Week 3: The effect of globalisation on design.
Reflecting on this week’s lecture on how globalisation has affected design, there are a number of different opinions. I believe what is important to remember is that the designers featured in this lecture are all at different stages in their careers, and specialise in different areas of design, therefore they have different opinions on globalisation.
Simon Manchipp, SomeOne
When we look at the background of the design practice SomeOne, It is clear to understand how globalisation has had a positive effect on their work. SomeOne is a world-class practice, that operates globally.
The creative director Simon Manchipp has stated that not only it is an unstoppable force and needs to be embraced, but that it’s great for collaboration. It encourages bigger and bolder ideas that allow the opportunity for exploration and to learn about different cultures.
This, in my opinion, has helped SomeOne maintain its highly regarded reputation. Globalisation has benefitted SomeOne, by adding more clientele, and globalisation has helped them to produce work which is meaningful in the global market.
Sam Winston
If we were to compare the opinion of Simon Manchipp to that of Sam Winston, a designer that focuses on a specialism predominately in print, it can be understood that globalisation has had a different impact on his way of work.
In terms of the operational side of how Sam works, he states that “Globalisation has added a lot of speed to life and has added a lot of connectivity to it”. However, he does not believe it has greatly changed the way he works. If Sam is truly passionate about a project instead of emailing a client for an initial meeting he will meet face to face. “People respond to either humans the most or objects”. (Winston, S. 2023)
Sam also states how globalisation can have a negative economic impact. He gives an example, of working on a picture book of varying European languages. He explains how the design of a page would have to be made in the most cost-effective way. For example, removing text from over images and reducing the amount of print plates being produced.
As a creative myself, I can understand how not only this provides a challenge economically, but also creatively, as one would constantly be trying to produce something different or better from your last piece of work.
Tom Finn & Kristoffer Soelling, Regular Practice
For an agency that is new and building up like Regular Practice, globalisation has undoubtedly helped benefit their operations. It has allowed them to source for out-of-house print companies more economically and find companies that focus on one specialism.
“We are constantly on the hunt for new types of print production in different places, for economic reasons but also because some people specialise in a particular kind of print”. (Finn, T. 2023)
Sarah Boris
As a freelance designer, Sarah explains how globalisation has opened up a lot more opportunities for her and her business. She has had a month long residency in France at a graphic design festival, allowing her to showcase her work and network with possible future clients.
Julian House & Adrian Talbot, Intro
If we look at how Intro design works, Julian House and Adrian Talbot explain that globalisation has not affected the operational side of the way they work.
As they both started their careers in a more traditional setting, they both agree globalisation can propel the way you can work, stating that “There is nothing stopping any individual anywhere starting up an SME with just a laptop”. (Talbot, A .2023).
House and Talbot also explain that although it has not propelled the work of Intro, it has benefited their side projects greatly. An example of this would be House’s typography being available for download to a global audience.
Many of Intro’s clients are still based in London. This secures a close working people to people relationship that the managing director offers their clients.
Lecture 2 | Watch & reflect
Harriet Ferguson, Senior Designer at Pearlfisher
After watching the lecture by Harriet it was clear that globalisation has had a positive impact on her work at the creative agency Pearlfisher. Harriet explains that due to the agency being so spread out globally, having studios in places such as London, New York, San Francisco and Copenhagen encourages collaboration and the sharing of knowledge.
Harriet also explains how a multicultural working environment is an added bonus.
“Within each studio, there is cultural diversity. For example, Pearlfisher in London has people from Africa, Asia, America and Europe in one studio. With this cultural diversity comes conceptual diversity.” (Ferguson, H. 2023).
I can see how it is important to have a mixed group of people of different races, gender and cultures under the same roof, even more so when you are involved with global clients, as this can offer a different layer of thinking, leading to exciting ideas.
Furthermore, Harriet explains how this collaboration can lead to sourcing design partners globally.
“Sometimes it is beneficial if you are looking with a more niche skillset”. (Ferguson, H. 2023).
After understanding how the Taylors of Harrogate rebrand came together, it was clear to see how sourcing partners globally had a positive impact on the look of the new brand. Taylors of Harrogate wanted to show a level of craftsmanship through illustration. Each range of Coffee or Tea had a different artist illustrating specific flavour notes providing a unique look and story for the consumer. On reflection, this is a positive example of global collaboration, as Pearlfisher has devised a way of making a brand stand out and has avoided creating another ‘me too’ brand.
A different angle of how globalisation can challenge design is through understanding culture. Harriet explains how a Chinese brand approached Pearlfisher to help them to create a subscription based feminine hygiene brand.
In China female hygiene products, like tampons, are a sensitive subject and are not seen openly in the same light as they are in the West. Because of this, Pearlfisher had to be very culturally aware of this in their messaging for the brand. They saw this as an opportunity to educate, empower and liberate Chinese women. Bringing Westernised aesthetics into the branding had also given the brand a premium feel.
Task 1 | D&AD Award Winners
After researching the D&AD award winners, it was difficult to find pieces of work that broke the traditions of design practice. Advertising has always been my main interest in graphic design, so I decided to focus on what broke these traditional rules.
I came across the Dracula billboard advert, showcasing the BBC’s new show. This clever way of advertising, broke the traditional rules of graphic design by mixing a different specialism, that of set design, to create an even more coherent piece of work that sparked conversation and engagement.
“With so many incarnations of the horror icon already in existence on film and TV, BBC Creative wanted UK audiences to engage with the Dracula legend in a really surprising way. It created a special build poster using light and shadow to bring the out of home campaign to life, like the Count himself, as night fell. It engaged viewers online with a 10-second time lapse of the transformation at sunset, which drove the online conversation pointing viewers towards the show”. - D&AD,2020
This piece of work shows two different specialisms of design working together in a balanced way. It conforms to the principles of graphic design displaying hierarchy, balance and white space. This white space is then elevated over time, by the shadows produced by the stakes. These are seen to be nailed into the billboard itself, producing a 3D look in the daytime creating interest over time, and unveiling the star and villain of the show.
“During the day passers-by will notice that the billboards are stabbed with stakes - alluding to the action of vampire killers. Yet, at night a light at the side turns on and viewers realise the stakes have been placed with the utmost intention so that their shadows recreate the face of the TV series' blood-thirsty villain”. - Watson, I (2020)
Task 2 | Breaking the boundaries of Graphic design
There are a few important questions to be asked; what is graphic design? Is it just one specialism in its own right? Or does it culminate from a variety of skills? Where is the line between graphic design and art?
In my opinion, graphic design has a purpose, and that purpose is to inform and promote. Sometimes however, like art, it can entertain and provoke ideas. It is a service that is offered globally and is mass-produced.
A graphic designer, I believe should have a certain set of skills depending on their own interests. For example, I would consider myself a graphic designer by trade as I have skills in branding and identity, logo, digital and print because this is what interests me most.
I would not consider myself an artist as the work I produce is supplying the needs of a client for a profit.
In contrast, art in my opinion is to entertain. Unlike graphic design, art is not mass-produced unless printed for the masses, this then is providing a service for profit.
In this task, we are presented with five different designers each having a different specialism.
The first designer we are presented with is Anton Alvarez, an industrial designer by trade, his piece Thread Wrapping Machine does not conform to the usual traits of a usual designer.
He does follow the traits of an artist as his work is exhibited as one-offs and is sold in galleries, it is not mass-produced.
In comparison to Alvarez another designer we looked at was Lawrence Weiner who also does not refer to himself as a graphic designer. I found it interesting why he does not consider this to be the case as his work follows the traits of one. Weiner primarily works with typography, however, would use some techniques and tools as a graphic designer to get his opinion across.
References
Watson, I. (2020) BBC erects immersive Dracula billboards with Bloody Stakes and Haunting shadows, The Drum. The Drum. Available at: https://www.thedrum.com/news/2020/01/02/bbc-erects-immersive-dracula-billboards-with-bloody-stakes-and-haunting-shadows (Accessed: February 12, 2023).
D&AD (2020) Dracula Billboard, Dracula Billboard | Talon Outdoor | BBC | D&AD Awards 2020 Shortlist | Art Direction for Outdoor Advertising | D&AD. Available at: https://www.dandad.org/awards/professional/2020/232802/dracula-billboard/ (Accessed: February 12, 2023).
Ferguson, H. (2023) Week 3: Lecture 2, Log in to canvas. Available at: https://flex.falmouth.ac.uk/courses/1165/pages/week-3-lecture-2?module_item_id=63390 (Accessed: February 12, 2023).
Winston, S. (2023) Week 3: Lecture 1, Log in to canvas. Available at: https://flex.falmouth.ac.uk/courses/1165/pages/week-3-lecture-1?module_item_id=63389 (Accessed: February 12, 2023).
Finn, T. (2023) Week 3: Lecture 1, Log in to canvas. Available at: https://flex.falmouth.ac.uk/courses/1165/pages/week-3-lecture-1?module_item_id=63389 (Accessed: February 12, 2023).
