Studio Brief 01 - Essay 03 - Reflection

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 15^th December 2016).

Burrill, A (September 2009),  Act Local, Think Stencil, http://www.eyemagazine.com/blog/post/act-local-think-stencil  (Accessed 28th December)

Studio Brief 01 - Essay 02 - Image Analysis

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 1 - http://anthonyburrill.com/

Figure 2 - http://www.theprintproject.co.uk

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 Mouse,