DISPLAY BOOK : LIFE AND DEATH
INTRODUCTORY STUDIES LAUREN PLATTS BA (HONS) GRAPHIC DESIGN LEVEL 4
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DISPLAY BOOK : INTRODUCTORY STUDIES
CONTENTS MY JOURNEY HOME
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LIFE AND DEATH
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THROUGH THE LETTERBOX
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DISPLAY BOOK : INTRODUCTORY STUDIES
DISOBEDIENT OBJECTS EXHIBITION
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MUSEUM OF DESIGNS IN PLASTICS
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RUSSELL-COTES MUSEUM
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BOOK BINDING WORKSHOP
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SOFTWARE DEMONSTRATION SESSIONS
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LECTURES
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DISPLAY BOOK : MY JOURNEY HOME
MY JOURNEY HOME U
sing the idea of a map you are required to visually represent your journey from college to home or vise vera. Consider means of exploring this that you would not normally notice e.g. the flora you pass by, street signs, sounds, bus routes etc. Also consider less tangible ways of tracking your journey home e.g. thoughts and song titles. Consider incorporating elements associated with maps such as a compass and/or a legend. You may use collage, typography, photography and/or drawing or a combination of them. The essence of this problem lies with making the connection between two points of a personal journey and how you visualise it. It also lies with the methods that you use to document your journey e.g. taking a photograph every 50 steps or recording every green front door that you see. Adopting a method to document your journey will allow you to develop a more comprehensive idea.
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CONTENTS
CONCEPT IDEAS
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INITIAL IDEAS
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IDEA DEVELOPMENT
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FURTHER DEVELOPMENT
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FINAL OUTCOME
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DISPLAY BOOK : MY JOURNEY HOME
CONCEPT IDEAS In order to start thinking of how I could present my project, I began to brainstorm ideas of aspects that I associated with my personal journey to University and home. Having looked into a range of ideas, I decided I wanted to further explore the idea of conversations that I overheard on my route.
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DISPLAY BOOK : MY JOURNEY HOME
My initial idea is focussed around type and overheard conversations on my journey.
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DISPLAY BOOK : MY JOURNEY HOME
INITIAL IDEAS
From my initial concept ideas, I then went on to create three different designs all focussing on type and conversations. I was inspired by the work of Richard Long; an artist who creates art by documenting routes that he walks. By experimenting with different ways to present this idea, I found that replacing my route with conversations wasn’t going to work. This was because I had limited space to include all of the conversations I wanted to.
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DISPLAY BOOK : MY JOURNEY HOME I also experimented with colours in my designs to visualise if this would either enhance my conversations, or take the importance of them away.
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IDEA DEVELOPMENT • • • • • • • • • • • • • • • • • • • • • • • •
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I don’t want to be paying rent on a house that im not going to be living in It will be your bday present for the next 10 years Altogether it was £365 which was all inclusive Honestly its disgusting, It tastes like mouldy cheese I was asleep, so I didn’t miss anything, I get what you mean though Just say you were busy, they wont know What shall we have for dinner tonight? We’ve got chicken in the freezer, should we just use that? Im not fussed, you and emma decde Oh my god you would have creased up Oh my god I was so annoyed it was ridiculous I looked sick, hair scraped back, no eyebrows buy I really couldn’t be bothered Do you not remember? You threw your phone across the floor? I hate walking back through there at night it’s so creepy Do you get given a brief about it or anything at all? The most I danced was when I was a sheep I don’t know why I don’t have a number saved for you, how strange I should just buy you like 100 lottery tickets I had such random habits when I was a child I would hug you but I really smell Just ask someone when you get to the station Nope, going to see her Monday. I was gonna email her but I bottled it Ive got a bottle of vodka i’ll probably drink tonight So who was this bird you pulled last night then? Yeah im going home this weekend too. Cant wait
DISPLAY BOOK : MY JOURNEY HOME
I recorded my conversations that I overheard on my way to University and home. From this I then went on to experiment with various typefaces including both serif and sans serif fonts. This would enable me to see which would work best in my designs.
In addition to this, I also created a range of colour schemes that could represent my days of the week in my design.
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DISPLAY BOOK : MY JOURNEY HOME
FURTHER DEVELOPMENT As part of my further development, I decided I wanted to continue to use the form of a circle to present my final journey design. I created three different forms to see which would be the most interesting.
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DISPLAY BOOK : MY JOURNEY HOME
I chose to use the above design, as I thought that it was more dynamic and visually interesting.
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DISPLAY BOOK : MY JOURNEY HOME
FURTHER DEVELOPMENT
Once I had decided I wanted to use the circular based design, I started to experiment with my different colour schemes. I decided to change the colour of the text from black to white as I thought it stood out more against the brightly coloured backgrounds.
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DISPLAY BOOK : MY JOURNEY HOME
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DISPLAY BOOK : MY JOURNEY HOME
FINAL OUTCOME
Final Design As my first project, although I was pleased with my final outcome, I felt it could have been thought through more. When designing, I believe I could have experimented with different ideas, looking more closely at colour theory and different formations in which to present the conversations on the design. I feel that this project was an eye opener for me, as I learnt what was expected from me on the course and how important it is to take on board a range of aspects that can influence your design. 16
DISPLAY BOOK : MY JOURNEY HOME
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DISPLAY BOOK : LIFE AND DEATH
LIFE AND DEATH
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hoosing the right time to overtake a lorry on a busy road can mean the difference between life and death. With this in mind visually represent two images to appear on two rear panels of a lorry’s doors. The left side must represent life, while the right represents death. The objective is to visualise a clear and meaninful graphic statement about life and death.
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DISPLAY BOOK : LIFE AND DEATH
CONTENTS
WHAT IS LIFE? WHAT IS DEATH?
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CONCEPTS OF THE BACK OF A LORRY
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INITIAL IDEAS
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FURTHER DEVELOPMENT OF DESIGNS
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FINAL OUTCOME
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DISPLAY BOOK : LIFE AND DEATH
WHAT IS LIFE I initially began by looking at various images of life and what life meant to me. This enabled meto gain a more knowledgable understanding of what I was being asked from the oject.
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DISPLAY BOOK : LIFE AND DEATH
WHAT IS DEATH I repeated this thought process regarding death. By doing so, it allowed me to collect visual images that would enable me to influence my initial ideas and thoughts later.
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DISPLAY BOOK : LIFE AND DEATH
CONCEPTS OF THE BACK OF A LORRY As stated in the brief, my design must appear on the two rear pannels of a lorry’s doors. I looked into various different approaches in which I could represent my images of life and death.
A car on a motorway is only behind a lorry for a short period of time. Therefore the image must be easy to understand.
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DISPLAY BOOK : LIFE AND DEATH
Initially, I questioned whether I could have one entire image across the lorry door pannels instead of two sperate images. Due to the limited spacing, it may be difficult to portray two designs, but by combining them into one, it may be more effective.
Another idea regarding the way the image would be placed on the lorry door was to consider creating a tromp l’oeil effect. This could make the design more interesting as it plays on the idea of ‘trick of the mind’ and would make the drivers looks twice. 23
DISPLAY BOOK : LIFE AND DEATH
INITIAL IDEAS The idea of using an Anglerfish for my design origniated from my initial thought of using prey and predators. I thought that by using an Anglerfish, it would create a sense of humour for the audience as well as being instantly recognisable.
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DISPLAY BOOK : LIFE AND DEATH
Is et ut quosam, test aut untiuntum as utesti dolorpo rrovidio con re, offictum nost, simagnis nemolore omnistor alitiaes deliquae maios a diamus exeribus pro odis dist pratis evellabo. Abores dolor sunt velendeFero velent etur, sit
I liked the idea of using the Anglerfish as one entire image, but spread it across the two seperate door pannels. The lightbulb on the left side could represent life as it suggests overtaking the lorry is a good idea. However, whererever the Anglerfish’s light glows, he follows. This too, implies that even though the driver may think that overtaking the lorry is a good idea, the risk of death is always present. 25
DISPLAY BOOK : LIFE AND DEATH
INITIAL IDEAS In comparison to the Anglerfish design, this concept is a lot more literal. The idea was to have a child’s toy gun on the left side and a real gun on the right. The contrast in images would suggest how one object can mean the difference between life and death.
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DISPLAY BOOK : LIFE AND DEATH The design could again be one entire image, but this time using two parts of each gun joined together. I chose to use the object of a gun as they are often associated with killings and murders, which reinforce the result of a life and death situation.
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DISPLAY BOOK : LIFE AND DEATH
INITIAL IDEAS For this idea, I thought along the lines of portraying a very literal life and death situation. It’s a well known fact that animals such as alligators are killed for their skin and teeth, and so I thought that this could be a very strong image/message to portray on the back of a lorry.
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DISPLAY BOOK : LIFE AND DEATH
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DISPLAY BOOK : LIFE AND DEATH
INITIAL IDEAS This idea of using a candle originated from the thought of using a simple object to portray life and death. On the left side I thought that the candle could be lit to represent life, in contrast to the right risde where the candle would be blown out.
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DISPLAY BOOK : LIFE AND DEATH
I looked at a variety of candles that I could use to further represent life and death such as birthday candles and tea lights. However, I thought that by using a simple candle, it would not only portray a stronger impact, but would emphasise the fire and smoke, which is inevitably representing life and death. 31
DISPLAY BOOK : LIFE AND DEATH
FURTHER DEVELOPMENT OF DESIGNS
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DISPLAY BOOK : LIFE AND DEATH
Choosing the Anglerfish idea, I then created my own Anglerfish using the pen tool and brush tool in Adobe Illustrator. I created two variations of this design as they could portray two slightly different messages. The design on the left is focussed more so on the fish, suggesting a big element of death. However the design on the right focussed more on the light. This instead implied that death is always apparent, yet may not be instantly seen.
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DISPLAY BOOK : LIFE AND DEATH
FINAL OUTCOME
Final Design
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DISPLAY BOOK : LIFE AND DEATH
Overall, I felt that my final design turned out well. I believed that the image of the Anglerfish was instantly recognisable for a range of audiences, and would be easy for drivers behind the lorry to understand. In a peer assessment session, I recieved feedback comments such as ‘excellent use of Illustrator’ and that my design ‘portrays life and death in a bold manner.’ In addition to this, I also recieved suggestions on how I could improve my work. One of the main improvements suggested was to contain the lorry to the image and to perhaps eliminate the white border. I thought that this project in particular made me feel a lot more confident of what was expected from me on the course. I felt a lot more self-assured when researching and found myself experimenting a lot more with a range of ideas. This in itself I believe, influenced my final outcome and how I approached the project.
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DISPLAY BOOK : THROUGH THE LETTERBOX
THROUGH THE LETTERBOX T
his assignment encourages you to start to think like a Graphic Designer. This way of thinking requires that you constantly observe, question, explore and form opinions about the environment in which you live. It also means that you understand that your opinions may differ from others. The essenve id that if you want to effectively visually communicate to an audience it is vital that you are clear as to what you want to say, who want to say it to and how you want to say it. The brief creates oppertunities to develop your visual awareness and your critical analytical skills. It also creates oppertunities for you to explore different methods of generating concepts and ways of presenting them. Select from one of the three newspaper articles provuded for you. Summarise the key points. Research the background to the story and form an opinion about it (you do not have to agree with what you have read). Produce a visual message that expresses your opinion to a chosen target audience.
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DISPLAY BOOK : THROUGH THE LETTERBOX
CONTENTS
INITIAL RESEARCH
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INITIAL RESEARCH EXPLORED
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VISUAL RESEARCH
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INITIAL IDEAS
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IDEA DEVELOPMENT
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FURTHER DEVELOPMENT
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FINAL OUTCOME
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INITIAL RESEARCH
Having read all three articles, I decided to research further into the second article which was about the Police misusing the Ripa law. However, what intregued me most within the article was that an editor from the Mail on Sunday was paying a journalist to find out some information on an MP. This lead me to research into the freedom of the press.
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DISPLAY BOOK : THROUGH THE LETTERBOX
I researched into a range of questions and problems that arise regarding press freedom. This lead me to various paths such as are journalists abusing their rights, how much press freedom do journalists need and how effective is press freedom to report on current affairs?
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DISPLAY BOOK : THROUGH THE LETTERBOX
INITIAL RESEARCH EXPLORED
After exploring a range of opinions on press freedom, I then created some visual mindmaps with images that are associated with these points. This would allow me to begin to visualise what images I would include in my designs.
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DISPLAY BOOK : THROUGH THE LETTERBOX
The images I drew are initial thoughts which I associated with my research. By creating simple icons and diagrams, I was able to further generate my thought process and start to refine what imagery I would use in the next stage. 41
DISPLAY BOOK : THROUGH THE LETTERBOX
VISUAL RESEARCH DAVID MCCANDLESS
My research then lead me to look into the work of data journalist, David McCandless. As I collected lots of data from my own research, I thought that I could perhaps create a design in an infographic style.
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DISPLAY BOOK : THROUGH THE LETTERBOX I chose to look at David McCandless’ work as I liked the simplicity and logic to his designs. I also thought that his use of colour and shapes in his designs really stand out and grab your attention. This was something to consider for my project, as I would need whatever I was posting in a letterbox to be eye catching for the reciever.
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VISUAL RESEARCH REPORTERS WITHOUT BORDERS
When carrying out my research, I found an organisation called ‘Reporters Without Borders,’ of whom support freedom of the press. I thought the use of photography in their campaigns was very powerful and strong with the mesages they were portraying. 44
DISPLAY BOOK : THROUGH THE LETTERBOX
I thought this could be an appropriate strategy to adopt for my project and design as press freedom is a constant, worldwide topic that promotes various opinions.
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VISUAL RESEARCH AD BUSTERS As part of my visual research, I looked into the work of the company Adbusters. I thought their collection of ‘spoof’ ads were very interesting and carried a high level of impact.
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DISPLAY BOOK : THROUGH THE LETTERBOX
The use of imagery in these ads supply elements such as shock and suprise which is what I wanted my own designs to contain. 47
DISPLAY BOOK : THROUGH THE LETTERBOX
INITIAL IDEAS From my visual research, I wanted to create a design that was highly impactful through the use of photography. I was particular inspired by the campaign material of Reporters Without Borders.
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DISPLAY BOOK : THROUGH THE LETTERBOX
I wanted to explore the simple concept of using tied up hands next to some paper and a pencil. By doing so, I wanted to portray a message that suggested if journalists can’t access the materials they need to report on world affairs, the public won’t revieve factual or raw information.
After a tutorial session, it was evident that my overall concept had potential, and the use of my own photography could have a big impact on the audience. However, it was also discussed that my images needed to be visuallly stronger to match the effect of the Reporters Without Borders campaign. This meant experimenting using a bigger pair of hands, thicker rope and a simple background.
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DISPLAY BOOK : THROUGH THE LETTERBOX
IDEA DEVELOPMENT
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DISPLAY BOOK : THROUGH THE LETTERBOX
I started to mind map various different ideas of how I could present my project. This included taking into consideration the images, how I would package the product and the different statements I would include on my campaign material.
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DISPLAY BOOK : THROUGH THE LETTERBOX
IDEA DEVELOPMENT
Taking advice from my tutorial, I spent one morning in the studio with one of my classmates and used his hands for my photography. Looking at these photographs, they are a lot more powerful simply through the use of composition of his hands and the rope. By knotting the rope, it emphasised the restraint that could come upon journalists. It also suggested that limited freedom could result in limited public interest of the news.
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DISPLAY BOOK : THROUGH THE LETTERBOX
IDEA DEVELOPMENT Having taken a variety of photographs, I then began to manipulate them using softwares such as Photoshop and InDesign. I chose three images that I thought had most impact on reflecting supporting freedom of the press. By desaturating the colour of the photographs and turning them black and white, it would make whatever text I would add stand out and reflected the traditional style of a newspaper being black and white. This would also anchor the imagery.
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DISPLAY BOOK : THROUGH THE LETTERBOX
FURTHER DEVELOPMENT With my first image, I started to look at the layout of my where my text would be placed. I used a red strip as this not only made the text stand out from the image, but creates a sense of power and danger. I used the serif font of Arial Black as it is very easy to read, it stands out and it anchors the boldness of the statement.
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I then experimented with a range of different fonts, and which style would be most effective in my designs.
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FURTHER DEVELOPMENT
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DISPLAY BOOK : THROUGH THE LETTERBOX
Initially exploring a range of both serif and sans serif fonts, I found that the font ‘American Typewriter’ was most effective, primarily as it anchored the context of the design. Following this, I looked at similar fonts and decided to choose ‘Traveling_Typewriter.’ I then experimented with colours to see which of my three primary colours would stand out most.
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FURTHER DEVELOPMENT
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DISPLAY BOOK : THROUGH THE LETTERBOX
Having decided on the font that I wanted to use in my design, I then started experimenting with the punctuation in my statement. By doing so, it enabled me to visualise which additional punctuation would have the most impact.
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FURTHER DEVELOPMENT I then went on to experiment with the way in which I could present my red banner using a range of different painbrushes. This varied from paint brushes to a biro pen brush. Although I thought that the new brushes made the poster look more interesting, I believed that the original plain banner had the most effect.
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FURTHER DEVELOPMENT Having decided on what the front of my poster would like, I then began to think about the back. I took a range of both portait and landscape photgraphs of different pens to help decide which format and pen would work best in my design.
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FURTHER DEVELOPMENT
I decided to use this particular image as I thought the portrait orientation worked better than the landscape as the pen filled the majority of the page. I then added a fact about press freedom using the same font I had used throughout, to encourage the audience to think and continue to the directed website.
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FURHTER DEVELOPMENT
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As advised in a tutorial, I added a halftone pattern filter to my image to make it resemble a newspaper. By doing so, it would further anchor the context of my design.
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FURTHER DEVELOPMENT
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I repeated this process with the back of the poster to create a continuous theme. From this, I chose the design with a sans serif font as it was bolder, easier to read and reinforced the bold statement about press freedom.
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FINAL OUTCOME
Out of all three projects, I am most pleased with the outcome of this one. My aim was to create a simple campaign poster which would direct people to a website where they would sign a petition to maintain press freedom in the Uk. I wanted my designs to be simple so the photography was more powerful and the focus of the poster. Regarding my intentions to deliver the poster, I aim is to post it in a postal tube; of which will be covered in collaged newspaper scraps that have been censored. From this project, I learnt how to extend my research resources through using the University Library website and other websites such as bobnational.net. I also felt that I have improved my time management skills and started to think more effectively regarding the creativity of my designs. 72
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Final Design
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DISPLAY BOOK : DISOBEDIENT OBJECTS EXHIBITION
DISOBEDIENT OBJECTS EXHIBITION
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n the 1st October 2014, we went to the Disobedient Objects exhibition at the V&A Museum in London. The exhibition consisted of the powerful role of objects in movements for social change, and how political activism influences a wealth of design and creativity. I thought that the exhibition was very interesting, as it displayed a wide variety of art and design and how these concepts are used in protest movements around the world.
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DISPLAY BOOK : MUSEUM OF DESIGN IN PLASTICS
MUSEUM OF DESIGN IN PLASTICS
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n order to widen my knowledge in the arts industry, I visited the Museum Of Design in Plastics - a museum located on campus at AUB. Exploring the wide range of contempory objects that are held there, it broadened my knowledge on how plastics play an important role in the study and practice of art and design. I found the exhibition very interesting with how plastics continue to inform and transform the environment in which we live in. I also think the fact that we have it here available on campus makes it an excellent resource for future projects.
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DISPLAY BOOK : MUSEUM OF DESIGN IN PLASTICS
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RUSSELL-COTES MUSEUM
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n addition to my trip to the V&A museum with the university in London, I went to the Russell cotes museum in Bournemouth. A combination of an art a gallery and a museum, it combined lots of art work and artefacts relating to travel. I thought the museum was very interesting - not just the content of what was actually there, but the interior and detail to the house itself. It not only allowed me to experience another very different aspect of art and design, but encouraged me to see the extent of how culture and travel influence a person’s perceptions of design.
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DISPLAY BOOK : BOOK BINDING WORKSHOP
BOOK BINDING WORKSHOP
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s the first time I had learnt how to perfect bind a book, I found it an enjoyable and satisfying experience. The process of how to do so was relatively simple; a stack of paper is placed in a press and glue added to which would be, the spine of the book. Once the glue had dried, slits were made down the spine using a scalpole and string was looped through each slit to strengthen the hold of the book. A piece of mesh was then added to enfroce its strength. After, a cover was made seperately using slightly thicker paper and trimmed to the desirable size of our books. this was then glued to our book of paper and left to dry. I was very happy with what I produced, and would feel a lot more confident when perfect binding my own books in the future.
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DISPLAY BOOK : SOFTWARE DEMONSTRATION SESSIONS
SOFTWARE DEMONSTRATION SESSIONS
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s part of the university course, I was required to participate and learn the software programmes related to the graphic design industry. These were Adobe Illustrator and Adobe Indesign. As programmes I had never used before, I found the sessions challenging. However, I am now a lot more confident using them in comparison to the beginning of course.
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CONTENTS
ADOBE ILLUSTRATOR
ADOBE INDESIGN
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ADOBE ILLUSTRATOR Regarding Adobe Illustrator, we were asked to begin to start experimenting with some of the main tools available. One of which was creating a simple drop shadow on a letter.
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DISPLAY BOOK : SOFTWARE DEMONSTRATION SESSIONS
In addition, I was asked to recreate 3 existing logos again by using the tools we had learnt in Illustrator. I feel that although I am happy with what I have created in the exercises, I need to continue to use Illustrator and experiment with the different tools in order to feel completely confident when using it in the future. I will also continue to watch tutorials on lynda.com to further develop my skills.
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ADOBE INDESIGN
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In comparison to Illustrator, I picked up Indesign a lot more quickly. As one of our exercises, we were asked to create a two-sided business card. I did so by using the shape and text tool and experimenting around with different layouts. Overall, I am more than happy with the basics of Indesign and how the programme works.
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LECTURES
D
uring this unit, I was required to attened a range of lectures, which would enhance my understanding of Graphic Design. By doing so, I have gained a lot of knowledge about different aspects in this area that I didn’t know previous to this. The lectures have covered areas such as branding, visual culture and advertising. I feel that my new knowledge has enhanced my work as it has encouraged me to think outside the box and be mindful of cultural influences that may be apparent.
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CONTENTS WHAT IS GRAPHIC DESIGN?
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INTRODUCTION TO VISUAL CULTURE
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VISUAL SPACE
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DECODING CULTURE
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ADVERTISING
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CREATIVITY
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SEMIOTICS
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WHAT IS GRAPHIC DESIGN NOTES • • • • • •
Design/magazine Communicate Branding/packaging Propaganda Making sense Visual language
RESOURCES/BOOKS • • • •
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Stephan Sagmeister – Graphic Designer Cadbury’s Gorilla/Sony Bravia – Fallon Aiga – US Graphic Design International Tidy Man – 1960’s
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INTRODUCTION TO VISUAL CULTURE NOTES • • • • • • • • • • •
Culture changes with society Packaging: images of people on packaging suggests an element of confidence, trust. Culture: uniting people, understanding, shared experiences, language, codes, dynamic history movement in the visual arts, drama, literary works. Construction and communication of meaning – understanding, interpreting and explantation Neomania – excitement/demand for something new Production, distribution, consumption = ever mutating – new technologies Visual literacy – literate – to be able to read and write, read/ decode/understand images Totenism – relations between objects are made to represent the relations between people or groups of people Auteur theory – form of explanation that depends of viotion of expression and individually personality. Eg: film/television Phenomenological and hermeneutic – subject based approach, stress the importance of the role of the individual consciousness. Structural based approach – importance of role of structures – values, system of representation.
RESOURCES/BOOKS •
Psychological theory (Sigmund Freud) – 1856-1939, pleasures - scopophilia, voyeurism, exhibitionism. 91
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VISUAL SPACE NOTES • • • • • • • • • • • • • • • •
3D thinking – scale, geometry Visual Perception is the ability to interpret the surrounding environment Vision – psychology, cognitive science, eyesight, sight. Physical + physiological = psychological Receive information – equipped with sense organs (part of sensory system) Symbolic? Metaphor – figure of speech on which a word is applied to an object/action which is not literary applicable. Associate with a child? Universal code – link to a metaphor Reader – media – author = perceived story – discourse – conceived story Semiotics – iconic, symbolic, indexical The meaning of any sign is affected by those who are reading it. Signifier – image/object Signified – meaning it denotes Connotations are culturally/personally linked. Text anchors image
RESOURCES/BOOKS •
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Karl Popper - All life is problem solving
DISPLAY BOOK : LECTURES
DECODING CULTURE NOTES • • • • • • • • • •
Media communication – everyday we engage with a variety of media Channels of communication – messages and meaning Language of the media – visual literacy (we read images), images play an important complex role in our society, creole (new languages), nomogenised (made the same by education systems/mass media Production of meaning – sign making Semiotics – semeion – ancient Greece – study of signs in society We use signs to describe and interpret the world Patterns and structures of signs in media texts condition the meanings which can be communicated and read. Each medium has features specific to it and features which are shared with other mediums. Audiences understand and enjoy the media in different ways Signs are organised into groups – codes – particular meanings
RESOURCES/BOOKS • • • •
Roland Barthes 1997 – ‘the rhetoric of the image’ – argued that the meaning of images are always related to/depend on verbal text. Saussure and pierce – beginning of semiotics Umberro Eco - Process of signification of four elements. Laura Mulvey - 1975 - The male gaze, spectator, scopophilia. 93
DISPLAY BOOK : LECTURES
ADVERTISING NOTES • Cadburys gorillia – memorable – purple background, Fallon (company) • Hovis (boy running home) – everything around him changes, but bread remains a constant, heritage, nostalgic (look back with a longing), notion of the past/history/tradition. Start with a boy in victorian era, suffragettes, 1st world war, 2nd world war, coronation, immigration, minor strikes, millennium. – competitive market • Intertextuality, make people feel good – reassurance • Ambrosia custard – image of farm – idiolic image of country side. – add snow/change image for different times of year • Products change packaging for different times of year – eg Halloween and Christmas • Considerations – commercial progeganda, creativity, false needs, public perceptions, online advertising – banner, pop up ads, flash – hyjacks our attentions. • We’ve become dependent on advertising – persuades, en courages, seduces us – fast paced, commercial culture • Advertising culture influences us • Media watch uk – educates consumers • Consumer – mass market = desires and demands • Impact and importance of advertising? Integral part of modern culture? Social communication? Negative influence? Satisfaction of customer needs? Induce and increase consumption? • Embedded advertising (product placement) eg: james bond - cars,watches
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• • • • • • • • •
Social grades: A (higher managerial), B (ntermediate managerial), C1 (supervisory or junior management) C2 (skilled manual – ave uk salary £26,500) D (semi skilled and unskilled manual) E (lowest levels of subsidence – casual workers, unemployed) Appeal to audience emotions – manipulate Emotional appeals – feelings Use of fear Stereotypes – myths Codes – lighting, colour, sound, editing, facial expressions Ambient advertising – advertising in places that are non traditional – element of surprise ‘Environmental pollutants’ – society is polluted by advertising 1800’s – advertising agencies in UK introduced
RESOURCES/BOOKS • • • • •
Adbusters (1989) – Canadian, anti-advertising culture, critical of advertising, exposes corruption, constantly faced with false needs. Greg Myers - Adworlds -”ads only make sense when considered in terms of the social world around us” ASA – advertising standards authority – make sure advertising doesn’t misform/mislead Edward bernays – social psychology/propaganda – was used by agencies to help reach markets/audiences – engineering of consent – control of public opinion, suggestion/repetition/association/identification/fantasy. P.T Barnum - First great advertising genius.
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DISPLAY BOOK : LECTURES
CREATIVITY NOTES • • • • • • • •
Born with it? Or learn? Creativity – expression, inspired, invention, abstract/concrete thinking, ability to create, imagination, emotional intelligence. Creativity as: a constrain focussed experience, a product focussed experience, a transformation focussed experience, a process focussed experience, a fulfilment focussed experience. Cognitive process to creativity – selecting, relating, combining, evaluating, selectively retaining, communicating. Cognitive approach to creativity – expertise (knowledge of field but does not always mean creativity), problem solving. Inhibitors – fear, lack of confidence, unchallenged, oppressive environment, lack of opportunity. Convergent thinking – orthodox Divergent thinking - variable
RESOURCES/BOOKS • • • •
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Arthur J Cropley – Creativity in Education and Learning Tom Kelley – The Art of Innovation Tony and Barry Buzan – The Mind Map Book Malolm Gladwell – The Tipping Point
DISPLAY BOOK : LECTURES
SEMIOTICS NOTES • • • • • • • • • • • • • • • • •
2 components to every sign – signifier (object) and signified (meaning associated) = denotation (literal meaning) and connotation (perceived meaning) syntagram – relations of signs paradigm – relations of signs that can replace one another Roland barthes – ‘mythodologies’ – bringing together signs and their connotations to shape a particular message – making of a myth Myth – taking an existing sign and making it function as a signifier on another level Ideology – belief of something Stuart hall – how messages are produced Process of communication – circulation Sender – message – receiver – criticized Codes – particular meanings eg: dress codes Encoding/decoding – make sense of a text Intertextuality – reference to other text – relies upon another text to make sense. Encoding/decoding – make sense of a text Intertextuality – reference to other text – relies upon another text to make sense. Spectator – pleasure depends on an ideological manipulation of film codes Scopophilia – pleasure of looking, control gaze Visual – not necessary understood by every culture – western culture
RESOURCES/BOOKS • •
Saussure 1857-1913 – concerned with language Charles S Pierce (American philosopher) – visual signs, 3 different signs – iconic (looks like object), indexical ( direct link between sign and representation), symbolic (stands for something, learn them) 97
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BIBLIOGRAPHY
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