How Did We Get Here?
A Conversation with Maziar Raein
Lecture Notes
I found the conversation with Maziar Raein really interesting and insightful. As a History of Art graduate I have always been interested in the link between the past and the present, the way how we did things then affects how we do things now and how we will do them in the future. Raein stresses that the best designers have a good understanding of history and we need to go one step further to find these things out for ourselves. For example, go to archives and museums, have conversations with people, interview people and keep reading. With a whole internet of information at our fingertips, sometime it's hard to remember that there is other ways, sometimes more enriching ways, of gathering information.
A common theme I have notices between weeks one and two is the idea that we should always be curious about everything, and not just design. We should consume information and constantly be taking in and appreciating new things. As a digital native I can be guilty of assuming everything can be found online, from now on I am going to try and look elsewhere for information, this may also give me more context for research.
Further Research
"Feelings Can Change the World"
I never thought I would say this, but, I love this (former) nun. Corita Kent first started producing pop art graphics in 1962 and although senior members of her church said her risk taking and joie de vivre we not characteristics that a woman who had taken a vow of obedience should have, she carried on anyway. [1]
Often art and design seem to start out as a rebellion to the current political and cultural system with any art that supports the system seen as propaganda. The idea that a nun from LA created posters such as the 'Stop the Bombing' one to the left, seems like even more of a rebellion as it against both the view of her church and the state.
In 1965 Cardinal McIntyre complained that Corita's print "the juiciest tomato of all" (above) was "an affront to me and a scandal to the archdiocese" as it likened the Virgin Mary to a tomato. After taking a sabbatical in 1968 she decided not to return to the order as she wanted more time for her artwork.
Corita Kent took up graphic design after seeing Andy Warhol's exhibition, she said she came back from it seeing everything like he sees it. I think that one of the things that makes a great designer is the ability to show people, through your designs, how you see the world.
Further Research
"The Missing Link Between Pop and Culture"
What strikes me most on this podcast is how secretive Barney Bubbles was about his artwork . It seems to me like he wanted to put his artwork out there and for people to see and to let it speak for itself. This kind of practice is harder in the modern day because with the birth of social media and information being available at your finger tips it is hard to conceal identity. [2]
Modern day designers are almost a brand in themselves - this echoes Shaughnessy's point from The Graphic Design Studio about how people are more interested in the visionary than the studio. Not to say this secretive practice is completely impossible - Banksy is still a mystery (and I'm assured is definitely not Neil Buchanan from Art Attack).
Barney Bubbles took his own life in 1983. He changed the way record sleeves looked and we can only guess what else he would have done if it wasn't for his tragic early death. Towards the end of the podcast his family speculate as to whether, because of Bubble's sensitive approach to design, he would have been suited for the commercialised 21st century.
Drip Dry Shirts - The Evolution of the Graphic Designer by Lucienne Roberts
I found the reading this week really interesting. I have studied architecture and have a reasonable grasp of that so reading about the eras of Graphic Design that have informed and been informed by this has been fascinating (for example Bauhaus). [3]
I was quite surprised that the term graphic designer wasn't coined until after the second world war. This got me wondering if the reason such a successful budding new industry began after such a tumultuous time in history was because people were keen to build a better world? Another reason could also be because of the
economic downturn and people needing to make money in different ways? This is something I intend to research further.
Akzidenz Grotesk was the first typeface to be distributed with 10 different fonts (not including italic) in 1898 however people started favouring Futura in the 30's and 40's then subsequently Helvetica in the 50's. I found it surprising that even though it was one of the earliest sans serif fonts, Grotesk still retains a massive popularity among designers to this day. Could this be because while design is constantly looking forwards, we need to be informed by where we came from?
Further Research
Propaganda Graphic Design: History and Inspiring Examples
After reading Drip Dry Shirts I took an internet deep dive into graphic design around the second world war to try and understand how this job came about. One of the most common answers I found was need. During the world wars governments from all over the world needed to encourage people to help out; join the ranks, work the lands, spot the planes. So they used propaganda. Striking illustrated images alongside text encouraging people to "do their part for their country'. After the war ended this new aesthetic had been born and people continued with modern graphic design.
I do wonder if the persuasive techniques used in propaganda has been carried forward into modern graphic design. Graphic design is used a lot in advertising and encouraging people to do something, whether it's book a holiday, buy a drink or sign up to something, design is constantly used to encourage people.
Workshop Challenge
3 Practices (Task 1)
Company Statement:
A one-stop shop for every kind of good work.
At GOOD, we work with brands and charities to create a shared vision of a better world. We are passionate change-drivers, committed to making our work, work for everyone. [5]
Summary
GOOD Agency has over 25 years experience driving positive change for brands and charities. They have over 50 members of staff including designers, copywriters, account managers and creative artworkers. It is a collaborative place and describes itself as being a one stop shop.
The three services they offer are; GOOD Causes branding for charities), GOOD Purpose (campaign design) and GOOD Consulting.
Reflection
GOOD Agency was founded to do one thing - be good. This means a plethora of things; producing good design, doing good in the world, being good to their clients and staff. i think the name is such a good representation of that they do, it's not ego driven or pretentiously abstract, it just means they want to leave the world better than when they found it. They have grown to have over 50 employees but from interviews and reviews it seem like they have managed to keep the feel of a smaller more family-esque Agency. The growth of the agency to include strategy planners, marketers and creative directors is echoed in the calibre of clients they work with- international charities like save the Children and WaterAid.
GOOD Agency is located in Southwark, a well established part of London suggesting they are a successful and also well established creative agency.
Company Statement:
Studio EMMI is a London based graphic design practice established in 2005 by Emmi Salonen. Internationally awarded Studio EMMI works with clients and collaborators on local and global projects; identities, marketing campaigns, digital media, exhibitions, environments, events and publishing projects.[6]
Summary
Studio EMMI was established in 2005 but Emmi Salonen, a Graphic Designer from Finland. Studio EMMI create imaginative communication solutions for good, ethical businesses. They champion messages for a better society, which is shown by their list of clients. These include Somerset House, The Finnish National Gallery and The Princes Foundation for Children and the Arts. Studio Emmi have fewer than ten designers which, as it was established 16 years ago, appears to be a choice to keep a smaller team.
Reflection
Studio EMMI was named after the founder Emmi Salonen, I always think this is slightly egotistical however Salonen had had an extremely successful career in design before she established the studio so name recognition might have won clients. To counter this however the word studio makes me think of a more collaborative place, where people are on the same level and sharing ideas. I also like the more intimate feel of a studio with fewer than ten designers. This way people will know the projects well and be able to skill share far more easily than in a large conglomerate.
Studio EMMI is located in the heart of Shoreditch which is seen as the centre of the design, art and architecture world in London. 16 years ago when it was set up, Shoreditch would have been up and coming, surrounded by graffiti and exhibitions, an inspiring place for a practice to start out.
Company Statement
In a world of seismic social, economic and cultural change we are helping cause led brands to redefine their marketing strategy and income generation programmes. We are one of the UK’s leading cause related creative agencies. We work with non-profits, social enterprises and commercial brand to help them define and further their cause. [7]
Summary
Arthur London is a mid sized practice with fewer than 50 people. They are cause led and work on massive national campaigns such as Together again for Dementia UK, Delivering Kindness for RSPCA and Choose Childhood for Action for Children.
Founded in 2008 by Nick Spindler, Arthur London has always had charity at the heart of the practice.
Reflection
Arthur London unlike GOOD Agency and Studio EMMI focus solely on design for charity. They even have a news and views section of their website where they express their view on what is going on in the world and how they, and others, can help. They are very vocal in their political view which I think shows they were set up as a design agency for charities as there is no sitting on the fence when it comes to animal cruelty, children's safety or the environment for example.
Arthur London is based in London Bridge which is saturated with culture - there's museums, landmark buildings and Borough Market. (If you're ever there grab yourself an olive bread loaf - best I've had!)
Reflection on choice of Practices
London is an ever-changing city. It has been in a constant state of flux and now is no different. When I started researching practices I decided to look for charity based and ethical studios as that is what I am interested in. However I soon noticed that almost every agency has something about social conscience in their statement. This made me think back to the podcast with Maziar Raein where he was discussing millennials and their interest in socially conscious and ethical business. Now in their 30’s millennials are climbing company ladders, could they also be the reason for such a shift towards sustainability and ethical companies? And if so, Is it compulsory for a business now that they get on board with these ideals in order to survive?
Something else that occurred to me during research was how all three practices, although in different areas of London were surrounded by culture. This made me think - is it just that London is one of the most multicultural cities in the world, and that’s why they are all here; or did they choose the specific area for the specific culture. For example, Southwark is a diverse and lively borough, with theatres and museums nearby, London Bridge is surrounded by world class architecture and museums and Shoreditch is more alternative culture, like graffiti and start ups. Each area offers a different vibe, all connected by creativity.
My research this week helped me narrow down my choice of practices, looking at Corita Kent and propaganda in London inspired me to look for practices outside the normal realm of agency. Instead I went for practices that took a stance - they comment on social, political or environmental issues and stand up for what they believe in. Arthur and GOOD both cause led, working with not for profits and social businesses, Studio EMMI has a strong interest in the environment.
3 Design Production (Task 2)
Company Statement Luxury bespoke fitted furniture. From our workshop in West London, our skilled designers and craftsmen create fully-customised wardrobes, alcove units, media units, home offices and more, all tailored to meet the individual requirements and personal style of our customers. [8]
Summary
Creative woodwork is a family run workshop based in West London. All of their furniture is designed and manufactured in their London workshop, which is equipped with the latest creative design software and CNC machinery.
The workshop features an innovative system that captures all the dust and wood shavings and converts them into pellets, which are then used to provide heating for the factory.
Reflection
As Creative Woodwork is a family run business, and the website certainly has this feel, it seems like a much more personal approach than a larger chain furniture maker. There is a big focus on the website about how carpentry is artistry. This got me thinking about how sometimes there is a distinction between designers and production when this isn't always the case. Creative woodwork design and produce their furniture - there could be both advantages and disadvantages to this. On the plus side, it means that they whole process from beginning to end is seamless, and the end product is always going to be what the designer envisioned. However could this mean more generalised skills with no one having full expertise as people have to have more general knowledge of design and process? Creative Woodwork seem like they give brilliant creative design and production all over London, with a focus on their place in the city.
Company Statement
Whether it's repairing a battered dictionary, binding a handmade cookery book or creating a fine leather box or portfolio, each order is a chance to produce a memorable and lasting object. [9]
Summary
Established in 1995, Wyvern Bindery use traditional skills, they produce quality work tailor made to our client's specific needs.
They are based in Clerkenwell, a vibrant artsy part of London which has been gentrified over the last decade or so (A bowl of cereal can cost £7!). It is now the centre for design, architecture and interior design practices, with a saturated market for bookbinding and design production in general.
Reflection
I am fascinated by traditional methods such as this. I also love the juxtaposition of such a traditional trade thriving right in the heart of the part of the city classed as up and coming or just for start ups. Wyvern Binary's solid roots I think are there because they started before the artistic revolution of the area did so in a way it grew around them. Wyvern are also responsible for creating the potion books in Harry Potter and Manager Mark Winstanley talks about his larger projects like this and the Olympics in this article. [10]
Although the idea of bookbinding seems like an old fashioned one that is being put on the back burner thanks to the internet, Winstanley talks in the article about how he believed there will always be demand for books. Looking at the beautiful artistry and production of binding I hope this is true.
Company Statement
Our vision is inspired by Walter Gropius' ambition to mass produce customised products through means of modern fabrication. DigiHaus was founded on a mission to push the boundaries of present day digital fabrication in line with Gropius' vision for Bauhaus. [11]
Summary
DigiHaus is based in London Bridge and is a design lead laser cutting and manufacturing service. They work on projects from metal work, shop fronts and architecture to small scale card, timber and light fittings.
Their aim is to explore the potentials of digital manufacture and utilise digital fabrications as a tool, in a revolution to shift mass standardisation to a mass customisation of products.
Reflection
DigiHaus is located in London Bridge which is an extremely cultural area of London. It is surrounded by museums, galleries and restaurants. The fact that DigiHaus was based on Bauhaus philosophy is also relevant to the area. DigiHaus is situated just down the river from the Southbank Centre which has heavy Bauhaus influence, along with many more buildings in the are. It seems like DigiHaus is very much rooted in its surroundings. [12]
Reflection on choice of Design Production
I really enjoyed this task as I feel like it got me to look deeper into the city I live in. I found the sheer number of design production places in London staggering, it was difficult to pick just three.
I was surprised at how rooted in their surroundings all three places I chose were. Maybe this is because I looked at more established businesses rather than start ups so they have had time to bed in. They all seem to respond to their surroundings, for example DigiHaus have strong Bauhaus influence both externally and internally, Creative Woodwork are a family run business in a richer, family orientated area and Wyvern Binding are a bespoke book company in an area saturated in one offs and start ups.
Part of the reason I chose these was because of my research into the major events that happened in London to influence design - the London Underground, Modernism, Punk Culture and technology. I wanted to find production houses that had stood the test of time throughout this ever changing landscape.
All three places are taking traditional methods and modernising them to fit in with the ever growing market in London.
Written Challenge
List 4 key evolutionary design steps that contributed to the identity of your design culture today in your country/city in your opinion.
London
1863 - Opening of the London Underground
The opening of the London underground sparked classic pieces of design that are associated strongly with and influence London to this day. Visible above the swathing crowds the roundel (above, right) is one of the most recognisable pieces of Design in London. Calligrapher Edward Johnson designed the typeface and roundel. This typeface (the 'underground alphabet') went on to inspire Eric Gill to create Gill Sans, one of the most used and recognisable typefaces used in modern design, it has such high acclaim it has been referred to as the 'British Helvetica. It can be seen all over London from signage to shop faces. [13] [14]
1928 - 39 Modernism
After the first world war there was a lot of experimentation in art. New forms, visual space organisation and expressive approaches to colour became more popular, for example cubism, futurism and surrealism. Graphic designers went back to basics and pursued the most elemental forms of design, they started basing their work on practice with the general idea that form follows function. The influence of modernism can be seen in London today with one of the main hubs of culture, the Southbank Centre, reflecting modernist ideals. [15] The power to create, improve and reshape our environment are modernist ideals that still dictate the attitude of the city. People come to London for a chance, to protest, to find their way as well as a million other reasons and I think this has a lot to do with the influences of modernism in London today.
1976 Punk Culture
Punk culture started as a cultural expression of angst, emotion and volume. People were unhappy with the commercialisation and wanted to bring society back to a more human level through art, music and fashion. Punk culture was rife in London with bands such as the Clash and the Damned changing the music scene completely. [16] Design soon followed with designers focussing more on the cause rather than commercialisation. People started to stand for things, show their values and set out make a difference. This attitude has prevailed in London as it is a multicultural free thinking city in 2021. Punk culture seems to me to link to the millennial attitude Maziar Raein mentions in his conversation with Susanna. The idea that businesses, designers and people in general should be more socially conscious is very punk and very now.
1984 - 90 - The start of the Digital Revolution
The digital revolution changed the way we create, produce, promote, pretty much everything. For example online portfolios, motion graphics and animation; all three of these were entirely different before the age of the computer. Shaughnessy describes "with a traditional paper portfolio it's rarely possible to accommodate all our works, with a laptop we can take everything". In the mid-1990s [17] Internet commerce became a growing sector of the global economy, causing organisations and businesses to scramble to establish websites which in turn created a whole new industry of web designer. By the mid 1990's the transition from drafting table to computer was complete. London has been changed forever by the digital revolution with new industries, start ups and processes in place all over the city. We are still in the midst of the digital revolution and I can't wait to see how London changes with new technologies in the future.
Peer Review and Discussion
References
[1] Moorhead, J. (2018). Corita Kent, the pop art nun. The Guardian. Available at: https://www.theguardian.com/artanddesign/2018/apr/22/corita-kent-the-pop-art-nun [accessed 30/01/21].
[2] BBC, (2021). In search of Barney Bubbles. [podcast] BBC Sounds. Available at: www.bbc.co.uk/sounds/play/b018wh7h [accessed 30/01/21].
[3] Roberts, L (2005). Drip Dry Shirts - The Evolution of the Graphic Designer. UK: AVA. p14-186.
[4] Schenker, M. (2018). Propaganda Graphic Design: History and Inspiring Examples. Available at: https://creativemarket.com/blog/propaganda-graphic-design. [accessed 03/02/21].
[5] Good Agency. (2019). About Us. Available at: https://www.goodagency.co.uk/about-us/. [accessed 31/01/21]
[6] Salonen, E. (2021). About. Available: https://www.emmi.co.uk/. [accessed 31/01/21]
[7] Lassiter, D. (2021). Cause Led. Available: https://www.arthurlondon.com/cause-led/. [accessed 31/01/21]
[8] Creative Woodwork. (2021). About Us. Available: https://creativewoodwork.co.uk/. [accessed 02/02/21]
[9] Winstanley, M. (2020). About. Available: https://www.wyvernbindery.com/. [accessed 02/02/21]
[10] Looch, C. (2019). Wyvern Bindery: Making Books for Hogwarts and the Olympics. Available: https://theculturetrip.com/europe/united-kingdom/england/london/articles/wyvern-bindery-making-books-from-hogwarts-to-the-olympics/. [accessed 02/02/21]
[11] DigiHaus. (2018). Our Philosophy. Available: http://www.digihaus.co.uk/. [accessed 02/02/21].
[12] Scenario Architecture. (2019). The Bauhaus influence on London Architecture. Available: https://scenarioarchitecture.com/advice/bauhaus-influence-london-architecture/. [accessed 02/02/21]
[13] TFL. (2020). A Brief History of the Underground. Available: https://tfl.gov.uk/corporate/about-tfl/culture-and-heritage/londons-transport-a-history/london-underground/a-brief-history-of-the-underground. [accessed 02/02/21]
[14] Carlson, C. (2019). Underground Art: How Graphic Design Keeps London Moving. Available: https://theculturetrip.com/europe/united-kingdom/england/london/articles/underground-art-how-graphic-design-keeps-london-moving/. [accessed 02/02/21]
[15] Southbank Centre. (2020). Concrete Dreams: Celebrating the Southbank Centre’s brutalist buildings. Available: https://www.southbankcentre.co.uk/blog/articles/concrete-dreams-celebrating-southbank-centres-brutalist-buildings. Last accessed 7/4/21.
[16] Worley, M. (2020). Punk to Post Punk. Available: https://museumofyouthculture.com/punk/. Last accessed 7/4/21.
[17] Shaughnessy, A. (2012). How to be a graphic designer without losing your soul. In: How to be a graphic designer without losing your soul. 2nd ed. USA: Princeton Architectural Press. 28.
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