Part 2: Using Reference
Referencing the 1950s
I've referenced a wide range of 1950s related images on Pinterest boards (see below). Pinterest is a fantastic tool for collecting and grouping visual reference material. It is an easy and convenient way to build up a bank of stimulus and reference. In this case digital sourcing was easy compared to the difficulties and trials of trying to hunt out and find newspapers and other materials related to the 1950s. I am aware that a wider range of source materials would have been more beneficial, and one should not rely on just digital sources. But it is a genuine convenience for the purposes of getting this exercise done. Otherwise I genuinely don't know how I would manage in a hunt for 1950s reference material:Review of the 1950s from a Visual Perspective
If the 1940s were the difficult and traumatic war years, then the 1950s were a time of significant cultural and economic change; a vibrant and exciting time in the visual arts, media and music. For instance, Rock and Roll, abstract expressionism, a burgeoning advertising media, and Hollywood extending its global reach. Through a range of visual arts new ideas seemed to flourish.In many ways Jackson Pollock's radical painting style seems to represent to me the dynamism of the times, as if the forward-looking spirit of the 1950s were captured in the energy and wild spirit of his splatter drawings. Pollock's complete lack of formal composition and the random nature of his paintings were surely shockingly new and exciting to a 1950s audience.
Jackson Pollock, Autumn Rhythm (Number 30), 1950
Overall, one gets a sense that the 1950s were heralding in many styles and approaches to painting that broke with old conventions and notions of art. For instance, the minimalist approach of Mark Rothko's paintings. Again, like Pollock these paintings are now part of the readily recognised history of art, but at the time must have seemed quite bewildering to the 1950s audience. I feel that much of Rothko's paintings are rather muted, distant, austere and downbeat. My emotional reaction to his painting tends to be inward, introspective and gloomy. I don't find Rothko's painting easy, both visually or emotionally.
Mark Rothko, Old Gold Over White, 1956
Rothko himself said that, "I'm not an abstractionist... I'm interested only in expressing basic human emotions: tragedy, ecstasy, doom, and so on.” To me his work seems reflective of the troubled side of human experience, rather than the joys. Perhaps we even see the strained cold war politics/mood of the times represented visually in Rothko's work.
In contrast to the fine art austerity of Rothko, the late 1950s sees the birth and growth of the Pop Art movement. Although Pop Art is more closely linked to the 1960s, it was the vibrant popular culture 1950s that inspired artists. Perhaps the 1950s heralds in the idea that mass media culture can directly impact upon, and influence, fine art.
Richard Hamilton's 1956 collage, "Just What Is It That Makes Today's Homes So Different, So Appealing?" is widely considered to be one of the first - and most important works - in Pop art. I find it to be a pleasing and joyful image. As if the artist is at play - a man enjoying his creativity in a spirit of fun.
Richard Hamilton, Just What Is It That Makes Today's Homes So Different, So Appealing?, 1956
Graphic designers such as Saul Bass and Paul Rand stand out as great icons of 1950s visual style. I can certainly see how their work was groundbreaking in the field of graphic design, influencing countless designers and artists to come. I looked at Saul Bass' intro sequence to the 1959 film, Anatomy of a murder, and I was impressed by the simplicity and crispness of forms and shape. Although it seems as though Saul Bass has the creative 'blood' of an abstract artist, I think it is mismatched to call him that; rather, I feel that Saul Bass is a master of simplicity and reduction, and this no better shown that in his artwork for the film Anatomy of a Murder:
Saul Bass, design work for movie poster
I also see visual associations with 1950s graphic design and 1950s architecture. For instace, it is interesting to look at photographs of the Festival of Britain on London's South Bank in 1951. Many of the physical structures of elevated spheres, pylons and cabling, very much seem to resemble graphic design work of the period:
(Source: http://s0.geograph.org.uk/geophotos/04/38/41/4384161_6cbba598.jpg)
Next I will consider if there are any reflections of the 1950s in contemporary art, design and culture:
The first influence which comes to mind is the impact and use of the Helvetica typeface. Helvetica designed by Max Miedinger in 1957 in conjunction with Eduard Hoffmann for the Haas Type Foundry, in Muenchenstein, Switzerland. Arguably, the influence of Helvetica in contemporary graphic illustration and visual communication is extensive; we see Helvetica and similar typefaces everywhere. It is sometimes criticised for being rather cold, corporate and a safe visual choice. But regardless of these views, this 1950s designed typeface is still widely significant in contemporary visuals, and especially in websites/digital media.
(Source: http://payload1.cargocollective.com/1/3/126849/2320974/Helvetica_Poster_DS.jpg)
Helvetica is associated with the graphic design movement called the "Swiss Style". The use of sans serif typefaces, grid like organisation of information and images, and objective (information providing) photography. This visual movement was made famous by Swiss designers in the 1950s. I believe that the 1950s born Swiss Style is still a huge influence in contemporary web design and wider in the design of many graphic products:
Illustration inspired by the 1950s:
To me the 1950s was the decade of cold war, when the world stood on the brink of nuclear disaster (just as much as the 1960s). I thought about how I could capture some of this uneasy mood into an image. And also to show how the 1950s started to bring the realities of the world into people's homes through television. I'd argue that the advent of the television in the 1950s has helped define our modern world, so I wanted a TV to feature.My overall intention was to show objects from the period, but also to do something a little more visually quirky (compared to other students' work) and point to the politics and mood of the times. Illustration below:
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Notes on design thinking and evaluation:
- Composition - I wanted an uneasy mood. I choose an unusual aspect ratio for the canvas in order to create a sense of tension and slight claustrophobia.
- Font choice - Helvetica inspired sans serif font.
- Black and White - Originally I had the image in colour. It didn't look right. Also, having everything in black and white then allows me to create a strong visual contrast with the colour of the nuclear blast. This then focuses everything on the "ultra realism" of the nuclear, and ties up the mood of the image.
- Photoshop composition - Fairly straightforward composition of elements. Although I did have to skew the perspective of the wallpaper for the perspective leading into the corner of the room. Also I had to do a little bit of brush work to produce the shadow under the furniture items.
- Sketch - This is my sketch produced in fine line ink and graphite. The man is dressed smartly (very 1950s), perhaps even eccentrically in a bowtie? Also I've kept the sketch quite informal and not concerned with portrait detail on the face. The big question I ponder:- does this sketch work with the rest of the composition? I remain a little unsure. Arguably, it is visually interesting to combine a sketch with photos and type. But, perhaps also it is a little visually jarring and out of place? Also does the portrait detail work as it is, or would I have been better fleshing out the detail in the face?
Final reflections:
Overall I found this exercise on the 1950s disproportionately time consuming, but beneficial. The scope of it seemed huge and immersive - taking on an entire decade! However, I can see the benefit of the different elements of the exercise. I see how important that building up visual source material is for an illustrator and I now (as a result of this exercise) I now have a ready bank of source materials for the 1950s. Researching and reflecting on the 1950s from a visual perspective has brought me some new knowledge and ideas. And bringing these thoughts and influences together into producing an illustration was extremely valuable.
Sources used during this exercise:
http://www.visual-arts-cork.com/modern-art-movements.htm, 23rd November 2016
https://www.artsy.net/artwork/mark-rothko-no-14-1960, 23rd November 2016
http://www.jackson-pollock.org/autumn-rhythm.jsp, 23rd November 2016
https://www.youtube.com/watch?v=3sA1en26sgM, 23rd November 2016
https://visualartsdepartment.wordpress.com/midcentury-modern/, 23rd November 2016
http://www.iconofgraphics.com/paul-rand/, 23rd November 2016
http://thenextweb.com/dd/2012/02/10/design-flashback-10-iconic-typefaces-born-in-the-1950s/, 24th November 2016
https://en.wikipedia.org/wiki/International_Typographic_Style, 24th November 2016
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