Types of research:
My knowledge of the subject prior to the session was fundamental, considering the variables that I didn’t notice which distort the line between primary and secondary research.
Both research types in its purest form are a collection of information in a certain format. One being from personal findings while the other is from various sources. However, as the session progressed, I started to see that the two types can intermingle at times, to the point where one source can be both forms of research collection.
Take the source “50 Years of illustration” for example. An interview was conducted with Professor Lawrence Zeegen to address the impact of manipulating the book into an exhibition. You could say that if I was the interviewer, I’m collecting primary information at its finest from the creative mind behind the exhibition. On the other hand, Zeegen is the person who has been working from the visual representation of this book. His ideas and perception is always changing depending on how this book can be represented in an open space. Zeegen’s opinion would be different to someone who experiences the exhibition for the 1st time due to the fact that he has seen the progressive stages of the exhibition up until its completion.
It’s quite complicated to explain but in a basic sense, the interviewer is collecting primary research from a designer with a secondary evaluation on the subject at hand.
Style & Form
With the morning session, what caught my immediate attention was the lack of ethnic influences on in “50 years of illustration”. Why only Polish influences? why is it that examples of polish illustrations are significant enough to get a section while other influences are left out?
After reading the page, the reason for this was explained.
“The polish illustrated poster was pure poetry, seemingly unaffected by agendas of state or commerce.”
Polish illustrations during the late 1930’s couldn’t of been more expressive during a time of great constriction (that being the soviet invasion of Poland). This is a weak statement considering that illustration is always a practice of expression, but the page also indicates:
“While graphic artists and designers in the United States were free to virtually say anything in print, even the most renowned had to be slaves to their clients if they really wanted to earn livings”
The event at the time empowered polish designers with their work to have stronger meaning. In addition, they had no limitations as to how powerful the portrayed message can be. The political issues during the late 1930’s effectively gave designers in that region extra fuel to work with in terms of portraying ideas.
Still, why are there not similar examples of other ethnic influences? “The great wave of Kanagawa” influenced manga in Japanese culture. Yet, why is not mentioned? Stickman were the earliest representation of the human figure which were created by cavemen and tribals. Yet, why is it not mentioned?
I hope to find out in the upcoming CTS Session.