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Initial Ideas Research
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This workbook will be used to record work, research and all relevant factors for TMA1516 Final Major Project. The FMP should be a final output for the previous modules’ research and outcomes. The previous work that was undertaken for the course was about perception as a concept the FMP, I was instructed by the course leader to lean away from the area I was focusing on, in particular hidden meanings and illusion, and look into different areas of graphic design. The MA is a gateway into industry and one of the main factors into me choosing this course was to strengthen my portfolio. This in mind, I wanted the FMP to resonate with current trends and have solid, meaningful outcomes. Before creating a brief, I decided to look at current design agencies and the work they are producing to help me start thinking about where I want to take this project.
Sam Edwards
Final Major Project
TMA1516
Brief
University of Huddersfield
Identity
Initial Ideas 3
Research
Studio Research
Sam Edwards
Final Major Project
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Brief
University of Huddersfield
Identity
Initial Ideas Studio Research
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Hort HORT began back in 1994, under the previous stage name of EIKES GRAFISCHER HORT. Who the hell is Eike? Eike is the creator of HORT. HORT – a direct translation of the studio’s mission. A creative playground. A place where ‘work and play’ can be said in the same sentence. An unconventional working environment. Once a household name in the music industry. Now, a multi-disciplinary creative hub. I like the way this studio uses typography, The clean use of a grid along with a simple colour palette in a noticeable amount of their work really appeals to me and is definitely a style that I would like to understand and explore. Simplicity with style makes the company’s work shine and reflects the German graphic style I am starting to discover.
Sam Edwards
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Hort
University of Huddersfield
Identity
Initial Ideas 5
Studio Research
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Hort
University of Huddersfield
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Spin Design Over the past twenty years, Spin has established an international reputation for delivering clear, elegant design solutions across multiple platforms. This is reflected in the broad range of sectors that they work in. Recent commissions include work for clients in the arts, communication, broadcast, design, electronics and entertainment sectors. They design identities, books, marketing campaigns, motion graphics, packaging and websites. Their clients are international, and range in scale from global brands to small one-person businesses. I am particularity fond of what I have seen from this studio. The way that they manipulate type in the work I have seen is very appealing. It is a style that I really admire and would like to experiment with and see if I can use this as a platform during the development of my work.
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Spin Design
University of Huddersfield
Identity
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Studio Research
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Spin Design
University of Huddersfield
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APFL A Practice for Everyday Life is a graphic design studio based in London. Their work includes art direction, identities, publications, exhibitions, type design, signage, packaging, and digital. They have built a reputation as an internationally renowned and sought-after collaborator through their work with like-minded companies, galleries, institutions and individuals, and they work with a conceptual rigour that ensures each design is meaningful and original. Again through researching the studio’s work, I was drawn towards their robust typographic work. The strong influence of the Swiss design teachings along with a considered colour palette all add up to create vivid, expressive design. Again I have been drawn to a German studio and especially their typographic work.
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APFL
University of Huddersfield
Identity
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APFL
University of Huddersfield
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Magpie Magpie has a simple approach: listen to their clients; understand their audience and solve their problems. They have learnt that it’s easier to make themselves understood when they speak in black and white. It helps to move beyond the grey areas and deliver a message loud and clear (or quiet and clear, if the brief requires). But there’s more to it than that. They are avid collectors of all things visual. They’re passionate about creative colour – the bright idea that catches the eye, connects with an audience and makes a message memorable. As well as also being strong typographically, I really like the simple graphic shapes that this company produce. I would like to look to look at creating symbols in reference to this studio’s work that can be used in my concept.
Sam Edwards
Final Major Project
TMA1516 Final Major Project
Magpie
University of Huddersfield
Identity
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Studio Research
Sam Edwards
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TMA1516 Final Major Project
Magpie
University of Huddersfield
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Upstruct Upstruct was founded by Toni Harzer and Åsmund Vonheim Seip in summer 2005 in Berlin. After their first year together, Åsmund moved back to his homeland, Norway, and opened a second studio in Oslo. Upstruct Berlin Oslo was born. Over the years ,both studios grew together, employing up to six workers. The clients became more numerous and the projects bigger. They offer a wide variety of design disciplines without losing their eye and love for the details. They care for creating a consistent design language through all communication channels. Their style is more organic and raw. I think the way they produce their work would be ‘made’ rather than just digitally processed. I like the way the studio uses colour and form.
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Upstruct
University of Huddersfield
Identity
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Upstruct
University of Huddersfield
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Stahl R Stahl R is a Berlin based design studio founded in 2012 by Tobias Rรถttger and Susanne Stahl. Their studio is a dynamic system in scope and scale, strengthened by a network of talented creatives from all disciplines. Their highly varied output has been rewarded with national and international awards. They work in a diverse range of design disciplines: from visual identities, publication design, environmental design, editorial and art direction, to time-based media and digital projects. Regardless of medium, their conceptual thinking leads to thoughtful, intelligent and innovative work. I like the way the work researched is heavily influenced by Bauhaus and uses simple geometry and colour to create a strong piece of design. This style is becoming ever more influential towards me and is something I definitely will explore more.
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Stahl R
University of Huddersfield
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Stahl R
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Yusaku Kamekura Born in the Niigata prefecture in Japan and a student of the Institute of New Architecture and Industrial Arts, Yusaku Kamekura was more than acquainted with the Bauhaus principles and sense of design. Starting his design career at the publishing company Nippon Kaupapu, Kamekura has more than half a decade of experience in the design world. Combining the influences of the Bauhaus with insight into his traditional heritage, his work is recognized for its colourfully minimalist approach. He is perhaps most well known for his work for the Tokyo 1964 Olympics. Another success of equal magnitude was his poster design for the 1970 Expo in Osaka, which won several national and international design awards. I like the way that Yusaku mixes traditional Japanese design techniques with modern design priniciples.
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Yusaku Kamekura
University of Huddersfield
Identity
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Yusaku Kamekura
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Anton Stankowski Anton Stankowski (1906 – 1998) is universally acclaimed as one of the greatest and most influential names in late-modernist art. He was an eminent late modernist designer who created revolutionary concrete art, memorable corporate identities, and highly innovative information materials. His influence on typography, photography and graphic design was international in scope and Stankowski’s name is also connected with the origins of the Constructive Graphic Art. Throughout his career, Stankowski noticeably drew inspiration from his vast experience in the fields of painting and photography. His commercial art always reflected the various styles that he had employed earlier in his work. His body of work, based on his masterful use of colour and sophisticated technique, is extremely subtle, profound and expressive.
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Anton Stankowski
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Kissing Kourami Kissing Kourami is a graphic design studio born from a mix of European temperaments and Asian delicacies. Yoren Geromin, French, worked in Geneva as a designer and Art-Director for Saatchi & Saatchi, Blue infinity and Gyro Group International. He did creative works for clients like Nestle, UEFA, Japanese Tobacco, Easy Jet, Geneva Aiport, Accorhotels‌ A finest admirer of traditional Japanese culture. The simple use of geometric form is attractive and bold. The Japanese style comes across in a subtle manner yet gives a strong effect. This Japanese style is something I need look into more to get a deeper understanding.
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Kissing Kourami
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Brent Couchman Brent Couchman is an independent graphic designer based in sunny San Francisco, California. Originally hailing from the Lone Star State where he developed branding, packaging & illustration for Fossil, Brent moved to the Bay Area to work with Hatch design. His work has been recognized by AIGA, Art Directors Club, Communication Arts, Print, Graphis, The Eisner Museum of Advertising & Design, and most recently ADC Young Guns 9. Again his use with shape and form is a style I would like to explore and understand. The use of colour, shape and style all combine to create really strong, visual identity.
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Brent Couchman
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Concept Brief
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Exploring the concept of identity, create a graphic solution to what you consider to be an effective representation of it.
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Identity
Identity- Theory Understanding the problem of identity is key in understanding the brief. To do this well, stating a number of theories of personal identity is needed. The idea of who we are and the question of whether is there a life after death, as the correct answer to it determines which types of changes a person can undergo without ceasing to exist. This is a question of personal identity and has been studied in depth throughout history. Personal identity theory addresses the most ultimate questions of our own existence. In understanding the changes in a person that constitute survival from those noticeable conversions in a person that establish identity from those changes in a person that constitute death, a measure of one’s personal identity through time is given.
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Identity- Simple View One popular reasoning, which has been associated with Plato, Descartes and also with a number of the world’s religions, is that we are pure egos or immaterial souls. This view states that persons have bodies only contingently, not necessarily; so they can exist after bodily death. Although this view satisfies the beliefs of certain religions, it faces metaphysical and epistemological obstacles.
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Identity- Other Views Another somewhat controversial view on the matter of identity is that we are our bodies, that is to say, that personal identity is constructed by a physical relation between, for example, different bodies of life sustaining systems at different times. This view is becoming more prominent as developments about identity theories promise an ideological change and is associated with Eric Olson and Paul Snowdon.
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Michel Foucault (1926-1984) Michel Foucault was a major figure in two successive waves of 20th century French thought-the structuralist wave of the 1960s and then the poststructuralist wave. By the premature end of his life, Foucault had some claim to be the most prominent living intellectual in France.
His ideas about identity were revolutionary. In society, we have constructed the idea that people’s identities are in fact the person that we are on the inside. We consider this to be defined by certain factors such as class, sexuality, age and gender. This idea always will stay the same- we are who we are. Foucault strongly disagrees with this common view. Foucault’s work is transdisciplinary in nature, ranging He claims identity is not fixed and is not defined by across the concerns of the disciplines of history, what we would first consider. He states identity does sociology, psychology, and philosophy. At the first not limit people into particular roles and categories decade of the 21st century, Foucault is the author because in reality nothing is fixed- it is free floating. most frequently cited in the humanities in general. In the field of philosophy this is not so, despite Indeed he sees identity as a form of oppression and philosophy being the primary discipline in which a way of exercising power over people, preventing he was educated, and with which he ultimately them from moving outside fixed boundaries. He is identified. This relative neglect is because Foucault’s strongly against the idea of collective identity and conception of philosophy, in which the study of believes that nobody should be confined by a set of truth is inseparable from the study of history, is rules to define them thoroughly at odds with the prevailing conception of what philosophy is.
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Identity
Identity- Self
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Self
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Pockets I wanted to start to explore identity graphically using visual based research. To do this , I decided to use my pockets and explore what was in them because this is related closely to who I am, particularly if I am following the behaviourist notion that what I do defines who I am. The changing contents of my pocket allows shifts in my identity over time, in keeping with Foucalt ‘s position. I started by emptying my pockets and placing the contents on a piece of paper ,using a grid system, to keep the artefacts aligned. I then used Adobe Illustrator to create basic drawings of the individual items.
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Pockets Upon reflection, I decided that the realistic vectors, although effective, didn’t quite have the feel I wanted them to. I decided to create a more simple version of the images using simple curves and straight lines. This effect worked well. With the separate images, I went about creating an archive listing each individual item and categorised them using different themes like ‘smoking’, ‘money’, etc., I then made a book, to represent an aspect of my identity as seen through the lens of what I consider essential enough to my day that I must carry it around with me. I then decided to print the graphics onto 3mm clear acrylic using the UV printer. I then displayed them in a square grid in keeping with the theme of the project.
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National Identity
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National Identity? The next area of identity I want to explore is national identity. National identity refers to the sense of belonging one has to a state or a nation, or a sense of solidarity one feels with a particular group without regard to one’s actual citizenship status. This is not a trait with which people are born; rather, experiences from the common waystations of people’s lives build their sense of national identity. Factors like language, national colours, national symbols, the history of the nation, blood connections, culture, cuisine, music and other factors all play a part. If one views national identity positively, it is typically called “patriotism,” but if one views this negatively, it is sometimes known as “chauvinism.”
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Cultrual Studies- Chris Barker I chose to look at the book Cultural Studies by Chris Barker as a foundation to understand the concept of identity in more depth. I closely examined the section relating to identity and produced these notes. Subjectivity and Identity- The concepts of subjectivity and identity are closely linked and in everyday language are virtually inseparable.
Social Identity- The expectations and opinions that others have of us. Both identity and subjectivity take narrative or story-like form when we discuss the concepts. To ask about subjectivity is to pose the question: what is a person? To explore identity is to enquire: how do we see ourselves and how do others see us?
Personhood as a cultural production- Identity and subjectivity are contingent, culturally-specific productions. For cultural studies, what it means to be a person is social and cultural ‘that is, identities are wholly social constructions and cannot ‘exist’ outside of cultural representations. There is no known culture that does not use the pronoun ‘I’ and Self Identity- The verbal conceptions we hold about which therefore has a conception of self and personourselves and our emotional identification with those hood. self-descriptions Subjectivity- The condition of being a person and the processes by which we become a person; that is, how we are constituted as subjects (biologically and culturally) and how we experience ourselves (including that which is indescribable)
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Exodus- BBC Documentary As attitudes to immigration in the UK become dangerously febrile, so too will the many refugees coming to our shores feel the impact of an increasing hostility. Feeling like a plea for tolerance, Exodus: Our Journey to Europe (BBC Two) shared what the experience of displacement was like for some of the million-plus people, mostly refugees from war-torn Syria, who smuggled themselves into Europe last year. The idea was simple. Ask a handful of migrants to record on camera phones the things and places no camera crew could ever get to: the dealings with people smugglers, the terrifying sea voyages, the secret scaling of border fences, the thousand-mile treks to freedom, or, at least, comparative safety. The result was an astonishingly intimate, and at times palpably scary, portrait of desperation. In the Turkish port of Izmir we met 11-year-old Isra’a,
Sam Edwards
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900 km from her bombed-out home in Aleppo, selling cigarettes illegally on the street to raise the 12,000 it would cost to get her family to Greece. We saw how they were prey to everyone from guntoting people smugglers to the parasites selling rubber rings, fake life jackets, old inner tubes – anything to keep the terror of a sea voyage in an unstable dinghy at bay. We saw a father’s very visible fear that his children might end up like the little Syrian boy, Alan Kurdi, whose washed up body he’d seen, as we had, on the news. We heard his heartbreaking arguments with a wife who considered their imagined new life of freedom worth the risk of drowning.
Via Hassan’s camera-phone we witnessed his traumatic sea journey on a tiny dinghy packed with 65 terrified souls, taking on so much water most had to jump overboard and cling to the sides praying for rescue. The danger, and their terror, was there for us to see: tangible, inescapable. Truly, it was the human face of migrant misery. This film, the first of three showing over consecutive nights, was undoubtedly powerful, but it could not offer easy answers to tough questions. Will it have changed minds already set against allowing more of the desperate and dispossessed to a place of greater safety? Probably not.
None of this was easy viewing. But it was often surprising. Isra’a and her family lived not in a camp but an apartment in Izmir. Smart phones were not luxuries but essential tools for route finding, weather forecasting, organising, meeting. Hassan, a 27 yearold teacher from Damascus, dispelled the notion that refugees were all destitute. Many had saved up, or sold properties to make the journey.
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Weimar Republic I wanted to show how the nation’s identity has possibly changed due to the recent referendum which resulted in us leaving the EU. I started my research looking at time which encountered serious change like we our experiencing recently. The period of 1919-33 referred to as the Weimar Republic was a time of immense cultural revival in Germany . The capital, Berlin, was the epicentre of this activity and art forms such as cinema, literature, dance ,theatre and visual arts all thrived. A good reference to reflect the mood of the time was famously captured by Christopher Isherwoods’ novel ‘Goodbye Berlin’. The decadence and political upheaval at the time was depicted in the painting of the Neue Sachlichkeit artists such as Otto Dix and Geog Grosz.
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Otto Dix In his Expressionist prints and paintings, Otto Dix immortalized the unprecedented horrors of World War I and its crippling aftereffects on life in Berlin. Anguish radiates from Dix’s desolate landscapes of military trenches filled with barely distinguishable, decaying human remains, the legacy of the first industrialized war, while images of poor, disfigured, and lonely veterans invisible to passersby on the streets were comments on war’s unequal impact on different societal groups. Exploitation is also the theme of his “Femme Fatale” paintings, criticizing the narcissism that drove women to work the system in attempt to outdo one another—a representation of the social turmoil at the time. Along with George Grosz, Dix is widely considered one of the most important artists of the Neue Sachlichkeit (“New Objectivity”), a term used to characterize the turn of public attitudes in Weimar Germany toward the practical and functional and the art the emerged from it.
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Otto Dix, ‘Dr. Heinrich Stadelmann’, 1922
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Otto Dix, ‘Lawyer Dr. Fritz Glase’, 1921
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Otto Dix, ‘Prager Straße’ , 1920
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Political Portaits- Lola Dupre The idea of portaying politicans, a common trait in the weimar work, really interested me and linked well with the idea of identity. I chose to look firther into political portaits. Ireland-based collage artist and illustrator Lola DuprÊ creates handmade collages with paper, scissors and glue on wood panels, resulting from a meticulous process fueled by her fascination for the grotesque and what some might consider the ugly or bizarre. In time, she has reinterpreted or distorted portraits of iconic figures in art and pop culture, but also of politicians, as in the case of the portrait series focused on David Cameron, showing her interest and concerns with themes that the artist or the people consider important in today’s society. We also notice her excellent ability of capturing the essence of what she represents and that she adds a humorous tone to many of her works, highlighting certain elements or enriching the value of the collage.
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Scott Scheidly Political Portraits by Scott Scheidly. Scott Scheidly is an American artist from Florida. He creates paintings of tyrants, dictators and popes, turning them from drab to fab with the help of some color coordination and accessorizing. On his website, the artist says he began his exploration with color after “devouring a 10 pack of crayons” as a child. The paintings from the series “Pink” allow for a hilarious take on some of the world’s most known despots and powerful religious figures, revealing a new side to men who are not known for their sense of humor.
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Political Portaits- Emily Deutch Emily Deutchman is the Picasso of people who do watercolors of US presidents with boobs on their faces. I mean it! I cannot fathom her equal, much less envision a successor to her artistic idiom. Her Presidents with Boob Faces series is 44 canvases of commanders-in-chief with mammaries fused to their mugs. For Lincoln, it’s the beard, for Reagan, the neck sag—it’s all very intuitive. All the paintings are based off of official presidential portraits except for Obama, which uses the Shepard Fairey graphic. And what is the purpose of her work? From her website:
The work twists the historic grandeur of portraiture and national pomp with this lowbrow interjection. While enjoying the comedic potential of George Washington with boob cheeks, Deutchman also engages with a painterly series and the ready-made both provided by the presidential portraits. The use of the series explores the permutations of one concept played out 44 times and the possibility of diversity found in that idea.
Presidents with Boob Faces takes the tradition of presidential portraits and, with wry humor, subverts the solemnity of these iconic figures by transforming their faces with schoolboy “boob doodle.”
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London Trip
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About As part of my research, I decided it would be good to go and see some relevant exhibitions regarding the theme of identity. Me, Kara and Heidi (fellow classmates) travelled to London visiting Tate Modern, Tate Britain, Whitechapel Gallery and the National Portrait Gallery and also YSP. The reason for the trip was to look how other artists interpret identity and what outcomes they produce. I went there with an open mind with a particular interest in colour, shape and form.
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Craig Martin Craig-Martin is one of the key figures in the first generation of British conceptual artists and, as Professor of Fine Art at Goldsmith’s College in London in the 1990s, he was a significant influence on a younger generation of artists including Julian Opie, Gary Hume, and Damien Hirst. This commission marks a new departure into the realm of portraiture for Craig-Martin whose subjects are generally everyday objects and their relationship with the spaces they inhabit. Although the linear portrait is fixed, the saturated colour palette is controlled by computer software that makes constantly randomised choices. The work slowly changes over time in infinite combinations. Hadid’s projects build on over thirty years of experimentation with cuttingedge technologies, and so it seems appropriate that her own likeness should be realised in the form of a computer portrait.
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Peter Cochgan
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Mary Heilman- Whitechapel I then visited Mary Heilmann exhbion at the Whitechapel Gallery. She is first and foremost a painter – though she never intended to be. Growing up amongst surfers and beatniks in California, she moved to New York in 1968 and found the city full of minimalists proclaiming the medium dead. She made a go of it as a sculptor, but after struggling in a bloke-dominated scene, contrarily moved to painting, nurturing her bright, breezy brand of abstraction.
Her delicate, domestic-scale ceramics, meanwhile, feel like a riposte to her male peers and their fondness for heavy-duty industrial materials. Heilman has no problem taking the odd leap into figuration now and again. A painting of an empty chair is a veiled elegy to friends lost during the Aids epidemic. And best of all, there’s the recent pictures of highways and ocean waves – so hopelessly cool you half-expect to hear the ‘Drive’ soundtrack playing in the background.
Although she uses minimalist devices like grids and squares, Heilmann has always kept one eye fixed on the world around her. ‘311 Castro Street’ (2001) is named after her gran’s house – it’s the same colour as the wallpaper. ‘Bush of Ghosts’ (1980) is a tribute to the Brian Eno and David Byrne album. ‘Good Vibrations’ (2012), with its multicoloured dots freckling the wall, is her take on an acid trip.
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Sculpture Trail Taking inspiration from the shapes and elements found in nature, Marialuisa Tadei creates sculptures that explore spiritual and symbolic representation. She is interested in opposing states such as light and heavy, life and death, organic and technological, and the metaphorical implications they imbue. Night and Day (2009) and Octopus (2011) are key examples of Tadei’s use of mosaic to elevate tangible forms into a more ethereal realm. By ornamenting the surface of the heavy steel and concrete structures with hand cut glass, the sculptures are transformed into active, enlivened bodies. The movement of natural light around the sculptures adds a mystical presence and energy to the forms.
Born in Rimini, Italy, Tadei creates work using a varied range of materials including mosaic, glass, bronze and feathers. Originally trained as a painter, Tadei studied Art and Art History in Italy, Germany and the UK, and began to make sculpture in the early 1990s. She has exhibited widely through Europe and North America, presenting work at the 2008 Olympic Games in Beijing and at the Venice Art Biennale in 2009 and 2013.
Mosaic is an ancient technique that is commonly associated with Byzantine art and Medieval art and architecture. Although it is a historic medium, Tadei employs mosaic within a contemporary context to explore nature and the modern human experience. She draws comparisons between the small squares of glass used in mosaic and electronic pixels, the basic element of a digital image.
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Garden Gallery Underground Gallery, Garden Gallery and open air Internationally renowned as a leading sculptor, this is Not Vital’s first major exhibition in the UK. With studios in the tiny Swiss village of Sent and Beijing, China, as well as homes in Rio de Janeiro and Niger, the exhibition reflects Vital’s nomadic and diverse practice, including paintings and works on paper, indoor pieces made from plaster, silver, gold, marble, glass and coal, and outdoor sculptures in stainless steel and bronze.
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Julian Opie- Galloping Horse Things in my experience don’t look photographic... When I recall the things I did in a day, for example, it’s not as a series of photographs, high resolution pictures. It’s a series of images which resemble symbols and signs. It’s like another language.
Galloping Horse uses this reductive process to reinvent the classical equestrian sculptures frequently seen around cities. At YSP the work also references the horses that were once stabled on the Bretton Estate.
Opie’s work investigates the idea of representation and the means by which images are perceived and understood. Initially taking photographs of his subject matter – be it people, landscapes or still lives – he then digitally manipulates the photographs and constructs his images by a process of elimination. He reduces the features that characterise a person or object to the bare minimum, so that with just a few lines he is able to identify what makes something unique and recognisable.
Opie’s work can be found in many public collections worldwide including Tate, the Arts Council Collection, The National Museum of Art, Osaka, and the Museum of Modern Art, New York.
It would be terrible to leave such brilliant graphic tools to signage and advertising. There is a poetry where nature and people meet technology. The scrolling of LED numbers on a currency exchange board can be like sunlight sparkling on water. The first LED I fell in love with was a tiny galloping horse on a Korean taxi meter.
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Kaws Brooklyn-based KAWS is considered one of the most relevant artists of his generation. Within the Pop Art tradition, he has created a prolific body of influential work, which both engages young people with contemporary art and straddles the worlds of art and design to include street art, graphic and product design, paintings, murals and large-scale sculptures. KAWS developed a passion for popular culture in art and design early in life and studied illustration at the School of Visual Arts in Manhattan in the early 1990s. By then he was already well versed in graffiti, having frequently tagged walls and freight trains with the letters K A W S. KAWS continued developing his visual vocabulary conceiving his soft skull with crossbones and crossed-out eyes, which would become a signature gesture. After college, he worked as a freelancer for animations studios, which further catalysed his appropriation of iconic characters from popular culture and comic books. KAWS regularly exhibits in museums and galleries internationally and his work continues to appeal to a loyal fan base as well as the commercial sector. He has collaborated with industry leaders including Nike, Vans, MTV and Kanye West.
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Gerard Ritcher German painter. In the early 1960s Richter was exposed to both American and British Pop art, which was just becoming known in Europe, and to the Fluxus movement. Richter consistently regarded himself simply as a painter. He began to paint enlarged copies of black-and-white photographs using only a range of greys.
look, as if the brushstrokes had been copied from photographic enlargements. The extreme variety of Richter’s work left him open to criticism, but his rejection of an artificially maintained consistency of style was a conscious conceptual act that allowed him to investigate freely the basic principles of painting.
The evident reliance on a ready-made source gave Richter’s paintings an apparent objectivity that he felt was lacking in abstract art of the period. The indistinctness of the images that emerged in the course of their transformation into thick layers of oil paint helped free them of traditional associations and meaning. Richter concentrated exclusively on the process of applying paint to the surface.. As early as 1966 he had made paintings based on colour charts. Although these paintings, like those based on photographs, were still dependent on an existing artefact, all that was left in them was the naked physical presence of colour as the essential material of all painting. All vestiges of subject-matter seem to have been abandoned by Richter in the paintings that he began to produce in 1976. Even these supposedly wholly invented paintings retained a second-hand
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Hofmann Almost all the work produced by Hofmann in Paris was destroyed in World War I. He was visiting Germany when war was declared and was unable to return to France, but for health reasons he was pronounced unfit for service. To support himself he opened his own art school in 1915. He had relatively few pupils during the war, but as his fame spread after 1918 he attracted students from all over the world.
his work was distinguished by a rigorous concern with pictorial structure, spatial illusion and colour relationships. He is admired for his late paintings in which he placed rectangles of single colours against more loosely painted backgrounds to establish dynamic pictorial relationships as well as a strong surface design.
In the 1930s and 1940s Hofmann played an increasingly prominent role in American art, particularly in transmitting modernist theories and new artistic developments. He taught many younger artists who later became established figures. The importance of his own art was for a long time overshadowed by his immense influence as a teacher and theorist, but by the late 1950s he was beginning to be recognised as one of the major figures of Abstract expressionism. Within a few years, however, Hofmann had developed a highly distinctive form of abstraction based on patches of vivid colour, vigorous gestures and textural contrasts. Although the dense surfaces and impulsive application of paint in his works of the 1950s can be associated with action painting,
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John Hayland
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English painter and printmaker. He trained at Sheffield College of Art (1951–6) and the Royal Academy Schools (1956–60). He began by 1954 to paint Sheffield landscapes and abstractions from still-life subjects. At the Situation exhibitions of 1960–61 he showed some of his earliest fully abstract paintings in which he used bands of colour to explore perceptual effects such as the relationship of image to background or to create the illusion of buckling the picture-plane. This geometric character soon gave way to sinuous lines enclosing discs of colour, and eventually to a freer and more fluid application of paint. Hoyland’s visit to New York in 1964 brought him into contact with Helen Frankenthaler, Kenneth Noland and Jules Olitski and the critic Clement Greenberg, who showed him the work of Hans Hofmann and Morris Louis. Elements from these American developments, especially from colour field painting and Post-painterly Abstraction, feature prominently in subsequent canvases by Hoyland such as 1.11.68 (1968; London, Tate) in the use of staining techniques and acrylic paint, the interaction of unmixed colours, and an emphasis on the material weight of paint. Hoyland came to reject the American tendency to reductivism, concentrating in later paintings on the approach
exemplified by Hofmann and de Staël, with varied and tactile paint surfaces and a disposition of blocks of different colours to create sensations of advancing and receding space. From the late 1960s Hoyland applied these methods also to screenprints, lithographs and later to etchings and monotypes.
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British Identity In light of the recent referendum in which England voted to leave the EU and a new prime-minister (Theresa May) was elected ,bringing a completely new cabinent into power, I somehow wanted to explore this new national identity that has been created. Whilst studying the Weimar Republic, I came across a portrait by Otto Dix which resembled a picture I saw in the tabloids of Nigel Farage, the former UKIP leader and front runner for the Brexit campaign, which reminded me of this work..
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Initial Concept Creating this illustration in a modern, geometric style using a satirical picture of a politician gave me the idea to concentrate on the new British identity in a more focused way, Firstly, I wanted to portray Teresa May’s new cabinet in a similar way using this style to represent the structure within government with clearly satirical images.
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Theresa May
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Theresa May is the new Conservative Party leader and second female prime minister, taking charge of the UK at one of the most turbulent times in recent political history. The 59-year-old home secretary’s carefully cultivated image of political dependability and unflappability appears to have made her the right person at the right time as the fallout from the UK’s vote to leave the EU smashed possible rivals out of contention. Long known to have nurtured leadership hopes, Mrs May - whose friends recall her early ambition to be the UK’s first female PM - could have reasonably expected to have had to wait until at least 2018 to have a shot at Downing Street.
But the EU referendum which David Cameron called and lost - the year after leading the party to its first election win in 23 years - turned political certainties on their head and, as other candidates fell by the wayside after the PM’s own resignation, Mrs May emerged as the “unity” candidate to succeed him.
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I want the illustration to reflect the bizarre conditions in which May came into power and the apparent shambles that the country seems to be in.
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Boris Johnson Alexander Boris de Pfeffel Johnson (born 19 June 1964) is a British politician and journalist. The ex Mayor of London, he previously served as the Conservative Member of Parliament for Henley and as editor of The Spectator magazine. In July 2016, Johnson was appointented by Theresa May as Secretary of State for Foreign and Commonwealth Affairs. Johnson is known for being a comical figure. I wanted to represent his new-found power while also referring back to his typical self. The image of him boxing (badly) encapsulates this really well.
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Phillip Hammond Philip Anthony Hammond MP (born 4 December 1955)[1] is a British Conservative Party politician who has been the Chancellor of the Exchequer since 13 July 2016 and the Member of Parliament (MP) for Runnymede and Weybridge since 1997. Hammond was born in Epping, Essex, and studied Philosophy, Politics and Economics at University College, Oxford. He worked as a company director for many years before his election to Parliament. He was promoted to the Shadow Cabinet by David Cameron in 2005 as Shadow Secretary of State for Work and Pensions, remaining in this position until a 2007 reshuffle when he became Shadow Chief Secretary to the Treasury.
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After the formation of the Coalition Government in May 2010, he was appointed Secretary of State for Transport and was sworn of the Privy Council. Upon the resignation of Liam Fox over a scandal in October 2011, Hammond was promoted to replace him as Secretary of State for Defence, before being further promoted in July 2014 to become Secretary of State for Foreign and Commonwealth Affairs.[2] [3] In July 2016, after Theresa May succeeded Cameron as Prime Minister, Hammond was appointed Chancellor of the Exchequer. Hammond has cause much controversy with his views. I wanted the image to reflect this scepticism and to be abstract.
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Amber Rudd Amber Rudd was born in London on 1 August 1963, the daughter of Tony Rudd b.1924 (a stockbroker) and Ethne Fitzgerald. Her brother is the public relations executive Roland Rudd,chairman of Business for New Europe. She was educated at Cheltenham Ladies’ College, an independent school in Gloucestershire,and from 1979 to 1981 at Queen’s College, London,an independent day school for girls in London, followed by Edinburgh University where she read History.
Rudd was first elected as a member of parliament (MP) at the May 2010 general election, defeating the incumbent Labour member Michael Foster. She has held several frontbench positions, serving as Secretary of State for Energy and Climate Change from 2015 to 2016. She was appointed Home Secretary in Theresa May’s first ministry on 13 July 2016. I wanted the illustration to reflect Rudd’s background yet still be satirical and fit in with the other imagery.
She is the Home Secretary of the United Kingdom. A member of the Conservative Party, she has served as Member of Parliament (MP) for the East Sussex constituency of Hastings and Rye since 2010. Rudd is the third female Home Secretary, and fifth woman to hold one of the Great Offices of State.
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Liam Fox Liam Fox (born 22 September 1961) is a British Conservative politician who has been the Secretary of State for International Trade and President of the Board of Trade since 2016.He has been the Member of Parliament (MP) for North Somerset since 1992 and was Secretary of State for Defence from 2010 to 2011. Fox studied medicine at the University of Glasgow and worked as a GP and Civilian Army Medical Officer before being elected as an MP. After holding several ministerial roles under John Major, Fox served as Constitutional Affairs Spokesman from 1998 to 1999, Shadow Health Secretary from 1999 to 2003, Chair of the Conservative Party from 2003 to 2005, Shadow Foreign Secretary in 2005 and Shadow Defence Secretary from 2005 to 2010. In the 2009 expenses scandal, he was the Shadow Cabinet Minister found to have the largest overclaim on expenses, and as a result was forced to repay the most money. In 2010, he was appointed
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In the 2009 expenses scandal, he was the Shadow Cabinet Minister found to have the largest overclaim on expenses, and as a result was forced to repay the most money. In 2010, he was appointed Defence Secretary by Prime Minister David Cameron, a position from which he resigned on 14 October 2011 over allegations that he had given a close friend, lobbyist Adam Werritty, inappropriate access to the Ministry of Defence and allowed him to join official trips overseas. In July 2016, in the wake of the UK’s vote to leave the European Union, Fox was appointed the first Secretary of State for International Trade by new Prime Minister Theresa May. Fox was also made President of the Board of Trade. Fox has twice stood unsuccessfully for the leadership of the Conservative Party, in 2005 and 2016. Again I want the illustration to reflect the confused mood of the nation and show how we have been fragmented - using geometric shapes.
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David Davis David Michael Davis (born 23 December 1948) is a British Conservative Party politician who has been the Secretary of State for Exiting the European Union since 13 July 2016. The Member of Parliament (MP) for Haltemprice and Howden, Davis was sworn of the Privy Council in the 1997 New Year Honours, having previously been Minister of State at the Foreign Office from July 1994 to April 1997. Davis was raised on Aboyne Estate, a council estate in Tooting, South West London. After attending Bec Grammar School in Tooting, London, he went on to gain a master’s degree in business at the age of 25, and went into a career with Tate & Lyle.
On 12 June 2008, Davis unexpectedly announced his intention to resign as an MP, and was immediately replaced as Shadow Home Secretary. This was in order to force a by-election in his seat, for which he intended to seek re-election by mounting a specific campaign designed to provoke wider public debate about the erosion of civil liberties in the United Kingdom. Following his formal resignation as an MP in June 2008, he officially became the Conservative candidate in the resulting by-election and won it in July 2008. In 2010, Davis was invited by Prime Minister David Cameron to join the cabinet of his coalition government, but he declined and stayed on the backbenches. In July 2016, following the UK voting to leave the European Union, Davis was appointed by Theresa May as Secretary of State for Exiting the European Union.
Secretary in the shadow cabinet, under both Michael Howard and David Cameron. Davis had previously been a candidate for the leadership of the Conservative Party in 2001 and 2005, coming fourth I used the same style as the previous portraits to link and then second. it and show the change and perceived mood of the new cabinet.
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Processing- Coding I decided, along with my tutors Spencer Roberts and Rob Lycett, to create a code which would change the effect of vector portraits to give the effect of movement and change. This movement would represent the change that the nation has just undergone with regard to leaving the EU. The first attempt at code gave a good effect. However the background colour changed and this distracted from the illustrations and didn’t give the desired effect.
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Code- Refined Idea I wanted to refine the coding to reflect the idea I had in my head. After a long work session we finally wrote a code that gave movement, change of saturation and maintained the quality of image. I used all of the illustrations (which had to be edited in order for the code to work) and put them on a loop to create a digital video to be displayed alongside my other identity work. The separate square tiles change colour on a random scale but retain the information of the picture. The complexity of the imagery and movement within the pieces suggest how the politicians in May’s new cabinet reflect the complexity and change of the voice of the nation after Brexit. Overall I was happy with the outcome,; however, on a future occasion I would change the intermission slides to create multiple random squares on the page rather than just a straight swap.
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Laser Engraving I also experimented with the laser cutter using the Boris Boxer as a graphic. I wanted to give the image a raw, organic feel to reflect the situation at the moment. I was happy with the outcome; however, I think that as an effective piece of propaganda or graphic it would not suit the theme I am running with.
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Survey I wanted to explore the changing nature of British identity as a result of the EU referendum. A Survey was composed with random sets of participants who needed to answer five questions to determine their perceptions about British identity and their sympathies using words. With the results I will create graphics inspired by the recent saga. I was hoping for a variety of answers and over 85 participants in order to be a fair test.
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Review of Survey The variety of questions along with different viewpoints really intrigued me and showed how variable the perceived identity of the nation to be. I now needed to create graphics from the survey to represent how the Referendum has affected the nation. I decided to look at how the media portrayed Brexit for inspiration.
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Typeface 1- Britain?
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Initial Concept The media, in particular newspapers, commentated differently on the result of the referendum. Some of the media focused mainly on differences and others similarities. I decided that I would develop a typeface created by cutting out letters from a range of newspapers that represented a spread of opinions using different tabloids and broadsheets. I started by cutting out two upper-case, two lowercase, numbers and punctuation to get a sense of how the type may look.
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Typeface- Progression I then scanned the separate letters into the computer to be able to control their use and edit them.
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Typeface- Continued Once the type had be edited to have more contrast and be more bold, I decided to try to get a feel of what a full typeface would look like. Using a type grid, I displayed the different letters. After editing size and width, I decided upon a final typeface to be used. The letters were vectorised to standardise them in terms of height and width. My idea was that I used a wide range of letter styles that were associated with a wide range of political opinions represented in different newspapers but through my typeface these differences have been unified to drive towards Jo Cox’s observation in her maiden speech: ‘We’ve far more in common than all that divides us’.
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Typeface- Continued I now wanted to see if I could convert the type into a working font. I managed to find a program that enabled me to do this. The new typeface created lost some of its impact when vectorised; however, it still gives a strong message and works overall. I used the original lettering to create the phrase ‘We’ve far more in common than all that divides us’ to give meaning to the words spoke by Jo Cox who was killed for standing up for what she believed in. I also experimented with the type on different materials to see what effect could be produced.
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Samuel Joseph Edwards Sam Edwards
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THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG Sam Edwards
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The Quick Brown Fox Jumps Over The Lazy Fox Sam Edwards
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The quick brown fox jumps over the lazy dog Sam Edwards
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Teresa May - Poster
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Punk Poster Another inspiration for the typeface was drawn from art movements that critically questioned the established order – in particular Punk and Dada. These movements had a serious impact at the time of release and still create a powerful impression when looked at today.
The typeface used in this graphic is similar to my own work. It creates a sense of rebellion and reform whilst being eerie and confused. I wanted my type to have the same effect when used and I also wanted to create a similar piece that questioned the new government and their policies.
One particular Punk piece that influenced the typeface was the artwork for a song by the Sex Pistols called “God Save the Queen”. This work was created by artist Jamie Reid and was released as the band’s second single and was later included on their only album, Never Mind the Bollocks, Here’s the Sex Pistols. The song was released during Queen Elizabeth II’s Silver Jubilee in 1977. The record’s lyrics, as well as the cover, were controversial at the time, and both the BBC and the Independent Broadcasting Authority refused to play the song. The song is an attack on the treatment of the working class in England in the 1970s by the government.
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Brixel- Initial Idea This typeface was to be used alongside the National Identity work. It was based on grids because this has become a central motif in this research, uniting Bauhaus and British conceptual art. I planned to create a book using the survey results with this typeface.
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Brixel- Continuation I was happy with the progression of the typeface, however I felt it was to bold and could be edited to give a more pixelated feel which would fit in with the brief I set myself for it.
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Brixel- FInal Form I again wanted this typeface to be a usable one. I used an online font creator in order to make the type more legible than typeface 1 and be able to use it in documents and long phrases of text.
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Brixel- Final Form I firstly used Nigel Farage’s speech post Brexit. This speech represents the newf-ound voice of Britain which has emerged. Whether or not this a good thing is questionable.
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Well, thank you Mr Schultz. Isn't it funny? You know, when I came here seventeen years ago, and I said that I wanted to lead a campaign to get Britain to leave the European Union, you all laughed at me. Well, I have to say, you're not laughing now, are you? The reason you're so upset, the reason you're so angry, has been perfectly clear from all the angry exchanges this morning. You, as a political project, are in denial. You're in denial that your currency is failing. You're in denial. Well, just look at the Mediterranean. No, no, no. As a policy to impose poverty on Greece and the rest of the Mediterranean you've done very well, and you're in denial over Mrs Merkel, or Mrs Merkel's call last year for as many people as possible to cross the Mediterranean into the European Union has led to massive divisions between countries and within countries. The biggest problem you've got, and the reason, the main reason the United Kingdom voted the way that it did, is because you have by stealth, by deception, without ever telling the truth to the British, or the rest of the peoples of Europe, you've imposed on them a political union. You've imposed upon them a political union. When the people in 2005 in the Netherlands and France voted against that political union, Sam Edwards
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when they rejected the constitution, you simply ignored them and brought the Lisbon treaty in through the back door. What happened last Thursday was a remarkable result, it was indeed a seismic result, just just for British politics, for European politics, but perhaps even for global politics too. Because what the little people did, all the ordinary people did, what the people who have been oppressed over the last few years and seen their living standards go down, they rejected the multinationals. They rejected the merchant banks, they rejected big politics, and they said, Actually, we want our country back. We want our fishing waters back, we want our borders back. We want to be an independent, self governing, normal nation. That is what we have done, and that is what must happen. So the question, the questions is, what do we do next? Now, it's up to the British Government to invoke Article 50, and I have to say, that I don't think we should spend too long in doing it. I totally agree with Mr. Juncker. The British people have voted. We need to make sure that it happens, but what I would like to see, is a grown up and sensible attitude to how we negotiate a different relationship. Now, I know, TMA1516 Final Major Project
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I know that virtually none of you have ever done a proper job in your lives, or worked in business, or worked in trade, or indeed ever created a job, but listen, just listen. You're quite right Mr Schultz - Ukip used to protest against the establishment and now the establishment protests against Ukip. Something has happened here. Let us listen to some simple pragmatic economics my country and your country, between us we do an enormous amount of business in goods and services. That trade is mutually beneficial to both of us, that trade matters. If you were to cut off your noses to spite your faces and reject any idea of a sensible trade deal the consequences would be far worse for you than it would be for us. Even no deal is better for the United Kingdom is better than the current rotten deal that we've got. But if we were to move to a position where tariffs were reintroduced on products like motorcars then hundreds of thousands of German works would risk losing their jobs. Why don't we be grown up, pragmatic, sensible, realistic and let's cut between us a sensible tariff-free deal and thereafter recognise that the United Kingdom will be your friend, that we will trade with you, cooperate with you, we will be your best friends in the world. Do that, do it sensibly, and allow us to go off and pursue our global ambitions and future. 17.MAY.2015
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Brixel- Final Form I then wanted to visually experiment with the typeface using different mediums and techniques to gain a better understanding of how the font works.
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University of Huddersfield School of Art, Design and Architecture Participant Information Sheet Research Project Title: What does it mean to be British? - A reflection of national identity. You are being invited to take part in a research project. Before you decide, it is important for you to understand why this research is being done and what it will involve. Please take the time to read the following information and discuss it with others if you wish. Ask if there is anything that is not clear or if you would like more information. May I take this opportunity to thank you for taking the time to read this. What is the purpose of this project? The research project is intended to provide the research focus for a module, which forms part of my degree. It is intended to gain an understanding of what the British public consider to be the nation’s current identity.
Where will the research be conducted? Wherever the researcher is conducting the research. Who has reviewed and approved the study, and who can be contacted for further information? Dr Rowan Bailey r.bailey@hud.ac.uk | 01484 471837 Univeristy of Huddersfield Queensgate, Huddersfield HD1 3DH Name & Contact Details of Researcher: Samuel Edwards samueljedwards@gmail.com | 07476346150
Why have I been chosen? You have been chosen randomly to complete this small exercise. Do I have to take part? Participation in this study is entirely voluntary, so please do not feel obliged to take part. Refusal will involve no penalty whatsoever and you may withdraw from the study at any stage without giving an explanation to the researcher. What do I have to do? You will be invited to take part in a small online questionnaire. This should take no more than 7 minutes of your time. I will provide you with a small piece of paper and three pens, then you will be asked to draw what you consider to be the nation’s identity – having a maximum of five minutes. Are there any disadvantages to taking part? There should be no foreseeable disadvantages to your participation. If you are unhappy or have further questions at any stage in the process, please address your concerns initially to the researcher if this is appropriate. Alternately please contact Rowan Bailey or Anneke Pettican at the University of Huddersfield. Will all my details be kept confidential? All information which is collected will be strictly confidential and anonymised before the data is presented in any work, in compliance with the Data Protection Act and ethical research guidelines and principles. What will happen to the results of the research study? The results of this research will be used to create a book, which is a reflection of the British identity using the collected drawings as a basis. If you would like a copy, please contact the researcher. What will happen to the data collected? The data collected will be used to title the individual drawings.
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Participant Consent Form Research Project Title: What does it mean to be British? - A reflection of national identity. Name of Researcher: Sam Edwards Participant Identifier Number: U1267874 o I confirm that I have read and understood the participant information sheet related to this research, and have had the opportunity to ask questions. o I understand that my participation is voluntary and that I am free to withdraw at any time without giving a reason. o I agree to take part in the above study Name of Participant:………………………………………Signature:…………………………………
Age:………………………………. County of residence:………………………………. Date:………………………………………… Name of Researcher: Sam Edwards Signature of Researcher:
Brief Using a square piece of paper, I will ask members of the public to draw what they perceive to be the current British identity. Recording their gender and age I will create a graphic book to explore how the country is feeling after the recent exit from the EU. Participants Members of the public – 14-75 Access to participants Participants will be picked at random using a fair system. How will your data be recorded and stored Drawings / Data stored digitally. Confidentiality The information will be accessible to anybody who wishes to see it. Anonymity The participant can remain anonymous if they choose. To what extent could the research induce psychological stress or anxiety, cause harm or negative consequences for the participants (beyond the risks encountered in normal life). There is minimal risk of this.
Date:
Does the project include any sensitive information? No Section C
Ethical Review
Summary of Ethical Issues There is a small amount of risk in regards to ethics with this research project. Section D
Section A
I confirm that the information I have given in this form on ethical issues is correct.
Project Title: British Identity Student: Sam Edwards Student Number: U1267874 Course: MA Graphic Design Supervisor: Rowan Bailey / Anneke Pettician Project Start Date: Jun 16 Risk Level: Limited
Signature…………………………………………………. Date…………………………. Affirmation by Supervisor I can confirm that, to the best of my understanding, the information presented by the student is correct and appropriate to allow an informed judgement on whether further ethical approval is needed.
Section B Aim of the Study
Sam Edwards
To explore national identity as part of the concept of identity, gaining an understanding of the general publics perception and feelings following the recent European referendum.
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Book Idea Upon reflection I decided that I I didn’t want to create a book using other people’s illustrations. For one, it would be hard to get people to sit down and draw an illustration of such a difficult subject. Secondly I just had a designer’s instinct that the book would not look good or reflect what I wanted about the British Identity.
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Not so great I wanted to create a book with all the quotes from my survey as stated earlier. To do this I needed a title and brand that was fitting with the typeface and style. I decided to use a pixel flag of Britain that appears to be melting to show the disintegration of the British identity as a result of Brexit. I then gathered the most interesting and controversial quotes from the survey to create a book which I plan to print.
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Conclusion As a project I think I have explored the notion of Identity well. I concentrated on national identity particularly due to the referendum happening during my masters and change of government during my masters degree. If i were to do the project again, I would give myself more time to get out there and collect the voices of different people in order to make the final outcomes have more resonance and depth.
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Final Major Project
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