Visual Summary Unit 2.3
Gabriel Soto MA Graphic Branding and Identity London College of Communication University of the Arts London 2011
INDEX 01 INTRODUCTION 02 RESEARCH SUBJECTS 03 DREAMS 04 VISUAL REFERENCES 05 POSTERS 34 NOTES AND SKETCHES 36 METHODOLOGY PLANNING SKETCHES 41 COLOMBIAN ICONOGRAPHY 46 HUMAN BRAND PLATFORM 48
UNIT 2.3 – VISUAL SUMMARY
INTRODUCTION This Visual Summary contains the process of visual research that lead to the Major Project Proposal (Unit 2.4). Research was done on three initial areas of interest in order to define which one had the most potential to be the starting point for the Major Project. The ideas were evaluated and revised throughout a series of tutorials and seminars by presenting and discussing them with tutors and peers. As a result, a particular field of study was selected and more specific research was undertaken. The initial research subjects were “Dreams”, “Colombian Identity” and “Human Brand Platform”. The subject of “Dreams” was chosen. As the research went further more questions came up and new opportunities were found when relating it to branding. It is also a very intriguing subject, which makes the process of researching and working with it an enjoyable experience.
02
UNIT 2.3 – VISUAL SUMMARY
RESEARCH SUBJECTS
DREAMS AND BRANDS
The decision of choosing “Dreams” as the main subject of research was made early in the process, reason why most of the content of this Visual Summary is related to it.
COLOMBIAN ICONOGRAPHY
HUMAN BRAND
PLATFORM
03
UNIT 2.3 – VISUAL SUMMARY
DREAMS
For centuries people have been fascinated with dreams. Why do we dream? What is the meaning of dreams? Why do we forget dreams? And other related questions remain unanswered, but many theories have been proposed from religion to science. I got interested in the experiential aspect of dreams and how its content is generated by the mind, creating unexpected connections between pieces of information kept in the conscious, subconscious and unconscious. While doing research, I found about dream incubation techniques, which are about “planting the seed” in the mind for a specific topic to occur in dreams.
04
Brands are constantly looking for new ways to deliver experiences to the consumer, and the consumer wants that kind of interaction. Nowadays, virtual life is the closest experience to reality. What would happen if dreams were incorporated to the brand experience? How could it be done? My research was focused on the psychology and physiology of dreaming and how dreams, dream memories and imagination have been visually represented in culture, mainly in art and films.
UNIT 2.3 – VISUAL SUMMARY
“The dream” (1931) Salvador Dalí
05
UNIT 2.3 – VISUAL SUMMARY
“The Temptation of St. Anthony” (1946) Salvador Dalí
06
UNIT 2.3 – VISUAL SUMMARY
“Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening” (1944) Salvador Dalí
07
UNIT 2.3 – VISUAL SUMMARY
“Study for the Dream Sequence in Spellbound” (1945) Salvador Dalí
08
UNIT 2.3 – VISUAL SUMMARY
“This is the colour of my dreams” (1925) Joan Miró
09
UNIT 2.3 – VISUAL SUMMARY
“Siesta” (1925) Joan Miró
10
UNIT 2.3 – VISUAL SUMMARY
“Elephant of Celebes” (1921) Max Ernst
11
UNIT 2.3 – VISUAL SUMMARY
“The Dream” (1935) Paul Delvaux
12
UNIT 2.3 – VISUAL SUMMARY
“The Dream” (1883) Pierre-Cécile Puvis de Chavannes
13
UNIT 2.3 – VISUAL SUMMARY
“The Dream of St Joseph” (1650) Rembrandt
14
UNIT 2.3 – VISUAL SUMMARY
Above: Sam Taylor-Wood’s video portrait of David Beckham (2004) displayed at the National Portrait Gallery in London. Right: Andy Warhol’s movie “Sleep” (1963), five hour footage of his friend John Giorno sleeping.
15
UNIT 2.3 – VISUAL SUMMARY
01
UNIT 2.3 – VISUAL SUMMARY
Poster and stills from the movie “Inception” (2010) Directed by Christopher Nolan
17
UNIT 2.3 – VISUAL SUMMARY
01
UNIT 2.3 – VISUAL SUMMARY
01
UNIT 2.3 – VISUAL SUMMARY
Previous pages and top: poster and stills from the movies “The Science of Sleep” (2006) and “Eternal Sunshine of a Spotless Mind” (2004) directed by Michael Gondry.
20
Above and right: still and poster from the movie “What Dreams May Come” (1998) directed by Vincent Ward.
UNIT 2.3 – VISUAL SUMMARY
01
UNIT 2.3 – VISUAL SUMMARY
01
UNIT 2.3 – VISUAL SUMMARY
Poster and stills from the movie “The Imaginarium of Doctor Parnassus” (2009) Directed by Terry Gilliam.
23
UNIT 2.3 – VISUAL SUMMARY
24
UNIT 2.3 – VISUAL SUMMARY
25
UNIT 2.3 – VISUAL SUMMARY
01
UNIT 2.3 – VISUAL SUMMARY
01
UNIT 2.3 – VISUAL SUMMARY
Previous page: “Boys flying dream” (1971) Arthur Tress
28
Next page: “Girl with dunce cap” (1972) and “Flood Dream” (1971) - Arthur Tress
UNIT 2.3 – VISUAL SUMMARY
29
UNIT 2.3 – VISUAL SUMMARY
“Future dreamcatchers” (2011) by the colombian designer Isabel Pradilla.
30
UNIT 2.3 – VISUAL SUMMARY
“New human: Embodiment of the Unconscious Mind” (2011) by Ann-Kristin Abel
31
UNIT 2.3 – VISUAL SUMMARY
“The Surreal House” (2010) constructed at the Barbican Gallery by Carmody Groarke architects.
32
UNIT 2.3 – VISUAL SUMMARY
Futuristic animated series show their vision of the influence that technology could have on dreams.
In Futurama’s “A fishful of money” episode (1999) commercials are broadcasted into peoples dreams via gamma radiation.
In The Jetsons’ “Elroy meets Orbity” episode (1984) there’s a machine called the Dream-o-matic, that provides pre-programmed dreams.
33
UNIT 2.3 – VISUAL SUMMARY
First A2 poster presented on the subject.
34
UNIT 2.3 – VISUAL SUMMARY
Second A2 poster presenting the initial research question and methodology.
35
UNIT 2.3 – VISUAL SUMMARY
Notes and sketches from my notebook.
36
UNIT 2.3 – VISUAL SUMMARY
37
UNIT 2.3 – VISUAL SUMMARY
Understandimg the subject.
38
UNIT 2.3 – VISUAL SUMMARY
First approximation to defining the research question. 39
UNIT 2.3 – VISUAL SUMMARY
Questions and ideas during the research.
40
UNIT 2.3 – VISUAL SUMMARY
Initial research methodology sketches.
41
UNIT 2.3 – VISUAL SUMMARY
Diagram of the field of study sketches.
42
UNIT 2.3 – VISUAL SUMMARY
Experiment planning.
43
UNIT 2.3 – VISUAL SUMMARY
Defining the research methodology for the MPP. 44
UNIT 2.3 – VISUAL SUMMARY
45
UNIT 2.3 – VISUAL SUMMARY
COLOMBIAN ICONOGRAPY
While working on a project for the Colombian Ministry of Culture, to develop the visual identity for one of its cultural programs, I realized how diverse this country is. The research for the project led me to notice and learn about many aspects of Colombian culture that most Colombians don’t know about. More than a decade ago, Colombia’s brand campaign was launched, as "Colombia is Passion." Passion: an intangible concept chosen by a foreign company which has been very unpopular amongst most Colombians. Although, I understand the difficulty of finding a physical element that could represent a population and a country as diverse as Colombia.
46
My proposal was to create an iconographic system, in which significant elements of the Colombian identity and diversity existing in its various regions are reflected. Ethnics, traditions, symbols, gastronomy, music, landmarks, nature, flora, fauna, outstanding people, myths, festivals, sports, history, etc. Through research, the elements that best identify each of the regions and subcultures of the country and its people were to be identified. After selecting the most relevant, each of these elements were to be studied in particular to get essential information for the design process.
UNIT 2.3 – VISUAL SUMMARY
01
UNIT 2.3 – VISUAL SUMMARY
HUMAN BRAND PLATFORM
Humans are social; we interact, have relationships, and communicate; we are rational and emotional beings; we love, we hate and feel the need of being part of social groups, but still be recognized as unique individuals. It is our nature to interact with other humans. Brands are an artificial creation configured to appeal to consumers and establish interactions with them. Several methodologies for brand development exist. Almost every agency has their own, or a version of another’s. Every branding book comes up with a new approach.
48
The idea was to create a brand development platform for creating and analysing brands based in the physical and psychological characteristics of a human being, in order to find out if it would produce more engaging brands to the consumer, as the configuration of the brand would be similar to the configuration of a human in some aspects.
UNIT 2.3 – VISUAL SUMMARY
01
UNIT 2.3 – VISUAL SUMMARY
Other notes, sketches and ideas.
50
UNIT 2.3 – VISUAL SUMMARY
51
Gabriel Soto MA Graphic Branding and Identity London College of Communication University of the Arts London 2011