Lannis Walters, 2010
Marco Dormino, 2010
Marco Dormino, 2010
Christian Als, 2010
Charlie Riedel, 2010
Charlie Riedel, 2010
US Coast Guard, 2010
Justin Stumberg, 2010
REUTERS/Kyodo, 2011
Daily Post, 2011
9/11 Digital Archive, 2001
Eric Tilford, 2001
Richard Drew, 2001
Interpretors of Tragedy
Interpretors of Tragedy Disaster in Graphic Design Ashley Hopkins
Opposite left: Reuters, 2006.
Introduction Graphic design can prepare a community for recovery after a tragedy by presenting strong messages. After a tragic event occurs, the first response in the media typically includes documentary imagery. This factual representation is appropriate to the community sensitivity at the time, but soon becomes passive and devalues the tragic event by failing to provoke the emotions which are beneficial to community recovery. Designers have the opportunity to bring a richness and new outlook to the event through expressive interpretation, unexpected juxtapositions, and metaphor.
THE FIRST RELEASE OF DOCUMENTATION OF A TRAGIC EVENT IS FACTUAL AND APPROPRIATE TOWARDS THE COMMUNITY SENSITIVITY AS INFORMATION.
Opposite left: Mario Tama, 2010. Opposite right: Win McNamme, 2010. Top: Jon Stanmeyer, 2004. Image left-bottom: Beth Keiser, 2011.
Immediate Presentation
in a condensed sans-serif typeface. The spread is
Design has become detached from a world of
stagnant; the bold headline, “Sea of Sorrow” creates
compassion, concern, and involvement. The
an asymmetry in the page. “Sea of” is significantly
vernacular has been filtered out in favor of “safe”
smaller than “Sorrow” and is more subdued in
design; a designer learns the rules of aesthetics but
color. “Sorrow” is displayed in a large, white, bold
fails to fully develop them into substantial concepts
sans-serif. The contrast in size paired with all capital,
(Hall 78). History needs to be documented, but can
plain type suggests high impact rather than sadness.
be recontextualized into a compelling interpretation
The description is placed below the headline, in
by bringing style and content together. A literal
a more subdued yellow tone. The caption,“Thailand,”
image is a reference to history, and initially carries
appears smaller on the left and gives the image
with it specific emotions, but for it be stimulating
context. The placement of the headline is above
again in, designers must manipulate the image,
ground, and directs the viewer toward to the
and engage editorial and textual dimensions of
catastrophe. This captures the urgency of the
design (Hall 77). After a tragic event occurs, there are high levels of vulnerability and stress. As a normal protective response, the affected community undergoes shock and denial in which emotions are tense and unpredictable (Concordia). The first release of documentation of a tragic event is factual and appropriate towards the community sensitivity as information. Time’s Sea of Sorrow magazine spread was published after the Indian
event and alludes to potential recovery. The choice
Ocean tsunami hit Thailand in December 2004.
of imagery here is appropriate for the time, because it
The opening of an eight page spread, was one
documents the destruction of the tsunami in the
of the only images that was captured when the
most literal manner.
tsunami struck. The presentation is literal; an image with a bold headline, subhead and caption, written
For victims to begin the process of community recovery, they must release stress through discussion of the experience, focusing and evaluating their values and strengths (Concordia). Exposure to these documentary images is critical to recovery and self-evaluation. When faced with this imagery, the destruction is stripped to its most basic form, facilitating empathy and inspiring compassion (Kennedy). A viewer can relate to his or her personal experiences with the images presented to him or her, a proper awareness of what has occurred (Pirro 67).
and renders it passive, while promoting the illusion of participation and connection. By exposing
This tragic imagery stirs up emotions, but does not
yourself to something extremely powerful and
bring closure. It encourages a passive attentiveness to
potentially destabilizing, you may be transformed,
human suffering, but lacks promotion of corrective
irreversibly�(Dery 56). Simply put, these passive
action (Pirro 122). Design critic, Rick Poyner said,
tendencies can stir up emotions so intensely that
“The news diet of disasters enervates the audience
they distort the perspective of the viewer.
Opposite left: UN, 2010. Opposite right: Tama, 2010.
After immersion in the footage of natural disasters, the community begins to understand these images as aesthetic versions of violence. September 11, 2001 was a nightmare displayed continuously, and after some time viewers became numb (Dery 58). A fresh approach should be taken to stir emotions. For example, after September 11, the world was consumed by terrifying images documenting the event. While purely factual, and released with the community sensitivity in mind, the imagery soon became hollow. Imagery of September 11 became passive after time, and was not enough for one to understand the long-term effects of the tragedy, and overall devalued the event aesthetically (Pirro 122). When images become ordinary we begin to dismiss them. However, the design in the aftermath of the tragedy can remain fresh and evocative in the long-term, if, after the initial exposure, the audience can acknowledge the history and find temporary reprieve in the experience, and move on to pursue recovery (Pirro 65). After reflection, we expect to cope and become empowered to lesson the suffering (Pirro 78).
Right: Milton Glaser, 2001. Opposite left: Crubio design, 2010.
Expressive Interpretations After the first documentation of a tragedy is released, an overflow of expressive interpretation from designers floods the world. They are able to identify symbolism and make it visually interchangeable with a positive message. Milton Glaser designed the “I heart NY” logo which became an icon for New York City, and a pledge of national affection. In response to September 11, Milton Glaser re-designed a version of his “I heart NY logo,” to read “I heart NY More than Ever”published on October 8th, 2011. The new logo was poetic rather than literal. The heart is wounded; a black splotch appears on the left-hand side to signify the injury of the attacks. The placement of the black on the heart symbolizes the location of the World Trade Center sites, approximating the location on Manhattan Island. “More than Ever” creates an instant emotional effect when added in addition to the iconic symbol. The typography is still set in all-capital slab serif,
Expressive interpretation also extends to natural disasters like the earthquakes of Japan, and Haiti, and the oil spill on the Gulf of Mexico. Common themes in response to Japan featured the manipulation of the Japanese flag while September 11 responses featured American Typewriter. An emotional response,which comes after the initial tragic imagery, inspires
the manipulation of two long rectangles to represent the destroyed Twin Towers.
sympathetic identification and encourages relief
The oil spill responses depicted abstract imagery of
efforts, because the presentation of a new, positive
oil and destruction. However, in response to Haiti,
symbol strengthens community ties (Heller 178).
there is more play with typography and culture.
THESE RESPONSES ARE SYMBOLIC, ILLUSTRATIVE, AND IRONIC, AN INTERPRETATION AND TRANSLATION FROM ARTIST TO VIEWER.
Full image: Als Christian, 2010. Opposite right: Extra Credit Projects, 2011.
The patterns and colors of the culture are interpreted. In Haiti, there is play with the destruction of typography which alludes to destruction of the earthquake, but ends with two figures in red coming together as “Haiti�. These positive messages in response to the disaster helped incentivize construction and revival as a community (Crammer 134). There is a common element in the expressive interpretation. These responses are symbolic, illustrative, and ironic, an interpretation and translation from artist to viewer. They are simple, narrowed down to a two-toned color palette with a powerful use of negative space and little typography for emphasis or the connection to symbolism. The images that are chosen in conjunction with each event are familiar, containing identifiable empathetic elements. Commonly used colors are red, black, and white. Red is associated with energy, strength, power, and determination. Red has a high visibility and increases respiration rate when it is seen. It is a color in numerous national flags, and indicates courage, which is essential in disaster response efforts (Chapman). Black evokes power, formality, death, evil, and mystery. It is also associated with fear and the unknown, or as a symbol of grief (Chapman). In these interpretations, color is used effectively and consciously and establishes an imaginative and continuous impact on the audience.
Unexpected Juxtapositions In regard to artistic interpretation, the use of unexpected juxtaposition in design creates an automatic tension with controversial topics. In Haiti Poster Project, playful illustration and bright color are juxtaposed with the Haiti devastation, in that the style and tone veer from the typical presentation of despair. The poster, part of The Haiti Poster Project, depicts a crane rebuilding “Haiti” – the letters made up of pieces of a building. Even in the wake of the devastation the richness of the colorful Haitian culture endures. One can see a similar approach to color and style treatment in Lift Me Up. Steven Meisel is also known for controversial highfashion photographs. Meisel’s “State of Emergency” magazine spread from 2006 Vogue Italia is one of a series of photographs that Meisel shot for the five-year anniversary of the September 11 terrorist attacks. When this opening spread was released, security was in high alert, and the spread served to contrast the images that were then presented in the media. The headline, “State of Emergency,” is an italicized serif, which gives movement and urgency to the situation. It complements the composition by leading to the person of interest, a beautiful woman attempting to re-dress herself at an airport security checkpoint. Police officers and a dog surround
Images: Steven Meisel, 2006.
IN REGARD TO ARTISTIC INTERPRETATION, THE USE OF UNEXPECTED JUXTAPOSITION IN DESIGN CREATES AN AUTOMATIC TENSION WITH CONTROVERSIAL TOPICS.
Images: Steven, Meisel, 2006.
Opposite left: Greg Herriford, 2010. Right: Ryan Clark, Haiti Poster Project.
PLAYFUL ILLUSTRATION AND BRIGHT COLOR ARE JUXTAPOSED WITH THE HAITI DEVASTATION, IN THAT THE STYLE AND TONE VEER FROM THE TYPICAL PRESENTATION OF DESPAIR.
Opposite left: Kelly Barnes, 2011. Max Erdenberger, 2011. Altered.
her and one can see the blurred figure of an officer
At the time, it served as a call to action, to donate to the
blocking her way. Her gaze is directed toward the
American Red Cross for the Japan relief effort.
officer blocking her and suggests concern.
The artist gave this poster in exchange for donations
In fashion editorials, there has been a transformation towards “substance over style,� the pursuit of a specific emotional response in the viewer. This spread achieves an emotional response among the fashion-conscious by placing familiar, glamorized models, in an unusual setting. This unexpected juxtaposition of disaster security measures and high fashion serves as a visual metaphor to the terrorist attacks and infringement on personal liberties. The image acknowledges the state of distress that remained in airports after the terrorist attacks, but, by putting an idealized fashion model in that position, creates a direct emotional reaction with the target audience: the fashion-conscious readers of Vogue. It is part of the visual richness that designers are capable of bringing in response to a tragedy. When two powerful symbols are compared, the connection is automatically stronger. For example, in the image opposite right, the Red Cross is compared within the Japanese flag. This is a powerful symbol for the community of Japan, because it evokes a willingness to prosper after the devastation, and celebrates an important and familiar cultural symbol.
to the American Red Cross.
Image: Luedtke, 2010. Full image: Keizo, 2011. Altered.
Visual Metaphor After the initial presentation of tragic imagery, emotional truth can be achieved through visual metaphor, which can establish a new perspective on tragedy. When abstract and concrete concepts are linked through metaphor, it is easier to grasp complex or unfamiliar information. Visual metaphors create familiarity, and a personal connection; the design is instantly more effective and memorable (Idler).
WHEN ABSTRACT AND CONCRETE CONCEPTS ARE LINKED THROUGH METAPHOR, IT IS EASIER TO GRASP COMPLEX OR UNFAMILIAR INFORMATION.
When an earthquake hit the city of Kobe, Japan in
Designers should do good for society, he felt. Mitzuani
1995, Koji Mizutani took a new, proactive approach
self-funded a series of posters in response to this
to design. Mizutani personally saw the destruction
devastation. Image opposite right shows an image of
and claimed the reality of the destroyed area far
the city of Kobe destruction: destroyed power lines and
exceeded what was displayed in the media. The
a destroyed vehicle. The horizontal poster gives a sense
media portrayals felt powerless to him, Mizutani
of abandonment, and the burnt negatives of the film are
stated “I did nothing but make adverts which simply
a metaphorical representation of the severity of the
were about making money for the big corporations,
devastation. In the left hand corner is a bird, a symbol of
whose relationship with the designers was like
peace and hope. “Come together for Kobe” is written in
that of the royal court and painters during the
red, all-capital sans-serif typeface; the color and capitals
Renaissance” (Crammer 20). But he believed if
give urgency to the message.
a visual metaphor was incorporated into design, it would help society recover mentally and spiritually.
Images: Barnes, Mitzutani, 1995.
Opposite left: Mouly, 2001. Right: Ingo Fast, 2001. Full image: Ravenscrag, 2009. Altered.
There were also numerous visual metaphors produced in response to September 11. Françoise Mouly created the black on black cover for the September 24, 2001 New Yorker. “I felt the images were suddenly powerless to help us understand what happened. The only appropriate solution seemed to be to publish no cover image at all – an all–black cover. So from no cover came a perfect image, which conveyed something about the unbearable loss of life, the sudden absence in our skyline, the abrupt fear in the fabric of reality,” Mouly stated. The simple image of the towers, black-on-black gives a mystifying sense of terror and emptiness, which can be hard to feel in the daily release of twin tower imagery in the media. The left tower’s antenna splits the “W” of The New Yorker. This fresh approach to a September 11 response evokes a compelling reaction. In response to September 11, image right is a poster combining symbols of the World Trade Center towers, and candlelight. The image is illustrated and colored white, centered on an empty, blue page. The negative space brings importance to the image. The image is a metaphor of mourning and respect in light of the tragedy.
WHEN VISUAL METAPHORS ARE USED TO PORTRAY DISASTERS IN FAMILIAR CONTEXT, THE DISASTERS ARE MORE ACCESSIBLE TO THE AUDIENCE.
Opposite left: Steven Meisel, 2010.
When visual metaphors are used to portray disasters in familiar context, the disasters are more accessible to the audience. Thus, the metaphorical representation of the oil spill in the Gulf of Mexico, in the context of fashion, is more accessible for Vogue’s readership. Vogue Italia’s 2010 issue contains the editorial “Water and Oil,” with imagery shot by Steven Meisel. Models drenched in oil are metaphors for the oil soaked animals of the Gulf. In “Water & Oil”, the type is displayed in a large italicized serif, a suggestion of elegance and urgency. A digital manipulation was applied on the image, so that oil seemed to be deteriorating the spread, dripping from the top and over the typography. The oil droplets complement the roundness of the typeface. A model lays in a bed of oil by the ocean to the right of the typography. When the fashion-conscious readers of Vogue see a glamorized model subjected to the oil a direct emotional impact connects the reader through relatable terms (Combs). Critics were skeptical, stating that this glamorized a recent ecological and social disaster for the sake of “fashion,” and reduced the tragedy to nothing more than an “attention-grabbing newsstand fodder.” “Oil is the new black,” they said (Combs). However, fashion editorials have undergone a transformation. “New” fashion caters to substance over style, whereas it used to be style over substance. Vogue understood their audience and targeted them
Images: Steven Meisel, 2010.
FASHION EDITORIALS HAVE UNDERGONE A TRANSFORMATION. “NEW” FASHION CATERS TO SUBSTANCE OVER STYLE, WHEREAS IT USED TO BE STYLE OVER SUBSTANCE.
Vogue understood their audience and targeted them effectively. The fashion-conscious reader connects and identifies with the model in oil. The designer, then, should work to bring substance to the forefront over style and realize the importance of substance in evoking an emotional response (Holland 176).
Opposite left: 2010
Conclusion Where environmental and cultural crises demand
Although the initial documentation of a tragedy is
attention, designers need to shift to useful and lasting
appropriate to the community sensitivity, designers
forms of communication over “safe” aesthetics
cannot remain passive as the community prepares
(Crammer 20). Designers are visual translators,
for recovery. Designers have a responsibility.
responsible for communicating a message in a
The commodification of tragedy and suffering
strong way that evokes attention. Design can fail to fundamentally communicate to the audience if there is a discrepancy between safe, institutional design and the community reception. Designers must move beyond the style and focus on substance (Heller). Design’s value is in the content
challenges basic principles of humanity, but simple presentation of images alone loses, over time, the ability to evoke an empathetic response. It is the designer’s responsibility to create continued empathy by acting as the visual translator and revealing a fresh point of view to target an audience distinctly (Kennedy).
it portrays. A design might be beautiful, but the
Design must be specifically tailored to cultural
emotional response arises from the context, not
variations. What evokes empathy for the Gulf, for
the aesthetic alone (Roberts 42). Image is a powerful tool for emotional engagement, and when paired with proper context the impact becomes even stronger. Vogue Italia targeted their demographic properly by evoking a feeling of hopelessness in the reader for their model. Similarly, when symbolism is used in the wake of a tragedy, the community can be brought together over a familiar image. It is essential that the graphic designer speak visually, and in a manner that the community can connect to.
example, is not necessarily what motivates recovery for an earthquake in Haiti, because it does not account for the region’s heritage. To solve the problem most successfully, a designer must emotionally engage with the culture (Roberts 62). When a tragic event occurs, a call to action will be effective initially, but there also must be more lasting forms of communication. The designer must first recognize the victims of a tragedy as human beings. By engaging with both the cultures of the victims and the audience, the designer can create a more meaningful connection.
WHAT WE SAY ABOUT THE STUDIO IS NOT A METHODOLOGY BUT A PHILOSOPHY. A VALUE WE HAVE INSTILLED IN THE STUDIO THAT IS AN EXTENSION OF WHO WE ARE AS INDIVIDUALS.
Interview with Vanessa Eckstein of Blok Design Block design studio specializes in branding and experiences, packaging, exhibition design, and editorial. Block blends cultural awareness and a desire to advance society, as demonstrated in Not Myself Today, a project designed to engage the community and improve mental health. The interview with Vanessa Eckstein, the founder of Block design, took place on November 29, 2012 via email. On your website, it states that your studio blends cultural awareness and a love of art and humanity to advance society. What methods can a designer use to translate design in a fresh way to engage the community? I would start by saying that we do not believe in set methods or methodologies. (We do have a creative process in place that serves more as a guide than anything else) Great conversations begin many times by questioning the answer. Each project we take on has a unique challenge that has to be solved, with its own context culture, perspective etc. You can find some common ground but many variables. And it is the variables that make
it truly interesting. To be able to engage community
to solve them or to connect with the people that are
you first need to understand that community.What
living with a specific situation. Social media and its
we say about the studio is not a methodology but a
usage patterns are still changing. Africa has a culture
philosophy. A value we have instilled in the studio that
of mobile phones in locations that are extremely far
is an extension of who we are as individuals. That what
and poor, but india incredibly enough does not. So
makes us inspired and motivated personally that makes
again you need to understand and question the unique
us chose the projects, and respond to the projects
problem with all its context to be able to truly
that in some way or another adds value to society.
affect change.
(although some projects can affect people in a more profound way than others).
What methods can a graphic designer employ to evoke empathy beyond a “call to action�?
How should a designer incorporate social media
We have many possibilities as designers to engage
strategies when engaging an affected community of
people. Through language, visual language (different
a natural disaster?
but they should be cohesive) color, beauty, imagery but
Strategies only work when you understand the
most importantly the depth of the design. All of these
specific problem and hold be designed according to it. Generalization can not give you the insights to try
Images: Blok, 2010.
Opposite left: Bubnis, 2010.
combined. As always the key is in questioning the
to find the insight that will connect to those
problem. and questioning profoundly.
living or going through this. Cliches only blur the
Design critic, Rick Poyner said, “The news diet of disasters enervates the audience and renders it passive, while promoting the illusion of participation and connection. By exposing yourself to something extremely powerful and potentially destabilizing, you may be transformed, irreversibly.� These passive tendencies can stir up emotions so intensely that they distort the perspective of the viewer, desensitizing the audience. What graphic design strategies can be employed to effectively transform a viewer’s
image further. Clarity in the message is essential. Design has the power to bring this message forward in a compelling way. But again,there are no methods. Creativity and experimentation do not arise from methodologies but almost the opposite. The belief in possibilities, the embracing of an ambiguous space where all can happen and the connection of points that might have seemed different. Methods only guide you thorugh the same path.
emotional response from media coverage of a
Please find the attached image of a poster made in
disaster into meaningful action? How can designers
response to the 2010 earthquake in Haiti. Was this
successfully capture an emotional response without
response an effective approach to engaging the
desensitizing the audience to the tragedy in
community to help Haiti? What methods did the
the process?
designer use to target the audience that the news
As a society we are extremely desensitized already.
has not?
We are asked to donate money to causes we have no
It is difficult to do any thoughtful analysis given the
relationship with at every stop in our shopping
lack of explanation of context, reason behind this
experiences. On a flight at the school, every point
poster. Why and when and how did this appear,
of interactions asks us not to understand the situation
what did it try to do, etc. I would be making an
but to have empathy and donate. True engagement
aesthetic and intuitive analysis.
only happens when it is personal. When you have lived, or have someone who lived through this. To be able to capture an emotional response you first have to understand what it is to go through it. You need
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