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Rebecca Haywood

Production & Consumption First Year, BA Graphic Design UCA 2012


Show and Tell presentation for reading week’s research into artists.

Becky Haywood

Show & Tell

5 Artists in order of personal importance

5

(1973)

Artist and Illustrator working in ink, tea and alcohol •

college of Art in 1992. • His current work primarily uses a combination of calligraphy ink, graphite and liquids, such as tea, brandy, vodka, and whisky. • He says spontaneity and chance is the key to most of his work, he says he can introduce mixture of tea creates a naturally harmonious palette. • His distinctive delicate and expressive style such as Leonardo Da Vinci and Paul Klee, has developed from a twelve-year London-based career as an embroidery designer after leaving art school. He produced elaborate hand drawn embroidery designs for prestigious clients such as HRH the Prince of Wales, The Sultan of Oman, Ralph Lauren, Tom Ford, Asprey, Chanel, Burberry and many of London’s Savile Row tailors.

4

Tom Gauld

(1976)

Illustrator and comic book artist • He says he is not very experimental with his illustration techniques, he favours BicMatics for pencilling and Uniball Eye Micro rollerballs and Pentel Micro Correct whiteout when inking. For any colouring he tends to use marker pens or Photoshop with a Wacom as he is a bit colour-blind; “I can check the CMYK values and be sure I haven’t made something pink instead of green for example”. • He doodles in his sketchbook, scans in the pencil drawings to the computer to play around with the scale and composition, then he prints it off and then traces off that with a lightbox to • Since 2005 he has been illustrating a regular column for the letters page of the Guardian’s Saturday Review. • He has worked for The New Yorker, Coca-Cola, The Guardian, Wired Magazine, Granta, EMI Records, The Walrus, The New York Times and Penguin Books.


3

Norman Foster

(1935)

One of the most innovative architects of our time

• He is the founder and chairman of Foster & Partners, initiated in 1967, it is now a than twenty countries. • He has designed many landmarks such as vision. His style has since evolved into a more sharp-edged modernity. • Since its inception, the practice has received 470 awards and citations for excellence and has won more than 86 international and national competitions. • He has lectured throughout the world and has taught architecture in the united kingdom and the usa. • In 1990 he was granted a Knighthood in the Queen’s Birthday Honours, and in 1999 was honoured with a Life Peerage, becoming Lord Foster of Thames Bank.

2 1

Milton Glaser

(1929)

Icon of american graphic design • Amoung the most celebrated graphic designers in the USA. • Creative and articulate, he is a rare breed of intellectual designers-illustrators, with a depth of understanding and conceptual thinking, using rich visual language and a style that is inventive and individualistic. • Milton Glaser Inc produces a wide range of design disciplines, from corporate identities to product design. • He is a spokesman for ethical practice of design, and has had a major impact on contemporary illustration and design. • He is best known for the I Love New York logo, his “Bob Dylan” poster, the “DC bullet” logo, and the “Brooklyn Brewery” logo. He also cofounded New York Magazine in 1968. • His work has won numerous awards and he is an Honorary Fellow of the Royal Society of Arts. His work is included in the Museum of Modern Art, the Victoria and Albert Museum,

April Greiman

(1948)

Pioneer of the digital age

embrace technology as a design tool. Credited with establishing “New Wave” in the late 70’s ealry 80’s, introducing america to postmodern design. • Interested in altering perceptions of the relationship between two dimensional and three dimensional space using deep space and saturated color. • She embraced the pixelation and other “errors” in digitalisation, changing the concenptual model of art and design. • April countered the objective, rational and masculine tendencies of modernist design with the issue, entitled “Does It Make Sense?,” containing a life size, nude self-portrait, layered with symbols and typography that became an instant industry-benchmark and forced the design world to sit up and take notice of the contributions computers could provide.


Utopia/Dystopia

Our team produced a model depicting a modern dystopia, where looks and intelligence determined your class in society. The more symmetrical your facial features and the higher your IQ, the better life you lived and more privaledges you recieved, which isn’t an entirely abstract concept.


Here we have demonstrated the requirements and benefits of each level, and used magazine clippings to portray the different levels and life style that goes with it.


For those on the top level the society is considered a Utopian lifestyle, however the discrimination and privaledges granted to those deemed more attractive makes it quite the opposite in our eyes.


We built the structure out of carboard boxes filled with magazine clippings and images printed from the internet. We then hung the boxes from the ceiling in height order to emphasise the seperation of the levels and their differences.


SYMMETRY IS BEAUTY

BEAUTY IS SUCCESS

I decided to make the propaganda posters simple and bold to attract attention and deliver the message instantly. After some feedback I altered the symbol so the proportions of the face were more obvious, without making it too complex. I also added a rough paper texture to add to interpretations. Is it dirty and crumpled because it’s a poster from the lower levels or has someone screwed up the poster in rebellion?


Egg/Light bulb box

After experimenting with many shapes and styles of boxes for lightbulbs I decided to go for simple and conservational. By keeping the amount of materials used in the making to a minimum, I wanted to create a stylish and classy design that is also eco-friendly, as opposed to something elaborate and wasteful.


The box is sturdy, simple and fits the lightbulb perfectly due to precise measurements, therefore it is efficient, ergonomical and economical.


I drew out many ideas for logos but instanly decided on the name ‘B Right’, a short and simple play on words. To keep in the ecological theme I decided to minimise the use of ink as well as card, so I have kept the design very simple but classy. I designed a lightbulb using illustrator that would be easy to emboss or deboss into the card rather than printing.


5cm 3cm

x1 15 W 640 lm

Is renihic ipsapient quideribere eos eossimiliam, quo berorro ritaquam ratem et, culparcid quid maioresciam ex eat eatur sequo maximol upisinciam nostet la volupti ommoluptae nitata dolecti rem eum nam, accab iundamus quo tempor autemporecto bla sum et dolor as et ilia quibea cones sum, oditis et ma aut voluptus, sero tem essimusto int maximus ex ex eatur accullibusa eumquae natem apienit odisim quiam ex earchil ma ad quibus dolorem perumendit et, quibus quid ullento resciam quatiis quos aut optae corioritatio opti dis ulparchil illum is magnam rem aturiae nus. Ustempore eum voloressi corem nisciumet vendenda volorit, simusame nusantem alibust quam insequate lab inis sinciam, que veliquodit parumque nonsecusa voluptat.

9cm

3cm

2cm 5cm

1.5cm

x1 15 W 640 lm

Is renihic ipsapient quideribere eos eossimiliam, quo berorro ritaquam ratem et, culparcid quid maioresciam ex eat eatur sequo maximol upisinciam nostet la volupti ommoluptae nitata dolecti rem eum nam, accab iundamus quo tempor autemporecto bla sum et dolor as et ilia quibea cones sum, oditis et ma aut voluptus, sero tem essimusto int maximus ex ex eatur accullibusa eumquae natem apienit odisim quiam ex earchil ma ad quibus dolorem perumendit et, quibus quid ullento resciam quatiis quos aut optae corioritatio opti dis ulparchil illum is magnam rem aturiae nus. Ustempore eum voloressi corem nisciumet vendenda volorit, simusame nusantem alibust quam insequate lab inis sinciam, que veliquodit parumque nonsecusa voluptat.


Calpico/Whisky

Our group chose to make a whisky bottle for women. After researching extensively into Scotch Whisky and Scottish culture I decided to call my brand Mòr, as it means ‘great’ in scottish and also sounds like ‘more’. I wanted to make the bottle vibrant and alluring to women with a classy and quirky twist. As it is traditionally a man’s drink I wanted to encorporate a classic moustache which is also a trend that had been circulating the fashion industry these past few months, hoping to make it fashionable for women to drink it.


I played around with several colours and style and eventually decided on this one, using bright gold and orange behind bold black. The bright colours could be enfused into the glass also making them collectable and exclusive.


Magazine Recover

I believe that if something isn’t broken, don’t try to fix it, so while many other students picked popular magazines that already has well paid designers working on them, I decided to find the ugliest magazine I could find that clearly hadn’t invested a lot of money in their front cover. This happened to be ‘Crafty Carpers’ a magazine for fishermen. While I understand that fishermen may not necessarily be interested in design, by making a cover that is vibrant and eyecatching more people may be inclined to pick up the magazine and be intrigued by its contents. It could boost sales of the magazine and get more people interested in the hobby.


Due to the nature of the materials I used it was difficult to photograph or scan, but by using a reflective silver foil against the bright blues many collegues agreed it was a vast improvement and would be more inclined to buy this magazine if it had my design on the front, and while it was very different to the original people still recognised it as a fishing magazine.


Shit happens, and then you move on.

I knew everything was wrong long before then. N othing was ever right. Nonetheless I tried my best to make the right move, dress the right way, say t he right thing, be the right person for him. He ign ored me amongst the crowd, so instead of perform ing the usual chase I stayed away. I drank, danced and laughed without him. He then wanted my atte ntion, but I was bored of playing games. I went outside, away from the noise and the heat.H e followed me. I knew it was inevitable but I didn’t want then and there to be the time and the place. I tried to walk a way, but he grabbed my arm. It hurt. He wouldn’t let go so I shouted, he shouted back. I didn’t want this anymore and neither did he. It end ed then and there. I didn’t want to cry; it felt wrong. I held everything in until he was out of sight. I needed a shoulder, but the wrong one appeared. I cried as the wrong shoulder held me. He saw, he assumed wrong for the second time and he never let it go…

Belly Button Fluff (better known as Naval Gazing)

For Vaughan Olivers brief I decided to use something very personal. Over the years I have collected several tickets from events I have been to, some of which act like a mental diary, reminding me of things that have happened in the past. Four particular tickets include a college party, a trip to the cinema, a concert to see my favourite band, and a flight to Paris. These four tickets mark the most influential events of my love life, so I decided to attempt some creative writing to tell the story.


Shit happens, and then you move on.

I needed time with friends but the wrong shoulder came too. We talked as we waited at bus stops. He kept pulling me onto his lap, putting his arms arou nd me, pressing his face into my hair. Eyes were ju dging me. We laughed and joked, it was casual; I refused to gi ve the wrong shoulder the wrong impression. I nee ded my friends, not the wrong hand, attached to th e wrong arm, connected to the wrong shoulder, try ing to intertwine his fingers with mine on the way home. He walked me to my house from the bus sto p, stopping before my driveway. He leaned in and pressed his lips to mine, pushing them apart with his tongue. The ball of cold, hard s teel moved around my mouth, hitting my teeth. It was all wrong, too soon and the wrong shoulder.


Shit happens, and then you move on.

The right shoulder finally came and fixed me. I no l onger had to try desperately to be loved by someon e who didn’t even bother to know me. I no longer had to pretend, and everything became easy.

I was me, being loved by him, being l oved by me. As the song ‘Body in a box’ began, I felt warm tear s roll down my cheek. I had cried to this song so m any times before, but for the first time it was becau se I was happy.

Really, truly happy. No more pretend..


Shit happens, and then you move on.

never

I had been abroad alone before, as an over thinker I contemplated every little detail that could p ossibly go wrong, but when he

held my hand it all went away. Wh

en he held my hand I was

strong

there was no more pain, panic or confusion.

er, It was

then I knew I never wanted that hand to let go. I knew I wanted that hand

forever.

I used a macro lense to take highly detailed pictures of different textures and aspects then make an abstract collage of each ticket. For the typography I took inspriation from ‘The Floating World: Ukiyo-e’ By John Warwicker, playing around with layering and positioning of the text, emphasising particular words.


OCD Test Part A: Circle all numbers where your answer is ‘Yes’ 1. Do you have concerns with contamination or getting a serious illness? 2. Are you over concerned with keeping objects in a perfect order or arranged exactly? 3. Do you have mental images of death or other horrible events? 4. Do you have personally unacceptable religious or sexual thoughts? 5. Do you worry about fire, burglary, or flooding in the house? 6. Do you worry about accidentally hitting a pedestrian with your car or letting it roll down the hill? 7. Do you worry about spreading an illness? 8. Do you worry about losing something valuable? 9. Do you worry about harm coming to a loved one because you weren’t careful enough? 10. Are you concerned about physically harming a loved one, pushing a stranger in front of a bus, steering your car into oncoming traffic, inappropriate sexual contact, or poisoning a dinner guest? 11. Do you perform excessive or ritualized washing, cleaning or grooming rituals? 12. Do you check light switches, taps, the oven, door locks, or your car’s handbrake? 13. Do you perform counting; arranging; ‘evening up’ behaviors? 14. Do you collect useless objects or inspect the rubbish before it’s thrown out? 15. Do you repeat routine actions a certain number of times, or until it feels ‘just right’? 16. Do you need to touch objects or people? 17. Do you unnecessarily re-read or re-write letters, or re-open envelopes before you send them? 18. Do you constantly examine your body for signs of illness? 19. Do you avoid certain colors, numbers, or names that are associated with dreaded events or unpleasant thoughts? 20. Do you feel a need to “confess” or repeatedly ask for reassurance that you said or did something correctly? Part B: Tick the boxes that apply 1. On average, how much time each day is occupied by the thoughts or behaviors you’ve just answered about? o None o Mild (less than an hour) o Moderate (1-3 hours) o Severe (3-8 hours) o Extreme (more than 8 hours) 2. How much distress do they cause you? o None o Mild o Moderate o Severe o Extreme 3. How hard is it for you to control them? o I have complete control o I have a lot of control over them o I have moderate control over them o I have little control over them o I have no control over them 4. How much do they cause you to avoid doing anything, going anywhere or being with anyone? o No avoidance o Occasional avoidance o Moderate avoidance o Frequent and extensive avoidance o Extreme avoidance (house bound) 5. How much do they interfere with your school, work or your social or family life? o None o Slight interference o Some interference o A lot of interference o Extreme interference Part C: Tick the box/boxes that apply From the questions you have answered, which traits of OCD can you relate the most to? o Checking o Hoarding o Ordering o Morality o Sexual/Religious o Contamination o Harming o Illness o Other If more than one applies, number them 1-9, 1 being the most prominent.

Behaviour

For my behaviourI decided to research into Obsessive Compulsive Disorders, it’s traits, the severity of anxiety is causes, and the tests that are taken to determine it. As a perfectionist I discovered I have a lot of traits of Obsessive Complusive Behaviour, but only suffer from a mild amount of anxiety with it. I then wanted to see if it could be associated with designers, so I printed off this test by Dr Wayne goodman for my collegues to try.


Severity

Checking Hoarding Ordering Morality Sexual/Religious Contamination Harming Illness Other

Number of Traits (Hypothetical graph that doesn’t depict any real results)

20 18 16

Severity

14 12

10 8 6 4 2 0

0

5

10

15

Number of Traits

20

I tried many styles of graphs in illustrator that could portray the results from the test and settled on making a scatter graph for Part A and B of the test, and a pie chart for Part C


I looked up tutorial on Illustrator to make the graphs more interesting and appealing, and while I learnt some valuable computer skills in the process I decided in the end to keep the graphs simple and bold.


Morality

Checking Hoarding Contamination

11%

7%

14%

43%

25% Ordering

I decided to use the colours of CMYK for the piechart as they are vibrant and eye catching as well as relevant to graphic designers.


I decided to create a poster that displays my own obsession with space, colour and symmetry, as well as the results of tests on other graphic designers in an interesting way. I also want to emphasise that there is nothing wrong with having traits of OCD and that it doesn’t make you crazy, it makes you human.


OFTEN DESIGNERS ARE SEEN AS OBSESSIVE PERFECTIONISTS

BUT

HOW

CRAZYARE

GRAPHIC?

DESIGNERS A number of graphic designers took an

20

OCD TEST

18 16

Severity

14

7% Morality

12

10 8 6

43% Checking

4 2 0

0

5

10

15

Number of Traits

20

11% Hoarding 14% Contamination 25% Ordering The results show that every designer admitted to having some level of OBSESSIVE COMPULSIVE BEHAVIOUR CONCLUSION? YOU DON始T HAVE TO BE CRAZY TO BE A DESIGNER

BUT IT HELPS


Production & Consumption