Victor Jimenez Thesis Fall 2011
FAUXR CAMPAIGN AGAINST ANIMAL CRUELTY
The scale of animal fur trade poses a big threat to animals. In 1985, an English-based organization named Lynx launched a campaign “Dumb Animals” to fight animal fur trade practice. Directed by photographer David Bailey, the campaign consisted of a series of posters depicting a female model dragging a fur coat, which was leaving blood trace on the floor (Fig. 1). Fashion critique Rebecca Arnold explained that the campaign helped underline the immorality of killing animals for adornments while sparking controversy in its depiction of women who wear fur.” 1 The controversial element was the representation of women as the sole “dumb” who, by buying fur products, promoted animal abuse. However, the billboards grabbed people’s attention and helped Lynx contribute to the ban of fur farms in England. I would like to update the “Dumb Animal” campaign by designing a series of posters and complementary infographic that would continue the practice of fighting animal fur trade in the United States. My posters will share the design elements with their predecessors, a central image, with limited color palette. However, the focus of my posters would not be centered on blaming a particular group of people; instead, I intent to provide the consumer with an alternative faux fur campaign. The infographics poster would consist of fur market data: presenting the kinds of exploited animals, both hunted and domesticated; the efforts of the US government to regulate the fur industry; names of the cities that have the biggest sells of fur; and an informative section that will help the viewer to detect real fur from “faux” fake fur. The creators of “Dumb Animals” showed exclusively female models abusing the animals, as a response to “the female consumer manifests itself in her susceptibility to a value system that privileges the fur coat as a mark of social distinction. […] She has been duped by the fashion advertising system [fashion industry and its promotional campaigns], which is held responsible for producing the desires needed
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FAUXR CAMPAIGN AGAINST ANIMAL CRUELTY
Fig 1. David Bailey, Lynx Dumb Animal Campaign. 1985 London, England.
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to maintain the values of hierarchical class society.”2 Even though this type of exclusivity still exists, both men and women equally share responsibility in the fur trade industry. In addition, I believe that both the entertainment and fashion industries play major roles in promoting fur products. Since fur products continue to symbolize power and social status and it is still a desired luxury for many. Animal rights activist Robert Garner explained “[...] the campaign is to increase the public’s knowledge about the products they use, most people, for a variety of reasons not the least that they are not persuaded by the moral arguments, will not be affected enough to change their purchasing habits.”3 Garner’s idea prompted me to divert the negative aspect of the original campaign and show a different perspective where consumers feel good about themselves for having chosen faux fur instead of real fur coat given that designers and famous celebrities continue to look away from the real issue of using the animal skin to look stylish. Emphasizing the influence that celebrities have on their fans, I would be basing my illustrations on celebrity images where they are wearing fur. But the context of the images would change in order to show that faux fur is both fashionable and morally acceptable. I expect that by emulating these famous figures, consumers would be persuaded to change from real fur feel to faux fur. Nowadays, many retail and single-owner clothing stores such as, American Apparel, New York & Company, Esprit, Helly Hansen and more are fur-free providing customers with fashionable “faux fur” options using cotton, wool and other textiles without the need to sacrifice an animal. My design approach will combine illustrations with digital elements (Fig2). The content of the posters will convey an uncompromised message that wearing faux fur products would prevent. Mr. Jasper pointed out that “cruelty is key for anti-fur campaigns just as it was for anti-meat efforts. ‘Wearing their fur is as glamorous as drinking their blood,’ […] Arguments to target consumers are reinforced by intimidation.”4
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Fig 2. First Draft Chinchilla Poster, from simple line to digital version.
Making consumer accountable for the suffering of animals would not be the right direction for the redesign of this campaign because I would be crossing a fine line between the freedom of choice and moral accountability. The best way to discourage someone from buying a particular product would be providing them with an alternative. One inspirational campaign that comes to mind is the “Pouring On The Pounds” (Fig.3) by the NYC Health Department, because of their use of gore imagery making us realize that when we are pouring sugar in our drinks we are consuming tons of fats. Other works that promote social activism commissioned by Green Patriot Posters touched on the issue of renewal energy, recycling and buying local. As well as other campaigns produced by PETA, and other animal rights organizations. I hope that by providing both posters and infographics people would better understand that there are consequences to the small choices we—make, such as buying a fur coat. The more you make the consumer aware the more people and provide them with an alternative they would react and hopefully follow the same steps taken in England during the late 20th century as a consequence of the Lynx campaigns of abolishing fur farming and reducing their demand.
Fig 3. Pouring On The Pounds, NYC Health Department. 2009
1. Arnold, Rebecca. Fashion, Desire and Anxiety: Image and Morality in the 20th century, Rutgers University Press (March 1, 2001). 15 2. Emberley, Julia V. The Cultural Politics of Fur, Cornell University Press, March 1998. 3. Garner, Robert. Animals, Politics and Morality, Manchester University Press. Manchester, England February 2005. 4. James, M. Jasper, Nelkin Dorothy. The Animals Rights Crusade: The Growth of Moral Protest, Animals as Commodities. New York: Free Press 1992.
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FAUXR CAMPAIGN AGAINST ANIMAL CRUELTY Sep. 01 Planning and beginning of thesis brief. Presenting thesis topic, and deciding what needs to be omitted from the project. Sep. 08 Research animal cruelty, defining what way the project was heading. Revising thesis brief. Sep. 15 In depth research on animal cruelty, and start sketches. Continue revising thesis brief. Sep. 22 Continue research and finishing thesis brief, rough draft sketches, provide project progress. Oct. 6 Final thesis brief, and review of first draft. Postcard sketches. Oct. 13 Continue on design of posters, produce new designs and start working on the infographics for first draft. Analyse background information on animal cruelty and start working on a functional design. Oct. 20 Continue working on Infographics and posters second and third draft respectively. Oct. 27 Review work and start thinking on the complementary pieces that will accompany the posters, and the infographics at the exhibition. Nov. 3 Have a concrete direction for the posters and continue to work on the infographics. Start creating mock-ups for the complementary objects, such as flyers or bookmarks. Nov. 10 Mid- thesis review. Have more than half of the project done and have a clear projection of what the rest will look like. Nov. 17 Start working on final production phase, choosing of paper and printing method. Nov. 22 Continue on posters design and deal with technical aspect of the project. First printing draft. Dec. 01 Have all designs done and print a second draft and start assembling the project. Dec. 08 Final project assembling, check any for last minute project check ups and printing needs. Dec. 15 Final project and thesis exhibition.
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I TIMELINE I
I UPDATED TIMELINE I Nov. 10 Mid- thesis review. Should have more than half of the project done and have a clear projection of what the rest will look like. Nov. 17 Finishing the concept and drawing styles for the posters, and continue to work on the infographic. Also have an idea what the complementary material is going to be, bookmarks, stickers, and other. Nov. 22 Continue on the poster designs and deal with technical aspect of the project. First printing draft. Should have a mock up of the bookmarks, stickers and other with their respective functionality. Dec. 01 Have all design work done and print a second draft and start assembling the project. And create a model in the computer of the space that will be provided in order to figure out how I will star setting up my work. Dec. 08 Final project assembling, check work for last minute updates and printing needs. Dec. 15 Final project and thesis exhibition.
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IDESIGN REFERENCESI 1 DJ Spooky, Manifesto for a People’s Republic of Antartica. 2010. Green Patriot Posters. 2 Ben Barnes, Sow. 2010. Green Patriot Posters. 3 Thruth Anti-Smoking campagn. 4 Hematoma Collective, Derechos de la Naturaleza. 2002. Poster. Latin American Graphic Design.
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4 My thesis project focuses on animals rights an issue that needs more attention and action, many of my reference posters touch on different social injustices. Their distinctive styles which is something I want to achieve with my posters was a reason I find them inspirational. The simple lines interacting with digital elements is the direction that I would like take my posters. (Fig. 1-4, 7) Posters 5 and 6 are more design inspiration than anything else. Their rough texture and use of alternative materials with simple drawings was what caught my attention.
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5 VIctor Candia, Avecanibal, 2005. Book Cover. Latin American Graphic Design. 6 Modern Dog, 50 Cent, client: House of Blues, 2003. 7 Modern Dog, The Huricane Poster Project. 2006. 8 La Mosca, Infographics for La Vanguardia. 2003.
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7 The infographic posters presents it self to be the challenging aspect of my poster, therefore I was looking for reference posters that tackle simple approaches even though they were handling a lot of information.
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IDESIGN ELEMENTSI
GOTHAM
Aa Bb Ee Gg Qq Rr Yy Aa Bb Ee Gg Qq Rr Yy Aa Bb Ee Gg Qq Rr Yy
FUTURA
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OUTSMA CAN BE SRATED RED FOXES VE IF YOU BUY
Aa Bb Ee Gg Qq Rr Yy Aa Bb Ee Gg Qq Rr Yy Aa Bb Ee Gg Qq Rr Yy
GILL SANS
Aa Bb Ee Gg Qq Rr Yy Aa Bb Ee Gg Qq Rr Yy Aa Bb Ee Gg Qq Rr Yy
DIDOT
Aa Bb Ee Gg Qq Rr Yy Aa Bb Ee Gg Qq Rr Yy Aa Bb Ee Gg Qq Rr Yy 10
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KS RANCH MSINAVE CAN BE OU WHEN Y CHOOSE
TED, ELECTROCU LS GASSEUDY, A FUR COAT. A IM N A T N ’T WA N’T B IF YOU DO, NOR STRANGLED, DO TRAPPED
c00 m00 y00 k100 c00 m00 y00 k00 c15 m100 y90 k10
I First DraftI I Second DraftI
c00 m00 y00 k100 c15 m100 y90 k10 c02 m09 y12 k00
I Third DraftI
c67 m39 y33 k00 c21 m02 y06 k00 c59 m28 y30 k00
I Fourth DraftI
c89 m58 y40 k24 c47 m18 y26 k00 c78 m57 y22 k04 c63 m41 y11 k00 c60 m21 y18 k00
I Final I
c83 m50 y35 k02
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ISKETCHING IDEASI The original concept for my project to provide graphic illustration that would make the consumer indirectly responsible for the cruelty that animals go through in order to take their skin to make fur garments. The First panel shows the coats with actual animals wearing them instead of people since they no longer have their own fur, the second image on the right shows an animal being drag and the blood is forming a coat. A reverse interpretation to the original campaign. One element that I got from doing these sketches was the essence of the coats and being able to capture the texture in order to make a more relevant campaign. The second panel continues with the same concept of blaming the person who wears or make the coats. It was the first time that I represented a male figure as part of those who demand this type of cruel product. The image on the right explores the idea of producing the coat as a theme in the posters something that I pursue on my first draft. Even though it was a simple drawing it gave me the idea to go in a different direction. The final panel combines a satirical humour with gore. The left panel shows a bunch of skinned minks looking with disgust and terror to those glamorous designers skinning another mink. And the one on the right shows a manikin with a half a coat that is bleeding skipping the middle part of dyeing the fur to preserve it. My first sketching ideas were targeted to those who wore the coats and produce them. 12
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The final sketch shows the backbone for the new approach, how I would like to approach the alternative idea in the poster. Going from a simple line drawing that are not contributing much to the idea of choosing a faux fur, to a more complex illustration that shares elements with the type so it has a stronger message. It was about creating a hierarchy that worked for better understanding. Thesis Fall 2011
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FAUXR CAMPAIGN AGAINST ANIMAL CRUELTY
I First DraftI
1 1 texture materials from a stuff animal. Made out of Polyester. 2 Fur Sewing Machine, p-wholesale.com/bubcat/19/761
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Fur Designer Poster, I depicted a hand sewing fur. I incorporated polyester fur and made it look like blood was coming out of the fur. I first looked into what the process of making a coat and how I can make a posters that can make the process look like the slaughtering of an animal. First I took apart a stuff animal because I wanted to use the texture in the poster. Then I made the illustration based on the sewing machine on a cardboard and then cropped the section where the texture was going to be place. I used different materials, because I wanted to create something new that captured people’s attention. However the idea behind was still not clear and the objective of the poster was not strong enough. The design approach was directly taken from the original campaign, making it look little outdated.
3 Lord + Taylods Ad, New York Times. 09.25.11
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Model Poster, I based my drawing on a newspaper ad, I chose red fox because they are part of the wild fur harvest. Even though they are not part of the big U.S. fur export their capturing methods are more inhumane than fur farming. Continuing with the idea of blaming the consumer,exacly as the original campaign, the difference was not showing any contemporary elements that would appeal to todays viewers. Since fashion has a big role on the issue I chose an ad from the New York Times, and once I had my illustration the bloody part wasathat was meant to create a shock effect, then I played with the type so that there was more interaction between type and image. And lastly it was the beginning of capturing the essence of the fur coat according to the animal it came from, which is something that I continue in later works.
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4 4 Icenine Photography, Minks. 2004. iceninephotography. com/cpg.1.410
Mink Poster, the intended targets were the farmers and the U.S.government for allowing fur farming. The United States was the fourth largest producers of fur in the world. And half of the production come from minks. For this poster I wanted to not have the final product but the actual animal the coat came from, and have it interact with the statistical information in order to create more consius. The layout continues to be directly influenced by the original, however I was trying to have the type be the dominant element on the posters. Even some of the blood was added digitally along with the type.
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5 Scott Gries/Getty Images, Power 105.1’s Powerhouse 2005.
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Rapper Poster, targeted the music industry and based my image on Diddy a music icon who endorses fur coats. I wanted to make an indirect reference to the male role on the fur industry and their demand. Just like the previous poster I tried to capture the essence of the coat creating a conflict between the individual and the animal, making the figure victorious. I retracted from this posters because it was too stereotypical which was another objective a planted from the beginning to get away from stereotypes. The drawing style are gradients creating the coat’s soft texture. Thesis Fall 2011
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FAUXR CAMPAIGN AGAINST ANIMAL CRUELTY
I Second DraftI
The Second Draft. I chose to go in a different direction where the type is more predominant than the image. Still with the same stylistic approach from the original campaign. The new slogan is targeted to a more positive approach to fight animal cruelty. I have decided to tackle the issue in a more positive way where instead of blaming consumers, I provide an alternative choice that can do a lot of good. The layout continues to be directly based the original, limited colours framing the image. However, this time I chose to experiment with a different typeface, Didot making a direct connection with the fashion type choice. There is more interaction between image an type but given the critiques it is outdated and I should stay away from the original layout. The slogan is based on statistical information promoting the idea of Faux Fur, as an alternative and It has the same sentence structure in order to make a connection with the original poster. Continuing with the same image concept of the Mink Poster, I decided to not show a bloody mink but the number of minks that can be save when consume choose fake fur. The target were the farmers and the government for allowing fur farming. Once again type becomes the predominant element of the poster, but unlike the previous one I used a san serif typeface to create a stronger contrast between the image pattern and the slogan. I based the copy on the information provided by the Industry and Trade Summary 2004.
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This a new approach that has two new elements a new illustration and a new type treatment. I continue to promote the alternative choice, but besides the intrigant image it is not conveying the idea of choice. The poster still too plain and outdated, and needs to be more contemporary, both in colour and drawing style. Making the coat the predominant object of the posters since it is the objective, to point out that you can look good with a fake fur garment without the need to kill an innocent animal just to be up to date with fashion trends. I based my illustration on a model advertising real fur coats, therefore I wanted to point out that fake can be as beautiful as real fur. The idea behind was to add a satirical aspect to the project where the abstract illustrations were based from celebrities images who endorsed real fur and turn them against itself.
The fourth approach was to create an illustration taken directly from an image of a rocker and change the context of the image. I combine parts of the image with the illustration going back to the beginning when I experimented with different materials. The intention of the slogan is to make people feel rock stars just like the rock-star that wears fur at the concert events. I tried a new layout with a diagonal type, which will continue to be an element that will be present in future posters. Even though I went from a bloody blaming approach to a more feel good direction I still needed to modify posters, because stylistic they were not unify, I had three different drawing styles, and that was a conflicting point for the campaign. In addition I have to introduce colours that and stay away from the original campaign.
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1 Keith Richards/Caroline Stanley, FlavorWire Cultural News and Critique, 2011.
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FAUXR CAMPAIGN AGAINST ANIMAL CRUELTY
I Third DraftI
The Third Draft Posters were a completly new design approach where I incorporated colour, different typefaces, and a more dynamic layout that played well with the image. Limiting myself, to a range of colours throughtout all the posters to create a unified campaign using different figures of the fashion, music, and other entertainment entities. I have kept some aspects from previous posters such as the real depiction of the fur coats according to the animals they came from, as well as the simple outline in most of the illustrations creating a single drawing style all around. Another aspect that I continued to wok with was the diagonal layout. The coats
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OUTSMA CAN BE SRATED RED FOXES VE IF YOU BUY
KS RANCH MSINAVE CAN BE OU WHEN Y CHOOSE
TROCUTED, SSED, ELEFUC R COAT. A G S L A IM ’T WANT AN N’T BUY A IF YOU DO, NOR STRANGLED, DO D TRAPPE have a different torment from the rest of the illustration because I wanted them to stand out, I played with layers and transparency to create a fake effect in reference to the fake fur, which is the main idea that I want to promote. Some of the stars that I have directly made references to Stella Tennant (left), Kanye Wes (bottom), Mary j. Blige (opposite top), and Kid Rock (opposite bottom). who are out spoken and fur promoters and I will continue to work on different celebrities. Because the
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FAKE ELEGANCE CHOOSE
FAUX
FUR
UTED, CTROC . T D, ELE GASSE Y A FUR COA S L A BU ANIM WANT LED, DON’T ’T N O D NG IF YOU D, OR STRA E TRAPP
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TS REX RABBSIAVE CAN BE OU WHEN Y CHOOSE
TED, ELECTROCU S GASSEDY, A FUR COAT. AL IM AN T ’T WAN N’T BU IF YOU DO, NOR STRANGLED, DO TRAPPED
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1 Kid Rock Club Hog Concert Stage, motorcyclistonline.com 2008.
idea is to flip the context of the images and have them promote an idea that is not true to their nature. It is the satirical element that will also make these poster come together. I still need to work on the copy and improve on the drawing style but conceptually it is more clear than previous drafts. Now I have to work on making the coat even more prominent and make small changes to the images so that they are more true to my own style and originality.
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FAUXR CAMPAIGN AGAINST ANIMAL CRUELTY
I Fourth DraftI
The Fourth Draft Posters I introduced more colours and other elements to all the posters. Also included an abstract star behind the figures making a reference to their celebrity status. The colour choices are based on the fur garments and the figures are a continuation of previous drafts plus a new one, which is based on Paris Hilton Image. The typefaces are divided among serif and san-serif, each of them for female and male respectively. I found the design layout for my posters, with the same tag line “Choose Faux Fur” with a secondary line that have a more direct connection with the image. All of the posters share the same bottom tag line, which is the one I’ve been using since I started the project it is a direct quote from the original campaign.
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One of the challenges were the tag lines as you can see the two images at the left point out the animal that the faux fur was replicating and making the wearer a sort of super hero for choosing it. However they were too similar and I had to think about the rest of the posters since some of the fur garments came from the same animal there would have being a conflict by repeating myself. Therefore I continued to work on the tag line that sounded smart and make the viewer realized that if they wore faux fur like the figures in the posters they would feel good about it. Something that was not addressed for most of my project was the quality of the image whether or not I wanted the illustration to look like cartoons or more fashion oriented. Since the goal was to encourage people to choose a piece of clothing the illustrations had to be simplify in order to avoid conflict with the faux fur garment. As mention previously the stars are an additive element to enhance the figures statuses, when I was placing them in my design the inspiration were the lights that are commonly present in red carpet events, which is something identifiable of the entertainment industry. I was content to have found the design structure and now the main focus was the individual elements that hopefully would make this campaign work and achieve its goal, which was to provide the consumer with an alternative that would make them feel good about it.
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FAUXR CAMPAIGN AGAINST ANIMAL CRUELTY
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I FinalI
The Final Posters I’ve created nine posters that show the benefit of wearing faux fur. selecting certain words that enhance both the image and the message. I hoped to have achieve my goal of not only providing an alternative but also a reason for choosing it. The funky colours was an element used to differentiate the faux fur from real fur, in addition, the typefaces have been reduced to two Gill Sans Std, and Didot, they were chosen because they were representative of the fashion industry for both male and female. The color choices were derived from the coats to create a stronger connection with the image. In regards to the image themselves the figures have been simplify, while the fur garments were done in detail to make them the prominant element of the posters. And for the faux fur garments I try to capture the essence of a real fur, since that is the main purpose of the faux fur. This contemporary approach speaks to a new generation and hope it would help reduce the demand for real fur.
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FAUXR CAMPAIGN AGAINST ANIMAL CRUELTY
I INFOGRAPHICI
The Infographic part of the project was meant to be a complementary part where the viewer can learn more about the issue and what he or she can do about it. I acquired the information from various primary sources that were both pro. and con. on the issue, the idea was to be as objective as possible, most of the statistical information came from the Industry Trade Summary 2004, Fur Commission USA, the Humane Society, The Fund for Animals Michigan office, and the U.S. Department of Commerce: Office of Textile and Apperal OTEXA.
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4 This was my first attempt to design an infographic poster, fig.1 in terms of the design it was very clutter and the strong red background conflicted with the legibility. I had to find a simpler way to provide the information that was both legible and well design. All the information had be reedited or reformat the size of the posters in order to have more negative space to work with. My second attempt Fig.4 was a new size, giving me more negative space, however the information was not organized properly because everything had an equal weight, making it difficult to read. Fig. 5 groups each section into different colours and used directional elements to help the viewer follow the information better. However It was still not very clear and the arrows in the middle were confusing, I had to utilized better the boxes in a way that they serve a purpose rather than a decorative element. In addition I needed to eliminate certain things that are not relevant to my campaign, as well as the illustrations.
1. Various animals that are part of the fur trade. 2. The blank states are the most prominent states with the most mink ranches. 3. First Infographic draft.. 4. Second Infographic draft. 5. Infographic Poster 3rd draft.
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Final Infographic I added more information about the alternative choice FAUX FUR, since that was the main goal of my project. In addition, I reduced the amount of colours and decorative element from the boxes because they were not relevant with the look of the campaign posters. Since the solid bars were used in the rest of the posters they played a big role in the headlines . The information was more and better organized into three section with its respective colour to differentiate them. This was by far the most challenging part of my project because of the lack of experience with infographics.
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SENSIBLE POSTERS AGAINST ANIMAL CRUELTY
I Exhibition Layo
22 3/4 In
14.5 Ft
6 In
36 In
24 In
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The total width and height.
Height of exhibition
Hanging posters
Distance between posters.
Distance from wall to hanging posters
Wall posters
Distance from floor and ceiling.
Poster dimensions.
out I The exhibition will consist of one infographic poster, and eight campaign posters.
All the posters are going to be 24 inches by 36 inches.
1.5 Ft
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One white table that will have the complementary materials. I planned to print out all of the posters in glossy paper. I will need clear nylon, and hangers.
12 Ft 6 In
Six of the total nine posters are going to be mounted to the wall, and three are going to be hanging. I want an dynamic layoutso that a visitor will have the opportunity to come closer and go around the posters.
6.5 Ft
2 Ft
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FAUXR CAMPAIGN AGAINST ANIMAL CRUELTY Animal, Politics, Morality. 2005 EllE November 2011 Getty Images Fashion Design and Anxiety, Image and Morality in the 20th centuary. 2001 Humane Society FlavorWine.com Fur Commission USA Fur Free Alliance / infurmation.com Iceninephotography.com Industry and Trade Summary. 2004 Lord and Tylord Ad, New York Times 2011 p-wholesale.com PETA Rrespectforanimals.org The Animals Rights Crusade: The Growth of Moral Protest, Animals as Commodities. 1993 The Cultural Politics of Fur. 1998 The Fund for Animals Michigan office U.S. Department of Commerce: Office of Textile and Apperal OTEXA. VOUGUE October 2011
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I SOURCESI
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