COP3 PROPOSAL Bronte Hall
1. RESEARCH QUESTION
“What is Good? - To what extent does social responsibility impact on the role and function of illustration?�
ROLE & FUNCTION OF ILLUST/DESIGN? To inform, educate, advertise, illuminate a subject, decorate, draw attention, reimagine, catch the eye, gain the interest of an audience, tell a story, say something, visually communicate... HOW? Editorial, product design, advertising, posters, branding, publishing...
2. CONTEXT & THEMES
V&A promotional poster - Matthew Richardson Editorial illustration - Henning Wagenbreth Ueno Zoo Poster - Kazumasa Nagai
5 images
Edinburgh Arts Festival map - Hannah Waldron Museum Journal - Willem Sandberg
5 images
Design For the Real World Victor Papanek, 1971
First Things First Manifesto Ken Garland, 1964
Museums and Visual Communication Creative Review [link]
May 1968: A Graphic Uprising Creative Review [link]
Willem Sandberg: Warm Printing Eye Magazine [link]
5 books/articles
Stedelijk Museum, Amsterdam Sandberg: Director and Designer, 2016 [link] Sandberg Now, 2004 [link]
Illustration History Polish Poster Art: Reflecting the Soul of a Nation [link]
Wine & Bowties Polish Poster Art [link]
Design is History First Things First Manifesto [link]
Experimental Jetset Website [link]
5 websites
“Have nothing in your house that you do not know to be useful, or believe to be beautiful.” William Morris
“Design must be an innovative, highly creative, cross-disciplinary tool responsive to the needs of men. It must be more research-oriented, and we must stop defiling the earth itself with poorly-designed objects and structures” Victor Papanek, Design for the Real World (1971) “We think that there are other things more worth using our skill and experience on. There are signs for streets and buildings, books and periodicals, catalogues, instructional manuals, industrial photography, educational aids, films, television features, scientific and industrial publications…” “We are proposing a reversal of priorities in favour of the more useful and more lasting forms of communication”
Ken Garland, First Things First Manifesto (1964)
“Illustration has become entrenched in navel-gazing and self-authorship...obsessed with its own craft, it has withdrawn from society’s big debates to focus on the chit-chat of inner sanctum nothingness” Lawrence Zeegen, Where is the Content? Where is the Comment? (2012)
5 quotes
3. CASE STUDIES
9 Years Stedelijk Museum 1945-54 Exhibition catalogue, 1954
“Modern Art, New + Old” poster, 1955 “Henry Moore” exhibition poster, 1949 “Acht Argentijnse Abstracten” poster, 1953
Willem Sandberg Dutch designer, visual artist, director of Stedelijk Museum (1945-63). Aimed to lower the threshold of museums to everyone, made it an inclusive space, art for the public
“Be young and shut up” “The struggle continues” “May ‘68, the beginning of a prolonged struggle”
Paris, 1968 Atelier Populaire, design as a social tool during protest, using image making and visual art to communicate a social or political message
“The Fortunate Event” theater poster (Jan Lenica, 1973) “Mannequins” theater poster (Henryk Tomaszewski, 1985) “Czarna Komedia” theater poster (Franciszek Starowieyski, 1969)
Polish Poster Art Polish School of Posters, the social and cultural impact of polish poster design, as a social art form (creating art under strict control and censorship)
“Legniz. Books in all branches of knowledge� literacy poster (Alexander Rodchenko, 1924) for publishing house, Gosizdat
Constructivist Design Posters created during the constructivist movement managed to communicate Soviet values to a wide audience through the use of bold type and immediate visuals.
“The Printed Book: A Visual History� 2012. Exhibition branding and concept.
Experimental Jetset Amsterdam-based graphic design studio undertaking projects to do with language and combining it with visual art, exhibition planning, installations, and more. In this exhibition, they used a library and examined how they could exhibit books spatially, dealing with existing material but changing its context into more of an art show. This plan expanded to designing printed matter and branding for the exhibition.
4. REFLECTIVE PRACTICE
1. Educational/social design + spaces Look at gallery, museum, and institutional spaces and see where and how visual art can be utilised, and its relationship with the public/viewers.
2. Accessible Design Explore the concept of accessible design, design for everyone regardless of gender, class, etc. What are the successes and drawbacks of this? (e.g. inclusive, but standardised)
3. Design in the Everyday Investigate how design can be used to enrich everyday life, from product design, to informative and communicative design.
4. Poster Art Potentially think about creating a range of posters to do with a certain subject. Look at how far the form of poster art can be pushed and maximised. Where do aesthetics and function blur? Which is more important? Why?
5. Symbolism Explore how symbols and visual metaphors can enhance a piece of visual art as well as its communicative power. How could I bring this into my own work?
5 proposals