Saturday, 31 March 2018
OUGD603 - Research led brief - Book idea
The decision to create a book was that I felt it was the best suited medium to document my research. I have covered a number of factors and felt they would combine well in a book celebrating Japan's economic miracle. The purpose of the book is to highlight and celebrate Japan's changing culture and effect on the world following the war. It will focus on the stages of the economic miracle and list the innovations from them periods, it'll almost be a monograph of the economic miracle. With the subjects being the innovations which contributed to the growth of Japan. For this idea I was influenced by other monographs from publishers such as Unit Edtions but also book such as Beazley's Designs of the year catalogues which document the very best design of the year. They combine many disciplines of design successfully and give a nice snapshot of each, so I'd say to create something similar to this would be the goal.
Friday, 30 March 2018
OUGD603 - Research led brief - Conclusion of research & Brief
My research to this point has answered my questions and interest into how Japan recovered from the war and then become the worlds second biggest economy by the 80s. I wanted to look into the advancements/inventions/innovations of post war Japan, and from doing this it has allowed me to discover the specific big reasons for Japan's economic rise following the war.
My main findings related to my initial research are as follow:
My main findings related to my initial research are as follow:
- Occupied Japan was led by General MacArthur who hepled reform the countries business and politics in the occupation years.
- From early research into the years after the war it was clear a defeated Japan itself was in flux and most welcoming to radical change. I discovered the reason for this radical change is because many Japanese felt the key factor in losing the war had not been a difference between the capabilities of the individual Japanese and American soldiers, but rather the superior ability of the American economy to rapidly produce large quantities of war materials. So Japan was happy to use America’s free enterprise system as the model for rebuilding Japan.
- 'The economic miracle' was used to describe Japan's record period of economic growth between the post World War two to the end of Cold War.
- One reason for Japan to recover from war trauma quickly was the Ministry of International Trade and Industry, which at the height of its influence, effectively ran much of Japanese industrial policy, funding research and directing investment. Another reason for Japans recovery was the Korean War, as it was one of the major supporters of the United States in who they provided firearms for which helped the Japanese economy, enabling Japan to recover from the wartime destruction.
- In the high increase era Japan gained support from the United States and achievied domestic economic reform, and subsequently was able to soar from the 1950s to the 1970s. Furthermore, Japan also completed its process toward industrialisation, and became one of the first developed countries in East Asia.
- The war itself forced Japan to accelerate the pace of investment in science and technology, as access to foreign technology was shut off. This isolation meant that Japan fell considerably behind the technical levels of other advanced countries during the war, but it led to larger scale research and development during and after the war. Japan's industrial and technological advancements in the postwar period were in place when the war began. But once engineering and technological capabilities that were focused on the war effort were diverted to commercial industries.
- Quality Control Handbook which changed the perception of 'Made In Japan' as it introduced quality.
On a whole the post war years gave Japan a clean slate and with the economic, social, political, and educational guidance from America, Japan was able to rebuild. The fact Japan wasn't aloud an army also heavily benefited them as they were guaranteed military protection from the US which freed up money. Additionally, the government at the time encouraged Japanese industrial development overseas while restricting foreign companies' business within the country. These practices, coupled with a reliance on the United States for defence, allowed Japan's economy to increase during the Cold War.
Brief
Using research to this point I aim to celebrate Japan's economic miracle through a editorial design piece. The outcome will reflect the period in which Japan flourished after the war (1945-1991) and aim to inform and educate the reader of this period. I want to be as broad as possible with the term 'economic miracle' as so many factors contributed to this term and the emergence of Japans revival.
Background
I need to consider all research conducted to this point on post war Japan and how this information acquired could be transferred into a editorial piece. I will look at contemporary Japanese design today and aim to reflect this in a editorial form, while also bearing in mind the editorial and binding methods in relation to my research and Japan.
Target audience
Creatives and intellectuals
Mandatory requirements
Editorial piece with accompanying deliverables such as a poster being optional.
OUGD603 - Typeface design - Steps for typeface design
As this will be the first time I properly design a functional typeface I found it necessary to look more into the key steps to take when designing a typeface.
1. Fundamental choices
The first step which occurred from many sources was making a fundamental choice of what kind of typeface it will be. Whether it will be a serif or sans-serif typeface? will it be based on a writing implement or be more geometric? will it be a text face, comfortable at small sizes and suitable for long documents, or will it be a display face with an imaginative style, that works better a larger size? These are all important aspects I need to decide and from research so far I think it has determined clearly what kind of typeface it will be.
2. Control characters
Designing certain characters first can help set the style of the typeface and bring the other characters into harmony. These are often called 'control characters'. In a lowercase Latin typeface they would be the 'n' and o, and in the uppercase, 'H' and 'O' are often used.
3. Choosing software
For drawing individual letterforms and experimenting, illustrator is fine but once you feel the initial sketch is done. It is recommended to switch to the industry standard softwares such as FontLab Studio or Glyphs and Robofont.
4. Study other typefaces
To create a credible typeface, I need to study other good examples. Looking at them in a critical way, from a contextual or historical perspective, will help me understand why certain design choices in these and your own typeface have a particular effect.
1. Fundamental choices
The first step which occurred from many sources was making a fundamental choice of what kind of typeface it will be. Whether it will be a serif or sans-serif typeface? will it be based on a writing implement or be more geometric? will it be a text face, comfortable at small sizes and suitable for long documents, or will it be a display face with an imaginative style, that works better a larger size? These are all important aspects I need to decide and from research so far I think it has determined clearly what kind of typeface it will be.
2. Control characters
Designing certain characters first can help set the style of the typeface and bring the other characters into harmony. These are often called 'control characters'. In a lowercase Latin typeface they would be the 'n' and o, and in the uppercase, 'H' and 'O' are often used.
3. Choosing software
For drawing individual letterforms and experimenting, illustrator is fine but once you feel the initial sketch is done. It is recommended to switch to the industry standard softwares such as FontLab Studio or Glyphs and Robofont.
4. Study other typefaces
To create a credible typeface, I need to study other good examples. Looking at them in a critical way, from a contextual or historical perspective, will help me understand why certain design choices in these and your own typeface have a particular effect.
OUGD603 - Research led brief - Primary research
Several books from the library proved too be invaluable research for listing various innovations of Japan, as well as giving detailed insights into the brands and companies behind the innovations. These books continued to open my eyes to the point that not all post war innovations were technological advancements, but also art and cultural exports.
Thursday, 29 March 2018
OUGD603 - Typeface design - Type in Grainger Town & Typography inspiration
Grainger Town has an array of amazing architecture so you don't tend to notice typography in the area, unless its a street level with commercial shops occupying the bottom floor of many of the buildings. I wanted to focus on typography which is a part of the buildings, that is often hand carved into the stone, to see which styles were prominent in the 19th Century. Additionally as a part of research I looked at typography that is inspired by architecture, to get a grasp of how it can be done.
The type that features on many buildings is a mix of both slab serifs and elaborate serif that are rather similar to the Corinthian orders. One piece that stood out for me was the image to the left, I'm unsure when the type was carved into the stone but the typeface looks contemporary. The 'G' letterform especially has strong characteristics which gives it a distinct look.
One common factor which has occurred numerous times in research into designing type, is people recommending to study other types. Looking at them in a critical way, from a contextual or historical perspective, will help me understand why certain design choices are used.
The first type I studied was Function by Anthony Burrill x The Designers Foundry. The type is a grid based geometric typeface, which is in regular, condensed, stencil and extended width forms. It's a caps only display constructivist influenced type and was designed as a response to various collected examples of utilitarian and grid based type.
It's rigid and bold with thick strokes giving mainly the apex's of the type the limelight. What I normally like about grid based geometric typefaces is the negative space created from the rigid letterforms. Function also creates interesting shapes from negative space as seen with the C letterform, which I think looks like Grecian column and base rotated 90 degrees.
The second influence was a more recent project from Craig Ward who has designed the new England shirt typeface for the upcoming world cup. Craig has crafted St Georges cross into dynamic letterforms which are distinctively English.
I can take inspiration from this as the typeface is made from graphical elements from the cross, so I analysed how the shape has been used. This made me consider ways in which I can transform the graphical elements of Grainger Town into a typeface. Craig also took influence from other typefaces such as examining the clarity and geometry of classic English typefaces such as Johnston and Gill Sans.
The type that features on many buildings is a mix of both slab serifs and elaborate serif that are rather similar to the Corinthian orders. One piece that stood out for me was the image to the left, I'm unsure when the type was carved into the stone but the typeface looks contemporary. The 'G' letterform especially has strong characteristics which gives it a distinct look.
One common factor which has occurred numerous times in research into designing type, is people recommending to study other types. Looking at them in a critical way, from a contextual or historical perspective, will help me understand why certain design choices are used.
The first type I studied was Function by Anthony Burrill x The Designers Foundry. The type is a grid based geometric typeface, which is in regular, condensed, stencil and extended width forms. It's a caps only display constructivist influenced type and was designed as a response to various collected examples of utilitarian and grid based type.
It's rigid and bold with thick strokes giving mainly the apex's of the type the limelight. What I normally like about grid based geometric typefaces is the negative space created from the rigid letterforms. Function also creates interesting shapes from negative space as seen with the C letterform, which I think looks like Grecian column and base rotated 90 degrees.
The second influence was a more recent project from Craig Ward who has designed the new England shirt typeface for the upcoming world cup. Craig has crafted St Georges cross into dynamic letterforms which are distinctively English.
I can take inspiration from this as the typeface is made from graphical elements from the cross, so I analysed how the shape has been used. This made me consider ways in which I can transform the graphical elements of Grainger Town into a typeface. Craig also took influence from other typefaces such as examining the clarity and geometry of classic English typefaces such as Johnston and Gill Sans.
OUGD603 - Typeface design - Doric Order, the Ionic Order and the Corinthian Order further research
From early research into Grainger Town it is clear that Doric, Ionic Order and the Corinthian Orders
are key characteristics of the area, and will most likely determine the design of the typeface. Therefore, I felt it was imperative to learn more about the Grecian architecture orders that give Grainger Town its grand style.
Doric Order
From looking at the buildings of Grainger Town, the Doric oder is the most distinguishable as it is the most simple order. With its simple circular capitals at the top of columns, it was the earliest and in its essence the simplest of the orders, though still with complex details. The key characteristic of the Doric order is the slightly tapered column and that they have no individual base and instead rest directly on the stylobate (stone platform below columns). Other characteristics include the columns which are fluted and are of sturdy, if not stocky, proportions.
Ionic Order
The Ionic order is notable as its more graceful compared to the Doric order. This is because it has more slender and elegant profile than the Doric order. The ancient Roman architect Vitruvius compared the Doric order to a sturdy, male body, while the Ionic was possessed of more graceful, feminine proportions. The key characteristic that makes it more feminine is the Volute (scroll like ornament that forms at the top of the column) it also has more slender columns and a base unlike the Doric order.
Corinthian order
are key characteristics of the area, and will most likely determine the design of the typeface. Therefore, I felt it was imperative to learn more about the Grecian architecture orders that give Grainger Town its grand style.
Doric Order
From looking at the buildings of Grainger Town, the Doric oder is the most distinguishable as it is the most simple order. With its simple circular capitals at the top of columns, it was the earliest and in its essence the simplest of the orders, though still with complex details. The key characteristic of the Doric order is the slightly tapered column and that they have no individual base and instead rest directly on the stylobate (stone platform below columns). Other characteristics include the columns which are fluted and are of sturdy, if not stocky, proportions.
Ionic Order
The Ionic order is notable as its more graceful compared to the Doric order. This is because it has more slender and elegant profile than the Doric order. The ancient Roman architect Vitruvius compared the Doric order to a sturdy, male body, while the Ionic was possessed of more graceful, feminine proportions. The key characteristic that makes it more feminine is the Volute (scroll like ornament that forms at the top of the column) it also has more slender columns and a base unlike the Doric order.
Corinthian order
The Corinthian order is the most elaborate of the classical orders of architecture. With the defining element of the Corinthian order being the elaborate, carved capital, which incorporates even more elements than the Ionic order does. They are basically stylised, carved leaves of a plant growing around the capital. Its the most slender order and is employed a lot in Grainger Town.
OUGD603 - Typeface design - Grainger Town visit
Visiting Grainger Town and analysing the area to gain an idea on how to visually represent the area through a typeface was crucial. Although I have lived Newcastle a vast majority of my life and walked through the street of Grainger Town countless times, this time round I had really pay attention to any key details that could be transcended into a typeface.
Wednesday, 28 March 2018
OUGD603 - Typeface design - Neoclassical, Classical & Grecian architecture
The final influence and architectural style of Grainger Town is Classical. Classical architecture usually is derived from the principles of Greek and Roman architecture of classical antiquity. Although classical styles of architecture can vary greatly, they can in general all be said to draw on a common "vocabulary" of decorative and constructive elements. The elements of classical architecture have been applied in radically different architectural contexts and it can vary in a number of ways, and this is one of the reasons it is still used in contemporary architecture. In general it follows many of the same rules of Greek and Neoclassical architecture such as clear rules and rationality, therefore for a majority of research on Classical architecture it was much as the same to the prior styles.
OUGD603 - Typeface design - Neoclassical, Classical & Grecian architecture
Neoclassical architecture was Dobson preferred style and its purest form it emphasises the wall more than anything and maintains separate identities to each of its parts. The style is born from a reaction against the Rococo style of naturalistic ornament, and in its architectural formulae as an outgrowth of some classicising features of the Late Baroque architectural tradition. Neoclassical architecture is still designed today, but may be labelled New Classical Architecture for contemporary buildings. Although it was a reaction to the Rococo style, Neoclassicism was a desire to return to arts of Rome, and the more vague perception of Ancient Greek architecture. The main characteristics of Neoclassical architecture are the grand scale of the buildings, the simplicity of geometric forms, the Greek (particularly Doric) detailing, dramatic columns, blank walls and clean and elegant lines. By emphasising the simplicity of the wall and its flat, planar quality, as well as the separation of elements, the style was seen as a reaction to the more lavish excesses of Rococo.
OUGD603 - Typeface design - Neoclassical, Classical & Grecian architecture
The look and feel of Grainger Town is determined by the iconic architecture so I needed to understand the key characteristics of each style which inspired the architects. Neoclassical, Classical and Grecian are all types of architecture used to describe Grainger Town, and were in fact John Dobson's influences and preferred style of architecture. Looking more into these genres is crucial as they may turn out be the main source of visual inspiration for the typeface, just as they were for Grainger and Dobson for rebuilding Newcastle.
Grecian Architecture
Ancient Greek architecture is best known from its iconic temples, and it is distinguished by its highly formalised characteristics, both of structure and decoration. This is particularly so in the case of temples where each building appears raised on high ground so that the elegance of its proportions and the effects of light on its surfaces might be viewed from all angles. The style is split into three styles which are the Doric Order, the Ionic Order and the Corinthian Order, which have had a profound effect on Western architecture of later periods. Grainger Town is an example of this, and how Classicism kept the style alive along with key details.
What can be transferred into a typeface is the importance of Greek architectures logic and order. Logic and order are at the heart of Greek architecture as their temples according to a coded scheme of parts, based first on function, then on a reasoned system of sculptural decoration. Mathematics determined the symmetry, the harmony, the eye's pleasure. building art offered the first clear, strong expression of a rational, national architectural creed. It is the supreme example of the intellect working logically to create a unified aesthetic effect. Greek designers used precise mathematical calculations to determine the height, width and other characteristics of architectural elements. These proportions might be changed slightly, and certain individual elements (columns, capitals, base platform), might be tapered or curved, in order to create the optimum visual effect, as if the building was a piece of sculpture.
Greek architecture devised three main orders or templates. They were the Doric Order, the Ionic Order and the Corinthian Order. These Orders laid down a broad set of rules concerning the design and construction of temples and similar buildings. These rules regulated the shape, details, proportions, and proportional relationships of the columns, capitals, entablature, pediments and stylobate. These three templates could also determine the design of a typeface so these are templates to bear in mind when designing.
Grecian Architecture
Ancient Greek architecture is best known from its iconic temples, and it is distinguished by its highly formalised characteristics, both of structure and decoration. This is particularly so in the case of temples where each building appears raised on high ground so that the elegance of its proportions and the effects of light on its surfaces might be viewed from all angles. The style is split into three styles which are the Doric Order, the Ionic Order and the Corinthian Order, which have had a profound effect on Western architecture of later periods. Grainger Town is an example of this, and how Classicism kept the style alive along with key details.
What can be transferred into a typeface is the importance of Greek architectures logic and order. Logic and order are at the heart of Greek architecture as their temples according to a coded scheme of parts, based first on function, then on a reasoned system of sculptural decoration. Mathematics determined the symmetry, the harmony, the eye's pleasure. building art offered the first clear, strong expression of a rational, national architectural creed. It is the supreme example of the intellect working logically to create a unified aesthetic effect. Greek designers used precise mathematical calculations to determine the height, width and other characteristics of architectural elements. These proportions might be changed slightly, and certain individual elements (columns, capitals, base platform), might be tapered or curved, in order to create the optimum visual effect, as if the building was a piece of sculpture.
Greek architecture devised three main orders or templates. They were the Doric Order, the Ionic Order and the Corinthian Order. These Orders laid down a broad set of rules concerning the design and construction of temples and similar buildings. These rules regulated the shape, details, proportions, and proportional relationships of the columns, capitals, entablature, pediments and stylobate. These three templates could also determine the design of a typeface so these are templates to bear in mind when designing.
OUGD603 - Research led brief - Japanese innovations
As my intention of research was to look into the advancements/inventions/innovations of post war Japan, it was relevant at this point to investigate more into these. To this point I looked at all the major reasons why Japan flourished after the war, and the factors responsible for the importance of Japanese innovations to their economy. Early research into innovations was to get a grasp of what innovations were helpful in playing a part of the 'economic miracle'. As we all know Japan have made contributions across a number of scientific and technological domains, with crucial role in the digital revolution since the 20th century. However, from initial research into these innovations it isn't all robots, household appliances and electrical everyday goods that are considered the core of the 'economic miracle'. The research below documents a selection of my ranged findings. (all inventions looked at are from 1945 - 1991)
Instant noodles (Food science)
Surprisingly instant noodles feature highly in the best Japanese innovations of all time in many tables. However, when I came to think of who hasn't had instant noodles at least once in their life? They were invented by Taiwanese Japanese inventor Momofuku Ando in and first marketed in 1958 by Ando's company, Nissin, under the brand name Chikin Ramen. Ando developed the production method of flash frying noodles after they had been made, creating the "instant" noodle.
Shinkansen/Bullet Train (Transport)
Personally whenever I think of Japan I think of the high-speed rail line network that Japan has. It all started in 1964, and Japan was the first country to build dedicated railway lines for high speed travel because of the mountainous terrain and narrow-gauge lines, which generally took indirect routes and could not be adapted to higher speeds. It is the fastest railway network in the world and has the highest annual passenger ridership, so without doubt the Shinkansen played a massive role in the economic miracle.
Sony Walkman (Audio technology)
The original Walkman cassette player, released in 1979 totally changed listening to music by allowing people to listen to their music whilst on the move. This could turn everyday tasks like commuting and running into pleasurable experiences, give commuters a sense of privacy, and add a soundtrack to urban surroundings. It was devised by Sony co founder Masaru Ibuka, as he loved listening to opera on his frequent trans Pacific flights, but felt Sony's existing portable player, the notebook sized, five pound TC-D5 was far too unwieldy for everyday use, and far too expensive to ever sell successfully. Sony thus began work on a portable player that could combine light weight and stereo sound with a price an ordinary consumer could afford.
Pocket Calculator (Calculators)
Something that is totally taken for granted today due mainly to smartphones. The first portable calculators appeared in Japan in 1970, and were soon marketed around the world. Sanyo, Canon and Sharp all released models of pocket calculators which revolutionised that market.
Godzilla (Entertainment)
One that may seem like a odd one out, compared to the other inclusions documented. However, the monster that originated from a series of films in 1954 has become a worldwide pop culture icon, appearing in media including 29 films produced by Toho, three Hollywood films, and numerous video games, novels, comic books, television shows. This is one the finest examples of post war Japanese innovations as Godzilla is one of the most recognisable symbols of Japanese popular culture worldwide and remains an important part of Japanese films.
Karaoke (Arts)
Another interesting inclusion that the Japanese were doing before anyone else. The first machine was invented in 1971 by a drummer and since then the machine has proved to be a massive hit, especially in China.
Instant noodles (Food science)
Surprisingly instant noodles feature highly in the best Japanese innovations of all time in many tables. However, when I came to think of who hasn't had instant noodles at least once in their life? They were invented by Taiwanese Japanese inventor Momofuku Ando in and first marketed in 1958 by Ando's company, Nissin, under the brand name Chikin Ramen. Ando developed the production method of flash frying noodles after they had been made, creating the "instant" noodle.
Shinkansen/Bullet Train (Transport)
Personally whenever I think of Japan I think of the high-speed rail line network that Japan has. It all started in 1964, and Japan was the first country to build dedicated railway lines for high speed travel because of the mountainous terrain and narrow-gauge lines, which generally took indirect routes and could not be adapted to higher speeds. It is the fastest railway network in the world and has the highest annual passenger ridership, so without doubt the Shinkansen played a massive role in the economic miracle.
Sony Walkman (Audio technology)
The original Walkman cassette player, released in 1979 totally changed listening to music by allowing people to listen to their music whilst on the move. This could turn everyday tasks like commuting and running into pleasurable experiences, give commuters a sense of privacy, and add a soundtrack to urban surroundings. It was devised by Sony co founder Masaru Ibuka, as he loved listening to opera on his frequent trans Pacific flights, but felt Sony's existing portable player, the notebook sized, five pound TC-D5 was far too unwieldy for everyday use, and far too expensive to ever sell successfully. Sony thus began work on a portable player that could combine light weight and stereo sound with a price an ordinary consumer could afford.
Pocket Calculator (Calculators)
Something that is totally taken for granted today due mainly to smartphones. The first portable calculators appeared in Japan in 1970, and were soon marketed around the world. Sanyo, Canon and Sharp all released models of pocket calculators which revolutionised that market.
Godzilla (Entertainment)
One that may seem like a odd one out, compared to the other inclusions documented. However, the monster that originated from a series of films in 1954 has become a worldwide pop culture icon, appearing in media including 29 films produced by Toho, three Hollywood films, and numerous video games, novels, comic books, television shows. This is one the finest examples of post war Japanese innovations as Godzilla is one of the most recognisable symbols of Japanese popular culture worldwide and remains an important part of Japanese films.
Karaoke (Arts)
Another interesting inclusion that the Japanese were doing before anyone else. The first machine was invented in 1971 by a drummer and since then the machine has proved to be a massive hit, especially in China.
Tuesday, 27 March 2018
OUGD603 - Typeface design - Richard Grainger research
Looking into the man behind Grainger Town was crucial to gaining more context for the typeface.
Grainger Town Plans
Grainger (1797–1861) was a builder and most notably he worked together with the architects John Dobson and Thomas Oliver, and with the town clerk, John Clayton, to redevelop the centre of Newcastle in the 19th century. Growing up in Newcastle you are forever familiar with these names as they are embedded within the city. But the one that stands out for a number of reasons is Richard Grainger, whether that be for the Grainger Market or that he is a name that comes to mind first when you think of architecture, building and design within the city.
The great buildings and streets of Newcastle were mainly built by Grainger and his architects. Between 1824 and 1826 he built the greater part of Eldon Square, designed by John Dobson and Blackett Street, designed by Thomas Oliver. In 1827 Grainger built St Mary's Place, designed by John Dobson. In 1829 Grainger began work on Leazes Terrace, Leazes Crescent and Leazes Place, all designed by Thomas Oliver and aimed at middle-class tenants. In 1832 he completed building the Royal Arcade at the foot of Pilgrim Street. A full list of the streets designed by Grainger are below:
Grainger Town Plans
Grainger (1797–1861) was a builder and most notably he worked together with the architects John Dobson and Thomas Oliver, and with the town clerk, John Clayton, to redevelop the centre of Newcastle in the 19th century. Growing up in Newcastle you are forever familiar with these names as they are embedded within the city. But the one that stands out for a number of reasons is Richard Grainger, whether that be for the Grainger Market or that he is a name that comes to mind first when you think of architecture, building and design within the city.
The great buildings and streets of Newcastle were mainly built by Grainger and his architects. Between 1824 and 1826 he built the greater part of Eldon Square, designed by John Dobson and Blackett Street, designed by Thomas Oliver. In 1827 Grainger built St Mary's Place, designed by John Dobson. In 1829 Grainger began work on Leazes Terrace, Leazes Crescent and Leazes Place, all designed by Thomas Oliver and aimed at middle-class tenants. In 1832 he completed building the Royal Arcade at the foot of Pilgrim Street. A full list of the streets designed by Grainger are below:
- Higham Place, 1819-1820, partially demolished nos 6,7 & 8 remain
- Blackett Street, 1824, demolished
- Eldon Square, 1825-1831, partially demolished 1 terrace of 3 remains
- Leazes Crescent, 1829-1830, extant
- Royal Arcade, 1831-1832, demolished
- Leazes Terrace, 1829-1834, extant
- Grey Street, 1834-1839, extant
- Grainger Market, 1835, extant
- Grey's Monument, 1838, extant
- Graingerville South, 1839, extant
- Exchange Buildings, 1840, extant
John Dobson (architect)
John Dobson (1787 – 1865) was a English architect in the neoclassical tradition who as I found from researching into Grainger, is best known for designing Newcastle railway station but also for his work with Richard Grainger developing the centre of Newcastle in a neoclassical style. What I found rather interesting is that in 1824, several years before Grainger did, Dobson put forward plans to the council for the purchase and development property in the centre of Newcastle. Dobson proposed a Mansion House as a civic palace and grand squares linked by wide tree-lined streets. If Dobson’s scheme had been accepted it would have led to a city centre even more elegant than Grainger’s. However, Dobson’s plan was hugely expensive and he lacked financial backing. Grainger proved to have more business acumen in putting forward his own plans for Newcastle and getting them accepted.
Central Station, Newcastle Upon Tyne
John Clayton (Town Clerk)
John Clayton (1792 – 1890) was an antiquarian and town clerk of Newcastle upon Tyne. He also worked Grainger and Dobson to redevelop the centre of the city and Clayton Street is named after him.
OUGD603 - Typeface design - Research
'Grainger Town is as much an idea as it is a place', as it is one of the most significant exercises in urban planning in the 19th century. Behind it all was Richard Grainger, a native of Newcastle and a builder who coordinated the radical replanning that turned Newcastle into a location of desire. Grainger's aim was to create a new commercial and residential heart within the historic town, and in turn create a architectural style that was totally different to any other northern city. His style was classical and had a taste for Grecian architecture which helped form the term, 'Tyneside Classical'.
What makes Grainger Town exceptional is the series of classical streets developed in a period of radical construction between 1835 and 1842. Virtually all of it is included in Newcastle’s Central Conservation Area, one of the first to be designated in England. 240 of its buildings, half of all those in the area, are Listed. What is more, an astonishing 30% of these are designated as Grade I or Grade II*. Its centrepiece is Grey Street which is widely acknowledged as ‘the finest Classical street in England’. However the area also includes medieval streets like Bigg Market, the 13th century Dominican Friary of Blackfriars and remnants of the old Town Wall, and after Grainger’s day it was extended with many fine Victorian commercial buildings. All this gives Grainger Town a great richness of character, which only a small number of cities can boast of such a fine range of streets and buildings right in their centres.
However, the area hasn't always experienced the best of time as in the 1960s and 1970s, parts of Grainger's original scheme, were demolished to make way for projects such as Eldon Square, a shopping centre in the centre of the city. In the early 1990s, Grainger's legacy was in poor shape, as shops and offices moved out to other locations. Therefore, a programme of property development and environmental enhancement was started in 1993 with Newcastle City Council and the English Heritage to tackle most of the worst buildings at risk and stop the decline of the area. A proposal made made to turn Grainger Town into a dynamic and competitive location in the heart of the city. The aim of the project was to make Grainger Town a high quality environment appropriate to a major European regional capital. To look at Grainger Town today, the regeneration is in full swing as the area is restored to its former glory as shops and offices have returned.
What makes Grainger Town exceptional is the series of classical streets developed in a period of radical construction between 1835 and 1842. Virtually all of it is included in Newcastle’s Central Conservation Area, one of the first to be designated in England. 240 of its buildings, half of all those in the area, are Listed. What is more, an astonishing 30% of these are designated as Grade I or Grade II*. Its centrepiece is Grey Street which is widely acknowledged as ‘the finest Classical street in England’. However the area also includes medieval streets like Bigg Market, the 13th century Dominican Friary of Blackfriars and remnants of the old Town Wall, and after Grainger’s day it was extended with many fine Victorian commercial buildings. All this gives Grainger Town a great richness of character, which only a small number of cities can boast of such a fine range of streets and buildings right in their centres.
However, the area hasn't always experienced the best of time as in the 1960s and 1970s, parts of Grainger's original scheme, were demolished to make way for projects such as Eldon Square, a shopping centre in the centre of the city. In the early 1990s, Grainger's legacy was in poor shape, as shops and offices moved out to other locations. Therefore, a programme of property development and environmental enhancement was started in 1993 with Newcastle City Council and the English Heritage to tackle most of the worst buildings at risk and stop the decline of the area. A proposal made made to turn Grainger Town into a dynamic and competitive location in the heart of the city. The aim of the project was to make Grainger Town a high quality environment appropriate to a major European regional capital. To look at Grainger Town today, the regeneration is in full swing as the area is restored to its former glory as shops and offices have returned.
Sunday, 25 March 2018
OUGD603 - Research led brief - Post war japan design
Before the war Japanese design and manufacturing had a rather bad name but during the post war years one thing changed this massively. From early research into post war Japanese innovations, one thing that constantly crops up is the Quality Control Handbook, written by the Romanian-born American management consultant and engineer Joseph M. Juran. It included a selection of rigorous testing of materials, the specialised training of a workforce, the maintenance of strict financial controls and the inspection of quality standards throughout the manufacturing process. The handbook increased customer satisfaction, production of more saleable goods, more competitive, increase market share and better income and margins. The higher quality products often cost more in the short term, they reaped a much better return on investment in the long run. And from the economic miracle the value of Japanese design, both in artistic and technology forms began to be accepted and developed in a number of forms. Thanks to the introduction of the handbook, today 'Made in Japan' is linked to exceptional design and high quality manufacturing. Since the end of the war Japan has managed to combine high aesthetics with cutting edge technology into functional everyday items.
Saturday, 24 March 2018
OUGD603 - Photographers identity - Evaluation
Undertaking this brief has been a enjoyable task as it presented me with numerous issues I'll face in industry. For example dealing with someone else's wishes but also delivering multiple outcomes across both print and digital and handling a budget. I felt designing a coherent identity was the simplest part of this brief but what made it more difficult was thinking about it in the long run, and whether the hand over of the identity will be smooth. Questions such as whether or not the website will be able to be updated sufficiently and will the identity become fragmented over time with different materials, stocks etc. Towards the end of the brief I decided to start putting things in place to allow the identity to last. With simple procedures such as ordering stock for future print runs and showing Emma the basic rules of Cargo Collective for her website. This eased concerns on my behalf about whether or not the identity serves a purpose and functions. I handed over the design files and all assets to allow Emma to update her identity such as CV, whenever she pleases. Personally I really enjoyed this brief as I liked using a decent size budget for a student brief, with Emma giving me free rain for her identity. I knew from the start I wanted to design something simple, and to only give the photographer a platform rather than window dress her identity. With the final pieces I believe I achieve this, and Emma is pleased with her new identity.
Small hiccups that occurred were mainly in production with problems with certain stocks we chose but were able to overcome them, and pick the next best option. Maybe more experimentation in production could have saved us these problems but in terms of time planing, I had to evade experimentation. As a collaboration I felt it worked really well, with communication and decision making made easy through both simply being on the same page throughout the project. Taking each step at the same pace and constantly updating each other of any changes and decisions made.
Small hiccups that occurred were mainly in production with problems with certain stocks we chose but were able to overcome them, and pick the next best option. Maybe more experimentation in production could have saved us these problems but in terms of time planing, I had to evade experimentation. As a collaboration I felt it worked really well, with communication and decision making made easy through both simply being on the same page throughout the project. Taking each step at the same pace and constantly updating each other of any changes and decisions made.
OUGD603 - Secret 7 - Evaluation
Once again undertaking Secret 7 has been a really nice brief to do as its so open ended. It really hasn't many restrictions so it was completely down to me how much I put into this brief. And as I set a one week timeframe to do this brief, I'm more than happy with the work I have produced. I don't think I'd change too much if I had more time to undertake this brief, so I'd so setting a short turn around allowed me to have acceptance with the outcomes. What I really enjoyed with this brief was physically producing the piece, and having research supporting the production methods. For example in research I looked into the punk movement and its relation to graphic design. This involved looking at the ethos behind it, and how designers approached making artwork for punk bands, gigs etc. So in my work I tried to put many of these findings into practice, such as only using materials that I had around me and picking certain production methods. For the final piece I hope I have communicated the song to the best of my capabilities. And hopefully my interpretation will stand a chance of being selected for the Secret 7 show.
Thursday, 22 March 2018
OUGD603 - Research led brief - Post war technology research
The advancements/inventions/innovations of post war Japan are heavily linked to the emergence of technology in the country, as in todays day and age people instantly associate Japan with technology and innovation.
The war itself forced Japan to accelerate the pace of investment in science and technology, as access to foreign technology was shut off. This isolation meant that Japan fell considerably behind the technical levels of other advanced countries during the war, but it led to larger scale research and development during and after the war. Japan's industrial and technological advancements in the postwar period were in place when the war began. But once engineering and technological capabilities that were focused on the war effort were diverted to commercial industries. From this by 1950 Japan was able to fully engage with the modern world through technology. I found out that advanced technology alone was enough to engage consumers, but high end tech products in the hands of Japanese designers existed to support life, not the other way round. The Japanese designers however did embrace American commercial styling as the designers responded to developments in America and Europe practices and the modernist ideals that underpinned them.
What I found really interesting is that Japan greatly improved its technological advances and in turn raised the value of the yen. If not for the technological advancements, a decreasing yen would have brought further risk and a possible depressing effect on trade and the country.
The war itself forced Japan to accelerate the pace of investment in science and technology, as access to foreign technology was shut off. This isolation meant that Japan fell considerably behind the technical levels of other advanced countries during the war, but it led to larger scale research and development during and after the war. Japan's industrial and technological advancements in the postwar period were in place when the war began. But once engineering and technological capabilities that were focused on the war effort were diverted to commercial industries. From this by 1950 Japan was able to fully engage with the modern world through technology. I found out that advanced technology alone was enough to engage consumers, but high end tech products in the hands of Japanese designers existed to support life, not the other way round. The Japanese designers however did embrace American commercial styling as the designers responded to developments in America and Europe practices and the modernist ideals that underpinned them.
What I found really interesting is that Japan greatly improved its technological advances and in turn raised the value of the yen. If not for the technological advancements, a decreasing yen would have brought further risk and a possible depressing effect on trade and the country.
OUGD603 - Secret 7 - Final & rationale
From feedback and relevance to the brief and artist I felt it was relevant to submit a screenprinted option as it relates heavily to the punk movement. And also because I originally set out to use traditional methods of production, so I believe i've achieved a goal in that sense. It was just a matter of which screenprint option to submit for Secret 7. Each one is individual in its own way which I really like but I could only submit one. The feedback I received was mixed as it is only a matter of colour and a few misprints which separates them. I thought about which one would stand out on a shelf among other 7 inch covers, and out of the three I'd say the pink and black one does. The pink could actually be mistaken for grey from a distance, so you can get two perspectives of it.
With the artwork being only one colour print, I thought it should have a subtle use of colour so I picked the pink option to submit to Secret 7.
To accompany the artwork is a short description of the artwork and what inspired it.
With the artwork being only one colour print, I thought it should have a subtle use of colour so I picked the pink option to submit to Secret 7.
To accompany the artwork is a short description of the artwork and what inspired it.
I'm Not Down is about not giving up, believing in yourself and not letting anything drag you down or crush your spirits. This is more or less what The Clash were about, fighting the good fight that few others would fight. Therefore, in the artwork I aim to showcase this and in doing so, I want to give off a sense of raw ambition and opposition. Just like I'm Not Down does.
OUGD603 - Photographers identity - Test print & production
Test prints of outcomes were satisfactory apart from one which was the post cards printed on the Cranes Crest paper as it decreased the quality of the image. From this I decided that the Peregina Majestic option would be better for the post card.
I made sure to test print the posterzine and creative cv to get a grasp of scale once printed.
For the production of stationary I decided to use the digital print room as the printing facilities support all the outcomes, with the printers able to print a higher gsm for the business cards. However, for the posterzine I decided to not print at university. Instead I decided to use 'Print on Paper' who print a range of newspaper products. They print a 100gsm paper zine which is perfect for the posterzine and will give more of professional feel. For five copies it cost £10 which maybe more expensive than uni but the quality will be higher.
For the other outcomes I needed to think about suitable stock weights, for the business card in particular I had to experiment with a number of weights. The most suitable was 350 gsm which gives it durability. For the cv, letterhead and invoice I chose 120gsm and the post cards are 365 gsm, as they need to have some flexibility to fit in the slits.
During production an issue with the business card arisen due to the embossing affecting the print quality. The ink was flaking so I decided to only used the standard Colorplan candy pink without the embossing for the business card. Yet when printing on the standard Colorplan, the ink continued to flake as the printers aren't suited too well with G.F Smith Colorplan. From this myself and Emma both agreed the best solution for the business cards would be to use Moo. Using a 298 gsm cotton card with the same design but with a block candy pink colour printed on.
The production of the promo pack went smoothly but I had to be extra careful when trimming the net and applying folds, as the production of the packs was the most expensive and time consuming aspect of production.
Wednesday, 21 March 2018
OUGD603 - Typeface design - Brief
Brief name : Typeface design
Time scale : 3 weeks
Deadline :
Brief : Building on from the Grainger Market identity brief which has inspired me to create a bespoke typeface which is inspired by Grainger Town. Aim to visually interpret the feel and look of Grainger town through contemporary typeface.
Background : Grainger Town is the historic heart of Newcastle upon Tyne, England. It Incorporates classical streets built by Richard Grainger, a builder and developer, between 1824 and 1841, some of Newcastle's finest buildings and streets lie within the Grainger Town area of the city centre including Grainger Market, Theatre Royal, Grey Street, Grainger Street and Clayton Street. These buildings are predominantly four storeys, with vertical dormers, domes, turrets and spikes.
Mandatory requirements : Typeface including uppercase, lowercase and a full set of numbers.
Time scale : 3 weeks
Deadline :
Brief : Building on from the Grainger Market identity brief which has inspired me to create a bespoke typeface which is inspired by Grainger Town. Aim to visually interpret the feel and look of Grainger town through contemporary typeface.
Background : Grainger Town is the historic heart of Newcastle upon Tyne, England. It Incorporates classical streets built by Richard Grainger, a builder and developer, between 1824 and 1841, some of Newcastle's finest buildings and streets lie within the Grainger Town area of the city centre including Grainger Market, Theatre Royal, Grey Street, Grainger Street and Clayton Street. These buildings are predominantly four storeys, with vertical dormers, domes, turrets and spikes.
Mandatory requirements : Typeface including uppercase, lowercase and a full set of numbers.
OUGD603 - Secret 7 - Development
I selected my three favourite screen printed options which I printed onto 7 inch gatefolds and compared them to the digital option.
Although the artwork is exactly the same for all ideas, each one is different in its own way. For the screenprinted options, each one differs due to stock or printing imperfections that make them individual. I chose the these particular ones as I like the dulled down colours more than the bolder ones I made with pink, green etc. The more subdued colours make it more raw I believe which contrasts massively to the digital version. The screenprinted ones are bitmapped therefore give it warn out effect with the subdued colours, while the digital version is vibrant and alive.
Although the artwork is exactly the same for all ideas, each one is different in its own way. For the screenprinted options, each one differs due to stock or printing imperfections that make them individual. I chose the these particular ones as I like the dulled down colours more than the bolder ones I made with pink, green etc. The more subdued colours make it more raw I believe which contrasts massively to the digital version. The screenprinted ones are bitmapped therefore give it warn out effect with the subdued colours, while the digital version is vibrant and alive.
OUGD603 - Secret 7 - Screenprinted developments
From feedback and research into punk I knew it was necessary to experiment with the idea in a more traditional manner. Therefore, I stepped away from the screen for the time being and developed the idea with screenprinting. I knew methods of production was one of the key characteristics to any punk piece. I remembered in research, I read that punk artwork reflected the availability of materials so I decided to only use materials that were hanging around the studio. Using scrap pieces of sugar paper and off cuttings from past projects. The decision to make the print one colour was another influence from punk production methods and while screenprinting I didn't fully clean the screen properly a few times, to get a raw and imperfect aesthetic.
OUGD603 - Research led brief - Post occupied Japan & 'Economic miracle' research
Once I looked into post war and occupied Japan, I moved onto looking into post-occupied Japan with a focus on the economy, westernisation and industry as these heavily relate to the interest in Japan's revival following the war. This is the period in Japanese history which started after the allied occupation of Japan which ended in 1952 and aloud Japan to establish itself as a global economic and political power. By 1980 Japan become the second largest economy in the world which was down to a number of factors that had to do with American policies towards Japan, the international market, social mobilisation, existent industrial capacities and experience, and government policies and expertise, among other things.
Economy
The government at the time encouraged Japanese industrial development overseas while restricting foreign companies' business within the country. These practices, coupled with a reliance on the United States for defence, allowed Japan's economy to increase during the Cold War. By 1980, many Japanese products, particularly automobiles and electronics, were being exported around the world, and Japan's industrial sector was the second-largest in the world after the U.S. The 1964 Summer Olympics in Tokyo are often said to mark the re-emergence of Japan in the international arena, as Japan's postwar development was showcased through innovations such as the Shinkansen high-speed rail network, known in the UK as the bullet train.
Much of the early economic growth of the late 50s was spurred by the production of consumer goods for consumption by the Japanese people. While the production of these goods resulted in an everrising standard of living, it also required the constantly increasing importation of raw materials. Once the harsh reality of this situation sank in, Japan realised it must export or die. As a result, Japanese industry’s only alternative was to turn its eye toward the world market. The strength of Japanese imports was felt worldwide. In the United States, for example, Detroit’s high unemployment rate was blamed on Japanese imports.
It was interesting to see the war did benefit post war Japan in some cases as much of the militarised economy during the war was able to be converted to peacetime activity. For example, the automobile industry because out of the 11 major auto manufacturers in postwar Japan, ten came out of the war years: only Honda is a pure product of the postwar period. Three of the ten: Toyota, Nissan, and Isuzu, prospered as the primary producers of trucks for the military after legislation passed in 1936 had driven Ford and General Motors out of the Japanese market.
The need to rebuild it from scratch often led to the introduction of new technology and new management styles, which gave these companies a chance to update and upgrade themselves. Their changes were met with cheap technology and cheap raw materials. After the war was over, many of the wartime companies and much of the technology used during the war were converted to peaceful economic development. For example, machine gun factories were converted to make sewing machines; optical weapons factories now produced cameras and binoculars.
Research from http://www.iun.edu/~hisdcl/h207_2002/jecontakeoff.htm
'Economic Miracle'
The phrase 'the economic miracle' was used to describe Japan's record period of economic growth between the post World War two to the end of Cold War. By the 1990s, Japan's began stagnating and the workforce was no longer expanding as it did in previous decades, so the 'economic miracle was perceived to finish. Another factor for the end of the miracle was most likely the end of the Cold War, as originally the U.S. was concerned with the growth of the economy of Japan because there was a risk after World War two that an unhappy Japanese population would turn to communism and by doing so ensure that the Soviet Union would control the Pacific.
The miracle is split into four sections, which are as follows:
Economy
The government at the time encouraged Japanese industrial development overseas while restricting foreign companies' business within the country. These practices, coupled with a reliance on the United States for defence, allowed Japan's economy to increase during the Cold War. By 1980, many Japanese products, particularly automobiles and electronics, were being exported around the world, and Japan's industrial sector was the second-largest in the world after the U.S. The 1964 Summer Olympics in Tokyo are often said to mark the re-emergence of Japan in the international arena, as Japan's postwar development was showcased through innovations such as the Shinkansen high-speed rail network, known in the UK as the bullet train.
Much of the early economic growth of the late 50s was spurred by the production of consumer goods for consumption by the Japanese people. While the production of these goods resulted in an everrising standard of living, it also required the constantly increasing importation of raw materials. Once the harsh reality of this situation sank in, Japan realised it must export or die. As a result, Japanese industry’s only alternative was to turn its eye toward the world market. The strength of Japanese imports was felt worldwide. In the United States, for example, Detroit’s high unemployment rate was blamed on Japanese imports.
It was interesting to see the war did benefit post war Japan in some cases as much of the militarised economy during the war was able to be converted to peacetime activity. For example, the automobile industry because out of the 11 major auto manufacturers in postwar Japan, ten came out of the war years: only Honda is a pure product of the postwar period. Three of the ten: Toyota, Nissan, and Isuzu, prospered as the primary producers of trucks for the military after legislation passed in 1936 had driven Ford and General Motors out of the Japanese market.
The need to rebuild it from scratch often led to the introduction of new technology and new management styles, which gave these companies a chance to update and upgrade themselves. Their changes were met with cheap technology and cheap raw materials. After the war was over, many of the wartime companies and much of the technology used during the war were converted to peaceful economic development. For example, machine gun factories were converted to make sewing machines; optical weapons factories now produced cameras and binoculars.
Research from http://www.iun.edu/~hisdcl/h207_2002/jecontakeoff.htm
'Economic Miracle'
The phrase 'the economic miracle' was used to describe Japan's record period of economic growth between the post World War two to the end of Cold War. By the 1990s, Japan's began stagnating and the workforce was no longer expanding as it did in previous decades, so the 'economic miracle was perceived to finish. Another factor for the end of the miracle was most likely the end of the Cold War, as originally the U.S. was concerned with the growth of the economy of Japan because there was a risk after World War two that an unhappy Japanese population would turn to communism and by doing so ensure that the Soviet Union would control the Pacific.
The miracle is split into four sections, which are as follows:
- The recovery stage (1946-1954)
- The high increase (1955-1972)
- The steady increase (1972-1992)
- The low increase (1992-2017)
The recovery stage astonished the world, earning the title of and earned the name 'Economic Miracle'. Every country experienced some degree of industrial growth in the postwar period, those countries that achieved a heavy drop in industrial output due to war damage such as Japan, West Germany and Italy, achieved a rapid recovery.
One reason for Japan to recover from war trauma quickly was the Ministry of International Trade and Industry, which at the height of its influence, effectively ran much of Japanese industrial policy, funding research and directing investment. Another reason for Japans recovery was the Korean War, as it was one of the major supporters of the United States in who they provided firearms for which helped the Japanese economy, enabling Japan to recover from the wartime destruction.
In the high increase era Japan gained support from the United States and achievied domestic economic reform, and subsequently was able to soar from the 1950s to the 1970s. Furthermore, Japan also completed its process toward industrialisation, and became one of the first developed countries in East Asia. In the steady increase time, Japan’s industrial production was decreased by 20%, as supply could not respond effectively to rapid demand, and increased investments in equipment often invited unwanted results.
Tuesday, 20 March 2018
OUGD603 - Research led brief - 'The confusion era' & occupied Japan research
A good resource to learn more about the occupation of Japan was the book titled 'The Confusion Era' which has more of focus on the visual arts which are normally dismissed during this period. The book describes the occupation as 'an all American show' with the US free to experiment with Japan as it pleased. One link to my research interest was that MacArthur tried to break up the large Japanese businesses, known as the zaibatsu. This was an effort to transform the economy into a free market capitalist system which would have benefited new business and innovation. However, American had a change of heart, and needed the zaibatsu for a economically stronger Japan in the face of a perceived Soviet threat. With many claiming that the zaibatsu were required for Japan to compete internationally.
OUGD603 - Photographers identity - Website development
In development I tested a number of the layouts I made in XD but in Cargo Collective I felt one idea stood out for flexibility and functionality. Also this idea can link to the identity with the use of colour and type layouts in certain situations.
The logo is situated to the left hand side with the commercial and personal work pinned to the side of the page throughout the site. This acts as quick navigation bar for the user and save them returning to the home page every time to view a new set of images.
The about page is inspired by the creative cv layout and the colour of the business card as it links both print and digital.
In Cargo I changed the image layouts to being randomised to give flexibility for both landscape and portrait images. Each image has a 8pt gutter so the individual images have space to stand out with plenty of white space.
The footer again takes inspiration from the business card stock. Contact details and copyright is placed at footer of all pages.
The logo is situated to the left hand side with the commercial and personal work pinned to the side of the page throughout the site. This acts as quick navigation bar for the user and save them returning to the home page every time to view a new set of images.
The about page is inspired by the creative cv layout and the colour of the business card as it links both print and digital.
In Cargo I changed the image layouts to being randomised to give flexibility for both landscape and portrait images. Each image has a 8pt gutter so the individual images have space to stand out with plenty of white space.
The footer again takes inspiration from the business card stock. Contact details and copyright is placed at footer of all pages.
Monday, 19 March 2018
OUGD603 - Research led brief - Research
A good start for research is to look at post war Japan in general. To understand the scope of the aftermath of the war and from this I'll be able to gain an understanding of Japan's position at this point. From 1945 to 1952 Japan was occupied by USA, under the command of General MacArthur and the co-operation between the Japanese and the Allied powers worked relatively smooth. Unlike in the occupation of Germany, the Soviet Union was allowed little to no influence over Japan. The objectives for the occupation were to eliminate Japan's war potential and turn Japan into a democratic style nation with pro-united Nations orientation.
However, the aftermath of the war left Japan devastated with all the large cities with the exception of Kyoto destroyed, the industries and the transportation networks were severely damaged. Furthermore, a severe shortage of food continued for several years after the war too. Japan basically lost all the territory acquired after 1894 and the remains of Japan's war machine were destroyed, and war crime trials were held. Emperor Showa was not declared a war criminal, and the issue of the emperor was probably the biggest devastation for Japan after the war. As in 1947, the emperor lost all political and military power, and was solely made the symbol of the state. Japan was also forbidden to ever lead a war again or to maintain an army.
From early research into the years after the war its clear a defeated Japan itself was in flux and most welcoming to radical change. I discovered the reason for this radical change is because many Japanese felt the key factor in losing the war had not been a difference between the capabilities of the individual Japanese and American soldiers, but rather the superior ability of the American economy to rapidly produce large quantities of war materials. So Japan was happy to use America’s free enterprise system as the model for rebuilding Japan. Japan sent some of her finest young people to America to study its economic, political, social, and educational systems. The knowledge gained from their studies in the United States was then used to restructure Japan’s major institutions while maintaining the essence of the Japanese culture. It took the Japanese people less than forty years to transform their country from nearly complete devastation into one of the world’s leading economic powers. The economic, social, political, and educational institutions it adopted were key factors in Japan’s success.
However, the aftermath of the war left Japan devastated with all the large cities with the exception of Kyoto destroyed, the industries and the transportation networks were severely damaged. Furthermore, a severe shortage of food continued for several years after the war too. Japan basically lost all the territory acquired after 1894 and the remains of Japan's war machine were destroyed, and war crime trials were held. Emperor Showa was not declared a war criminal, and the issue of the emperor was probably the biggest devastation for Japan after the war. As in 1947, the emperor lost all political and military power, and was solely made the symbol of the state. Japan was also forbidden to ever lead a war again or to maintain an army.
From early research into the years after the war its clear a defeated Japan itself was in flux and most welcoming to radical change. I discovered the reason for this radical change is because many Japanese felt the key factor in losing the war had not been a difference between the capabilities of the individual Japanese and American soldiers, but rather the superior ability of the American economy to rapidly produce large quantities of war materials. So Japan was happy to use America’s free enterprise system as the model for rebuilding Japan. Japan sent some of her finest young people to America to study its economic, political, social, and educational systems. The knowledge gained from their studies in the United States was then used to restructure Japan’s major institutions while maintaining the essence of the Japanese culture. It took the Japanese people less than forty years to transform their country from nearly complete devastation into one of the world’s leading economic powers. The economic, social, political, and educational institutions it adopted were key factors in Japan’s success.
OUGD603 - Secret 7 - Idea development
For the development of the idea I wanted to take on board the research I found in the book Action Time Vision. Which gave an insight into the the design process and legacy of punk graphic design. Therefore, I wanted the work to have a sense of urgency and aim to empower others. Also for it to be raw but this could be achieved later on in the production of the idea.
Imagery such as the example to the left inspired me as I wanted something that had a clear link to the punk aesthetic, yet be current and distinguishable.
The first stage of development was digitalising the clenched fist illustration. From earlier sketches I had a rough form decided upon which is a cartoon style. To accompany the fist I created basic vectors of arrows and a splash like shape, which was inspired by research into punk graphic design. The imperfect shape fits in well with the ideals of punk, such as a sense that anyone can do it. For early colour experimentation I just used the two colours from London Calling artwork, but I did find these colours too cliche for a response for The Clash.
Experimentation with colour and polka dot
I felt the composition needed more detail to give it more depth therefore I continued to analyse punk artwork and a majority of the time the finish gives it the desired depth. Instead I added random shapes that seem to bounce of the arrows etc. This continues the cartoon aesthetic but achieves its goal of adding depth and detail to the piece. The lines also add a little chaos to the artwork which is always good for a punk inspired piece. I used the polka dot detail from earlier developments for a more refined detail later on in development, with it used for shadowing on the hand.
Feedback
For feedback I had a selection of questions for my peers to answer regarding the work.
1. Would you say the artwork is punk?
2. Does the artwork create any emotions?
3. How would you improve it?
The responses are as follows:
1. I would describe it as contemporary punk. At the moment the colours and clean lines make it contemporary but the amount of assets crammed in sort of give it a punk look and feel.
2. It kinda looks like a fight in the background so it'd say anger is being communicated.
3. Mess on with the piece in production and maybe cut it up and stick it back together and be really DIY with it.
1. The artwork needs to be more DIY to be considered punk I think.
2. Chaos
3. Experimenting with colour and finish.
The first stage of development was digitalising the clenched fist illustration. From earlier sketches I had a rough form decided upon which is a cartoon style. To accompany the fist I created basic vectors of arrows and a splash like shape, which was inspired by research into punk graphic design. The imperfect shape fits in well with the ideals of punk, such as a sense that anyone can do it. For early colour experimentation I just used the two colours from London Calling artwork, but I did find these colours too cliche for a response for The Clash.
Experimentation with colour and polka dot
I felt the composition needed more detail to give it more depth therefore I continued to analyse punk artwork and a majority of the time the finish gives it the desired depth. Instead I added random shapes that seem to bounce of the arrows etc. This continues the cartoon aesthetic but achieves its goal of adding depth and detail to the piece. The lines also add a little chaos to the artwork which is always good for a punk inspired piece. I used the polka dot detail from earlier developments for a more refined detail later on in development, with it used for shadowing on the hand.
I wanted to see if the idea remained legible through distortion as I liked the idea of it being really raw yet clean through the colour and shapes. I did find that certain distortions tested the idea so felt it wasn't the best route to take. However, I still wanted to use the distorted look, so I used it as a frame behind the developed piece.
Feedback
For feedback I had a selection of questions for my peers to answer regarding the work.
1. Would you say the artwork is punk?
2. Does the artwork create any emotions?
3. How would you improve it?
The responses are as follows:
1. I would describe it as contemporary punk. At the moment the colours and clean lines make it contemporary but the amount of assets crammed in sort of give it a punk look and feel.
2. It kinda looks like a fight in the background so it'd say anger is being communicated.
3. Mess on with the piece in production and maybe cut it up and stick it back together and be really DIY with it.
1. The artwork needs to be more DIY to be considered punk I think.
2. Chaos
3. Experimenting with colour and finish.
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