Context of Practice –
OUGD401 - Holly O’Connor – ho262047
Reflective Practice
Technology:
'What I find very interesting is the movement of people who
are savvy in digital design but are genuinely interested in analogue
techniques. It is now more than a passing trend; there must be a deeper motive
why we are newly interested in the hand-made and the haptic, material and
three-dimensional aspects of type and design.’
(Erik Spiekermann - Interview in Creative Characters Dec 2014)
To evaluate the success of the outcome
produced as a result of the research which was undertook; the brief outlines
and intentions must revisited and analysed. The initial outline of the brief
was to create a set of prints using analogue techniques, specifically;
letterpress. These prints were directed to be sold at Leeds Print Fair, and
therefore were aimed to a very specific and niche target audience. The content
for the design of the prints, was to be taken from research into how analogue
techniques have formed the digital tools and terminology that is used today.
Which explicitly relates to the opinion of Anthony Burrill, when asked in
Smashing Magazine how he feels about the influx of digital design he stated ‘I
think it’s about using the best things from each medium really.’ (Zevelakis S,
2014). The fact that analogue design works best when used alongside digital,
and that each would not exist without the other.
The brief required the design to be both
informative, but also aesthetically pleasing due to the nature of the target
audience. The design achieves this by being subtly informative, using quotes
and statements about the process and history of Letterpress. At the same time
it is also an aesthetically pleasing piece of design, which acts as a piece of
artwork in itself, and those designers who are interested in analogue
techniques, will appreciate the craftsmanship and the style and look of the
piece.
The content of the outcome, came from the crossover
of how analogue techniques forms the vocabulary and terms of digital design
today, for example kerning and leading comes from the pieces of lead which was
placed between the letterforms, to create finger spaces and line spacing.
The Letterpress process which was carried it
out when producing the prints, showed how tedious and long winded the processes
and techniques are. It shows that they
are actually not most appropriate for this day and age, carrying out the
process reinforced the idea that analogue techniques are, ‘driven by a love of
craft and materials’ (Angharad, 2013).
The ethics and design decisions carried out,
were inspired by the work of Anthony Burrill, seen in (Figure 1); discussed in
a previous essay, where this image was analysed. The idea of using what we
already have; using analogue techniques, instead of constantly new digital
software; it mirrors the design choices that were made behind Burrill’s piece
(Figure 01), that ‘Less is Better’ (http://www.eyemagazine.com/blog/post/act-local-think-stencil). The idea of recycling ideas, words and
materials; which reflects in the concept behind the cards; how digital terms have
been formed and recycled from analogue techniques and the historic processes
that are being continued, but in a different light. Between the final outcome
and Burrill’s design (Figure 01); there are also similarities of the fact that
they have been produced to be a unique piece of design, with a human touch; as
revisiting ideas previously discussed in Fingerprint, ‘‘Our urge to use our
hands is a reaction to technology, production, conformity and authority.’
(Fingerprint, 2006). However; as Burrill’s pieces can now be mass produced, on
a digital scale, it takes away that initial human connection. Whereas the final
outcome of the cards is individual and of limited supply, which is usually why
people are attracted to those techniques.
The nature of both letterpress and the final
outcome, means that their purpose is very limited and proposed to a niche
market, as with most designs that are produces using analogue techniques. What
needs to be noticed, is that although analogue produced designs have a certain,
beloved aesthetic. In this day and age, it is not a very appropriate method,
for mass production or the fast paced movement of our world. The market for
analogue techniques may be increasing; however, it is in the love of these
within hobbies and pastime where they lie best, as discussed previously;
Angharad states in a Creative Bloq article that these techniques are ‘driven by
a love of craft and materials’ (Angharad, 2013).
With this in mind, when evaluating how
successful the outcomes are, they have achieved their initial purpose and
audience; of those people who are interested in analogue techniques and like the
aesthetics they produce; also the outcomes are informative at the same time;
acting as both a piece of art, which can be used as this entirely or for its
intended purpose of a card, but at the same time, it educates people on how
important analogue techniques are, even in the aspect of digital design today.
Therefore, the designs are also successful in
interpreting the research throughout the project, as each of the design
decisions have been informed by either contextual or demographic research, and
visual research. The outcome communicates, not only how analogue has informed
digital design; but it also communicates the market, audience and context in
which analogue techniques are used within in the present day, and what they are
most appropriate for. As analogue design isn’t entirely suitable for the fast
paced world we live in today and drawing back to what Brewer stated in a recent
article on nostalgia rebrands in our current day and age, ‘the use of new
technology is more relevant than ever.’ (Brewer 2016).
In conclusion, producing these outcomes,
confirmed that the use of analogue techniques are to be left as a hobby, and
small suppliers, they are attractive to a very niche market, and the techniques
themselves, although rewarding; are very laborious, and if these techniques are
going to be used, they are best used alongside digital, which is the most
appropriate for this day and age, and analogue processes should be left for
specialised businesses and unique, one off prints. Brewer shares this ideal
that the design characteristics of today ‘simplicity’ alongside the use of new
technology are ‘more relevant than ever.’ (Brewer, 2016).
Bibliography
Brewer, J. (2016) Nostalgia in branding: top design studios
analyse the NatWest and Co-op retro brands. It’s Nice That, 2016 [Online]. http://www.itsnicethat.com/news/nostalgia-in-branding-
design-opinion-co-op-natwest-131016 (Accessed: 6th November 2016).
Chen Design Associates, Fingerprint: The Art of Using Handmade
Elements in Graphic Design Hardcover, Dec 2006
Angharad L, The Future of Handmade Design, May 21, 2013, http://www.creativebloq.com/future-handmade-design-5132895. (Accessed 15th November).
Zevelakis, S (January, 2014), “Work Hard and Be nice to People”, https://www.smashingmagazine.com/2014/01/anthony-burrill-work-hard-be-nice-to-people/
(Accessed 15th December 2016).
Burrill, A (September 2009),
Act Local, Think Stencil, http://www.eyemagazine.com/blog/post/act-local-think-stencil (Accessed 28th December)
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