The Booming Creative Industry

Sam Sheridan

Investigative Study

The Booming

Creative Industry

Level Six

Visual Communication

o s a u re d m n o

3

Sam Sheridan Investigative Study ‘The Booming Creative Industry’ Visual Communication

The Booming Creative Industry

Level Six

4

Sam Sheridan

5

List of Figures

Figure one

Bulletin des Amis de la Verite first issue La

/ page 13

Bouche de fer by Nicolas Bonneville and Claude Fauchet

Figure two

Lord Kitchener Wants You’ by Alfred Leete

/ page 14

Figure three

Parliamentary Recruiting Poster, 1915

/ page 15

Propaganda WWI

Figure four

‘Often a Bridesmaid, Never a Bride’ (1925)

by Lambert & Feasley

6

/ page 16

List of Figures

Figure five

Coca-Cola advertisement from the 1940’s

/ page 23

Figure six

Spike Jonze Ikea lamp advertisement 2002

/ page 26

Figure seven

Adbusters ‘Buy Nothing Day’ Campaign 2016

/ page 37

Figure eight

Barbara Kruger’s ‘I shop therefore I am’ 1987

/ page 41

7

Introduction

The UK creative industry is currently valued

with similar values and similar aspirations

at £76.9 billion a year contributing £8.8

in a way that national governments and

million to the UK’s economy every hour.

international bodies cannot do” (‘Power of

£2.5 billion of that is just fashion, product

Brands’, BBC, R. Clifton, 2014). Branding,

design and graphic design, making it one

together with the visual aspect of business

of the fastest growing sectors. Twenty years

makes a significant contribution to

ago graphic design was not even listed as

success of businesses within the consumer

a possible occupation. Now the creative

marketplace. This essay will explore the

sector as a whole is up nearly 10 percent

significance and meaning of the immense,

from last year’s £71.4bn, growing at three

complex environment of consumption and

times the rate of the wider UK economy –

production, which has directly effected the

but design itself is growing at double that

growth and success of the creative industry.

rate (‘Government figures show UK has

It will discuss how advertising and the

largest design sector in Europe’, J. Mathers,

manipulation of society has brought about

2015). Other examples of fast growing

the consumer lifestyle and what this means

industries/ business are that of Uber, Airbnb

for emerging practitioners with concerns

and Snapchat - all companies valued at

regarding responsible design, particularly

$1 billion or more by venture-capital firms

within the field of visual communication. It

(‘The Billion Dollar Start-up Club’, S. Austin,

will investigate responsible design through

C. Canipe, S. Slobin, 2015) because they

the research of movements such as the

are believed to have long-term growth

First Things First Manifesto, AIGA principles

potential. What they have in common is

of design and efforts made by notable

that they all provide a service that typically

designers and agencies such as Barbara

connects people; Uber connects drivers

Kruger and Adbusters.

to passengers, Airbnb from holiday home

The Booming Creative Industry

owner to tenants and Snapchat from person to person. Through branding, advertising and other forms of communication, design is the connecting power between business and their customers. “Branding can touch people, connect people, all around the world and connect people

8

J. Mathers

9

Sam Sheridan

ÂŁ76.9 billion a year

liberty equality fraternity Carlo Quintavalle

10

To understand why the creative industry is

They adopted the radical Declaration of

growing at such a fast pace involves looking

the Rights of Man, protesting “Liberty,

back into the history of the industry. “Since

equality, fraternity” (Carlo Quintavalle,

prehistoric times, people have searched

1989 cited by P. Meggs, 2011, page

for ways to give visual form to ideas and

7). Political and social reform was

concepts, to store knowledge in graphic

communicated in the form of posters

form, and to bring clarity to information” (P.

in order to bring about a new form

Meggs, 2011, page 8). Posters as we know

of government and to better society.

(typography together with imagery) go back

Meggs (2011, page 8) notes that

as far as the late 18th century. This was

William Addison Dwiggins coined the

a period (1775 to 1848) of considerable

term graphic design to describe his

unrest across the world, including the war of

activities as an individual who brought

independence, French revolution and social

structural order and more visual form to

unrest in Britain. This brought about a shift in

communications.

communicating ideas, as levels of education

The poster reached the zenith of its

amongst those being united was low, better

importance as a communications

forms of communication were necessary

medium, during World War II -

for social and political ideas to be spread

governments turned to the poster as a

through the population. In ‘The Poster in

significant medium of propaganda and

History’ Max Gallo (1989) credits the Bulletin

visual persuasion” (P. Meggs, 2011, page

des Amis de la Varite - a revolutionary

283). The poster during World War I and

newspaper - as one of the first historical

World War II were used to persuade men

posters, created between the French

to sign up for the military and were very

revolution in 1789 and the revolutions in the

successful in doing so.

rest of Europe.

‘This turbulent half of the century saw the birth of new political and social ideas whose effects would be felt for generations. After storming the Bastille, French revolutionaries overthrew principles that had been in place for centuries.

11

Bulletin des Amis de la Verite 12

Figure one

13

14

Figure two

Figure three

The first world war was the first appearance

true, their homes and lives were at risk,

of propaganda posters, most notably

other posters made them join by making

the ‘Lord Kitchener Wants You’ (1914)

them feel as though they would be less

by Alfred Leete which was used as a

of a man if they did not join the army,

recruitment poster and has retained

playing on insecurities and almost bullying

historical significance. Many propaganda

men into recruitment. The success of this

posters played on peoples emotions, such

campaign shows how this form of visual

as the comfortable feeling of the traditional

communication encouraged people to

home being destroyed by the opposing

make decisions that were essential to

force. It made men join the ranks because

the war effort. It also represents to some

the propaganda told them that for the

extent, the beginning of manipulating

sake of their family and their homes, they

people’s thoughts and ideas through this

had to enlist. Although this may have been

medium - the poster.

15

16

Figure four

Up until 1923 advertisements were

There is a connection between the success

predominantly made over the radio and in

of this form of communication and in

newspapers or specific papers in order for

manipulating people into making decisions,

businesses to make themselves available

such as enlisting for the army. The technique

to their potential customers. The First note

was extended to enticing consumers into

of advertising in the ‘Graphic Design

making choices about buying commodities.

Time line’ is in 1891 where a “George

‘Often a Bridesmaid, Never a Bride’ led

Batten opens George Batten Newspaper

consumers into thinking that Listerine

Advertising Agency” (S. Heller and E Pettit,

could solve their social problems and

2000, page 5). At that time an advertising

therefore manipulated the consumer into

agency acted only as space brokers,

buying into the brand. The purpose of the

promoting the interest in advertising mainly

Listerine campaign was moving away from

on behalf of the print media. In 1920

advertising the value of oral hygiene as

AT&T’s station WEAF in New York offered

a general principle and moving towards

ten minutes of radio time to anyone who

suggesting that by not using the product

will pay two-hundred dollars (S. Heller and

lives would be badly affected.

E Pettit, 2000, page 60).

This was certainly a shift in planting ideas

Advertising techniques as we know them

and trying to encourage people to make

now - selling the consumer a better lifestyle

choices through visual communication as it

- first occurred in the Listerine advert ‘Often

is introducing a specific product. It is clear

a Bridesmaid, Never a Bride’ (1925) and

to see that the success of propaganda led to

was created by Lambert & Feasley (S. Heller

this development of advertising, which from

and E Pettit, 2000, page 66). The Listerine

then on would incorporate graphic design

advert was an example of the company

and visual communication to help sell

taking advantage of people’s insecurities

business’ products and services and, in turn,

- they make a claim that a single woman

manufacture the consumer lifestyle.

is single due to her breath being bad, which can be fixed by their product. This then makes single women (and men) think that if they buy the product then it will subsequently get them a partner.

17

... regarded not only as part of self, but instrumental to the development of self.

R. Belk

18

Sam Sheridan

The Roaring Twenties were a time in which

businessmen from all the major light bulb

production and manufacturing grew greatly.

manufacturers.

During this time (1920 - 1929) America’s total

The group founded the Phoebus cartel in

wealth more than doubled, this economic

order to create demand for their products.

growth swept many into an unfamiliar

A contract bound them to limiting the

consumer society (‘The Roaring Twenties’,

lifespan of their products so consumers

history.com, 2010). The output from factories

had to buy more (‘Planned Obsolescence:

developed as a result of mass production,

The Light Bulb Conspiracy’, C. Wong,

making products more readily available. The

2012). This was the very beginning of

money being made also meant that there was

a throwaway consumer lifestyle. The

more to be spent and therefore enabled more

Roaring Twenties was a time when many

people to live material rich lives. In order

people defied prohibition, indulged in

for companies to gain more customers, they

new styles of dancing and dressing,

would need to be more innovative or release

and rejected many traditional moral

more products, they needed to manufacture

standards (‘Definition of The Roaring

want - “If you can fabricate want, make

Twenties’, Dictionary.com). Products

obtaining things jut out of reach, the essence

became more about fashion and were

of life they are going to be trapped into

“regarded not only as a part of self, but

becoming consumers” (‘Requiem for the

also as instrumental to the development of

American Dream’, N. Chomsky, 2015) then

self” (R. Belk, 2001 cited by P. Boradkar,

businesses can control the population. With

2010, page 149) meaning that they

more availability and more choice, companies

only have value because they help get or

needed to manufacture want for their product.

achieve some thing else. What really is

Businesses needed consumers to buy into

important to the development of self are

them further, this caused the advertisement

things that contain intrinsic value - things

industry to explode with a new aim - to

that are valuable in themselves, such as

fabricate consumers. Along with increased

friendships (‘Fundamentals: Intrinsic vs.

advertisements like the Listerine advert,

Instrumental Value’, K. Schiffman, 2014).

another technique was put into play; planned

During the twenties, people were led

obsolescence. This technique is making a

to believe that materialistic things with

product that is deliberately designed to break

instrumental value provided a means

after a set amount of time. This began with

for friendships and popularity which are

light bulbs, coordinated by the Phoebus

intrinsically valuable, subsequently leading

Cartel - a group of leading international

to a surge in consumerism in society.

19

20

General Motors

dissatisfaction

creation of

organised

The Booming Creative Industry

Sam Sheridan

General Motors’ CEO Alfred P. Sloan Jr.

During the Twenties everything was very

segmented the market into people with

fashion driven and so Sloan believed that

varying incomes - making General

cars should be no different, a fashion

Motors’ products more readily available

item. This creation of dissatisfaction,

to the population and also giving them a

like planned obsolescence, was put into

new variety of choice. Prior to this, Ford

practice across the Western world, helping

dominated the market and only offered

to drive the economy further. It became

one model in one colour - ‘any colour

a major factor in the development of the

so long as it’s black’. Sloan suggested

disposable consumer way of life led by

annual model design changes to convince

the vast majority of society nowadays. This

car owners that they needed to buy a new

again shows the departure from choosing

replacement each year. Soon it became

a product because on its intrinsic value to

fashionable to have different colours, tails

choosing a product because it satisfies a

and features on cars (‘The Men Who Made

need to be part of an imagined life style

Us Spend’, BBC, 2014).

that having this product would give to an

Sloan made it a psychological need - you

individual. There is a dubious morality in

needed it because it was new/different to

this communication, which would soon

the one before and that was a defining

use the power of visual communication to

factor of you as a person. Again, society

take advantage of a human weakness -

was manipulated into thinking that the

as explored by Sloan.

materialistic could provide intrinsic value.

Before this, new cars were only bought because they were broken or because newer products had a definitive advantage over the older model, GM called this theory of continuous upgrade the organised creation of dissatisfaction (‘The Men Who Made Us Spend’, BBC, 2014).

21

The Booming Creative Industry

Having complete control over what you

of Brands’, BBC, R. Hytner, 2014). Troops

buy and from where was amplified at

returned with a new love for Coca Cola

the beginning of The Cold War. During

and felt a loyalty to the brand. It also

this time there was a choice to be made

reached a wider market by going abroad.

- Capitalism or Communism. A choice

Through providing support Coca Cola

widely summarised as having the freedom

developed their brand and connected

to choose or not having the freedom to

with their consumers to create a brand

choose (‘Consumerism & the Limits to

that consumers now buy into out of a

Imagination’, S. Jhally, 2014). It made the

sense of loyalty. Along with consistent

notion of having a decision seem much

branding, Coca Cola made it a necessary

more inviting, rather than it just being about

requirement to keep their logo and colours

fashion anymore it was a statement of your

exactly the same across their campaigns,

liberation, a reflection of the country and

together with this and their consumers’

society that you lived in.

loyalty, they experienced a great deal

By this point, society was of a consumerist

more sales.

nature and so essentially obsessed with

Branding has become the normal in the

material values and the variety of products.

consumer environment because we expect

Brand obsession was a result, people were

to be communicated to and communicate

so in love with what brands represented

through the products of the production

and what they meant to the rest of society

and consumption environment. It has

that they bought into them purely on that

been a key element in the growth of the

basis. Brand obsession started earlier

creative industry, the higher the levels

than the Cold War, a primary example

of consumption rise, the more brands

of it was during World War II when Coca

have to set themselves apart from the

Cola supplied their products to the army

competition, leading to more money being

overseas. Not only did Coca Cola see it as

invested in branding and brand image

an opportunity to encourage troops - by

and an increase in the creative industries

reminding them of their lives at home - but

value. Branding relates directly to the

it was a business opportunity that would go

original ideas explored back in the 18th

on and change the brand forever. “Brands

century through posters, namely it’s ability

that serve us well in good times; we love.

to visual communicate

Brands that serve us well in tough times; we love deeply and we love way beyond the time in which they help us out” (‘Power

22

Figure five

23

Markets are now segmented and there is

As more people join these vast networks by

infinite variation available to us and so

buying the necessary hardware and ‘getting

there is a high demand for differing forms

online’, a growing number of internet service

of advertisement. Where goods and services

providers increase the capacity of the network

were once promoted via the radio and in

still further expanding its range and utility. The

specific newspapers, nowadays social media

internet has added a new layer, not created

and mobile advertisements are the most

a revolutionary break’ (F. Trentmann, 2016,

effective methods to reach the consumer.

page 685).

Now 91 percent of retail brands use two

This means that the internet has been a

or more social media channels. Social

major contributor to the consumer lifestyle,

networks earned as much as eight billion

making products and services more widely

dollars from advertising (in 2015) and 38

available and also enabling businesses to

percent of organisations plan to spend more

advertise to a wider audience. Its contribution

than 20 percent of their total advertising

to this complex environment of consumption

budgets on social media channels, up from

and production, also has an effect on the

thirteen percent from years previously (Kit

growth and success of the creative industry

Smith, 2016, Social Media Statistics and

- with the internet providing more avenues

Facts article). The wider market can now be

to communicate to customers and society.

accessed constantly through the internet,

It can be used for the encouragement of

leading to increase in sales, reach and

consumerism but also has the potential to

subsequently, the consumer’s choices of

contribute to the good of society.

products. Much like the success of Coca Cola through their efforts during the war and reaching an audience abroad, the internet has now provided everyone with a means to communicate globally.

The Booming Creative Industry

‘The internet and development of technology presents the user with an extremely flexible communication tool which can be used to forge links between organisations and individuals.

24

The internet has added a new layer, not created a revolutionary break F. Trentmann

25

Ikea was a brand that ushered in the

furniture which changed the mindset of the

disposable culture of today, which had

consumer. Now it was made possible to

never existed for furniture before. The Spike

have ever-changing furniture and rooms

Jonze advert (in 2002) Ikea shot portrayed

to match your ever-changing fashion and

a lamp being thrown out into the rain

sense of style, which was induced as a result

outside someone’s house because it has

of the influence of branding. This was a

been replaced with a newer lamp (‘The Men

contributing factor to the new throwaway

Who Made Us Spend’, 2015). It is made to

lifestyle that has been developing as a

look emotional, like the lamp has feelings

product of the consumer lifestyle that we

and we feel sympathy for it until someone

have adopted (‘The Men Who Made Us

comes from out of shot and talks directly to

Spend’, 2015). It also reflects the tactics

the camera saying “why do we feel sorry for

used in the twenties - products are of lower

the lamp, it is just a lamp. Besides the new

value since they are less about quality and

one is much better.” This plays on people’s

more about quantity, they are designed to

perceptions of furniture, it used to be a

be replaced and are easily affordable yet

product that your family would keep and

still somewhat fashionable.

pass down to your children, it would last

Figure six

decades. Ikea provided cheap, throwaway

26

besides the new one is much better

27

ever mo freque showers a changes cloth 28

Sam Sheridan

ore ent and s of hes

This throwaway lifestyle of consumerism and the dangers that come with it are social issues that need to be addressed. Issues that have resulted from our excessive consumer lifestyles include making the population generally unhappier - through decrease in social interaction (S. Jhally, Consumerism & the Limits to Imagination, 2014) but excessive consumerism also has a profound effect on the planet and our environment. “Our lifestyles, and their social and environmental consequences, should be the subject of serious public debate and policy, not left as a matter simply of individual taste and purchasing power. There are plenty of opportunities for intervention, from shared housing and different standards of heating and cooling to more sustainable forms of mobility, all the way to public-information campaigns about the damage done by ever more frequent showers and changes of clothes� (F. Trentmann, 2016, page 690).

F. Trentmann 29

The Booming Creative Industry

In the last few hundred years, the purchase,

“People in the West have got no happier in

possession and use of things (in short,

the last 50 years, they have become much

consumption) has become a defining

richer, but they are no happier - if this is true

feature of our lives. “In the rich world - and

then why are politicians so concerned with

in the developing world increasingly, too

speeding up economic growth? Consumer

- identities, politics, the economy and the

capitalism actually leads to unhappiness,

environment are crucially shaped by what

the pursuit of material possession takes

and how we consume. Taste, appearance

away what does make us happy which is

and lifestyle define who we are (or want to

social interaction” (S. Jhally, Consumerism &

be) and how others see us.” (F. Trentmann,

the Limits to Imagination, 2014).

2016, page 1).

The basic aspirations that people have, such

The creative industry can be blamed partly

as social interaction, have been replaced by

for the development of our society into

the need to consume. However society will

this consumer marketplace. Design has

never be able to feel fulfilment since every

been manipulated into making us want

year there are brand new commodities

products through advertising as a method

that add to the already crowded consumer

of improving our lives - design has been

marketplace. “Want is a growing giant

manipulated into manipulating society to

whom the coat of Have was never large

buy into companies. Products are shown

enough to cover” (Emerson, 1860 cited by

as a means to make us fashionable and

Easterlin, 2001 cited again by P. Boradkar

popular, they have become things that

page 271). Society will never have enough

define our lives and who we are/ who we

so long as there are new products being

want to be. Through advertising, we have

released - and will in turn seek these new

been made to believe that the brands that

commodities - when really the issue is that

we buy into can make us better and that

there is not enough meaningful social

they will provide happiness for us. However

interaction within our modern culture.

this is not the case at all.

30

Sam Sheridan

there is not enough meaningful social interaction within our modern culture.

31

The Booming Creative Industry

First

Things

First

32

Sam Sheridan

The First Things First manifesto was written in the 1960’s in order to bring back what was becoming a forgotten element of graphic design - the ethical aspect. The British economy was booming and people of all classes were better off than ever before. Consumer goods were transforming everyday life - and changing consumer expectations forever. The manifesto was a result of young designers that organised meetings, events and debates to promote the value of design. First Things First attempted to re-radicalise the design industry, which the signatories felt had become lazy and uncritical (‘First Things First Revisited’, R. Poyner, 1999).

They believed that design is not a neutral, value-free process. They rallied against the consumerist culture - that was completely concerned with buying and selling - and tried to highlight the Humanist aspect of graphic design that had been forgotten.

33

The designer’s responsibility

The Booming Creative Industry

to the public

34

Sam Sheridan

AIGA is the professional association for design, founded in 1914 as the American Institute of Graphic Arts. They advocate for a greater understanding of design and define global standards and ethical practices as designers (AIGA.org, 2016).

For emerging practitioners of visual communication, AIGA is an essential source of standards that all creatives should live and work by accordingly. Within ‘The designer’s responsibility to the public’ it is noted that “A professional designer shall avoid projects that will result in harm to the public” - given that the rise of consumerism has led to a general decline of happiness it could be said that the promotion of consumerism within design is in violation of this principle of integrity. “A professional designer shall communicate the truth in all situations and at all times; his or her work shall not make false claims nor knowingly misinform. A professional designer shall represent messages in a clear manner in all forms of communication design and avoid false, misleading and deceptive promotion” - to some extent it could be said that the first Listerine advert was in violation of this principle; by implying that the use of Listerine’s product could improve a woman’s chances of marriage.

35

Organisations such as AdBusters - which is a not-for-profit magazine fighting back against the hostile takeover of our psychological, physical and cultural environments by commercial forces (adbusters.org, 2016) - are a prime example of designers that are directly opposed to the consumer lifestyle. Adbusters holds advertising as the responsible power in creating and maintaining consumer culture. They believe that the advertising industry goes to great effort and cost to associate desire and identity with material gain. Adbusters stated that their goals include combating the negative effects of advertising and empowering its readers to regain control of culture, encouraging them to ask “Are we consumers and citizens?” (‘The politics of Teleliteracy and Adbusting in the classroom’, Marnie W. Curry-Tash, 1998).

Adbusters and their campaigns includes Buy Nothing Day: which is an international day of protest against consumerism by which people refuse to spend any money, it’s aim is that people might keep in mind that an object will never create happiness “it might create happiness for a few minutes, maybe even days, but in the end your experiences are all you’ve got” (adbusters.org, 2016). They strive to make people

The Booming Creative Industry

realise that intrinsic value is higher than instrumental value.

36

Intrinsic ________ Instrumental

37

38

Figure seven

39

Another noteworthy contributor to the questioning of identity within consumerist culture is Barbara Kruger.

Kruger uses advertising formats; black and white images overlaid with bands of red and white text to deliver messages regarding identity. She causes us reconsider the images that surround us and that consequently shape us: “Her work makes us aware of the mechanisms of advertising, which both accosts and anaesthetises its audience” (National Gallery of Australia, ‘Read my lips’, 2016). Particularly, her piece ‘I stop therefore I am’ (1987) - a play on the philosopher Rene Descartes’ notion of ‘I think therefore I am’ - critiqued capitalism and its social vacancy and suggested that people needed to consider what they are to society, that they are more than just consumers: “Loaded with irony on shopping bags, T Shirts and other products of consumption travelled out into the world - a free-floating philosophical observation, and part of a parade of post modern thinking infiltrating the centre from the margins” (‘Icons: Barbara Kruger’, J. Engberg, 2014).

In order to prevent the unnecessary rise of consumerism, work like Barbara Kruger’s must be created and spread through society to make people think about their value to society and to help them realise they are more than just a consumer, obsessed with commodities that are sold

The Booming Creative Industry

through manipulation.

40

Figure eight

41

The Booming Creative Industry

The creative industry, particularly graphic

will be unlikely to change in the foreseeable

design, has evolved from a method

future. It is the graphic design industry’s

for bringing people together and

function to make people aware that they

communicating social messages and ideas

are more than just consumers, they should

to something that controls our daily lives.

be encouraged to take part in a new,

At the very beginning of the poster, it’s

creative methods of defining themselves as

purpose was to give people power to stand

opposed to expressing themselves through

up to those that controlled all the power, but

the things that they wear and own.

has now been directly turned around - the

“Such a debate has to be bold and

people with power now use the power of the

envisage different lifestyles and the

poster and advertising to segregate people

concomitant changes to housing, transport

and make them buy into the companies that

and culture. It will need more people to

are selling. Thus creating a similar society

remember that, as consumers, they are

to the one that design was developed in

citizens and not just customers. And it will

order to solve in the first instance. It has

need historical imagination” (F. Trentmann,

been manipulated for the benefit of the

2016, page 690).

commercial and idealogical - for the gain

The consumer lifestyle is now apart of our

of the economy as opposed to the gain for

society and has been a contributing factor

society. Many would argue that it is design’s

to the way the world is as it is today, both

responsibility to make the world a better

positive and negative contributions have

place - “The need for clear and imaginative

been made through the development of

communication has never been greater.

consumerism and it is not something that

People are seeking new visual means to

will likely ever be stopped. We are in a sea

relate to their cultural, economic, and social

of consumerism. However, people need to

lives. As shapers of messages and images,

be made aware of this fact; advertisements

graphic designers have an obligation to

and products are not everything and

contribute to the public understanding

they will not actually contribute to one’s

of environmental and social issues. (P.

happiness in the ways that are promised

Meggs, 2011, page 572)”. The consumer

through media. This message will need to

environment is so concentrated now, it

be broadcasted the same way consumerism

is almost self sustaining - it has become

was brought to its power - through visual

the norm to have brands communicate to

communication and the creative industry.

us, we expect it, and subsequently means consumerism and our thirst for new products

42

The consumer environment is so concentrated now, it is almost self sustaining 43

Conclusion

It is important to remember that the things

expectations for it to convey the message

we buy into do not make us who we are,

that we are individuals, not consumers. It

instrumental value has nothing over intrinsic

will need to relay the need for intrinsically

value. People need to be made aware of

valuable things such as experiences,

this and the best way is through visual

people, communication and support.

communication. The creative industry

Emerging practitioners cannot forget this

has been manipulated for the benefit of

Humanist aspect of design and that it

the economy as opposed to its original

must communicate the truth and not make

purpose - the gain for society. Only through

false claims. Visual communication “can

efforts, like the ones made by Adbusters

be the embodiment of communicative

and Barbara Kruger can people be made

reason and the means of uniting society,

aware of the identity that they have lost as a

because it refers to what is common to all�

result of their throwaway consumer lifestyle.

(Schiller 1795 cited by O. Batschmann,

With regards to the creative industry, there

1997) and it is design that has helped

will always be a need for it provided there

build the immense, complex environment

is a consumer marketplace or information

of consumption and production. Now

that needs to be communicated. Conflict,

emerging practitioners inherit an obligation

products, political and social ideas will

to do right by society and communicate the

always be around and therefore the creative

dangers of a consumer led lifestyle.

industry will continue to grow. It will be around to satisfy the need for demand for products, services and materialistic gain, but this subsequently leaves a demand

The Booming Creative Industry

for visual communication to meet the

44

Sam Sheridan

the things we buy do not make us who we are

45

Bibliography

AIGA. (2016). AIGA standards of

Available from: https://www.entrepreneur.

professional practice. [online]. Available

com/article/277318 [Accessed 3 December

from: http://www.aiga.org/aiga/content/

2016].

tools-and-resources/aiga-standardsof-professional-practice/ [Accessed 10

Carlson, N. (2012). INSIDE PINTEREST: An

December 2016].

overnight success Four years in the making. [online]. Available from: http://www.

Austin, S., Chris, C., and Slobin, S. (2015).

businessinsider.com/inside-pinterest-an-

The Billion dollar startup club. [online].

overnight-success-four-years-in-the-making-

Available from: http://graphics.wsj.com/

2012-4?IR=T [Accessed 6 October 2016].

billion-dollar-club/ [Accessed 15 December 2016].

Curry-Tash, M. W. (1998). The politics of Teleliteracy and Adbusting in the classroom.

The English Journal. Vol.87. No.1. p.43.

Australia, N. G. of. (2016). Read my lips. [online]. Available from: http://nga.gov. au/exhibitions/readMyLips/index.html

DictionaryThe definition of roaring twenties

[Accessed 10 December 2016].

The Booming Creative Industry

Engberg, J. (2014). Donate today. [online].

Batschmann, O. (1997). The Artist in the

Available from: https://www.accaonline.

Modern World - A Conflict Between Market

org.au/event/icons-barbara-kruger-i-shop-

and Self-Expression. DuMont Buchverlag,

therefore-i-am [Accessed 10 December

Cologne: Yale.

2016].

Belk, R. W. (2001). Collecting in a consumer

Evans, K. F. (2004). Maintaining community

society (collecting cultures). London: Taylor

in the information age: The importance

& Francis.

of trust, place and situated knowledge.

Basingstoke, Hampshire: Palgrave Macmillan.

Boradkar, P. (2010). Designing Things: A Critical Introduction to the Culture of Objects. Oxford: Berg Publishers.

Gallo, M. et al. (1989). The Poster in History. New York: American Heritage Pub. Co.

Brustein, D. and more, R. (2016). The unconscious power of brands. [online].

46

Sam Sheridan

cmLboGee [Accessed 10 October 2016].

Heller, S. and Pettit, E. (2000). Graphic Design Timeline - A Century of Design

Joel(2015). The Men Who Made Us Spend:

Milestones. New York: Allworth Press.

Episode 1 History.com. (2010). The roaring twenties - facts & summary. history.com. [online].

Krajewski, M. (2014). The great Lightbulb

Available from: http://www.history.com/

conspiracy. [online]. Available from: http://

topics/roaring-twenties [Accessed 12

spectrum.ieee.org/geek-life/history/the-

October 2016].

great-lightbulb-conspiracy [Accessed 22 November 2016].

History.com. (n.d.). First things First: Design is history. [online]. Available from: http://

Leiss, W., Kline, S., and Jhally, S. (1991).

www.designishistory.com/1960/first-things-

Social Communication in Advertising:

first/ [Accessed 10 December 2016].

Persons, Products and Images of Well Being.

2 ed. London: Routledge Chapman and Hall.

Home, W. (2015). About. [online]. Available from: http://wfoa.wharton.upenn.edu/

Lester, P. M. (2002). Visual Communication:

ad2020/ [Accessed 11 October 2016].

Images with Messages. 3 ed. New York, USA: Wadsworth Publishing Co.

Hurth, V., Stearns, P., Edmonds, B., et al.(2013). Consumption and identity

Mathers, J. (n.d.). New government figures Hutchison, P. D., Nyks, K., and Scott, J.

show UK has largest design sector in

P.(2015). Requiem for the American dream

Europe. [online]. Available from: http:// www.designcouncil.org.uk/news-opinion/

Jhally, S.(2014). Consumerism & the Limits

new-government-figures-show-uk-has-

to Imagination

largest-design-sector-europe [Accessed 6 October 2016].

Jha, R. (2016). 25 things you didn’t know about the movie “fight club.” [online].

Meggs, P. B. and Purvis, A. W. (2011).

Available from: https://www.buzzfeed.com/

Meggs’ history of graphic design. 5 ed.

regajha/25-things-you-didnt-know-about-

Oxford, United Kingdom: Wiley, John &

the-movie-fight-c?utm_term=.myLDeJXX#.

Sons.

47

Bibliography Cont.

Merriam-Webster. (2015). Definition of

Peterson, A., Brockhoff, G., Devereaux, J., et

DESIGN. [online]. Available from: http://

al.(2010). Shop ’Til You Drop - The Crisis of

www.merriam-webster.com/dictionary/

Consumerism

design [Accessed 6 October 2016].

Poynor, R. (1999). Emigre essays. [online].

Montgomery, A. (2014). UK creative

Available from: http://www.emigre.com/

industries worth £71bn a year and fastest-

Editorial.php?sect=1&id=13 [Accessed 10

growing sector. [online]. Available from:

December 2016].

https://www.designweek.co.uk/issues/ january-2014/uk-creative-industries-worth-

Quinn, M. (2015). Uber, Airbnb, Pinterest

71bn-a-year-and-fastest-growing-sector/

and the 30 other “unicorns” with all-male

[Accessed 6 October 2016].

boards. [online]. Available from: http://www. siliconbeat.com/2015/03/16/uber-airbnb-

(2008). In search of the meaning of

pinterest-and-the-30-other-unicorns-with-all-

Christmas. [online]. Available from: https://

male-boards/ [Accessed 15 December 2016].

simplyxmas.wordpress.com/2008/11/09/ in-search-of-the-meaning-of-christmas/

Reserved, A. A. R. (2016). Home page.

[Accessed 10 October 2016].

[online]. Available from: http://www.adweek. com/ [Accessed 10 December 2016].

Nyks, K., Hutchison, P. D., Scott, J. P., et al.(2016). Requiem for the American Dream

Retail, M. (2016). +-SIMILAR INSIGHTS. [online]. Available from: http://www.

O, O., Neill, 0027 U, and O’Neill, O.

medallionretail.com/insight/evolution-

(2014). Fight club: 19 things you didn’t

consumerism-america [Accessed 10 October

know about the film. The Telegraph.

2016].

The Booming Creative Industry

[online] . October 15, 2014. Available from: http://www.telegraph.co.uk/culture/

Schiffman, K. and Vazirani, G.(2014).

film/11130111/Fight-Club-20-things-you-

Fundamentals: Intrinsic vs. Instrumental value

didnt-know-about-the-film.html [Accessed 10 October 2016].

Packard, V. (1970). The Hidden Persuaders.

Harmondsworth: Penguin Books.

48

Sam Sheridan

Smith, K. (2016). 96 amazing social media

(1997). A brief history of the poster.

statistics and facts for 2016. [online].

[online]. Available from: http://www.

Available from: https://www.brandwatch.

internationalposter.com/about-poster-art/a-

com/2016/03/96-amazing-social-media-

brief-history-of.aspx [Accessed 7 October

statistics-and-facts-for-2016/ [Accessed 24

2016].

October 2016].

(2013). WHAT IS PLANNED Trentmann, F. (2016). Empire of Things -

OBSOLESCENCE?. [online]. Available

How we became a world of consumers,

from: http://www.technologystudent.com/

from the fifteenth century to the twenty first.

prddes1/plannedob1.html [Accessed 9 October 2016].

Power of Brands(2014).

Welch, D. (2013). Propaganda: Power and Persuasion. LONDON: The British Library

(2009). Geraldine Villaruel. [online].

Publishing Division.

Available from: http://www.slideshare.net/ sjhus/brand-communications-presentation

WhitetheDark(2006). Spike Jonze Ikea ad

[Accessed 10 October 2016].

Williams, O. (2014). The men who made us spend review: How consumerism took

(n.d.). GLOVES OFF: Bare-fisted political

over. [online]. Available from: https://

economy. [online]. Available from: http://

leftfootforward.org/2014/08/the-men-who-

www.glovesoff.org/features/gjamerica_1.

made-us-spend-review-how-consumerism-

html [Accessed 11 October 2016].

took-over/ [Accessed 12 December 2016].

(2016). Journal of the mental environment.

Wong, C. (2012). Planned Obsolescence:

[online]. Available from: https://www.

The light bulb conspiracy - economics

adbusters.org/ [Accessed 10 December

student society of Australia (ESSA). [online].

2016].

Available from: http://economicstudents. com/2012/09/planned-obsolescence-the-

(2007). Barbara Kruger - feminist artist - the

light-bulb-conspiracy/ [Accessed 9 October

art history archive. [online]. Available from:

2016].

http://www.arthistoryarchive.com/arthistory/ feminist/Barbara-Kruger.html [Accessed 10 December 2016].

49

in o bo e cr “Branding can touch people, connect people,

all around the world and connect people with similar values and similar aspirations in a way that national governments and international

bodies cannot do” (‘Power of Brands’, BBC,

R. Clifton, 2014). Branding, together with the visual aspect of business makes a significant

contribution to success of businesses within the consumer marketplace. This essay will

explore the significance and meaning of the

immense, complex environment of consumption and production, which has directly effected the growth and success of the creative industry.

31039613012017 Sam Sheridan, The Booming Creative Industry

2