduction
of social media as a platform.
-
Explore and analyze existing
works and publications that have been dictated by past youth culture and the
relevance they hold today. Explore the existence of past aesthetic, mentalities
and production methods that were signature of past youth cultures.
-
Consider the future of
publishing in regards to the introduction of new technologies, the changing of
attitudes to print compared to digital while investigating the changing of
interaction between publishing platforms and the end user.
-
Investigate and note recent,
both positive and negative changes within the industry, the introduction of
racial diversity within magazine content and the embracing of movements
(feminism etc) that would have been previously dismissed in mainstream media.
-
Investigate publishing
platforms as a method of positive social, political and ethical change. The
power and control modern day publishing has over contemporary youth culture.
-
Investigate the pressure of
publishing pressures and the responses in which have been spawned from this.
-
How have developing
technologies influenced the publishing of material.
-
technology
and the intellectual and economic climate
-
Postmodernist attitudes towards
visual culture
-
self-conscious, educated
graphic designer – are graphic designers even designers anymore mention
trashthetic
Stage
3 Youth Culture and Consumerism
Investigate the relationship between youth
culture and consumerism, How has youth culture, styles and attitude affected
mainstream consumerism; products, advertising and design.
-
Investigate the translation
between youth culture and consumerism, the design/aesthetic of mainstream
fashion, advertising and related consumables. Mention the contemporary use of
subversion in brands such as FUCKING AWESOME, Vetements and SUPREME.
-
Investigate the change youth
cultures have experience in relation to buying, consuming and awareness of
products within the arts, culture and fashion sector.
Chapter
plan
Introduction
How has publishing and editorial design
adhered to youth culture in the past (S,P,E Context)
The change of consumer habits desires and
interest in youth culture.
How has design adhered to youth culture in
the contemporary?
The future relationship of Youth Culture
and publishing.
Conclusion
Monday, November 23, 2015
Friday, November 20, 2015
OUGD601 / Contect Of Practice / Time Plan
Stage of the dissertation writing process
|
Number of days/weeks needed
|
Start date
|
End date
|
STAGE ONE: Reading and research
|
|||
a) Seek to identify an original, manageable topic
|
1
|
10/10/15
|
17/10/15
|
b) Reading and research into chosen topic
|
4
|
10/10/15
|
10/11/15
|
STAGE TWO: The detailed plan
|
|||
a) Construct a detailed
plan of the dissertation
|
2
|
10/11/15
|
24/11/15
|
STAGE THREE: Initial writing
|
|||
a) Draft the various
sections of the dissertation
|
1
|
1/12/15
|
7/12/15
|
b) Undertake additional
research where necessary
|
/
|
/
|
/
|
STAGE FOUR: The first draft
|
|||
a) Compile and collate
sections into first draft of dissertation
|
2
|
7/12/15
|
18/12/15
|
b) check the flow of
the dissertation
|
1
|
18/12/15
|
30/12/15
|
c) Check the length of
the dissertation
|
|||
d) Undertake any
additional editing and research
|
|||
STAGE FIVE: Final draft
|
|||
a) Check for errors
|
11/01/16
|
11/01/16
|
|
b) Prepare for
submission
|
13/01/16
|
13/01/16
|
|
c) Final proof-read (by
a friend or yourself) and final editing
|
11/01/16
|
11/01/16
|
|
d) Compile bibliography
|
11/01/16
|
11/01/16
|
|
e) Get the dissertation
bound
|
12/01/16
|
12/01/16
|
|
f) Submit your
dissertation
|
14/01/16
|
14/01/16
|
|
Key Dates:
- Turn it final submission 11/12/15
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