The Effect of Globalisation on Design
Reflection
This lecture was interesting because it gave me a chance to hear the perspectives of seasoned professionals on the effects of globalisation.
Simon Manchipp (SomeOne) - Simon believes that globalisation encourages grater ideas and more collaboration providing designers with the opportunity to work with different cultures. He thinks it's an unstoppable force and should be celebrated. I did wonder if globalisation in the context of work being able to be done from thousands of miles away will lead to a lack of authenticity in design? For example, if someone is looking for a traditional south east Asian design and someone from Canada is commissioned, will it still have the same authentic feel?
Sam Winston - Sam discusses how the digital space means interconnectivity between everyone and everywhere. He does however say that when he is conducting business he likes to go and meet people face to face. This made me think - does the digital space mean design is more disjointed? Does it mean that it is becoming increasingly harder to put a name to a face if you are dealing with clients completely online? Simon also commented that people still respond to other people rather than words on a page. Although with video chat such as zoom and teams it is becoming easier to feel like you are in the same room with people rather than a voice on a phone or the hands typing an email. The Pandemic has both made it almost impossible to meet face to face and pushed this technology forward in the last year, it will be interesting to see how this new way of conducting business works.
Tom Finn and Kristoffer Soelling (Regular Practice) - Opposite to Sam, Tom and Kristoffer state that they only communicate digitally with most of their clients. They believe this is a much smoother way of working as you get more done when meeting online for a specific reason. They also claim that globalisation is meaning there is more uniformity across design now. This makes me worry that it points towards individuality being lost. The mix of cultures and techniques all over the world is beautiful, it would be a shame to lose this due to globalisation.
Sarah Boris - Sarah says that she believes globalisation means more opportunities for designers to work all over the world, for example books she has designed have been printed digitally in hundreds of different languages. She also mentions it means she can go to exhibitions all round the world and build up business. Another positive of globalisation Sarah says is the fact it opens doors to new ways of thinking and learning things you never would have before. The idea that there is more opportunities now the world is more open does make me wonder if there is more competition this way, and it larger more well known creators will end up monopolising the business.
Julian House and Adrian Talbot (Intro) - A main take away from the interview with Julian and Adrian is the idea that globalisation and technology in general means that designers no longer have to follow a particular path. You no longer have to start out as a Junior then progress eight years later. All you need is a laptop and you can start your own design business. They do however state that they enjoy meeting up with clients as it is easier to sort out any issues. I think I agree with this, while the pandemic has meant I deal with clients over email and Teams, overall I prefer being able to meet and discuss over a coffee as sometimes things get lost in translation over email.
I really enjoyed this series of interviews and people pros and cons about globalisation. From listening to these even though there are some negatives (possible lack of authenticity, more competition and struggle for individuality) I think globalisation opens up the world in a way that has never previously been possible or even imagined.
The Effect of Globalisation on Design -
Guest Lecture by Harriet Ferguson of PearFisher
Reflection
I found Harriet's guest lecture about PearlFisher and the effect of globalisation extremely interesting. Harriet mentioned that globalisation meant there is a treasure trove of talent all over the world that can be called on at any given time. The advances in technology mean that communication is seamless and people from all over the world can work on a single project together. This did make me wonder though, does globalisation reduce the authenticity of projects. On the other side of this, with such a diverse range of people working on any given project, does this make the designs more sensitive and culturally robust? Does a melting pot of ideas and cultures mean that more perspectives and opinions are taken into consideration?
Harriet spoke about PearlFisher's work with Taylors of Harrogate and how they asked different artists to illustrate for each range. The outcome was beautiful and a strong example of using the global talent pool. I did wonder though, was it difficult to constrict artists to stay within their ideals/brand? Or did they pick the artists based on their style fitting in withTaylors of Harrogate?
Femme was another project worked on by PearlFisher, a Chinese brand wanting to break the taboo surrounding periods and sanitary products in China, To do this they purposefully sought out a western agency for their design work. I think this was such a brilliant project, not only was it beautiful but it helped break boundaries and make women more comfortable talking about it - it changed the products from something shameful to something high end. This to me is what design is all about, taking a stance and changing assumptions. It is such a powerful effect of globalisation that we can share ideas and break boundaries.
A take away for me from Harriet's guest lecture was to look at all different types of projects for inspiration, to widen your scope to things like books, movies pop culture etc. This is such an easy thing to do now, with the internet we have a whole world history of information at our fingertips. This plethora of information and ways to communicate does however mean people have access to everything and can give their opinions on everything, regardless of expertise, so it definitely pays to be selective when taking in information online.
Authenticity played a big role in my reaction to the lectures this week- I have always believed an honest approach is best for both designer and client. Havana were a good example of this used by Harriet - they visited Cuba, researched the culture and used local artists to make the brand authentic. Hendricks however created a whole history that didn't happen, this to me is not the way I would like to build a brand. On the subject of Authenticity, the Waterstones redesign showed what happens when a really popular brand do something that is jarring with their audience, giving a historic bookseller a more modern look (lowercase, sans serif) didn't work, so they reverted to the older, serif, branding.
I am going to take on board the advice given by Harriet at the end of the lecture -
Be genuine
Tell a story uniquely
Think global, act local
Think about the impact on the planet and what the brand can give back
Be fun because it's more memorable
(Sounds like good advice for life as well as design!)
Further Research
Karma Cola
"Karma Cola isn't a charity; it’s a business with an ethical supply chain"
Karma Cola appeals to the contemporary idea that we want products to have values and stick to them. Ethical businesses have been on the rise in the past few years and according to the BBC it's the younger customers who are pushing businesses to think beyond their profits. (Read the article here). [1] I think this ties into globalisation as previously it wouldn't have been as easy to know what is going on in different parts of the world, so social conscience may not have been so prevalent.
A crucial construction project in Sierra Leone and a can of cola in London might feel worlds apart, but they're connected by social conscious. Karma cola was set up by Chris Morrison after he realised that no one really knew the origin of the coke flavour, the kola nut. After researching it he found out they are grown in a remote part of Sierra Leone. Chris was already interested in transparent and ethical supply chains having come from a background in importing bananas. He then set up Karma Drinks. I think this is such a good example of having an authentic story, telling it well, being transparent and leaving a positive global footprint. [2]
Non Format on the Role of the Designer in a
Global Context
Reflection
I really enjoyed this presentation from John Fross of Non-Format. I found it really interesting the way they considered working across different time zones to be a benefit whereas I have always assumed it would be a negative as you are never working for the same full day. However, with the different time zones in USA and Norway, it means they have a combined working day of 17 hours, meaning they make more progress. I also found their knowledge of typography astounding, and even though they aren't the most technical people they experiment with shape, texture and method.
One of my favourites John showed was they frayed effect typeface used in the issue to the left. John spoke about how they achieved the effect by scanning in frayed pieces of material. The ingenuity and creativity in the thinking behind this really shows talent and skills. It makes you look at the text in a different way, almost like there's something accidental about it with the cotton, but the strong thick typeface shows more deliberation and uniformity.
I also found it really interesting how they came up with an aesthetic and spent a long time doing that particular style. For example, they spent years doing super bold typefaces. This included campaigns for Nike (far right). However after they felt they have done all they could, they moved on to mixing super bold with super thin.
When asked the question of whether they are illustrators or graphic designers, they say they blur the line. I find this concept interesting and I look forward to exploring this more during the workshop challenge this week. They say they are always pushing the boundaries which is shown by their leaps forward in typography and illustration.
Further Research
From the lectures and reading this week I had one idea that I really wanted to explore more, the idea that due to globalisation design can be used as a universal language. The idea that you can use design as a way to communicate even complex messages into something anyone, of any mother tongue can understand.
If Anything Happens, I Love You
In 2020 Netflix released a 12 minute animation called If Anything Happens, I Love You. [3] It is a silent movie about two parents who lose their little girl in a school shooting. This is one of the best ways I have seen a message being relayed purely through images with no speech. I really took into consideration Harriet saying we should look outside of Graphic Design for inspiration. I love motion graphics and animation is one step away from that. From looks between characters, to the drama of a school shooting right through to the depiction of feelings in picture, this short film gets across complex emotions and messages in a seamless and beautiful way. Grief is understandable all over the globe and this movie speaks louder than any words can.
Following on from the idea of design as universal language I wanted to look into other disciplines that use a common language around the world, Architecture.
Architecture as a Universal Language [Designers and Social Responsibility]
In this UC Berkeley journal article, the author explores the idea of architecture as a (metaphorical) bridge between people of different languages and backgrounds. [5] I found this concept interesting because we live in such a divided world, and the idea that something such as architecture, or graphic design, could be used to heal that divide excited me. In the article they talk about the New York public library being a place that brings people together from all backgrounds - a place to find knowledge.
I think that the reason people come together in places like libraries or churches is because they speak a universal architectural language. You could walk into a catholic church in Idaho, one in Hamburg and another in Manilla and they will all have the same features - built in the shape of a cross, facing Jerusalem, an alter and a nave (among others). There is a sense of familiarity and comfort in being able to understand without language.
I think this is a really interesting concept that when applied to graphic design could be really beneficial, considering the rapid increase in globalisation. Being able to communicate messages without the need for people to have a common tongue is a massive advantage. Obviously this cannot be applied everywhere but possible application even in some circumstances is exciting.
A good example of this is infographics - designers are able to translate complicated information using few words and strong graphics. This can only help with the move towards globalisation because understanding will be maximised. 'Information is beautiful' is a brilliant example of a collection of infographics that can be understood with only a few words [6]. This has so many applications in every day life already, for example Ikea's instruction manuals, flight safety information and education. I do think there could be man more and I plan to research this further.
After watching non-format's presentation I decided to do some further research on typeface as it is not an area I have had much experience in. Pentagram were tasked with creating a typeface that echoed the paintings of Moholy-Nagy. [4] The style they came up with echoed the aesthetic of the artist's photograms – photographic prints made by laying objects onto photographic paper and exposing it to light. The result was the above monochrome font. I found this a really interesting result as you can really see movement from the water used with the photographic paper. You get a feeling that you should be in constant movement while interacting with the programmes and posters, almost in an uneasy way.
The pared back colour pallet adds to the feeling that this is a natural, ever-changing element moving through the pages. Moholy-Nagy's work (right) played with light, movement and elements in the same way Pentagram's visual identity did. Pentagram aimed to create a visual identity that doesn't mimic the artist's work, but rather "perfectly honours his amazing legacy" and in my opinion they succeeded with this innovative typeface.
Workshop Challenge
Contemporary Practice and Categorisation
Here are my favourite pieces that can be considered cross discipline from the D&AD awards 2020. [7]
Born Free Foundation - The Bitter Bond by Engine Group
Animation/Illustration/Direction/Sound
Valdis Āboliņš. The avant-garde, mailart, the New Left and cultural relations during the Cold War
by Alexey Murashko
Book design/Graphic Design/Typography/Illustration
UCL Disruptive Thinking Since 1826 by Jack Renwick Studio
Graphic Design/Advertising/Photography/Branding
Synopsis
Looking through the D&AD winners, the first thing to strike me was the wide variety of things that are classed as design. For example, PR, press, outdoor, sound and side hustle. I think the wide variety shows the melding of different practices. With technology connecting the globe, it also connects disciplines and allows cross discipline work to happen in a more smooth and planned way. I was surprised that pretty much all of the submissions overlapped multiple categories which meant in a way they couldn't be categorised as one thing.
Something else that struck me was how a large proportion of the winners were more about creating a feeling or experience rather than information or data. The Born Free - The Bitter Bond video was a good example of this, it's a really moving animation which takes you on an emotional journey - at first feeling happy, thinking the cub had been rescued by a loving woman then devastation and sadness when you realised she was bringing up the lion to be hunted for sport, this is achieved through a mix of illustration, animation and sound design. This linked back to "If anything happens, I love you', it was a silent film that got across every emotion with the illustration; I am a strong believer that the best pieces of design in whatever discipline move you.
The UCL adverts also played on a feeling/experience but in a slightly different way. The whole idea behind the billboards is to show how the disruptive research they do pushes the field of science further. Looking at the advertisements makes you feel uneasy, like your line of vision is being disrupted and the inserts between the photographs seem uncanny. This blend of photography and graphic design helps you understand what the typography is saying, and also makes you feel what it's saying. The mix of disciplines helps to push the message.
The avant-garde, mailart the New Left and cultural relations during the Cold War also spans multiple disciplines in yet another way. The idea behind this is a book to honour Valdis Āboliņš, a Latvian exile and activist and his passion was mail art. I think this is a beautiful and simple design. It crosses multiple disciplines such as book design, graphic design and typography to give the collection of letters, transcripts and essays an authentic feel. From previous lecture material I was concerned that globalisation might mean a lack of authenticity in design. However, with all of the elements I think this is a great example of maintaining authenticity in spite of, possibly because of globalisation. This is due to the designer/creator having a good grip on the culture and background of the piece, doing research and immersing yourself in the project so you can make people feel about it the way you do.
In conclusion, this task has really got me thinking about the span of design and the possible reaches it has when combined with other disciplines. The reason the D&AD winners were so successful in their aims is because they used skills and expertise from all different areas to create a feeling, to create a piece that moves the viewer and makes them feel the way the creator felt about the project.
Breaking the Boundaries of Graphic Design
Challenge: To consider classic design models and definitions, and what breaks these boundaries. What are the areas that you believe fit under the umbrella of graphic design?
Concept Art
Typography
Motion
Set Design
Cinematography
Illustration
Packaging
Product Design
3D
Campaign/Advertising
I have been working in Graphic Design for the last five years and until I was given this task I hadn't really thought about the overlap between the disciplines. I work in an area that spans numerous disciplines listed above, for example, typography, motion, illustration, packaging, product, 3D and campaign. Thinking about it now I'm not sure there has been that many times where I have done a project that is only one area of design. This got me thinking who decided these terms and what are the rules with which something fits into one of these categories? For example, a concept artist is a form of illustrator - is the different categorisation something that comes from the end goal of the project? The tools used? Or the designer themselves? I think another thing I have learnt from this week is the categorisations are too rigid, for projects that transcend categorisation and disciplines.
Ubiquitism
Globalisation is bringing us all together and blurring boundaries
The idea of categorisation seems antiquated now - with constant advancements in technology and communication it is becoming increasingly difficult to define design.
From the research I have done this week, I was inspired by the idea of design as a universal language that can speak to anyone, have multiple uses and be made up of a plethora of different disciplines; this is Ubiquitism.
Campaigns for brands and charities need to keep up with these advancements in technology. Apple are a great example of a brand that utilise every channel. They run ads in multiple countries, social media campaigns, have incredible product design, possibly more incredible packaging design and beautiful architecture. People see apple as an experience due to their ubiquitous design - they are recognised all around the world.
Cancer research have combined social media advertising, tv adverts and VR experiences where potential donors can tour their labs without ever having to leave their homes. I think this makes it a far more personal experience as it enables people to put themselves into the situation and see directly how they can help. This is a far cry from charity
campaigns of the past where they would arrive in the post and request people to send a cheque back. The multi channel campaign strategy charities are starting to develop, reduces the steps people need to take to help.
I think Apple and Cancer Research are excellent examples of successful brands reaching out across different disciplines to create an experience for people. This links back to my D&AD research, the winners created a feeling not just a statement of fact. Apple want to make people feel good and lucky to have their products, Cancer Research want people to feel like they need to take action and both succeed by using a multi disciplinary approach.
More and more companies are looking for this multi channel approach. Previously this would all have been done by different specialist agencies, however now it could be done by one, ubiquitous one. If all of this could be done under one roof, the process would be smoother and more harmonious.
As Non Format said, there are big advantages to globalisation, for example the working day being extended to 24 hours across time zones. People are more connected than ever, they can work in different time zones, partner with people they may never meet and we now have the technology to do this. The Pandemic has sped up the growth of apps like Zoom, Teams and SharePoint meaning more people than ever are connecting online.
Ubiquitism is the idea that design should be universal, and not restricted by boundaries. It is in some ways the ultimate rebellion - breaking out of boxes and refusing to be constrained.
Russian Constructivism
When I was thinking about Ubiquitism and the way I described my fictitious word it, a universal language that can speak to anyone, have multiple uses and be made up of a plethora of different disciplines, it reminded me of constructivism, specifically Russian constructivism. This is because it was created after WWII as a reaction to the society that caused the war. It was built on the idea of Utopia, favoured art as a practise directed towards social change or that would serve a social purpose. [9]
This fits in so well with research this week on brands such as Karma Cola, it is also a good compliment to my new made word, based on the idea design should always do good. I am going to take inspiration from this while designing my editorial.
After receiving feedback that the Russian Constructivism [8] was slightly disjointed to the content I changed the sub heading from "The Ultimate Rebellion" into "By Everyone, For Everyone" because I think that gets across the underlying sense of communist/socialist ideals. "Russian Constructivism was considered more of a philosophy than just a style, and reflected a belief in art for social change rather than personal expression. The Russian Constructivists were proponents of functional art and design rather than decorative" - this was what sparked the idea of using the Russian Constructivist style for me, the word "Ubiquitism" essentially means the breaking down of different areas of design and rebuilding it as one more fluid discipline.
Summary
I thought the resources this week were brilliant - they really peaked my interest. Globalisation has so many pros and cons that thinking about it in relation to design is a pretty tricky thing to do. I particularly enjoyed looking at the Karma Cola case study - it was really interesting to see how globalisation can be a positive thing and used to promote the work done by people in other countries. The resources also gave me the chance to think about how globalisation creates opportunities for all different areas of design to combine and be used together to create stronger products. This was particularly prevalent in Harriet's lecture on Pearl Fisher.
I also enjoyed researching things I was interested in relating to globalisation - particularly the Netflix movie If anything happens I love you. It was a heartbreaking short film but it did an exceptional job of communicating story, thoughts and feelings regardless of language - it was all done through animation.
The workshop task this week was challenging but exciting. It was really inspirational to look in such depth at the D&AD award winners - my favourite was the Born Free Foundation video, it was so emotive and moving and I thoroughly believe that is the way to connect with people. With the editorial piece I let the content drive the design. The more I thought about how Graphic Design is more disciplines that it used to be, the more it echoed communist sentiment - that it can be by everyone, for everyone. I therefore went out of my comfort zone this week and designed something I never previously would have using influence from Russian constructivism. I am pleased with the final outcome however given more time I think it would be good to mock it up like a magazine and possible spread it across more pages to really let it breathe.
Peer Review and Discussion
References
[1] BBC. (2019). Ethical business: Young people behind a 'rising trend'. BBC News. Available at: https://www.bbc.co.uk/news/uk-wales-48432432. [accessed 09/02/21].
[2] Gibson, M. (2016). Karma Cola: how one brand is transforming the world's most popular soft drink. Foodism. Available at: https://foodism.co.uk/features/karma-cola-transforming-most-popular-soft-drink/. [accessed 09/02/21].
[3] If Anything Happens, I Love You. (2020). [Online]. Directed by Will McCormack. USA: Netflix [Viewed 09/02/21]. Available from Netflix.
[4] Hitti, N. (2021). Pentagram creates new visual identity for The Moholy-Nagy Foundation. Dezeen. Available at:https://www.dezeen.com/2021/01/03/pentagram-branding-moholy-nagy-foundation-graphic-design/ [accessed 10/02/21].
[5] Berman, Marshall. (1992). Architecture as a Universal Language [Designers and Social Responsibility]. UC Berkeley, Places. 7 (4), p90-92.
[6] McCandless, D (2012). Information is Beautiful. UK: Collins. p1 - 256.
[7] D&AD. (2020). Annual 2020. Available: https://www.dandad.org/en/d-ad-awards/. Last accessed 10/2/2021.
[8] Strizver, I. (2017). Russian Constructivism and Graphic Design. Available: https://creativepro.com/russian-constructivism-and-graphic-design/. Last accessed 7/4/21.
[9] Design History. (2015). Constructivism. Available: http://www.designishistory.com/1920/constructivism/. Last accessed 10/5/21.
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