Disruption equals Success

When advertising and media is such an impacting part of everyday life, it is often difficult to create something that stands out and captures eyes. However, it is often more beneficial to break the boundaries and create something disruptive to the norm than to stay within the comfort zone. “Disruption is a tool for change and an agent of growth: a working methodology and a life view philosophy” – TBWA. Being disruptive with a design or a project is a big gamble, which means that many don’t take it; however, it could make or break a company. Being disruptive, creating something new and getting noticed, creates a stir, and gets word of mouth talking therefore making the campaign more effective. A classic example of the disruptive style is Brit Pop art, with artists such as Damien Hirst and Tracy Emin. Their work is controversial, with pieces such as Emin’s ‘My Bed’ and Hirst’s ‘Sheep’. The style of this work had never been seen before, and certainly caused controversy and made eyebrows rise. People were debating whether it was art, whether it was right, but even though alot of the debates were negative, it made these two artists become two household names.

In advertising, it is easy to fall into the same categories as many of the competitors. For example, car advertising is a very big category of advertising with hundreds of cars being produced and bought out throughout the year.  Getting an advert that is strong enough to promote the car to high sales is difficult, when all adverts look the same. Typically, cars are given the ‘sex’ factor, with close ups of the wheels, the body, the interiors, with a mysterious music. However, Wieden and Kennedy executed disruptive advertising ingeniously with their Honda ‘grrr’ advert, promoting the new Honda diesel engine. Never in the advert was there a car shown, but with the impact on the engine, different selling points and upbeat music, sales rocketed of the car, mainly because the advert was so addictive and eye catching.

However, disruption isn’t just with what is shown, it is also through the media platform that they chose to use.With so many media platforms to design for now, it is essential that the chosen one is executed to perfection whether it is a billboard advertisement, to a shopping centre installation. The Economist light bulb campaign directed by Abbott Mead Vickers, released in 2004, used today’s new technology with a simple media platform of a billboard caught attention, and was interactive with the public with interest and excitement. As the person walked underneath the light bulb, the sensor would pick up the movement and the light would switch on lighting the bulb up, imitating the comical idea of the light bulb above the head when the character gets an idea in their head. It is more exciting to look at, and look further into than a 2d billboard, with a few words and an image on. 

Being disruptive within design does not mean destructive, sabotaging design and creating a mess, it is creation, and is the means of creating something dynamic, to replace something that has become static and parity.  

“Strive to do something different”

Bibliography

http://www.saatchi-gallery.co.uk/imgs/artists/emin-tracey/tracey-emin-my-bed.jpg

http://www.spikemagazine.com/coupland/sheep.jpg

http://www.advertolog.com/the-economist/print-outdoor/light-bulb-6698605/
http://www.youtube.com/watch?v=-K4QlJky-sw&feature=related

Who is your favourite expert?

I am into a lot of styles and genres of artists, but mainly I enjoy cartoons, street art and graffiti, 'modern day' graphic design. One artist that I have always been interested in is Jon Burgerman, a UK based artist that uses bright colours and child like illustrations. As an artist I find him very appealing, eye capturing and exciting, but also as a personality. He isn't strict with himself, limits what he says or makes much sense when he does have an interview, much like his work, he is random, daring and provoking.

 Working across a variety of media that includes drawing, painting, print, animation, large scale murals and toy design, his art retains a hand-made, hand-drawn quality. A sense of self-deprecation, dry humour and modern-day anxiety imbues his work. He has quickly become a very popular artist with his use of unique and colourful doodle-artworks of swooping, intertwining lines and hyper-emotional characters.

Burgerman is defiantly an artist I aspire to be like. His work is very much influencing my own style, not only the nature of the design but the different prospect of medias that he is designing on. From surfboard for Ripcurl, to Pepsi Cans, even My Little Pony's, his work is always different and exciting, because it is not always on a flat white canvas. It shows me that I can design more than in a sketchbook or on a computer, I can potentially draw on anything, and make it into my own piece of artwork. I think to create work like this you have to be beyond imaginative and creative, you have to be inspired by literally everything around you, from other artist's work, to what the man is wearing on the seat next to you, or how you dinner looks at night, literally everything has to be a source of inspiration and design.

As an artist, Burgerman is the most original and broad minded creator I have come across in a long time, and with his constant array of fresh ideas and new characters I feel that he shall be a very big inspiration to me for years to come.


Bibliography
http://ucalibraryblog.wordpress.com/2010/06/01/jon-burgerman-video-interview/
http://english.mashkulture.net/2009/11/04/jon-burgerman-economies-of-scale-exhibit/

Where do you rate yourself on the 'Novice to Expert' scale?

The 'Novice to Expert' scale even though not very complex in design, has very clear levels of profession and understanding the areas of practise. I wouldn't say I am at the level of novice or beginner anymore, though when I first started studying Graphic Design of course I was at this stage. I would like to believe that I am now comfortably at the level of competent, however slowly starting to develop the qualities of a proficient. I will analyse each section of the scale to analyse myself, and my working style.

KNOWLEDGE 

"Good working and background knowledge of area of practise"

After studying Graphic Design for three years now, as well as being interested in it from a younger age, I have had many influences from history that have inspired me into creating my own style. I also feel that I understand the general practise of Graphic Design, the wide range of medias, skills and styles, understanding what is appealing and effective in comparison to what isn't.

STANDARD OF WORK

"Fit for purpose, though may lack refinement"

I feel that my work as a whole has continued to get stronger and more suited to briefs and projects throughout my time of practise, however, as I am now starting to find my own personal style and define that, my work can sometimes lack the small details that make it a complete piece. However as I continue to practise and develop my work and my style, getting used to working for clients and their needs over mine, I will start to refine more until it is at the level of proficient work.

Autonomy

"Able to achieve most tasks using own judgement"

After completing many projects whilst developing my skills, I have had a lot of practise in making judgements on what would work and what wouldn't work within my designs. I have had to judge the audiences point of view, layout and styles and overall making sure that the design is working to it's full potential. This has made me critical on my designing process, making sure that everything works together, making the judgements that are necessary for a good design.


COPING WITH COMPLEXITY
"Copes with complex situations through deliberate analysis and planning"


Throughout my practise I have learnt to deal with difficult situations with the technique of time planning and analysing the problems to overcome them the quickest way possible. With the use of time planning I can manage what work needs to be done, and when it should be done by, therefore making sure that I have left enough time to successfully complete each section of a brief to its maximum potential. Analysing my work frequently helps me figure out what is working, and what can be changed, concluding in producing a piece of work that is potentially better produced than what would of been without analysing and time planning. 



PERCEPTION OF CONTEXT
"Sees actions at least partly in terms of longer goals"
    
This is where I feel I differ mainly from the competent level of the scale and feel that I am more in the proficient category. Instead of just viewing what work I am creating now as just a project towards my final grades, I see it as development in my own personal portfolio, that I could potentially use in the future. All the work I produce is work towards my overall achievements, that signifys who I am and what my style is about and for.

Can a photograph really capture what's going on?

Photography, since it has become an art subject, has had many influential criteria and aspects. Not only does it capture a moment in time, the emotions, the setting and the people there, but it can also mislead and misguide people, making us think that there is one reason to it, when there could be hundreds of other reasons for it's purpose

These first two photos, both by anonymous seem pretty basic. The first one looks like a scenic landscape, with the sun setting over a field, after a bout of rain, the land looking moist and full of life and nourishment. The one below is of a run down house, which looks like it is full of idyllic little stories of the family which has lived in it, a little suburban house, which would of been set in a whole street of houses just like it. The colours are natural and unedited, just like a quick snapshot. However, both of these scenes were both host to horrific murders, however the photographs do not capture this, they just capture the idyllic scenes they have been captured as.

Another artist that uses misleading photography is Trent Parke, who's series called Minutes to Midnight is daunting and dark, however looks classic and simple. His images captured his trip across Australia are not like the typical holiday snapshots, however are both very different within themselves as part of a series. The first one is very traumatic and stressful, however instead of being part of a war scene in which it resembles it is something a lot more innocent, just everyday Australian life for the people in poverty. As for the bottom picture it is very idyllic and innocent, just a crowd of people looking out on the beach, however it is misleading because of the colours it has been set in. With the dark contrasting black ans white editing, it looks alot more harsh than it actually is, like the public are looking out onto a scene more horrific and life changing, instead of just an ordinary day at the beach. The main thing that makes these photos more misleading from traditional holiday snaps is the colouring, especially considering it is Australia. Connotations of holiday snaps, especially Australian ones, is that the black and white colouring give it that eerie and depressing feeling, of which was more than likely a very enjoyable visit.

In conclusion, photography is meant to be an honest and truthful subject, but clearly, every photo can have a hidden message or a completely seperate meening all together.

"The camera never lies"

Bibliography

Vhttp://www.theblurb.com.au/Issue50/TrentParke.htm

Can adding text effect our perceptions on a photograph?

Photography is a brilliant way to capture a scene or a moment in time, quickly recording what was happening at that moment in time, with just a click. However, photographs can often be misleading in what they are representing, leaving a red herring to what the true story is.

For example, Gillian Wearing shot a series of photographs of everyday public on the street holding signs, expressing a thought they are having, an emotion they are feeling, or basically giving them a chance to say something they have always wanted to say but been to embarrassed to. In the first image to the left, Wearing captured an image of a very well dressed young man, who if, if walked by in the street, people would assume had a good and happy life. However, with the sign in front of him claiming that he is 'desperate', our whole perspective on the model is changed. He is suddenly no longer the happy business man that we would perceive him as without the sign, thus our emotions and perception on the model has changed.

Another artist that uses the technique of adding text to change our concept of a photograph is Jim Goldberg. In his series named 'Raised by Wolves', he captured stories of runaway teenagers living on the streets of Los Angeles and San Fransisco. The tale of their lives of abuse, drugs, prostitution, and of their desires, fears, and loyalties is narrated by means of some 170 photographs, video and audio installations, documents, and objects in vitrines. There are also handwritten statements by runaways, adding emphasis and soul to the images. In the image to the left, Goldberg photographed a young boy, who ran away from home after issues relating with his parents. If the images were on their own, we would just see a skinny, malnourished figure,  with a few wounds. We would probably make the assumption that this person has had a hard life, but without the writing that accompanies it, we wouldn't have a true understanding of the pain and the emotion that that specific person was feeling at that time. "My mom was a 15 ye old junkie slut who I aint never seen. My old man is a biker from hell. The fucked up ass hole shot me in the gut when I was 12 yrs old, aint gone home since or had one" With this narration on the side of the photos, we see a completely different side to the boy. We truly see how hard life has been for him, and instead of just assuming a malnourishment and a little bit of a difficult life, we realise how truly disturbing his life has been. It adds an eerie feeling to the work, and gives viewers a sudden sense of sympathy, because the figure in the photo finally has a voice and a story.

Adding text to a photography, no matter if it is a secret, a story or just one word, can completely change original perceptions on what the image is representing. It gives the model or the scene a voice, and a way of speaking out, so the public doesn't have to imagine what the photo is about, or giving them the time to make inaccurate assumptions. It plays on our emotions, as well as making it last on the mind for a longer time.

Bibliography

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBOiqNudsHDshRAmSlZTe02Uout5sENNefT9HgwKjzdy0aIRr9Ni1Ex-kwltbWzZ5II21dIQeIw14fOO1e0kpvoKmuq7svXf-MHE5bJyO57wXhdWCWss7ccf9HyMCA5S3930nEizqwQDo/s1600/P78348_9.jpg

http://media.photobucket.com/image/jim%20goldberg%20raised%20by%20wolves/americansuburbx/Jim%20Goldberg/20071217_6c637a75887f98faf7c19lebI8.jpg

Developing Ideational Fluency

When being set a new brief, it is easy to get into the same mind set of previous work and obvious conclusions. However, this can lead to predictable work, that doesn't have as much effect than if the brief was thought about and analysed effectively, to create something new and exciting, that people have to think about and analyse themselves.

Mind mapping is a great way to get a new idea, and a brilliant source of answers to refer back to. A mind map holds no boundaries, and can continue to grow and grow as the brief is thought more and more about, gathering hundreds of new ideas, that without mind mapping might not have occurred.
Another method similar to mind mapping is writing down roughly 100 ideas that could be used as a final piece. Subsequently, the first 20 ideas will be obvious ideas, however, as you develop further, and think more about it, more and more original and fresher takes on the brief will start to develop.

When developing ideas for work, I use both theories, on two separate occasions. This means that I can come up with the most ideas that I can imagine, meaning that I will create a pierce of work that isn't so predictable.


Mind mapping and creating lists can be useful for many parts of a brief, and can be used constantly as a resource of development until it is completed. It can be used with situations such as colour schemes, typographic development, layout ideas and media formatting. Pros and cons of a design, audience and essential information.
 



Bibliography
http://www.navtaassociates.com/blog/wp-content/uploads/2009/01/feature-81-mind-map.gif 

Managing a creative environment

The working environment in any business is very important for the right mind-set and standard of work. More importantly when it comes to an artist's workspace. Their environment has to be comfortable for them, surrounded by resources and inspiration that will make them work in a more productive and free-flowing way. Every artists design environment is different to another, as every different person is influenced by hundred's of different things. Some artist's work stations may be a complete mess, overgrown with work, books and sources of reference, where as another would be completely organised, with everything in order. 

To the left is an image of Farkin's studio. Based in his kitchen he describes it as "Cozy but not ideal since I keep stopping to snack out, do the dishes or pick up the phone!" This environment is quite messy and unorganised, with work and paintings all over the place, equipment in several different locations and constant distractions surrounding him, the phone ringing, the food. However, there is a lot of inspiration surrounding him, wherever he looks, whether it is on the walls, through books, or even outside the windows on the wall, he is surrounded with references and influences.

Farkin's studio is a far cry from Gail Williams' studio , pictured left. Her studio is very much the opposite, with everything in a place and tidied away. However, there is a lack of obvious inspiration surrounding this work space, meaning she either gets her referenced from books, or from collections that have been packed away. Similarly to Farkin's space, Williams' studio is also facing outside, meaning that not only do they have natural light, but also look out onto ever changing scenes and new sights every day.

This is a photograph of my working environment whilst being studying at Birmingham. As I am living in a university room, I am limited to space, and have to work with what I have been given. However, I constantly surround myself with inspiration and influences from other artists and designers, books that I take idea's from and all my stationary. It isn't my dream environment, however it works for me.

 

Bibliography:

http://painting.about.com/od/artsupplies/ig/Photos-Artist-Studios/Studio-Farkin-Now.htm

http://painting.about.com/od/artsupplies/ig/Photos-Artist-Studios/Studio-GWilliams2.htm