OUGD505 - Module evaluation

To conclude on the final module of second year which has definitely been the most challenging so far as I was made to consider factors I have never thought of within my work before. These considerations were mainly for studio brief 02, as I feel this is the brief that all the learning outcomes revolve around. Although I enjoyed studio brief 01 as I found it refreshing and enjoyable to undertake but couldn't relate the outcomes to the brief. For example analysing and critically evaluating the impact of social, cultural, technological and/or ethical concerns on the development of solutions to problems relevant to individual graphic design concerns.

To talk more specifically about the briefs. The first brief was a really enjoyable one to undertake all round, from research to final piece and I feel as though everything is justified and does a good job of celebrating Hyde Park Picture House. The brief opened my eyes to a number of pivotal events in the history of Leeds, it allowed me to explore a number of events that helped shape the city but in the end I was able to celebrate and communicate something that I feel is personal to me in Leeds.

My research was extensive and broad but it was highly beneficial when it came to ideas and development as I was able to have an informative reasoning behind each design decision. I enjoyed idea generation as I thought of numerous ways to celebrate this event but I felt the final poster design I did represents a number of things at the cinema. Ranging from the celebratory message, the cinema peg board influence, the identifiable yellow colour scheme of the cinema, the bespoke typeface with diamond angles which are inspired by the diamonds throughout the cinemas architecture and interior.

In terms of producing the print I chose to screen-print it and as always complications happened, nevertheless the final piece was close enough to how I digitally designed it. And it'll be good to see it alongside all the other great traditional prints in the level 4/5 exhibition.

To move onto the second brief which made me work within a small time constraint which ultimately prepares me for third year but also industry. When brainstorming potential issues to investigate I struggled at first as we were encouraged to relate this problem to ourself. A number social, political and ethical issues bother me but not necessarily affect me on a day to day basis at this moment in time. Therefore I found it hard to investigate issues to research further until I came across the issue of ageing.

Looking back on the brief maybe I'd change a number of things like my time management but I don't regret the issue I chose, it opened my eyes to both ageing and ageism which are two unexpected huge parts of our life. Through research it shaped my ideas to instil images of vibrant, engaged, funny, feisty, perceptive, talented, passionate, compassionate older people. Older people who not only have experience but still seek it. And through my outcomes I feel as though I achieved this. This brief also made me think about my work in real life and whether or not it could exist outside my blog. With some fine tuning I feel as though it could mature into a bigger brief and more rounded. And this fine tuning could have happened if I had more time but this is down to time management and acceptance with my work. Although time management may have caused confusion, time away from the brief allowed my thoughts to evolve which presented new paths in research but also new ways of thinking when under pressure.

Overall this module has helped me realise my process but also allowed my own style to evolve. Ive noticed a theme of bold type and bold colour feature throughout this brief so maybe this is something to build on in third year.

OUGD505 - Studio brief 02 - Evaluation

To conclude on the second brief of this module which tested me in a number of ways, but ultimately made me work within a small timescale and tested my work ethic. The brief itself was rather fragmented which led to moments of confusion while undertaking this brief, for example I started research in late March then had to pick it up again come late April / early May. Although this fragmentation may have caused confusion, time away from the brief allowed my thoughts to evolve which presented new paths in research. And as always I found the research beneficial to my overall working process but at times I felt the issue of ageing and ageism was far too broad. Within the time I had I knew I had to be extremely concise with research, however as I continued looking into the issues more and more options opened up. Therefore if I had more time on this brief I feel as though the final outcome may have differed due to more research. In terms of my outcome though I am pleased with the pieces I produced, but again I feel its a good starting point for the issue and with correct amount of research and development they could be strengthened.

OUGD505 - Studio brief 02 - Final feedback

'You hammer home the fact that old people aren't just old and senile like many people think so these days. You accomplish this by using the face of famous British people who are in their twilight, who many people look up to and respect. These images paired with the slogans made you think twice about your actions and words towards old people, therefore I feel you answer your self initiated brief'

'A variety of styles feature throughout the work but I feel the identity of the campaign remains cohesive due to the bold colour palette, which instantly catches the viewers attention. And style works well for everyone which helps your wide target audience. It was a good decision to add age uk, as it gives it more context and the target audience will recognise it better.The tone of voice used helps to give a very positive message about the older generations in this country, the vibrance of the posters also give the same message'

'Through the use of the consistent colour scheme and bold typography throughout, all collateral effectively draws to the strength of the message and captivates the audience. Paired with clever iconography and a disproving and assertive tone of voice the campaign hits home to the audience and would bode well in an actual protest rally. By featuring famous older celebrities and movie stars within the posters it allows the campaign to feel even more relatable and understandable to our naive society, all helping to disprove the stereotypes associated with our older generations'

OUGD505 - Studio brief 02 - Final outcomes

OUGD505 - Studio brief 02 - Distribution

As the challenge is to change the perception of our ageing population through awareness/protest supported by Age UK, the distribution of firstly the posters is key as society is failing to value and harness older people’s skills, knowledge and experience. Therefore the positioning of the posters needs to be well considered for the campaign to succeed.

During a feedback session I discussed the opportunities the campaign has for the posters and my peers encouraged me to look where ageism is the worst in the UK. From research I discovered that more than one in four are 'treated differently to younger colleagues' in the workplace. Research proves millions of older workers claim they are ignored, passed over for promotion or seen as "part of the wallpaper", and Nationwide Building Society found 27 per cent of working sixty-somethings feel they are dealt with differently in comparison to other workers. Also old people complain of being given the "worst jobs" to sort out, feeling their opinions are not respected, feeling bullied, feeling ignored as they near retirement and being expected to be more reliable.

As I stated in the brief that the target audience is broad as everyone needs to tackle ageism but if anything is to change it has to happen at the root of the problem. Therefore a vast majority of the posters would be distributed to be in and around the workplace to encourage employees to think differently about old people in the working environment. I've mocked up a number of posters in environments you'd expect to see the campaign with examples such as the tube as this is a common commute for thousands of workers on a daily basis.

Above is another way of distribution thatll be utilized as the Age uk campaign will be advertised on the charities website, which will allow people to get involved with the campaign. Furthermore this is an opportunity for Age uk to spread the awareness of agesim but online.

OUGD505 - Studio brief 02 - Production

For the production of my outcomes I took advantage of the college facilities by printing before schedule by using the drop in print session, therefore I was on course for my pre planned timeplan. For the production of the posters I printed them A3 matte as this would be best size to take images of the posters in the photography studio. In professional production the posters would be blown up to various sizes depending on where they'd be distributed. One factor to take into consideration is the weight of the stock in professional production as the poster will be put outside. Therefore a durable paper that will not fade in the sun is required and papers with greater weight will hold better against wind and rain, and therefore it will stay as you put it up for a longer time than a thin paper.

For the production of the placards I made the decision to make them small scale for the mockups. As I was originally planning on making them life size, but from researching placard projects on Behance I noticed you don't actually have to make them life size. It's all down to making them look life size in a photography studio by playing with scale.

I purchased toffee apple sticks as these are almost miniature versions of the wooden planks used for placards, then simply applied a 14x10cm print over mountboard. From here I cut out the print using a scalpel to create a miniature protest placard.The production process during this brief went smoothly in a small time constraint which was down to being organised and taking advantage of the college facilities.

OUGD505 - Studio brief 02 - Idea development

For initial ideas for the placards I started off in Illustrator as I knew the designs would be simple enough to begin mocking them up. Protest placards have to be straight forward and to the point so only type and the symbol was required. The voice of old people is portrayed through the placards in simple type setting as GT Pressura is bold enough to stand alone, while the colour palette helps contrast the type making them more impactful.

From feedback I selected four suitable placards to take forward as these were ones my peers believed were the clearest in their message. My peers also noted that they were the ones that 'demanded a response from the viewer' which should be sole aim of a protest placard. As I discovered in research the point in protest placards is to create a visual messages that, together, will show the core issues and values of the movement, and will continue to communicate them throughout the years of work ahead. I feel the placards designed address the issues but also answer the briefs requirements of considering experiences, skills and knowledge of old people.

OUGD505 - Studio brief 02 - Idea development

During a final crit of my ideas my peers recommended to maybe use imagery of old people and in particular famous old people. This is because people often don't categories old national treasures under the same labels they do to the general old population. People respect the old famous more therefore the inclusion of famous figures such as Michael Caine, David Attenborough, Hellen Mirren and Judi Dench could potentially make people think otherwise. These are just examples of names my peers recommended to focus on but I think its true that often people look at old celebrities in different light compared to the general population of old people in the UK. For the inclusion of imagery I wanted something simple that would work cohesively with the other two posters. Therefore I adapted images I got from Flickr and made them duotone orange and blue to help them fit into the house style of the posters. I used images of Michael Caine, David Attenborough and Judi Dench in the end and aimed to find impactful portraiture of each which proved hard on Flickr.

In the first development I added a slogan within a A5 page which similar to the first idea is open to interpretation for anyone to put up the way they want. Even though I decided upon this slogan before this idea I believe it relates in someway to the images used. For example the image shows David Attenborough who at the age of 91 continues to produce documentary films, so it proves age does not hinder his professional performance.

This set of posters is more adaptable than the others as its it'll have separate options with three alternative images to work with. Its similar in content to the second poster but the body copy and logo may differ in position of each poster but it'll remain the same content.

OUGD505 - Studio brief 02 - Idea development

The first designs in illustrator were the poster designs, I followed each sketch but felt the designs weren't strong enough to stand alone. For example the poster to the far right uses the paste over concept but the addition of type to the poster wouldn't make this a more powerful poster to protest ageism. I felt each poster had potential but not as single forms of posters, so I decided to adapt them to the concept. The poster to the far left shows each design layered on top of each other following the idea of a protest against ideals that are not representative of the old age.

I moved onto developing this idea further by layering each paper size in hierarchy.  The unusual layout catches attention with the repetition immediately having an impact on the viewer. The A3 layer makes it instantly intelligible by stating the issue while the A4 layer plays with the labels used against old people. Lastly an A5 layer shows the symbol of the campaign which symbolises to stop the stereotypes and labels. I experimented with the layout of the poster but during this process I realised that no set layout should be decided upon. As the underlying concept is a civilian protest against ideals that are not representative of the old age, it is down to the public to depict the poster in a way they want. Therefore for distribution the poster can have a number of alterations, with people depicting it the way they want. Every time you'd see the poster on either a billboard or bus stop the layout would differ, this would catch the audiences eye and aim to intrigue.

Below is an example of the poster in flat form with the addition of the Age UK logo.

The second idea for the poster was inspired by the A4 print within the first poster, in which it states what old are not. This variation expands on the original idea by showing old people have experience but still seek it. I wanted this poster to simple yet have an impact, therefore I deemed type the best solution and experimented with a number of variations to see which communicates the idea. The three alternatives ideas above aim to further instil the the way we look upon the elderly to change using cross out, overlaid type and asterisks to help correct these labels.

In the end I decided upon using the cross out and blue type for the correction of labels as from feedback peers believed this was most clear but also aesthetically more pleasing than the others. Other additions included the logo and page turn but also body copy to inform the viewer of the issue. The body copy is as follows : 'As the ageing population of the UK increases, the way we look upon the elderly also rapidly changes. Once looked upon as a source of wisdom and respect, the elderly are presently viewed as weak and useless to many. Society is failing to value and harness older peoples knowledge and experience, so we need to tackle ageism that fuels suspicions and stereotyping across generations. Everyone would benefit if we created a Britain that is truly fit for all ages'

OUGD505 - Studio brief 02 - Idea development

For early development of the ideas for the posters and placards I sketched a number of visual ideas I had in mind which used the slogans and messages as the main element of the design. The initial sketches acted as a reference point for my ideas, but during this process I decided upon a underlying concept that would feature throughout all the ideas. I decided to combine posters inside posters and have turned corners, as this simply demonstrates a civilian protest against ideals that are not representative of the old age but also shows people covering up views and stereotypes. To put it simply the ageism posters are pasted over the stereotypes against ageism.

Taking on board the research I undertook on Tony Kushner's perfect protest posters such as it being shocking, clever and its meaning is instantly intelligible. But also keeping in mind Steven Hellers view of protest posters having no set formula. I sketched the ideas just play with basic form of each idea to see which may work and what wont. From research I also discovered that symbols in particular play a powerful role in protest movements, so I had the idea of taking a stereotypical object of old people. And similar to the concept in the poster of people covering up views and stereotypes, I placed a cross over a walking stick. 

Once I had a rough idea of what I wanted to work on in illustrator I decided to choose a colour palette and type to work with. When considering colour for the campaign I aimed to contrast to the colours associated with old people, so mainly beige. When researching into products which step away from stereotypical aesthetics associated with older people, the common trend that featured throughout was bold colours which contrast to dated and dull colours normally used. Therefore I wanted a strict colour palette which you normally wouldn't associate with old people, so I used the Age uk logo as inspiration. Using the blue and orange of the logo as the colour palette helps keep the campaign consistent to Age uk, but also helps instil feelings of vibrancy which is an aim of the idea.

For the type I was influenced by typography normally used during protests, so clear and impactful type that normally is hand rendered. I thought of using a stencil type but I felt the connotations surrounded with stencil type such as street art wouldn't help having an immediate impact on the viewer. I experimented with a number of sans serif typefaces such as GT Walsheim, Hellix, Maison Neue but one that stood out was GT Pressura. The condensed sans serif alludes to a scientific background but with its rounded corners it shows a soft and friendly side in larger sizes. The ability to have a large display type which has subtle characteristics to it suits the idea I believe.  GT Pressura Mono is also a clear and bold option that I used as it has a certain protest feel to it when typeset correctly.

OUGD505 - Studio brief 02 - Idea development

One consideration which was highlighted in feedback was to think more about the tone of voice and message of the idea. The message aims to play the stereotypes, experiences, skills and knowledge of old people by using negative words used to describe old people and challenging them. When brainstorming messages during development I thought of the voice of old people, and how to portray this through bold slogans that arouse emotion and be instantly intelligible. As I looked into protest posters in research I understood that combining text and imagery in certain ways will immediately have an impact on the viewer. Therefore I used my research to this point and what I discovered about stereotypes to create slogans and messages, that aim to instil images of vibrant, engaged, funny, feisty, perceptive, talented, passionate, compassionate older people.

Messages/slogans:

'We are not a drain on society'
'We have seen it all'
'We are not what you think'
'We are not : Grumpy + Sad + Frail etc'
'We are skilled, we are wise, we are fit'
'Age is not a predictor of performance'

Using 'We' suggests a groups view which can range from 50-100+, then the messages play with the words associated with the older generation and how these stereotypes can harm. The slogans are also defiant as 'not' is used throughout to make people leave labels behind.

OUGD505 - Studio brief 02 - Timeplan

With the deadline upcoming it is essential to plan my time wisely and clarify which college facilities I require for this brief. Ive booked a photography studio for Tuesday 16th so I'll be able to take professional standard images of my work. And as I always find booking a print slot wasn't so easy, I managed to secure a slot on Wednesday 17th as it was the only one available before the deadline. Therefore I'm aiming to use the drop in sessions on Monday and Tuesday to allow me to take images of the work on the Tuesday evening. If all fails I know I'll have the prebooked slot on the Wednesday to print, but sadly wont have time to take images of the work.

OUGD505 - Studio brief 02 - Inspiration

Before I began initial sketches for my ideas I looked examples of graphic design which I felt was influencing my thoughts about the overall visual style of my ideas. All the influences vary but link in the sense that they are clear and bold solutions which I highlighted as key to designing for protest signs.

This inspiration comes from research as I looked into how signs have been altered to be more appropriate to old age. I looked into Margaret Calverts iconic and ever lasting signage design as its striking but also an example of an 'old age' designer who's work has provided society with countless decades of clear and effective design.

Another influence came from Colophon foundries extension to the Montefiore type family. The type is loosely based on road signage (specifically within the United Kingdom). With the specimen presenting re-imagined instances of signage, printed in metallic silver, blue, green and black with spot varnish patterns.

OUGD505 - Studio brief 02 - Idea development

Following feedback on my ideas it was time to select one to further develop and from peer feedback and personal preference I felt one in particular idea had the potential to make people think differently about our ageing population. The second idea can challenge the views, stereotypes and perceptions but also leave the lasting question of whats ageism? The other ideas aim to move on from stereotyped views that condition how we think about our ageing population, but don't do much to see ageism as something society must come to terms with. The second idea can also be further developed in terms of message and allows the posters and placards to be separate forms of protest, therefore the range is extensive.

As an early development for the idea I looked more into examples of placards and posters in protest as this made me consider the range more.

To start with placards which are installed in a public place, like a small card, sign, or plaque. They can be attached to or hung from a vehicle or building to indicate information about the vehicle operator or contents of a vehicle or building. It can also refer to paperboard signs or notices carried by picketers or demonstrators. For my idea the placard designs will follow the rules of protest signs while the actual posters will be more intricate. The rules of having of a successful protest poster according to Tony Kushner are “It is shocking, it is clever—even funny in a grim sort of way—and its meaning is instantly intelligible.”

When I took the point into context when thinking of protest posters which are famous, they do occupy those three points in ways but it must take a lot to get there. In contrast though Steven Heller has commented that “There isn’t one set formula for it,” He has also said posters are meant to arouse emotion and one way to do that, and to be “instantly intelligible” as Kushner put it, is to combine text and imagery in such a way that will immediately have an impact on the viewer.

On the other hand, I found out sometimes a sign is more impactful with no text at all. Symbols in particular play a powerful role in protest movements, as most iconically exemplified by the peace sign. Also a powerful expression of protest posters relies on actually knowing the issues you are representing as a part of the protest. And consider being negative in protest as after all, whatever you’re protesting is presumably not a positive thing. One lasting thing I found to bear in mind with my poster’s meaning. Is to be clear, instantly understandable, and well-informed. Add in some acerbic humor or shock value for extra effect. And to Remember that I'm designing for a man who does not take criticism well, so come on strong. But keep in mind the larger goal: to create visual messages that, together, will show the core issues and values of the movement, and will continue to communicate them throughout the years of work ahead.

OUGD505 - Studio brief 02 - Feedback

To push forward I required feedback on the ideas from my peers to see which one could work best and also be developed further. I allowed my peers to read over the ideas then ask any questions on anything they were unsure on or felt could be built on. The feedback points are as follows:

• I can visualise the first idea in big typographic posters and I think they could be really interesting but I feel people wouldn't instantly relate to the messages. Normally in protests and awareness campaigns you see it and perceive it. But the use of sms language makes you question what its all about a little bit more. It should be clear and from this I don't think this idea is effective as the others. 
• Instead of using sms language you could try create your own language relating to old people.
• Third idea is cool but I feel the stories need to be real and and true, although a fiction story may reflect old peoples stories and experiences. People would want to make a connection with something real. 
• The second idea has the potential to extend the range onto stickers and badges and can be distributed in different ways. 
• The second idea compared to the first one is much more clear, and I think people would be more enticed to know more about the problem you are showing which is ageism in the uk and the stereotypes surrounding old people. 
• For all ideas you need to work on tone of voice and message more.
• Consider the distribution and where this idea would make a difference.

OUGD505 - Studio brief 02 - Ideas

Although I consider the self initiated brief an idea in its self as a solution to ageism. Nevertheless I needed to explore and apply appropriate practical and conceptual approaches to self determined ideas/concepts/solutions. The brief along with research guided my ideas as each idea is distinct yet common in what they aim to achieve. The aim is challenge the views, stereotypes and perceptions and not only because they are incorrect and damaging. Its because society must move on from stereotyped views that condition how we think about our ageing population, as ageism is something society must come to terms with. To put it simply my ideas and motives are all about being pro-ageism and making people aware of our ageing population. And standing up against stereotypes that compromise old people.


Idea 1
Using sms language to change the perception of old people. The challenge is to change the perception of our ageing population through awareness/protest so if the message of the protest was communicated through texting language, then it makes people think of old people in different light. Its abbreviations and slang commonly used with mobile phone text messaging, but sometimes used with other internet-based communication such as email and instant messaging. These are ways of communication often people think old people are obsolete from. As society is failing to value and harness older people’s skills, knowledge and experience, then the message in a more 21st century manner may make people think otherwise. The message itself throughout my ideas remains the same but the context in which it is presented changes. For an example 'Old ppl r not a drain on society' or a more humorous option which considers what old people are perceived to do and puts a spin on it. Such as 'Omfg just missed the bus to the bingo'. This is a more tongue in cheek way of communicating ageism but plays on the stereotype which is a consideration for the brief. The forms this idea could vary but the best solutions I believe would be large scale prints which take inspiration from work such as Anthony Burrill.

Idea 2
The second idea is more assertive its in message as it speaks from old peoples perspective in all traditional forms of protest. From this the range is extensive and true to act of protest as the outcomes would be a series of posters and protest placards. Again the message would be similar in terms of content such as playing with the stereotypes, experiences, skills and knowledge of old people but not in sms language. The idea combines type and illustration to actively aim to change perceptions of the elderly. As old often conjures up negative images and words, the idea challenges these views and aesthetically the idea would conform to traditional protest style, with bold type and colour. Meanwhile the illustrations would aim to show stereotypes but in a humorous tone. This idea aims to instil images of vibrant, engaged, funny, feisty, perceptive, talented, passionate, compassionate older people. Older people who not only have experience but still seek it.

Idea 3
The last idea aims goes into more depth by making the protest more personal as it'll be focused on individuals with stories that you wouldn't expect from an old person. The stories would be fiction but take inspiration from experiences all old people would have encountered during life. Such as WW2, the rise of technology and numerous governments. This idea would highlight the experiences the older generation have lived through and would be best suited to short films that would be aired on tv and social media. The stories would allow people to leave labels behind and recognise the wonderful diversity that advancing age can bring to society, the economy and individuals themselves.

OUGD505 - Studio brief 02 - Research

I highlighted in the self initiated brief to consider awareness and protest as the best possible way to make people aware of ageism and to change perceptions. Therefore I decided to look more into protests and campaigns that have been both strong conceptually but also aesthetically. Not all the protest examples I looked at have been successful in their attempts to make a change, but nevertheless they gave an insight into the role of graphic design in protest and the forms it can come in.

A good start was to look at the May 1968 Paris riots which saw workers and students protesting against the increasing levels of unemployment and poverty that were all too apparent under Charles de Gaulle’s conservative government. The protest was unsuccessful but the handmade posters used during protest which were created by the art students have stood the test of time.

During the short protest hundreds of silkscreen posters were produced as an outpouring of political graphic art. And described as “weapons in the service of the struggle… an inseparable part of it. Their rightful place is in the centres of conflict, that is to say, in the streets and on the walls of the factories.” I like how the posters act as weapon in protest and are the sole visual reference to the protest which occurred in 1968.

A more recent example of protests with a graphic design/arts community behind it, is 'Pins wont save the world' from Sagmeister & Walsh. Although Trump was elected president of the United States the pins and badges aloud people be able to wear their heart (and politics) on their sleeves. The merchandise was priced low and was non profit as the proceeds were donated to Amnesty International's. I take inspiration from how the campaign was distributed as one consideration for this brief is to understand the distribution of the outcome.

One really cool project I found relating to protest and graphic design was Can Typography Be a Form of Protest by Emily Schofield. To start her research led her to wonder if there are forms of protest in graphic design. And she drew a parallel between typography as a tool that abides by rules, and thought that maybe type could break free of these structures.

The project aims to look at the ability of letterforms to express protest, as portrayed in her Swiss-style series of posters. However, through these she found that letterforms themselves weren’t breaking free, they could never become disentangled from the slogans or missives they spelled out. She then went on to a more experimental investigation about whether or not the protest can be just the typeface, and not what it spells. The result was a website that manifests the idea that a typeface can become autonomous and subvert its own content.

Also looking at how the voice of protests is characterized by art and design was interesting to see why certain colours and letterforms are used. A lot of protest work has emulated early propaganda posters, which used contrasting, primary colors. High contrasting colors are the most memorable to a viewer. The high chroma colors captivate the eye; therefore, these posters have maximum impact on the viewer.

By far, the most common colors chosen by designers are red, black, and white. In color psychology, red evokes physical courage, strength, energy, and masculinity. Portraying defiance, aggression and strain, it becomes an obvious choice in protest of war and struggle because of the reference to bloodshed. Pure red is the simplest color, and is demanding and aggressive, not to mention it has been scientifically proven to raise pulse rate and emotionally stimulate the onlooker.

Black can depict one of two sides. On one side, it depicts sophistication, safety and substance. However, when it’s paired with strong, emotional copy, it conveys oppression, coldness, heaviness and sorrow. Using heavy amounts of black convey authority, power, strength and evil. When paired together, red and black become powerful extremely powerful. Many designers add white, which creates additional coldness and contrast. Yellow is commonly used as an accent with red and black. Yellow is often used to say “caution” or “pay attention”. Because it is a rare color, it demands attention. It is also the most memorable color. Therefore, a poster with yellow typography has great potential to be recognized and remembered.

OUGD505 - Studio brief 02 - Ageism brief

Following extensive research into the issue of ageism and the problems surrounding it in the UK, it was time to devise and develop a body of practical work that both distils my knowledge of ageism or ageing. And this body of practical work will demonstrate my ability to tap into the market potential for socially, politically and ethically-driven design.

I felt the best way for me to deliver a solution to the identified problem would be to create a self initiated brief that would allow me consider media, communication, audience and function. Therefore I collated my research to this point to piece together a brief that I felt would be conceptually appropriate to helping the issue of ageing.


Background
The entire world’s population is ageing with virtually every country in the world is experiencing growth in the number and proportion of older persons in their population. This a major achievement of modern science and healthcare, however increased life expectancy combined with declining birth rates have caused many to worry about the impact of an ageing population. So how can we rethink and redesign our future so that getting old is no longer something to be feared? So that older people are seen as an asset and not a burden? So that our products and services are designed by and for and marketed to the sector of the population with the highest disposable income? So that older people can live as fulfilling, happy and valued lives as the young?

The challenge
As the ageing population increases, the way we look upon the elderly also changes rapidly. Once looked upon as a source of wisdom and respect, the elderly are now presently viewed as weak and useless to many, synonymous to how these obsolete objects of yesteryears no longer have a "use" and the elderly themselves becoming obsolete due to stereotypes in the media and societal's prejudices.

The challenge is to change the perception of our ageing population through awareness/protest supported by Age UK, as society is failing to value and harness older people’s skills, knowledge and experience. This challenge is important because our ageing population will otherwise not make the most of its talents and opportunities.

Who is it for?
The aim to make people more aware of ageism and stereotypes and perceptions of old people in the UK therefore the audience is broad. It is broad because everyone needs to tackle the issue of ageism that fuels suspicions and stereotyping across generations. Everyone would benefit if we created a Britain that is truly for all ages.

What to consider

• The unique qualities of old people
• Experiences, skills and knowledge of old people
• Stereotypes of old people
• How graphic design outputs could actively make people more aware of ageism
• What best represents old people
• How idea can applied can be applied to number of products in a range

While discussing this brief with my peers they recommended I look more into Age UK the charity which will support the protest/awareness of ageism. Therefore I looked more into the UK's largest charity dedicated to helping everyone make the most of later life. They believe in a world where everyone can love later life and we work every day to achieve this. In total they help more than 7m people every year, providing companionship, advice and support for older people who need it most.

At Age UK they provide services and support at a national and local level to inspire, enable and support older people. They stand up and speak for all those who have reached later life, and also protect the long-term interests of future generations. They have a real simply vision of a world where everyone can love later life, its ambitious but they believe it’s how things should be for older people and they work every day to achieve this.

OUGD505 - Studio brief 02 - Interim concept presentation

 

OUGD505 - Studio brief 02 - Research

As the brief requires me to devise and develop a body of practical work that both distils my knowledge of an identified issue and demonstrates my ability to tap into the market potential for socially, politically and ethically-driven design. I felt a necasaary piece of research would be too look into the First Things First: a manifesto by Ken Garland (1964). The manifesto encourages designers to employ their skills to help the public, so I deemed it relevant to my research as I aim to help the issue of ageing through design.

My take on the manifesto is to have a reversal of priorities, in favour of the more useful and more lasting forms of communication which actually serve a lasting purpose for society. Ken gives examples of ways in which we can use our design skills in better ways that help. Such as signs for streets and buildings, books and periodicals, catalogues, instructional manuals, industrial photography, educational aids, films, television features, scientific and industrial publications and all the other media through which we promote our trade, our education, our culture and our greater awareness of the world.

Reading the short manifesto made me rethink of ways in which to help old age and the issue of ageism, and instead of having ideas which aim to sell things to old people such as the products I looked in research. An approach which will affect society on a whole through experiences and opinions.

OUGD505 - Studio brief 02 - Research

As I already looked into issues with ageism such as the economic effects, shortage of workers, changing sectors within industry and as populations continue to grow older, it is imperative that governments design innovative policies specifically targeted to the needs of older persons, including those addressing housing, employment, health care, social protection and other forms of intergenerational support.

My research to this point led me to look at design related to ageism which made me think more about the attitudes towards ageism and choices people make towards old people. I wanted to look more into how older people can be beneficial to society, and how we can build a better society for old people. This research was key to seeing that old people are empowered, skilled, healthy and able to contribute fully to society.


How can we build a better society for older people? The Guardian

I discovered from a reliable Guardian article that society is failing to value and harness older people’s skills, knowledge and experience. Some 92% of the 1,250 respondents to the ageing population research believe that older adults’ contribution to society is not recognised. Furthermore on the whole the public view older people as a drain on society instead of an asset. Then to contrast this finding out some astounding facts about old people changed my perspective, as older people in the UK contribute an estimated £61bn to the economy through employment, volunteering and caring.

“Older people are mostly seen as a bundle of problems and service-needs. Their strengths, skills and knowledge are not harnessed or appreciated in a society infatuated by the cult of youth.”

The article also delved into stereotypes surrounding old people such old people being seen as a shorthand for ill-health, inactivity and decline and therefore that stereotype can happen. There is also a stereotype of older people as being anti-youth. Also the stereotype of well off retirees who maybe took early retirement, own a couple of properties and take frequent holidays abroad.

The article is split into sections which provided me valuable proof of the problems around ageing. And the most useful sections were what role do older people play in society at the moment? and how is the environment geared towards (or against) older people taking part in their communities?

For what what role do older people play in society at the moment, it made me realise the change older people in the UK have been through. They have a wealth of skills and experiences from different decades and have lived through situations others cannot even imagine, and yet we continue to dismiss these lifetimes of experiences when they begin to need care and support and instead people become a list of care needs. Yes have contributed for many decades which is something which is often forgotten but even the simple things are forgotten like looking after grandchildren which is helping society.

Their is a number of things for how the environment geared towards (or against) older people taking part in their communities. Such as most people over 65 walk more slowly than the 1.2 metres per second that is assumed at pedestrian crossings. The result is older people rushing to get across a road as the lights turn to green and the traffic begins to move. Other small things, like well placed benches for people to rest if they can’t walk so well, public toilet provision and thoughtful use of lighting and colour to aid those with dementia can be the difference between being active and housebound for old people.

Who are you calling old? Let’s ditch ageist stereotypes. The Guardian

As ever for this brief The Guardian provided a great source of research for ageism related topics, one article goes into much depth into how language is used to stereotype old people and how the different age groups are considered old now.

It asks the questions of how we can come up with positive or non-judgmental language? Factual descriptions without negative imagery? Such as “older adults”? That’s about the closest I can think to a fairer description that allows people to be considered as individuals rather than stereotypes. The article acts as a protest in its self as it demands that it’s time to shed the labels. Describing someone by their age should be as unacceptable as describing them by their gender, race, religion or skin colour. These characteristics do not necessarily signify fitness for work, recruitment for a particular position, or training for certain skills.

Ageism in more depth
Contrary to common and more obvious forms of stereotyping, such as racism and sexism, ageism is more resistant to change. For instance, if a child believes in an ageist idea against the elderly, fewer people correct them, and, as a result, individuals grow up believing in ageist ideas, even elders themselves. In other words, ageism can become a self-fulfilling prophecy. Ageist beliefs against the elderly is common place in today's society. For example, an older person who forgets something could be quick to call it a "senior moment," failing to realize the ageism of that statement. People also often say ageist phrases such as "dirty old man" or "second childhood," and elders sometimes miss the ageist undertones.

Ageism appears in many forms. A few examples illustrate how the behaviour of an older person is described in an ageist manner, where the same behavior by a younger person is explained without stereotypes. When older people forget someone's name, they are viewed as senile. When a younger person fails to recall a name, we usually say he or she has a faulty memory. When an older person complains about life or a particular incident, they are called cranky and difficult, while a younger person may just be seen as being critical. If an older person has trouble hearing, she is dismissed as "getting old," rather than having difficulty with her hearing. Children also can hold negative stereotypes about older people. Some young children equate aging with being sick, unfulfilled, unhappy, or dying.

Older people also face stereotypes on the job. The most common stereotypes about older workers are that older workers are less productive, more expensive, less adaptable, and more rigid than younger workers. As with stereotypes about other groups, the facts refute the stereotypes. While studies show that interest, motivation, and skill do not decline with age, some employers continue to perceive older workers as resistant to change, slow to learn new skills, and uncomfortable with new technologies. Studies consistently demonstrate that there is no correlation between age and job performance, despite the common stereotype that productivity declines with age.

OUGD505 - Studio brief 02 - Research

In research I looked at a real broad spectrum of the issue of ageing and its connection with the creative industries. The areas of advertising and brands related to ageing were interesting as when it comes to selling products, youth remains the default positioning in advertising from beer to, fashion to food, if an ad features a human, the chances are that that person will be under 40, if not 30. Or even 20. The advertising industry has been accused of ignoring older people in advertisements, or treating them inappropriately. In order to respond to accusations of ageism within the industry it is suggested that regulation may be required to raise the awareness of advertisers and agencies to the importance of older people, and to encourage more age diverse advertising. We are told constantly in the media that youth is desirable, and that youth is the best, and that age should be hidden and advertising does nothing to change that trend.

One way ageing can become more prominent in advertising and branding is how its communicated, so ageing as good. To expand more on this and how ageing is a process rather than a set of numbers with specific meanings, and more of a  experience that is portrayed as a virtue to be celebrated.

One really cool project that has a clever spin on the ageing problem in branding is a bottle that was displayed at the Design Museum. They are presented as a series of fine aged spirits that have been a lifetime in the making. The agency that created bottles completed the bespoke design with a  ‘New Old’ stamp as a mark of quality.

In research I found that brands are trying to encourage people to be less concentrated on youth or in fact on age altogether. I found that its a challenging issue, and one that is not only down to advertising agencies but also to pressure from the wider media and consumers themselves. I discovered that technology has helped blur those lines as briefs have a bigger age group audience due to technology. And I  think it will be really interesting when more brands realise that actually they could be talking to a much wider age group, that would probably connect better with their brand.

OUGD505 - Studio brief 02 - Research

Looking at products that have been designed to step away from stereotypical aesthetics associated with older people was really intriguing and insightful. From tablets to ‘sports’ which you can see below, specialist brands are proving that products for older people don’t have to look dated and dull.

Traditionally products aimed at older consumers have been restricted to items targeting health or mobility, usually sold through specialist stores or advertised in Sunday supplements next to spreads promoting bed sheets and chinos. But as Ive discovered the population is getting older, and the older are getting richer, so there’s a growing market for well made, everyday objects that take into account how our shopping needs might change as we age.

When I think of products designed for older people, I think of a stairlift, a remote with giant buttons, a reclining armchair, and probably all beige. And as I found their are a number of reasons why products that are aimed at older people have traditionally been hard to find, dated or just ugly. For a start, items aimed at people with health or mobility issues are often prescribed by local authorities and the NHS, meaning users are less demanding. So for example they cant complain at the design of something if they haven't paid for it. 

It also means less incentive for companies to invest in innovative products: traditionally, over 65s have been seen as having less disposable income, but with 79% of the UK’s wealth now attributed to the over 50s, it’s becoming a lucrative market. Older consumers’ needs might change, but it doesn’t mean they stop caring about how things look or work, and I found one shop called Spring Chicken who have stock that is proof we are beginning to see more stylish alternatives to the traditional fare associated with products for older people.

I found areas which are developing for old people such as technology with larger buttons, bigger screens and text sizes but one area that is lagging for old people is the home. There are some innovative companies helping as I found the with Amazon, but there’s still huge work to be done with nicely designed and affordable multi use furniture and objects for older peoples home hard to come by.

Other examples of products

PriestmanGoode has rethinked mobility in old age with a range of products to accompany elderly people through life and develop as their mobility needs evolve. The Scooter for Life was a special commission for the New Old exhibition at the Design Museum in London, and is a full scale prototype designed to provide users with more independence through greater mobility. 

I personally think the scooter is great and believe a younger audience would be interested in this but to focus more on the benefits it has for old people. It offers independence through mobility as it aims to counter loneliness and isolation within the elderly community. Its also looks easy to manoeuvre, as the scooter can be taken into shops, on public transport and into the home. As well as it easily manoeuvring it is easy to use, as its a multifunctional product with a large front basket that functions as a shopping trolley. The design looks safe and stable as it only moves when you release the brakes making this a safe option for elderly people.

I found a really simple but cool project by Special Projects who are a studio based in London. A number of years ago, they helped Samsung explore new ways of making smartphones easier to use for older adults. And the research they undertook for this project was essential to making this work as they spent months connecting with older adults around Europe. This meant going to bingo clubs and spending days in people’s homes talking about their approach to technology. It was really eye-opening for them as they realised how stigmatising and frustrating some of the technology aimed at older adults can be.

The response was a whole new way of learning and how to use smartphones based around familiar models such as a book. I love this project because the end result is clear and functional but also really clever and inspiring, because it actively changes problems old people have with technology.