Final Crit

This module has certainly pushed me out of my comfort zone, which is exactly what I wanted from pursuing a degree in Graphic Design. Along with my increased understanding of typography, such as anatomical terminology and cultural context, I have learnt that successful design is not easily arrived at. When designing, in this case a typeface specifically, it is inevitable that problems will arise. Coming up with creative solutions to these problems is what makes a successful designer. 

A good designer does not simply sit down at their desk and produce a finished product on the first attempt. I have learnt that to create something I am truly satisfied with, I must keep on experimenting, reflecting, critiquing, and pushing my ideas. A successful design must be considered from many angles. The purpose of graphic design is to communicate in ways other than language; if your design does not communicate the message you intended it to, it cannot be considered successful.

It is clear through personal experience and from pop culture that contemporary art has a negative reputation amongst some of the general public. It is seen as being for the few, not the many, which in turn leads those not involved to mock it.

A while ago, a friend gave me a set of postcards by Grayson Perry called 'Playing to the Gallery'. In these cards, Perry critiques the contemporary art sector and highlights the hypocrisy and pretentiousness of modern artists. I think his points are perfectly valid and I first I was taking a similar approach to this. 



However, the difference between Perry and myself is that one of us is a fine artist and one of us is a graphic designer. Artists may critique modern society, however graphic designers have a duty do something to enact change where they see fit.

My aim at first was to mock the exhibition for being haughty and inaccessible. However, through research and development I realised that this was a counter productive approach and that it would be much more worth my time making the exhibition accessible to all. After all, the exhibition had a problem, and I as a graphic designer am a problem solver.

Thus my typeface Zugriff Sans was born. 
I would be lying if I said I was completely satisfied with it, but then again, I don't think creatives often are satisfied as we must always look at our work with a critical eye. Critiques I have of my typeface are that I certainly could have pushed it much further into unexplored territory, and it could definitely look more modern than it does.

However, my intention to make contemporary art feel welcoming to all through the medium of graphic design is, in my opinion, a success.
The visual language of so many galleries and exhibitions is cold and unfriendly. It says 'this isn't for you, sweetheart'.

The work I have created for BNC invites everyone and anyone to be a part of the exhibition through it's playful friendly design. It still maintains a level of sarcasm with the stylistic 'O' alternative, which speaks to those who are already fans of contemporary art without being intimidating. It is unclear who is the butt of the joke here, which makes the point: why should anyone have to be the butt of the joke? Art should be for all, no matter what their education, age or background.

Presented in an unpretentious booklet on humble recycled paper and hand bound, the type specimen makes it clear that money is not important when it comes to having good taste. The contemporary layout of the specimen enforces though that, though this might not be high end, it is certainly an informed piece of work and should not be questioned.