CO261713
OUGD505
Toxic Masculinity Studio Brief 2 OUGD505 Callum O’Reilly CO261713 Graphic Design Level 5
TOXIC MASCULINITY - SB2
CO261713
OUGD505
TOXIC MASCULINITY - SB2
BRIEF/RATIONALE: You must create a visual response which impacts the way that toxic masculinity is formed, take into consideration products, design, expectations, and the way in which the emotive language linked to masculinity is visualised. The realised solution should not only tackle the issue of toxic masculinity, but really make a difference within the expectations that society puts on gender stereotypes. The solution must have the ability to change the concerns to do with toxic masculinity, through the output of the graphic designer’s opinion and view. Take not only toxic masculinity into consideration, but also the equality of both genders. The product should be progressive and take into consideration a future market. The brand balance challenges ideals of masculinity, it allows for the target audience whoever they may be male-female or non-binary. Design is not focused towards gender, neither is the product. Balance feels a place in the market which is needed, and evident in society’s changing views on masculinity. Cosmetic products are not only for the use of the few, they are therefore anybody’s using to be able to improve their confidence, enhance their features or use in any way they wish; without the need to feel judged or emasculated. Balance comes with a basic tutorial allowing everybody to understand the use and application of cosmetic products in a way that is suits the gender you wish.
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RESEARCH The research for the product began by investigating the origins of male perceptions of traditional masculinity, evaluating the reasoning behind why males feel like they need to be ‘traditional men’. Grayson Perry explores the ideas from a new light as someone who has been exploring his gender and tackling gender norms for the majority of his career. The investigation led to word masculine that he had originally come from, the need to be an emotional and almost detached. Due to this level of expectation males recently have realised they are unable to deal with situations and away that they would be able to if they did not adhere to the expectations of toxic masculinity. Therefore, the views are changing, society is becoming more accepting and more understanding, yet there is a lot of change to still to happen. The changes not only to be towards males, there must be a more equal balance between the two genders and the way in which expectations of them are presented. The way in which products are marketed which should be open to either genders, is inclusive of only the few. In contrast to the way that social media and society is changing the way in which the marketplace is changing is lacking. This is not only a modern issue as discussed by influential comedian and actor Robert Webb, in his book how not to be a boy which explores the way in which male expectations are harming men, rather than helping them in life. Raising the question is masculinity needed in a society that no longer believes in it; and thus is there a need for a seperation of the genders in products used for both men and women. Make-up and beauty industry products are aimed mainly towards a female base, yet when researched males are open into using the products and further investigating the use of said products to improve their own confidence and the way they feel. Although they are reluctant to do so because of the highly feminine marketing associated with such products; making the beauty industry not inclusive. Brands such as L’Oreal are attempting to break into this market through the use of male models within their television ads although this minimal effect has not been evident to change the way in which the rest of their brand is marketed, remaining predominantly towards women. Therefore, leaving a gap in the market for a gender neutral brand which allows both men and women to experiment with make-up and be confident in what they are using without the embarrassment they may experience, due to outdated gender expectations.
TOXIC MASCULINITY - SB2
CO261713
OUGD505
TOXIC MASCULINITY - SB2
INTIAL IDEAS The initial ideas which initiated the consideration of creating a brand for which is more focused towards a gender-neutral market came from the addition of make up to one of the leading online retailers to the UK. Although make-up was added to the men’s section the make-up was all focused towards women included adverts of women and was all gender stereotypically coloured. The needs and expectations of what a new brand should consist of were taken from primary research, in which the target demographic of both males and females were asked about their opinion on the subject of now representation within cosmetics, thus giving the brand direction. The way in which the brand should be marketed was considered using this, males are known to be more apprehensive about the purchase of cosmetic products due to the judgement factor involved with purchasing cosmetics in store, leaving them filling emasculated. A way of eliminating this is through creating a service which is deliverable online, they also stated they were unsure on what products to buy and wouldn’t know how to use them, this is simply combated through subscription questionnaire service. Similar to that of those which are evident in the online retail market currently, aimed towards a similar target demographic of 25 and under. Within the initial ideas colour and symbolism concepts were considered, colour is a major visual learnt stereo typing form of media, which has been taught by society from childhood. Therefore, this must be considered in the way that both genders would be comfortable in purchasing the brand. Symbolism was considered in order to not only represent two genders, people who are non-binary and identify themselves as any other gender should also feel as if they would be embraced by the brand. Through embracing all genders and not particularly focusing on one the ideal of toxic masculinity is challenged.
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OUGD505
DEVELOPMENT Within the development stage the products or the experimentation of low poly pattern design to incorporate colour in a non-gender specific way. This was changed after critiques against the idea and simplified down into a simple colour block system in which the colours resonate with the product itself, which is then further highlighted against the high contrast of white. Logos were developed from the initial ideas of traditional symbols, moving away from a traditional style and adding a more abstract interpretation to the outcome. Further representing the brand values. A logotype was developed in which equality was taken into consideration, in both the way that the letters are presented and placed. Designs were developed to create a gender-neutral brand that takes away the colour and leaves the only colour to the product on the actual packaging any branding would be seen in a clear spot varnished and debossed position. Through doing so the entire idea of gender branding is taken away from the product leaving it solely as an open idea for anyone to use. the typeface itself that was selected for the logo represents the quality but also difference within the product equality is represented through the consistent sizing throughout, where’s the difference is represented with the use of the showing the individuality that the cosmetic brand allows the consumer to have as well as providing visual insight into the way that the industry is changing bringing something that was so separate together equally.
TOXIC MASCULINITY - SB2
CO261713
OUGD505
PROCESS The process of product creation took many steps, as different elements were needed, in order for the mail out service to work in the most basic manner a mail outbox design was needed. The design was consistent with the packaging design and added detail through the use of clear vinyl, allowing for highlights against the matted paper in which the labels printed. Tissue paper designs were also added to the collection to ensure the most professional and authentic outcome for the customer to experience once opening. This features a simple repeat pattern of the logotype as well as the logo itself. The designs of the packaging themselves were elaborated to incorporate bright colours the colours correlate to different sections of the brand for example all face base products are a light green, the warmer the colour of the packaging depends on what the product does. Bronzer deepens the cheekbones and therefore has orange packaging wears highlighter brings out the highlights of the face thus has a cooler packaging (blue). The production also saw the addition of stickers, this yet again was to add a further level of professional literacy to the brand identity and making the postal box experience complete. The stickers would be used both to seal the box itself and also given as part of a free gift inside of the box, as the logo represents gender neutrality and equality it is something that the younger generation will engage with and therefore gain the brand notoriety. website was also put in production, the website would be the basis of the brand, as previously mentioned the user would simply answer questionnaire and the products which are needed would be sent out to that user eliminating the option of choice on first purchase. Through doing so males are encouraged to do in order as one of the primary research questions provided information that said there were not confident in doing so. There is also a shop section and a product section on the website where user can purchase the product alone. The website also features a low poly camera selection, to be able to identify the users most average skin tone and therefore send the appropriate products, low poly portraiture was chosen as it is a modern way of identifying a picture in a complete different lines; similar to the way in which the brand is showing a new marketplace for the cosmetic industry, and also the way in which make-up can be used to completely change a look.
TOXIC MASCULINITY - SB2
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OUGD505
TOXIC MASCULINITY - SB2
FINAL PRODUCT
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OUGD505
TOXIC MASCULINITY - SB2
EVALUATION Overall the brief has been achieved in respect to creating a product which tackles toxic masculinity. This project taps into an industry which is already changing and brings to light in society a gap in the market where males are interested but none of the major-league make-up brands have tied into yet. The realised solution takes away the gender stereotypes in form of the colours used and the type of packaging design that is presented. As a graphic designer of the 21st century I believe that design should be improved to keep up with the society and current culture that we are living in. Once again, as previously mentioned, design is about progression and without correlation of the progression with society the designs that are created will become outdated, similar to the views of toxic masculinity. The design itself tackles toxic masculinity through gender neutral manner, gender stereotypes are implanted and learned from a jungle early age as proven in my research where people are told that only certain colours are acceptable for certain genders to be able to wear, and certain activities are only liable for certain genders. Thus, leading to learnt perception of what is to be a male and what is to be a female. The design itself is fresh clean and young and has been designed to specifically fit multiple primary research sources from the target demographic. Therefore, it would fit in correctly with the target audience and the current cosmetic market. The typeface used even represent equality due to its balance between sizing and also elements which identify individuality, thus allowing for both the quality and a visual reference of what the make-up is there to do. If the project was to be redone the boxes themselves would be physically made, unfortunately due to facilities this was unable to happen, yet in industry this would not be an issue and therefore would be in fitting if taken to industry.
CO261713
OUGD505
Fidget House Studio Brief 1 OUGD505 Callum O’Reilly CO261713 Graphic Design Level 5
FIDGET HOUSE - SB1
CO261713
OUGD505
FIDGET HOUSE - SB1
BRIEF/RATIONALE: The task that was set was to research a micro-genre of music from a specific website. The research should be extensive, with the intention of becoming an expert within that genre. The micro-genre will become the focus for the design and the production of a new piece of work will be publicly exhibited. The design of an object to celebrate or critique an aspect of the genre specific characteristics whether that be political aesthetic production methods audience demographic key intentions are its connection to a place. The genre that was selected for this outcome was selected due to its unusual nature within the industry. The genre fidget house was created by a joke between two DJs that had been taken too far, which has now become a genre that other DJs and latching onto although these DJs can also be found in their normal genre of music. The piece represents the physical layers and aspects and build of the music, and also the confusion behind the creation of it.
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OUGD505
RESEARCH Fidget House is a style of Electro House that distinguishes itself by making heavy use of Breakbeat Hardcore-esque synth stabs, pitch bending of basslines, and cut-up vocal samples, as well as glitchy, or “choppy”, 4/4 rhythms. Fidget house itself has been around since the 2000, as this is when it was first coined by the DJs Jesse Rose and switch which they even state themselves to be “a joke that went too far”. The musical structure of the music those classes fidget house is actually evident to be the exact same as electro house, and therefore the subgenre doesn’t actually physically exist. Rather it is a joke that DJs made to try and separate themselves from electro-house which other DJs hopped onto to be able to be different and make themselves seem new and exciting within the industry. house itself started at Chicago’s Southside, where old classics were mixing new Euro beat pop. The clubs where they began became legendary and the music was known for bringing together communities that didn’t feel like they had anywhere else to go, hence the origin of the music being in gay clubs, and mainly performed by AfricanAmericans. In order to further my research, I decided to look into the visual identity literacy that is associated with house music. The imagery that is mainly featured on electro-house posters and so-called fidget house posters, is dark and features a lot of contrasting neon lights this is to resemble the clubs and the houses where you would find this music. House music also has the associatiovn with summer due to its upbeat and lighthearted nature. This post is also contain Bright gradients which contrast against heavy type and random objects giving the visuals are representative factor of how the music is constructed with multiple layers of different and sometimes randomised samples. My political research to do with house music led to the understanding that DJs he do get involved with politics demotivated by their fans, they often just want to hear the music not their political stance nor opinion; evidence in Dave Clarke’s reluctantly to tour America in which no one discussed his decision, rather the fact that he mentioned politics altogether. Investigations into the way that current designers who are designing for house music using techniques. An interesting technique that modern designers are using as collage. Even though colleges thought of as a dated technique the tactile nature of it visually represents the layers within the music and how different styles can come together to make one piece.
FIDGET HOUSE - SB1
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OUGD505
FIDGET HOUSE - SB1
INTIAL IDEAS The initial ideas towards the project were based on two different ends of the spectrum, one was a physical object in which a pack that could be taken and used that house events could be created and designed. Taking inspiration from Frank Ocean’s boys don’t cry magazine pack. Although when discussed with others it was decided that the product would be too much of an obvious outcome, and the unique style of the nonexistent music genre would be more interesting through an unexpected approach. Thus the exploration of collage was considered. This exploration led to looking at further graphic designers who experience collage to be able to create surrealist imagery, such as Dr.me.
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OUGD505
DEVELOPMENT The development of the design took a turning point, in order to visualise the way in which this genre was made by two DJs, with a joke that went too far it was decided that the visualisation would create a mixed medium image that represents jokes that went too far. Through this being a surrealist style represents the way in which the genre doesn’t actually exist, yet it is there as a physical thing similar to the way in which collage works. Some visual literacy which is included within the house scene should also be included within the piece, therefore giving a better understanding of the visual on its own; rather than the image alone which would in particular make any sense. Experiments were done with foiling, to see which would be the most effective way of creating this element of the mixed media within the collage. Although it was decided that this would later be removed in order to keep the focus on the imagery itself, the link to house music visual literacy could be added in more simplistic ways the compliment the imagery designs themselves.
FIDGET HOUSE - SB1
CO261713
OUGD505
PROCESS In order to create the final outcomes each section must be paper cup with a scalpel, the sections are then layered on a relevant background to the concept in which the relevant joke is based on. In order to gain this notoriety with the house industry the idea of the visuals being explored as a poster for an event was tested. Although the brief itself was to create a visual which explains the genre itself rather than having to tell the audience what it is about. Therefore, within the development process and the process of making the final outcomes a gradient was added to show a visual link to the literacy of house music posters, the image was then further incorporated into this gradient through the removal of sections. The elimination of text within the process of making the posters also adds to the confusion of the actual imagery itself and clearly represents the confusion and layering that is found directly through house music, as further explored within my previous research. Once the photo cutting has been completed the image was scanned into the computer and edited through photo shop this was to enable higher saturation, and contrast, highlighting the best colours within the image. This also bought out the ridge of the paper cutting itself, allowing for the addition of texture on the final printed outcome. The outcomes themselves were printed a three on satin paper as the exhibition setting would be highly let and therefore this will best showcase the colours of the posters and the different textures within the poster without attracting from the imagery itself.
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OUGD505
EVALUATION I believe that the brief is been met the pieces are confusing layered busy and intense, clearly paralleling the music that it is representing. The addition of collage at the dimension to the music, giving the listener an extra way to lease themselves within the sound. It is evident that this is related to house music in general due to the gradients have been used in the background. I believe this successfully gives enough relevance to the genre without specifically putting it inside of this genre visually, as it states what the music does; it borrows from other house genres to be able to call itself a house, whilst not really existing. The aspect of something existing whilst also not existing is created through the surrealist aspect in each image each image displays a situation which has happened in a way that makes it seem fantasy like, through the addition of different imagery in different styles. I believe the Prince was successful, and due to the colour and busy nature of them they will be easily eye-catching within the exhibition and get people thinking about what the real concept behind fidget house is. Although the design was somewhat out of my comfort zone, stepping away from the minimalist and simplistic strong design I’m compelled towards, this project allowed me to experiment with handmade techniques and mixed the multimedia skills I had learned from previous workshops, into my practice. I believe this is help me as a 21st-century designer to keep up with new cultural developments within different industries, such as music. This is taught me that by keeping up with this and keeping ahead of these it keeps you relevant as a designer. If I were to have more time with the project I would like to create an immersive experience in which design really truly makes the person feel what the music is all about. Further allowing me to experiment with the ideals of textures and different senses to create something that isn’t really there but physically is.