The professional fields of design and music have crossed paths for years. Each constantly fueling the other through visual, audible and emotional expression.
Design weaves itself into music through a number of different mediums: packaging, websites, posters, typography, logos, videos, fashion, and more. Entire visual brands are built around musicians in order for the artist to appeal to the correct demographic. Some musicians even require designers to elevate their aesthetic taste level.
Designers need musicians for an entirely different purpose. Not only is the music industry a promotion machine with dozens of print and interactive collateral; it's also heavily influenced by the ‘image’ the label or artist wishes to promote.
http://idsgn.org/posts/design-music/
One of the great attractions of graphic design is how it can bring you into contact with so many other fields of practice, areas of expertise and interesting subjects. As it is a staple ingredient in most forms of visual communication – whether for global superpower government, corporate multinational, campaigning NGO, art gallery, orchestra or travelling salesperson – it’s not unusual for studios of only four or five designers to be wrestling with at least twenty different subjects spread across half as many projects at any one time. Art, architecture, film, theatre, music, history, science, politics and literature, are just some of the subjects a culturally orientated design practice might be immersed in for clients such as museums, galleries and publishers. While in the corporate sector, designers become familiar with business practice in fields such as banking, insurance, pharmaceuticals, manufacturing, retail, the automotive industry, sport and government – to name but a few.
One of the great attractions of graphic design is how it can bring you into contact with so many other fields of practice, areas of expertise and interesting subjects. As it is a staple ingredient in most forms of visual communication – whether for global superpower government, corporate multinational, campaigning NGO, art gallery, orchestra or travelling salesperson – it’s not unusual for studios of only four or five designers to be wrestling with at least twenty different subjects spread across half as many projects at any one time. Art, architecture, film, theatre, music, history, science, politics and literature, are just some of the subjects a culturally orientated design practice might be immersed in for clients such as museums, galleries and publishers. While in the corporate sector, designers become familiar with business practice in fields such as banking, insurance, pharmaceuticals, manufacturing, retail, the automotive industry, sport and government – to name but a few.
http://www.eyemagazine.com/feature/article/the-steamroller-of-branding-text-in-full
WHY PEOPLE FOLLOW MUSICIANS BRANDS
WHY PEOPLE FOLLOW MUSICIANS BRANDS
http://designobserver.com/feature/graphic-design-criticism-as-a-spectator-sport/37607
"In a rapidly changing music industry bands and musicians find they can no longer just commodify their musical recordings. They also earn an income by connecting their image, meanings, values and performances to corporate brand building activities." - Nicholas Carah
http://www.tandfonline.com/doi/abs/10.1076/digc.13.4.193.8672
NEW MEDIA/INTERNET EFFECT ON YOUTH CULTURE/MUSIC
To study the internet as a culture means to regard it as a social space in its own right, exploring the forms of consumption and content production, and the patterns of online communication and social interaction, expression, and identity formation that are produced within this digital social space, as well as how they are sustained by the resources available within the online setting.
Youth have an opportunity to express online their “real” or inner selves, using the relative anonymity of the internet to be the person they want to be and experimenting with their identity and self.
The internet is often used to express unexplored aspects of the self and to create a virtual persona.
Digital Diversions: Youth Culture in the Age of Multimedia
"In a rapidly changing music industry bands and musicians find they can no longer just commodify their musical recordings. They also earn an income by connecting their image, meanings, values and performances to corporate brand building activities." - Nicholas Carah
http://www.tandfonline.com/doi/abs/10.1076/digc.13.4.193.8672
NEW MEDIA/INTERNET EFFECT ON YOUTH CULTURE/MUSIC
To study the internet as a culture means to regard it as a social space in its own right, exploring the forms of consumption and content production, and the patterns of online communication and social interaction, expression, and identity formation that are produced within this digital social space, as well as how they are sustained by the resources available within the online setting.
Youth have an opportunity to express online their “real” or inner selves, using the relative anonymity of the internet to be the person they want to be and experimenting with their identity and self.
The internet is often used to express unexplored aspects of the self and to create a virtual persona.
An alternative view is to see the internet as a cultural artifact, an object immersed in a social context, considering how the technology is incorporated in the everyday life of individuals and how it is used as a means of communication, expression, and content production within an offline social world.
http://www.iasc-culture.org/THR/archives/YouthCulture/Mesch.pdf
USER GENERATED CONTENT REDUCES THE NEED FOR GRAPHIC DESIGN
How internet has enabled design trends to reach critical mass in a very short space of time.
After Subculture: Critical Studies in Contemporary Youth Culture
http://www.iasc-culture.org/THR/archives/YouthCulture/Mesch.pdf
USER GENERATED CONTENT REDUCES THE NEED FOR GRAPHIC DESIGN
How internet has enabled design trends to reach critical mass in a very short space of time.
After Subculture: Critical Studies in Contemporary Youth Culture
No comments:
Post a Comment