Globalisation & Categorisation

Globalisation:

1. the process by which businesses or other organisations develop international influence or start operating on an international scale.

Simon Manchipp defines globalisation as an unstoppable force that is here to benefit business. We are more connected than ever and this has enabled a business to work on a global scale. Manchipp goes on and says that he is currently working on some of the most interesting projects due to his international relations, working on projects that encourage him to engage with different cultures. Harriet Ferguson of Pearlfisher acknowledges that within her own practice the interconnectivity of each studio is paramount, working on a global scale has benefitted their business model to allow the relationships with a wide range of clients to blossom. Ferguson also identified the benefit of having a wide range of designers and cultures within one organisation that can add cultural influence and background to each project. The example of Femme, a hygiene brand in China that breaks down the stigma of tampon use through its creative and informed branding. Ferguson shares further projects that highlight the benefits of interconnectivity and globalisation. The Branding and packaging for Harrogate based tea company, Taylors encouraged collaborations with artists and designers from around the globe. This collaboration ensured that each packaging was individual, has a sense of worldliness and ultimately stand out on a shelf of ordinary packaging.

Discussing globalisation and branding I feel we cannot hide from the brand that has dominated in this area. While brands such as Mcdonalds and Coca-cola have a global image I feel it is Apple who has a global presence. Originally the tool of choice for a self-proclaimed computer geek, Apple started out as a cult, only a select few saw the genius of what Steve Jobs had developed. Jobs himself said that he is not selling products but a lifestyle, his innovation, and determination to develop something aesthetically beautiful but also operates effortlessly has resonated with people all over the world.

In his book ‘How to’ Michael Bierut talks about his work with Pentagram and how connectivity and working with a broad range of clients has helped shape his practice today. He states: Graphic Design, where form is so dependant on content, is a perfect way to learn about the world. Being connected and have access to a wealth of information at our fingertips can influence our work but I believe in the personal approach. This idea was reiterated in both lectures this week. While it is possible to work completely remotely and send PDF’s of work there is something to be said about a personal approach and speaking with clients face to face. Tom Fin made the connection to a client they work with and suggests the seamless transition of ideas and dialogue through skype and email has worked for them.

Categorisation

Reflecting on the categories in the D&AD awards, I found the breadth and depth of the creative industry interestingly diverse. The services that are available to promote brands and products and a wealth of knowledge of an eclectic range of agencies demonstrates the need for a wide range of categories for celebration. It is interesting to see that concepts and ideas in PR and the crafts in advertising have been celebrated alongside the work of designers and illustrators. Initial thoughts about categorisation were one of creative output and material, I began to question, are we all designers or can we call ourselves creatives? What defines us is the ability to choose a material, an output or concept for each project depending on specific requirements.  The D&AD awards celebrate creativity and innovation through a range of areas from Branding, Graphic Design, Advertising and PR to name a few. While we see a range of categories in this selection of winners I wondered if it was the creation of this work that was being celebrated or the agency who created it. Do the D&AD awards stand to recognise individual agencies or does it focus on showcasing innovation within the industry? A further reflection of this categorisation made me question the roles of the people who helped create and develop these projects, can we thank the designer, producer, copywriter, photographer or is that it, does the D&AD awards stand to celebrate all this and thus creates a multitude of categories to enable this.

I think that we should agree to define the term Graphic Designer. Google presents no definition of the term Graphic Designer but identifies Graphic Design as:

Reflecting on the work of Jon Forss of Non-Format, he demonstrates his understanding of this definition as he explores mixed media and experimentation to produce an image or typeface for each copy of Wire magazine. From the film ‘Drawn here (and there)’. Forss and Kjell Ekhorn I believe would identify themselves as graphic designers.

Tom and Kristoffer of Regular Practice gave examples of the artists Eike König and Lawrence Weiner, who use type as their medium but sit in the definition of an Artist, rather than a designer. The question of Designer and Artist had arisen. König and Weiner use type to convey an idea in a different way than that of a ‘Graphic Designer’, although I question the definition of an artist in this instance.  I almost agree with Tom and Kristoffer that Weiner and König are artists but they don’t fit into the dictionary definition of an artist if an artist is defined as someone who creates paintings or drawings as a profession or hobby, is this restrictive to the kind of work an ‘Artist’ can make? The categorisation of an individual I believe is difficult, however, I wonder if is it the role of artists, to break the boundaries and labels given and create works that question these ideas.

Weiner and König produce work that has no client, just a message and is an exploration of an idea or concept. To be classified as an artist is it to have the freedom, without constraints to produce work that is thought-provoking and to entertain? I proposed this question of identity and definition to a friend I asked: Do you identify yourself as an artist or sculptor? Michelle Clarke-Stables concluded that she believes it is a question of location understanding of each definition. Being in the North of England Clarke-Stables acknowledges that her audience may not grasp the idea of a sculptor but accepts that the universal definition of an Artist is one that is accessible to all.

I then wonder, is the role of a Graphic Designer, the same of that as an artist, produce thought-provoking work but with the constraints of a client brief? Is design just for commercial consumption rather than for the pure enjoyment like art? Is the definition of a Designer and Artists dependant on location and environment?  For me, the definition between Artist and Designer is one of commercial application and location, we assume art to be displayed in a gallery and design to be everywhere. I believe that the two roles have a similarity, to make comment on society, provoke a response and use materials and techniques in innovative ways that they portray an idea or concept to its viewer. However, it comes down to an application and needs, I would conclude in this instance that art a luxury and is design a necessity.

If the difference between an artist and a designer is the application and the need to produce a concept or idea to a specified audience, I need to look further into the work of others and explore how agencies identify themselves. Do agencies, that are services, categorise the work they do or are they open to accepting all areas of commercial art? I believe that the categorisation of work is the result of need, Designers have developed subject categorisation and defined their practice in accordance with the intended user.

Made Thought and Idenna are both creative studios that have different ideas about their categorisation and services that they offer. Made Thought are not specific but suggest what they can do for their clients, while Idenna is straight to the point in what services they offer. I think that this adds transparency to the client and the intended user, Made Thought appear to give the impression that nothing is out of their reach and whatever your needs, they can deliver. While Idenna shows a broad range of services, it also gives an impression of limitation and suggests this is what we do, nothing more, nothing else.

To contrast, these two extremes, Pentagram, one of the worlds largest independent design consultancy appear to mix both ideas of transparency and openness to services that they offer.

‘Our work encompasses graphics and identity, architecture and interiors, products and packaging, exhibitions and installations, websites and digital experiences’ 

While this description and categorisation of services give a good idea of what Pentagram do, they go on to divulge the structure of the business and how this is beneficial to the client. I don’t see Pentagram as being as open and ‘high brow’ in their use of language like I associate with Made Thought. Pentagram has a good mix of clarity and openness in their use of language. They have clearly defined each project and categorised clients in easy and accessible labels. Unlike that of the D&AD awards that have crossed boundaries and blurred the lines between disciplines. Pentagram is clear and focused on what they do, showing high profile client such as Master Card, identifying this work as Brand identity. I agree that in the simplest form this development, the evolution of the brand’s logo can be categorised as ‘Brand identity. Although I think I would question this and take influence from the D&AD awards, can I sub categorise this design as being identity evolution or evolutionary branding? They have kept the essence of the old logo but refined the outcome to take away a slightly dated look. The colours have been ‘carefully calibrated to appear bright and glowing against different backgrounds.’

The categorisation of this work is clearly defined as a brand identity but I believe that this definition does not give credit to the work and development of the logo. Despite how simple it may appear I believe we must conclude that keeping things simple in this instance is the key to its success.  Callum identified that the work of Made Thought for Imprimerie du Marais, a Parisienne printer should be classified as Reflective Brand Engineering. 

I commented on this idea of reflective brand engineering and the use of language by Made Thought and how they describe this work, I think that at times terminology and language can overshadow the design itself and add confusion.

Reading the statement that supports this design I was drawn to the sentence: The result is an identity that exudes its own distinct confidence and clarity and is in keeping with the company itself — as precise as it is understated. It took me a moment to really decipher what the designers we aiming to get across. At first glance, it sounds very evocative and made me think that this use of language could be for a perfume or a fashion brand, not necessarily a printer. However, the use of foils and printing techniques here seems to add to the essence of the brand, ‘ as precise as it is understated’. This packaging and branding add a point to the craftsmanship discussion last week.

Therefore I must conclude that the use of language and categorisation surrounding design has become a little out of control, subcategories and new terminology to describe ideas seem to be confusing and conflicting. Pentagram was able to clearly define the Master Card project by stating:

‘The identity brings simplicity and clarity with an increased emphasis on the interlocking circles, and is optimized for use in digital contexts.’

Designs that have an idea or that have meaning to be conveyed should be done with clarity and ideas should speak volumes rather than the overuse of descriptive words and phrases such as that of Made Thought.  Stephen Fry once admitted that he is a lover of words and that if there were a way of saying something he would do so in the most elaborate way possible. I too love the use of words, however, the essence and clarity of a design should be seen and minimal descriptions should be used to clarify the theory or concept, to me that makes for good design.

Re-branding has the connotations of taking the identity and essence of a brand and developing something new, removing the dated trends and giving the brand more than a facelift. Brands such as Starbucks and Pepsi have evolved their branding and logo to refresh their image. In these examples, the results have proven to be a success. However, in the case of Waterstones who undertook a facelift re-brand, this only resulted in a U-turn of their identity. This re-branding treatment did not have the desired effect and the brand soon returned to their old logo, the new design did not portray the brand’s essence, a high street bookseller, dependable with an almost up-market feel. Brands such as American Airlines have taken the re-brand concept and after over 40 years with the same AA Helvetica logo, commissioned a re-design that incorporates an unrecognisable wing icon that when isolated isn’t transparent enough to be identified with the brand. In some instances, the idea of a re-design has not worked as well as the original identity. Other brands like Youtube and Instagram have evolved their logo, subtle changes that almost go unnoticed. If I were to categorise the work of Pentagram and the Mastercard brief, and include the Youtube and Instagram logo, I would identify it as being evolutionary branding. This concept would encapsulate the existing identity and take small measures to refine and develop the logo to ensure that the brand is still instantly recognisable and transcends the same tone of voice.