COP End of module evaluation

End of module evaluation

Overall I have found the context of practice module interesting yet challenging. Throughout the year I have gained significant knowledge needed to complete this module.

            During the seminars I have learned things that are extremely beneficial. I have never learned things about semiotics before and I know feel that I have a significant amount of knowledge about this topic. Connotations and denotations are another important branch from semiotics, and I feel that after the sessions learning about this I am now able to successfully conduct a semiotic analysis, which is something I haven’t done before. I feel more confident when completing critical analysis’ and I think writing the essay enabled me to develop these analysing skills. However this was the most challenging part of the module, as I have never completed a critical analysis sufficient enough for this standard. I would like to capitalise on these skills, and develop this practice further. This will help improve my understanding greater and hopefully allow me to progress these skills.

            The second part of this module ‘theory into practice’ I found very interesting. It allowed me to develop my ideas into something physical, and interpret the key elements of my critical analysis as a visual response. I enjoyed this part of the module, as I was able to use the new production techniques I have learned while on this course to produce a physical representation of my critical analysis. These include the use of InDesign and also saddle stitch bookbinding. I have combined these skills with something I came across when researching existing publications. I am pleased with the overall final publication. I feel like I have produced a good representation of my essay contained in an aesthetically pleasing book of quotes. My small publication displays famous graphic design quotations, which back up my main argument within the essay that fine art should not be assigned more value than more popular forms of visual communication. 

COP Final publication

COP Development

Final PDF spreads to print into booklet, then to be saddle stitched.
I wanted to keep the spreads for my booklet rather minimal, as I want to simplify the essay into a small summary. The format of these spreads are square, I think the small booklet will be better suited to a small format, as it is a simple book of quotes and there is no need for unnecessary white space (if it was produced on a larger scale.)
The publication is mostly filled with quotes, but there are also several pages with just enough information about my chosen topic for the reader to be able to understand my concept clearly. 

COP Publication development

Initial thumbnail designs showing the plan of what my publication will look like. I have decided to create my publication in the format of a three column grid on indesign. Previous research shows this in further detail from other briefs, I feel that this will be the most suitable format. I want to produce a square booklet, the width of a5 with the same height. My publication will consist of famous quotes taken from graphic designers. 

This screen shot below shows the use of the grid system, I will place the text across the middle, and third column. This will be done on every page with a digitally printed quote to keep the consistency. 

This shows that my body copy will fit inside the two last columns on the page. 

COP Final Essay

Could it be argued that fine art ought to be assigned more ‘value’ than more popular forms of visual communication?

There is an ongoing debate as to whether art is ought to be assigned more value than visual communication. Value can be seen as the worth and importance of something. This could be materialistic, or also sentimental. Values have a significant influence on a persons behaviour, and this summarises value into two main categories, the monetary worth, labelling things with a price tag, and the relative worth which represents the importance. Art consists of both actual value, and also its sentimental value, art is an aesthetic object as it is viewed and appreciated for these aesthetic qualities. Whereas visual communication boasts a diverse idea to the purpose of art. Vision is a unique power and it has lead to the never ending development of different forms of visual communication. It serves a purpose, and even though it may also have the aesthetic qualities, it communicates a message to the audience with the intentions of either informing or explaining, it is a way of communication that relies purely on vision. This compares to the aesthetic values within the subject of fine art, as it can be seen as a niche market, art for those whom enjoy the satisfactory of the art or perhaps owning a piece personally. If something is aesthetically pleasing, it is pleasing to the eye, and has unique and beautiful qualities. 'By definition, aesthetic is that which concerns the beautiful.' Quote taken from an online article, History of Art - Art Through The Ages. Aesthetic qualities could also be indicated when someone does not necessarily have an interest or definite opinion about something, but they are still aware that it consists of these aesthetic qualities that allow it to show its beauty. Immanuel Kant, a formalist of art theory (someone who thinks the content of a work of art is not of aesthetic interest) believed most of the arts were impure because they involved a concept. 'In all, Kant’s theory of pure beauty had four aspects: its freedom from concepts, its objectivity, the disinterest of the spectator, and its obligatoriness. By “concept,” Kant meant “end,” or “purpose,” that is, what the cognitive powers of human understanding and imagination judge applies to an object, such as with “it is a pebble,” to take an instance.' (Hartley Slater)  In philosophy, aesthetics is the study of beauty and taste, and aesthetic value means that it could possibly have value as a work of art, regardless of the price, aesthetic value never refers to a specific object, it is more about the features and qualities. Aesthetic value can be a judgement of value based on the appearance of the object and the responses it can conjure. Therefore aesthetic value does not necessarily consist of actual value. For example, if pieces of art are perceived to be beautiful, elegant and attractive, these aesthetic qualities push the object to be of a higher demand. This could determine the overall value, which now understandably could be greater. With these other values in mind, not just monetary value, it is arguable that fine art ought to be assigned more value than visual communication, as there are sentimental reasons backing it up, monetary value is not everything. 

Visual communication can be considered a creative process that combines the visual art and technology to communicate ideas. A message is visually communicated to the audience to purposely inform, educate entertain and persuade a specific audience. Types of visual communication include; drawing, colours, graphic design, symbols, typography, signs and illustration. The way of visually communicating to an audience through the use of type and image is seen as a very significant. Fine art is considered to have been created primarily for aesthetic purposes, which distinguishes the fine arts from other arts such as visual communication, which not only has the aesthetic qualities, but it also includes a practical function. There are diverse opinions as to whether fine art ought to be assigned more value than visual communication. Many believe that graphic design (part of visual communication) is socially more important than the fine arts, whereas many believe that the fine arts have more cultural significance than visual communication. Unlike fine art, visual communication is used for commercial purposes to convey a persuasive and specific message to the audience. Therefore this type of design can be looked upon with greater significance than other arts, as it is arguable that the existence of fine art is to simply aesthetically please the eye. 
Artists and designers both create visual compositions using a shared knowledge base, however the reasons behind doing so re entirely different. 'Good art is interpreted. Good design is understood.' (O'nolan 2009) There are many biased opinions towards this argument, as it is strongly argued that the graphics is socially more important, as the world relies on visual communication. Visual communication helps advertisement and also has a purpose, whereas the fine art only targets a niche audience. Fine art is not a necessity, it is for the purpose of the consumer and the target audience needs to feel aesthetically satisfied. 'Art is considered artificial in that it is made by human beings through creative action, which transcends the natural process of all other living organisms.' (Beck, 1987.) This supports the idea that art is not a necessity, therefore this quote is strongly disagreeing that fine art should be assigned more value than visual communication. Fine art purposely seeks to inspire emotional qualities in the audience, and it also encourages the audience individual response and interpretation. On the other hand, visual communication is purposely designed to convey a distinct message that is very specific. This is to inspire a particular response from the audience. 

Looking at the book Graphic Design as Communication, by Barnard, chapter eight raises the questionable argument that is whether graphic design is art or not. It is said that graphic design and art differentiate but in ways that are also less known than the obvious. There is a tension between the culture of art and commerce, and it is strongly argued that fine art is of more value and importance. The argument strongly suggests the cultural significance, and it is said that art is culturally more significant and "art is perceived to be of lasting value." Another point backing this argument is that art possesses a sense of permanence, where as graphic design is seen as impermanent. "Observations are linked to cultural significance of the products; because art production is long lasting it is seen as culturally insignificant. Connected with these ideas, is the perception that art has more to say about culture than graphic design." (Barnard, 2005) The unique cultural features encoded in different forms of information identify the culture. The cultural codes are key to understanding the types of culture. 
Visual Communication is not based on aesthetic and artistic preference, it is based on the target audience and what meets their needs. It is communication that shows ideas and information by the use of 'visual aid' therefore it relies purely on vision. Successful examples of visual communication should be able to deliver a message to the audience very clearly. Unlike fine art, visual communication must convey this message with a definite purpose, whereas fine art does not always suggest a meaning or message within its art; it is simply for the aesthetic qualities that may meet their target audiences’ needs.
I think modernist graphic design is a good example of visual communication, as in my opinion it portrays a strong purpose and meaning. Designers such as Mike Joyce and Neville Brody identify the importance of visual communication within their work, as they produce very effective clean cut examples of modernist graphic design. Modernist graphic design is the cutting edge new and original style of design, it is the attempt to find the new and hidden meanings in the human experience. This style of design is communicated to the audience in a clean compositional format. Looking at Joyce and Brody's style of design, the use of type and imagery use a wide range of visual communication media. 'The term modernism was used in graphic design itself since around 1925-1930, as once economic conditions improved, the designer had to reassess their work, adapting it to a mass market and sometime even to the demands of fascism.' (Designing a new world V&A: 1.) These points suggest that fine art is not more valuable than visual communication, as it proves that all aspects of visual communication such as graphic design are created for a valuable purpose, the consumers need it in order to understand messages that are being portrayed, even though it is arguable that a piece of fine art has more sentimental value, as the finished piece of artwork may cost a lot more therefore it could have more sentimental value to its owner, as well as the price they actually payed for it. 

With visual communication dependant on visual aids to project meaning and message, advertisement is a huge part of this, as adverts are presented visually to the consumer. 'A good piece of visual communication should be able to easily convey its message to the audience. However sometimes that depends on personal preferences and artistic skills' (Jumratsilpa, 2011.)
This is backing up the argument that value is irrelevant; the designers should be able to convey their message clearly and successfully. This compares to the work of the fine artists, as their final produce doesn't serve for a specific purpose. A good example of advertisement within visual communication as brand identity. To directly communicate who or what a brand is, the concept must be conceived. (Fanara, 2013). Taking this on board, it is obvious that identity and brand recognition play a large part of visual communication, therefore it strongly disagrees that fine art ought to be seen as a greater level of value because branding identity will increase the monetary value of all areas of visual communication. 

This advertisement for a Vaseline product shows a good example of brand identity (fig.1). I believe that this form of visual communication within an advertisement sells. I think it is important to portray the intended message strongly to the consumer. This target market for this brand identity and advert is obviously aimed at women. The specific colours chosen, red and black, create a provoking message to the consumer, as they instantly signify a captivating tone. The message being portrayed to the consumers is that this product is a cosmetic necessity, therefore the choice of colours are suitable as it lures the target audience into reading and acknowledging the product. The text included, lures the consumer more in to buying this product as there is a short portion of text that emphasises the fact that the product is a necessity. Without the inclusion of text, the denotations of the image wouldn't be as obvious despite the colour palette; colours are the most significant denotations within this design. The overall imagery of this design is effective, as the design has been kept simple yet it still portrays a strong image. The specific use of colour communicates the idea of passionate beauty and high maintenance effectively. The bold colour of red in the background is another important denotation as the striking colour emphasises this tone even further and it enables the main part of the design to stand out well. The use of type works well with this branding identity, as there advertisement does not overwhelm the audience with information, but it suggests the messages and informs the consumer efficiently within the design. Certain denotations of this design could change the meaning. For example, different contexts can change the meaning. The paint within this design could suggest smothering, as it is pouring over the page, however the message that it is trying to perceive includes positivity and adding a 'hint of colour' to the consumers. 
A key code within this design is that the beauty consumers of today are slaves to the latest trends and products, which emphasises that brand identity could achieve a high percentage within the monetary values of visual communication, this is because successful adverts such as this can effectively draw the consumer into buying this product. Specific colours within advertisements emphasise this as it shows that the messages they portray, are what the target audience will respond to. This connects with the whole theme of luring the consumer into the product and something as simple as the choice of colour within the advertisement can sell the product. 

Gerhard Ritchers 'Betty' painting (fig.2) shows an exquisite painting of the back of his daughters head. The colours Ritcher has chosen for this painting suggest sadness and despair. Even though the painting creates this negative emotion, the overall painting is aesthetically pleasing. The painting makes the audience consider why is the girl turning away, but also why has Ritcher decided not to paint the girls face. However I disagree that fine art ought to be assigned more value than visual communication, by using Ritchers 'Betty' painting (fig.2) in comparison to the advertisement (fig.1) it makes us consider the reasons as to why original artwork is permitted a greater value, both sentimentally and monetary. 

Overall I disagree that fine art ought to be owed more sentimentally value than visual communication. Throughout my study, I have considered the different meanings if value, both sentimental and monetary. Forms of visual communication can be seen as socially more important, as their purpose is to communicate and present a definite message to the audience, whereas fine art boast the aesthetic qualities and does not communicate a specific message to the audience. “You painted a naked woman because you enjoyed looking at her, put a mirror in her hand and you called the painting “Vanity,” thus morally condemning the woman whose nakedness you had depicted for you own pleasure.” (Berger, 1972) This confirms a strong opinion that fine art is purely to aesthetically please the consumer. 'In everyday life, we communicate both through visual communication and language. However, we tend to forget that we do. When asked to give an example of a method of communication, people generally reply “language”. We take visual communication for granted because it happens unconsciously most of the time.' (Jumratsilpa, 2011) This also strongly disagrees that fine art ought to be assigned more value, it is suggesting that we rely on visual communication for everyday life. 

Figure 1

Figure 2

References:

John O'nolan (2009) The Difference Between Art and Design [Online] Available from: http://www.webdesignerdepot.com/2009/09/the-difference-between-art-and-design/. [Accessed: 1st January 2014.]

Malcolm Barnard (2005) Graphic Design as Communication [online] Available from: http://books.google.co.uk [Accessed: 1st January 2014.]

Sanderson Beck (1987) Life As A Whole: Art and Communication [Online] Available from: http://www.san.beck.org/Life18-Art.html

Barry Hartley Slater Internet Encyclopedia of Philosophy [Online] Available from: http://www.iep.utm.edu/aestheti/ [Accessed 12th January]

Oeil Jumratsilpa (2011) Small Words Big Ideas [Online] Available from: http://oeilsj.wordpress.com/2011/01/25/visual-communication-and-its-role-in-advertising/  [Accessed: 29th December 2013.]

Cassandra Fanara (2013) Visual Communication: Creating an Effective Brand Identity [Online] Available from:http://digitalmarketingroom.wordpress.com/2013/03/24/visual-communication-creating-an-effective-brand-identity/

http://www.webdesignerdepot.com/2009/09/the-difference-between-art-and-design/

http://www.examiner.com/article/the-difference-between-graphic-design-and-fine-art (LESLIE CLAIRE)

http://www.all-art.org/history12.html