Graphic Design Blog

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Entry #10

This class was about sharpening our consciousness of the many meanings that images, symbols, and compositions have that can tell us more about why the visual content was made, what kind of impact it can have on people, and how we can identify with our media. 

We discussed the ideas of Marshal McLuhan and his philosophy of how our electronic environment has reshaped culture and continued to influence how we consume media. From McLuhan, we investigated the supposed encoded messages of media that each student brought to the class and discussed the objective and personal meanings.

Another key aspect of this course was the investigation of maps. Maps have a function to tell stories and inform viewers based on the experiences and intentions of those responsible for creating the content. In this way, maps are very performative, which I had never considered too deeply until this class. 

This class allowed me and my classmates to be creative in our critical analysis of the objects and images around us and there are many things that I will never look at the same without questioning the encoded messages. This class has equipped me with the verbiage and background knowledge to be more critical of the media I consume, which I believe makes us more involved people.

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The map given to me displays the title "Shakespeare's Britain" in the top right corner. The land mass depicted is England, Scotland, and Wales. Ireland also appears just before the edge of the map on the left side. This material is a researched map based on other representations of the landscape with a blend of literature with reality. The map was published in 1964 by The National Geographic Society for the magazine in the "Geographic Art Department" and is based on another map from 1611. Research for the map is credited to John D. Garst.

The overall style lends itself to mythological and storybook aesthetics. The use of type is historical, calligraphic, and reminiscent of printing methods and the design of printed material of the 1600s. The map is thematic, displaying a blend of history, literature, fantasy, and mythology, presenting a perspective on England's landscape during Shakespeare's works. It aims to tell a story in the past tense as a presentational map showcasing the relationship between the work of Shakespeare and actual historical figures, dates, and events that he wrote about, indicating its purpose as an educational or illustrative resource.

It showcases the relationship between Shakespearean literature and real historical contexts, possibly for academic or storytelling purposes. A banner even suggests this idea of presentation as it is written, "Performed by Lisa Biganzoli, N.G.S. staff." Including real and fictional names suggests a linguistic focus, highlighting the interplay between historical figures, Shakespearean characters, and those behind producing the material. This linguistic aspect is crucial in bridging the map's gap between reality and fiction.

Combined with Western mythology, the map parallels Shakespearean themes and broader Western cultural narratives. This might represent how Shakespeare's works contribute to or reflect upon Western mythology, cultural identity, and storytelling.

"Shakespeare's Britain" is not only a map but a narrative journey through time and imagination. Through its calligraphic style and mythological aesthetics, the map educates and captivates in its storytelling inherent in cartography and literature.

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Can you guess the song?

1.02.24

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The object I chose for this entry is the classic wooden case of art supplies. This object makes me think: basic/beginner/no knowledge of art, cheap materials, and inconsiderate.

This item comes in many styles and sometimes contains different materials, but the sentiment for me is always the same. This object reminds me of my childhood around Christmas time. I might have received the wooden case as a present probably three times in my life. That is the sentiment that I want to point out. Everyone who was ever considered the "artsy" child of the family or friend group seems to have some kind of relationship with this gift, distinct from someone who just picked it up from the general store because they needed a cheap kit to follow a Bob Ross painting video. It's like the air frier of gifts for a creative son or daughter.

It is interesting that the "art kid" is a stereotype that can be characterized by this one object. I also feel that this object also has a connotation connected to a specific social class: lower middle class.

Personally, I was raised in an area that lacked diversity both in population but also in career choices. Design wasn't something that seemed like a serious career to many people. The wooden case was always a safe bet as a gift for someone who was considered "artistic" since not a lot was known about the interests of said people, and it was seen as a good gift for a child.

Along with the stereotype of an "art kid," I think the wooden case of art supplies is also an object associated with the beginning of children's passion for art, which leads to their future careers in art and design. For this reason, the wooden case is an important piece of American pop culture.

23.01.24