Practical Response - Defining The Brief

Problem definition/analysis (1 A3 design sheet)

Problem: 

The traditional role of the graphic designer is to be a service provider, responding to clients briefs and taking an anonymous position, therefor the authorship of the work is overlooked. There is evidence however that suggests designers are becoming more conscious of their position and can stamp their authority in culture. This issue of anonymity can be resolved by providing the designer with recognition in order to raise awareness of the creative influence the designer has had on a piece of work. This can be achieved in a discrete or obtrusive way.

A graphic design exhibition is a natural solution to the problem because it allows designers to answer a brief without commercial limitations, claiming authorship of their work as the creator. The exhibition context allows designers to conceptualise the brief to explore a range of topics of their own interest. The exhibition ultimately aims to provide recognition to the designer.

The exhibition can focus on the format of a zine as they are meant to be looked at for aesthetic value rather than to be read. The cheap production methods make it available for designers of all levels and establishment. The format of the zine

Branding for a graphic design exhibition with a focus on authorship in order to question anonymity and the role of the designer as a problem solver. 

Library location:
In a city library for all age groups because its open to everyone.
No barriers - Public place
Free for everyone to attend

People who want to be informed on the role of the graphic designer

Client:

Not really a client, more a location. I need to appeal to them in order for them to allow me to do it.

Find a gallery for the exhibition. 

Library - Appropriate location and reach people who aren't aware of the issue.
Independent book shop - More limited audience with a better understanding

The target audience for submissions would be design students,


Exhibition curator


Leeds College of Art

Research:

Visual research/analysis (1 A3 design sheet)

Requirements: At least 3 relevant visual examples. Each image should be accompanied by a short analysis / explanation of relevance.


Boris Bucan 

Trnski

1972

An example of a designer that claims authorship by including the production methods within the poster:

Typographic manipulation

The process of distorting the number surrounds the poster

His work often consisted of self referential gestures and he wasn't shy about asserting his ownership. 

Jon Sueda  

Sueda founded the design studio Stripe, which specialises in print and exhibition design for art and culture. Stripe created the exhibition branding and identity for the 'All Possible Futures' exhibition.

All Possible Futures explores speculative work created by contemporary graphic designers. It encompasses everything from self-generated provocations to experimental work created “in parallel” with client-based projects to unique practices where commissions have been tackled with a high level of autonomy and critical investigation. The work highlights different levels of visibility and public-ness within the graphic design process. Some projects were made for clients and exist in a “real world” context, while others might otherwise have gone unnoticed: failed proposals, experiments, sketches, incomplete thoughts.

This suggests a growing awareness of the graphic designer in an exhibition context

The exhibition branding by Stripe is expressive which is appropriated for the fact it is for a creative context due to the warped typography and overall contemporary style. The title of the exhibition 'All Possible Futures' suggests that graphic design has evolved into such a broad practice.



Contextual research (links to theoretical research SB1) (1 A3 design sheet)

Requirements: Any relevant information about: Client background. Competitors. Industry. Scene. Culture. Modes of communication. Must include at least 3 references to reading/research done for Studio Brief 1.

• El Lissitzky, Moholy-Nagy view self authored work to be 'shamefully elitist and ego driven' and are dysfunctional to society. - Opposition to the exhibition

• Rock believes designers are 'Envious of the power, social position and cachet (admiration) artists and authors command.' The role of the designer as a service provider creates anonymity which Rock believes causes insecurity about the value of their work. 

• Authorship is appropriate within a cultural context 

• Rock believes designers search for graphic authorship because they are ‘longing for a kind of legitimacy, or a kind of power, that has long eluded the obedient designer.'

To provide a visual identity to the exhibition, a physical stamp can be produced to stamp the zines and claim it as authored work. 

Target audience research (1 A3 design sheet)

Requirements: Relevant information about demographics (sex, age group, job, class, location, etc.). Information about psychographics (gender, sexuality, personality, taste, interests, etc.). Write 3 x persona profiles that represent "model" target users.


CALL FOR ENTRY

Persona 1: Design students - Searching for recognition

Age: 18 -24
Gender: Everything
Sexuality: Again not relevant

They have an awareness of design and graphic principles
Being exposed to commercial briefs for the first time
Students will be able to submit because zines are cheap to produce

Persona 2: Designer who has only previously worked collaboratively
Has the chance to work independently and voice themselves.

Persona 3: Established or well practiced designer who has been a service provider all their life looking for authorship.


Theme of the exhibition is to BE RECOGNISED as it is up to the viewer to interpret the design and create a meaning from it.