Research into Pop Culture
Barthes (1915-1980) discusses the mythological theory behind popular culture being influenced by a role model. Traditionally the idea of hegemony was introduced in Hollywood through the understanding of heroes and villains. The ideology of following a certain type of leadership, what is perceived good and bad. This relates to popular culture, as in the modern day, people need the idea of the perfect, heroic role model of making things right in human affairs. Barthes (1915-1980) then argues the use of mass media and how that impacts ethics of happiness juxtaposed with pleasure. The ideology of pleasure acting a main role in popular culture.
Goodwin (1991) states how popular music is established through trend. Goodwin (1991) refers to post-modernist music being developed through technological approach which therefore creates pastiche contemporary music; promotes texts it steals from. This is addressed as sampling. African American Cultural theorists, Cornel West (2009) argues the claim of pastiche through responding, how rap has developed into a genre from pulling aspects from the past and present. It is a part of black underclass youth which is forced to take a cultural role in the political heritage of the American society.
Friske (1998) has researched into the use of musical genres becoming out of trend is perhaps due to popular discrimination. Popular discrimination resonates through aesthetics. Aesthetics is a disciplinary system; what is popular today may not be popular tomorrow. This idea refuses to recognise the cultural barrier produced from social positions. Aesthetics requires critic control responding to trends. Perhaps something is in trend due to a youthful audience being introduced to that set of aesthetic. The educational approach of high culture is not introduced therefore is lost. This then relates to art being introduced in education which creates respect and awareness which therefore leads to a commercial understanding. This awareness of art therefore produces a commercialise culture through popular art.
West, C (2009) Black postmodernist practises, Harlow, Pearson Education
Friske, J (1998) Understanding Popular Culture, New York: Routledge
Goodwin, A (1991) Popular music and postmodern theory, Cultural studies
Goodwin, A (1991) Popular music and postmodern theory, Cultural studies
The investigation of the response of popular culture. How does graphic design play a role in popular culture?
The figurative interpretation of branding, highlights all aspects of the product that embeds a permanent impression in the experiencer’s mind. Barwise (2004) states branding qualities in a symbolic form, to establish an abstract effect. An implication of this is the possibility that the sign concept is taken metaphorically, which undertakes as a contract between the manufacture and experiencer; a sense of an agreement, (Healey, 2008).
Graphic design is at the heart of our understanding of branding. Design is taken as a tool in branding, which stems development through the role of the designer. The investigation of the process of design is through the understanding knowledge of interaction through audiences and the surrounding environments. This is a key component to initiate meaning. Graphic design is an important component which plays a key role in identity to solve challenges. The idea generation ethic helps create innovation which makes the product relevant. The challenges in design include staying in trend through aesthetics. The positioning of design is higher contrasted to counterparts in advertising, marketing, and in public relation. This determines appearances and perceptions which make a brand contemporary. The solution presented is realistic in response to an abstract question (Healey, 2008).
Logos are the pictorial counterparts of brand names. A logo is the name, symbol, trademark belonging to the manufacturer, the design has purpose for recognition. Kress (1996) discusses the semiotic sense through cultural and historical meanings. The symbolic meaning addresses the conceptual approach of the brands story being condensed in a symbol, sign; miniature visual narratives. The taxonomy of strategies applies to the classification of the logo. For instance: a portrait logo will use the name of a fictitious individual, and a descriptive logo will relate to a description of names ad symbolic logos.
The relationship between logos and brands form the interpretation and translation. Semiotic are logos which are designed in mythological process. An example of this, is the Apple computer company. The visual nature of logos was adapted from the ancient era, of visual symbolism being used to communicate verbal activities, and example of this is cave art, as well as the invention of the alphabet, 1000 BCE, (Davenport 1984).
In the modern day, contemporary logos have adapted this visual concept, visual signs have been a primary marketing strategy. The Toronto Lugano, researched into logo aesthetic, research is proven that geometric shapes are more aesthetically pleasing. However, Greek philosopher Plato (c427-347 BCE) connote that logos are innate. Examples of a geometric logo in the modern day is the Mercedes Benz logo, the purpose of this is to address recognisable and memorable characteristics.
The purpose of logos is to address a unique aesthetic. An example of this is through the Apple brand, this highlights a latent mystical meaning. Products produced through Apple is the iMac line. The iMac line, is written with a lowercase “i” to establish the interpretation of intelligence, imagination, and illumination. The recognition of Apple and other companies being unique establishes the importance of logos and names in advertisement, these components are used as a unique tool for persuasion (Danesi, 2006).
Healey, M (2008) What is Branding?, Switzerland: RotoVision
Danesi, M (2006) Brands, New York and London: Routledge
Brief: Create a logo for an emerging artist.
Amelia Monet is an emerging artist and Youtube. She has collaborated with Edwin Onokhua, EO on the song, "Baddest".
Existing Branding for Amelia Monet
The logo design has incorporated a 3-D aesthetic. I could develop this further by using the 3-D tool effect on Illustrator.
The font used is Balboa Plus. The designer has manipulated the letter forms to create the idea of breaking out of the ordinary, to represent diversity within the typeface.
Overall, the second design is more successful, as the logo looks more clean and polished. I will develop these designs further by creating something with more character and personality, as these are traits from the artist herself.
Target market
The target market will be aimed at 14-25 year olds, mainly girls but as the artist will be entering popular culture, the logo design will have to be diverse fitting for girls and boys.
Contextual Research
Investigating existing artist with similar style to Amelia Monet.
The IAMDDB logo uses black lettering in an outline effect. The colour palette are neon, as these colours are in trendy in popular culture. The logo was designed by Only One Mono. The inspiration came from Manchester's surroundings of the intensity of the curry mile's neon lights and the cool hues of a typical Manchester sky. The use of black lettering creates a more decorative feel towards the logo. The use of combining colour creates a more modern approach. This logo is unique and has a diverse feel, which will make the logo stand out more.
The logo includes diverse typeface design. The designer has played with scale and size. Perhaps the logo relates to context of body image. The curved edges and variation in size applies a feminine feel towards the logo. The logos in Black which highlights the complexity within the typeface design. It also creates an urban aesthetic towards the logo. To develop my practice further, I could manipulate and exaggerate type. Also, the designer has taken into consideration of the name 'Nao' being sort, the designer has played with this idea of playing with scale and size.
Rashid Babiker designed the visual identity for Jorja Smith, a logo which can be used for screen, digital, print, stage and cloth. The aesthetic was between the gothic "Comic" as used in "Fire starter" by Stephen King and the more cubic, muted "Clarendon" which was used on Jazz Records through the 50's and 60's. Barbiker collected photo from books and online which inspired him. The designer used @Fontsquirrel to identify the fonts. There were 32 fonts experimented.
Babiker shortlisted 7 and 3 were picked from Jorja Smith. These samples were modified by bringing the "J" "O" and "R" closer together and scaled the two names together.
For the logo "Race" the typeface is san-serif font. Using a san-serif type creates a modern approach towards the logo. It also includes a clean, simplified approach. The use of the yellow creates a sense of a brand identity which works effectively. However, this logo is not as successful compared to the previous designs as the type does not seem as memorable. The logo seems unfinished and includes two aesthetics, the logo needs further development.
The "Mabel" logo is more innovative compared to the "Raye" logo. The use of type being joint together creates an element of identity. The type is varied and unique which highlights the concept of diversity. The use of the logo being in monochrome highlights the design aspect towards the type. Overall, the logo is successful, as it is innovative and creates the brand to be more memorable compared to the past example.
Initial Ideas
The typeface experimented in this example is Forma DJR Deck, designed by type designer David Jonathan Ross.
This experimentation was developed further through colour and 3-D effect. The overall design layout is unique and different. However, the overall aesthetic does not fit well for the target market. The logo design is more playful which is therefore aimed at a younger audience than intended. To develop this further, I will create samples which are aimed at an older target market, 16-25 year olds.
The typeface used is Avenir next condensed history designed by Adrian Frutiger. The word avenir is French for "future". The typeface was inspired by Futura and Erbar.
For this experimentation, this was the least successful. The typeface is too thick, therefore creates more of a masculine approach. The idea lacks concept compared to the other ideas experimented. The letters 'A' look unpleasing and could be developed further. The logo design has more of an intimidating approach. This does not work well as the logo design needs to be approachable to a wide target market.
The typeface experimented is Balboa Plus. Jim Parkinson designed the typeface. Jim Parkinson specialises in designing typographic logos and typefaces. He worked on ITC Bodoni and ParkinsonElectra for monotype. His logo designs include Newsweek, Rolling Stones, Esquire, Men's Journal, The Montreal Gazette, the Wall Street Journal and the Detroit Free Press.
This experimentation was the most successful. The typeface includes a slim aesthetic which relates to the idea of fashion and beauty. he use of manipulating letters such as the letter 'N' creates the idea of rebellion. This technique was created on Illustrator by expanding the type and manipulating letterforms through the construction of the type. To develop this design further further, I could apply an outline or apply a 3-D effect. The colour scheme will be developed further by finding a relevant colour scheme for the brand identity. To develop this further, I will experiment with layout.
The typeface experimented is Tilda Petite designed by type designer Jessica Hische. Tilda is a script typeface with size-specific styles. Jessica Hische designs the typeface for Wes Anderson's Moonrise Kingdom.
For the word "The Baddest" I wanted the type to be more rebellious. The typeface used is Flood Std designed by Joachim Muller-Lance. Joachim Muller-Lande graduated with honours from the Basel school of Design in Switzerland and studied Fine Arts at Cooper Union in New York. In 1992, Joachim Muler-Lance designed cultural exhibitions and publications related to the Olympics in Barcelona. In 1999,, Morisawa competition, he received an honourable mention for Shirokuro Nishi/ Higashi, his first Kanji typeface. Muller-Lance is the principle of Kame Design studio, focusing on graphic design. He speaks on design topics internationally, and writes articles for designs topics internationally, and writes articles for design magazines in Japan, Belgium, Germany, and China.
This was a new experience by exploring different typefaces and experimenting with the 3-D effect on Illustrator. I was trying to achieve something elegant and sophisticated. I decided to use decorative typeface inspired by Zara Larsson, ruin my life, album cover. However, feedback received stated how the decorative type may appear nice but does not support the artists image of rebellion, fierce and being "the baddest". The typeface should include a sense of rebellion and aggression such as Flood Std typeface. This typeface works more effectively as the type fits into context of the word, "baddest".
To conclude, I will develop the Balboa typeface logo design further by playing around with colour and experimenting with different digital tools on Illustrator. The words, "the baddest" works effectively and this will be used on the logo design.
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