Context of Practice – OUGD401
- Holly O’Connor – ho262047
Image Analysis
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)
Figure 1, is a piece
created by Anthony Burrill which was created in response to Experimenta 2009 in
Lisbon, set from a brief called Timeless. The brief was all about using less,
“Less is better” (http://www.eyemagazine.com/blog/post/act-local-think-stencil).
Which followed the idea of creating new concepts and designs, using sustainable
design strategies whilst reducing consumption. For example, the type is formed
from metal stencils based on vernacular letterforms found in Lisbon. Similarly,
the same ideas are found within the concept behind figure 2 as it was created
as a statement which enforces the test of medium and analogue techniques
against the digital age, ideas such as recycling and similar ideas of those
used in retro brands, using what’s already there, as said by Dan Witchell in a
recent article on nostalgia in branding, ‘You need a bloody good reason for
revolution’ (Brewer, 2016). This is not too dissimilar from the view of
Arnheim, discussed in the previous essay, where he states that; ‘the more
complex our lives become the more we crave simplicity’. (Bradley 2011).
Looking at the piece in geographical
context at that time, Portugal was going through a recession, people were
receiving and gaining less and therefore wanted to turn the negative into
positive, that less is more. It also is relevant to the new media theory of
using what we already have and not keep creating and buying new things, using
old techniques and re using and recycling materials. Which also brings in the
idea that consumerism is changing design, as discussed in Creative Review, that
analogue techniques have become of increased use due to ‘cultural changes
relating to consumption’ (Angharad, 2013). The meaning behind the posters were
to focus on cultural, local issues, protesting against advertising and
consumerism. In a geographical context, this was placed within a capital city,
which is politically active and here commodities and consumerism is thriving. Burrill
wanted people to take a step back and realise what we already have and
appreciate it. The piece is a screen print created using only two primary
colours, which again is hinting to the simplicity and humanistic qualities
within handmade design. The poster is a prime example of protest against the
ideas that are discussed within Fingerprint; ‘Our urge to use our hands is a
reaction to technology, production, conformity and authority.’ (Fingerprint,
2006). However, on one hand figure 3, the relation to nostalgia in branding,
can be in parallel with the ideas taken from; It’s Nice That ‘the good old
days’, (Brewer, 2016) and the context behind branding, to boost consumerism,
which is what Figure 1 and 2 are both protesting against.
The Print Project, created Figure 2 from
500-year-old printing press technology, which were originally pushed aside due
to commercial interests, as analogue techniques were no longer appropriate,
they were slow and cumbersome. However, some designers like this, as Burrill
says ‘I enjoy the long process of making work physically’ (Angharad, 2013).
Both Figure 1 and Figure 2 have both used analogue techniques, whereas Figure 3
has been created specifically to be placed within all aspects of growing
technology. However, on the other hand the fundamentals behind the design when
it was first conceived, was the fact it was simple. Across all the images the
idea of ‘less is more’ is a recurring theme, as there wasn’t the vast access to
design that comes with the digital age. This idea is discussed by Jenny Brewer
when discussing nostalgia in rebrands, ‘the simplicity was as much a product of less
sophisticated manufacturing as it was by design.’ (Brewer 2011). Figure 2,
has not been produced to be aesthetically pleasing, which suggests that
analogue techniques are not a passing trend, it was produced to use methodical
processes to produce tactile prints, real life things to stimulate the senses,
rather than those who ‘spent about 10 seconds twiddling about on their macs’. What
all the images have in common is that they all come from a place where they
believe design is timeless and should be taken time over. Which is agreed
within the Creative Bloq article; ‘A more human, handmade, subjective, natural approach is the more
effective way to communicate.” (Angharad, 2013). Another similarity is the
colours that are used within each of the designs, all use simple primary
colours, red, yellow, blue, they have all been stripped ‘back to basics’,
because it means more people can relate. The colours provide an instant
reaction, as they reflect childhood and times of freedom from worries.
The psychology behind
using analogue techniques specifically in figure 2, as stated by Jon Bland, curator of the No Fly
Poster Project is, ‘they are windows into another world’,
(http://www.theprintproject.co.uk/no-fly-posters-2/). They are seen by all
different types of people, in different ways, every individual can have a different
view. Which was argued previously by Fingerprint that, ‘Handmade elements can
activate a surface and install passion and energy into a piece, it can reassure
the client that human understanding is the foundation of the message.’ This
idea is repeated in Figure 1 of Burrill’s piece, using two different languages
along with the analogue techniques, intensifies the concentration on the local
people, and the community as a whole. Both Figure 1 and Figure 3, draw on
similar ideas about community, the purpose behind their creation is bringing
people together, making people concentrate on what they have in the present and
what they have in common.
In conclusion, all three
images focus on ‘less is more’ (Burrill, A, 2009), and bringing people
together, giving people freedom within their thoughts about the design, using
timeless techniques and designs, instead of constantly using and wanting more.
However, all have been displayed digitally. Digital design and techniques
should be used alongside analogue, as together they are stronger, and can
create deeper meanings and get those message across to the world. These
analogue techniques, cannot thrive alone in our quick pace of living, as those
techniques are slow and not always appropriate. Nonetheless; analogue techniques,
alongside digital design is how the optimum engagement and appreciation of
design can occur.
Bibliography
Figure 3 - http://www.northdesign.co.uk/
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 (2009) Handmade Graphics - Tools and Techniques Beyond the
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