Tuesday 23 March 2010

Summary of the Barnard Text.

Throughout this chapter on the underlying subject of is Graphic Design and Art? Barnard explores various subjects around the matter such as aura function and cultural significance.
Firstly there is an argument to suggest that the artist and the designer do different things because the nature in which they both work are completely different, and both have an alternate course and drive to the activity which they are undertaking. Walker (1983:20) This suggests that mass media products such as those of Graphic Design, are the work of groups of specialists operating as teams in response to briefs, commissions or specifications laid down to employers or clients. In conjunction to this point he is arguing that artists work at a much more leisurely pace, have more artistic and creative freedom to there practice.All this is being taken away from a Graphic designer as they have to produce something potentially for a client plus it has a purpose, also they are designing to potentially please the client who isn't of that professional area of practice. Some would say it would be absurd to be asking the client for their creative input in an area of design which they are not familiar. This is where aura is lost and through mechanical reproduction image and text are being reproduced time and time again ‘Aura is the sense of uniqueness and authenticity that is felt before a work of art , is ‘inseparable’ from that of arts place in a tradition authenticity is grounded in the ritual or cultic function of art (Benjamin 1992: 214, 217) By not being able to have a unique piece of Graphic Design wether that being an album cover, photograph or otherwise it takes away almost the value of art. Fine artists its almost feel as if they are being undermined of their workmanship. Graphic designers work often to a tight deadline and produce high quality work where the artist would take their time and have the perception it takes as long as it takes! Also It is argued that digital prints can be anywhere at one time where as a painting/ fine art piece can only be in one place at a specific time. Yet to conflict with this valued point Engles argues that people in every occupation, including artists and graphic designers have turned into wage-labourers (Marx and Engels 1968: 70; 1985: 82) In a way for fine artists graphic designers have made their work seemingly of a higher value in society, as graphic design is commonly seen in every day life and could be argued the workmanship is being taken for granted, where-as a painting is not seen very frequently and valued to a greater extent. Additionally graphic design is designed to be legible and readable a simple easy communication strategy, yet art has a deeper meaning something which the soul has to read into, does this make fine art more valuable? Does this create more aesthetic value? This leads on to the argument about cultural significance within society, art is perceived to have lasting value where-as graphic design is said to be ‘ephemeral’ (Cronan 2000: 216) graphic design is temporary it is about communicating a subject to the target audience at that time: promoting, informing or instructing it is about information and as you know this can change on a daily basis. People still need to be informed in a effortless manner of these alterations. ‘Most designers speak of their activities as a problem-solving process because designers seek solutions to communication problems’ Wild (1997: 94) There will always be a debate to wether art does differ to graphic design on a creative and expressionist manner, arguments such as the ones which are highlighted above weigh up each side of this debate. Both practices display some form of creativity wether you can say that creativity is art or not lies another problem to be explored.

Summarising the Modern text

The first decade of the twentieth century artist began trying to create something new moving old techniques further on and advancing common technology. They used old nineteenth century machines and began transforming them into something innovative, by doing this they would be able to move art into a direction which would potentially change the way in which we view it. Modernity was a form of experience an awareness to change and of an adaption to change, this was moved further on by the artists of the avant-garde and art had become thoroughly internationalized. Art moved on to be something of expression and these was showed by current movements such as futuristic and cubism drawings, these were highly influenced by urban modernity other artists such as Kirschner and Boccioni remained legible and diverse even through the pressures of the change. The question that people were beginning to pose was what does cubism mean? How people were thinking of it and reading it became an area of conflict. The autonomous decoration of a surface, penetration below a surface appearance to the constraints of ‘true reality’ ; a modern Realism of ‘conception’ transforming the terms, but none the less retaining critical interest. Two artists named Corbet and Kartian transcended into creating art which was to be called idealism in which a picture could achieve what language could not. This was a representation of ding an sich; a Nietzschean imposition of new beauty, moulding the masses to the artists own truth. These were canvassed within the five years of the emergence and of a recognisably new style around 1910. The problem to autonomous art to a wider social change has remained constitutive of all ambitious art in the modern period. Cubism marked a turning point, a hinge , as it were, between the modern art of the nineteenth Century and what was to become the condition of modern art in the twentieth.









Harrison, C and Wood, P. (eds.) (1997) 'Art In Theory: 1900-90', Oxford, Blackwell, pp. 125-9

Sunday 21 March 2010


This Advertisement is for the make-up Rimmel. The sign of this image would be the product itself the ‘New Sexy Curves Mascara”, Signifiers which show the audience that it is aimed at girls are the various images of a women also there are drips of mascara on the page which is made to look glossy and vibrant. Rimmel have used advertising techniques such as using a model which the audience can relate to Ellis Bexter is a famous artist and some one who a young teenager could relate to and aspire to be like. She has been airbrushed so her skin looks softer and more attractive making the audience believe they are purchasing the whole look and the mascara would make them have skin like this. The models expression denotes to me that she is proud of wearing the make-up and feel glamorous. Connotations of the image are that the model is pictured in many up market classy outfits and suggests that you are buying into this way of life. They also show a pair of smooth shiny legs this has no connection with the product in sale so why include this? They want the advert to appear sexy and sophisticated showing the viewer the best assets of the women's body and what you can potentially have buy purchasing the mascara. The type is very interesting they have used a curly type for the “Sexy Curves” denotes how your eyelashes will be big and curled upwards. They reduce the size and opacity of “For up to” so that the audience wont be able to read this unless up close to the advert. The last line says “Live the London look” again looking to convince the audience of glamour sophistication professionalism and successfulness.

The document




Lecture NOTES :




Modern lecture






Media lecture notes



Saturday 20 March 2010

Reading List

Harrison, C. Wood, P. Gaiger, J. (1995) (eds) Art in Theory 1815-1900. Oxford: Blackwell
Armstrong, H. (2009) Graphic Design Theory. New York: Princeton Architectural Press
Barnard, M. (2005) Graphic Design As Communication. USA: Routledge
Gluck, F. (1967/68) Modern Publicity. LONDON: Studio Vista Limited
Lupton, E. Abbot, M (1999) Design Writing Research. LONDON: Phaidon Press Limited1

Semiotic image analysis.


This is an advertisement for fragrances for men and women they are advertised by the well-known David and Victoria Beckham, which are both male and female role models for the young generation. Here the sign is the advert and and shows its denotive meaning of advertising mens and women's fragrances. Signifiers are the image of David strongly leading and holding Victoria down displaying his strength and masculinity. The way that Victoria is holding her head and her expression is almost orgasmic the desire for David is profound in this image and screams sexuality. The signifiers of this would be the lighting it shows a relaxed intimate vibe the shadow from the small lamp creates sexual tension and desire for one another, also the idea around its dark and no-ones looking do what they please!. Victoria has a lot of her upper body flesh showing this is a way of reminding men of naked body and relates to sexual relations. The way that David hides half of his face displays a mysterious feeling to the image and he stares directly into the camera potentially connecting with the audience also known as “come to bed eyes” buying into this affectionate emotions. It is interesting how they are selling both their fragrances on the same advert the bottles suggest sophistication the way the reflections are used also sells the idea of the perfect relationship both complimenting each other in the partnership. It is a direct indication of what they are selling and an iconic way of doing so.