Recently I was lucky enough to get the opportunity to travel to Bucharest, Romania, for work. The trip was so that I could attend an art and design education fair and to talk at a couple of high schools about our courses. This was my first such recruitment trip abroad, and I’m told you often only get to see a city from a car window and in the evening before flying back the next day. Thankfully though, because of the timings of our itinerary, I managed to get a little time to myself to wander the city and soak up Bucharest’s visual culture.
This was my first visit to Eastern Europe, and one, given the timing of the trip, that was over-shadowed by Brexit. Our host, locals and delegates from other countries all had an opinion, with none of them positive. The majority of Romanians I spoke to about it, (and Romania isn’t a country afraid of change, it could be argued), all thought Britain was putting itself in a ridiculous position.
One of the things that struck me about Bucharest from the outset, was that it is a country that is happy to wear its history on its sleeve—it is there in plain sight for everyone to see. Our hotel was very close to Revolution Square, the site of the uprising that saw Nicolae Ceaușescu toppled from power nearly 30 years ago.
Monuments to these tumultuous times have seen better days, and the local anarchists appear to show little respect for those that lost their lives fighting against the dictator. Some locals said the current government is the most corrupt in 100 years, so it appears a struggle continues. Given we were a week away from national celebrations of 100 years of independence for Romania, this is some claim given their more recent history. Continue reading →
Lostwithiel, Cornwall, (affectionately known as Losty by the locals), was the nearest town on our recent summer holiday.
As I have mentioned in a previous post I have an interest in noticeboards, and Lostwithiel has not one, but two that I could find. What struck me more than this though was that 2 noticeboards did not seem to be enough for its towns-folk. For on our first proper wander around Losty, every single telegraph-pole seemed to be adorned in posters of varying quality and displaying a cornucopia of events and information. These flyposters didn’t seem to be an alternative to what was on the ‘official’ noticeboards—in fact, it looked like there was a lot of repetition.
For many, traipsing historic academic cobbles and starring at spires, let alone dreaming of them, would define any visit to Oxford. For me, on a family weekend there recently, it was an opportunity to study its graphic commons.
Looking for its vernacular, I mostly steered clear of high-street parades, and came away finding the city’s contradictions being easy bedfellows; hi and lo culture mix comfortably, on the streets at least. Testament to this are the highbrow events flyposted on chipboard, acting as a temporary hoardings for college concerts where no sacred wall can be damaged.
These sat just around the corner from the usual tattered pastings I more typically photograph. Technically the same in purpose and application, each arguably despoiling/enhancing the streets, depending on your point of view. The only difference being that those on chipboard could be moved out of sight quickly. While on display though, from a visual perspective, they are exactly the same.
Proposing the Graphic Commons
A Field Readings Publication | Nigel Ball | August 2017
Numbered—edition of 300
10pp | 134 x 300mm
1750 word text | 7 full-colour photographs
This pamphlet introduces the term Graphic Commons as an identifier with which to discuss graphic design within shared public environments. It sets out why a new linguistic term in contemporary graphic design discourse is required, and situates this as part of wider discussions surrounding urbanism and social responsibility.
I took a dérive to work the other day and came across road work annotations on the pavement. I’ve seen these many times before, and often photographed them, but yesterday’s discovery prompted me to pull the more interesting images together in one place. When cropping some of these square, the reference to Mark Boyle and the Boyle Family‘s work is obvious to see.
After my last walk in Chelmsford, I’ve been noticing more and more temporary banners tied to railings. So today I took a short walk around my local area to capture those I had seen whilst in the car.
Unlike many that I saw in Essex, the ones I saw today were mostly ‘official’, in that what was being advertised/promoted related to the property owner of the railings they were attached to. For example, Ipswich NHS Trust banners outside the hospital and the local St Elizabeth’s Hospice railings were covered in banners for fundraising events. Continue reading →
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.