Bibliography:

Task 2

• Yan, B. (2013) Travis. [image] Available at: https://hcgart.com/collections/wocp2-ol/products/travis [Accessed 18/10/17]
• McMennamy, S. (2016) flowers & hand + tree. [image] Available at: https://instagram.com/p/BEezgaRnGxg/ [Accessed 18/10/17]

Task 3

• Breathed, B. (2007) Exclusive: Berkeley Breathed Speaks!. Interviewed by Jamie Reno for Newsweek, 3rd June. Available at: http://www.newsweek.com/exclusive-berkeley-breathed-speaks-100929 [Accessed 25/10/17]
• Breathed, B. (2015) Bloom County 2015. Bloom County 2015, July 20, 2015. [image] Available at: http://www.gocomics.com/bloom-county/2015/07/20 [Accessed 4/12/17]

Task 4

• Josselsohn, G. (n.d) Landscape 1. [image]. Available at: http://glenjosselsohn.com/portfolio/ [Accessed 01/11/17]

Task 5

• Wilson, W. (1967) BG-56. [image]. Available at: http://www.wes-wilson.com/bill-graham-presents.html [Accessed 08/11/17]
• Glaser, M. (1967) Bob Dylan’s Greatest Hits. [image]. Available at: https://www.miltonglaser.com/the-work/444/columbia-records-poster-for-bob-dylans-greatest-hits-1967/ [Accessed 08/11/17]
• OZ Magazine (1967). Theological Striptease. OZ Magazine issue 01, February 1967, Front Cover. [image]. Available at: http://www.wussu.com/zines/ozimages/oz01cov.jpg [Accessed 08/11/17]
• Ramaswamy, C. (2016) Return to Oz: the most controversial magazine of the 60s goes online. Available at: https://www.theguardian.com/media/shortcuts/2016/mar/06/return-oz-most-controversial-magazine-60s-goes-online [Accessed 08/11/17]

Task 6

• Fairey, S. (2009) Aung San Suu. [image] Available at: https://obeygiant.com/prints/aung-san-suu-offset/ [Accessed 15/11/17]
• Haring, K. (1989) Ignorance = Fear. [image] Available at: http://www.haring.com/!/art-work/253#.Wh7mUsacZ-U [Accessed 15/11/17]
• Adamson, G. and Pavitt, J. (2011) Postmodernism: Style and Subversion 1970-1990. London: V&A Publishing, page 9.
• Skoglund, S. (1981) Revenge of the Goldfish. [image] Available at : https://akronartmuseum.org/collection/Obj1713?sid=1&x=65153&port=289 [Accessed 15/11/17]

Task 7

• Rutherford, C. (2015) Amber Rose as Marlene Dietrich. [image] Available at: http://www.papermag.com/amber-rose-feminist-heroes-1-1488371818.html?slide=PDJAIV [Accessed 29/11/17]
• Ward, C. (2012) Popular Lies about Graphic Design. Barcelona: Actar Publishers, page 58. [image]
• Niemann, C. (2017). Christopher Niemann’s “Enchanted Forest”. Interviewed by Francoise Mouly for The New Yorker, 29 May. Available at: https://www.newyorker.com/culture/cover-story/christoph-niemanns-enchanted-forest [Accessed 29/11/17]
• Niemann, C. (2017) Enchanted Forest. The New Yorker, June 2017, Front Cover. [image]

Task 8

• Fairey, S. (2015) Mark Art Not War. [image] Available at: https://obeygiant.com/prints/make-art-not-war-offset/ [Accessed 3/12/17]
• Experimental Jetset Studios. (2005) DTC / Te Huur. [image] Available at: https://www.experimentaljetset.nl/archive/dtc-te-huur [Accessed 3/12/17]

The last 9 weeks the appointed Research and Communications tasks have given me a clearer insight into the contemporary history of Graphic Arts. Not only have I gained inspiration from further research into influential artists and designers, but I also believe I have acquired a contextual knowledge about the roots of design which I was previously unfamiliar with. In particular, I feel like I have learnt extensively about different art movements in the 20th century, and the way they changed and impacted present day Graphic Arts – I feel I have focused mainly on Graphic Design as I found the evolution of graphics to be much more distinct.

One art movement which I found particularly striking was the work of the Postmodernists – the idea of breaking away from perceived ideas of “art” to a more abstract and visually experimental style was something that immediately appealed to me, as I love to experiment with bold and unusual colours and divulge away from realism in my work. The work of artist Shepard Fairey (2015) really helped shape my studio practice research – the brazen illustrative style of the propaganda-esque images combined with the warm hues of the deep crimsons and burning oranges tie together to create a visually stunning piece of design. His work has helped shape my research and is a style I would like to replicate in my own illustrative design. In my Illustration rotation work, I have already begun trying to incorporate his stylistic use of flat colour to show depth and tone, a technique that is simple yet can be extremely effective and which works well within the cartoonish comic I am working on – while the use of the analogous colour palette something I am looking to incorporate further on.

I can see the connection between Research and Communication studies and studio-based practice, focusing on a range of styles and movements to inspire me and open my mind to different influences and design methods. I find looking at others work to be extremely beneficial to my design thought process, encouraging me to experiment and divulge into new ideas I haven’t yet looked into. This semester, I’ve found the work I’ve done in Research and Communication has had some connections to the other 3 briefs I have been set also, for example when working on my graphics rotation I took inspiration from the “International Typographic Style” or Swiss Style, recreating its bold minimalistic typographic style in my own work (Experimental Jetset Studios, 2005).

I found this module to be a great source of inspiration, while also giving me a deeper knowledge on each of the four pathways. I feel like it has encouraged me to experiment with different mediums I hadn’t thought to look into before, particularly in regards to photography and motion graphics, both of which I didn’t previously have much interest in. Inspiration is what breeds better design and I believe researching the pieces and people that shaped design into what it is today will make me a better designer.

Biography:

• Fairey, S. (2015) Mark Art Not War. [image] Available at: https://obeygiant.com/prints/make-art-not-war-offset/ [Accessed 3/12/17]
• Experimental Jetset Studios. (2005) DTC / Te Huur. [image] Available at: https://www.experimentaljetset.nl/archive/dtc-te-huur [Accessed 3/12/17]

The first published image which appealed to me was this photograph by Charlotte Rutherford published in Paper Magazine (2015). Here the model is dressed as feminist figure Marlene Dietrich – I think that portrait work is really interesting, especially if it conveys a story like this image. I feel Rutherford connects to the feminist message of the shoot through her photography; the positioning of the model centre frame, almost angling the camera up at her, creates a bold and powerful presence, capturing the feeling of the photoshoot. Rutherford’s use of bold juxtaposing colour is striking, contrasting the model – particularly against her highly exposed platinum hair. As well as being a brilliant aesthetic choice, the connotations of the pink and blue gradient relate to the themes of feminism and gender expectations evoked in the photo.

My second published image is this work by Graphic designer Craig Ward in his book “Popular Lies about Graphic Design” (2012). I really like the work of Ward, his tongue-in-cheek typography series uses physical elements to create thought provoking pieces of design which I find inspiring. Of the book, my favourite piece is this image claiming “Graphic Design is Easy” – here, Ward has simply crumpled up this statement, but in doing so has created a piece of typographic design that conveys the message of the piece effortlessly, a crumpled design to represent the struggles of the artistic process seen as “easy”. The bold contrast of the white text against the background is another simple, but effective stylistic touch by Ward.

I also really love the illustrative work of artist Christopher Niemann (2017). This piece, which appeared as the cover of the New Yorker Magazine, represents how “reading takes you to another world” (Niemann, 2017). I think this piece is so beautifully illustrated; the vibrant cool toned colours against the dark background almost making the foliage appear illuminated – I also personally enjoy adding texture to my illustrations like Niemann has done here. The contrast of the bright white book and screen create a connection between new and old mediums of storytelling, while the fantastical surroundings create the feeling of wonder a good book can evoke.

Bibliography:

• Rutherford, C. (2015) Amber Rose as Marlene Dietrich. [image] Available at: http://www.papermag.com/amber-rose-feminist-heroes-1-1488371818.html?slide=PDJAIV [Accessed 29/11/17]
• Ward, C. (2012) Popular Lies about Graphic Design. Barcelona: Actar Publishers, page 58. [image]
• Niemann, C. (2017). Christopher Niemann’s “Enchanted Forest”. Interviewed by Francoise Mouly for The New Yorker, 29 May. Available at: https://www.newyorker.com/culture/cover-story/christoph-niemanns-enchanted-forest [Accessed 29/11/17]
• Niemann, C. (2017) Enchanted Forest. The New Yorker, June 2017, Front Cover. [image]

The first postmodern work which caught my eye was “Aung San Suu” by Shepard Fairey (2009)– the graphic style of illustration is what really appealed to me, particularly the propaganda like style of the photo combined with the simplistic layering of flat block colour to create depth. The positioning of the portrait combined with the warm analogous colour scheme is used to show the power of the subject, while also revealing a softer side to Suu by lifting the shadow on her face and including the iconography of the dove underneath the portrait – deconstructing the perception of propaganda as an inherently bad tool. I personally love this stylised portrait work, and think the colour scheme influenced by propaganda work is bold and striking.

Another postmodern work which appealed to me was the work “Ignorance = Fear” by Keith Haring (1989). Haring’s art is a clear example of how postmodernist artists would deconstruct the perception of art established by modernists – “[Postmodernism’s] artefacts resist taxonomy, and its episodic cadence defies the orderly impulse of the historian”(Adamson & Pavitt, 2011). Haring’s garish almost childlike style challenges pre-postmodern ideals of art, and I think his art was refreshing and confrontational in revealing the horrors of the AIDS epidemic which Haring ultimately died from. I love the vibrant and detailed work of Haring and his distinctive and unusual art style, which has inspired some of my own pattern based design before.

I am also interested in photography, and I found the abstract and unusual postmodernist work of Sandy Skoglund particularly noteworthy. I find the image “Revenge of the Goldfish” (1981) striking, not just because it shows the dreamlike imagery of floating goldfish, but because of the juxtaposition of the complementary blue and orange. This ambiguous piece creates a multiplicity of interpretation, as the symbolism of the goldfish in the children’s bedroom can be deconstructed in numerous ways. The combination of the ordinary setting of the room in contrast to the fantastical underwater world, almost childlike in the stylisation of the bright fish and crude blue paintwork, fits together so well, creating a piece which challenges the modernist ideals of photography which came before it, and I find its abstract nature fascinating.

Bibliography:

• Fairey, S. (2009) Aung San Suu. [image] Available at: https://obeygiant.com/prints/aung-san-suu-offset/ [Accessed 15/11/17]
• Haring, K. (1989) Ignorance = Fear. [image] Available at: http://www.haring.com/!/art-work/253#.Wh7mUsacZ-U [Accessed 15/11/17]
• Adamson, G. and Pavitt, J. (2011) Postmodernism: Style and Subversion 1970-1990. London: V&A Publishing, page 9.
• Skoglund, S. (1981) Revenge of the Goldfish. [image] Available at : https://akronartmuseum.org/collection/Obj1713?sid=1&x=65153&port=289 [Accessed 15/11/17]

The first counter-culture image which piqued my interest was a piece by artist Wes Wilson (1967). This poster appealed to me due to its highly illustrative style, evident in the bold psychedelic typography which fills the page with design – this is a style that I personally prefer, and shows clear sensibility to the aesthetics of the era. The contrast of the black outline against the warm gradient of colours works especially well, while variations in the thickness and direction of line show clear influence of the 60’s aesthetic.The tiki illustration paired with the hand-rendered lettering sets this piece apart from a simplistic piece of design, really encapsulating the spirit of the 1960’s-1970’s counter culture. 

My second image was a piece by Milton Glaser (1967) – again, another image-focused poster, which is the type of design which appeals to me most. What’s most eye-catching about this work is the juxtaposition of the basic silhouette and the burst of colour and design of Dylan’s hair – I personally love the use of bold, flat colour in this design, the simplicity of the piece enhanced by the contrast of bright hues against the monotone silhouette, the meaning of which connects to Dylan’s “Man of Peace’ persona. The piece captures the spirit of Dylan’s vibrant music, while showing sensibility to the aesthetic of his time. The simplistic typography fits the composition of the piece well, and Glaser’s choice to choose a font without counters enhances the bold and unusual design.

The final image I chose was the front cover of the first issue of OZ magazine (1967), the “icon- and the enfant terrible – of the underground press” (Ramaswamy, 2016). This magazine is more simplistic, relying heavily on typography. The most prominent feature is the cartoonish face in the middle, using the hand-rendered “OZ” as the eyes – though simplistic in design and colour, this illustration works effectively in showing the tongue in cheek spirit of this underground publication. The rest of the poster is composed of typographic work, using only 2 typefaces decreasing in size. This heavy amount of information, conveyed mainly in Helvetica, contrasting with the illustration portrays the ideals and meaning behind Oz magazine – the combination of the crude culture of underground press and its harsh social commentary.

Bibliography: 

• Wilson, W. (1967) BG-56. [image]. Available at: http://www.wes-wilson.com/bill-graham-presents.html [Accessed 08/11/17]
• Glaser, M. (1967) Bob Dylan’s Greatest Hits. [image]. Available at: https://www.miltonglaser.com/the-work/444/columbia-records-poster-for-bob-dylans-greatest-hits-1967/ [Accessed 08/11/17]
• OZ Magazine (1967). Theological Striptease. OZ Magazine issue 01, February 1967, Front Cover. [image]. Available at: http://www.wussu.com/zines/ozimages/oz01cov.jpg [Accessed 08/11/17]
• Ramaswamy, C. (2016) Return to Oz: the most controversial magazine of the 60s goes online. Available at: https://www.theguardian.com/media/shortcuts/2016/mar/06/return-oz-most-controversial-magazine-60s-goes-online [Accessed 08/11/17]

In my understanding, authenticity derives from something being genuine and original with no hint of replication or plagiarism. However, to be truly authentic is a strange concept; more art is created than can ever be consumed and any “original” idea has surely been tried before in one form or another. Amongst billions, the idea that the work of one person is completely original seems impossible. I also believe that all our art has some form of influence behind it, whether it be from previous artwork or styles we have encountered or if it comes from the environment we inhabit – with this being said, is any piece of art the work of purely one person’s imagination, and does this make the work unauthentic? I believe authenticity is a layered concept – an original piece designed in a way that has never been popularised or what breaks expected artistic norms would be, in my opinion, truly authentic.

The idea of breaking artistic boundaries relates to the Modernist movement, which brought broad experimentation with shape, colour and medium into mainstream art culture throughout the 20th century. In contemporary practice, I believe the principles of modernism still hold value; the abstract like aesthetic of modernist work may have been replicated time and time again, but contemporary modern artists continue to experiment with artistic boundaries to break the established “rules” of art. For example, Glen Josselsohn (Landscape 1), who’s vivid, abstract pieces shows his innovative work with colour and geometric shape to break the traditional norms, demonstrating authentic work with modernist values.

Bibliography:

• Josselsohn, G. (n.d) Landscape 1. [image]. Available at: http://glenjosselsohn.com/portfolio/ [Accessed 01/11/17]

The Constructivist Manifesto of 1922 documents the “rules” of the art movement, as stated by Rodchenko, Stepanova and Gan. They argue that “Technology is the mortal enemy of art”; I believe theres compelling points for both sides of this opinion.

Arguably, technology moves us further from ‘traditional’ art, specifically the usage of a variety of mediums and textures – ripping us away from the historical roots of art by stripping away the versatility of oil, pastel and clay and replacing it with a screen. It also limits our physical interaction with art – Berkely Breathed spoke of this phenomenon “I paint digitally now…the biggest price one pays is that you no longer have a finished piece of physical art to hang on a wall” (2007). I would argue the detail and texture of traditional art cannot be replicated through a screen and, from a Marxist standpoint, the cost of technology could make digital art an inaccessible medium for many.

However, technology gives artists undeniable advantages. Breathed continues “I don’t miss the three weeks it used to take to paint what I can do now in three days” – technology’s ability to speed up the artistic process with minimal effort is highly efficient. Furthermore, it means that art can be consumed by millions of people globally on the internet, for example Breathed’s own works (2015) which are now posted online – contextually, 20th century advancements in printing technology would have meant Constructivist art could be accessed easier also. I believe technology offers up many pathways for creativity – an endless plethora of resources, brush types and colours to utilise, and so is not the “mortal enemy” of art.

Bibliography:

• Breathed, B. (2007) Exclusive: Berkeley Breathed Speaks!. Interviewed by Jamie Reno for Newsweek, 3rd June. Available at: http://www.newsweek.com/exclusive-berkeley-breathed-speaks-100929 [Accessed 25/10/17]
• Breathed, B. (2015) Bloom County 2015. Bloom County 2015, July 20, 2015. [image] Available at: http://www.gocomics.com/bloom-county/2015/07/20 [Accessed 4/12/17]

My first focus was this screen printed piece of graphic design inspired by the film Taxi Driver (Yan, 2013). This piece is minimalistic, relying on the strong juxtaposition of colour to draw the eye rather than large amounts of detail. The contrast of colour is striking, visually splitting the image in half, while evoking imagery of the New York cab through the bold yellow and black. Yan merges the image of the taxi and gun perfectly – the flat simplistic imagery fits seamlessly in this minimalistic poster, combing two important elements of the movie – the facade of the taxi driver hiding a gritty truth. This imagery is once again aided by the colour scheme, inverting the colours used in the background. The texture created through the use of screen print gives the poster a worn feel and stopping it from looking too flat and simplistic. I love design with a more illustrative element to it, and I find the intelligent simplicity of Yan’s design inspiring.

Continuing with the use of contrast I was drawn to the “combo-photo” work of photographer Stephen McMennamy (2016). I particularly like the composition of this image, which sees the trunk of a tree merged with a hand. Similar to Yan’s work, McMennamy strategically combines two images to create an otherworldly piece. However while Yan amplifies the divide between the two halves of his piece, McMennany uses the divide of the two images to his advantage to create a blended background. The eye is immediately drawn to the hybrid figure, helped by similarities in tone and size to make the images truly come together and create this striking piece.

Bibliography

• Yan, B. (2013) Travis. [image] Available at: https://hcgart.com/collections/wocp2-ol/products/travis [Accessed 18/10/17]
• McMennamy, S. (2016) flowers & hand + tree. [image] Available at: https://instagram.com/p/BEezgaRnGxg/ [Accessed 18/10/17]

Stefan Nadelman’s 2002 short film “Terminal Bar” uses over 2500 still shots taken over a decade to show the progression of the bar and its inhabitants from 1973 to 1981.

The narrative of “Terminal Bar’ is driven by accompanying audio and visuals; fast tempo music combined rhythmically with a rapid procession of images represents the bustling atmosphere of New York. This is a process I myself would like to try in regards to motion graphics work. The sheer velocity of portraits we see in even single shots in the film show the bar’s popularity in its heyday. The film shows the passage of time, evident through portraits showing the bar regulars as they age – Nadelman’s choice to present these images side by side portrays this well, while clips of Sheldon describing regulars as their photos rush by on screen contrast the present and the past.

What’s striking about the production of “Terminal Bar” is the amount of detail which went into it; different angled images of the bar are merged to create a 3D like representation, literally and metaphorically adding another dimension to the setting to bring it to life. We can assume photo restoration or digital enhancing was used, particularly on shots where we zoom close into the picture – particularly striking when used to pinpoint individuals in crowded images, entangling them in the narrative.

“Terminal Bar” captures a tone effectively through a combination of narrative, audio and visuals – ensuring that every element of work fits the desired tone and theme of the piece is an important aspect of Graphic Arts, and something I will keep in mind when creating my own work.