Design Practitioner Analysis 2017

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DAVID CARSON MAX HUBER DEBBIE MILLMAN PAUL RAND JAMIE REID IKKO TANAKA

PRACTITIONER ANALYSIS - 2017

CONTENTS David Carson

by Emma Sanders Page 3-4

Debbie Millman

by Chrystal Tan Page 7-8

Max Huber

by Katie Chubb Page 5-6

Paul Rand

by Carmela Pica Page 9-10

Jamie Reid

by Damien Barden Page 11-12

Ikko Tanaka

by Louise Baskerville Page 13-14

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DAVID CARSON ANALYSIS BY EMMA SANDERS David Carson is known for his experimental design style. He’s considered the father of Grunge. His unconventional style has garnered both praise and criticism as he has challenged the Modernist notion of ‘Form Follows Function’.

Carson began his design career later in life. Carson grew up in Southern California, which he later said, contributed to his laid back attitude and open-minded approach to design (designboom, architecture & design magazine, 2014). The SoCAL native graduate from the University of San Diego with a BA in Sociology. He grew up embedded in the California Surf Culture during the 80s - a Pro Surfer, he was ranked 8th in the world in 1989.

Carson went on to study Graphic Design in Oregon College of Commercial Art, where he then attended a 3 week workshop in Switzerland as part of his degree. Through his experience, Carson was introduced to the experimental swiss designer Hans Rudolf Lutz, who Carson cites as inspiration for the development of his own experimental style (design boom, architecture & design magazine, 2014).

SURFportigal Magazine (2012)

graphic designer david carson, 2014).

Carson isn’t the kind to follow rules just because they’re ‘rules’. It’s clear however, through Carson’s work and his workshops he’s held on design, that design principles do factor into his design choices. On his design process, Carson commented that, “I usually work on numerous ideas at once for the same topic or project, getting progressively more experimental as I go along. Then I go back and fine tune the ones that feel the most effective” (designboom, architecture & design magazine, 2014). Carson’s ability to take risks and to push boundaries, allows him to come to unconventional and uniquely personal design solutions.

His work is often chaotic and controversial through his use of overlapping and unconventional alignment with both text and imagery. Carson is famously quoted for saying,

‘Don’t mistake legibility for communication’.

In 1989 Carson began work as Creative Director for Beach Culture magazine, which prompted interest into the designer for his unique style. In 1992, he went on to become Creative Director of Ray Gun magazine, for which he ended up producing some of his most famous works.

A concept that clearly runs throughout his portfolio of work. Instead Carson’s work seems to communicate more like art, prioritizing the emotional effects of communication above all else. It’s a way to help communication through emotional response of the viewer… before they read something, Graphic Design allows them to have some emotional reaction or some reaction… that they might not normally get.”

(David Carson - A Designer’s Story, 2012).

In 1994, Carson notoriously designed an article for Ray Gun magazine, using Zapf Dingbat font, making the whole article illegible.

In an interview in 2014, Carson commented on his peculiar choice of font saying, “I’m sure I chuckled a bit, then thought, well, why not?

It was a really boring article.” (interview with

David Carson’s philosophy is influential as well as intuitive. He isn’t afraid to be messy or abrasive, and he certainly doesn’t compromise his message because of ‘rules’. If anything is to be learned from Carson, it’s that personal experiences and individuality is key for originality. When

the audience and the message become the foxus of a work, the form might become chaotic, unconventional or controversial, but Carson would probably say, if it helps you communicate more effectively, then

“Why not?” (inter view with graphic david carson, 2014).

designer

C OPYRIGHT Copyright Laws protect creative work and the individuals that created them. Copyright of Creative Practice protects a broad range of creative works. Copyrights cover creative works including novels, video games, paintings, architectural designs and graphic designs. There is no legal process necessary to establish copyright protection. Original works that have existed in the public sphere for even a brief period of time are protected under Copyright Law. Generally, a copyright protects the work for the lifetime of the author plus 70 years after their death. However, this length of time varies depending on the type of work produced and will also vary based on country. In the United States works produced before 1923 are considered to be in the ‘Public Domain’ and are free to be used by the general public.

The copyright owner has several rights to their work including Reproduction right, or the right to copy the work, Distribution right, Rental or lending right, and the Right to communicate the work to the public through broadcasting or other forms of electronic communication. These rights are exclusive to the copyright owner, and may only be performed by someone else with the owner’s permission.

this practitioner analysis on David Carson.

The Copyright Law of Creative Practice in the UK provides the following fair dealing exceptions, which make the use of David Carson’s designs in thie eBook possible: Criticism and Review, Quotation, Pastiche and Educational purposes. Works that have been published may be used for criticsm and review when a short description or the author’s name and title of the work accompanies the piece. This is known as ‘sufficient acknowledgement’ (Society, 2017).

Quotes are also permissible to be used under fair dealing. A limited or short quote may be used on a book cover or other material, but the quote should also be accompanied by sufficient acknowledgement (Society, 2017).

Little White Lies Cover (2011)

A pastiche allows for a combination of works to be used. “Pastiche can include an artistic work consisting of a combination or selection of other works” (Society, 2017).

This allows for the designing of a page that imitates the style of the designer and uses several images in conjunction. This exception to the UK law was added in 2014, and is not clearly defined. In general it allows for a designer or artist to use work that is not their own, if the intention is to imitate or pay homage to the original author.

The law also permits the use of Copyrighted material for educational uses including instruction and examination. This exception no longer applies if the student or teacher produced work is later published, or used in commercial application.

Beach Culture Cover (1990)

A copyright may be infrindged when someone reproduces the work of an artist without permission from the author or by failing to copmly with copyright exceptions.

In certain cases it is permissible to use artist’s works in design; as is the case in

David Carson (nd)

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MAX HUBER ANALYSIS BY KATIE CHUBB

Max Huber was born in Switzerland in 1919 and became part of a group of highly influential designers during the Avant Garde period and beyond. His work within the 20th century consisted of colourful and eyecatching designs which followed the iconic Swiss Design principles or International Typographic Style. His use of grids and layered images combined with typography make Huber’s work visually unique.

Huber attended the Zurich School of Arts and Crafts where he met his most influential teachers Ernst Gubler, Gottlieb Wehrli, Heinri MŸller, Walter Roshardt, Otto Weber and Alfred Willimann. It was here he developed his styles and approach to design whilst his teachers encouraged him to consider the Bauhaus styles and work of other designers such as Jan Tschichold and other constructivist styles. Huber had a passion for experimentation and typography, he worked with the values of the typographic grid system on which he based much of his work.

DESIGN CAREER Huber’s career truly began when he went to Milan in December 1940, it was here he met Antonio Boggeri who was captured by the Huber’s calling card. He had created it with hand lettering and Boggeri admired the style layout and attention to detail with the kerning of the lettering. He decided to hire him and it was from here Huber found himself free to experiment with a range of techniques and processes to achieve his designs.

Unfortunately, however he was forced back to Switzerland in 1941 where he returns to begin a collaborative magazine called ‘Du’ It is here he associates with other influential practitioners such as Max Bill.

5 Huber (1936)

He joined a group called Allianz in 1942 which Bill led and here Huber worked alongside more influential designers. He was however very keen to return to Milan after his experience there and emigrated, he strongly believed that the war had disordered man and aimed to achieve some form of restoration to humanity through his work and designs.

“Huber aimed to acheive a form of restoration to humanity through his creative work after the war” It’s from here we see his most iconic works produced which include his designs for jazz records and music magazines. In 1948 we see him design the Autodromo Nazionale di Monza poster for the Gran Prix and designed the brand identity for a large supermarket chain called La Rinascente. In 1958 he was a speaker at the very first International Seminar on Typography, Huber also had an exhibition of his work hosted at the Matsuya Design Gallery in 1965, overall he was well known for his typographic grid, experimental techniques and unique aesthetic styles.

As a developing designer, I have long been inspired by the Swiss Design styles, Huber for me combines beautiful visual compositions with a burst of colour. He influences my approach to design and his enthusiasm is present throughout his career, he remained motivated and determined to pursue his creative passion and communicate the beauty of design to the world. Huber seemed to master the visual composition in design with every piece and as a typography enthusiast I find myself continuously reflecting on the style of Huber and learning more about his approach and development.

C OPYRIGHT AIGA which is the professional association for design defines copyright as “the exclusive right to control reproduction and commercial exploitation of your creative work” It protects a range of artwork which includes creations within graphic design, illustration and photography. With certain exceptions which we will look at later, any designer owns the copyright to creations that have a “fixed form of expression”.

This can include expressions in paintings, sculptures, writing and modern-day forms that are digitally generated such as websites. Copyright does not however cover concepts, ideas and styles.

When it comes to working within the creative industry, it is important to establish how copyright applies to the work produced for clients as well as personal developments, AIGA states that performing creative services with a client means that the client is paying for rights to use your work under your copyright. Contracts are usually drawn up to ensure that cover the designer against reproduction, display and making adaptions based on the work produced.

“Copyright does not however cover concepts, ideas and styles” Clients can however obtain the copyright to the work they produce which allows them to use the work produced as often as required, an example of this can include an image created for a book cover that will be mass produced without further compensation to the designer. We often see licences within design work such as commercial and personal use, this can limit the user to one time only use or they buy a full commercial license to allow reproduction of the work. Many however endeavour to retain the copyright which can then allow them to create similar works for other clients. Creating one piece of work for one client and handing over the copyright and then creating a similar piece

for another client will infringe the copyright of the original client.

SO, WHAT IS COPYRIGHT INFRINGMENT? According to AIGA and gov.uk this happens when someone makes a copy or exploits that work without the owner’s permission. It’s important to note that the work doesn’t have to be identical just “substantially similar” in order for it to infringe copyright. This brings in copyright law details to distinguish between artistic expression of works that are similar, the term “artistic expression” relates to the specific artistic choices of the work which includes composition, rendering and colours. Copyright in the creative industry can become complicated for those with similar styles and approaches to illustrations and graphic design work. Photography has long been a difficult area of copyright and with the developments in everyone being online, we now see many people freely taking photos to use as part of their site without paying for them. Copyright is there to prevent this as well as distributing it or selling it, making adaption and putting it on the internet for personal use. In the UK, there isn’t a need to register for copyright you are automatically protected when creating artwork, musical work, illustration and photography. You can mark work with the copyright symbol (©) along with the year of creation and company name.

(AIGI.org (2017), gov.uk (2017), thedesigntrust.co.uk (2017)

Gran premio dell’Autodromo Monza (1948)

Jazztime Music Magazine Cover (1947)

6 Max Huber (1946)

DEBBIE MILLMAN ANALYSIS BY CHRYSTAL TAN

Debbie Millman is best known as the host of Design Matters. Founded by her, it is the first and longest running design podcast. In the past eleven years, she has interviewed nearly 300 design luminaries and cultural commentators in this podcast including Massimo Vignelli, Milton Glaser, Malcolm Gladwell, Dan Pink, Barbara Kruger, Seth Godin and more. Author of six books, Millman’s latest publication is her visual essays titled “Self-portrait As Your Traitor”.

The writings itself are illustrated and Paul Scher described it as Millman’s invention of a 21st century illuminated manuscript (Millman. com, 2013). An educator at heart, Millman co-founded the world’s first graduate program in branding at School of Visual Arts in New York City with Steven Heller.

Millman’s skillset as a brand strategist is evidenced through her time as President of the design division at Sterling Brands. Her projects included redesigns for Burger King, merchandising for Star Wars; she worked with over 200 of the world’s largest brands.

Lastly, she is the President Emeritus of AIGA. Her design style involve visual storytelling through lettering and typography. Her recent projects included the use of felt lettering with tight leading, kerning and tracking to demonstrate the rigidity of the expression. Importantly, her hands-on projects seek to encode visual messages to viewers. Sometimes they provoke thought and other times, intended to cause prolonged study. She is unafraid to speak her innermost thoughts and expresses them through poems. As an educator, she shares her processes openly and systematically through classes such as “A Brand Called You” at CreativeLive and “The Art of the Story: Creating Visual Narratives” through

Millman (2017)

Skillshare. Professionally, she teaches at design classes, design conferences and workshops. She is open about her political opinions and current affairs but contains them to her personal social media posts. Her podcast closing motto represents her lifework succinctly (debbiemillman.com, 2017):

“And remember, we can talk about making a difference, we can make a difference or we can do both” My personal interest is to learn the processes of other creative practitioners in the industry.

Having lived in three different continents, I am keen to learn about historical and social influences of this discipline. Millman’s design podcast was the first gateway I stumbled on that introduced and catalogued a multitude of practitioners. Her interview and research process of the designers interviewed are thorough. The passion and curiosity to learn about other designers’ lifework and experiences is unparalleled.

This is evidenced through the podcast sessions and they are an endless inspiration to further my learning. Being able to combine the aesthetics and philosophies for the purpose of effective storytelling is what I admire most about her work. Her genuine confidence coupled with honest humility about her personal shortcomings is refreshing to witness and hear. Millman’s definition of Visual Storytelling, “The art of using language and images to convey a narrative account of real or imagined events” is evident in her passionate pursuits through her personal and client projects (debbiemillman.com, 2017).

COPYRIGHT According to the Design and Artists

protected but the permanent expression of them are. Copyright protection is automatic when the works is materialised in form. The copyright symbol © with the name and year of publication somewhere on the work aids in awareness of an artist’s claim to copyright ownership. Importantly, artists are adviced to keep records and evidence of their created works by posting a copy to themselves by special delivery with a clear date stamped. It is vital to keep this envelope unopened. Alternatively depositing copies with a solicitor.

Copyright Society, Copyright “ is a form of intellectual property that allows individuals such as artists, composers and writers to own the fruits of their creativity” (dacs.org. uk, 2017). This involves the entitlement of royalties and a right to how their work is implemented when it is copied, printed or included in a film or television programme.

This is not limited to the copyright owner’s work being posted on the internet, copied into a three dimensional work. Copyright protection is depended upon national It is never advisable to legislation. Artworks copyright include paintings, graphic works, photographs, waive moral rights in a sculptures, collages, architecture works and written document as the artistic craftsmanship works. The copyright right to be identified as lasts the artist’s lifetime plus 70 years after work author is waivered. their death. Audio-visual broadcasts lasts 50 years from the date of broadcast. Films The good practices are not proof of are 70 years following the death of the last ownership but helpful for defending of the principal director, screenplay author, copyright infringement claims. Copyright dialogue author or the original music owners may be granted civil remedies from composer commissioned. Typographical successful proceedings claims. These include arrangement of published editions are an award of damages, or an injunction 25 years from the year end of the first towards the infringer to stop reproduction published edition. A copyright owner bears immediately. Court actions are costly and the Reproduction right to copy the work. time consuming. Resolving matters by Distribution right means they can issue agreeing an adequate settlement with the copies of their work to the public. They bear infringer is another solution. Specialist legal the right to Rent or Lent the work; broadcast advice is sensible before pursuing a claim. or transmit their work electronically under (source: copyrightservice.co.uk, gov.co.uk, the right to communicate. dacs.org.uk, 2017)

Print Mag (2013)

Self-Portrait As Your Traitor (2013)

Since the UK Copyright, Designs and Patents Act 1988, moral rights include the Paternity Right, for the artist to be identified when their work is reproduced.

The Right of Integrity allows the artists to object to derogatory treatment of their work. False Attribution allows the right to not be identified as the creator of a work created by someone else. This right lasts for the artist’s lifetime plus 20 years.

The Right of Privacy protects the right of someone who has privately commissioned a photograph or film not to have copies of the work reproduced. This right lasts for the duration of the copyright of the resulting photograph or film. Ideas are not

8 adcglobal (2016)

PAUL RAND ANALYSIS BY CARMELA PICA

PAUL RAND (BORN PERETZ ROSENBAUM, AUGUST 15, 1914 – NOVEMBER 26, 1996) was a well-known American graphic designer, best known for his corporate logo designs. Rand was educated at the Pratt Institute (1929-1932), the Parsons School of Design (1932-1933), and the Art Students League (1933-1934). He was one of the originators of the Swiss Style of graphic design. From 1956 to 1969, and beginning again in 1974, Rand taught design at Yale University in New Haven, Connecticut.

Rand was inducted into the New York Art Directors Club Hall of Fame in 1972. He designed many posters and corporate identities, including the logos for IBM, UPS and ABC. Rand died of cancer in 1996.

page design was the initial source of his reputation. In 1936, Rand was given the job of setting the page layout for an Apparel Arts magazine anniversary issue but after few years he took the job as art director for the Esquire-Coronet magazines.

Rand’s father did not believe art could provide his son with a sufficient livelihood, and so he required Paul to attend Manhattan’s Harren High School while taking night classes at the Pratt Institute, though “neither of these schools offered Rand much stimulation.” Despite studying at Pratt and other institutions in the New York area (including Parsons School of Design and the Art Students League), Rand was by-and-large self-taught as a designer, learning about the works of Cassandre and Moholy-Nagy from European magazines.

“Rand’s new persona, which served as the brand name for his many accomplishments, was the first corporate identity he created, and it may also eventually prove to be the most enduring.”

His early work was largely influenced by the German advertising style Sachplakat (ornamental poster) as well as the works of Gustav Jensen.

In his early twenties he was producing work that began to garner international acclaim, notably his designs on the covers of Direction magazine, which Rand produced for no fee in exchange for full artistic freedom. Although Rand was most famous for the corporate logos he created in the 1950s and 1960s, his early work in I Know A Lot of Things Book Cover

When starting his career Paul Rand decided to camouflage (and abbreviate) the overtly Jewish identity telegraphed by ‘Peretz Rosenbaum,’ shortening his forename to ‘Paul’ and took his Rand from an Uncle as a surname.

Peter Behrens notes the impor tance of this new title:

Indisputably, Rand’s most widely known contribution to graphic design are his corporate identities, many of which are still in use. IBM, ABC, Cummins Engine, Westinghouse, and UPS, among many others, owe their graphical heritage to him.

Paul Rand is the greatest symbol design of his era. His work reflect the mid to late 20th century, characterised by Simplicity, Neutrality, Clarity.

Rand added a blend of playfulness to his illustrations that made his work unique.

C OPYRIGHT is a form of intellectual property that allows individuals such as artists, composers and writers to own the fruits of their creativity. If a person or organization holds the copyright on a piece of writing, music, art, ect... They are the only people who have the legal rights to publish, broadcast or perform it.

Other people must ask their permission to use it or any part of it.

In accordance to federal law, a creator gets the copyright automatically when a work comes into being, whether or not the copyright is wanted or needed. The only conditions are the work must be something that can be properly copyrighted, and the work must exist in a fixed form. These rights stay with the artist even if the original artwork doesn’t. Federal registration with the Copyright Office of the Library of Congress is a matter of registering the copyright you already own with the federal government. Registration gives you added protection against infringement or other abuses of your copyright.

There are some exceptions when under certain circumstances, a particular use will be permitted by law and copyright won’t be infringed. As such, the exceptions should not interfere with the creator’s own interests in the artistic work and how they want to use it. In these cases sufficient acknowledge must be provided.

These exception, labelled dealing’ in UK are:

as

•

•

• •

different styles deliberately copied from other artists You can use other people’s work for you research and private studies for non commercial use as long the work is not distributed to other people Library, archives and museums can use these exceptions to preserve artistic works in their permanent collections, as long it is no available for public loan Some organizations allow teachers to make copies of artistic works in books, journals and broadcasts for teaching purposes.

Research organizations are allowed to make copies of artistic works to analyse them when the research is not for commercial use.

IBM Logo (flickr.com, 2017)

Copyright protection is automatically given to works as soon as they are fixed in material form (ideas are not protected, only the permanent expression of those ideas). You do not have to go through any legal process or registration to establish copyright although it is good practice to keep records and evidence of the artistic works you have created.

Copyright is infringed when someone carries out one of the copyright owner’s exclusive rights without their permission, and an exception to copyright does not apply.

If you own the copyright, you are entitled to bring proceedings against the infringer for copyright infringement. The copyright last for the duration of the artist life plus seventy years after his/her death.

‘Fair

DIrection Magazine (1940)

• When the work is reproduced for the purpose of criticism and review • It is permitted to quote a limited amount of work that is already publicly available ( this mostly applies to music and literature) • An artistic work can be reproduced for the specific purpose of reporting an event of natural or political importance • Parody: A piece of writing, musing, acting, etc... that deliberately copies the style of something or somebody in order to be amusing • Caricature: Which is a form of art of drawing or writing in an exaggerating some characteristic • Pastiche: A work of art or piece of writing that consists of variety of

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Paul Rand adcglobal (2016)

JAMIE REID ANALYSIS BY DAMIEN BARDEN Jamie Reid was born in 1947 in London, England. He was raised in a politically active environment and studied art in Croydon College in London, this is where he met fellow classmate Malcolm McLaren who went on to manage the punk band the Sex Pistols. Whilst studying at Croydon College he became involved in the student movement of 68 where he organized an occupation of the college. After leaving college in 1970 he co-founded the Suburban Press which helped him to develop his unique style of cut up graphics and slogans.

In 1976 he left the Suburban Press and moved back to London where he joined up with his friend Malcolm McLaren to design artworks for the Sex Pistols first studio album, Never Mind the Bollocks, Here’s the Sex pistols. He also made other pieces of art for the band that went on to become defining symbols of the punk subculture.

In 1978, after the punk scene had starting to go into decline, Reid turned his attention to more politically inspired art working with various artists to protest against nuclear weapons, racism and a fas criminal justice system.

In more recent times Reid has collaborated with street art legend Shepard Fairey to produce powerful contemporary political images which focus on climate change and the banking crisis. (Anon, 2017) Jamie Reid’s current services include clothing lines, work for the National Theatre and his own exhibition called the Ragged Kingdom. How work at this stage of his career takes on a more political view however as with his work with the Sex Pistols it is still very anti establishment.

11 God Save the Queen (2017)

Reid originally had a very unique style which would involve cutting up graphics and other elements of magazines and then joining them to form collages. By using this technique it gave his art a look of a ransom note. These techniques were implemented into his work which created a revolutionary and unique style which not only served the narrative of the punk subculture in his early career but also helped to convey his political views after the print era had ended.

I was introduced quite early to Jamie Reid through the artworks that were done for the Sex Pistol album covers but at that stage of my life I was more interested in the music than the artwork. As I began to work in fashion I started to notice how brands I was working with had been using prints that were heavily influenced by the punk sub culture and in particular by the works of Jamie Reid. As I become more aware of Reid’s work I began to find myself being influenced by his work and some of the techniques he used. The main reason I was drawn to his work and influenced by it as I don’t see myself as a natural designer or Illustrator, I’ve been more trained in graphic design through my work rather than having a natural gift.

I find myself drawn to techniques and styles that are more anti-establishment and use techniques which are not considered mainstream and that is why I am such a fan of Reid.

C OPYRIGHT When the work of a designer or artist has been physically created it becomes property of the maker. After this point the work can no longer be copied or used without the permission of artist. The length of the copyright lasts as long as the artist is alive plus 70 years after the artist or owners death. The copyright laws in creative practice do not just relate to works of art, it also transcends to music, architecture, furniture and car design so as a designer I need to be careful on what images I select in my creative practice.

There are exceptions that apply to copyright in creative practice under the condition of ‘fair dealing, in order to qualify for these exceptions the use of the work must be used for specific purposes, including: Criticism and Review - If the artwork is in the public domain it can be used for the purposes of criticism and review as long as it is referenced correctly.

Quotation - A quote that is in the public domain can be used in a limited amount but must be referenced / acknowledged accordingly.

Educational uses for Instruction and Examination - Educational establishments have licensing agreements with licensing agents which allow them to make copies and use artistic works to teach their students.

The exception comes in when a teacher uses art works in a hand out or when being used in an exam. (Society, 2017) In my own creative practice I use works of art and design for research purposes and therefore have to make sure I reference them accordingly using the Harvard reference system. For my own assessments and creative work I do not use any other artists work unless I have paid for the use of an image through websites such as shutter stock although I look to avoid this to be original in my work. If I was wanting to create my own copyright on my work I would not need to go through any official process to establish legitimate copyright.

However, it is essential that I keep records of my development and design work which could be used as evidence if I did seek to take action against anyone copying my work. To warn people off copying my work I could add the copyright symbol, which although does not prove I own the work it, it could be helpful if I wished to take action against any of those who intended to replicate my work.

Fuck Forever (2017)

Folk the Banks(2017)

Reporting Current Events - Works may be used to report on current national and political events, referencing the owner of the work is required however photographs do not apply in this exception.

Research and Private Study for NonCommercial Research - Copies of works can be made in very limited circumstances.

The artist must be referenced accordingly.

Preservation or Replacement Copies - This exception can be used by libraries, archives and museums in which they can conserve or copy a part of a work that is in their collection as long as it is not available for loan.

12 Jamie Reid (2017)

IKKO TANAKA ANALYSIS BY LOUISE BASKERVILLE

Born in 1931 in Nara Prefecture, one of the oldest regions of Japan, Tanaka was surrounded by ancient temples and architecture from an early age. His formal education began studying textiles in Kyoto, another city long associated with ancient traditions, and in 1950 he graduated from the Kyoto City School of Fine Arts. During these years of study, he immersed himself in Japanese culture, particularly that of theatre and arts, absorbing the drama, colours and stories portrayed in both Noh and Kabuki performances and familiarising himself with Hokusai’s 19th century wood block prints.

and Kenzo Takada. In 1980, he became the Artist Director for the Japanese retailer, Muji.

Performing this role until 2001, Tanaka is credited with articulating Muji’s vision. Whilst his poster design for the company varies over the course of two decades, from simple line drawings to minimalist photography, the overall look and feel of simplistic and functional design remains constant.

Moving to Osaka in 1952, he began his professional career with the Sankei Shimbun Press. Originally contracted to perform clerical work, he was soon transferred to the Sankai Department of Graphic Design, after gaining a positive reputation by displaying his posters throughout the building.

“His work is completely modern yet deeply influenced by Japanese culture. He was a master of the fine art of Japanese calligraphy and an expert with Western Typography, which made him unique among his colleagues”.

(Paul Davis)

Relocating to Tokyo in 1960, Tanaka joined the Nippon Design Centre. The same year, the World Design Conference was held in Tokyo, featuring among others, Saul Bass, Josef Müller-Brokmann, Oti Aicher and Herbert Bayer (Roberts, C., 2015). Three years later, after a trip to New York and finding inspiration in the modernist influence on Japanese Design, he established the Tanaka Design Atelier, which would later be known as Ikko Tanaka Design School.

The 1960’s heralded the start of hugely successful working relationships with both cultural organisations and commercial retailers. Tanaka collaborated with clients as varied as the Olympic Games and the National Theatre for the Performing Arts, to fashion designers such as Issey Miyake

Ikko Tanaka’s ‘Japan’ (1986) THE NATIONAL MUSEUM OF ART, OSAKA Millman (2017)

Tanaka’s work during the 1960’s and 1970’s established, and then cemented his name as expert on Japanese design, both traditional and modern:

As I continue to undertake my studies an important source of inspiration comes from designers who have seamlessly connected traditional and modern design; those who can connect the two together so successfully it creates a completely new aesthetic. I admire Tanaka’s ability to fuse the gap between fine art and commercial design. His posters while abstract, were instantly recognisable and relatable. He skilfully mastered the use of negative space, was not afraid to use bold, block shapes of colour or straightforward, simplistic line drawing. He excluded trivial details from his designs, by doing so creating clean, clear and powerful work, ultimately creating a brand identity so unique and successful it is still very much evident today.

His own background and his cultural experiences played a pivotal role in shaping who he was a designer. Having lived in both the UK and Singapore I hope to use my experiences of two very different cultures and landscapes to influence and inspire my own practice.

There are many types of work covered by copyright, such as musical recordings or films. In relation to graphic design, works such as drawings, paintings, photography, typographical arrangements in magazines are all examples of material whereby copyright exists. It exists to protect the creator of the work, as the copyright owner, the following rights in relation to what others can do with their works are granted:

C O P Y R I G H T •

Copyright is invisible, but it is all around • us and affects everyone in different ways; what we can do with the creative work we • come across, whether it is for work or play, profit or non-profit, amateur or professional. • For the general public, copyright determines not only what creative work can be used but also how it is put to use.

For businesses who use copyrighted material, artwork in advertising for example, copyright law affects how and on occasion where, this material can be used. Publishers and producers, which could be a book publishing house, record label, film or video production company, or game distributor are also affected by copyright law; it can determine what can be licensed and the ultimately the value of assets the business holds.

How does copyright relate to creators and their creative practice, why does it exist, who owns it...and what is protected?

Reproduction right, or the right to copy the work Distribution right, or the right to issue copies of the work to the public Rental or lending right, or the right to rent or lend the work to the public The right to communicate the work to the public by broadcasting or electronic transmission (www.dacs.org.uk).

World Commercial Design Exhibition (1960)

Copyright law varies from country to country, and the duration of copyright protection is dependant upon the material.

Currently in the UK, the ‘1988 Copyright, Designs and Patents Act’, protects artistic works for 70 years from the end of the calendar year in which the last remaining author of the work dies.

In relation to my own creative practice, from an educational standpoint it is essential to credit and reference all images and text used for research or inspirational purposes.

Any work I produce must be completely original, with research and development of ideas and concepts being recorded and annotated accordingly.

MUJI ties together London, Paris and Kobe (2000)

An idea in one’s head is not copyrightable.

There has to be a tangible form of expression, in other words the idea must be committed to print. At this point, the creator automatically owns the copyright providing the work is of course, original. There are certain exceptions to this automatic ownership, if work is produced for an employer they may expect or contractually own the copyright, It is important therefore for designers and employers to agree a mutually satisfactory contract in this regard, with shared rights being one way to resolve any disputes.

14

DAVID CARSON ANALYSIS

MAX HUBER ANALYSIS

FIGURES:

FIGURES:

Carson, D. (1990). Beach Culture Cover. [image] Available at: https://www.pinterest.com/pin/92605336061148550/ [Accessed 7 Nov. 2017].

Huber,M. (2017). Max Huber Poster. [online] Available at: http://im -ages.veerle.duoh.com/uploads/design-article-images/max-huber. jpg [Accessed 2 Nov. 2017].

David Carson Design (2011). Little White Lies Cover. [image] Available at: http://www.davidcarsondesign.com/t/clients/little-whitelies/ [Accessed 7 Nov. 2017].

Domusweb.it. (2017). Max Huber: maxieland jazz!. [online] Available at: https://www.domusweb.it/en/design/2010/02/16/ max-huber-maxieland-jazz-.html [Accessed 1 Nov. 2017].

SURFportigal Magazine (2012). SURFportigal Magazine Cover. [image] Available at: https://nvtodorova.wordpress. com/2013/10/16/david-carson-the-father-of-grunge/ [Accessed 7 Nov. 2017].

Iconofgraphics.com. (2017). Max Huber - iconofgraphics.com. [online] Available at: http://www.iconofgraphics.com/Max-Huber/ [Accessed 2 Nov. 2017].

David Carson Portrait (n.d.) Portrait [Online Image] Available at: https://nvtodorova.files.wordpress.com/2013/10/4682718701_3 69988e958_o1-712332.jpg [Accessed 7 Nov. 2017]

Productions, P. (2017). Dynamic, Rational Style Characterizes Max Huber’s Designs. [online] Petrolicious. Available at: https://petroli -cious.com/articles/dynamic-rational-style-characterizes-max-hu -ber-s-designs [Accessed 1 Nov. 2017].

REFERENCES

REFERENCES

David Carson - A Designer’s Story. (2012). [video] Quark Enterprise Solutions.

Designers, C. (2017). Copyright Basics for Graphic Designers. [online] AIGA | the professional association for design. Available at: http://www.aiga.org/copyright-basics-for-graphic-designers [Accessed 4 Nov. 2017].

designboom | architecture & design magazine. (2014). interview with graphic designer david carson. [online] Available at: https://www.designboom.com/design/interview-with-graphic-de-signer-david-carson-09-22-2013/ [Accessed 26 Oct. 2017].

Gov.uk. (2017). How copyright protects your work - GOV.UK. [on -line] Available at: https://www.gov.uk/copyright [Accessed 4 Nov. 2017 ] .

Design Principles and Practices: An International Journal, Volume 3, Issue 3, pp.479-488. Article: Print (Spiral Bound). Article: Electronic (PDF File; 1.186MB).

Iconofgraphics.com. (2017). Max Huber - iconofgraphics.com. [online] Available at: http://www.iconofgraphics.com/Max-Huber/ [Accessed 29 Oct. 2017].

Famous Graphic Designers. (2017). David Carson | Biography, Designs and Facts. [online] Available at: http://www.famousgraphicdesigners.org/david-carson [Accessed 26 Oct. 2017].

McBroom, B. (2017). Max Huber. [online] Historygraphicde -sign.com. Available at: http://www.historygraphicdesign. com/the-age-of-information/the-international-typograph -ic-style/174-max-huber [Accessed 29 Oct. 2017].

Society, D. (2017). DACS - Knowledge Base - Factsheets - Exceptions. [online] Dacs.org.uk. Available at: https://www.dacs.org.uk/knowledge-base/factsheets/exceptions-and-limitations#cdpa [Accessed 26 Oct. 2017].

REFERENCES

Seddon, T. (2015). Greetings from retro design. London: Thames & Hudson.

The Design Trust. (2017). Copyright & design right: an introduction and practicalities for designers & designer makers - The Design Trust. [online] Available at: http://www.thedesigntrust.co.uk/design-rightand-copy-right-for-designers-and-designer-makers/ [Accessed 4 N o v. 2017 ] .

DEBBIE MILLMAN ANALYSIS

PAUL RAND ANALYSIS

FIGURES:

FIGURES:

Millman, D. (2017) Website Graphics [Online Image] http://debbiemillman.com/index.html [Accessed 1 November 2017]

‘I know a lot of things’ book cover by Paul Rand available [online] at http://www.paulrand.com/foundation/books_by_ rand/i_know_a_lot_of_things/#.WefNa0yZOlM [accessed 30/10/2017]

fig. 2 Millman, D. (2013) Printmag Millman Visual Essay [Online Image] Available at: http://www.printmag.com/illustration/avisual-essay-on-love-and-pi-by-debbie-millman/ [Accessed at 6 November 2017]

IBM logo design poster, by Paul Rand. Image available [online] at https://www.flickr.com/photos/50749457@ N02/8084170093[accessed 23/10/2017]

Millman, D. (2013) Self-Portrait as Your Traitor Book Cover [Online Image] Available at: https://www.amazon.com/Self-PortraitYour-Traitor-Debbie-Millman/dp/1440334617 [Accessed at 21 October 2017]

Direction magazine, December 1940.Image available {online} at http://www.paul-rand.com/foundation/books_design-Literacy_direction/#.WehyAkyZOlM [accessed 24/10/2017]

adcglobal.org (2017) Debbie Millman Portrait [Online Image] Available at: http://adcglobal.org/awards/adc-young-guns/ jury/debbie-millman/ [Accessed at 21 October 2017]

Paul Rand Photo.Image available [online] at http://www.historygraphicdesign.com/the-age-of-information/corporate-identityand-visual-systems/485-paul-rand-2 [last accessed 6/11/2017] REFERENCES

REFERENCES copyrightservice.co.uk (2017) The UK Copyright Service [Online] Available at: https://www.copyrightservice.co.uk/copyright/ uk_law_summary [Accessed 30 October 2017] dacs.org.uk (2017) Designers and Artists Copyright Society: Frequently Asked Questions [Online] Available at: https://www. dacs.org.uk/knowledge-base/frequently-asked-questions [Accessed 30 October 2017] gov.uk (2017) Intellectual Property: Exceptions to Copyright [Online] Available at: https://www.gov.uk/guidance/exceptions-to-copyright [30 October 2017] instagram.com (2017) debbiemillman [Online] Available at: https://www.instagram.com/debbiemillman/?hl=en [Accessed at 23 October 2017] millman.com (2017) Debbie Millman Website [Online] Available at: http://debbiemillman.com/index.html [Accessed at 23 October 2017]

Stein, A. (2017). Everything is Design: The Work of Paul Rand review – short survey of a master. [online] the Guardian. Available at: https://www.theguardian.com/artanddesign/2015/feb/27/ everything-is-design-the-work-of-paul-rand-review-short-surveyof-a-master [Accessed 6 Nov. 2017].

Designhistory.org. (2017). The History of Symbols : Corporate Symbol Pioneers. [online] Available at: http://www.designhistory. org/Symbols_pages/corporate.html [Accessed 6 Nov. 2017].

Paul-rand.com. (2017). Thoughts on Design | Paul Rand, American Modernist (1914-1996). [online] Available at: http://www. paul-rand.com/foundation/thoughts/#articles [Accessed 6 Nov. 2017].

Hornby, A. and Deuter, M. (2015). Oxford advanced learner’s dictionary of current English. Oxford: Oxford University Press.

Graphicartistsguild.org. (2017). Guidelines for Art Competitions | Graphic Artists Guild. [online] Available at: https://graphicartistsguild.org/tools_resources/an-introduction-to-copyright-law https://www.dacs.org.uk/knowledge-base/factsheets/fair-dealing [Accessed 6 Nov. 2017].

Society, D. (2017). DACS - Knowledge Base. [online] Dacs.org. uk. Available at: https://www.dacs.org.uk/knowledge-base/ frequently-asked-questions [Accessed 6 Nov. 2017].

JAMIE REID ANALYSIS

IKKO TANAKA ANALYSIS

FIGURES:

FIGURES:

Jamie Reid Portrait. (2017). [image] Available at: https://www. widewalls.ch/artist/jamie-reid/ [Accessed 3 Nov. 2017].

Tanaka, I. (1986). Japan, [online]. Available at: https://www. japantimes.co.jp/culture/2016/04/05/arts/openings-outside-tokyo/posters-ikko-tanaka/#.WgvO8BOCzgE [Accessed 30th October 2017]

Reid, J. (2017). God Save the Queen. [image] Available at: https://www.rise-gallery.co.uk/exhibition/short-sharp-shock-aselection-of-works-from-the-personal-archival-collection-of-jamiereid-2/ [Accessed 3 Nov. 2017].

Reid, J. (2017). God Save the Queen. [image] Available at: https://socialistworker.co.uk/art/11487/Simon%20Reynolds%20interview:%20Pop,%20politics,%20hip-hop%20and%20 postpunk [Accessed 3 Nov. 2017].

Reid, J. (2017). God Save us All. [image] Available at: https:// www.itsnicethat.com/news/jamie-reid-god-save-us-all-trumpartworks-toby-mott-cultural-traffic-fair-120417 [Accessed 3 Nov. 2017].

Tanaka, I. (1960). World Commercial Design Exhibition, [Online]. Available at: https://www.moma.org/collection/ works/5232?locale=en [Accessed 6th November 2017] Tanaka, I. (2000). MUJI ties together London, Paris and Kobe. [Online]. Available at: http://www.spoon-tamago. com/2016/10/24/retro-muji-ads-created-by-graphic-designer-ikko-tanaka/ [Accessed 7th November 2017] Ikko Tanaka Portrait. Available at http://adcglobal.org/hall-offame/ikko-tanaka/ [Accessed 3rd November 2017] REFERENCES:

Reid, J. (2017). Folk the Banks. [image] Available at: http://www. lepix.org/free/jamie-reid-from-sex-pistols-to-pussy-riot-but-thatsnot-all/ [Accessed 3 Nov. 2017].

Reid, J. (2017). Fuck Forever. [image] Available at: http://www. artnet.com/artists/jamie-reid/ [Accessed 3 Nov. 2017].

REFERENCES Anon, (2017). [online] Available at: https://www.artrepublic. com/biographies/209-jamie-reid.html [Accessed 2 Nov. 2017].

Society, D. (2017). DACS - Knowledge Base - Factsheets - Exceptions. [online] Dacs.org.uk. Available at: https://www.dacs.org. uk/knowledge-base/factsheets/exceptions-and-limitations#cdpa [Accessed 2 Nov. 2017].

Brewer, J, (2016). Muji exhibits 25 vintage Ikko Tanaka posters from its advertising archive. [Online]. Available at: https://www. itsnicethat.com/news/muji-archive-posters-ikko-tanaka-171016 [Accessed 10th November 2017] DACS. (2017). Frequently Asked Questions [Online] Available at: https://www.dacs.org.uk/knowledge-base/frequently-asked-questions [Accessed 12th November 2017] Heller, S. (2002). Ikko Tanaka, 71, Japanese Graphic Designer.

[Online]. Available at: http://www.nytimes.com/2002/01/24/ arts/ikko-tanaka-71-japanese-graphic-designer.html Lam, S (2015). Ikko Style: The Graphic Art Of Ikko Tanaka. [Online]. Available at: http://www.artject.com/events/2015/6/25/ ikko-style-the-graphic-art-of-ikko-tanaka [Accessed 11th November 2017] The National Museum of Art, Osaka, (2017). The Posters of Ikko Tanaka. [Online]. Available at: http://www.nmao.go.jp/en/ exhibition/2016/id_0315160303.html [Accessed 12th November 2017] MoMA. (2017). Ikko Tanaka. [Online]. Available at: https:// www.moma.org/collection/works/5232?locale=en [Accessed 13th November 2017] Morely, M. (2017). Poster Picks: Steven Heller’s Top 5 Ikko Tanaka Designs. [Online]. Available at: https://eyeondesign.aiga.org/ poster-picks-steven-heller-on-5-top-ikko-tanaka-designs/ [Accessed 11th November 2017]

REFERENCES

Munro, S. (2012). Ikko Tanaka’s designs live on. [Online].

Available at: https://www.japantimes.co.jp/culture/2012/11/29/arts/ikko-tanakas-designs-live-on/#.WgvjdhOCzgF [Accessed 13th November 2017] Roberts, C. (2015). Graphic Design Visionaries, Laurence King Publishing, London

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