Context of Practice – OUGD401
- Holly O’Connor – ho262047
Triangulation and
Referencing
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)
A number of authors
and articles have considered the return to analogue techniques and how these
techniques are being used more widely within professional and creative
practice. Brewer (2016) comments on the fact that ‘we crave simplicity’
(Brewer, 2016) within design and these analogue processes are trying to do
‘more with less’ (Brewer, 2016). Whereas Fingerprint (2006) and Angharad
(2013), both comment on the humanistic qualities and engagement. For instance,
Angharad writes in a recent Creative Bloq article, in the discussion of the
future of handmade design; this return of analogue techniques have come about
due to designers being ‘driven by a love of craft and materials’. Which implies
that handmade design is a past time, designers carrying out their passion, despite
it not being as efficient as the technology that is available. On the other
hand, Fingerprint discusses the use of these techniques in professional
practice, that when used within professional design, they can ‘reassure the
client that human understanding is the foundation of the message’ therefore making
the piece more relatable and gain more integrity then say a piece of digital
design.
Within Fingerprint, authors Chen Design Associates
asks the question, ‘Are we really producing better work because of technology
and computers?’ (Fingerprint, 2006). There are two contrasting arguments in
response to this question, Fingerprint follows the idea that by having that
intense focus on technology, actually ‘clouds your creative focus’,
(Fingerprint, 2006). Whereas, Angharad Lewis in a recent article in creative
bloq, arguably considers that ‘the
digitalisation of design actually revolutionised graphics’. (Angharad, 2013). On the other hand,
graphic designer Anthony Burrill takes middle ground within the analogue versus
digital debate stating in a late article in Smashing Magazine, ‘I think it’s about using the best
things from each medium really.’ (Zevelakis S, 2014).
Fingerprint (2006), looks deeply into the
reasoning behind using analogue techniques, and the barriers that technology
can create within design. It demonstrates the importance of creating a human
connection between design and people and that ‘through the use of our hands we
make our work felt’. However, the weakness within Fingerprint’s analysis for
analogue design, is that they fail to discuss the limitations of analogue
techniques and how technology can overcome this, it fails to take into
consideration the contrasting idea discussed by Angharad (2013), that
‘technology places control and ingenuity back into the hands of the individual’
and the fact that Brewer discusses in our current day and age, ‘the use of new
technology is more relevant than ever.’ (Brewer 2016).
When looking at analogue
techniques within professional practice, taking the recent rebrands of
companies such as Co-op, NatWest and Kodak for example. In an article found
from It’s Nice That, Brewer (2016) comments on the trend of nostalgia within
design, specifically branding. Within it she discusses this idea of nostalgia
with a handful of designers, who seem to have conflicting views on the subject.
Dan Witchell writes that ‘The advancements in design led technology means we
can create anything conceivable, but just because we can, doesn’t mean we
should’. Which coincides with what Chen Design Associates comment on in
Fingerprint (2006), ‘The intense focus on technology can cloud creative focus’,
(Fingerprint, 2006), following on from this comment, they go further to say
that the increase in designers using their hands is a reaction to technology
and the mass production and conformity follows alongside. However, writing the
article ‘The Future of Handmade Design’ (2013), Angharad claims that when both
digital and analogue combine, that is when design is most innovative. Angharad
also aims to suggest how handmade design isn’t a passing trend or a certain
aesthetic, it is a way of working, Angharad brings this to the reader’s
attention by discussing that the same ethics of working with analogue design
can be applied to digital design also.
When writing in an article
discussing nostalgia in branding, Brewer comes to a conclusion that there is an
aspect of design from the mid-century that has more quality which ‘comes from its
simplicity’, and the fact that the lack of technology played a part in this. However,
the flaw of this argument is that is suggests that the prime driving force is
nostalgia, being too interested in the ‘ideals of 50s and 60s design’. On the
other hand, Both Angharad (2013) and Fingerprint (2006) develops on this idea
of simplicity, that we should be using what we already have and know, bringing
handmade into the here and now. Discussing that analogue techniques are ‘simple
and laborious all at once’. They believe that design needs to be felt and
touched, which is what Brewer was trying to discuss when commenting that design
‘has always been a reflection of the past’, therefore nostalgia is not a new
thing, however the need for reconnecting with people is, as Angharad (2013)
comments on this idea in Creative Bloq, that ‘handmade is closer to reality
which means the audience can relate to images quicker.’ (Angharad, 2013).
Fingerprint (2006), comments on how handmade
and analogue techniques are the ‘antithesis to digital design’ (Fingerprint,
2006). Whereas Angharad states the opposite that both technology and handmade
crafts ‘share a trajectory’ and Brewer shares this ideal that the design
characteristics of today ‘simplicity’ alongside the use of new technology are ‘more
relevant than ever.’ (Brewer, 2016). In conclusion, returning to Angharad’s
comment that analogue techniques are not about aesthetic or nostalgia, all
authors agree that the ethics behind what handmade design stands for what is
most important. Both Angharad and Brewer agree that using our hands can make a
huge difference to the design of the future, ‘we are rediscovering our hands as
tools, making us active participants in designing the future.’ (Angharad,
2013). Although within Fingerprint (2006), there is a weakness within their
argument to understand the importance of technology, the discussion for
analogue techniques across the three texts all have a strong focus on the
connection, engagement and intimacy analogue design creates within people.
Which suggests that the motive behind this increase in handmade design is more
than a passing trend, it is a need for design that can be felt, both
emotionally and physically. ‘Through the use of our hands, we make our work
felt’, (Fingerprint, 2006).
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
Bradley S. (2011) How to Achieve Simplicity within Design, 2011 https://www.google.co.uk/docs/about/, (Accessed 16th November 2016).
Honore, C. In Praise of Slow, 2004
Angharad L, The Future of Handmade Design, May 21, 2013, http://www.creativebloq.com/future-handmade-design-5132895. (Accessed 15th November).
Wray, A Handmade Graphics - Tools and Techniques Beyond the Mouse,
2009
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).
