As a sucker for cartography I could not resist buying a new compilation of live folk music with an accompanying map. Titled From Here: English Folk Field Recordings, the record is a modern take on Alan Lomax’s field recordings in the 1930s and ’40s and seeks to look at contemporary English folk music and its reference to place. A project by the band Stick In The Wheel, they say they wanted to make “a snapshot of English folk music right now.”
Despite claiming to be new to the folk scene, Stick In The Wheel have managed to capture a truly authentic and honest picture of modern folk music. Ian Carter and Nicola Kearey from the band travelled the length of the country recording artists where ever they could: kitchens, bedrooms, and even in a garden. As a result, the outcomes sound immediate and fresh.
Distance: 4.2 miles
Steps taken: 9,687
Start time: 09:37
Ground covered: Small town centre, surrounding residential areas and seaside promenade
Any talk of Southwold and psychogeography is duty bound to include a mention of W.G. Sebald’s Rings Of Saturn. I must, however, admit to not being a fan of the book; the tangents and diversions within his writing are too long-winded for me. My drift around Southwold yesterday, as part of my continuing Graphic Commons project, did take me up Gunhill, and past both The Reading Room and The Crown, all of which Sebald discusses in his text. These though, are as much of a mention as Rings Of Saturn will get here.
Yesterday I took my grandson to see the Lego Batman Movie at a cinema complex in town. It was great fun, even if much of the film was a little over the head of the 7 year old boy.
Such cinema complexes aren’t my usual choice of venue for movie going. Several people had warned me about the price of popcorn prior to the visit, and I expected to be marketed at from all angles, so I didn’t think I was going with any illusions. But as much as I enjoyed the film, the experience was sullied by coming away feeling that the boy and I had just been fodder for a slick and well organised advertising industry.
I completed another Graphic Commons walk this week, and I chose a location I’m not overly familiar with: Lowestoft—the Easternmost point in Britain. Like other Graphic Commons posts here, this serves as an immediate document of my drift, and the photos, (only crudely edited at this stage), will feed into a write-up of the walk I plan to do soon. The writing that accompanies the photos will form a key part of any final outcome, but for now I won’t be posting what I write on Field Readings as that aspect is very much a work in progress.
Walk duration: 2.7 miles
Steps taken: 6,077
Start time: 09:17 (train from Ipswich)
Ground covered: Town centre and side streets onto a main road that divides the town from port. Then on to the Ness, the most Easterly point, and back into town via an industrial area and what is known locally as a ‘score’—a narrow alleyway.
It is an impressive feat for an item of graphic design to stop you in your tracks. This week, while flicking through The Guardian in my lunch break, a full-page advert for Hull, UK City of Culture 2017, did just that.
There is more than a little New Rave and London 2012 Olympics about it. And the bold typography and clashing colours couldn’t fail to catch my attention, which is its point. For a city like Hull that is often described as being (insert own choice of ‘deprived’ adjective here) to be awarded City of Culture, there must be something going on there that many people south of the Humber Bridge have over-looked. It is out to grab attention, and nestled in amongst the column inches, and adverts for furniture and cars, there is little else to compete with it.
The copy gives voice to an entire city as being warm, welcoming and intelligently witty, but without over playing its hand or coming across as false. For the inquisitive it could be enough to make them search out what is being planned for Hull 2017, it did me. There is a bravery and freshness to this approach that many other towns and cities would avoid, being too wrapped up in their own heritage and thinking culture equals ‘serious’ or ‘highbrow’. It is a shame that the agency that produced the branding, Jaywing, aren’t based in Hull—but then maybe it takes someone with an outsider’s view to take such a radical approach.
I’ve never been to Hull and this makes me want to go.
Image source: Design Week
I do like a good stunt, which is why I’m looking forward to Joe Corré burning all of his punk memorabilia in a protest about Punk London in November. Corré, the son of Malcolm McLaren and Vivian Westwood, has amounted a collection of punk atifacts he claims to be worth over 5 million pounds. Despite that this seems like an obvious publicity seeking act, the gesture does at least feel like a true connection to 1976’s nihilistic ‘year zero’ fervour.
I can’t comment on any of the Punk London events having not witnessed any of it first hand, but my one concession to all things punk in 2016 was to read Jon Savage’s England’s Dreaming for the first time. The context of the times is detailed with a genuine insight into the revolutionary effect that punk in 1976 had on the lives of its participants. Reading Savage’s account after Corré’s announcement brought home to me that he may have a point about the capital centric ‘celebrations’.
I’ve long believed The Guardian to be the best designed newspaper in the country, which is convenient for me considering some may think I fit the profile of a typical reader—feminist liberal-left vegetarian art teacher. It would be difficult for me to take if the Daily Mail fitted this design accolade.
But I like The Guardian for more than its graphic design; the fact its investigative journalism helps to keep in check those in power is equally as important to me, particularly in these days of party political impotence. Simon Jenkins summed this up well this week in From Snowden to Panama, all hail the power of the press during the breaking revelations about tax evasion.
But journalism with integrity isn’t enough on its own, just as great graphic design isn’t enough on its own. You have to be able to engage readers in your content or it won’t gain the attention it requires. And this is where The Guardian really sets itself apart from pretty much all other news vendors, (with the exception of Channel 4 News, albeit via a different medium). The marriage of purpose and presentation is given equal respect in this daily paper, and the approach is integrated across all of its platforms, from newsprint to website to app.
If anybody should need a case study to prove my point, the Panama Papers story this week should be a convincing one. Deputy Creative Director of the Guardian, Chris Clarke, tweeted the next day’s front page every evening, and there were many of his followers waiting for the reveal each night as the story broke, (and continued to break throughout the week). If the awkward adjective ‘impactful’ can be ascribed to anything, it is the design decisions the creative team at the Guardian took to grab their readership’s attention.
Monday. Source: @chrisclarkcc