Introduction
Power of print has been enormous in our society. It has contributed to the power of thought, altered human behavior, encouraged individualism, political weapons and promoted advertisement among other important aspects.
This paper describes the relationship that exists between societal mood and printed design. In fixing the connection, the paper will describe the importance of Print in the modern age. It will also assess the impact of printed matter in the future and help to uncover its viability. Consequently, the paper will identify how societal mood is being impacted by printed design.
The paper will also assess how print of the past has impacted on the society in ways such as; altering production, distribution and assimilation of information, influencing public opinions in the society, politics and encouraging creativity. Besides, the paper will help to find out the importance of graphic style and how it helps to shape viewers identity.
Also, by using three case studies i.e. the work of Society Era starting from Oktober Revolution, Work of Henryk Ross in the Lodz and British Punk of 1970s to early 1980s will be analyzed in great detail. The people involved and their contribution of the work to the society will deeply be analyzed and assessed.
In Conclusion, print has been a vital instrument in creating influence and communication among the population. The work of early pioneers in graphic design has continued to shape the society therefore influencing the role of political prints.
Power of Print in Modern Age
Digital revolution has fundamentally altered the way in which prints are printed, inventoried and shared. Internet and TV among other recent digital inventions have transformed how print media is affirmed and exploited because of how it deluges users with fast varying pictures and scenes. Digital technology has simplified and made it cost-effective method in coming up with quality and reliable print materials.
The power of print in our modern age is varied. One of the impacts of print technology shaping our modernity is the supremacy of thought. Print allows thoughtful skimming of printed matter therefore altering an individual thought process. Edensor (2002, p.164) notes that “a knowledgeable man” withstands parting of his innovative, emotive and lucidity of life. It is by this parting that allows thoughts to be logical and distinct than or else it would have been. Edensor (2002, p.130) However, explains that it is believed that logical thoughts subsidized growth of print art, music, literature and printing press. In a society where print dictates, public exposition predisposes to be proprietary by clear, logical process of realities and thoughts. In this society, the public has the aptitude to understand the dialogue.
Secondly, the power of print in our modern time is impacting human behavior. Printed material has contributed to altered human behavior which in turn has affected human existence. Besides, printed material has increased debates about the issue of phonography in our culture. However, producing educational and other intelligent written materials has had worthwhile effects on society as a whole (Edensor, 2002, p.111). Printing makes information available to all generations, though it needs to be complemented with necessary artistic and political settings making literacy essential for all.
Thirdly, the power of print communication has contributed to individualism and uniformity in society. Print is “knowledge of individualism”. This means that print technology began as a practice of inaudible appraisal by making printed resources easily available to individuals. The technology process promotes individualism in the printed book. This is in the sense that a book or any other printed material is read inaudibly and alone, it cultivates an intellect of personal solitude which is a typical of modern society. Moreover, print intensifies governmental impact, literacy, and backs in merging populations which supports nationalism.
Fourthly, print power has been influential over the ages. Edensor (2002, p.151) describes the British government had to be firm to inhibit the supremacy of print media. For example, they introduced strong actions for print media such as setting up Bengal Press act. Words in various broadcasts media thrive in time and die quickly, but prints strive to give history of a lifetime, Newspapers are indispensable part of human life. Newspapers have transformed to detailed magazines that form part of entire family be it a mother, father, kid or grandparents. New technology makes it easier for prints such as newspapers to be incrusted with enticing graphics, colors; engulfed with pictures they present a message in a more convincing mode (Edensor, 2002, p.118).
Lastly, prints strengthen a continued reception of information and thus allow advertisement to have a long-term and an intense effect in the society. Besides, the reliability and appropriateness of addressing definite target groups is connected to the print selected as part of media combination.
Print and the Future
Digital technology is revolutionizing how print and associated materials are being produced and delivered in modern times. The future of printing considers moving from typical printing to electronic printing and distribution therefore putting print to future uncertainty (McGuigan, 1997, p.37).
If we can analyze briefly the current trend in print and printed materials can help us understand the future. Presently, there is low consumption of print media. Newspapers and magazines are besieged with the conquest of expanded consumption of substitute media. Also, news magazines do not carry breaking news any longer, they have been involved in covering subjects such as health that influences the lives of human beings (McGuigan, 1997, p.88). In addition, there are uncultivated markets and niches. A potential still exists for low price prints. Printed materials will tend to magnify in unexplored areas of circulations.
Also, newsmagazines do not carry breaking news any longer, they have involved in covering subjects such as health that influences the lives of human beings. Thirdly, there are uncultivated markets and niches. There still exists a huge opportunity for low price prints. Prints will also expand in unexplored niche circulations (McGuigan, 1997, p.37).
The future of print media will completely make use of online opportunities that exists to reach more people. It is believed that in 20 years, people will not be interested in reading printed papers such as newspapers, they will recognize getting news in a technology based platform such as e-books and online. Digital technology will have more dominancy over paper. The future will entails watching TV, movies and using eBooks as a computer (McGuigan, 1997, p.179).
Besides, there is increasing digital technology such as Kindle and others which will play a significant role in influencing printed matter in the future. The technology will make it easier form people to access information remotely therefore a revolution in printing world. Besides, digital devices will also be used more often by younger people. Younger generation will use less time with printed media such as newspapers and magazines. The pace of technology innovation has been fast than was expected and this has contributed to loosing paper reader’s everyday (McGuigan, 1997, p.112).
However, it is believed than printed paper will still used to play a small role in the future than is being experienced today. The future will entail production of quality colored and black photographic prints; thus will enhance typography. Besides, newspapers and magazines with attractive artworks and stylish designs and satisfactory typography will still be printed in the future. Future magazines will be low-priced to consent readers with low income to access technology.
The Future of print will employ a different trend because of arrival of digital revolution. TV, electronic media and internet are fast developing as a major, entertainment as well as a platform for information distribution. Print Media is blending its role as suitable information platform.it is likely in the future that internet and TV will meet the demands for bulky magnitudes of increasingly available information (Urry, 2000, p.76). However, Printed materials will progress to content the long-term wish for high value and viable information at a slower, slowed speed.
Impact of Societal Moods on Printed Designs
Social interactions on printed designs have been part of the society throughout history. However, in recent times, greater interaction has been common. Technological advancement and comfort brought about by technological has influenced societal moods on printed designs.
Society can express their moods in different ways because of technology and thus impacting on printed designs. Thus, printed designs have been significant in highlighting societies’ moods in areas such as; fashions, music and civilization. Besides, printed designs have contributed to improvement of societal mood by providing an opportunity in which the society can regulate and vent emotions.
Teachings of Past Prints and the Society
Over the ages, Print has impacted on the society in various ways. Past prints altered how information was produced, assimilated and distributed in the society. Print compelled the society to propel in the right direction, and perform their daily chores such as health, work, travel, and build relationship among other duties.
The first impact we can learn from past prints is that, they were forms of entertainment in the society. Past prints such as the British ephemera and punk of the 1970s and 1980s show how prints shaped the entertainment in the society (Urry, 2000, p.67).
Secondly, past prints can make us certify that, prints influence public opinions in the society. Print impacts the society and shapes public opinions in various ways basing on the objective. For example, the British punk of the 1970 and 1980s helped to influence the society and shape the influence of Thatcher government. Various issues explained through prints such as mass employment and miner’s crisis among other issues encouraged public opinions about the problems of the time (Urry, 2000, p.179).
Thirdly, Print of the past can help us learn that, politics is closely connected with printed materials. For example, the British Punk and ephemera of 1970s and early 1980s were significant in influencing political establishments in Britain. Any fixed associations for example political parties, organization or any political units disseminate their message to the society by using print. Posters, banners and other ephemera can be credited right back from the past and have continued to shape the political associations of our modern times in political advertisement.
Fourthly, creativity was important aspect of the society. In designing prints such as posters and other graphics designs artifacts, the society embraced the power of creativity that was imminent in the society. The importance of creativity was part of innovation to influence designs which were appealing to the societal need, proper application to address the intended message was valued (Gladwell, 2007, p.95).
Graphic Style and Viewers Identity
Graphics designers influence how a society is shaped and strengthen viewers identity on how he or she choses to pass or communicate his or her message. Often when graphic designers have an important message to communicate, they use a method they feel comfortable to disseminate the message across to shape the spectator identity. They employ visual communication tools such as posters, symbols, colors and others to reinforce the viewers’ identity. For elections and political reasons for example, politicians and their parties normally needs the mass to understand their policies and manifestos to boost their victory.
Apt and catchy graphic style therefore contributes to shaping the party therefore helping in modeling the party image and view among its adherents (Gladwell, 2007, p.2). Graphic style gives graphic designers an exception in customizing their creativity to influence and profile viewers. This is in cases such as; employing use of nonpartisan posters, videos and other print Medias to encourage people participation in a given process such as voter registration, or political advertisements.
In presenting viewers identity and impelling mass, graphic style should be build on a consistent policy which supports artistic and helps to bring out a clear picture of a product, person, group or organization identity (Gladwell, 2007, p.3).
Power of Print in Design
Print commands significance authority in modern world. The first importance influence of print in design is the power related to “symbolic” roles. Many cultures recognize use of print and art as a form of rites, dances and decrees as form of a symbol and this in turn influences design.
Secondly, print encourages the power of imagination, Print allows individual to exercise imagination in a non grammatical style that is not linked to formality of written or spoken words. Words inspires use of a predefined structure, and posses a defined meaning, print provides wider forms, ideas, symbols with a varied meaning (Cialdini, 2009, p.12).
Thirdly, print encourages society to experience mystery in design. Print makes an individual to experience self-towards universe. The experience comes unenthusiastic as one embraces poetry, art or music.
Lastly, print encourages commercialism. The power of print in design encourages propaganda and therefore contributing to influencing popular ideas. For example the art that influences sell of a product may alter emotion and mood. The purpose of print is to influence the viewer into a certain psychological or emotional reaction to a precise idea (Colls, 2009, p.8).
Soviet Era Graphic from the Period of the Oktober Revolution
Constructivism was associated with Soviet graphics during the period of Oktober revolution. Constructivism was an artistic and architectural undertaking that was created in Russia in 1919 (Colls, 2004, p. 124). The Constructivism’s precluded “Art for Art sake” but favored art as a practice that was directed towards strengthening social harmony. Constructivism ideas have sporadically persisted in other art activities since (Colls, 2004, p. 292).The success of Soviet Era graphics can be credited to several individuals who embraced constructivism.
Max Bill
Max Bill was one of the pioneers of Constructivism’s art since his early days. He was a flexible artist, painter, industrial designer and an architect among other talents he owned. Max in 1953 established Ulm School of Design which incorporated art and science. The school embraced semiotics as an aspect of studying arts.
Bill influenced Swiss graphics and print designs in 1950s. His theoretical writing and progressive work was significant in providing a strong ground for modern art. Besides, his personal connection to modern movement granted him distinctive ability (Colls, 2004, p. 82). As a commanding engineer and designer, his work was characterized by clearness of design and defined scopes. Bills work which embraced clearness of design included; clocks and stylish watches which he designed for Junghans.
Besides, he designed Max Bill Kitchen Clock. The kitchen clock incorporated a mechanical timer. The kitchen clock was an important early art tool to be put in production. Other significant artworks deliberated by Bill includes; “Ulmer Hocker”. Ulmer Hocker was furniture used either as side table or shelf. Bill designs and creations visually embraced physics and mathematics of the 20th century. Bills artwork incorporated elements which inspired form science which influenced people’s minds. A famous example of his work embracing this is the “Mobius Strip Form (Colls, 2004, p. 294).
Rodchenko
He was one of the founders of constructivism and Russian design. He was influential, productive and constructivist’s artists to ever exist after the Russian Revolution. He concerted in graphic design before concentrating in photography and photomontage (Curran and Seaton, 2003, p.245). Rodchenko photography was socially appealing, original and divergent to a painterly artistic. Rodcheko was concerned with a need of methodical and standard established photo sequence; he therefore took photographs of his subjects from funny angles which were either at high or below ground. This was to surprise the viewer and to delay recognition. His major printed photomontage was one picturing “Mayakovski” poem, the poem was entitled “About This” in 1923. His photographs were in demand for covering journals.
The characteristics of Rodcheckos photographs included; they had clear details, underlined dynamic diagonal structure and incorporated moving objects in space. Rodcheckos influenced graphic design in much of the 20th century. His influence has aimed to influence modern prints and graphic designers, it is impossible to single out the designers whose impact has been felt. Besides, his Dutch Punk band called the “Ex”, cover page of Mike and the mechanics known as the “word of mouth” continued to shape his work.
Joseph Muller
Joseph is regarded as the father of Swiss Graphic Design. Joseph had a deep influence on design related to vocation and education. His professional contribution in graphic design has made him a recurring figure in periodicals and design books. He is attributed for using design tools such as; sans serif, objective photography, lack of ornamentation and adherent to use of grid (Struk, 2004, p.218).
His ideas were modeled on abstract ideas for example in his “Zurich Tonhalle Concert “posters. He suggested that music is part of abstract art and thus should be interpreted abstractly and by relying on rules, guidelines of grids and typography Graphics designs of Joseph incorporated strict beliefs in design. His convictions influenced his clients for example; he influenced Rosenthal China to let her factory built by Walter Gropius in 1960. Besides, he effectively managed to persuade Max Weishaunt to start collecting useful and solid art (Struk, 2004, p.18).
Common themes in Joseph work involved; avoidance of emotions, disciplined use of grids, impartial photography, avoidance of rhythm, mathematical composition, harmony, constructivism and geometric elements. For example, his work, Beethoven poster of 1955 shows clear incorporation of the latter mentioned elements. Some of Joseph work like “musicality of the design” which evokes the link between music and the viewer by suggesting his solid art.
Moreover, the Zurich Tonhalle Concert poster also contributes to Josephs’ knowledge of advanced and strong musical posters that precisely captures the core of Zurich solid painting. The process of successfully integrating grids supports the significance of its simplicity of use.
El Lissitsky
He was a Russian photographer, designer, artist and typographer. His career was spiked with a strong belief that an artist can be a cause of change. Some of his important work includes: creating Proun. Proun was a series of geometric and abstract paintings (Herman and Chomsky 2002, p.104).
El Lissitsky embraced Proun as an assessment of visual art of supremacy with three-dimensional features. He commonly employed dynamic axes and various viewpoint; which were rare ideas in suprematism. 2D forms were commonly used in Suprematism at this age embraced; 2D shapes, flat forms. El Lissitsky taste for architecture and 3D ideas helped to expand suprematism beyond this level. Prounen bridged more than a decade, it was transformed from direct canvases and lithographs to a 3D dimension systems.
Proun established a new basis for future investigations in structural design and exposition. El Lissitsky broadly combined basic elements such as color, space, rhythm, volume and mass. However these elements were continuously refreshed to be in line with new theory towards new suprematist ideals (Herman and Chomsky 2002, p.112). By Prouns, Utopian models were developed creating new and a better world, he summarized this design as “task oriented creation” which meant the art was socially defined. El Lissitsky incorporated Jewish themes and cryptograms in Prounen; besides, he extensively used Hebrew letters in his graphic codes. Some of his notable artwork includes; cover page of “Arba’ah” book which was produced in 1922. The book display apt combination of Hebrew letters that inspires architectural features in a lively design that echoes contemporary Proun composition.
Stenberg Brothers
The revolution of Russia which ended in 1917 and inaugurating of Soviet Union in 1922 was a significant era in influencing propaganda for the Bolsheviks. This contributed to a boom in several Russian film and movies production during the 1920s and 1930s as well as imports from abroad (Struk, 2004, p.139). Georgii and Vladmir Stenberg were brothers. They studied engineering and applied their skills in theater and influencing costume design, architecture and sculpture.
They influenced and revolutionized film and moviegoers by creating appealing posters which accompanied movie and film enthusiastic. The work of Stenberg brothers was a fusion of constructivism and Dadaist photomontage (Herman and Chomsky 2002, p.324). They applied creativity and unique approach of innovating new and original images. For example, they used evocative than descriptive fashioned to represent movie with expressive geometric, typography and simple illustrations.
The Stenberg brother’s had distinct skills of recreating images and photographs by hand. This was as a result of limited printing processes that could not reproduce black and white images and photographs to binding size of their posters. Besides, Stenberg design work included; gamut for apparels; this comprised of rail carriages and women shoes (Struk, 2004, p.69).
Stenberg brothers embraced originality in graphic, costume graphics and theater, which revolutionized the establishment and production of film posters. The surging interest in movies and the role of government sanctioning of cinema and graphic design provided an opportunity for Stenberg brothers to influence the society.
Political revolution and artistic research in Russia coincided with Stenberg brother’s era. In this era, there was a swinging role of artist from being an illustrator as a creator to a constructor as a creator. Stenberg brothers collected imageries composed of pictures and preprinted papers that were already archived by their associates. From these collections, they realized new images which were no longer part of realism. So, graphic design as a modern expression of abjuring ordinary fine art was created in form of printed reproduction of collage (Struk, 2004, p.85).
Stenberg brother’s was successful in movies and films because of several reasons. Some of the reasons for their success comprised of they owned enormous talent and apt knowledge in film theory and graphic design. This was because of their involvement in; Malevich suprematism, constructivism and the avant-garde theater. Secondly, the Stenberg brothers embraced aspects of visual innovations in their work. Innovations brought about distortion of perspective, exaggerated scale, and sense of movements and dynamic use of color and typography which were later embraced and copied by others. The characteristics of Stenberg work was often based on still depicted on the films. Some of important works of Stenberg brothers’ photographic work includes; the Punch and Doctor Jack among other famous photographic works (Struk, 2004, p.93).
The work of Henryk Ross in the Lodz
The work of Henryk Ross in the book Lodz has influenced the society in and printed materials in several patterns. Henryk was born in 1913. He was a respected press photographer before the World War II in Poland. His roots as a Jew made him to be imprisoned because of invading Germany in Lodz, the largest and famous ghetto after Warsaw in Poland.in Lodz; Henryk became one of the two official photographers (Struk, 2004, p.41).
He was in charge of production of identity and propaganda photographs for its statistics department. Henryk duties allowed him to easily access film and processing facilities. Taking an advantage of the facilities, he could create unique account of ghetto life and recorded in form of thousands prints and negatives. Besides, he secretly photographed the outrages of Lodz and involved in making family and group portraits of ghetto elites. When Germans embarked on liquidation of Lodz in 1944, Henryk buried an archive he had collected; it is believed that it was about 3,000 negatives. After the war and survival from holocaust, he had lucky to recover them (Struk, 2004, p.84).
He circulated his postwar images showing horrors of Lodz, this included personal books and testimony followed the trial of Adolf Eichman. He however was not interested in domestic photographs which have gone unprinted to present-day. Henryk had a great passion for documentation and thus his photographic work was well documented. His photographs were unique and portrayed visual evidences ghetto life.
Henryk photographic images and prints could clearly show; society working under authority, which was a problem of policeman wearing a yellow star on their uniform, strange pictures of Jews waiting on quaysides on their way to Auschwitz (Struk, 2004, p.17).
Besides, Henryk Pictures displayed real life experiences (Struk, 2004, p.179).
The photographic work of Henryk shows the society experienced hardship and that happiness and joy was far from them in ghetto. Photo work of Henryk helps to point out how Germany cruelty and extend of holocaust had a great effect on the ghetto society. Besides, the photography shows how Germans with their war machines within this period managed to overpower the holocausts.
Political Realism and Idealism
Political realism rejects the importance of values and ideals, however, it upholds a careful, unemotional, deliberating on the balance of quantifiable forces, together whereas understanding culture, history and economic of societies comprising global system. Idealism is exasperated and is mostly made up of self-enforced restraints.it decodes to movements for system change.
Realists evaluates strategies by aptitude to endure in pursuit of an objective in phases. The adherents of idealisms arches away restraint’s thus concentrating on final goals, they discard provisional discussions of possibility with its predictable geopolitical ingredient. Whereas, a realist follows symmetry, idealists strive for change this is the reasons supporters have contributed to more disturbances and anguish than political leaders. Henryk work in the Lodz influences how Print shapes political idealism and realism. The power of print, symbols and visual images helps to define the society attitudes on issues affecting them. It is the visual culture that allows the society process in determining social, economic and political occasions and how the society responds to these events (Chomsky, 2003, p.23).
Henryk realized the power of print and printed materials by having a collection of his photographic work during the holocaust and war period. This provided a foundation for socialist realism which dominated the society art and brought about civilization in European culture in following years. Print power and symbolism still holds a formidable place in the society today. They hold a specific and universal associations contributing to substantial political baggage devoted to them.
British Punk ephemera of late 70’s and early 80’s
Movement that existed prior to British punk was well-defined by the power of posters. TVs, daytime Radios struggled to be heard in the ordinary press. Posters gave a fitting and effective free “means” for products to influence the republic. Most Collections done in the 1970s and 1980s incorporated fliers, fanzines and other ephemera and they clearly suggest a fascinating Polaroid of Britain during that time (Colls, 2004, p.146).
Polaroid showed Britain endemic with detachment which was gradually emerging to realism of its dwindled prominence because of postwar world. Punk Rock contributed to an exhilarating and invigorating infusion of women and their points of view into a realm that was in the past conquered by male crotch. For example, the Delta 5, Penetration, Au pairs and Crass are just a few examples. Besides, Punk Opened songwriting into fictional field, but the political was rocks last violation of conquering.
The “Gang of Four” was one of the bands to openly assault the structure. The “Commodification of sex”, assessment of the “Great Man” hypothesis, disgust with the culture of such pervading dehumanizing convention and set of laws, scandals of those in authority and profiteering of the entertainment business were some of the significance themes attacked in Punks albums (Colls, 2004, p.151). Punks was a medium which was used to make powerful political statements for example, Punks could help people learn about the oil crisis. Besides, it provided liberation and gave hope and fulfillment in people’s life.
Jamie Reid
Jamie Reid is worldly known because of his graphic artist and pioneering work of punk and sex pistols. He is an anarchist British artist with strong connection to Situationists. Some of Jamie known artistic work includes; Sex Pistols, Never Mind the Bollocks, Heres the Sex Pistols” and the famous single “Anarchy in the UK’ God save the Queen, which was created on queen photography. In 1997, Jamie produced large numbers of which was seen as the twentieth century birth of the punk rock. Besides, Jamie has produced artwork for world music incorporating Afro Celt Sound System (Colls, 2004, p.156).Jamie has continued to use Situationist method in his artistic work as seen in the Sex Pistols. The diverse feature of his work has shown us how we can consolidate our dynamism and mysticism. It is interaction between Gnosticism and difference that makes Jamie heart a great English avant-garde artist.
Jamie distinctive vision speaks and outlines some of the important issues that are present in our times. Her progressively attacks our civil authorities and collective common spaces with fervent resentment and unrestrained humor and shows us ways in which we might restructure our political and divine possessions (Colls, 2004, p.161). This is the duties of Jamie art such as the lightning rod and returning to earth so we might share the work of healing.
Linder Sterling
She is a great artist of all-time. She is credited in to punk ephemera of 1970s in Manchester, UK. Linder’s photomontages pictures acted as covers on music albums such as; “Organism Addict”. Linder artistic style was characterized by images of nude women. This approach has continued to embrace the feminist politics across the globe (Chomsky, 2003, p.33).
In “Pretty Girl photomontage” of 1977 series, Linder used pictures from porn magazines and in 1980s she came up with montage images which she called “Myself as a Found Object” she hide her face by casing with a plastic fragments. Besides, she co-founded a post punk group called Ludus in 1978 and endured to be an active singer of the group until it split in 1983 (Chomsky, 2003, p.12).
Linder was responsible for planning of the bands covers, sleeves and postured for elegant an artistic photograph which was used as covers and sleeves for Ludus and “SheShe booklet” which followed Ludu in 1988. Although analytically celebrated, Ludus never realized a significant marketable success (Chomsky, 2003, p.8).
Linder was also active in performing arts. Some of her artwork was made up of; artifact, movies and photography. Her preforming art is centered towards themes such as religious and non conformism, ecstatic states, female divinity and outsidedom.
Linder performance art educes famous figures such as; St Clare of Assisi and Mother Ann Lee founder of Shakers.
Zine
Zines are printed in various designs. They range from handwritten to computer printed text. Print is one of the most popular Zine formats which exist. Zine continues because it is usually photocopied in small quantities and circulated (Herman and Chomsky, 2002, p.268). Zines covers various topics. They include; politics, fan fiction, ephemera, art and design, personal journals, social theory or sexual content which is far enough and outside typical to be extreme of presence in more old media.
The characteristic of Zines is that small circulations are occasionally harmonized with revenue from its sales. However, there is a belief from Zines developers the materials made of Zines should be freely distributed. Photocopied Zines have gained professional prominence in modern society (Herman and Chomsky, 2002, p.9). Zine are readily available in modern bookstores and online circulations. Example of Zine materials which have gained prominence in the recent years include; Bitch, bust (magazines), Giant Robot and Dazed and Confused.
National Front and Queens Jubilee
In a political setting, the British Punk ephemera and posters showed a rise in printed materials such as posters, banners and advertisement (Herman and Chomsky, 2002, p.152). The upsurge of National Front was recorded over its provocative literature. Their artwork was popular for publicizing “Rock against Racism”. National front was an opportunity for artists and graphic designers to espouse punk’s stark and graphic flairs to induce young enthusiasts. The print brought about a revolution that altered national front structures which later influenced the wider British society.
Punk’s power was contagious. The Queens Jubilee focused on loosely allied faction of female outcast. It aimed at promoting unity, unlike the revulsion of convention that had followed during the dark violence era of 1960s.The film describes the political role of Queen Elizabeth and the how she viewed the future of England (Curran and Seaton, 2003, p.334). She gets unexpected sympathy with female rebels. The Queens jubilee to a larger extends influenced the 1970s punk style and artistic presentation.
Margaret Thatcher and British Punk
Mrs. Thatcher rose to power during the height of creative period of Britain music. The reverberation of the Punk rock drive experienced its first stirring in Britain during the reign of Thatcher though it had began three years back before she assumed power (Curran and Seaton, 2003, p.266). Thatcher Reign was a creative era for “complaint” music documented in Britain rock acts. The act was caused by several political and social reasons. A commanding show of dissatisfaction summed up the revolutionary attitude of a portfolio of UK music performances during Thatcher’s reign in Downing Street.
Besides, other issues such as high employment rate, Falkland war, miners strike and racial tension in inner city gave a motivation for a class of civically inspired artists to aperture their resentment (Colls, 2004, p. 160). Domestic grown protest music expressing issues of younger excluded audiences thrived. Some of the proponents of this music include; Clash, whose inauguration album rose with songs of urban blot and ethnic dissonance. Further, other politically inclined groups such as Tom Robinson Band employed an attitude of inhibited resentment liberating that would describe electrically indicted atmosphere in late 1970s (Curran and Seaton, 2003, p.92).
Conclusion
Political prints played an important role in influencing society in earlier times. Besides, the influence that printed designs and the role of early graphic designers has strived to shape modern society. The technological advancement such as digital printing will revolutionize how printed materials will be presented in different platforms in the future.
References
Chomsky, N., 2003, Media Control: The Spectacular Achievements of Propaganda, New York, Seven Stories Press.
Cialdini, R. B., 2009, Influence: Science and Practice, Pearson Education, New Jersey
Colls, R., 2004, Identity of England, Oxford, Oxford University Press.
Curran, J., and Seaton, J., 2003, Power without Responsibility: The Press, Broadcasting, and New Media in Britain, New York, Routledge.
Edensor, T., 2002, National Identity, Popular culture and Everyday Life, Oxford, Berg.
Gladwell, M., 2007, The Tipping Point: How Little Things Can Make A Big Difference, Ohio, Findaway World Llc.
Herman, E. S., and Chomsky, N., 2002, Manufacturing Consent: The Political Economy of the Mass Media, New York, Pantheon Books.
McGuigan, J., 1997, Cultural Methodologies, California, Sage.
Struk, J., 2004, Photographing the Holocaust: Interpretations of the Evidence, London, B.Tauris.
Urry, J., 2000, Sociology beyond Societies: Mobilities for the Twenty-First Century, New York, Routledge.