Conor Barbour VIC 303 Research & Writing Contents
4 The role of ethics & responsibility for graphic designers/art directors Creativity in advertising 5 Typography Graphic designers role in branding 6 The effect of technology on design & art direction 7 Essay 10 Illustration list 11 Bibliography
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The role of ethics & responsibility for Graphic Designers Starting with a definition of ethics and responsibility, the group presenting followed this by showing the work of Milton Glaser, in particular his “It’s not warming it’s dying” design. Glaser has a strong stance on ethics believing a designer should be socially responsible
for their work. Following the discussion of the designer’s responsibility the group gave the example of Studio Dumbar who has had to balance responsibility between the client and society in their work with the Danish government. For contrast the group showed
the work of Rod Hunt, namely his illustrations for AIDES which some view to be unethical due to there shocking nature.
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Creativity within advertising The group presentation discussing ‘creativity within advertising’ chose to focus on fashion advertising as it provided an array of topics and examples to discuss. They introduced the topic by first talking generally about brands and how one role of
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advertising is to keep the public aware of the existing brand or if it has been changed. The first example discussed was the use of celebrity endorsements, attaching celebrities to the brand strengthens it and acts as its own advertising
as it taps into the celebrities’ pre-existing fan base. One way celebrities tare used for advertising is through social media campaigns, posting content on behalf of the brand’s company.
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Typography The focus of the typography presentation was Swiss design’s influence and role on the topic. The group presenting gave a brief history of typography talking about the Gutenberg bible and following this explained the classification of type. Using case studies of
prominent designers such as Stefan Sagmeister, Wolfgang Weingart and Bruno Maag. The group looked at their individual typography work such as Sagmeister’s ‘Happy Film’ and Wolfgang’s work on Akidenz Grotesk and ending with a case study of Maag’s
typeface ‘Bookerly’ used for the amazon kindle.
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A designer’s role in branding My group was tasked with explaining what a designer’s role in branding is, starting with a brief explanation of branding and its use we then backed up our question with case studies. For my role within the group I used the case study of ‘Connexxion’,
where Dutch public transport sector needed rebranded to survive the encroachment of the private sector. I felt this was a good example as I was able delve into the exact tasks a designer or studio does in branding, such as addressing the client’s needs and goals
then translating them to the design, as well as making sure the design is implemented to the correct media.
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The effect of technology on Design and art direction This group discussed the relationship technology has with design and it’s influence on art direction. Beginning with a definition of these terms, the group proceeded with an example of Saul Bass’s use of kinetic typography, a technique that mixes motion and text. Following on the
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group talked about more contemporary technology impacting the media such as the Adobe creative cloud programs, 3D printing and web & app design and how these advances have a both a negative effect on the industry and also a positive. The examples they used were
that the advances are good as they lower costs and speed up work, but can also lead people to skip out methods and processes important to Graphic Design.
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Sagmeister’s work ethic & influence This essay will discuss the work of Stefan Sagmeister, an Austrian born designer with a body of work spanning over twenty years. It examines how his personal beliefs influence his strong opinions have shaped his career and style. Sagmeister has coined the term ‘Style=Fart’, with his work instead underpinned by, ‘intelligent thoughts, funny ideas, and a good heart’. (Bucher, 2006 pg43) Sagmeister’s use of media and experimental approach to projects is driven by his own intelligent thoughts. The essay demonstrates how his personal development and design work are related and how he aims to encourage young designers to take such
an ethical stance in their own work. Sagmeister’s constant aim with his work is to touch the viewer’s heart, a goal he is still trying to achieve. He is constantly developing as a person as he believes that having strong viewpoints & opinions on important issues is integral to achieving strong design outcomes. In an analysis of the majority of graphic & illustrated work, he praises it as being technically proficient and well executed, but it left him feeling uninspired. He can recount times when a book, music or film has changed his outlook and wants to emulate this in
his work. He believes the work of many designers fails to provoke thought, or conjure emotion, due to a lack of strong beliefs and opinions, saying, ‘when your conscience is so flexible, how can you do strong design?’(Fiell, 2005 pg156)
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In his self-published book, Things I Have Learned In My Life So Far Sagmeister says, ‘being not truthful works against me’ (Sagmeister, 2008). Recounting a court case that stemmed from a client dispute, he did not have a clear recollection of whether an image was in focus or not, but had testified that it was. Years later, when he discovered the image was not in focus, he regretted this and it influenced his decision to take an entire year off work, to reflect and experiment. He encourages his own personal development by keeping a diary, allowing him to re-read
entries and to make changes to areas of his life he is displeased with. This is a positive thing for any designer to do, as Sagmeister explains: ‘when I have repeatedly described a circumstance or character trait of mine that I dislike, I eventually wind up doing something about it’ (Sagmeister, 2008). He takes an ethical approach to all his client briefs and work practices. He disseminates his work ethos to other designers, often through Ted Talks, such as that on The Power Of Time Off where he discusses his decision to take an entire year off from work every 7 years to
allow him to experiment with various media and rejuvenate his passion for design.
One of the most recognised examples of Sagmeister’s experimental approach to design is the poster for a talk hosted by the Detroit chapter of the AIGA in 1999.(fig.) Sagmeister had the studio’s intern, Martin Woodtli, cut lettering onto his (Sagmeister’s) body with a scalpel. The process took eight hours, as Woodtli had to make sure the type was legible, but
not cut deep enough to scar him. The poster ‘signalled a turning point for the design industry, away from aspirations of digital perfection toward a higher appreciation for a designer’s personal mark’. (Hall, 2009 pg191) The poster is an embodiment of Sagmeister’s mixing of his personality and design work, particularly the self-reflection that,
‘having guts always works out for me’. (Sagmeister, 2008)
Sagmeister’s influence can be seen in the careers of Martin Woodtli, Hjalti Karlsson and Jan Wilker, all of whom worked in his studio as interns. Woodtli’s time working with Sagmeister encouraged work that features strong typography used in a chaotic and experimental manner.
He asserts that working with Sagmeister gave him a new perspective, prompting him to start his own studio. Similarly Karlsson and Wilker started their own successful studio, working for clients such as the museum of moving image in Queens and Mini/BMW.
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This essay has discussed the work ethic of Stefan Sagmeister, it examined his personal development and how it impacts his work as a designer and influences other artists. In an industry that is continually driven by technology, and with an increasing demand for more
media to be produced, Sagmeister is an incredible example of how to conduct oneself. It is easy to disassociate work as a designer and personal development, but Sagmeister demonstrates how each is integral to the other.
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Illustration list
Fig.1 http://images.studiodumbar.com/images/sized/projects/dutch-police-identity-08_1628_1085_60.jpg Fig.2 http://www.zachgold.com/advertising-1/7d3jl6kuad2ae32wzuhr9a2ftnzfmx Fig.3 http://static1.squarespace.com/static/570578842fe131827b43a189/t/570dd55401dbaea758957d50/1460524374091/ the-happy-film-screenshot.jpg?format=1000w Fig.4 http://www.hoorngids.nl/content/7951/news/clnt/3652819_1_org. jpg?width=1600&height=1200 Fig.5 https://www.femmefatale.paris/en/about Fig.6 http://1.bp.blogspot.com/-rgTtbWJbz3Y/T5pW2SseuII/AAAAAAAAADk/7Yaj-9jKQpE/s1600/dog-cover-inside-6mb.jpg Fig.7 https://images.collection.cooperhewitt.org/35370_01e2764b273cbb13_b.jpg 10
Bibliography
Bucher, S. (2006). All Access. Minneapolis: Quayside. Fiell, C. and Fiell, P. (2005). Graphic design for the 21st century. Kรถln: Taschen. Fiell, C. and Fiell, P. (2007). Contemporary graphic design. Hong Kong: Taschen. Fiell, C. and Fiell, P. (2013). New graphic design. London: Carlton Publishing Group. Sagmeister, S. (2008). Things I have learned in my life so far. Dinge, die ich bisher im Leben gelernt habe.. Mainz: Verlag Hermann Schmidt. Sagmeister, S. and Hall, P. (2009). Made you look. Harry N. Abrams.
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