http://designobserver.com/feature/im-with-her/39523
https://www.thelogocreative.co.uk/what-makes-a-truly-great-logo-by-michael-bierut/
http://www.eyemagazine.com/opinion/article/brand-madness
https://www.slideshare.net/SudioSudarsan?utm_campaign=profiletracking&utm_medium=sssite&utm_source=ssslideview
https://www.itsnicethat.com/articles/barcelona-design-museum
http://www.stedelijkmuseum.nl/en/artwork/14788-vormgevers
Thursday, October 26, 2017
OUDGD601 - Brian Eno John Peel Lecture - Culture and the Arts
Relating to my COP essay on the benefits of a strong visual identity for cultural institutions I watched a provoking lecture on the ecology of culture by Brian Eno. In the lecture he talked about his views on the relationship art has with society and discussed the ideas that he had on the future.
He first adressed the issue that the education sector favour 'Stem' subjects over the arts and believe they have more value and greater importance in the real world. Stem relates to Science, technology, engineering and mathematics, and even the imagery surrounding the word stem relates to the central 'core' subjects that everything grow from.
I took notes on the most relevant points in relation to my thesis:
Ask 20 scientists what the meaning of science is and you'll get 20 different variations of the same answer. Ask 20 artists the same question and you'll get 15 different answers of what art is as their is no clear definition.
His attempt at defining art is that: 'art is everything you don't have to do'.
You HAVE to eat but don't have to invent baked Alaskas.
You HAVE to wear clothes but don't have to wear Chanel dresses and Doc Martins.
Art is essential needs embellished.
Movement is essential but you don't have to dance.
Humans elaborate the basic activity of movement and stylise it. This is art.
Communication - additional stuff like poetry, singing, novels. This is art.
We care an awful lot about how we style ourselves and invest a lot of time and effort into it.
We could all survive without doing any of these things but we still do it and want to do it. Everybody on earth. Almost all time and energy is put to stylising things and appreciating other peoples styles.
One of the biggest questions in science is 'why do we like music?'. Why do we have preferences? We have very fine distinctions on the things we prefer. Nobody knows but it is important to us.
Children like to play 'let's pretend' and that is the most valuable way in which they learn. 'Lets imagine' is the central human trick that distinguishes us from other animals. We can imagine worlds that don't exist. And play out whole scenarios. Experience empathy by feeling what the world is like in someone else's head. Children start world building as soon as they can, growing into humans rather than animals at an early age.
Finland lets children learn by playing and imaging things til an older age and doesn't force them into things like reading until they want to. However studies show that this method works as Finland have the best grades.
Imagination is the basis of everything creative. Designing wedding cakes, building governments, creating football teams etc. and art is the grown up version of 'playing'. The construction of little worlds.
Another defining feature of art is the way it gives us a chance to have feelings about things that aren't dangerous. It's a safe place to have extreme and dangerous feelings. Acts like a simulator, simulating worlds that you can switch off.
William McNeal 'dance and drill in human history' explains that humans experience extreme pleasure when people synchronise themselves - dancing, carnivals.
Old ladies talking about corrrie on the bus are synchronising.
In a month of our lifetimes the same amount of things change as in the whole of the 14th century.
Everyone has an interest in one thing that's happening. No one is an expert on everything. Culture (the creative arts) is a collective ritual we are all engaged in. And this is the only way we can synchronise is this fast paced, ever changing world.
Eno's definition of culture is coherence between the community.
Scenious (a word invented by Eno) is the 'talent' of a whole community. The community is an Eco system, we feed off each other- everyone is important and everyone thrives together. Co-dependant and rebalancing. Richly interconnected. Take one thing out and it collapses.
New ideas are articulated by individuals but generated by communities. Praise always tends to go to the individual but they couldn't have done it without the community that they drew from.
Genius- talent of an individual.
Social engineering of things like NHS, BBC, the dole. Set up out of Generosity for the future. We are moving into era of abundance and cooperation and things are going to accelerate and we have to find new ways to remain coherent.
Constantly remoulding ourselves by getting a sense of what everyone else is thinking collectively. Formulte your own opinions off that.
Art and culture is the central thing that we do, not just a little add on.
Barbara erren wrights 'dancing in the street' quote shows how we all need to start communicating together more to achieve happiness and coherance in life.
Interesting points made in the Question and Answer Included:
'Technology are the things that don't work properly let' grand pianos and bicycles work but aren't considered technology. The problem is keeping up with new technology.
Technology and art is going to kick us onto a new evolutionary level.
Sapiens: A brief history of human kind, by Yuval Harari talks about the 3 defining revolutionary moments in mankind.
Cognitive revolution is where we started talking to each other and forming languages. The 2nd is Agricultural revolution where we started making cities and civilisations. The scientific revolution, is where we manipulate the world how we want it and learn to contort it. Now we are entering post human revolution. We start to build the future with beings more intelligent than us. Utopia but some people have to let go of the profits.
All of the increase in productivity is going right to the top end of the scale. Graph 3" by 2" . 80% people at the bottom of the graph living on 2-4 dollars a day, then it goes up sharply at the end of the graph to the 20% that live in the rich west.
If graph was to scale the end of the graph would have been 23 stories high.
We can't keep going that way the wealth is too ridiculous.
I took away so many interesting points from this lecture and plan to research into
the German experiment where everyone got a living wage and had time to indulge in culture eg. reading the books you've been meaning to and watching films etc.
He first adressed the issue that the education sector favour 'Stem' subjects over the arts and believe they have more value and greater importance in the real world. Stem relates to Science, technology, engineering and mathematics, and even the imagery surrounding the word stem relates to the central 'core' subjects that everything grow from.
I took notes on the most relevant points in relation to my thesis:
Ask 20 scientists what the meaning of science is and you'll get 20 different variations of the same answer. Ask 20 artists the same question and you'll get 15 different answers of what art is as their is no clear definition.
His attempt at defining art is that: 'art is everything you don't have to do'.
You HAVE to eat but don't have to invent baked Alaskas.
You HAVE to wear clothes but don't have to wear Chanel dresses and Doc Martins.
Art is essential needs embellished.
Movement is essential but you don't have to dance.
Humans elaborate the basic activity of movement and stylise it. This is art.
Communication - additional stuff like poetry, singing, novels. This is art.
We care an awful lot about how we style ourselves and invest a lot of time and effort into it.
We could all survive without doing any of these things but we still do it and want to do it. Everybody on earth. Almost all time and energy is put to stylising things and appreciating other peoples styles.
One of the biggest questions in science is 'why do we like music?'. Why do we have preferences? We have very fine distinctions on the things we prefer. Nobody knows but it is important to us.
Children like to play 'let's pretend' and that is the most valuable way in which they learn. 'Lets imagine' is the central human trick that distinguishes us from other animals. We can imagine worlds that don't exist. And play out whole scenarios. Experience empathy by feeling what the world is like in someone else's head. Children start world building as soon as they can, growing into humans rather than animals at an early age.
Finland lets children learn by playing and imaging things til an older age and doesn't force them into things like reading until they want to. However studies show that this method works as Finland have the best grades.
Imagination is the basis of everything creative. Designing wedding cakes, building governments, creating football teams etc. and art is the grown up version of 'playing'. The construction of little worlds.
Another defining feature of art is the way it gives us a chance to have feelings about things that aren't dangerous. It's a safe place to have extreme and dangerous feelings. Acts like a simulator, simulating worlds that you can switch off.
William McNeal 'dance and drill in human history' explains that humans experience extreme pleasure when people synchronise themselves - dancing, carnivals.
Old ladies talking about corrrie on the bus are synchronising.
In a month of our lifetimes the same amount of things change as in the whole of the 14th century.
Everyone has an interest in one thing that's happening. No one is an expert on everything. Culture (the creative arts) is a collective ritual we are all engaged in. And this is the only way we can synchronise is this fast paced, ever changing world.
Eno's definition of culture is coherence between the community.
Scenious (a word invented by Eno) is the 'talent' of a whole community. The community is an Eco system, we feed off each other- everyone is important and everyone thrives together. Co-dependant and rebalancing. Richly interconnected. Take one thing out and it collapses.
New ideas are articulated by individuals but generated by communities. Praise always tends to go to the individual but they couldn't have done it without the community that they drew from.
Genius- talent of an individual.
Social engineering of things like NHS, BBC, the dole. Set up out of Generosity for the future. We are moving into era of abundance and cooperation and things are going to accelerate and we have to find new ways to remain coherent.
Constantly remoulding ourselves by getting a sense of what everyone else is thinking collectively. Formulte your own opinions off that.
Art and culture is the central thing that we do, not just a little add on.
Barbara erren wrights 'dancing in the street' quote shows how we all need to start communicating together more to achieve happiness and coherance in life.
Interesting points made in the Question and Answer Included:
'Technology are the things that don't work properly let' grand pianos and bicycles work but aren't considered technology. The problem is keeping up with new technology.
Technology and art is going to kick us onto a new evolutionary level.
Sapiens: A brief history of human kind, by Yuval Harari talks about the 3 defining revolutionary moments in mankind.
Cognitive revolution is where we started talking to each other and forming languages. The 2nd is Agricultural revolution where we started making cities and civilisations. The scientific revolution, is where we manipulate the world how we want it and learn to contort it. Now we are entering post human revolution. We start to build the future with beings more intelligent than us. Utopia but some people have to let go of the profits.
All of the increase in productivity is going right to the top end of the scale. Graph 3" by 2" . 80% people at the bottom of the graph living on 2-4 dollars a day, then it goes up sharply at the end of the graph to the 20% that live in the rich west.
If graph was to scale the end of the graph would have been 23 stories high.
We can't keep going that way the wealth is too ridiculous.
I took away so many interesting points from this lecture and plan to research into
the German experiment where everyone got a living wage and had time to indulge in culture eg. reading the books you've been meaning to and watching films etc.
Wednesday, October 25, 2017
OUGD601 - Essay - Theories
Potential book list:
https://drive.google.com/file/d/0B2scxt7biCRvRmFpdWlxU1h5Nm8/view
brand babble : sense and nonsense about branding / Don E. Schultz, Heidi F. Schultz.
Before the Brand: Creating the Unique DNA of an Enduring Brand Identity (Paperback)
by Alycia Perry (Author), David Wisnom (Author)
http://etd.fcla.edu/UF/UFE0020800/rhoads_j.pdf < good essay
https://www.drimlike.com/en/blog/brand-identity-why-is-it-so.html < what is brand identity
http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=1&sid=87a8f9f7-0665-4b69-ac7c-e206d99a7180%40sessionmgr4007 < read (open athens)
OUGD601 - Essay - Chapter One Research
Chapter 1: What is visual Identity?
To function properly, a company must develop its own identity, based on a unique design and well-defined graphics. All of these components make up the ‘visual identity’. Consisting of the name, logo, font, colour and signature style, the visual identity is essentially the story of a company and the values that it wishes to convey. It is essential for a brand asserting themselves through both print and online media, and is one of the fundamental pillars of the communication strategy of an organisation.
A key element of the visual identity is, of course, the logo. It allows an organisation to not only be recognised, but remembered. The creation of a logo is not something to be taken lightly, and it is always a good idea to meet with professional designers. Specialists in communication and design identify your needs, tastes and personality and bring them together to build a powerful logo. An integral part of visual identity, it gives you the opportunity to differentiate yourself from competitors.
In order to remain uniform in its communication, it is necessary to follow graphic standards. Effective graphic standards are crucial for a company wishing to maintain consistency in their graphic identity.
- https://www.drimlike.com/en/blog/brand-identity-why-is-it-so.html
To function properly, a company must develop its own identity, based on a unique design and well-defined graphics. All of these components make up the ‘visual identity’. Consisting of the name, logo, font, colour and signature style, the visual identity is essentially the story of a company and the values that it wishes to convey. It is essential for a brand asserting themselves through both print and online media, and is one of the fundamental pillars of the communication strategy of an organisation.
A key element of the visual identity is, of course, the logo. It allows an organisation to not only be recognised, but remembered. The creation of a logo is not something to be taken lightly, and it is always a good idea to meet with professional designers. Specialists in communication and design identify your needs, tastes and personality and bring them together to build a powerful logo. An integral part of visual identity, it gives you the opportunity to differentiate yourself from competitors.
In order to remain uniform in its communication, it is necessary to follow graphic standards. Effective graphic standards are crucial for a company wishing to maintain consistency in their graphic identity.
- https://www.drimlike.com/en/blog/brand-identity-why-is-it-so.html
- Seeing a sign and thinking of the institution and it's reputation etc. Chandler Semiotics.
- 'There often is a gap between what a company believes about its brand and what the consumers think about that brand (Schultz & Schultz, 2003). However, to close this gap, a company can strive to meet its consumers’ needs and wants by creating brand recognition, or having its brand identity match the brand image consumers have in their minds. Brand Identity and Brand Image In order to help facilitate the brand recognition process, a company must create and maintain a brand identity or brand image. According to Schultz and Schultz (2003), brand identity and brand image are the views or impressions held about a brand by the brand owners as well as customers and prospects. “Both identity and image are based on the values, attributes, traits, and personalities associated with the brand by the various stakeholder groups” (Schultz & Schultz, 2003, p. 307)'
- How has it changed in the past 50 years
- Managing a brand and its identity became very important in the 1940s and 1950s as corporations began to venture into global markets,
- The need for flexibility, screen based media
- What is a strong visual identity? - Vignelli on continuity
- Shouldn't rebrand something unless absolutely necessary
- How has our idea of visual identity changed from 80s to today.
Theories
Modernism - Socialist, equalitarium benefits all society. Neutral in aesthetic. Shouldn't be culturally loaded as that shoes hierarchy. Neutral and functional.
Postmodernism - Logos and branding are expressive themselves. Expressive.
Theories - Why should Graphic Design benefit the public/society
Physchological theories - Freud - Unconcious
Victor Papanek - Design for the real world.
Sources:
https://www.drimlike.com/en/blog/brand-identity-why-is-it-so.html
Modernism - Socialist, equalitarium benefits all society. Neutral in aesthetic. Shouldn't be culturally loaded as that shoes hierarchy. Neutral and functional.
Postmodernism - Logos and branding are expressive themselves. Expressive.
Theories - Why should Graphic Design benefit the public/society
Physchological theories - Freud - Unconcious
Victor Papanek - Design for the real world.
Sources:
https://www.drimlike.com/en/blog/brand-identity-why-is-it-so.html
OUGD601 - Essay -Structuring the Essay
Question: What are the benefits of establishing a strong visual identity within Cultural Organisations?
Chapter 1: What is visual Identity?
- The factors related to visual identity
- Seeing a sign and thinking of the institution and it's reputation etc. Chandler Semiotics.
- How has it changed in the past 50 years
- The need for flexibility, screen based media
- What is a strong visual identity? - Vignelli on continuity
- Shouldn't rebrand something unless absolutely necessary
- How has our idea of visual identity changed from 80s to today.
Theories
Modernism - Socialist, equalitarium benefits all society. Neutral in aesthetic. Shouldn't be culturally loaded as that shoes hierarchy. Neutral and functional.
Postmodernism - Logos and branding are expressive themselves. Expressive.
Theories - Why should Graphic Design benefit the public/society
Physchological theories - Freud - Unconcious
Victor Papanek - Design for the real world.
Chapter 2: What are the benefits?
-Branding Theories
-Benefits for company/increased visitors
-How do people view the organisation
-Morals and beliefs of a company
-Challenging norms
-Identity but experimental
-Reputation of brand
Counter Argument
-People suspicious of branding
-Branding not representative of the overall institution
Theories
Naomi Klein - No logo
Chapter 1: What is visual Identity?
- The factors related to visual identity
- Seeing a sign and thinking of the institution and it's reputation etc. Chandler Semiotics.
- How has it changed in the past 50 years
- The need for flexibility, screen based media
- What is a strong visual identity? - Vignelli on continuity
- Shouldn't rebrand something unless absolutely necessary
- How has our idea of visual identity changed from 80s to today.
Theories
Modernism - Socialist, equalitarium benefits all society. Neutral in aesthetic. Shouldn't be culturally loaded as that shoes hierarchy. Neutral and functional.
Postmodernism - Logos and branding are expressive themselves. Expressive.
Theories - Why should Graphic Design benefit the public/society
Physchological theories - Freud - Unconcious
Victor Papanek - Design for the real world.
Chapter 2: What are the benefits?
-Branding Theories
-Benefits for company/increased visitors
-How do people view the organisation
-Morals and beliefs of a company
-Challenging norms
-Identity but experimental
-Reputation of brand
Counter Argument
-People suspicious of branding
-Branding not representative of the overall institution
Theories
Naomi Klein - No logo
Chapter 3: Examples of successful visual communication
-The Whitney, New York City
- The Public, New York City
- The Hepworth, Wakefield
- The Hippodrome, Birmingham
OUGD601 - Essay Research - Experimental Jetset and The Whitney
 |
| The Whitney Museum, 2015 |
 |
| The W-Shaped grid |
Experimental Jetset's concept for the new Whitney identity was the ‘Responsive W.’ The idea concerned itself with a W-shaped construction platform for all kinds of text, a flexible grid of sorts. The thin line was described as an invitation to activity and interactivity – "it represents an area that needs to be signed, that needs to filled-in (or filled-out)." They wanted to produce an identity that could be interacted, engaged and connected with that represents "a blank canvas" for artists to put their signature on, be that via previous works or future works; The identity is to be open to things-to-come.
The WHITNEY visual identity is contextually informed as if reflects the structural architecture of the new museum exterior. This enhances the identity through it's bespoke concept and considered visual language. Also, the interchangeability of the design allows for ease in terms of reproduction and adaptation. Contrary to this view, we feel that on a practical level the identity is restrictive, dominating and rigid in its communication visually. Although the designers produced the identity with a "need to be signed or filled", the visual functionality is limited when presented as a stand-alone image.
 |
| The redesigned WHITNEY identity. |
The WHITNEY visual identity is contextually informed as if reflects the structural architecture of the new museum exterior. This enhances the identity through it's bespoke concept and considered visual language. Also, the interchangeability of the design allows for ease in terms of reproduction and adaptation. Contrary to this view, we feel that on a practical level the identity is restrictive, dominating and rigid in its communication visually. Although the designers produced the identity with a "need to be signed or filled", the visual functionality is limited when presented as a stand-alone image.
Tuesday, October 24, 2017
OUGD601 - Essay Research - Why arts and culture matter?
http://press.labour.org.uk/post/88265413304/speech-on-young-people-and-the-arts-by-harriet
Why arts and culture matter by Harriet Harman
I come to this as someone who believes that the arts are fundamental to what it is to be human. For how each individual develops and understands and sees themselves and the world around them. For how we understand and interpret time and place.
And that is why it must be for everyone, not just for some. And that’s why it is a public policy imperative to make that the case.
There has been a view that public policy on arts, culture and creativity should focus principally on the contribution it makes to the economy. And that is certainly important.
But it’s about far more than just the economics…
It’s about what it means for each and every individual, for all our communities as well as the economy.
Arts are important for communities
Young people’s engagement in arts is vital in for their sense of community and place. The leaders of our great cities - like Manchester, Liverpool, Birmingham, Gateshead - are in no doubt about the importance of the arts to civic identity. And that is why they are so determined to sustain the arts in their cities. Albert Bore, the Leader of Birmingham City Council, once said that without the arts, our cities are deserts.
And, beyond the individual, the whole community benefits when the arts are a path to rescuing a young person who has gone off the rails or when the arts play their part in helping people struggling with mental illness. Arts and culturerefresh the parts that others can’t reach - that’s why it is so incomprehensible to ban books being sent to prison.
Arts are important for the economy
At a time when people ask where the jobs of the future are going to come from, and how we’re going to pay our way in the world, we should be in no doubt about the importance of arts and the creative industries for jobs, growth and the economy.
This country excels in the arts and culture in all their forms. We produce some of the greatest creativity on the plant – whether it’s music, fashion, film, theatre, broadcast, design, art, our libraries, our museums. Our cultural creativity is admired and envied – and consumed – around the world.
That’s why the creative economy already accounts for over 2.5 million jobs and contributed over £70billion a year to the UK’s economy and £15.5 billion of exports. Creative industries are growing faster than any other sector.
This artistic and creative success which is so evident today did not come out of the blue - it is built on years of public support and investment.
Investment which nurtured the creative talent of people from all walks of life, in all parts of this country because arts and culture thrives on the widest pool of talent.
For our economic success in this sector to continue to grow in the future, it needs a widening not a narrowing talent pool.
look up:
look up:
Sajid Javid
OUGD601 - Defining the research question
What are the benefits of establishing a strong visual identity within Cultural Organisations?
Chapter 1)
Establishes a voice for the organisation, continuity and recognisability.
Explore Theories related to that.
Examples: The Public theatre
Chapter 2)
Makes cultural organisations more accessable/appealing to a younger demographic/larger demographic, not just white priveledged middle class.
Chapter 3)
Challenges misconceptions of art forms such as ballet, the theatre and art galleries.
OR
What is the role of graphic design in making art/cultural organisations more appealing to millenials?
Chapter 1)
Talk about reasons why few young people engage with ballet/art/culture.
Chapter 2)
Makes cultural organisations more accessable/appealing to a younger demographic/larger demographic, not just white priveledged middle class.
Chapter 3)
Challenges misconceptions of art forms such as ballet, the theatre and art galleries.
Younger demographics, in particular young creatives can feel alienated and withdrawn from high society and the high art culture of art galleries such as the TATE gallery. Therefore new perceptions of these organisation can encourage a younger demographic of visitors.
Why is it important to engage a younger audience in culture?
Chapter 1)
Establishes a voice for the organisation, continuity and recognisability.
Explore Theories related to that.
Examples: The Public theatre
Chapter 2)
Makes cultural organisations more accessable/appealing to a younger demographic/larger demographic, not just white priveledged middle class.
Chapter 3)
Challenges misconceptions of art forms such as ballet, the theatre and art galleries.
OR
What is the role of graphic design in making art/cultural organisations more appealing to millenials?
Chapter 1)
Talk about reasons why few young people engage with ballet/art/culture.
Chapter 2)
Makes cultural organisations more accessable/appealing to a younger demographic/larger demographic, not just white priveledged middle class.
Chapter 3)
Challenges misconceptions of art forms such as ballet, the theatre and art galleries.
Younger demographics, in particular young creatives can feel alienated and withdrawn from high society and the high art culture of art galleries such as the TATE gallery. Therefore new perceptions of these organisation can encourage a younger demographic of visitors.
Why is it important to engage a younger audience in culture?
Examples of Graphic Design
New visual identities can reinvigorate cultural organisations. Organisations, such as the hippodrome in Birmingham, being a brand in their own right.
New visual identities can reinvigorate cultural organisations. Organisations, such as the hippodrome in Birmingham, being a brand in their own right.
'It needed a platform that would unite and inspire it's people and it's audiences to tell a clearer, more confident story about the amazing work it does.
Understand the brand and it's context on a deep level.
Making it more acessible/appealing to younger demographics
Establishing continuity
Establishing voice
The Public Theater in New York. As projects go, it’s highly unusual – a relationship that has lasted 24 years and evolved over that time, yet remained true to a core set of principles.
Does the longevity of such a project enable her to gain real perspective on what works – and what doesn’t?
'But The Public is very different – the other identities are contained, even though they have a lifespan after I leave them. What I do is I hire people for the in-house art departments of these places, so they’re growing it. It’s really like I design ‘systems’ that other people move. I don’t like manuals because I think that they’re useless; if somebody is talented they don’t need the manual. And if they’re not talented, it doesn’t matter what the manual says. Unless it’s very corporate and very dry, why would you do the same thing over and over again? Particularly in the performing arts, these things have to be fluid.'
DesignStudio told us that the new system will be used to capture ‘the human stories’ around the Premier League – for example, by showcasing grassroots projects and the impact of the League’s work in local communities.
Making things more 'insta worthy'
'But The Public is very different – the other identities are contained, even though they have a lifespan after I leave them. What I do is I hire people for the in-house art departments of these places, so they’re growing it. It’s really like I design ‘systems’ that other people move. I don’t like manuals because I think that they’re useless; if somebody is talented they don’t need the manual. And if they’re not talented, it doesn’t matter what the manual says. Unless it’s very corporate and very dry, why would you do the same thing over and over again? Particularly in the performing arts, these things have to be fluid.'
DesignStudio told us that the new system will be used to capture ‘the human stories’ around the Premier League – for example, by showcasing grassroots projects and the impact of the League’s work in local communities.
Making things more 'insta worthy'
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