Thursday, 30 April 2015
OUGD501: application for SCONUL Access
Today, I applied through sconul to use the University of Exeter library over summer to help write my dissertation.
OUGD501:Context of Practice 3 Introduction
- 40 credits
- Up to 9000
- Practice based research
- individually driven
- look at learning outcomes
- critical methodology (how we research/investigate the topic)
- synthesis, re-thinking practice and theory
- can work with the same title as long as it's original work
- try to define a subject be as specific as you possibly can
Contextual Studies behind:
what factors sit behind your chosen subject?
how have historical, cultural, social, technological economic political and other factors influenced it?
who are the key figures within my chosen subject?
what is the specific history of my chosen subject?
are there any dominant or prevailing attitudes that inform my subject?
is my subject culturally specific?
Research Methods
how will you approach your chosen subject?
what sort of questions will you ask? why?
what methodology will you use?
methodology needs to be appropriate/unique to question
do you have to research into methods of research...
how do you maximise the effective ness of your research
make the question real word and relevant
the hermeneutic circle developed by heidegger
Thursday, 2 April 2015
OUGD501: Design Decisions
The aesthetic and layout of my publication has been kept clean and minimal to let the imagery speak for itself. As well as this I did not want to overwhelm the reader with large amounts of text. As the essay had such a major influence on my practical, this element in particular was designed as a publication consisting of both imagery, and analytical information. The idea of having an image and an essay for each year set informed the simplistic layout, ensuring all necessary information is portrayed clearly to create a timeline.
Typeface Decisions:
For headers I used ITC Clearface a fresh and feminine serif font, I love the flourishes to letters For sub-headings I used Lato a sleek sans serif look. The semi-rounded details of the letters give Lato a feeling of warmth, while the strong structure provides stability and seriousness. For body-copy I used Calibri to give make sure the bodycopy looks crisp and allows for easy readability and legibility.
Grid:
Grid:
I developed my own modular grid (consistent horizontal divisions from top to bottom as well as vertical divisions from left to right) I felt this grid was most appropriate as the modules govern the placement and of imagery as well as text. I used this one grid throughout the publication using columns for analysis and imagery which I felt allows for easy reading.
Wednesday, 1 April 2015
OUGD501: Research
I've been looking at editorial page layout as inspiration. As my publication will be purely be image heavy with text and quotes throughout, I have been looking at clean and minimal layouts.
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OUGD501: Book Content
The Gibson Girl
The Gibson Girl, a creation of illustrator Charles Dana Gibson, was a synthesis of prevailing beauty ideals at the turn of the century. Rarely is a beauty standard so explicit and clearly defined, yet Gibson based the iconic illustrations on “thousands of American girls.”
This ideal of femininity was depicted as slender and tall, albeit with a “voluptuous” bust and wide hips. The incongruous and exaggerated look was achieved by way of corseting, pinching the torso and waist significantly. Gibson Girls were portrayed as up-to-date on fashion and style, as well as physically active and in good health.
While the ideal originally began as the invention of an illustrator, the look was soon brought to life by various models and actresses such as Camille Clifford – winner of a contest to find a real-life analogue of Gibson's drawings – and Evelyn Nesbit. Following World War I, this idealised image gave way to that of the less prim and more informal flapper girl.
Roaring 20s
A product of the increasingly liberal “Roaring Twenties,” the flapper represented an idea of women that was far more casual than the formal, corseted Gibson Girls. The archetypal flapper was an immature young woman – a teenager or young adult – who was scantily-clad and had little regard for uptight behavioural norms.
They were often described as independent, wise-cracking and reckless. Their easygoing style represented a rejection of the Victorian style and also came to emblematise widespread disagreement with the Prohibition movement. Their appearance was one of boyishness and androgynous youth, with minimal breasts, a straight figure without any corseting, and shorter hair.
Flashing of the ankles, knees and legs was a common feature of flappers – dresses and skirts in the style were designed to be loose and reveal the legs when women would dance to jazz, popular among flappers. Bare arms were likewise nearly universal. Larger busts were frowned upon, and bras were made to tighten so as to flatten the chest. Blush, dark eye makeup, and substantial lips were in style, as well as tanning; a sporty and healthy appearance was prized.
The ideal of thinness and an enhanced appearance often drove women of the 1920s to diet and exercise in order to achieve this look, as well as buying cosmetics. The look to aspire to was increasingly depicted in advertisements. This freewheeling lifestyle came to an end with the onset of the Great Depression.
1930s
The Soft Siren describes a less boxy, more fitted silhouette, where the natural waist makes a return along with a defined shoulder. The bust line is a little more accentuated in this body type, as new bra-cup sizing was invented in this era. This ideal can be seen in the original bombshell of the 30s, Jean Harlow and in actress Dolores del Rio, both embracing small curvature and a roundly figure.
1950s
The ideal body image for women remained fuller-figured in the post-war period of the 1950s. A busty, voluptuous hourglass look was prized, as exhibited by models such as Marilyn Monroe and Grace Kelly.
With the sexual revolution of the 1960s came a substantial reversal of the '50s idealised image. Rather than curvaceous figures, thin and androgynous women were now prominent, somewhat recapitulating the flapper look of the 1920s.
Kate Moss began to make her appearance as the shrunken 1980s supermodel. Grunge and Heroin Chic became standards of the time, with slouchy jeans and oversized fraying sweaters. The model frame became more petite, thinner and less athletic in comparison to the Amazonian super-fit woman of the 80s.
The Gibson Girl, a creation of illustrator Charles Dana Gibson, was a synthesis of prevailing beauty ideals at the turn of the century. Rarely is a beauty standard so explicit and clearly defined, yet Gibson based the iconic illustrations on “thousands of American girls.”
This ideal of femininity was depicted as slender and tall, albeit with a “voluptuous” bust and wide hips. The incongruous and exaggerated look was achieved by way of corseting, pinching the torso and waist significantly. Gibson Girls were portrayed as up-to-date on fashion and style, as well as physically active and in good health.
While the ideal originally began as the invention of an illustrator, the look was soon brought to life by various models and actresses such as Camille Clifford – winner of a contest to find a real-life analogue of Gibson's drawings – and Evelyn Nesbit. Following World War I, this idealised image gave way to that of the less prim and more informal flapper girl.
Roaring 20s
A product of the increasingly liberal “Roaring Twenties,” the flapper represented an idea of women that was far more casual than the formal, corseted Gibson Girls. The archetypal flapper was an immature young woman – a teenager or young adult – who was scantily-clad and had little regard for uptight behavioural norms.
They were often described as independent, wise-cracking and reckless. Their easygoing style represented a rejection of the Victorian style and also came to emblematise widespread disagreement with the Prohibition movement. Their appearance was one of boyishness and androgynous youth, with minimal breasts, a straight figure without any corseting, and shorter hair.
Flashing of the ankles, knees and legs was a common feature of flappers – dresses and skirts in the style were designed to be loose and reveal the legs when women would dance to jazz, popular among flappers. Bare arms were likewise nearly universal. Larger busts were frowned upon, and bras were made to tighten so as to flatten the chest. Blush, dark eye makeup, and substantial lips were in style, as well as tanning; a sporty and healthy appearance was prized.
The ideal of thinness and an enhanced appearance often drove women of the 1920s to diet and exercise in order to achieve this look, as well as buying cosmetics. The look to aspire to was increasingly depicted in advertisements. This freewheeling lifestyle came to an end with the onset of the Great Depression.
1930s
The Soft Siren describes a less boxy, more fitted silhouette, where the natural waist makes a return along with a defined shoulder. The bust line is a little more accentuated in this body type, as new bra-cup sizing was invented in this era. This ideal can be seen in the original bombshell of the 30s, Jean Harlow and in actress Dolores del Rio, both embracing small curvature and a roundly figure.
1950s
The ideal body image for women remained fuller-figured in the post-war period of the 1950s. A busty, voluptuous hourglass look was prized, as exhibited by models such as Marilyn Monroe and Grace Kelly.
The increasing popularity of Hollywood films helped propel glamour models like Monroe to widespread public consciousness, and combined with the increased freedom of material after the end of wartime rationing, women's fashion options were once again extensive. However, this expansion in options now meant that women were expected to take full advantage of beauty products and never leave the home without looking their best. Along with a well-composed overall appearance, flawless skin was now expected as well.
1960s
1960s
With the sexual revolution of the 1960s came a substantial reversal of the '50s idealised image. Rather than curvaceous figures, thin and androgynous women were now prominent, somewhat recapitulating the flapper look of the 1920s.
Twiggy, a major supermodel of the 1960s, embodied many of these seismic shifts in idealised body types. In contrast to the full-figured and voluptuous Monroe and Kelly, the 112 lb Twiggy had a minimal chest, a slight frame, short hair, and a boyish look. This new form of beauty abandoned all curves and any hint of a mature look, instead appearing almost prepubescent.
However, a “hippie” look including long, straight hair also came to the fore in the latter half of the '60s, and a more full-figured hourglass look persisted among several high-profile actresses such as Jane Fonda and Sophia Loren.
1970s
The 1970s saw the continued dominance of a Twiggy-like thin ideal, which began to have a widespread impact on women's health and eating habits. Anorexia nervosa first began to receive mainstream coverage in the '70s, and singer Karen Carpenter was known to diet at starvation levels over the decade – a practice which would claim her life in 1983. The era also saw the rise of diet pills, which often used potentially dangerous amphetamines to suppress the appetite.
1990s
However, a “hippie” look including long, straight hair also came to the fore in the latter half of the '60s, and a more full-figured hourglass look persisted among several high-profile actresses such as Jane Fonda and Sophia Loren.
1970s
The 1970s saw the continued dominance of a Twiggy-like thin ideal, which began to have a widespread impact on women's health and eating habits. Anorexia nervosa first began to receive mainstream coverage in the '70s, and singer Karen Carpenter was known to diet at starvation levels over the decade – a practice which would claim her life in 1983. The era also saw the rise of diet pills, which often used potentially dangerous amphetamines to suppress the appetite.
1990s
Kate Moss began to make her appearance as the shrunken 1980s supermodel. Grunge and Heroin Chic became standards of the time, with slouchy jeans and oversized fraying sweaters. The model frame became more petite, thinner and less athletic in comparison to the Amazonian super-fit woman of the 80s.
OUGD501: Gathering Images
I've been gathering and sourcing all my images for my publication. Below is just a taste of some of the imagery collected showing the female body over the years. When I saved the images I archived them by year, publication, source and model to allow for easy referencing throughout the publication. These images are taken from magazine archives and websites.
1920's
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| Gloria Swanson |
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| Joan Crawford |
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| Louis Brooks |
1930s
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| Bette Davis |
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| Mae West |
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| Marlene Dietrich |
1950s
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| Monroe |
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| Grace Kelly |
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| Sophie Loren |
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| Audrey Hepburn |
1960s
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| Jean Shrimpton |
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| Twiggy |
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| Versuschka |
1970s
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| Cheryl Tiegs |
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| Lynda Carter |
1980s
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| Cindy Crawford |
1990s
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| Jamie King |
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| Kate Moss |
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