Wednesday, 30 December 2015

OUGD501 - Research into Graphic Design & Music



OUGD501 - Research into Graphic Design & Music


how have the subcultures of 1960s and 70s influenced graphic design

history -
war 
baby boom 
youth culture
black and feminist movement



Dick Hebdige
Terry Rawlings


Designers  - 

Wes Wilson
Victor Moscoso





https://99designs.com/designer-blog/2014/04/25/ripped-punk-influences-graphic-design/


Punk expounds an aesthetic and a mood that is aggressive and contemporary, urban and raw, ephemeral and instantaneous, regressive and regurgitated. It’s about a group of people calling for change through joyful havoc.

The graphic designs to come out of this defining era serve to represent the experimentation and radical mind-altering shifts of the 60s, that continue to inspire and influence popular culture worldwide.

Tuesday, 29 December 2015

OUGD501 - Essay Plan



OUGD501 - Essay Plan



  • Introduction 
- Beginnings, Punk movement, History, attitudes

  • First Half 
- Subcultural theory, Motives, Value
- Influences in Music and Fashion
- DIY aesthetic 

  • Second Half 
- 3 examples of graphic design - 70s punk album covers
- Relationship to Dadaism
- Punk as Protest
- Typography 

  • Third Half
- Diversification of Punk, mainstream
- Digital Age 
- New Wave movement
- 2 examples of contemporary design - branding

  • Conclusion 
- Influences on other aspects but not graphic design 
- Okay to get angry, form a resistance, DIY 
- Went on to influence famous graphic designers

Wednesday, 16 December 2015

OUGD501 - Book Research - Subcultures



OUGD501 - Book Research


P, Jobling & D, Crowley, 1996. Graphic Design, Reproduction & Representation Since 1800. Manchester: Manchester University Press.


From Pop to protest: graphic design and youth culture Britain in the 1960s


  • post war influence challenging conventions
  • 15-19 population grew
  • due to this they formed their own social identity 
  • 'graphic design was of particular significance within this context, since it was both extremely versatile means of self expression' 
  • posters, record sleeves, packaging, ephemera
  • graphic designed changed with hippie movement
  • CND campaign 
  • hippies advocacy
  • OZ magazine and International Times, two most important underground magazines
  • gave designers the opportunity to shift boundaries of accepted social conventions 
  • '1960s which codified 'the meaning of youthfulness' more successfully than anything else' 
  • anthony little and john mcConnels art nouveau style motifs for Biba
  • pop music industry which was the most influential in generating and symbolising fantasies of the youth culture
  • (uses beatles as an example)




http://www.emigre.com/Editorial.php?sect=1&id=24


At another point on the cultural spectrum, in the space of subcultures, we witness another series of appropriations. Stealing the signs of commerce - appropriation is, after all, a term reserved for art - is the ultimate copyright infringement. The equity of the sign, its semiotic investment, is emptied and dominant meanings subverted. The high-jacked symbol or pictograph is pressed into service, delivering a new message and engaging in what Umberto Eco calls "semiotic guerrilla warfare."

as Dick Hebdige notes: "Youth cultural styles may begin by issuing symbolic challenges, but they must inevitably end by establishing new sets of conventions; by creating new commodities, new industries or rejuvenating old ones..."


  • must ultimately end
  • becomes representation
  • challenge
  • visual language 
  • sex pistols album cover design 
  • pop art
  • psychedelic movement 


S, Heller. 2010. Pop, How Graphic Design Shapes Popular Culture. New York: Allworth Press. 


  • designers had to think smaller as LPs were faded out
  • mp3's final stage in music design - as technology advances, less room for creativity 


Barthes, R. 1977. Image, Music, Text. London: Harper Collins.

  • We determine what is important culturally, new ways of thinking


https://books.google.co.uk/books?id=lfXljzVwkJcC&printsec=frontcover&dq=graphic+design+psychedelic&hl=en&sa=X&redir_esc=y#v=onepage&q=graphic%20design&f=false

https://books.google.co.uk/books?id=PxlQBwAAQBAJ&pg=PA37&dq=critical+writing+on+60s+subculture&hl=en&sa=X&ved=0ahUKEwjg3ZfyuZ_KAhXDVhoKHR9GATQQ6AEIOjAF#v=onepage&q=psychedelic%20&f=false

https://books.google.co.uk/books?id=etYOaWh1t4cC&printsec=frontcover&dq=critical+writing+on+60s+subculture&hl=en&sa=X&ved=0ahUKEwjg3ZfyuZ_KAhXDVhoKHR9GATQQ6AEIJTAB#v=onepage&q&f=false


http://www.cambridgescholars.com/download/sample/61787


OUGD501 Research - Subculture - The Meaning of Style by Dick Hebdige



OUGD501 Research - Subculture - The Meaning of Style by Dick Hebdige

Punk Ideology 


'punk aesthetic can be read in part as a white 'translation' of black 'ethnicity' 
Punk groups for instance, figured prominently in the rock against racism
The clash and The slits in particular wove reggae slogans and themes into their material
certain features were lifted directly from the West Indian rude and Rasta styles
punk music, like every other aspect of punk, tended to develop in direct antithesis to its apparent sources
punk launched frontal assaults on the established meaning systems
rigid demarcation of the line between punk rock and reggae is symptomatic not only of an 'identity crisis' 
indirectly influenced by the subcultural styles of the black immigrant community...in order to find a music which reflected more adequately their sense of frustration and oppression
objects borrowed from the most sordid of contexts found a place in the punks' ensembles...which offered self-conscious commentaries on the notions of modernity and taste p.107
reflected the tendency towards wilful desecration and the voluntary assumption of outcast status which characterised the whole punk movement 



(info on aesthetic of publication p.111-p112)

Sniffiin Glue (highest circulation) the definitive statement of punk's do-it-yourself philosophy e.g 'Here's one chord, here's two more, now form your own band'. 





Subcultural Theory 

(clothes)

barthes - 'the signification of the image is certainly intentional...the advertising image is clear, or at least emphatic' 
expressive of 'normality' as opposed to 'deviance'
(intentional communication and visible constriction) distinguishes the visual ensembles of spectacular subcultures. They display their own codes(punks ripped t-shirts) 
they have been thought about rather than thrown together 
goes against the mainstream - according to barthes, is a tendency to masquerade as nature, to substitute 'normalised' for historical forms, to translate the reality of the world into an image of the world which in turn presents itself as if composed according to 'the evident laws of the natural order' (Barthes, 1972)
ensembles are 'obviously fabricated'




could provide an attractive alternative the drudgery of manual labour, office work or a youth on the dole
made to reflect, express and resonate...aspects of group life
punk culture signified chaos, hebdige argues that it was 'extremely orderly,' explaining this paradox with the concept of homology.
punk subculture grew up partly as an antithetical response to the re-emergence of racism in the mid-70s
the key to punk style remains elusive 
punk 'escape the principle of identity' 
refusal to cohere around a readily identifiable set of central values. `it cohered, instead, elliptically through a chain of conspicuous absences. 

deliberately used to signify working-classness 

Thursday, 10 December 2015

OUGD501 - Lecture - The Meaning of Style



OUGD501 -  Lecture - The Meaning of Style 



  • Form of resistance/rebellion 
  • Challenges mainstream
  • symbolic challenge
  • start as challenges - get sucked into mainstream 'the system' find ways to put back into conventions - tragedy of subculture
  • incorporation
  • ideological form
  • commodity form
  • turned against - was edgy/challenging now liquidised and made into a joke, weird, gentle thing
  • after war - no uniforms/conscriptions 
  • music coming from America 
  • 'new teenagers' 
  • teddyboys - pionerring, made it okay for men to take pride in their hair etc, from Bill Hayley. Subverting it, fuck up the class system
  • no money/education - can work your music/appearance   


- Rockers- at same time as teddy boys. Based on bikes and fighting. Generation gap

- Media was fundamental to subculture - picking up new 'sensation' fear aspect is useful to administration 

Mods vs Rockers
Rockers
SkinHeads
Punks
Teddy boys

Essence is they are elitist - exploiting this expression 
All they've got is the clothes on their backs- can stand out by their appearance 



  • Stylists/Modernists - interested in jazz, taken from Italian films and the idea of 'cool'
  • Finding your tribe from style - 1966 drug culture
  • Ready, Steady, Go (Tv programme?) 
  • accurate representations of your culture is rejected as it is diluted  


- Psychedelic side of the MODs, became hippies - other side becomes skin heads

- New Wave style

- Fred Perry 


  • Multi cultural England - huge impact 
  • Rude boy culture - completely anti mainstream - narrow black trousers with white socks

- Mix english elements and west indians  - skinheads



  • younger brothers of MODs
  • Millitent, working class
  • Hardly anyone knew about them 
  • Very cool
  • Brought black and white together 
  • Against the height of fashion - 'swinging London' 
  • saying we are proud to be working class
  • skinhead girl attacks, work in gangs

Media caught on - over by 1970s. Skin Head revival who were racist - nothing to do with the style - just a uniform to look intimidating. Very small group - media blurred out of population 


- Soulboys - Northern soul boys


  • Heart of Wigan 
  • Enthusiastic about black music - very rare records, all about having the records the next guy didn't have. All about going out, dressing up and dancing 
  • Black kids vs white kids, divided fashion 
  • Southern soulboy vs Northern 
  • Chris Hill & Foggy in Essex

- 'Club Culture' came about in 70s - Soul was left to it

  • Punk came out in 70s repression
  • Want for anarchy 
  • Post modernist ideas, made from bits together of other sub cultures
  • No one defined look to punk, no one looked liked each other 
  • women punk band - The Slits 
  • Feminist ideas (hippie ideas) came out again from punk 
  • Reggae vs Punk - both saying something together 
  • Sex pistols swear on tv, media slam punk - afte it was pretty much finished, blown out of proportion, made into a pantomime 
  • Punk and Reggae together  - Ghost Town 

- Two Tone, monochrome culture - lasted 1 1/2 year

- 1980s, sportswear came out of footballers, parties and drugs ended that


- Rave Culture

  • Same as hippies relies on sound, light and atmosphere
  • Ecstacy
  • Acid House
  • Became more about musical genres e.g Jungle

- BritPop  - last subculture or was it a culture?

  • Retro enthusiasms, swinging London/Manchester & MODs
  • Back to bands again 
  • Themes, attitudes in common - wanted to sell millions of records rather than be underground  (Posers)


- No subcultures now, nothing is under the radar - everything's available via the internet. Music doesn't drive anymore - politics does





Monday, 30 November 2015

OUGD501 - Essay Considerations


OUGD501 - Essay Considerations


- 10 sources
- 4 quotes from quality sources (critical writings)
- Triangulation, blending of sources and coming up with your own point based on your research 

Frist Hand Research 

- Market Research 
  • Habits, opinions, tastes, perceptions of consumers in a specific target market 
  • questionnaires, surveys, focus groups, taste tests, opinion polls, interviews
quantitative - statistics
qualitative - opinions


Interviews 


  • in depth and focused Q & A
  • members of target audience or 'professionals'
  • pre-defined & impromptu questions
  • quantitative and qualitative 








Monday, 23 November 2015

OUGD501 - Initial Ideas & Tutorial




OUGD501 - Initial Ideas & Tutorial 

Ideas and interests - 

Youth Culture

Subcultures
Music
Graphic Design and social change
Psychedelic Posters of the 70s
Counter culture

Ideas for question - 



  • Protests, subculture and how this is missing now
  • visually communicating language of subculture
  • subculture as symbolic challenges
  • could argue that there are no subcultures since the 1990s
  • no symbolic challenges anymore


Question -


How symbolic challenge is constructed in graphic design within Subcultures


graphic design to convey a message of a subculture, what they stand for, visual representation - 1960s
specific to MODs going on to hippies
Rock posters


music posters of the 60s and 70s

music, visual representation of subculture, influence graphic design  

takes away meaning, one of a kind

how the subcultures of 1960s and 70s influenced graphic design 


Essay - Historic Subculture
Pratical - Publication on radical music posters that document this


Books -



  • D, Crowley, Graphic Design, Reproduction and Representation
  • A, Shea, Designing for Social Change
  • Subcultures, The Meaning of Style  
  • Off the wall psychedelic rock posters from San Francisco 
  • Pop how graphic design shapes popular culture 
  • Popular music and youth culture music identity and place 
  • Cultural resistance reader 
  • Fads fashions cults from Acid House to zoot suit via Existentialism and Political Correctness the definitive guide to post modern culture 
  • Graphic design reproduction and representation since 1800





OUGD501 - Time Plan


OUGD501 - Time Plan

23/11/15:

Monday - Create essay plan, Study task 05, get quotes from books
Tuesday - 500 Words on Essay
Friday - 500 Words 
Weekend - 500 Words 
Monday - 500 Words
Tuesday - 500 Words

07/01/15: 

Send off essay for feedback

Christmas Break:

Finalise Essay
Initial Ideas for practical work

January:

Send in Draft and final edit
Start work on practical work 

OUGD501 - Brief



"The Designer That I Am"

Module ID: OUGD501
Module Leader: Simon Jones 
Module Deadline: Mon 25/04/2016 1500-1600
Brief Deadline: 25/04/2016 1500-1600 
Outcomes Assessed: 5A1, 5A2, 5B1, 5C1, 5D1


Studio Brief


This brief will give you the opportunity to build-on and apply your contextual knowledge and skills in critical writing; and using practice as a method of research. You will use a variety of theoretical and practical research methods to explore a specific graphic discipline (listed below) through the investigation and resolution of a question or issue of your choosing. Support from tutors will be given through tutorials, crits, seminars and workshops.

There are three deliverable elements to this brief; all of which will demonstrate a synthesized ability to research, critique and examine an issue practically and theoretically.



(1) DESIGN CONTEXT BLOG #2

Develop an online portfolio of critical responses to lectures, seminars, set tasks and independent research activities. Use you Design Context Blog to document and evidence your engagement with, and understanding of contextual, theoretical and critical concepts and ideas that you have been introduced to during the course of the academic year. Your Blog should include; lecture notes, records of activities undertaken in seminars, a collection of short writing tasks completed in response to set tasks and activities. You should also provide notes and visual records of any self-initiated trips, studio visits, galleries and research activities relevant to the development of critical understanding of the context of Graphic Design practice. Your Blog will also become a space to evidence your developing understanding of the connections and relationships between the theoretical and practical contexts of Graphic Design.



(2) 3000 WORD ESSAY & (3) BODY OF PRACTICAL WORK

Establish a question or issue and write a 3000 word essay AND produce a body of explorative practical work relating to a specified aspect of Graphic Design. Your essay and accompanying practical work should demonstrate a developed understanding of the nature of academic writing and the importance of critical and analytical approaches to your chosen theme.

Your essay should aim to include:
The selection of subject matter appropriate to your own interests that will allow you to critically analyse relevant source material.
A logical structure that has an introduction, a developed argument that is supported by appropriate references to at least four different academic sources and a conclusion.
A bibliography of at least 10 sources presented using the Harvard referencing system & the use of Harvard conventions within the main text of the essay when paraphrasing or quoting from other sources.

Your written and practical work will both approach the same overarching theme and give you the opportunity to consider the interrelated nature of theory and practice.

With support from your tutors you will establish a question or issue which will become the basis for your 3000 word essay and your practical investigation.



Background / Considerations


Contexts of Practice 2 is designed to help you build upon a foundation of critical and academic skills and knowledge gained from level 4. It is expected that your research and academic writing skills will develop further in level 5 with support from your tutors. The college-wide ethos of CoP encourages you to consider practical investigation as a form of critical thinking, and an integral part of the research process, for the creative practitioner.

A series of lectures, seminars and workshops will be given in order to provide you with the relevant skills and knowledge for this module. You will also be given a series of tasks, which should be published on your BLOG, that will evidence your developing understanding of the subject matter and academic procedures.

Both the practical and written work produced for this module will be assessed holistically, as a synthesised investigation of a Graphic Design related theme.



Mandatory Requirements
All posts to you Design Context blog should be labeled with the OUGD501 module code

Evidence of responses to all tasks should be labelled with the relevant task number

Your essay should be typed using 1.5 line-space formatting and a 12 point serif font.

Use Harvard conventions for quotations, paraphrasing and bibliography. Pages should be numbered and stapled. A copy should be posted to your Design Practice Blog.



An over-reliance on ‘non-academic’ internet sources should be avoided.



Deliverables


An online portfolio of notes, records of module activities, a collection of short writing tasks and evidence of independent research activities.

A 3000 word typed essay/written response to a set question.

A body of related practical work.


Refer to the OUGD501 Assessment briefing & Handouts for further submission details.



Supporting Resources/Information


Sylvan Barnet’s book A Short Guide to Writing about Art is an excellent source to use for this brief when writing your essay. See pages 29-31 on ‘context’, pages 53-53 on ‘form’ and ‘content’, pages 113-116 on doing ‘formal analysis’, and on writing clearly and economically, pages 187-219.
Use your module handbook which should guide you through the module and have useful information such as, bibliographies, glossaries etc.
Use the OU website for learning how to use Harvard referencing in depth :http://library.open.ac.uk/help/howto/citeref
Use good quality dictionaries and specialist art and design dictionaries for difficult vocabulary.
Use On-line Journals Database information – in particular http://www.jstor.org/ you will be able to search keywords and get references to written articles in back issues of journals.
Use current art and design journals.
Leeds College of Art & Design Regulations Handbook for Undergraduates, section on ‘Academic Malpractice’.

http://www.studyskills.soton.ac.uk/studytips/reading_skills.htm for help with how to read academically

Saturday, 2 May 2015

OUGD401 Studio Brief 1 - Evaluation



OUGD401 Studio Brief 1 - Evaluation

I have found this module quite challenging than I initially would of thought. The brief to me was really interesting as I was happy that there was this side to the course where I could discuss and analyse things. However I think Context of Practice has really come secondary to all of the other modules running through this course and I really let CoP list behind. I think towards the end although I was on top of things, the struggle for the practical side to me really hindered my time management. I believe in second year I must always keep on top of CoP as it is a very in depth module. My time management overall I think has been successful as I have managed to do a good amount of research which informed both my essay and practical side. 

I don't think writing essays is a strong point of mine at all. Particularly as after the tutorial we had I found my essay had been quite one sided and isn't a piece of work I'm confident in. I also had a lot of trouble with referencing and I've put in quotes that are too long. I think I could of put a lot more effort into my essay, and although I think my research was sufficient, I have found it really challenging to compile my own research together and come up with a good strong basis for an essay. I really want to improve my essay writing skills so I should of used resources to help me with things such as structure for my essay, so produce something a lot more academic.

I am very happy with the practical work that I have produced as I think mainly it is something I'm passionate about and quite fitting with the upcoming election this year. I think in terms of links to essay it does but not so much in an obvious way. I do think however a lot of my research was done online and I should've used the resources available to me to do much more tangible research. I think for CoP next year a more political route is something that I would be interested in doing, particularly as gender in the media is something I have explored in the past so do not wish to return to again. I think it has been a good topic though to explore but I definitely want to go out of my comfort zone for second year.


Friday, 1 May 2015

OUGD401 Studio Brief 1 - Production



OUGD401 Studio Brief 1 - Production

I am happy with the way the zine printed and I think it has the right aesthetic that I was aiming for. On reflection, I think this is something I did want to produce and I'm happy that I've gone down this route as it is something I believe in. However, in context with this brief I think perhaps I could have included issues for men as well to make it a gender neutral campaign and perhaps named it '#Vote Equal' instead. This would of sent a clearer message for equal rights for both women and men. Although this focus on women does relate back to my essay and I can see clear links with my practical and written side so I think I have answered the brief. Furthermore the problem is that women do not have the same equal rights to men, not the other way around so I think my focus on women is acceptable as it is striving for equal rights. Therefore I am happy with what I have produced and I don't think I would of changed anything as I think I have achieved the content, design and aesthetic I was aiming for. 






Wednesday, 29 April 2015

OUGD401 Studio Brief 1 - Development



OUGD401 Studio Brief 1 - Development


From my change of ideas and research I have decided to move away from my original proposal and create a campaign. From researching, UK Feminista was something that really appealed to me, therefore I think I'm going to create a publication encouraging women ask their MPs to commit to action against sexism. This way I can talk about the aspects I spoke of before such as encouraging women to vote, the pay gap and women in parliament etc, and keeping the theme of politics which I originally wanted to do. This I feel will still relate back to my essay as I will gone on to explain how. 
I feel that a publication/zine would be best to produce for this as I want it to have quite a bit of content, therefore a poster would not be feasible. I think the publication can still be classes as a form of advertisements as it is informative, and it's aim is to encourage its audiences to support the campaign.

I'll take the issues from UK Feminista to make up the content of my publication but I'll also use my research to back up these ideas and for more content. The photographs used however on the website I thought I could also use and they are very fitting to what I'm producing. I decided to divide up my contents as follwed:

- Introduction
- Economic Equality
- Women In Parliament
- Childcare
- Schools
- Legal Aid 
- Media Sexism 
- Violence
- Right To Own Body
- Suffix

I think this is a good starting point, therefore I completed my contents page first. I wanted to get all of the content down before I started doing more of the design side to things. I think all of these cover everything that I wanted to talk about within my practical work, including some content which I added such as Media Sexism and Right to Own Body. 







Once all of my content was down, I started thinking about the design. As my primary target audience is the younger generation, I wanted make my designs a bit more appealing. Therefore I changed the colour balance of the photographs to a pink/purple tone as I wanted to keep a four colour limit to my zine, being:
-Grey
-Pink
-Black
-White

I think these are strong colours but a hint of pink with grey will give it a slightly more feminine feel, emphasising the target audience of women.



I thought it would be a nice idea to use images that I found and manipulate them for my zine, using a scanner. I think this gives off a post modern, underground fanzine style, which I think would appeal more to the younger generation of women. In addition this style reflects the distortedness of our society and that women aren't yet firmly in place, there still are misshapes here and there. I think mainly the style was really what I wanted to achieve to give an edgy vibe to the zine, and make it something someone would want to pick up as to some women, politics isn't interesting, therefore an interesting zine would encourage audiences to view it.








I then put together my final zine, with the title '#Vote Feminist' in Helvetica Condensed Bold. I think this choice for me has a lot of impact, creating a sense of urgency towards the whole piece which I believe is quite fitting. I then was able to use these scans to help piece the zine together for the final design. 











Monday, 27 April 2015

OUGD401 Studio Brief 1 - Written & Practical Links



OUGD401 Studio Brief 1 - Written & Practical Links

In my essay, 'The Feminine Mystique' by Betty Friedan was one of the writers who I analysed and compared. Her book for me was the most impactful as although the book it about the set roles for women in the 1960's, this book was really a turning point and still today is is powerful. I think this still can be applied for today as Friedan was striving for equal rights which we still don't completely have today. I decided that for my practical side I really wanted to relate back to this aspect of my essay mainly for my practical side.Therefore the political side to this is key, and I think creating a political campaign within my practical side does link as it will encourage women to have equal rights which is what 'The Feminine Mystique' is all about and my essay in fact, has a focus on how advertising sets the underlying power asymmetry of men and women. I think there is a focus on women in my essay which is why I wanted to create this publication aimed predominantly at women. In addition my essay emphasises how advertising is just a tool to reinforce ideas, it doesn't actually construct them. Therefore creating an advertisement to try and deconstruct these ideas is quite ambitious but a starting point. However encouraging change politically is more appropriate I believe as it's our history that has has constructed our ideas. Creating a publication that demonstrates how we can strive for equal rights is the outcome from my essay, as the essay which talks about the problem informs the practical side which is the solution. 

Thursday, 23 April 2015

OUGD401 Studio Brief - Research



OUGD401 Studio Brief - Research

From my tutorials, I knew I needed to do extensive research into gender equality campaigns. While researching for my essay, I found it extremely difficult to find advertisements that are gender equal, as aspects of certain advertisements still do have hints of dominance, power and powerlessness. These examples are the best examples for gender equality that I could find, but even so there is still contradiction in all of the campaigns. It's crucial to research into this for my practical work to gain a better understanding and to understand how an argument is successfully put across in graphic design and other formats.

HeforShe

HeForShe is a solidarity campaign for gender equality initiated by UN Women. Its goal is to engage men and boys as agents of change for the achievement of gender equality and women’s rights, by encouraging them to take action against inequalities faced by women and girls. Grounded in the idea that gender equality is an issue that affects all people — socially, economically and politically — it seeks to actively involve men and boys in a movement that was originally conceived as “a struggle for women by women”. Some noticed the contradiction of a campaign for gender equality which take only action against inequalities faced by women and girls, ignoring problems affecting men and boys. 
The branding for this campaign is very simplistic and minimal. This could be on the basis that gender equality is a simple thing - is it a basic human right and shouldn't be complex to understand. Therefore the simple design reflects this by being clear, consistent and legible. In addition the simplicity makes it easily recognisable which relates directly to their aim of spreading awareness.



This Girl Can

Sport England has launched This Girl Can – an edgy promotional campaign that seeks to inspire women to challenge cultural assumptions about femininity that prevent them engaging in sport and exercise. The short television clips draw upon “real” women’s bodies, of different shapes and sizes, as they move, sweat, strain and take pleasure in a range of activities – swimming, kickboxing, football, dance, cycling. However, Advertising campaigns like this push a neoliberal rhetoric of “free choice” to look a certain way, or move in a certain way; yet the choices available are narrow, restrictive and predicated on a narrow version of sexiness. It does not involve a stretch of the imagination to think about how women’s self-reference to “sweating like a pig” through exercise can shift into denigrating terms (“fat pig”), that are used against them if they don’t conform. It’s disappointing that a campaign to get women more physically active doesn’t focus on how exercise strengthens friendship, reduces the stress of work and care and gives us physical and emotional strength. And we suppose it would be far too much to ask to see a campaign that shows exercise as an opportunity to find an active space outside the cult of body worship and display.



Life Magazine

I came across Life magazine which was an American magazine that ran weekly from 1883 to 1972, published initially as a humor and general interest magazine. Looking through the cover however, most seemed to be quite gender neutral, where women and men had close up shots conveying a position of power. However although there are some exceptions it was interesting to see the women in particular not sexalised at all. Even Marilyn Monroe a huge sex symbol at the time just smiling, interesting considering the period of time. 





Dove Campaign for Real Beauty

The aim of the campaign is to celebrate the natural physical variation embodied by all women and inspire them to have the confidence to be comfortable with themselves. The campaign's mission is "to create a world where beauty is a source of confidence and not anxiety." I would still argue that their are still issues with the advertising. For example, in their real beauty campaigns the women are usually in underwear only which I feel still encourages the idea of the male gaze as well as sexualising women, even though this is more subtle. A lack of clothing was not necessary to show that the women were real. The campaign has been criticized on the grounds that Unilever also produces Fair and Lovely, a skin-lightening product marketed at dark-skinned women in several countries. The criticism has also been justified from others that state their concerns with the fact that the images that Dove portrays in their ads are supposed to be unedited and "real"; however, there has been comments made stating they have in fact been photoshopped to smooth the appearance of the women's skin, hide wrinkles and blemishes, fix stray hairs, etc. 




The Gender Ads Project

This site is an educational resource that focuses on the ways in which gender (and related issues like sexuality, social class, race, etc.) and advertising intersect. The primary focus of this Web site is print advertising. This was interesting to look at as there were controversies and constructs of the advertisements which had in depth information on. It also had roles of each men and women within advertising and deconstructions of these, also with secondary information on the politics and violence that comes with these. Although this is not a gender neutral example of advertising as all the advertisements shown are sexist in some way; it does have in depth information on how both men and women are subject to sexism and doesn't have any emphasis on one or the other. It was intriguing to see how the different roles were deconstructed and this is a good tool to use for research. 



Monday, 30 March 2015

OUGD401 Studio Brief 1 - Critique & Change of Ideas



OUGD401 Studio Brief 1 - Critique & Change of Ideas





Over the weeks I had be thinking more and more about how hard creating a gender neutral advertisement would be and how I wanted to create something with more purpose, such as a campaign. During a studio development day I spoke to Simon about my struggles for ideas, which was really beneficial to me as I found that I could create a campaign. As soon as Simon suggested that is could be along the lines of something political I knew straight away that that was something I wanted to do. I began researching into certain things that women were still not yet equal in and issues of today and came up with a list. Two which stood out to me was the pay gap and women in parliament. I then thought about creating a publication to encourage more women to vote as still today the majority of the population that doesn't vote - are women. Therefore I went into further research on this to help initiate ideas.




Voting Gender Gap

If the voting gender gap is to have any significance there must be a gap in voting preference. If there is no gap in voting preference then the gender gap is null and has little or no implication. In every presidential election year from 1980 - 2008 women have outnumbered men in voting Democratic and the same is true for men outnumbering women voting Republican. From 1980 forward there is a definitive difference in partisanship between male and female voters.The following data was gathered by the Center for American Women and Politics from 13 different sources ranging from October 1994 – September 1996. The various polls  all found women and men to divided, ranging from 10-25 percentage points, on all of the following issues:

Increased role of government
U.S. military intervention
Healthcare and welfare
Firearms restrictions
Affirmative action to achieve racial equality


The Guardian Article - 
'Millions of women fail to vote. Did the suffragists suffer in vain?'

Why did nine million women fail to vote at the last election? Labour quotes figures that suggest nearly a million fewer women than men voted – although others think the gap might be smaller, taking account of demographics. But since women had to struggle so hard to get the vote, shouldn’t they be first in the queue at the polling booths?

On Monday, it’s the deadline for everyone to register to vote, and it’s worth remembering what women were doing a hundred years ago, to secure the right to a vote. They chained themselves to railings, blew up buildings and letter boxes, and more than a thousand went to jail. In prison they went on hunger strikes, demanding to be treated as political prisoners, and were brutally force-fed. A tough women’s body guard had to be formed around the Pankhursts, leaders of the suffrage movement, to protect them from attack wherever they went.

Worse was the scorn they endured, as objects of ridicule, seen as unmarriageable, contemptible, hideous, un-women. I won’t use the word “suffragette” as it wascoined in mockery by the Daily Mail. They called themselves suffragists – and they suffered for it personally and socially, enduring much worse than current women-hating Twitter storms: at least now women under attack get waves of support. They didn’t back then, when other women often turned against them, afraid of social contamination. Women as a whole were not progressive – as their later voting habits showed.

When old battles are long won they become cosy and safe, shorn of risk or ferocity. Consider Walt Disney’s sanitised Mrs Banks in her sash in Mary Poppinssinging: “Our daughters’ daughters will adore us / And they’ll sing in grateful chorus / ‘Well done, Sister Suffragette’.” Or the chirpiness of Made in Dagenham, the story of women fighting for equal pay who took great risks, not least against some unions. But now it’s a happy-ending musical drained of danger, cheered to the rafters, though trade unions are routinely reviled. History has a way of turning hard-won, uncertain struggles into genteel heritage. But telling women to vote because their great-grandmothers fought for their rights is as forlorn as telling children to eat their crusts because of hungry children in the Sahara.


The prime minister Herbert Asquith opposed votes for women not just because they smashed his Downing Street windows and attacked his carriage, but because he feared women would swing the vote away from the Liberals towards the Tories. He was right. The hard truth is that women getting the vote created a natural Conservative hegemony for decades. Women stayed apparently unmoved by Labour introducing the NHS, baby clinics, child benefit, abortion, contraception rights, and much more. Margaret Thatcher owed her 1979 victory to women – 47% backed her while only 35% of women voted Labour. Among men, only 3% more voted for Thatcher than for Labour. Not until 1997 did women, for the first time, lean leftwards – and they have done ever since.

Now Labour has a four-point lead over the Conservatives among women, according to average YouGov polls – while Labour lags two points behind the Tories among men (35% to 33%). That “Calm down, dear” was emblematic, alongside David Cameron’s failure to promote many women. Lurching rightwards, Cameron failed to notice that it was his lack of women’s votes that denied him a majority in 2010.

Since then his policies have tilted sharply against women: 85% of his cuts came from women’s pockets. Women were the heaviest losers from the million lost public sector jobs – good jobs replaced with low-wage agency work. Women suffered most in cuts to services for the old and children, and were hardest hit by benefit cuts and freezes. Ruthless benefit sanctions have hit women worst as they try to juggle children and jobseeking rules and are cut off when they refuse shift work.

Recently the pay gap has widened for the first time in years, with women earning an average 19.1% less than men. Fawcett Society figures show more than two-thirds of top earners are men, and that female managers are earning 35% less than men. Two-thirds of women earn below the living wage – and for every £1 a man earns, a women gets just 81p.

The parties might take note from the Electoral Reform Society’s chief executive, Katie Ghose, who says women “are more likely to make up their minds later then men, giving the parties extra incentive to reach out to women right up until close of polls”. A last minute battle for their votes would be a fine thing.

Put the party manifestos through a women’s lens and, because more women are low-paid and because more women depend on public services, it’s easy to see why they lean towards Labour. The surprise is that the gap isn’t wider. One polling expert suggests the demographic reason why: many more younger women do vote Labour, but there are more older women and – as Cameron is well aware – the old vote more Conservative. As the next generation of women reaches retirement, they may keep their left-leaning voting habits.


UK Feminista

UK Feminista supports people to campaign for a world where women and men are equal. Why? Because despite massive advances in the status of women, gender inequality remains rife in the UK and across the world. We believe that political, economic and social equality between women and men is possible – and it is a world that will be better for all. But progress doesn't just ‘happen’. It takes ordinary women and men to stand up and be counted and create the world they want to live in. Our aim is to inspire and enable people to do just that.





Women In Ads

This is the existing website, which has detailed information about women in
advertisements but with specific reference to the negative representations
of women and sexism. It also discusses the effect this has on us and how it
creates stereotypes. Each section within the website doesn't have too much
context to it but a good amount to create a book from.






I created a zine on 'Women In Ads' for my design principles brief. This publication has helped me undertake further research and I have used the zine itself to use as extra research. I thought it would be interesting to relate this module to CoP, as see where the modules inform and can relate to one another.