Hoarding and Collections – Music Collection 3.5.16

The Brief

Things that stand out for me personally, look for patterns, interrelationships, gaps, oddities in your hoard.  Create order out of the collections using your own method and categorisation.

Lecture Notes

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The Methodology

Apart from shoes, other hoarding I have is music, with the increase of MP3’s the older formats of CD, Cassette and Vinyl have really become extinct with everyday use.  Though, I am aware vinyl is making a trend come back.

I decided to dig through my music collection of pre-MP3s, which consists of vinyl, cassettes and CD’s.  I inputed the relevant data I wanted to collect and arrange for my infographic.

Snap shot of the fields of catagorisation – Artist, Genre, Year and Format.  I couldnt really use the album name for any data collection to categorised, so I left that off.

Master List

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Filtered List by Quantities 

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Filter List Music Quantities by Year

Interestingly, I discovered that I have no albums from 2009, probably didn’t go music shopping as I was pregnant.

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Filtered list – Music by Genre 

I found this quite painful because a lot of Artist have multiple genres!  I decided to categorise to the most relevant genre or I would have found it difficult to complete my infographic.

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Design Layout and Research Reference

I initially looked a pie charts in Illustrator and decided it wasn’t the best format for the data display.  I decided I would use a written infographic, designed like a gig poster, which would be relevant as it’s a music collection.  I researched designs that I liked to refer to for it’s creation.  As well as this Vintage poster I researched retro designs in Pinterest for my pre-MP3 music collection as the retro design would be conceptually correct for these out dated audio digital/analogue file formats.

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Background Design

I took photos of my vinyl record labels to see how they would look, I used the magic wand tool and remove some of the label and info on the record to give a worn out vintage look.

Images have captions – scroll over 

I started to create a logo design in Photoshop called Surface Noise, this means that all the pre-MP3 music collection has ‘surface noise’ when played as the format isn’t as high quality sound as digital MP3s, of course with vinyl and cassettes in analogue this is quite relevant.

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Ideas for colour design of logo to blend into background of design

Initially I started with red then moved to grey, I used a grainy texture to depict a vintage look.

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Faded out the background image using low opacity.

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Arranged my data into the infographic, using glyphs as semiotics.  Arrange positive data at the top and negative data at the bottom.  I also gave the background a brick wall effect.

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To finish my design I wanted to give a grunge vintage look as everything look just a bit too fresh.  So I used a duplication of a grunge texture one as an overlay and the other pin light to highlight the data on the background vinyl, adjusting the opacity.

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Final Design

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3D Typography – Hand Drawing/3D Glyph and Initials 3.5.16

Initially I set off to produce a range of hand drawings to create my 3D model of my initials with a monogram in mind, I experimented with a range of hand drawn logos.

Images have captions – scroll over

Research and Development

I found the monogram particularly difficult due to work with curved letter ‘c’ and a straight letter form ‘w’.  I decided to use a modular typograph so it was easier to construct due both having some straight lines.  I was inspired by Bauhaus design for this, also creating modular typography in other assignment.

Researched modular type on Pinterest.  These are also saved on my Pinterest as reference material.

I began with my mock up design, after drawing it out above.  I used tutorial on YouTube to understand how to construct the model.  I found it quite challenging at first.  I cut an opening into the ‘w’ to insert the ‘c’ so it sat as a monogram 3d design.

Following on from my mock up design, I decided to use purple and yellow card for my design.  I drew out the ‘w’ using a rule and created strips of card for the sides, allowing 1cm parameter for the teeth to fold over to glue to the front and back to create the 3D design.  For the ‘c’ I used my handy colour wheel to measure out the inner circle, allowing 1cm parameter I then used my compass create the second line for the teeth.

Once I had constructed both parts, I then cut measure where I wanted the monogram to cross over with both letters, I then cut into the ‘w’ to insert the ‘c’.  Tested to stand.

Finally, I put the rear card on the ‘c’ after it was positioned into the ‘w’ to ensure the design was finished to create a 3D design.

Final Design

My initials CW as monogram in modular typography.

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The Glyph Design

One of the symbols I love is the quaver (music note), created in the 16th century for western music, the note is one amongst many for use in reading music.  Having played the violin in school and still learning to play my guitar, I am faced with musical notes to read, so I though this would be great symbol to construct in 3d form.

Research and Development

I found this glyph in Helvetica, so using Illustrator I created an outline or it on A4 paper to print.  I printed on white card as I knew I wanted to paint it black.

 

I used the same design to construct the glyph as like the modular type above. Reversing the outline to sit inside the frame.  Due to the bends within the glyph I had to ensure I waited for sections of the sides to dry before moving onto the next bend to glue.  I used a side width of 10.5cm, which I found a lot easier to construct.

Finish on the Glyph Design

I used black water colour paint to paint the glyph black.  I choose black as the quaver comes in black colour form when written in music.  I decided I wanted to jazz it up a bit, so I used glitter polish on the side of the design.  I tested green only glitter and multi coloured glittered and decided to go with the multicoloured glitter.

 

Once the design was dry from both paint and second coat of glitter, I then put a glaze over the black paint.

Final Design

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Other Cut Out typography

Poster Design – Road Safety Awareness for Pedestrians 29.04.16

As a car driver, motorcyclist and cyclist, I’m acutely aware of the dangerous on Britain’s roads.  Having driven in the UK for the last 20 years, and especially as a motorbiker in London and nationwide for the last 5 years, I have seen what most other people don’t see and it’s quite scary to witness, which most other motorcyclists would agree.

Motorcyclists have to anticipate the actions of others, stay extremely alert and observant, slow down and emergency stop if the unexpected happens, position ourselvers in the safest and best place to maximise our visibility of potential hazards.

It’s a real shame that there isn’t enough road safety awareness.  When I was a child there was always adverts on TV on road safety and programmes at school.  We just seemed to be educated on it.  Today’s younger generations, just seem to be oblivious to the dangers.

I have encountered several incidents where children and young adult walk onto the road without looking.  I don’t know why they do this, they must have so much on their minds.  People are in rush in the busy city, without a care of their own safety, the Government really needs to push road safety awareness for the younger generations.

As the media is focussed on fear mongering, their attention isn’t at road safety or highlighting the dangers for children and young adults, they give the impression that causes of harm to young people, such as knife crime, are more common than they really are, which is untrue as I’ve reviewed the knife crime statistics online and they are one of the lowest reported crimes.  When in fact road incidents are the biggest cause of accidental deaths and serious injuries amongst young people.

Here’s a table of statistics taken from the Government website on road safety http://think.direct.gov.uk/index.html

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As you can see the numbers are quite shocking.  The Government needs to create more campaigns for road safety awareness, educate through schools and the especially the media.

I designed a poster for road safety awareness, it’s a contemporary abstract design.  I tried different ideas to start with, before my final design.

My final poster design size B2

The concept is around road safety awareness for pedestrians.  The word ‘look’ is depicted in both forwards and reserve, stating that ‘we’ as pedestrians, should look both ways.  I created the word ‘look’ to appear smaller in a perspective vision, meaning we must look further into the distance before crossing the road safely, not just our close by vision.  The red, amber and green depict the traffic lights, to bring awareness of the importance of paying attention to these lights and pedestrian crossing lights before crossing safely.  All too often people walk on the road when the green light is on for passing vehicles.

The typefaces I used – ‘Look’ Century Gothic Bold and ‘One Life’ Gotham Rounded Medium.  The reason I chose Century Gothic Bold, it’s form is a sans serif, I has sharp, straight angles.  It reads as a very clear bold typeface as it presents very sharp lines and angles.  I also found this useful when joining the letter forms together to form a distance of perspective.  I enjoy using the typeface Gotham Round Medium as it clear and quite neutral in form, but also has a nice softness to it from its curved edges.  I used this to highlight we have ‘one life’ as pedestrians, it’s soft and in used the colour ‘red’ to highlight it’s importance.  We need to use the sharpness of our vision to protect the softness of our skin.

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Make Extremism History – Poster Design – The Culture of Fear 29.04.16

Influence on Poster Design – Media Manipulation and Propaganda

What is often thought as a credible news sources can often knowingly or unknowingly be pushing political agendas and propaganda.  Propaganda is a form of biased communication, which is aimed at promoting or demoting certain views, perceptions or agendas.  Propaganda is communicated in different forms – TV, leaflets, posters, radio, social media and other mediums.  Public Relations and Government broadcasts propaganda as news.  The media is manipulated in all manners.  Professional public relation firms are often involved to help promote new religious movements, sell a war, especially where a war is questionable, the media are indirectly contributing to the eventual and unavoidable casualties.

The news doesn’t highlight stories of ‘what is happening now’, preferring to use fear as a base tactic to influence the public in order to achieve a desired outcome, known as fear mongering.  News about bombs and terrorist attacks, are communicated in uppercase typefaces of bold and red.  The broadcasters draw in the attention of the viewers, by the way they communicate the messages, holding them in a state of anxiety, but intriguing them to find out more.  Stories like these take prime place on the news, the broadcasters want the highest ratings.  The stories aren’t deep enough, they are kept to short and brief communication, to continue the fear mongering status amongst the population.

Media management is common with promoting public information campaigns by Governments, which are to encourage or discourage certain forms of behaviour.  The media and news broadcasters control this incredibly by influencing and altering attitudes of a population toward a specific cause, position or political agenda, selectively presenting facts and perhaps lying to encourage certain behaviours.  Social psychology around this can be to persuade people, by using a communicator who is credibility, has expertise, trustworthiness and attractiveness.

The Design

To communicate my message, I wanted to use the familiar typeface Gills Sans, which is used by the news broadcasting corporation.  The colours of white and red are the corporations brand colours for it’s news channel.  The logo at the top, has been changed to TIR (Tune into Reality), which replaces the three well known abbreviated letters of the well known broadcaster.

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Poster Design in B2

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Organising Type – Various Recipes 29.4.16

To create 3 double page spreads for 3 different recipes, I used Indesign to execute my designs, the concepts are arranged at A3 size.  No illustration were used, typography based with some graphical elements, such as shapes, lines and dots.  The concept are presented below.

Lecture Notes

 

RECIPE 1

The Brief

To use one typeface and one colour.  Typeface used : American Typewriter / Colour : Green.

The Recipe

Choosing my first design was from a website:-

Spring Vegetable Couscous Stir Fry

To organise the recipe, I chose the title Snappy Vegetable Stir Fry.  The recipe is based and on the link above and is credited to the author on the design.

Initial design was to present the information in the typeface American Typewriter, which is slab serif.  I chose this typeface as I wanted it to have a kind of raw feel to it, an old-fashioned and personal look.  The letter forms are the typical typewriter alphabet forms, which has nostalgia.  I enjoyed using this typeface because in lowercase and uppercase and removing colour from the fill to stroke only, it altered the design of the typeface tremendously.

My concept was designed for students.  Running with the idea of nostalgia, I decided to create shapes from squares to hold information on the ingredients.  The square can also depict as Polaroid photographs.  Again, keeping it black and white given it an old-fashioned feel.

The lines throughout the heading depict, chopsticks, which are commonly used to eat stir fries, but then I realised it was a Mexican recipe, so decided to revise my design based on it being a Mexican recipe.

Initial Design – Recipe 1

I used columns and grids to layout my recipe to ensure it locked to the grid to ensure consistency, streamlining and white space within my design.

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Final Design

I revised my design and used the colour green as green is one of the main colours used to represent Mexico, which is also used on the Mexican flag.  The page numbers and a magazine name was added as a footnote.  Following a cite in lecture, I had feedback on my design then I changed the written words of quantities to numbers within the recipe.  I also move the ‘Directions’ title to the outside of the page to avoid it getting lost within the spine, as well as centring the ‘Enjoy’ foot note.  I credited the author underneath the introductory paragraph.

The concept is a fun and vibrant recipe, which is ‘snappy’ to make, ideal for students or beginners within the kitchen.  The layout is created in block form so that the information is organised and presented neatly to the reader for ease of use, when multi-tasking reading and cooking at the same time.

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RECIPE 2

The Brief

To use two typeface and two colours.  Typefaces used : Heading Noteworthy, Titles and Body copy: Courier New. Colours : light tint of yellow and heather purple.

Recipe taken from a Marks and Spencer cookies recipe book.  I liked the idea of this recipe because it has typography which is fun and playful, so I can use this within my design.

The Recipe/Inspiration

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The Design

Following along with the theme of cottage wallpaper in the background.  I used dots and lines to depict this image.  I wanted to use playful colours of yellow and pink/purple as these colours are associated with children and so is baking cookies.  I used tint of yellow as the background to avoid overpowering the typography in the recipe.  For the heading I used a san serif typeface Noteworthy, as this typeface looks very much like it’s written with a marker, hence the name Noteworthy.  Apple previously used this typeface within it’s application ‘notes’.  Often and traditionally recipes are handwritten notes, so I wanted to design something along these lines which is quite ease to read; and playful like baking cookies with children.  I credited the author underneath the heading.

As I mentioned the heading is creating using noteworthy, but I also added to this heading by inserting dots in the ‘o’s’ of the heading Button Cookies to depict buttons.  The layout is in order of ‘ingredients’ on the left page and ‘method’ on the right.  The circles separate the information to make it easy to digest for the reader, I changed the lines on the circles to wave lines to depict cookie cutters.

I found that the instructions within the method was quite wordy, so to ensure I was able to capture the data within my design I arranged the cookie cuts into different sized shapes with numbered instructions to ensure the design was a readable format.

For the titles and body copy I used the typeface Courier New, which is a monospaced slab serif, created in 1955 for use as a standard font on electronic typewriters.  It is a fresh design to it’s Courier typeface, it depicts a cleaner and more modern approach.  The name Courier means the messenger, which means to carry and perhaps deliver the message.  I chose this typeface as it has nostalgia associated with 50’s type design, which I feel represents a 50’s style home baking to a recipe.

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RECIPE 3

The Brief

To use unlimited typeface and unlimited colour.  Typeface used : Heading – Blenny, Body copy : Plume. Colours : Orange, Yellow-Orange, Green, Purple and Red.

The Recipe/Inspiration

I really loved the vibrancy of the colours used in the Levi Roots cook book, so I knew I wanted to incorporate this into my design somehow, but didn’t really want to use any of the recipes.  So through my mountain of cook books and food magazines I came across a recipe by Jamie Oliver in the Sainsbury’s Magazine from August 2008 on Gazpacho.  With the recipe having a Spanish influence, I knew I could combined this with the vibrant Caribbean colours from the reggae reggae cook book within my design.

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Typography Influence

From the lecture by Bruno Maags at university, which was amazing insight into the world of typography at a professional level.  He was kind enough to advise that we were able to make use of his typefaces for free for academic purposes, so I researched and downloaded typefaces from his website that would accompany my design perfectly.

https://www.daltonmaag.com

The Design

The typeface used for the heading and titles is Blenny designed by Dalton Maags, I chose this due to its weight and design, it’s bold and punchy, but has class.  It has Latin and Thai influence, and the weight of the lettering reminded me of old saloon typefaces, which are too very weighty.  It’s gives a bold headline and a retro feel.  It’s influences were known to be used on old electronic equipment and gin bottles.  The Gazpacho recipe has ancient roots, dating back to the 16th century, but also the Romans were known to combine similar ingredients.  The Latin influence of the typeface was perfect for a Spanish recipe.

The body copy typeface I used Plume, again designed by Dalton Maags.  Plume is robustly legible and ideal as a body copy typeface.  It has a playful edge, softness and a contemporary design and it’s design forms are found in very early typewriter fonts.

The design below has the columns and gridlines shown to lay out my pages and information.  I used the warm colours of orange and yellow-orange lines in the background to depict sun beams, as the recipe is a cold soup to be eaten in the hot summer sun traditionally in Spain.  The colours are vibrant, which give a sense of summer time and latino roots.  Colours of the Spanish flag are red and yellow, to complement this I used a triad of colours, which are found on the colour wheel equally spaced from each other – orange, violet and green.

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To balance out the colour I used red in the titles and white in the body copy, white was the best legible colour for readability.  The punchy heading in violet draws the viewers attention directly to it as the recipe heading as it is quite busy in terms of vibrancy of colour so it was necessary to highlight most the text in punchy cooler colours.  The recipe is page marked and the magazine name and date is added to the footnote.  I credited the author beneath the heading.

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The A-Z of London – London Transport Museum 24.4.16

The exhibition at the Acton Depot of the London Transport Museum had a variety of historic pieces on display from buses, trains, maps and the world famous Edward Johnston typeface, which marks the centenary of the typeface.

The typeface was hand drawn by Johnston, the alphabet is simple and elegant sans serif design and bears the proportions of the Roman capitals.  The designed was proposed in 1913 to London Underground Railway and is still in use today.

Signage – Predating Johnston and Johnston Typeface

Above Way Out signs predating Johnston typeface and the Johnston Typeface.  Images have captions.

Map and Poster Designs

The above image are map designs, top 1927 tube map, Olympic Games tube map and Tube Map from 2008.  The Lord Mayors Show poster from 1973, which I found quite scary.

Historic Transportation using the Johnston Typeface

Various typefaces

Fabric Design inside a 1927 carriage

Interestingly, the tour guide inside this carriage said that the lighter fabric was stopped in use by London Transport as it was too light and getting dirty, so the green and red fabric was brought in c1950 to overcome this issue.

I quite liked this quotation by Edward Johnston, so I purchased the poster.

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Equality for Woman in London 20.4.16

I’ve been asked to design and write article on diversity at work, mainly around how diverse we are and employ women equally to men, which is fantastic.  So after studying Barbara Kruger and Sheila Levrant de Bretteville they inspired me to take on this project.  I’ve been playing about with ideas for the diversity design, which I am yet to complete.  However, I was inspired to initially create some thing for myself.

This image below presents the doors of perception as cleansed, the door is depicted as open, the bus is a symbol of travel and freedom for women, door is depicted as pink to represent a woman.  Parliament is in the background.  If the doors of perception in the working environment of the city were cleansed for every woman would have equal rights, particular as woman are paid less than men.

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If the doors of perception were cleansed every thing would appear to man as it is, Infinite. For man has closed himself up, till he sees all things thro’ narrow chinks of his cavern.” ― William Blake.

Group Presentations – Semester 2

GROUP 2

The image analysis was interesting on the Film Poster Award by Malika Favre.  I found it useful how Favre uses colour to break up the image and the direction of usage.  From top the light on the top left to the man and then directing the viewer to the table from the direction of the man’s arm.  The black and white contrasts on the table high the objects along with the use of a circular table to direct the view intentionally at the objects on the table.  Apparently the objects relate to the film, but I haven’t seen this so it was hard to understand, but from a design perspective I like the use of colour and contrasts that highlight areas to focus.

GROUP 3

The business card design presentation was excellent and I found some of the business card designs inspiring.  I was surprised how not all cards need to be made of paper.  I liked the hair comb business card especially for salons and barbers, great idea.

Shelia Levrant De Bretteville image for the Women in Design is intriguing for the story behind it, as she was a graphic designer and reflects for beliefs in feminist principles through graphic design.  I likedthe idea of her eye bolt on a chain necklace, which represented “strength without a fist” a symbol which also represents a woman the Venus symbol.  This is definitely inspiring as I enjoy Barbara Kruger’s work, another designer involved in the Feminist Movement.  Levant De Bretteville is very creative, great semiotics.

GROUP 5

The Juicy Salif by Phillippe Starck designed the lemon squeezer in 1990 is considered an icon of industrial design.  I found the design quite intriguing because it reminded me the aliens in the 1979 album cover for War of the Worlds.  The design would look cool as a feature in any kitchen, but apparently it’s not very practical to use.

GROUP 6

The story of Coca-Cola Bottle, I enjoyed the look of the early Coca-Cola bottles.  I understood why Coke was put in glass bottles as it gave a feeling of luxury and I do also enjoy drinking from a glass bottle rather than plastic.  The embossed glass was also a nice feature.  It is a shame Coca-Cola moved to plastics in 1993.  The brand is so well established by this time it doesn’t matter what it is drank out of as long as it tastes like Coca-Cola for some.

I enjoyed the image analysis on Batman The Dark Knight movie poster, I liked the use of the raw brick walls with paint smudged on it, which represented someone or the joker in a mental institution.  The jokers face was smudge on the wall with the Batman logo as the joker’s red smile.  The Batman logo and the Joker’s smile is so iconic, at immediate glance it is so recognisable that immediately the viewer will know what the poster is depicting.

GROUP 7

The Fetishism of Commodity by Karl Marx, I found interesting about this presentation how the German philosopher had a theory on classes, labour and relation to capitalism.  How the higher classes would by materialist and not care what or who the labour resource was – treated as a commodity.  Whereas the lower classes or the humanist approach would see it the object for what it is worth in a natural approach.  What sources made it to become an object.  Capitalist has a commodity view as money is more of an importance.  Marx wanted to change this, he wanted a fairer society for the workers not a capitalistic society.

Jurassic Park Logo, interesting this was created by Chip Kidd.  I saw this presentation on Ted and through it was fantastic.  I think Chip Kidd is amazing how he creates master piece designs from simple thoughts, really enjoy watching him and his colourful character keeps the audience engaged.  I enjoyed hearing about the story of it’s journey from a book cover to a bit hit film cover Jurassic Park.  I also enjoyed hearing about the parodies taken from this logo.

Album cover – Rihanna by designer Roy Nachum – when looking up closer to this cover design there is braille running throughout it.  The child is blindfolded, with a crown on it’s head, which refers to Rihanna as a princess.  I enjoyed the look balloon in the art, which reminded me of Banksy graffiti with the girl with the balloon.  It’s a striking album cover.

 

GROUP 8

Martin O’Neill poster design – I enjoyed the use of colour on this poster.  I thought it was very attractive and vibrant.  When analysing it, it was interesting to see how O’Neill depicted a political agenda from the country to the city people.  Highlighting their lives through materials and objects that surround them.  The country had a warm background depicting a sense of relaxation and happiness, whereas the urban city background had colours of greys and blues which gave a very cold and industrial feel to city life.  The poster has a symmetrical balance, as he has used vibrant circles of colour to link the two lifestyles, even though they are very different.

The presentation on the refrigerator was interesting to hear how the design has development over the decades.  The early refrigerators’ had a hum as they were run on gas and when electric took over they lost their hum due to as there was no longer a gas container in the fridge making the noise.

Text Analysis Object as Image – The Italian Scooter

Object as Image – The Italian Scooter Dick Hebdige (1981)

The designer for the first Italian scooter was Corriando D’Ascanio for Piaggio. Piaggio was formally Piaggio Air.  During the War Piaggio Air had produced Italy’s only heavy bomber the P108 B.

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D’Ascanio was an aeronautical engineer who had previously designed the first production helicopter for Agusta.

There are articles claiming that D’Ascanio first had his scooter design for Innocenti, but the two had a falling out, so D’Ascanio took his design to Piaggio and the Vespa was born.

The First Italian Scooters

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Above First Image – Piaggio Vespa 1946 followed by Innocenti Lambretta 1947.

The first motor scooters were manufactured in Europe in the years after the First World War – there were records of scooters being sold earlier than this in the US.

The post-War period brought changes associated with development captialism, such as

  • Automation of the work process.
  • Increased specialisation and diversification – (spreading of risk over a wider product range).
  • Expansion of the white collar sector.
  • Control of distribution networks.
  • Marketing sharing between corporations.
  • Price fixing.
  • Imperialism, exploitation of 3rd world resources, domination of third world markets.
  • The movement of competition from the ‘field of price’ to the ‘field of sales promotion’.
  • Increased expenditure on research, design and market preparation.

All these developments were motivated by need of the modern corporation to dominate and control all the conditions and variables which affect investments.

In this context the massive expansion of advertising and marketing industries during this period can be most clearly understood.

In this period design became consolidated as a ‘scienfiic’ practice, the shape and look of things were to play an important part in aligning two potentially divergent interests, ‘production for profit’ and ‘consumption for pleasure’.

As I’ve already mentioned, the designer for the first Italian scooter was Corriando D’Ascanio for Piaggio. However, Innocenti followed in 1947 with the first Lambretta scooter.

The Vespa’s design was contempory, it was streamline and made a visual impact.  The Vespa’s design was made for comfort, convenience and vanity.  The covering of machines parts meant that the rider didn’t have to wear specialist protective clothing.

The name Vespa translated is in English to ‘Wasp’ for its buzzing sound and thin streamline body.

The Early Years – Consumption for Pleasure

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Early advertising campaigns were particularly directed at consumer groups of the young and women. The new invention bought of the ideal scooterist, young, socially mobile, conscious of his or her appearance. Left image – Innocent Lambretta’s advert 1956

It was also an ideal frame for skirt wearing women as the ideal choice of dress in the 1940’s was a skirt, though some female factory workers did wear trousers, but switched back to the skirt when they ‘clocked-off’ or were out in public.  The scooter was a comfortable, nicely design little vehicle for people who didn’t care too much about the mechanics of it.

By 1950, Piaggio and Innocenti had between them opened up a completely new market for cheap motorised transportation.  The Lambretta’s range was Piaggio’s biggests threat to in terms of international sales and trade recognition.  The Lambretta was marketed in Britain as the sports car on two wheels, elegance and comfort were strong selling points.  It had a variety of accessories which were available, such as windscreens, panniers, bumpers, radios and a glove compartment – giving a luxurious image.

To the consuvespa.jpgmerist the Vespa offered the contemporary design, the engine was hidden behind the metal cowling, removing the mechanical parts from viewer depicted the object as a lifestyle choice, the aesthetic gave dematerialisaton of the object.

Scooters were presented to the public as clean, social applicances, unlike the rugged looked of the traditional motorcycle designs.  Piaggio sold around 2500 Vespas in 1947, but the year after that, they sold more than ten thousand and by 1950 sales had rocketed to 60,000 a year.  Left image – Piaggio Vespa 1946.

 

In 1952 movie stars Audrey Hepburn and Gregory Peck rode a Vespa in the hit film Roman Holiday.  Hepburn and Peck helped to make the Vespa even cooler and 100,000 more Vespas were sold as a result.

Screen Shot 2016-04-12 at 20.42.41.pngRight Image – Audrey Hepburn and Gregory Peck.

The worldwide Vespa club membership soon soared to 50,000 and more, and the Italian scooters future looked to be set in stone. With the invested interested in transforming the market, in aesthetising products and ‘educating’ consumers emerged a set of cultural values.

 

1950’s, 1960’s and 1970’s – Consumption for Desire
The object is denoted as Italy – the home of male narcissism, connoting a sign of good taste and the look of the future.

As scooters became more popular by 1963 there were 22 different firms selling scooters in Britain, more and more events took place.  Innocenti specific developed the 200cc Lambretta to meet the demands for the Isle of Man Scooter Rally, by late 1950’s it had become quite an important event in Europe.

During the mid 60’s the British media spread the knowledge that the Italian Scooters were an identity markers for The Mods.

The Mods were groups of youths who dressed in suits and military parka coats who were dressed to impress and show off their scooters.

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They were also connected with vandalism and riots, particular against the rockers who rode motorbikes, one of the biggest headlined riots was the ‘Battle of Brighton’ in 1964.

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Later in 1979 the film Quadrophenia came out which was a remake of the Mods culture and Battle of Brighton.

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Quadrophenia was also ‘The Who’ sixth studio album, which had a great influence on the mod revival in the 1980’s.

1980’s and 1990’s – The Mod Revival and Britpop

Above images from left to right – Damon Albarn from Blur, Oasis band members.  Cover albums – Saint Etienne, Massive Attack, Portishead, The Jam, The Who, The Charlatans, Oasis, Blur and The Chords.

The relationship between user and the object – The Italian Scooter, changed overtime with the disappearance of service stations, the recessions, small Japanese motorcycles, crash helmets and scooters India.

The network of relations had shifted, owners were seen as amateur mechanics, due to the lack of garages, scooterist were forced to carry out maintenance on their own bikes.

The mods revival was kind of a music genre, bands drove the scene’s growth from a subculture to main stream.  Bands like The Who and The Jam, with this continuing into the 90’s Britpop years.  Many Britpop bands played round the edges of mod – Blur, Charlatans and later Oasis.

Other bands created a hybrid sound of soul, funk, pop and jazz that appealed to a mod crowd increasingly diverse musical tastes – the likes of Portishead, Massive Attack and Saint Etienne.

Mods tended to find bands that appeal to their music tastes, whether that is beat, psych, pop, soul, reggae or funk-inspired.

2000’s and Today – Celebrity Culture

With the general obsession with celebrity culture, the iconic little Italian scooter has moved with it’s new generation of networks.

Here are some celebrities photographed with Italian Scooters.  The Vespa’s current range has a special edition 946 Emporio Armani.  Like the other Italian brand Fiat, which has special edition of the Fiat 500 Abarth Gucci.

The motor industries are marketing themselves on the designer fashion brands, like some of the celebrities market themselves too.

The Vespas range has extended to merchandising in fashion, merchandising of gadgets and even a perfume range.

Lambretta is focussing on sales within the fashion industries, such as footwear and watches.  There are no scooters for sale at present in the Lambretta range, but the iconic name is still selling strong in these other areas.

The iconic scooter is pictured in so many advertising campaigns and is it still selling strong over its 70 year history.

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Above image is an example of a Pizza Express advert found on a tube station on 9 April 2016.  This is just an example of how the Italian scooter still serves as an iconic design in today’s advertising.