Revival of the Rainbow: Why Polaroid is thriving in the age of digital technology, by Chloe Chatenou by chloechatenoud

REVIVAL OF THE RAINBOW Chloe Chatenoud

Revival of the Rainbow: Why Polaroid is thriving in the age of digital technology

Chloe Chatenoud 1800698 Graphic Design Editorial 2020

Word Count: 5697

Abstract This editorial style report is an exploration into the revival of the brand Polaroid, and the significance of nostalgia in our appreciation towards the brand. Written as a Creative Review insight article, the purpose of the report is to analyse and discuss how Polaroid have created a lasting relationship with their consumers, and the imprint Polaroid has on our visual culture today. The report begins by examining why Polaroid was considered revolutionary in the age of film photography and how it became more than photography, by discussing the brandâ&#x20AC;&#x2122;s history and development. It then discusses how Polaroid became a culture and lifestyle that appealed to both professional and amateur photographers, and how it continues to be admired today, in the digital age of technology. The article then examines Polaroidâ&#x20AC;&#x2122;s decline, with the invention of digital photography, as well as the role of nostalgia and consumer loyalty in reviving the brand in 2017. Following this, the report explores Polaroidâ&#x20AC;&#x2122;s most recent rebrand, which utilises nostalgia by taking inspiration from past packaging, designed in the 60s. Furthermore, the report analyses the influence Polaroid has had on visual culture, in advertising and on social media sites such as Instagram. It particularly focuses on the symbolism of the white frame and the square image format. The report concludes by discussing how Polaroid acts as a form of escapism from digital technology, suggesting why the brand has found success once again.

CONTENTS 06

Table of Illustrations

Article

Supporting Text

Bibliography

TABLE OF ILLUSTRATIONS Figure 1: Edwin Land holding a Polaroid photo of himself. (2020) Available at: https://www.instagram.com/p/B_FjZqKgW1Y/ on page 6 Figure 2: ‘The 60-second excitement’ Polaroid Colour Pack camera advert. (1968) Available at: https://www.vintage-adventures.com/vintage-photography-camera-ads/886-1968-polaroid-ad-the-60-second-excitement.html on page 7 Figure 3: ‘The 60-second excitement’ Polaroid Colour Pack camera advert. (1968) Available at: https://www.pinterest.com/pin/101682904070386785/ on page 7 Figure 4: Nan Goldin’s Polaroids of her extensive collection of antiques. Available at: https://www.theguardian.com/ artanddesign/gallery/2009/sep/06/photography-art on page 9 Figure 5: Harry Borden’s Polaroids of a pool party. Available at: https://www.theguardian.com/artanddesign/gallery/2009/sep/06/photography-art on page 9 Figure 6: Mary McCartney’s Polaroid photos. Available at: https://www.theguardian.com/artanddesign/gallery/2009/sep/06/photography-art on page 9 Figure 7: Tom Hunter’s Polaroids of friends in Sicily. Available at: https://www.theguardian.com/artanddesign/gallery/2009/sep/06/photography-art on page 9 Figure 8: Polaroid 60s packaging designed by Paul Giambarba. Available at: https://imjustcreative.com/original-polaroid-branding-by-paul-giambarba/2019/09/19 on page 10 Figure 9: Polaroid Originals packaging. (2017) Available at: https://www.creativereview.co.uk/polaroid-originals-instant-camera/ on page 10 Figure 10: Polaroids new logo design. (2020) Available at: https://www.itsnicethat.com/news/polaroid-rebrand-graphic-design-260320 on page 11 Figure 11: Miu Miu fall ad campaign. (2020) Available at: https://fashionista.com/2020/07/miu-miu-fall-2020-ad-campaign on page 12 Figure 12: Polaroid One Step 2 ad campaign. (2017) Available at: https://www.marketingweek.com/polaroid-on-howit-is-modernising-the-retro-brand/ on page 12 Figure 13: Screenshot of ‘derailthesnail’ Instagram page. (2020) Available at: https://www.instagram.com/derailthesnail/ on page 13

Figure 14: Screenshot of ‘smntha.polaroid’ Instagram page. (2020) Available at: https://www.instagram.com/smntha.polaroid/ on page 13 Figure 15: Screenshot of ‘intothepolaroid’ Instagram page. (2020) Available at: https://www.instagram.com/intothepolaroid/ on page 13 Figure 16: Screenshot of ‘shamspola’ Instagram page. (2020) Available at: https://www.instagram.com/shamspola/ on page 13 Figure 17: The Polaroid Project book. Available at: https://thamesandhudson.com/the-polaroid-project-9780500544730 on page 17 Figure 18: Scan of Creative Review, Issue 3, Volume 40, page 110. (2020) Own image, on page 19 Figure 19: Scan of Creative Review, Issue 4, Volume 40, page 26. (2020) Own image, on page 19 Figure 20: Scan of Creative Review article. Own image, on page 20 Figure 21: Scan of Creative Review article, How design is opening up the gaming experience. Own image, on page 20 Figure 22: Scan of Creative Review article on typography. Own image, on page 21 Figure 23: Scan of Creative Review article on an exhibition. Own image, on page 21 Figure 24: Scan of Creative Review introduction page. Own image, on page 23

Insight

With each of us having a smartphone in our pocket, it is bizarre how a brand such as Polaroid is becoming desirable again. Here, we look at the reasons why Polaroid remains as one of the most ground-breaking brands, their imprint on our visual culture, and the role of nostalgia in their products and advertising.

Why Polaroid is thriving in the age of digital technology In 1948, the American inventor and scientist, Edwin Land, launched the first Polaroid camera. The idea of a photo being instantly printed in the moment in which you took it, was an entirely ingenious concept. It was something that hadn’t been done before. Even with brand leaders such as Kodak, you would have to wait a week for your photos to be developed elsewhere. Land’s invention was revolutionary in a time which valued ease of operation, speed, and convenience, says William Ewing, author and curator with the Foundation for the Exhibition of Photography. By the 1970s, Polaroid was a household name, used to commemorate all special occasions, like birthdays, graduations and weddings. The simplicity of the camera made it the ideal choice for amateur photographers. However, this didn’t come without criticism from some professional photographers and artists, who viewed the Polaroid as lazy,

and disruptive to art photography. “A Polaroid camera was sometimes a toy to be disparaged, at other times a luxurious status symbol” says Peter Buse, Associate Dean for Research, Arts and Social Sciences, at Kingston University. It was a versatile product and although aimed at amateurs, the camera was soon claimed by many iconic artists such as Ansel Adams, Andy Warhol and David Hockney, who used Polaroid photos in their work. The instantaneous nature of the product is what made it so compelling to amateurs and artists alike. “The Polaroid identity became that of a fun, cool, ‘live for the moment’ kind of brand”, says Matt Haig, English novelist and journalist. The Polaroid was not just about the end photograph - it was enticing because of the entire image-making process; making the brand a success to this day. In their early advertising, Polaroid continually emphasised the speed and efficiency of their cameras.

‘The 60-second excitement’ was one of the main taglines used. Being Polaroid’s main selling point, the speedy nature of the device was the main talking point, and almost seen as magic, as it had never been done before. The excitement surrounding the photo printing

instantly, often brought people together, all gathered around the camera, nervously anticipating the grand reveal of the photo they had just taken. In these two ads here, it shows this exact scene, with the entire family gazing at the Polaroid photo, in a state of amazement and thrill. The Polaroid soon

LEFT: Figure 1: Edwin Land holding a Polaroid photo of himself RIGHT: Figures 2 & 3: ‘The 60-second excitement’ Polaroid Colour Pack camera ads (1968)

became more than photography. It became a social lubricant – the main event that got people talking and interacting with one another. People wanted to get involved in the magic happening before them, whether this be clicking the button or posing in front of the lens. Unveiling a Polaroid camera became an event itself, and still has the same effect on people today. According to Peggy Sealfon’s The Magic of Instant Photography handbook from the 1980s, “an instant camera will often motivate people to do unexpected things, just to see the immediate record of their behaviour”. People may act for the camera or do something wild to get attention. Interestingly, this can be compared to the instant photography of the 21st century, where people will stop whatever they’re doing to take the perfect Instagram or Snapchat photo. It was the shift from film to digital photography that meant Polaroid cameras were old news. While in the mid 20th century, Polaroid offered the revolutionary experience of instant photography; by the 1990’s they were outshone by the development of digital cameras. Along with the impact of the 2008 recession, Polaroid filed for bankruptcy twice between 2001 and 2009, and ceased production of instant film altogether by the end of 2008. However, this wasn’t the end for Polaroid just yet. The brand had a huge

emotional impact on its consumers - it was far more than just photography. It was a form of artistic expression and socialising, that fans were not prepared to lose. Enter the Impossible Project. The independent Dutch company founded by three Polaroid enthusiasts, who bought the last remaining instant film factory in the Netherlands, in hopes to revive the brand. Their passion for Polaroid as a brand, sparked the challenge of bringing the instant camera back to life. “It was the end of images that were real, instant, and that you could hold in the palm of your hand”, as quoted in the Impossible Project’s YouTube channel. Digital photography snatched the element of physicality from us – the thing which made Polaroid so endearing. Over the years, The Impossible Project took more of Polaroid’s assets, and eventually rebranded themselves as ‘Polaroid Originals’ in 2017. Separate from Polaroid, the new brand focused on analogue and instant photography and the roots of the brand, according to Oskar Smolokowski, former CEO of Impossible Project and the CEO of Polaroid Originals. More recently, in March 2020, the brand has been renamed once again, simply to Polaroid. The refusal to say goodbye to the brand back in 2008, shows just how much people are invested into the Polaroid culture. What is it that makes the brand so desirable today,

“IT WAS THE END OF IMAGES THAT WERE REAL, INSTANT, AND THAT YOU COULD HOLD IN THE PALM OF YOUR HAND”

and where does our love for all things retro stem from? It is the use of nostalgia as a powerful marketing strategy, that keeps people interested in brands such as Polaroid. Nostalgia has had different meanings over time. First coined in 1688 by the Swiss medical student Johannes Hofer, nostalgia is derived from the Greek words ‘nostos’ meaning return home, and ‘algos’ meaning pain. It practically translates to homesickness – the ache to return to a place which feels like home. It was first seen as a mental illness, but research over time showed that nostalgia was in fact a pleasant activity. “Nostalgia is a desired state”, says Clay Routledge, leading expert in the psychology of nostalgia and existential psychology. It is a “sentimental longing for the past… and a highly social, emotional experience”. The nostalgia we feel about past events is not a real past however, but an imagined past through rose-tinted glasses, that forgets the bad and remembers the good. We reminisce about positive experiences, and long to go back to them, whether this be our childhood, times with friends, or significant life events. Snapping photos on a Polaroid is a highly nostalgic activity, as it suggests a longing for the past. The use of oldschool technology can take us back in time to our youth and the memories we have, and for young people who didn’t experience Polaroid the first

THIS PAGE: Figures 4, 5, 6 & 7: Collection of Polaroid photos from The Observer, taken by leading photographers, to commemorate the end of Polaroid film production in 2009

time round, a chance to live in the romanticised idea of what the past was. Photographer Mary McCartney recalls her memory of using Polaroid as a child - “When I was a kid, digital photography wasn’t around… we’d go on holiday and take Polaroids of the kids and get them to watch the image appearing before their eyes. We went through a phase of drawing on them, putting moustaches on.” Polaroid released the inner creativity of people of all ages. It was a chance to explore art without any pressure or expectations. In the age of Instagram feed perfection and competition for the most likes, photography seems all too staged and complex, which is perhaps why we are drawn to the simplicity of Polaroid again. “As everything is now online, “we long for real things that we can hold and touch”, says feminist artist, Petra Collins. Polaroids are a physical manifestation of the past, and unlike digital photos there is only one copy that can be kept and treasured, creating a sentimental bond to the product. “The contemporary love of analogue and the enduring appeal of all things retro… suggest a longing for touch and solidity, for seeing and feeling”, says Collins. It’s not only photography – the resurgence of vinyl, pinball and typewriting all come from our appreciation for old, and the use of nostalgia in marketing. And we’re not the only ones who are feeling nostalgic.

For Polaroid’s most recent rebrand, they have returned to their roots, championing their original branding from the 60’s. The signature design innovation came in 1968 by graphic designer Paul Giambarba, who came up with the iconic rainbow-stripe motif, originally used to differentiate colour from black and white film. Christopher Bonanos, senior editor at New York magazine, and the author of Instant: The Story of Polaroid (2012), explains how Polaroid’s packaging and branding “had to stand out against the yellow blare of Kodak”. And what better way to do this than using an entire rainbow of colours. The bold colour spectrum soon became the main feature of the packaging, paired with simple, sans-serif typography. The graphics were crisp, clean, and highly legible, giving Polaroid a powerful brand image to match their innovative products. It is interesting to see how the brand has come full-circle, this time using the rainbow is a subtler way. The current logo draws from the past, yet has been made contemporary, with the five-colour bar underneath the logotype. Bright colours have also been used for the film packs, brand patterns, and even the cameras themselves – the new Polaroid Now camera. Smolokowski, CEO of Polaroid said, “In the 70s, Polaroid changed the rules of branding with the introduction of a bold, full panel rainbow spectrum across our prod-

LEFT: Figure 8: Polaroid packaging designed by Paul Giambarba (1960s), Figure 9: Polaroid Originals packaging (2017)

RIGHT: Figure 10: Polaroid’s new logo, revisiting the rainbow stripe (2020)

uct lines, inspiring a host of legendary brands to this day.” It only seems right that the brand reclaims its rainbow, and translates the nostalgic feeling from using their products, into the branding also. When you think ‘polaroid’, one thing immediately comes to mind - the white frame. While the original purpose of the white border was functional; a space for holding and writing, it soon became an aesthetic device, portraying both minimalism and authenticity. The shape of Polaroid photos is one of the things that make them so distinguishable

from other types of photography, which has become symbolic in our visual culture. “The Polaroid SX-70 has left an undeniable imprint on our visual culture”, says cultural historian, Peter Buse. “Many advertisements continue to show images in polaroid windows… although the pictures are actually digital – as if a Polaroid photograph, unlike a digital one, is authentic.” The frame promotes the pictures as raw, untouched and candid. Take the Miu Miu Fall 2020 ad campaign, which uses the polaroid white border to frame the photography taken

backstage at the runway show in Paris. The frame symbolises spontaneity, in the way that Polaroid’s are instant and commonly used in candid photography. The frame implies the photos were quick snapshots taken behind the scenes, and also give a sense of intimacy, making the viewer feel they are there with the models, in amongst all the action. The styling of the polaroid’s taped down to the paper, again symbolises authenticity. The white border is so iconic, that Polaroid tried to sue rival brand Fujifilm in 2017 (the year they started

selling film and cameras again after a decade), for using the same white frame, square format for their Instax film. Polaroid claim they own the trademark to the ‘square within a square’ effect, however it’s hard to argue when the brand ceased production 10 years ago, and Fujifilm filled their place in the instant photography market. And it is not just in advertising that the Polaroid visuals are copied. Considered the 21st century form of the brand, Instagram has been inspired by Polaroid since day one. Founded in 2010, Instagram’s first

on-screen icon was a replica of a One Step, the inexpensive camera launched in 1977, with a rainbow stripe down its front panel. Over the years, the logo has been revised and adapted, however the rainbow diffusion of colour still remains - a nod to Polaroid, just in a less obvious way. The original square format used by Instagram is also a reminder of Polaroid’s design, as well the photo editing features, like retro filters to allude to film photography, and black and white frame borders. The deep meaning attached to the polaroid aesthetic makes it a useful device in branding and advertising. “The distinctive Polaroid format… is also a visual shorthand for fun” says William Ewing. “In advertisements the SX-70 picture is almost always shown at an angle, as if to suggest it’s being held in the hand or thrown down on a table”. This can be said for more recent advertising too, for

the launch of the One Step 2 camera in 2017. The way the objects are held at an angle is distinctive and conveys a feeling of enjoyment and freedom. After all, this is exactly what the brand represents. Polaroid continue to show that the brand is more than photography, through their advertising and social media marketing. Leaning on emotional storytelling, their most recent ad released in March 2020, named ‘Polaroid Now – Real Connection’, set in the global COVID-19 pandemic, shows how Polaroid allows you to capture and pause each everyday moment. The ad tells a story of a young couple, locked inside due to the virus, and completely engrossed in their iPhones and MacBook’s. For a moment, both people take a break away from their technology, and experience the magic of art and science coming together, to create an

“THE INSTINCT IS STILL THE SAME: TO COMMEMORATE A HUMAN INTERACTION WITH AN IMAGE, CERTIFYING IT.”,

instant Polaroid photograph. The enchanting aspect of Polaroid is how it allows humans to interact and share moments together, which is important now more than ever, with the virus restricting close contact with loved ones. The way Polaroid connects individuals has paved the way we share content on social media networks, like Instagram and Facebook. “The instinct is still the same: to commemorate a human interaction with an image, certifying it.”, says William Ewing. The only difference is we now share our photos with thousands of followers online, whereas a polaroid photo was a precious keepsake only for the people who were there when the photo was taken. So although digital technology took over, damaging the continuing success of Polaroid, at least the brand had some influence over the way in which we share

images today (still making it a success right?). Despite social media platforms trying to replicate what Polaroid had to offer, the original hasn’t been neglected, proven by the amount of Instagram pages dedicated to polaroid photography. Here are just a few examples of accounts that only post instant film photos, showing how the love for the brand lives on even in the digital era. The #polaroid has 7.9 million posts tagged to date, and the official Polaroid account has just over 700k followers. People haven’t forgotten about the brand, but rather the opposite. Many young people are discovering the brand for the first time and with our current obsession over retro and vintage, it appears the resurgence of Polaroid will only continue to grow. Impressively for a brand founded in 1948, it still has a great influence on our visual culture today. The experience that Polaroid offers is entirely unique and provides a much-needed pause in the hectic pace of modern day life. As a brand, Polaroid represents fond memories for many, and with its revival, can bring many more memories for a new generation. Our love for nostalgia suggests why people continue to connect with the brand, and it will be interesting to see how Polaroid continue to surprise us in the digital era. In the words of Edwin Land “An essential aspect of creativity is not being afraid to fail”, and with Polaroid there is no failure, it’s all about having fun.

LEFT: Figure 11: Miu Miu Fall ad campaign (2020), Figure 12: Polaroid One Step 2 ad campaign (2017) RIGHT: Figures 13, 14, 15 & 16: Instagram pages dedicated to Polaroid photography (2020)

SUPPORTING TEXT

Supporting Text

Section 1: Subject

I am fascinated by the significance of brands in our lives, and why we choose to use the particular ones we do. When considering the subject for this research report, I wanted to focus on the idea that brand meaning is more important than the product itself and discover why we are drawn to certain brands. In my initial research, I searched for brands that use storytelling to form relationships with their consumers and came across Polaroid. With their rich history and the recent revival of the brand, I felt Polaroid was the ideal brand to focus on. For a brand to become popular again after declaring bankruptcy over a decade ago, it must be exceptional. In 1948, the invention of the Polaroid camera was revolutionary, as it was the first film camera to instantly print photos through the mechanisms inside the device. Using a Polaroid camera was an entirely unique experience at the time, however within thirty years, the development of digital photography began to take over. Steven Sasson began developing and creating the first digital camera from 1973, and towards the end of the 20th century, it was in production, and sold by Kodak. This changed the way pictures were stored and visual information was processed. The first camera phone was launched in 2000, meaning there was less demand for a physical camera. It was inevitable for Polaroid sales to decline and for them to cease production, with the introduction of digital cameras. However, the most interesting advance for Polaroid, was its relaunch in

2017. The current appreciation towards retro and vintage, has clearly had a huge impact on Polaroid, as people crave to experience the past form of photography. My interest in this subject derived from the idea that Polaroid as a brand, is much more than photography, as I discovered through my research. As well as being an innovative piece of technology, Polaroid manages to connect with people on an emotional level and influences the way people behave and socialise. A Polaroid camera is a novelty in the 21st century, almost a special artefact of the past, that manages to engage people on a social level. In the abundance of camera phones and social media, it appears that Polaroid is a form of escapism from the digital world and offers consumers an alternative and authentic way to capture memories. It is also interesting how Polaroid continues to inspire our visual culture today, despite the brand ending production in 2008. I wanted to discuss the symbolism of the iconic Polaroid white frame, as it is a visual device commonly used in advertising by other brands, such as Miu Miu. Although the frame may appear as an aesthetic device, it holds a deeper meaning and affects the way we perceive images. It is interesting how many brands adopt the ‘Polaroid aesthetic’ in their advertising, as it can appeal to a younger demographic who admire the vintage, eclectic look. Another reason I was inspired to write my research report about Polaroid was

because of their recent rebrand, in which they’ve paid homage to their packaging and branding from the 60s and 70s. The full-rainbow spectrum across the product lines, ‘changed the rules of branding’ (Smolokowski, 2020), and has now been introduced again in 2020, to celebrate the brand’s heritage. This section of my report links closely with my practise as a graphic designer, allowing me to learn about the development of packaging and branding design, and the reasons why a brand may use past design to inspire future design.

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Section 2: Research

The purpose of my editorial was to discuss the reasons behind the revival of Polaroid, relating to the brand’s culture and the use of nostalgia. It was important to research into the history of Polaroid, to understand the beginnings of the brand and why it was such a success, and to look at the role of nostalgia, in making the brand popular again. Most of my secondary research came from books, written by photographers, curators and experts in the field of design. I also used many online sources to find information specifically about Polaroid and its resurgence. Ewing, W. et al. (2017) The Polaroid Project: At the Intersection of Art and Technology. London: Thames and Hudson. One of my key sources was the book The Polaroid Project: At the Intersection of Art and Technology (2017), which explores the relationship between Polaroid’s many technological innovations and the art that was produced in this period. This source gave me an understanding of the brand’s history and development over the years, as well as the relation between Polaroid and current technology. Written by a collective of authors, with expertise in photography and art, this book was a reliable source of information. It was useful to read different people’s perspectives on Polaroid, each discussing a different aspect of the brand’s culture. I read about the origins of the brand, the longevity of Polaroid, and how it is similar to modern forms of photography. The introduction is written by William

A. Ewing; author, a former director of the Musee de l’Elysee, and a curator with the Foundation for the Exhibition of Photography, Switzerland, who I referred to more than once in my editorial piece. His writing helped me to understand how Polaroid was perceived by professional artists, and also led me to further research the use of a Polaroid as a social activity. Another author of the book, who I referred to in my editorial, was Christopher Bonanos. Bonanos is a senior editor at New York magazine, and author of Instant: The Story of Polaroid (2012). In his section titled ‘Shoot it. Like it. Share it: Polaroid as the Analog Social Network’, Bonanos discusses how Polaroid inspired the social networks of today, as the instinct is the same, ‘to commemorate a human interaction with an image, certifying it’. (Bonanos, 2017, p.193). This research was used in the section of my article examining how Instagram has been influenced by Polaroid visually and functionally. Bonanos, C, (2012) Instant: The Story of Polaroid. Princeton: Princeton Architectural Press. Buse, P. (2016) The Camera Does the Rest: How Polaroid Changed Photography. Chicago: University of Chicago Press. I also read Instant: The Story of Polaroid (2012), written by Bonanos, and the book The Camera Does the Rest: How Polaroid Changed Photography (2016), by Peter Buse. Buse is

a cultural historian and Associate Dean for Research, Arts and Social Sciences, at Kingston University, London. Both sources helped to inform my knowledge of Polaroid as a brand and were used in my editorial when discussing how Polaroid is more than just photography. As Bonanos and Buse are both authors of my other key source, The Polaroid Project, and have written their own books on Polaroid, this highlights their expertise in the topic. Aside from books, my research came from online design platforms such as Creative Review and ItsNiceThat. These websites were useful for finding current information on Polaroid, such as the 2020 rebrand, as most books were slightly out-dated, written at least four years ago. As Polaroid has only recently started production again (in 2017), I found that most books focused on the brand’s past and how it failed, rather than its revival, because it has only happened in the last couple years. The articles on these websites are recent, and include interviews with Polaroid’s CEO, Oskar Smolokowski and new Creative Director, Ignasi Tudela, who discuss the idea behind the most recent rebrand. The concept for the rebrand was to ‘build on the incredible heritage and beautiful design that made Polaroid a global icon’, says Tudela (2020), achieved by ‘revisiting its colours, geometric approach to compositions, and overall simplicity, with a love for good typography.’ This helped to guide my research into Polaroid’s past packaging, to understand

THIS PAGE: Figure 17: Image of The Polaroid Project book

why it was seen as ground-breaking. Giambarba, P. (2012) Iconography of the Polaroid mark and product identity by Paul Giambarba, 1958-1977. Available at: https://giam.typepad.com/the_branding_ of_polaroid_/ (Accessed: 14 October 2020). When researching into Polaroid’s iconic packaging from the 60s and 70s, I came across the blog of Paul Giambarba, the graphic designer who created the iconic rainbow-stripe motif. This source was highly useful, as it was written in first-person, from the point of view of the original packaging designer, therefore the information was reliable and trustworthy. It was this source where I learnt that the rainbow stripe was originally used to differentiate colour film from black and white. I included this information in my article to give the reader a clearer understanding of the brand’s history.

sentimental longing for the past, which I included in my article. The theory on nostalgia was only a minor part of my article, however it helped to explain my research title, and the reasons why Polaroid has returned. I also watched different TedTalks and ‘The Carousel Pitch’ from Mad Men, to further my understanding of how nostalgia marketing helps to create a deep emotional connection to a product. This allowed me to then relate nostalgia to Polaroid’s new-found success.

Routledge, C. (2016) Nostalgia: A Psychological Resource. New York: Taylor & Francis. In addition to subject specific research, I also analysed theory on nostalgia, to understand why we admire retro and vintage objects like Polaroid cameras. I read parts of the book, Nostalgia: A Psychological Resource (2016) by Clay Routledge; psychological scientist, writer, and academic, who has published over 100 scholarly papers and published three books. This book explained the idea of nostalgia being a desired state, and a

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Section 3: Publication

Writing for the publication Creative Review is a bimonthly print magazine and website, that celebrates commercial creativity, and shares insight and inspiration across a range of disciplines. Since it was established in 1980, Creative Review has delivered opinion, analysis and advice on commercial creativity, covering the fields of design, advertising, photography, branding, digital products, film, and gaming. Creative Review is available as a print magazine, online magazine, and a podcast, which all discuss and give insight into impactful work within the design field. The audience of Creative Review is those interested in the creative industry, whether this be graphic design, photography, or film, as well as other areas. With such variety in articles and topics, the audience for the magazine is fairly broad, however you would need to have an interest in the commercial arts. The articles are written in a way that are easy for anyone to understand, even if you have no prior knowledge on the subject. The reason I chose to write for Creative Review is because my subject is directly linked to photography and design. Creative Review have previously published articles about Polaroid in their online magazine, however they were not particularly in-depth. I decided to write my article for the print version of the magazine, where articles tend to be longer and more analytical, not just factual. Creative Review publish a range of dif-

ferent articles divided into different sections, each with a different focus and writing style. Some examples of sections include ‘Process’, which discusses how particular artists create their work, and ‘On Brief ’, which is in partnership with Facebook and Instagram, to showcase outstanding advertising on both platforms. However, I chose to write for an ‘Insight’ article, as these tend to be more analytical and discuss topics in further depth than the other types of articles. Insight articles are typically factual and informative and are written for an audience who may not be familiar with the subject. With my research title, Why Polaroid is thriving in the age of digital technology, my aim was to inform the reader on the brand’s history and how it has evolved over time, before I examined why the brand is coming back and its influence on our visual culture. The style of publication I was writing for, explains why I chose to write in an informative and analytical way. It was important to provide background information of the brand, as the audience may be unaware of Polaroid’s roots and why it was considered revolutionary. This context then allowed me to analyse why Polaroid is nostalgic and why people have connected with the brand for over 70 years. An ‘Insight’ article for Creative Review was an ideal choice of publication for my report. When writing the article, I followed the same structure as my publication, starting with a title, followed by a subtitle, and then

the main body of text, split into short paragraphs. My title is formed as a statement; ‘Why Polaroid is thriving in the age of digital technology’, similar to other articles written for Creative Review. For example, ‘Electronic revolution’ (Issue 4, Volume 40), and ‘The nation’s P.E teacher’ (Issue 3, Volume 40), are titles that are also formed as statements, as oppose to questions. For the subtitle, I wrote a couple of sentences to introduce the subject, following the structure of the articles I analysed. I noticed in some subtitles, the writers would use the words, ‘Here we interview’ and ‘Here we discuss’, which influenced the language I used in my own subtitle. Furthermore, Creative Review influenced my overall choice of vocabulary and the tone of voice of my writing. Through reading many articles written by different authors, I noticed the tone of voice remained fairly informal, by using colloquial phrases like ‘lots of creative people’, and the shortening of words like ‘advertisement’ to ‘ad’. The publication is meant to be entertaining and is at times written like spoken language, which is what I aimed to emulate when writing ‘(still making it a success right?)’ and ‘After all, this is exactly what the brand represents.’ I also observed the repetition of certain words and phrases like ‘after all’ and ‘for example’, as well as the regular use of adjectives, and inclusive pronouns like ‘we’, ‘our’ and ‘us’. I ensured to use similar language in my own article. In addition, I used a number of quotes

THIS PAGE: Figures 18 & 19: Scans of Creative Review Issue 3, Volume 40 and Issue 4, Volume 40, highlighting the use of language that inspired the vocabulary used in my own report

in my article, following the same structure as Creative Review, by using speech marks and directly referencing the author and a brief explanation of who they are and their expertise. For example, in one article in Issue 4, Volume 40, the writer references the speaker by saying ‘Emma Kidd, director of creative direction at Selfridges’. This is how I referenced my quotes in my editorial, for example, ‘cultural historian, Peter Buse’ and ‘feminist artist, Petra Collins’.

THIS SPREAD: Figures 20, 21, 22 & 23: Scans of Creative Review Issue 3, Volume 40 and Issue 4, Volume 40, highlighting the use of language that inspired the vocabulary used in my own report

Designing the publication This report was designed to replicate the layout and style of Creative Review’s printed magazine. Although the publication also exists digitally, I chose to create this report for the printed version, where the articles tend to be longer and more analytical. I had access to physical copies of the magazine from our university library, which allowed me to examine and deconstruct the format, grid and typography. The magazine is a square format, measuring approximately 250mm by 250mm, with each page featuring a thin black border that frames the margins and columns, which I implemented in my own design. The number of columns varies depending on the type of article, however for Insight articles, the text is always split into a five-column grid structure, with the outside column restricted to captions (see figure 18). I designed my article in the same style as an insight article and continued this design for my supporting text. I was influenced by the layout of Creative Review’s contents page and introduction page when designing my own contents, abstract and table of illustrations, overall creating a report with the same look and feel as my chosen publication. The overall style of the publication is fairly minimalistic, with the use of a clear grid structure, white backgrounds, empty space, and large images, all replicated in my own design. For example, in the magazines I scanned and analysed, often pull quotes were centre-aligned and given an entire column, surrounded by white space and separate from the main text. I used the same layout and alignment when including pull quotes in my article. Furthermore, I noticed that in Creative Review, articles tend to include a wide selection of images, and usually an entire page is dedicated to photos relating to the article, justifying my decision to include a large number of images in my report. As well as replicating the general layout, I also used typefaces that appeared similar to those used in Creative Review, as I was unable to find the exact ones they use. For main

headings, such as the contents page and table of illustrations, I used the typeface ‘Din 2014 Narrow’, which resembled the bold, condensed sans-serif font used in the magazine. I also used this typeface capitalised for the pull quotes, to achieve the same appearance as the publication. I used the sans-serif ‘Ingra’ for image captions and smaller headings, as the font family included wide, regular and condensed options. Finally, for the subheadings and body copy, I chose the serif typeface ‘Adobe Caslon Pro’, as it was highly legible, and looked similar to the face used in the magazine. As well as the use of similar typefaces, I also used the same colours, where most of the text is black, aside from some red accents for subtitles and captions. When designing the front cover of my report, I first observed recent Creative Review covers, featuring the new logo designed by Robert Holmkvist. I noticed that the cover changes with each issue, varying from photographic, illustrative and typographic approaches. The covers tend to be bold and colourful, and the logo is usually positioned in the top right corner. With my subject, it made sense to design the cover involving Polaroid photos, arranged in a jaunty pattern, to represent how Polaroid is a fun, lively brand. The iconic white frames create a striking visual, and the images relate to the content of my report. The title also changes with each issue, depending on the content inside. I chose to give my editorial a catchy title, ‘Revival of the rainbow’, which encompasses how Polaroid is returning as a brand.

THIS PAGE: Figures 24, 25, 26, 27, 28 & 29: Scans of Creative Review Issue 3, Volume 40 and Issue 4, Volume 40, showing the layouts that inspired the design of my report

Introduction page that inspired my Abstract page

Insight article that inspired my layout and choice of typefaces for headings, subheadings, and body copy

Contents page that inspired my contents page

5-column layout that inspired my grid structure, layout of pull quotes, and positioning of captions

Process article showing grid structure and type

Issue 4, Volume 40 front cover

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