Graphic commons: Progress and an Essex drift

Chelmsford

Chelmsford

Notes on current research
As my graphic commons project grows and I’m formulating links between different urban studies and theories, I’m finding out how little research there appears to be into graphic design in shared environments, (within both current or historic thinking around the topic). This may obviously be because I just haven’t found it yet, and others may be able to fill the holes in my studies, (please post in comments or DM me via the contacts page if you do have any research pointers). A 2017 report by the Design Commission titled People & Places: Design of the Built Environment and Behaviour, makes reference to how urban environments can influence mental health, but fails to mention anything in regard to how everyday visual culture may impact on this. Such references tend to be more explicitly discussed in anti-advertising doctrines such as the excellent Advertising Shits In Your Head. However, in doing so, such texts tend to be polemic and agitational in nature and do not make a wider connection to urbanism as a theoretical study.

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The definitive article

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The Guardian have done it again in creating dynamic and impactful graphics to carry a story.  But then I would have been disappointed had the triggering of article 50 for the formal start of Brexit been visualised by the paper in anything less than a dramatic style.

While I have some sympathy with some design criticism on Twitter about a jigsaw being an overused metaphor, I think this doesn’t give credit for the colour treatment making it look like a forgotten 1950s puzzle found in a charity shop. This helps to give the concept greater credence in relation to Brexit. That, and the exaggerated staggering of the typography to form an approximation of the shape of the British Isles. This in itself is a mark of typographic brilliance.

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Map folk

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.”
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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.

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Graphic commons: North-east of Ipswich

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.

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With apologies, (there’s nothing new).

“There’s nothing new in this world…” is a phrase attributed to Harry S Truman on the Brainyquote.com website. In this post-truth world, who knows whether this was actually said by him or not. I do, however, know the content of the phrase itself to be true, post-truth or not.

In June last year I made a book for a project I was working on for my Masters degree. It was called Graphic Interruptions, and it collected together photographs I had taken of items of graphic design that had been visually interrupted in some way, thus affecting their communication potential. I also wrote an essay about it, and the whole thing looked like this:

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Graphic commons: dérive of convenience

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After fog stopped two previous attempts at more walks for my Graphic Commons project, I finally managed to get out again today. Thankfully, despite weather reports of fog in this region, Ipswich seemed to be unaffected.

The project has moved on somewhat since I did the Easternmost onshore drift walk, as I have now categorised many of my photographs from my previous dérives. As Graphic Commons develops, it has turned into themed observations of different categories I have identified within graphic design, with each forming the focus for separate chapters in a bigger book I am planning; the overarching context being how graphic design inserts itself into our everyday shared environments.

Today’s walk was primarily in search of convenience stores on the peripheries of Ipswich town centre as I’ve become interested in vinyl graphics and the product shots that adorn these ‘little and often’ shops’ windows, and how these crude and often very similar graphics affect the ambience of a location. As with my previous posts about these drifts, I’m logging some of these photographs here as a record of the walk rather than as any finished outcome.

Walk duration: 4.6 miles
Steps taken: 10,639
Start time: 08:15
Ground covered: Town centre peripheries

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Uncomfortable post-truths

In discussing 2016 election campaigns with a student recently, I mentioned that to have a true understanding of the topic, it was necessary to research publications that they might not agree with—the Daily Mail, the Express et al. It has to be said that most of the critiques I’ve read of both the EU referendum and American Presidential election campaigns do so from a liberal arts perspective.

In considering this I proffered that, unfortunately, we might have to accept that despite any feelings of abhorrence towards the UKIP Breaking Point campaign, it was in fact a brilliant piece of propaganda on their part.

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Picture source: The Guardian

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