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BA (Hons) Graphic Design Context of Practice 3 Proposal Form 2013 Name:

Abbas Mushtaq

E-mail:

am90532@students.leeds-art.ac.uk

SUBJECTS OF CONTEXTUAL RESEARCH ALREADY UNDERTAKEN

Level 4:

Alfred Hitchcock: Visual process + Film theory

Level 5:

European + Japanese Modernism post WWII

AIM AND/OR OBJECTIVE OF YOUR PROPOSED C.O.P.3 PROJECT Deep analysis of the Swiss + American modernist graphic design styles developed in the mid 20th century and the effects of technology and globalisation To what extent did cultural and social particularities inform and shape the visual language and reputations of Swiss and American modernist graphic design of the mid-20th century. And in the future of graphic design will distinct regional design styles remain in the face of globalisation? 1. What research needs to be undertaken into the general and specific contexts of your practice? What historical events shaped the culture and changing attitudes towards design in Europe and America? Research into the effect the Second World War and local politics had on the design landscape post WWII in both America and Europe - paying particular attention to the Swiss design movement. How did the International Swiss style develop and what were its intentions, how much influence did it have across Europe, and the world? How did the well-established stereotypes of European and American design and industry come about, how did they come about and do they have substance? -For example German design and functionalism, Swiss reliability and Italian design, American wit. What technological/political/economic + social factors played into and shaped the recognisable Swiss + American style of graphic design Research into the early design education and design schools in Europe + America which inspired the design sensibilities of icons who would shape and represent the design styles How did European, and particularly Swiss design inform American design Analysis of a deep variety of iconic American + Swiss graphic design in aim of compiling unique characteristics, aims, clients etc. which make the work instantly recognisable. Analysis of current work by emerging designers from specific regions and questioning whether regionalised design styles still remain Influence and effects of technology, particularly the computer in terms of design inspiration and collaboration for the modern designer, compared and contrasted to traditional designers in the mid 20th century Articles and intellectual debates written by respectable sources regarding what they consider the future of graphic design to be in terms of visual style.

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BA (Hons) Graphic Design Context of Practice 3 Proposal Form 2013

2. What approaches will you take and what processes, methods, materials and tools are to be involved in the research into your practice? Deep understanding and appreciation for what were the recognisable characteristics of American + Swiss modernism and practical experiments which apply these design sensibilities towards recreating unrelated work in the specific style. Paying specific attention to the process Historical and sociological research into the unique factors playing into the development of distinct design styles of America and the Swiss style of graphic design - in terms of politics, economy, technology, consumerism, capitalism and the changing attitudes and views of the respective countries and in turn the world post WWII. Heuristic process through exhaustive and deep research allowing the research to shape the physical project naturally and organically and vice-versa, through the most logical output, without worrying too much about the dogma and specifics at this early stage of a large research project. Researching and partaking in traditional processes of graphic design to relive and also educate myself on a more analogue method of graphic design, allowing me to have a better connection with modernist designers of the mid 20th century and the differing process and intentions compared to designers of the digital age, of which I am one of. Reflective practice, constantly monitoring and evaluating my research and the findings, letting the research take an organic and intuitive route but also keeping the research and practical experiments focused. Surveys and questionnaires employed towards specific and rationalised demographics focusing on designers of past generations and the current generation. In order to get strong data, with a focus towards designer inspirations, their process, recognition of design styles, opinions on design styles and ‘stereotypes’, globalisation and the future of graphic design in visual terms. Data and quantitative analysis of the countries and regions with the heaviest internet use, which directly relates to the concept of globalisation and the possibility of merging design styles – a change from the design scene before the computer. Observation and analysis of modern moodboards such as Pinterest and take into account the nationality of the members and the widespread nationalities of the work they’re pinning and presumably being inspired by, and comparing this to the inspirations that older generation designers had, which may or may not have produced more regionally recognisable work. 3. What preparation or investigations do you need to undertake for your creative practice to take place?

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BA (Hons) Graphic Design Context of Practice 3 Proposal Form 2013 First and foremost, in-depth primary and secondary research into exactly how, and when the recognisable Swiss style was developed and why and also the American design and advertising scene post WWII and how modernist changed and informed the American landscape Deep understanding and appreciation for what were the recognisable characteristics of American + Swiss modernism and practical experiments which apply these design sensibilities towards recreating unrelated work in the specific style. Paying specific attention to the process. Historical research through reading and observation into both the American and Swiss cultural landscape post WWII and how this fed into the unique characteristics of the design styles developed. Research into the concept of researching itself in order to maximise the research process and the idea of constant synthesis between written and physical research through doing. Find out about existing stereotypes of Europe and America in terms of culture, design and industry, always asking why and how and whether these stereotypes still have foundation. Through personal research and surveys of other people’s opinions and conclusions – opening up more lines of enquiry.

4. What research do you need to undertake regarding who your creativity is for? Surveys into topics and subjects people would like to find out more about and why, then noting down the people who chose a topic close to my research with the aim of narrowing down a target group in terms of age group/profession/needs Research into existing organisations which ask similar questions as I am questioning with my research and whether my written work or physical project would be of interest to them to read, experience and share. For example a magazine such as Creative Review may be a viable target audience to aim towards being featured in as readers interested in mid 20th century modernism, of which there will be many may be interested to discuss the effects of globalisation on distinct design styles and regionalism in graphic design. Analysis of the tone of voice in similar article pieces and debates about technology and its effects on graphic design, research into the target audience for these articles and compare to my intentions and message to convey in order to target the right audience through tone of voice.

Primary Sources of Information 1. Description Location

Application of theory through observation and design experiments College, home + local print workshops

2. Description Location

Surveys + interviews Through internet and face to face conversations + note taking

3. Description Location

Archival documentation + exhibition visits Archival documentation + design work from the modernist period in person

Secondary Sources of Information

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BA (Hons) Graphic Design Context of Practice 3 Proposal Form 2013 1.

Books and journals

2.

Existing essays and dissertations in closely related subject matters

3.

Documentaries

4.

Lectures and presentations from esteemed design individuals which share knowledge of the process and sensibilities of Graphic design in Europe and America in the mid 20th century

5.

Existing pieces of physical work which reference and apply certain design styles allowing me to see what characteristics other researchers have taken away from the design styles

6.

Collection and analysis of work which is influenced by or took place in the modernist period in Europe, particularly Switzerland and America.

Perceived problems or difficulties: Possible problems could be not enough time to analyse and research into two design movements with enough depth in the time frame, spreading research too thing affecting studies into both the Swiss and American design scenes. The reason for picking two though is to have such different yet possibly similar design movements that convey and open up research into specific regionalised design styles and reputations, and how they came about which is what my research is about. Another difficulty may be difficulties in finding a viable debate, or conclusion to the research it could possibly turn out that Swiss and American modernism was actually more similar than I first though and the future of graphic design according to experts and as a result of my own research isn’t interesting or noteworthy, I don’t think this will be the case though Trying to emulate traditional processes of graphic design reproduction as undertaken by design masters such as Muller-Brockman could pose problems as finding the same equipment is rare nowadays and not in widespread use, posing problems and hurdles to overcome when it comes to carrying out graphic design experiments without going near a computer.

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Graphic design cop3 proposal form 2013