Week 11: Trends & Environments
Lecture 1:
This first lecture hosted by Martin Hosken explores the theory of symbolism and how meaning is revealed. The theory of a sign and how it is constructed using two components is explored. A signifier is an object, image, or artifact, or even be described as body language. The signified underpinning the meaning of this.
A stop sign for example is presented with the object itself, signifier. Then the meaning of what it is telling us is being signified, the same can be understood for a green man crossing. The signifier is the image of a green man walking, whilst the signified is the understanding of being allowed to walk forward. Green is a colour that conveys progression and safety.
“In stoplights, green indicates safety and permission to go, whereas red means "stop." In turn, the expression "to give the green light" conveys approval”. (Cherry, K. 2022)
It was interesting to see that in how the message is constructed you must also consider not just the sender but also the intention, text, medium, transmission, and of course the receiver of the message.
In today’s practice of graphic design, we see this method being used to promote either a product, service, or idea.
What I also found intriguing in the lecture was how the same message can have different meanings, dependent on its intention. Furthermore, Martin explains how the Swastika sticker has historical meaning from the Holocaust. This symbol however was also used in the production of bottle tops for beer and soft drinks such as coca cola, to show resilience and strength
Semiotics - The study of signs and symbols, their use, and interpretation.
An icon resembles the signified. Whilst an index shows evidence, such as a finger or paw print. A symbol can be implied like a sign or be more ambiguous. For instance, the colour white is universally known as a symbol of peace.
A symbol is a representative or substitute of some other idea, from which in the context it derives a secondary significance not inherent in itself. It is important to note that the flow of significance is from the primary idea to the secondary, to the symbol, so that typically a more essential idea is symbolised by a less essential one. Thus all sorts of important things may be represented by a shred of material called a flag. Jones, E. (1916)
The cultural theorist Roland Barthes was also mentioned in the lecture. I was interested in how Barthes used semiotics to explore different cultures.
An example shown of Panzani an Italian pasts brand, the colours used in the branding are reminiscent of the Italian flag. The image presents tomato, basil, pasta, and garlic and also an authentic string carrier bag. Using these combined elements as signifiers, the signified is created in Italy and the Italian way of life.
The same can be said in the branding used for Patak’s curry. Although we are not presented with hues of the Indian flag, we are presented with elements of Indian culture. For instance, the pattern featured is very oriental and reminiscent of a paisley henna pattern. The colours are vibrant and reflective of the spices used in each jar, these are the signifiers. The signified is the understanding of the branding creating a story for the consumer of a vibrant Indian meal.
“The packaging, which retains the lead colour as purple to correspond to the classic original Patak’s brand, is small. Yet, its size is effectively manipulated by Hornall Anderson to include intricate designs which appeal to everyone from curry novices to more adventurous, experimental chefs”. (Sandy’s, A. 2017)
The lecture started to become a little confusing when Martin began to explain that it being possible a sign can feature four signifiers and four signifieds. For instance the traffic light sign featured above. I wouldn’t consider this as being four different signs. This would be one sign.
However, Martin does eventually explain that when signs feature more than one signifier and signified, they are termed as codes.
References:
Jones, E. (1916) “The Theory of Symbolism,” in British Journal of Psychology, 1904-1920, p. 183.
Cherry, K. (2022) How does the color green make you feel?, Verywell Mind. Available at: https://www.verywellmind.com/color-psychology-green-2795817 (Accessed: April 15, 2023).
Lecture 2:
I really enjoyed listening to the case study presented by Tom Finn from Regular Practice. How different designers approach a globally known identity like the Olympics is a skill. By not just creating a sub-identity based on its location, it was exciting to see how designers resort to other approaches whilst still remaining within the parameters of the Olympic identity itself.
In the lecture, examples were shown of systematic, emblematic and abstract approaches. The systematic approaches were designs that had rules and a set method.
The Mexico and Munich Olympic Games for instance both followed a systematic approach. Influenced by traditional forms of Mexican culture, the designer Lance Wyman created a framework based on this idea. This then turned into an identity for the 1968 Mexico Olympic Games.
“It was a logo that identified the event, the place, and the year, and it probably broke every corporate rule of what not to do to the original logo, but it actually made the five rings central and genesis to everything that followed.” (Byrne, E. 2014)
The style of this identity then grew from a logo into typeface and iconography for statues on site.
Moving on from this and looking at the Munich Olympic Games. We see how a systematic approach is pushed even further. Here we see how modernist aesthetics inform an identity.
After World War II, it was important for the West German Government to portray themselves as a socially democratic new Germany. They used the official motto “Die heuiteren Spiele”, translated as “The cheerful Games”. They wanted to use this as an opportunity to present themselves as an optimistic and democratic country to the rest of the world. They also used this as a guide to help design the Games’ visual identity (Baird, R. 2022).
The whole identity is built on a structured framework. This linear approach provides the aesthetic of the identity. I suppose this shows us that as designers we do not need to focus on the most obvious ideas as briefs. For example, this idea doesn't portray any German influence at all. Instead, it shows us a rule or method the designer has taken across the identity.
As well as systematic approaches used for inspiration. Designers can also use an emblematic approach. In the lecture, the identity of the 1964 Tokyo Olympics is a great example. It is an instantly recognisable piece of work, portraying the land of the rising sun. The design and layout of the logo have been very well thought out.
As a milestone event for Japan, the 1964 games offered a chance to share a fresh perspective on Japanese creativity and innovation while showcasing the country’s new bullet trains and elevated super highways. (Tucker, E. 2021)
Kamekura Yūsaku, the graphic designer responsible. Produced posters that included the use of photography for the first time to promote the Olympic games. The use of pictograms also became introduced. As a result, this event became a platform for later events that followed with these techniques. As seen in the Munich Olympics by designer, Otil Aicher.
(Wroth, D. 2017)
At first glance, the logo presents elements of Australian culture. The brush style of the illustration in particular to me suggests early rock paintings by native Aboriginal people. The deliberate brush strokes are shaped like a boomerang, making up this figure. To me, this design has been very well thought out. However, the silhouette of the Sydney Opera House could have been made more obvious. Although with that in mind, it is still very well thought out. There is unity between the emblem and font bringing together the design, it’s very apparent what country this design is portraying.
Reflection:
It has been very useful to learn how these different approaches have resulted. It is pleasing to know that not always the most obvious ideas are used and instead, a completely different angle can be taken. For instance, the identity of the Munich Olympic Games had no influence or thought mentioned of the home country of the event being German. Instead, the identity showed form as a systematic approach.
References:
Byrne, E. (2014) “Radiant Discord: Lance Wyman on the ’68 Olympic Design and the Tlatelolco Massacre,” The Gradient, 20 March. Available at: https://walkerart.org/magazine/lance-wyman-mexico-68-olympics-tlatelolco-massacre (Accessed: April 15, 2023).
Baird, R. (2022) “Munich '72 – The cheerful Games,” LogoArchive's Logo Histories, 22 November. Available at: https://www.logohistories.com/p/munich-72-the-cheerful-games (Accessed: April 15, 2023).
Tucker, E. (2021) Celebrating the legacy of the Tokyo 1964 olympics, Creative Review. Creative Review. Available at: https://www.creativereview.co.uk/tokyo-1964-olympics-exhibition/ (Accessed: April 17, 2023).
Wroth, D. (2017) Gwion Gwion Aboriginal rock Art Near Kimberley Coastal Camp - Tourism Western Australia, Japingka - Aboringal Art. Available at: Gwion Gwion Aboriginal rock Art Near Kimberley Coastal Camp - Tourism Western Australia (Accessed: April 17, 2023).
Workshop Challenge:
CASE STUDY 2
Take a brand and look at how it is delivered in different countries, e.g. alcohol, tobacco, transport, cars. Is it symbolised in a different way? Why might colour or typeface has been changed? Does it work at a local level and does it work at a global level?
CHOSEN BRAND: ALWAYS / WHISPER
With the concerns and taboos around women's health in South Asian countries, Always is sold under the name of Whisper, in an attempt to be more sensitive towards the issue.
Considered as a premium branded product, the word Whisper evokes elegance, femininity and is welcoming for consumers.
Although the name still remains as Whisper, in countries such as China and Japan where their own language is applied to product packaging, the characters are still the same as the already existing typography, featuring curved feminine lines.
Another contrast between marketing in India and the West is the way the product is portrayed in TV commercials. The Indian commercial for Whisper focusses on women’s comfort during menstruation. The branding and product itself is not overt in it’s advertising, however the message is. Although it is not obvious what the product is the message is very clear.
Western adverts directly show the product and how it is used. The branding is very clearly displayed, making it obvious what they are advertising.
“The menstrual hygiene category in India has come leaps and bounds from where it was when Whisper was launched in 1989. Periods was something no one talked about openly and advertising about menstrual hygiene products was unheard of”. (Whisper, 2021)
How Whisper identify themselves in India is very different to other eastern countries due to the level of understanding around this topic of women’s health.
As a result,Whisper advertises and uses social media platforms in a way that is relevant to the audiences in those countries.
Whisper’s use of its brand colour varies from country to country. In the logo, the company name is always written in white on a blue gradient, with the exception of India, where it is written in green.
Why green? Green symbolises hygiene, cleanliness and purity. This counteracts the stigma attached to periods in India where female menstruation is often viewed as impure.
This has a lot to do with myths surrounding the culture of the country. Whisper as a brand also combats these issues through campaigns like #TouchthePickle.
With Hindhu faith playing a role, the origin of the myth goes back to Vedic times of an ancient India. (Garg, S. and Anand, T. 2015)
In the ancient text of the Veda, women’s menstrual flow appearing each month is often linked to Indra’s slaying Vritras. This is the myth that menstruation is part of Indra’s guilt. (Garg, S. and Anand, T. 2015) Whilst menstruating, women are also prohibited from partaking in normal life. Before being allowed to return to their family and participate in daily chores, women must be ‘purified’. (Garg, S. and Anand, T. 2015)
The overall aim is to educate, empower and to erase all the taboos and myths. With a clear and considered method of branding this has been achieved. Whisper was launched more than 30 years ago and India has come a long way since then. In conclusion, there is an uphill journey to eliminate period taboo in the East. (Whisper, 2021)
Reflection:
On reflection, I found this week very engaging and enjoyed researching different brands. Seeing how they differentiate abroad with their messaging, branding and advertising was insightful. I believe my engagement in this week’s challenge led to substantial research. This broadened my understanding of a range of different brands that I wouldn’t usually interact with. Overall this week has been eye-opening and enjoyable.
References for workshop challenge:
Garg, S. and Anand, T. (2015) Menstruation related myths in India: Strategies for combating it, Journal of family medicine and primary care. U.S. National Library of Medicine. Available at: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4408698/ (Accessed: April 20, 2023).
Whisper India (2021) Whisper’s history, Whisper’s History. Whisper India. Available at: https://whisper.co.in/en-in/about-us/whisper-history (Accessed: April 20, 2023).
