Grids for study task two

Initial Grid ideas 

Maps of India and Bangladesh 

These grids could work in order to communicate the idea of moustaches in Indian culture, and the association with wars. I could possibly use the the road structures as a grid in order to convey a sense of journey/movement. 

Hair follicles 

These grids would be interesting to use for the scientific aspect of moustaches, but I'm not sure how I could link them to my research so far. 

Brahman and the Caste system 

During my research, I found out that Hindu cultures in India disallow low caste people to grow moustaches, as they are a symbol for wealthy, high caste people; it would be a good way to convey the exclusivity of the moustache in India through using the imagery of the god Brahman as a grid, as he is recognised as the creator of the caste system in India. 

Further symbolism 

Further into my research, I thought it would be interesting if I used swan imagery, as in Hindu iconography the swan represents the high caste.  

For Friday I am going to experiment with these grids and see if I can create some poster structures using them; I'm not sure how I will manipulate the shapes, but the goal will be to create a symbol. 

Study task one recap

Working with physical collages 

I used a ripped effect to add to the sense of shaving, akin to the links to my theme of moustaches; I like how it adds a nice barrier to the images, and creates a nice structure. Additionally, I played with the idea of using ripped bits of paper as shapes for moustaches. 

Digital developments 

This poster plays with the idea of military badges; I like its' inclusion of negative space, and definitely want to develop this approach further. 

I decided to also play with the traditional sense of male grooming, so created a collage of barber shop images and razors; I added a halftone effect alongside inverting the images, which looks quite striking as a poster. What I like about this is how the poster isn't obviously portraying the idea of a moustache, and is somewhat a puzzle. 

I also created a few posters with images from the Bangladesh Liberation War, which portrays the idea of war associated with moustaches. This concept is going to be developed, as I want to play with negative space further. 

Crit feedback

 

The ideas from my crit feedback that I think I will delve into are the approaches to using images of women with moustaches, and I could possibly try illustrative approaches to challenge this idea of masculine femininity. Additionally, I really like the idea of replacing weapons with razors, as it adds a sense of humour/irony to my project. 

Next steps 

Following this study task, I have figured out what works and what doesn't regarding how I want to communicate my ideas. For example, I think that images without a halftone effect don't have as strong of an impact, so I definitely will continue this approach. Additionally, I think a lot of my current work is a bit chaotic and I could ideally strip things back and introduce more negative space. 

I have been suggested to add rectangular shapes in replacement of moustaches and replace weapons with razors in my crit; I think this will add quite a funny outlook to the seriousness of war, so I think I will test this approach out. 

Negative space studies

Negative Space 

 I was suggested in study task one to develop the idea of the use of negative space to create drama associated with war and moustaches. I did some simple research on these principles of the role of negative space, to summarise my intentions. 

Initial tests 

I actually like the effect that these poster concepts provide, as they create a certain depth and simplicity; I can see them working well in the context of a large scale poster. I decide to use some simple images associated with my object, and I think I could improve on composition more, yet I will explore this in study task two. 

Bangladesh Liberation War research

The association of war and moustaches 

Throughout my research, I have seen a key theme in the idea that moustaches have been atypically associated with war and the stereotypical concept of masculinity. India is a key point in this idea, as in their culture clean shaven faces are deemed juvenile or weak. Additionally, in police forces and the military, moustaches are recognised as a symbol of authority. In order to feature these references to war and Indian culture, I decided to research some key historical wars to portray in my work.

The Bangladesh Liberation war

The Bangladesh Liberation war was a revolution and armed conflict sparked by the Bengali Nationalists during the 1971 Bangladesh genocide. The war involved the mass murder and genocide of Bengali civilians, students and religious minorities. 

Initial independent artist research

William klein 

I was really interested in William Kleins' photography for this project, as not only are his images a prime example of good black and white photos, but they have a street style/honest approach. His work relates to my initial ideas of the Oripeau project as they feature a high contrast style, which works really nicely in a graphic context. I really like these images in particular, as they capture stereotypes of masculinity and femininity; highly suitable for my object being the hyper-masculine associated moustache. 

Sol Le Witt 

I was suggested to look at this piece as it explores the idea of differentiating shadows and light but with the same object; it would be interesting to do this with moustaches on somebodies face, by altering the angle of the light. 

John Stezaker 

John Stazakers' work features this approach of layering images which provide a certain juxtaposition of masculinity and femininity. I like how these ones in particular experiment with the idea of this contrast, which is an element of my research that I would like to explore in my own work, e.g. women with moustaches. 

Study task one for the Oripeau project

A list of words based on the object 'moustache'

Masculinity

Mane 

Strand 

Whiskers 

Bristle 

War 

Class 

Revolutionary 

Character 

Authority 

Handlebar 

Cowboy 

Horseshoe 

Toothbrush 

Imperial 

Chevron 

Initial Images

I decided to take some simple flat lay images of the moustaches, just to capture general shapes and silhouettes. It was a bit of a difficult object to make work for a flat lay, as they didn't have much detail to them.

In my pair, we decided to look into the context of moustaches and the gentrified aspect of the concept of the 'gentleman'; we did so by visiting a barber shop and taking some images of their craft of moustache care.

The barbers had a feeling of traditional mens' beauty/care, and encapsulated the idea of wealth I discovered in my research.  Some of these images would work nicely in a collage approach to the project.

Collage materials 

I used images that we took on the scanner to play with distortion and collages; I developed a ripped effect to create shapes atypical to moustaches, and stuck these in place of moustaches for an accentuated approach. I opted to explore the juxtaposition between femininity and masculinity by having the collages feature women with moustaches, which challenged the idea of moustaches being associated with power and authority. 

Symbolising War 

We decided to create a mocking image of the idea of the association of moustaches with war; altering uniform badges with moustaches to symbolise this masculine concept. 

Editing images to poster compositions

I made some edits of these images appropriate for the composition of the poster design, as well as using the Oripeau black and white format. I like the idea behind these images, but they don't have the professionalism that the project demands as the actual uniform does look very childish/ not cleanly executed. 

It would have been nice to continue this experiment, but the process of physically making badges from hair was very time consuming, so I won't continue it further. However, for the study task I still want to explore the idea of symbolism in war and the relationship with moustaches. 

Colour theory gif crit feedback

Crit Feedback 

The general theme of my crit feedback was to improve my rationale as it lacked detail on Ittens' theory and our decision to use this colour theory. However, the crit did reflect the successfulness of how the gif conveyed this theme practically. 

Icons, Indexes and Symbols

What is an icon? 

A physical resemblance to the object, e.g. an image/drawing.

What is an index?

Referential, shows evidence of what is being represented, e.g. smoke is an index of fire 

What is a symbol?

No resemblance to the signifier or the signified, something that has to be taught/learnt, e.g. letters or numbers. 

Initial 6 degrees of separation idea

Shigeo Fukuda (1932-2009)

Shigeo Fukuda was a sculptor, medallist, graphic artist and poster designer who created optical illusions. His art pieces usually portray deception, such as Lunch With a Helmet On, a sculpture created entirely from forks, knives, and spoons, that casts a detailed shadow of a motorcycle.

Fukuda’s trademark style developed from an early interest in Swiss graphic design and its stark contrast to contemporary Japanese work. The limited colour palettes and reductive line work remained at the heart of his work until his death in 2009. Testament to Fukuda’s skill was his induction into the Art Directors Club Hall of Fame in 1987 – the first Japanese designer to be awarded such an honour – who described him as “Japan’s consummate visual communicator.”

He later entered the Nippon Design Center in 1960 where he collaborated with other notable Japanese designers such as Shigeo Fukuda and Ikko Tanaka.

Link - collaborated with Shigeo Fukuda in the Nippon Centre in 1960 

Tandori Yokoo (1936)

Tadanori Yokoo is one of Japan’s most well-known artists, who began working with painting in 1966. In parallel, Yokoo’s early screenprints combined photographs with the influence of traditional Japanese ukiyo-e (woodblock prints) and pop art’s flat colours and overtly sexual content. Awarded the Grand Prize for Prints at the 6th Paris Youth Biennale in 1969, Yokoo experimented with collage and illustration, re-appropriating found photographs and images, which reflected on the rapid changes and Westernisation of Japan post-war society. His work became influenced by mysticism following his trip to India in the 1970s, resulting in posters with eclectic imagery sharing the aesthetics of the underground psychedelic magazines of the time.

Began as a stage designer for Avant Garde Theatre in Tokyo. His early work shows influences from New York based Push Pin studio (especially Milton Glaser), but he most notably cites filmmaker Akiro Kurosawa and writer Yukio Mishima. 

In the late 1960’s he became mysticism and psychedelica, likened to the psychedelic poster design Peter Max. 

Inspired by the work of Push Pin studio - links to Milton Glaser, and has links to New York as he was part of The Museum of Modern Art in 1968

Milton Glaser (1929) 

Milton Glaser is an American graphic designer. His designs include the I ❤ NY logo, the psychedelic Bob Dylan poster, and the logos for DC Comics and Brooklyn Brewery. In 1954, he also co-founded Push Pin Studios, co-founded New York magazine with Clay Felker, and established Milton Glaser, Inc. in 1974.

His inspiration for the  I ❤ NY logo was taken from Robert Indianas’ LOVE design, first appearing in 1965. 

Robert Indiana (1928-2018)

Robert Indiana was an American artist associated with the pop art movement. His "LOVE" print, first created for the Museum of Modern Art's Christmas card in 1965, was the basis for his 1970 Love sculpture and the widely distributed 1973 United States Postal Service "LOVE" stamp. 

Art born in the idealism of the 60s - psychedelic design 

Wes Wilson (1937)

Wes Wilson is an American artist and one of the leading designers of psychedelic posters. Best known for designing posters for Bill Graham of The Fillmore in San Francisco, he invented a style that is now synonymous with the peace movement, psychedelic era and the 1960s.

Used approaches that gave the illusion of images melting or moving 

Bridget Riley (1931)

Bridget Louise Riley CH CBE is an English painter well-known for Op art. She lives and works in London, Cornwall and the Vaucluse in France.

Op art, short for Optical art, is a style of abstraction that relies on geometric shapes, lines, and color juxtapositions to create optical illusions for the viewer. Gaining popularity in the 1960s, such art often feature patterns, grids, and effects like curving or diminishing objects. The Op art movement was driven by artists who were interested in investigating various perceptual effects.

Optical illusions featured in her work; similarities with Shigeo Fukuda which shows the westernisation of Japan following the war 

Moustaches in Eastern Cultures (India)

Moustaches and the Caste system in India

In India, it is frowned upon for low-caste men to grow moustaches, as they are seen as a symbol of the upper-caste and wealth. Consequently, in recent years, men sporting moustaches in the lower-caste have been attacked; moustaches have become a symbol of caste rejection, as men continue to sport moustaches regardless of their class. I could explore this symbol of defiance within my poster design. 

In Indian culture, moustaches mark individuals' religion and caste, much different to Western values. 

What is the Caste System?

Symbolism of moustaches

Moustache Symbolism 

During my initial research on moustaches, I picked up on a few key properties of their roles throughout history. I think that identifying the symbolism of moustaches will help me explore directions I can approach in my poster series, and what thematics to focus on. 

Association with Artists and Revolutionaries 

Charles Dickens, a somewhat recognised revolutionary, who challenged the Victorian status quo in his writings.  In a sense, his moustache can be regarded as untamed/wild, thus contributing the initial Victorian conception deeming that moustaches were uncouth and belonged to those on the fringes of society, e.g. artists.

War and Masculinity 

There was a change of heart in the Victorian perspective on moustaches, as following 1860, moustaches gained the reputation of representing an 'aggressive' soldier, masculinity and strength. It was enforced (1860-1916) that all soldiers had to have moustaches for this reason. This concept of strength and masculinity can be traced back to the first recording of the moustache in Ancient Babylonia, as a portrait of a warrior sporting a moustache was discovered. Furthermore, the association of moustaches with masculinity can be seen not only in the western world, as in Indian cultures, bare faces are deemed 'juvenile and unmanly'. 

Comedy 

Charlie Chaplin was famous for sporting a 'toothbrush' moustache, and stated in an interview (1933) that it added a comical appearance to his character and was small enough so he could still show expression. Additionally, the moustache was actually fake, and he stuck it on solely for the character. 

Cinema 

The 1950s' golden age of cinema saw the birth of the 'pencil' moustache, which gained the reputation of a suave, dapper man. Errol Flynn may be recognised as sparking this trend in Hollywood, as it shaped the 50's atypical 'handsome' man. 

Wealth and Royalty 

In Ancient Egypt, false beards and facial hair (known as postiches) were sported by Kings and Queens as a symbol of sovereignty. Additionally, the wealthy also plaited their beards with gold thread to show wealth. 

Women and Moustaches 

Princess Qajar 

Princess Qajar ruled Persia from 1848 to 1896, and was considered an icon of beauty in 19th century Persia due to her thick monobrow and moustache. Unlike many princesses at the time, apparently her farther trusted her and allowed her to go against tradition by learning to play the piano and becoming a photographer. In a sense, this concept of female beauty revolutionised what we consider to be the atypical beauty of women today. 

Frida Kahlo

Regarded as one of the most famous feminist icons, Frida Kahlo celebrated her facial hair within her self portraits, rejecting stereotypes about what is and what isn't attractive. 

“I am my own muse. The subject I know best. The subject I want to know better”

Moustache history

Origins 

What stands out in my initial research is the symbolism of moustaches in religion/cultures; in general, they seem to possess a symbolic nature of presenting masculinity and power. This even moves into their history during the 19th century British military, as it was made an actual requirement in the kings regulations that the ‘the chin and under the lip will be shaved, but not the upper lip'. This regulation existed from 1860 up until 1916, when it was abolished, and it was made aware that moustaches prevented gas masks from working during WW2. In fact, this association with moustaches and the military is the reason why the Amish are not allowed to grow them in their religion, as they are a pacifist group.

Moustache styles

It's widely recognised that there is an array of moustache styles from many different cultures, coming from famous figures such as Salvador Dali. Certain moustache styles have been tainted/ gained a bad reputation due to their wearers, such as Hitlers' moustache during WW2.

The Victorian Era

At the start of the Victorian Era, facial hair was regarded to be 'viewed with distaste', and was known as the mark of an artist or a revolutionary, which were on the fringe of society at the time. Between 1841-47, apparently only one member of parliament wore a moustache.

However, by the 1860's, this conception changed and facial hair grew in popularity, with it being considered 'manly'. This is where the birth of the military moustache came from, as it was believed that they represented a strong army.

Religion

Moustaches in Art

In 1954, Salvador Dali published a book dedicated to his moustache. 

Marcel Duchamp's L.H.O.O.Q - 1919. A parody of the Mona Lisa with a moustache which adds a moustache. 

Frida Kahlo used her moustache as an icon in her work, and often accentuated her monobrow and moustache in her self portraits.