Graphic Design as Communication (Notes)

Graphic Design derives from the ancient Greek word Graphein, which meant mark making.

Design entered into English from the Renaissance French word dessiner, which meant drawing, planning, sketching and designing.

Design is seen to become more like art when moving into print making and advertising.

"A medium.. a means of communication consisting in' the use of words and images on more or less everything"

Broad definition

Not limited to high or low culture

Doesn't exclude fine art

Graphic design is mass

• reproducible
• affordable/accessible to a wide audience
• conveys ideas through a combination of words and image

Marshall Arisman places art, illustration , graphic design and advertising in a scale of purity;

1. Fine Art is pure
2. Illustration is the beginning of selling out
3. Graphic Design is commercial art
4. Advertising is selling- Period

David Bland (1962) also distinguishes art from illustration in terms of 'purity' as it includes words and letters.

Fine art work given titles, establishes a relation to a word even if it doesn't appear in the work

Functions of Graphic Design

2 approaches in direction, social, cultural and economic functions of graphic design as a whole

Are functions individually

The basic functions have changed little over time the first role is:

• Identification- the graphic designer has the role to say what some is
• Information and instruction- these indicate the relationship between one another, scale and position. An example of this can be seen in maps
• Presentation and promotion- aim to envelope the spectator

Functions of Graphic Images

• Symbolic- (Represent something,
• Epistemic- Convey information about the world and its contents
• Aesthetic- Intended to please the audience

Quotation Marks

What is Communication?

Kalman says graphics is a 'means of communication'

Communication is described as a metaphor

Communication Theory

Transfer of information between people

Meggs Dipiction:

Information Source > Transmitter > Signal > Receiver > Recipient

Barnard. M (2005) ‘Graphic Design as Communication’ Cornwall, MPG Books.

Advertising, Publicity and the Media

Advertising, Publicity and the Media

• Time Square New York City
• 11,000 adverts on TV in 1990 and has trebled by now if not more
• 25 million Print adverts produced every year
• Advertising is unavoidable, it effects everyone consciously and subconsciously (bombardment)

Karl Marx (1818-1883)

• Communist Manifesto (1848)
• Das Kapital (1867) Volume 1
• Philosopher
• Theorist of the way of the world works

(Marxism Console/own life based on)

Classic Adverts

• The Stanley Range.
• The Uncle Sam Range

Critique of Consumer/Commodity Culture

• People are identified through consumer products rather than by what they produce themselves
• Stewart Ewan- 'The commodity self'
• Marxists do not agree with the capitalist idea of personal wealth and the gain above others. They believe that you shouldn't be defined as a person by what you buy and who you have relationships with
• Judith Williamson, author of Decoding Advertisements

Symbolic associations

• People buy into the consumer market through various mechanisms of advertising.
• It perceives the idea that the consumer could make a change. An example of this is the CK1 aftershave, makes us believe that we will become like the model in the advert, playing on the needs of the consumer
• Perfume adverts - Sex appeal

How does commodity culture perpetuate false needs?

Novelty

• Advertising makes us think that we need something that is not necessary to live in the world but commodity culture tricks us into thinking that we need it.

Planned obsolescence

• Products are designed to last a few years at the most.
• This is so that the consumer has to go out and buy the same product a couple of years down the line where the product has broken or it has become obsolete.

Aesthetic innovation- the way things look, newer, more modern and sexier

Commodity Fetishism

• Advertising conceals the background 'history' of products

Reification

• this is where a product is given human associations
• Products themselves are perceived as sexy, romantic, cool, sophisticated ect

John Berger Ways of seeing- theorist, interrogates systems of advertising

Societies Views on figures

• Play on the idea of being inadequate
• Mythical goddess replaced, in modern society by glamor models

Positives

• Economy
• Subsidizing the media quality

Negatives

• Stereotyping
• Encourages addictive, obsessive and acquisitive behaviour
• It makes people unhappy with there existing material possessions
• Causes envy and inadequacy
• Seeks to make people unhappy with existing materials
• No morals in advertising

Anti-Advertising

• Subvert the adverts with mechanisms that detract the popularity
• Adbusters Absolut Vodka
• Adverts to attack adverts

Semiotics (Notes)

The social 'science' of understanding meaning. (Meaning constructed through a shared knowledge / language / cultural codes.

'Codes' - found in all forms of cultural practice and RELY on shared knowledge - i.e. red can signify love a rose - romance / love etc.

Ferdinand de Saussure's theory - 1916 – 'Structuralism'.

Bond between the signifier and the signified is arbitrary (random) - people naturally assign meaning.

Charles Sanders Peirce's theory:


3 catergories of signs that Peirce identifies:
- ICON - directly references objects (photos - iconic signs)
- INDEX - (an inferred) direct link between sign and object . (INDEXICALLY) use a sign but no direct link.
- SYMBOL - no logical link between sign and object (pure learned meaning).

Roland Barthes's theory:

Postmodernism

Modernism is associated with:

• Experimentation
• Innovation
• Individualism
• Progress
• Purity
• Originality
• Seriousness

Postmodern condition is characterised by:

• Exhaustion
• Pluralism
• Pessimism
• Disillusionment with the idea of absolute knowledge

Although some overlap:

• Expression of modern life, technology and new materials (Modernity)
• Reaction to modern life, technology, new materials and communication (Postmodernity)

Origins of Postmodernism

• 1917- German writer Rudolph Pannwitz, spoke of 'nihilistic, amoral, postmodern men'
• 1964- Leslie Fielder described a 'Post' culture, which rejected the elitist values of modern culture
• 1960s beginnings
• 1970s established as term (Jencks)
• 1980s recognisable style
• 1980s & 90s dominant theoretical discourse
• Today: Tired & simmering

Uses of the Term "postmodern"

• After modernism
• The historical era following modern
• Contra Modernism
• Equivalent to 'late capitalism' (Jameson)
• Artistic and stylistic eclecticism
• 'global village' phenomena: globalisation of cultures, race, images, capital, products

Charles Jencks- 15 July 1972, 3.32pm 'Modernism dies'

• The demolition of the Pruitt- Igoe development, St Louis

Other building demolished in the 60's and 70's to make way for new ones

Postmodern aesthetics

• Complexity
• Mixing materials and styles
• Re-using images

Las Vegas- Post modern city?

At the end of the 1950's the purest form of Modernism painting was Formalism- theorised by the critic Clement Greenberg

Marshal McLuhan- "Advertising is the greatest artform of the 20th Century"

High art/Low are Divide

• Postmodernism begins to crumble
• Crisis in confidence and also freedom

Neo TV

• TV quiz shows
• 'Reality TV'- Big Brother
• TV shows about TV

Summary

• A vague disputed term
• Attitude of questioning conventions
• Multiplicity of styles and approaches
• Crisis in confidence
• Space for new voices
• Rejection of technological determinism

Portfolio Task 4 (Semiotics)

I have decided to look at the comparison of the texts, which are examples of previous and present logos for the Olympic games. One text is the 1984 Los Angeles Olympic Logo and the other is the up and coming 2012 London Olympics logo. I chose the texts because they are from two different times and have similarities and differences.

Here is an image of three stars and five rings with the text reading ' Games of the XXIIIrd olympiad Los Angeles 1984', which makes up the image of the 1984 Los Angeles Olympic games. The five coloured rings, (blue, black, red, yellow and green) signifying the five continents participating within the games. Each flag of the country participating in the Olympics includes at least one of those colours. This connotes how the countries within the five continents all participate in the games at an equal harmonious fashion. The linking of the rings symbolises the union and meeting of athletes from throughout the world of olympic games.

The main focal point within the image of the three stars layered one on top of each other. The connotes the universal symbol of high aspiration, the horizontal bars portray the speed in which the contestants pursue the excellence. The significance of the colours of the stars connotes the sense of patriotism and the ambition to achieve success.

In comparison to the 1984 logo, is the current London 2012 olympic logo. Here is an image of various pink shapes, which include a yellow outline around the edges of the the shapes. The shapes denote the numerical sequence 2012, signifying the year of the Olympic games, to be held in London. The colour is relevant to the audience as it is aimed towards children of the near future. The whole shape and composition of the logo connotes childish qualities, although aimed at children, it is adults that run the game of which the children sill not be impressed by adults not acting there ages.

Both of texts that I have examined are the identity of the Olympic games but for different periods of time, each very different with similar themes such as the olympic rings and the destination of where the games is being held. The 2012 has received a large amount of criticism from the general public and various design critics as to whether it will stand up to the designs of previous games such as the ones held in 1984 in Los Angeles. Unlike many designs before it the London 2012 logo has moved away from taking a featuring image from the city and incorporating it into the design. Tessa Jowell quoted this about the logo:

"This is not just a marketing logo, but a symbol that will become familiar, instantly recognisable and associated with our Games in so many ways during the next five years."

In a way it is a clever idea in how they want to symbolise the games so that they are instantly recognisable, but looking at the 1984 logo it is clear that this logo was the current logo of the time.

Chandler, D. (2007) ‘Semiotics, The Basics’, Routledge, pg. 153