Lecture 1: How has Globalisation affected your business over time?
The effects of globalisation on design for these practices really discuss the connection, communication, and speed of projects. This comes with more opportunities and building a clientele with flexibility through connecting via a digital or personal approach. Many of those still approach clients face-to-face which they feel is more personal and engaging, which in my opinion is more favorable as you can make a greater connection responding to humans as we’re social beings. Regular Practice on the other hand feels connecting with people remotely has its advantages, which they find a smooth process to their outcome when dealing with clients. They find that time is considered more wisely with clients within their arrangement to every project as they can execute their briefs to a finer detail of information. This also has an impact on using print production foremother areas of the world in finding better quality and cost efficiency for the client where ever the work is based. Adrian Talbot recognises that design today has a different way of creating an enterprise that is achievable from setting up with new technology and the power of the internet to find great connection and speed of work. The flexibility is endless and diving into various cultures through the means of the internet can give you a wider scope on design practice and work within many multi-cultures around the world. As Simon Manchipp said that were are more encouraged to do bigger ideas on a much bigger canvas with a wider collaboration of design practitioners on a global scale.
Lecture 2: Harriet Ferguson of Pearlfisher
Harriet’s insight to Pearlfisher describes the businesses thrives on globalisation for its design practice as they show great relevance between the four studios they have in London, New York, San Francisco, and Copenhagen. This gives a great benefit of skills, experiences, opinions, and perspectives for a collaboration that can strengthen a diverse culture of Pearlfisher. This approach is refreshing and current with the contemporary practice of today with opportunities to work with people that has a niche skillset which can bring to the table for great ideas towards a more conceptual diversity in the studio. However great it is for Pearlfisher to have this tool of collaboration within its cultural mix, it can be difficult at times for inspiration. We rely on a lot of research through the source of the internet, for example, Pinterest for inspiration. There’s loads of research material out in the world with a click of a button and it’s easy to imitate design that’s already out there without actually thinking what you have created. Also, our competitors are looking at the same material which is why we have to look for inspiration through a different angle. Look at what your competitors are doing but also read into things such as books, art, museums, illustrations, moving images, etc. Broaden the inspiration and look for it in a more detailed and meaningful way to talk about the story of a brand. Authenticity was the key thought to my findings in this lecture as I felt it’s something I would like to explore further in my work and research. It’s the idea of making a brand or design piece communicate in its true self and feel expressive to captivate the audience. I’m a believer in an honest approach not for the audience but also for the work you want to do. This makes you feel you’re working on change and helping others to learn something positive through communication in words and images. I really enjoyed the video of the Havana Club 3 (Not because the Club 7 is probably the best Rum in the world) but the true feel and meaning of Havana and the culture that it brings from it’s people to the drink. It’s a refreshing, lively, culturally positive, and exciting product that brings its authenticity and true ownership to its brand. The semiotics approach for many cultures can be perceived in many different ways that are good and bad, which is another interest from the lecture to understand more and engage ways it can have an effect on many cultures and have to be considered in your ideas and design. I will also explore the meaning of Colour, Symbol, and Words in other cultures to have a better understanding of how we perceive things differently across the globe. The future of design that will have an effect on the globe will have to adapt to the changes of the current trends that authentically live by their principles of how they relate to human perception. These what make strong brands like Apple stand out from the rest as they take ownership of their product, structure, interior, and advertising to give an honest and trustworthy approach in themselves. I really enjoyed the Karma Cola work as it showed it owned its heritage and audience in the strong tone of voice it was delivered. Their key principles were showing through sustainability, lifestyle, benefit, and going beyond their key offerings to support its community to gain the respect and engagement it deserves.
After watching Harriet’s lecture it really got me thinking about authenticity in design and the brand that comes to mind for me is Nike. Nike brings a powerful image that has become a significantly recognisable logo across the globe of being one of the most valued and successful brands today. The power of a brand image is one of the best represented, culturally understood, and symbolic companies in the world. Nike as a brand really reflects its aspects, as many people strive for in their lives: dominance, authenticity, innovation, winning, and performance. The ‘Just Do it’ slogan really hits home with people as it brings drive, passion, and attitude as people look for this in a sports brand for success. What I really enjoy about Nike is its ability to identify movements in culture for positive change around the globe, which they’re looking to create inspiration through their design. Their campaigns are always moving and cultivating through strong imagery and words that can bring people from all four corners of the globe to unify in something they believe. In saying this they really capture their consumers with an authentic approach as they have empathy and a sense of togetherness in striving for a better future. Nike not only for its products but for the image that its brand embodies too.
Colin Kaepernick in protest at racial injustice in the United States touched many people through the USA and also global. If it wasn’t for Nike to stand by his belief, then the discussion wouldn’t be spoken about today.
This video from W&K Amsterdam for Nike campaign in the middle eastern region that women who have achieved personal success are pioneers, role models, and strong voices for their region.
Non-Format – Drawn Here (and There)
I really enjoyed watching this presentation from Non-Format, not just for the quality of the work they produce but also their attitude to their practice. I found co-working around time zones had a great benefit in the cross over of their work. The work showed a great understanding of their craft and really enjoyed the way they are not tech-savvy but very experimental in their typography using a variety of media to express the work. Editorial work for Wire Magazine was amazing and how they could express themselves through creating different treatments in typography. I loved the way they challenge the brief by experimenting and taking a risk in their approach to creating these ideas. I really enjoyed the fray of cotton that was used throughout several issues of Wire.
It showed a different angle on how letterforms can be more visual than just stand-alone types to create a distinctive mood in their work. I see they are always looking in different ways to keep improving their skill sets and creativity, which they say they are not very good at keeping unto date with the software but not afraid to give it a go. Their skills really rely on their creativity and being hands-on and having this ability allows them to create a beautiful design in a free environment. When John Forss started talking about the birth of Super Bold type it was really enjoyable seeing the work they have worked on and how through each individual projects different type style shows a strong tone of voice in their creation.
Their Nike work I remember very well when studying at college and from that point, I really enjoyed typography through my years studying. When John talks about allowing type to create forms through imagery and evolving typeface through abstract shape, it’s got me interested in exploring type forms in a different way and see if I can put this into my own practice to experiment in the future. Non-Format are always pushed to find a new direction in their work and style of design, this allows them to create endless ideas which they thrive on. John says they always looking to add that string to their bow, which is rightly so to keep pushing their boundaries.
After being very inspired by Non-Formats work I started looking through other contemporary practice that has been very influential. I came across a design agency in Germany called Two Points where they have designed many type forms and worked with many interesting brands. Using simple shape forms to create abstract typefaces that you can see the influence of Non-Format.
They’ve collaborated with Nike to create a few typefaces for a campaign on a new NIKE shop at the Chelsea Football Club Stadium. I really like the boldness and versatility of how these fonts are created with simple abstract shapes in an art form for a typographic approach.
Workshop Challenge 1
What is the scope and what are the boundaries of graphic design today? Current and future?
Exploring through the categories of the D&AD Award Winners 2019 it came to a surprise to see an endless list of disciplines in this field of design that showcased over 30 plus categories. Some of these categories I can really relate to design but some I never knew would fall into this list, such as Casting, Editing, PR, Radio & Audio, and Side Hustle. After exploring some of the projects in these categories I found a better understanding of why these are viewed in a design terminology as experience requires form and content, which often built on models of conversation and community, rather than objects and information. For example, digital experiences and the role of technology plays a role in overlapping many categories as it has a strong impact with focusing on peoples digital experiences and improving situations. I really enjoyed the work on Generosity Bar (by Ogilvy & Mather Singapore for Mondelez International) that was shortlisted for Impact, Initiative, and Brands. The campaign created a design system with conflicting interests and objectives to involve stakeholders to make a change for the good. The design should be about improving situations and making things better and then the system is a great example of how the design should be implied rather than creating a symbol.
Another project in a similar design system, which I loved the idea, was the Air Max Graffiti Stores (by AKQA São Paulo for Nike) transformed the city walls into Nike Stores, turning the brand’s e-commerce into a cultural experience. This project again showed a design system through a digital experience that created a conversation with a community to improve a situation where the government erased hundreds of graffiti sights in Sao Paulo which is a huge part of the culture. They re-created a number of graffiti walls to allow people to shop at a Nike store through a digital experience by unlocking the geo-location to buy trainers. This created change for the good as the governor was convicted of erasing this cultural heritage. Overall this was a design with interaction, experiment, and transforming systems that improved a situation for the better.
These case studies show a variation of design terminology within their work as there are categorise in more than one specialism, which design is seen through image, colour, type, sounds, and form. The practice of design usually extends beyond these boundaries to encompass broader techniques, methods, and approaches. We are passionate about using design to tackle some of the big issues in the world, from security and health to the environment and supporting communities. The industry and culture are constantly changing, designers must be adaptable so they can change throughout their careers, this is why I’m a strong believer in being a lifelong learner to keep enlightening myself on why I chose to be a designer and other things.
Workshop Challenge 2
List 10 different types of graphic design practice today.
- Book Design
- Art Direction
- Packaging Design
- Environmental Design
- Digital Design
- Motion Design
These 10 disciplines of graphic design are areas I’m familiar with in today’s practice. As of the last 9 years that I’ve been working in the field, I’ve seen my skills as a service within creating a mix of design disciplines. I’ve able to work with these categories on little and large projects for clients that needed me to work on their particular brief. So this is why my first thought of design practices that I’ve put together are these. Looking at these I can now relate to some overlapping of these areas that I’ve able to produce work in which I would find hard to put in one category as I’ve experimented in 3 or 4 in one project. Maybe this explains, what category that particular project sits in? and if it isn’t one of these, then what category that fits with the practice? These categories all have use of type and imagery to create a design form and function that fits within the terminology of graphic design.
Ignorance = Fear/Silence = Death 1989
This poster by street artist Keith Haring was created 2 years after he was diagnosed with Aids which became widely recognisable during this period of voicing to those who felt silenced on the issue that mattered. This poster clearly defines graphic design as to layout, colour, typography, imagery, symbols, communication, function, and form. Thus this is a poster for voicing change in a community, it has the power to communicate a positive message to speak up and talk about the issue on Aids. I love how all the elements have a consideration of its motive with the pink triangle that was a symbol during the Holocaust to identify gay people.
I feel this does not represent any of the above categories in my top 10 that I have considered as graphic design. If I had to create a category for this and many others I would place in there. I would suggest it to be called:
Editorial Spread: Workshop Challenge 1
After having my first group crit in week 4 I’ve taken on board the development of my editorial piece which I have applied a few changes to my spread. I’ve put my synopsis over a number of spreads to space my content out and put in themes to my chosen examples.
A digital single page for a mobile device
This week has really shown me how fields of practice differ from the global scale to acknowledging categories that I wasn’t aware of to be considered as graphic design. The effects of globalisation on today’s practice have a huge benefit on more opportunities and the flexibility of building more clients in your practice. I guess there are key stages for when this initiative of working through digital is applied when dealing with new business. I’m still a strong believer that there has to be an initial approach to clients face-to-face as this is more personal and engaging. So I do think there is a great balance of using both techniques as connecting with people through the means of technology and in-person has to be fundamentally used correctly to create strong relationships. I do believe we can work more flexibly and more productive if we can use technology to our advantage of collaborating with peers. Again there is a fine balance as I do feel you need to be in a studio from time-to-time working on brainstorming and focus groups task. This allows you to work with a diverse of designers with different backgrounds from local to global perspectives. It’s easier to share ideas and thoughts through many platforms that work best for design studios to collaborate with as long there are moments of engagement with daily video meetings and meeting up physically. Overall working with clients it’s more fundamental to meet in person to gain great connectivity and engagement to become more personable. Working within a studio I think there is more flexibility in working across the board of online and in-studio practice to help with the creativity and productivity within a team. This also gives a great opportunity to reach out on a global scale to other creatives in other fields to work on projects that would become culturally diverse.
I picked up on Harriet’s lecture on Pearlfisher about authenticity and made me explore in this realm in branding and communication voicing real people or events in an organic outlook. I get a true feel of delivering authenticity in my future self and projects, which in due time I will explore more of. I’m realising this is the way of bringing true meaning and an organic approach into design work wither it’s branding to a campaign advert connecting with the audience that brings true values. I know from my experience I’m more intense with authentic brands that show strong beliefs in what they want to change in the world.
This week’s workshop challenge was very interesting as looking into these categorise of the D&AD awards showcase the best works of the industry and comparing graphic design in areas I didn’t really associate with the subject. Doing my research I became more aware that these categories are viewed in a design terminology as experience requires form and content, which often built on models of conversation and community, rather than objects and information. So design runs through all of us whether it’s audio, visual photograph, digital platform, or experience through a change of an event. Design plays a part in everything as long-form and content are there in existence. I really enjoyed writing my synopsis and then designing an editorial piece to work with the content. I did some research into looking at designs that I felt could influence m,y approach and my initial few designs I felt there was need more improvement but needed some feedback from my peers to help me along the way. This would be useful as it can help me develop a better outcome. Once I had my crit talk with my peers I had a clear idea of where to move forward with my design and happy to create a digital format of my spread. This is more in line with the content which is about the digital experience with 2 campaigns that I really enjoyed in the D&AD awards categories. To move this even further it probably would be great if this was created into a single page website with micro-animation graphics and video to show the content. This would bring a more engaging digital experience with the content.