Pusheen the Cat


Pusheen the Cat


collage of pusheen images


 Pusheen the Cat is a social media sticker set that was first added to the social media site Facebook. Pusheen was originally created in 2010 by Claire Belton and Andrew Duff for a comic strip on their website, Everyday Cute.

Although the character of Pusheen was around for three years before it made it’s debut on Facebook in July of 2013. The sticker set had a profound impact on me, as it was one of the first sticker sets and as a result ended up advertising the relatively new form of communication. It was the sticker set that brought my attention to social media stickers in general.

The original sticker set featured simple illustrations of Pusheen doing different actions, such as eating popcorn, wearing sunglasses and sitting in a box. A lot of the appeal to this sticker set has to be the cute appeal to the character design that entices people to use it.


Belton, C. and Duff, A. (2010). Pusheen the Cat. [online] Available at:
http://www.pusheen.com [Accessed 2 Nov. 2017].


 

Sketch Books: The hidden art of designers, illustrators & creatives


Sketch Books is a book by Richard Brereton which collates pages from over 40 illustrators and designers. Snippets from their sketchbooks are accompanied by quotes from the artists talking about how sketchbooks has affected their creative processes. It’s insightful to see how others can use sketchbooks to develop ideas and how they can act as a canvas to thinking outside of the box.


Dominic Del Torto


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Above is an excerpt from the book about a designer named Dominic Del Torto, who goes onto explain that he was a very serious artist as a child and would spend most of his time drawing and as a result he would take his sketchbook with him where ever he went.  “I don’t like to be caught without a sketchbook and a camera- you never know where inspiration will strike”.

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I like how informal his illustrations are, they’re there for him to jot down an idea or elaborate on a thought and not there to be displayed in an art gallery. Being able to get ideas out of your mind and onto paper is one of the main points of having sketchbooks, and I like how Dominic approaches it, he’s unapologetic as this is his work for him and not for a client.


Paulus M. Dreibholz


Paulus M. Dreibholz is a Typographer and Graphic Designer, he moved to London to study communication design and graduated with an MA in communication design.

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Paulus comments that he began using sketch books whilst studying Graphic Design and on the course he was encouraged to keep a journal whilst working on projects. He comments ” It was not so much a tool, more of a playground, a collection of bits and bobs produced while working on a project” he then goes on to explain “It became a means of relaxation, almost meditation, although I wouldn’t have labelled it as such”. It seems that Paulus uses his sketchbook as a recreational activity.

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Other Examples


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Brereton, R., 2009. Sketchbooks: The Hidden Art of Designers, Illustrators & Creatives. 1st ed. London: Laurence King.

History: GIF


Graphic Interchange Format


Graphic Interchange Format files, commonly known by it’s acronym and file name GIF was developed by a team headed by Steve Wilhite for the company called CompuServe. GIF files is a bitmap image type that had a wide appeal on the Internet due to it being able to support animations and utilising lossless data compression which allowed the file size to be kept to a minimum without losing any visual quality.

Originally GIFs were used throughout the internet, depicting animations or funny clips. As technology has advanced the use for GIF files have changed in purpose, since bandwith limitations are much greater and the introduction of video support in HTML5, the need for GIF has changed. Recently, GIF have been used in online communication services such as Facebook Messenger, where users can search a database of GIFs to use in communciation.


Patkar, M. (2015). GIFs, The Language Of The Web: Their History, Culture, and Future. [online] MakeUseOf. Available at: https://www.makeuseof.com/tag/gifs-language-internet-history-culture-art-future/ [Accessed 25 Oct. 2017].

Buck, S. (2012). The History of GIFs. [online] Mashable. Available at: https://mashable.com/2012/10/19/animated-gif-history/#G4PesfuyxiqP [Accessed 25 Oct. 2017].


 

History: Emojis and Emoticons


Emojis


Emojis were first developed by Shigetaka Kurita in 1999 as a way of expressing emotions using digital characters (similar to letters and numbers). The word emoji comes from Japanese e(, “picture”) + moji (文字, “character”). Emojis are image variations of Emoticons that arose due to technological limitations.

In 2016 The Guardian had a chance to interview the designer behind emojis.

I was part of a team that spent about two years designing the first emoji for the launch of i-mode [NTT DoCoMo’s mobile internet system] in 1999. It limited users to up to 250 characters in an email, so we thought emoji would be a quick and easy way for them to communicate. Plus using only words in such a short message could lead to misunderstandings … It’s difficult to express yourself properly in so few characters.”

Later on in the interview, Shigetaka Kurita discusses a bit about the original designs.

“The original emoji were black and white and confined to 12 by 12 pixels, so they were very simple and there wasn’t much variation. We couldn’t just design what we liked because we were working under those technical constraints. The first colour emoji appeared in 1999, when other mobile carriers in Japan started designing their own versions, like the yellow faces you see today.”

It was interesting to hear about the original technological limitations that affected Kurita’s designs. It’s with the power of hindsight you can look back and see limitations that you may not have considered at the time. Writing this in 2018, Emojis are certainly not limited by technological constraints.

Later in the interview Kurita discusses some of the cultural codes/signifiers that had influenced his original designs and talks about his surprise at their international appeal.

At first we were just designing for the Japanese market. I didn’t assume that emoji would spread and become so popular internationally. I’m surprised at how widespread they have become. Then again, they are universal, so they are useful communication tools that transcend language.

When designing my own stickers, it’s important that I keep cultural codes and signifiers in check as having a universal appeal to them will help in the long run. Kurita also comments on some modern concerns about Emoji’s having an affect on the use of vocabulary.

I don’t accept that the use of emoji is a sign that people are losing the ability to communicate with words, or that they have a limited vocabulary. Some people said the same about anime and manga, but those fears were never realised. And it’s not even a generational thing … People of all ages understand that a single emoji can say more about their emotions than text.

orig emoji

Above is the original set of Emoji’s designed by Shigetaka Kurita.


Emoticons


Emoticons predate Emojis and both are answers to the need for better communication limited by technological constraints. Emoticons are representations of facial expressions using letters, numbers and punctuation marks.

Emoticons have a surprising history that is often debated to originating in a transcript of a speech by Abraham Lincoln, though this is argued to be a ‘typo’ and not explicitly an example of an emoticon. The strongest evidence of the origination of emoticons can be found in an article written in 1881 (seen below). The segment comes from a newspaper called Puck and the the segment is named ‘Typographical Art’

Emoticons_Puck_1881

It’s amazing to think that in just over a century (by only just a year!) from the publishing of that article, digital representations of the emoticons displayed in that article would be sent across the world in a matter of seconds.

The first use of emoticons in a digital/online setting can be contributed to the creation of “:-)” and “:-(“. Scott Falhman  posted the following on a general discussion board in 1982.

19-Sep-82 11:44 Scott E Fahlman : – )
From: Scott E Fahlman

I propose that the following character sequence for joke markers:

: – )

Read it sideways. Actually, it is probably more economical to mark
things that are NOT jokes, given current trends. For this, use

: – (

Utilising the popular angled variation of emoticons. Emoticons were primarily used during the eighties and nighties and have since been widely replaced by Emojis though are still used widely.


McCurry, J. (2016). The inventor of emoji on his famous creations – and his all-time favorite. [online] Available at: https://www.theguardian.com/technology/2016/oct/27/emoji-inventor-shigetaka-kurita-moma-new-york-text [Accessed 23 Oct. 2017].

Lee, J. (2009). Is That an Emoticon in 1862?. [online] City Room. Available at: https://cityroom.blogs.nytimes.com/2009/01/19/hfo-emoticon/ [Accessed 23 Oct. 2017].

Anon, (1881). Typographical Art. [online] Available at: http://explore.brainpickings.org/post/38732179273/the-birth-of-emoticons-one-of-100-diagrams-that [Accessed 23 Oct. 2017].

CNN. (2007). 🙂 turns 25. [online] Available at: https://web.archive.org/web/20071012051803/http://www.cnn.com/2007/TECH/09/18/emoticon.anniversary.ap/index.html [Accessed 23 Oct. 2017]


A side note, due to WordPress displaying “:-)” as an emoji, I’ve had to edit instances of “:-)” and “:-(” to : – ) and : – (.


History: Stickers


Stickers


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Unlike Emojis and Emoticons that came about to fill a need, Stickers were originally designed as a unique selling point for the instant messaging service Line. A South Korean company named Nevar started producing a mobile data based messaging service and wanted a feature to stand out against the competition and stickers was the answer to this.

The popularity of stickers is coincidental with the popularity of Line. Line was set to launch in 2011 in Japan, and ended up launching shortly after the Tohoku earthquake. This natural disaster devastated the countries infrastructure and many telephone lines and power stations were out of commission as a result. Most of Japan’s telephone companies were under a lot of pressure and the service became slow and unreliable so the alternative of a mobile data based messaging service such as Line became very popular.

The first sticker set on the messaging service entitled ‘Line Friends’ became very popular and has since expanded into it’s own brand, selling merchandise. Stickers became hugely popular in Japan, quickly spreading to other platforms and services, until in 2013 where they started to emerge in the west, with Facebook leading the way of implementing stickers onto their platform in 2013.

“Stickers are different than emoticons. They’re detailed illustrations of characters with personality. Sending stickers is a way to share how you’re feeling with your friends.” – Facebook


Russell, J. (2018). Stickers: From Japanese Craze to Global Messaging
Phenomenon. [online] The Next Web. Available at: https://thenextweb.com/asia/2013/07/12/stickers/ [Accessed 20 Oct.
2017].


Graphic Design as Communication – Malcolm Barnard


Graphic Design as Communication – Malcolm Barnard


Graphic Design as Communication is a book written by Malcolm Barnard a senior lecturer in the history and theory of Art and Design at the University of Derby. His book covers a host of different topics in relation to design as communication, from defining the relationship between graphic design and communication, explaining the different functions of graphic design and entwining it with theory on communication and semiotics to explain how the two are interlinked. The book then explores other areas such as how social cultural and economic functions can be used within design to communicate a meaning.

The book also covers a host of topics that I personally wouldn’t have gone to when thinking about this topic, talking about politics such as Postmodernism and Globalisation and linking Graphic Design and Art in the wider discussion about communication.

Malcolm Barnard explains the different functions of graphic design in the second chapter of his book, talking about how graphic design can be used to convey information, can be used to persuade, it’s use in decoration and some less obvious uses including metalinguistic and phatic functions and how it can be used in ‘magic’.

I decided to look into how he explains the function of persuasion as for my stickers to be successful they’ll need to subliminally persuade people to go and see the fictitious movie. Barnard argues that the persuasive function of Graphic design is a rhetorical function that exists to in order to change people’s thought or behaviour in some way or other.

“The rhetorical function takes many forms. Advertising is only the most conspicuous example and may be located on a spectrum of graphic production ranging from political propaganda and electoral publicity to illustration and documentary”. – Malcolm Barnard

I wanted to look into signs and codes as they underpin the theory of semiotics and for my designs to be successful, I need to have a clear understanding of how I can use signs and codes within my designs to convey a message. Malcolm Bernard defines signs and codes in the following paragraph.

“For semiological theories, signs and codes are the twin cultural bases of messages and meanings. Communication is the construction and exchange of meanings for semiology and meanings are explained in terms of signs and codes. The message, or meaning, then, is a construction of signs that is exchanged and interpreted according to codes, or cultural rules”. – Malcolm Barnard

This is interesting as I had never thought of the cultural implications before, a design that works for British culture may not necessarily work as intended in another culture due to different cultural values which can be dictated by a host of reasons such as reading patterns (do they read left to right, up to down..etc) environmental differences (how much sunlight do they experience? Is it hot or cold? Extreme weather..etc) These all collaborate to produce different cultural values so understanding the cultural values of the target demographic will be essential to the success of my design.

Malcolm Barnard gives an example of a code system being used in a cultural aspect.

“These codes are cultural in that they are the rules shared and followed by a community of sign-users. The code for the traffic lights has to be learned (from the Highway Code in the United Kingdom) and it is shared by all road users. The code that operates in the case of traffic lights is very simple: ‘red’ means stop, ‘red and amber’ means get ready to go, ‘green’ means go and ‘amber’ means get ready to stop. The coloured lights are made meaningful by their place in that structure. And the code is cultural in that a community of sign-users (drivers) learn it and adhere to it.” – Malcolm Barnard


Barnard, M., 2005. Graphic Design as Communication. 1st ed. Simultaneously published in the USA and Canada: Routledge.


History: Ideographs/Ideograms


Ideographs/Ideograms


modern-ideograms


Ideographs or Ideograms are graphic symbols that represent a concept, devoid of any language. The word comes from the Greek word ἰδέαγράφω  (ἰδέα “idea” and γράφω “to write”). Ideographs are present all across society and influence how we interact with the world on a day to day bases.

Some early examples of Ideographs can be found by looking at Egyptian Hieroglyphics  which utilised a logographic writing system with ideographs and pictograms forming their written language, for examples of ideographs in our modern world, looking at the Hindu–Arabic numeral system that is used world wide, regardless of language is a great example of ideographs in use.

Outside of mathematics, Ideographs are used elsewhere in our society, notably they’re often used in wayfinding signage in places such as Airports where multiple languages are spoken, so instead of having 50 different signs for one direction, ideographs can be used instead since they’re universal for not being tied to one particular language. Another form of Ideograms that are emerging include the use of Emoticons and Emojis in online communication.

Icons are a form of ideographs.


Haldemann, J. (2014). A brief history of pictograms and ideograms. [online] Saffron Interactive. Available at: http://saffroninteractive.com/a-brief-history-of-pictograms-and-ideograms/ [Accessed 10 Oct. 2017].

Egyptian Hieroglyphs. (2013). Egyptian Hieroglyphs – Lesson 1 – Reading Hieroglyphs, Transliteration, Phonograms, Ideograms, Determinatives, Alphabet, and Pronunciation. [online] Available at: http://www.egyptianhieroglyphs.net/egyptian-hieroglyphs/lesson-1/ [Accessed 10 Oct. 2017].

Minoan Linear A, Linear B, Knossos & Mycenae. (2014). Progressive Linear B: Level 4.2 (Advanced) Livestock Syllabograms versus Ideograms. [online] Available at: https://linearbknossosmycenae.com/2014/01/15/progressive-linear-b-level-4-2-livestock-syllabograms/ [Accessed 10 Oct. 2017].


 

Nautical Flags


International Maritime Signal Flags


International maritime signal flags, more commonly known as Nautical flags are a basic form of communication used by ships, fishing boats and ports. Each flag represents either an alphabetical letter or number which can be used to spell out messages, however each flag is also associated with the International code of signals and can have specific meanings.

Below is the list of nautical flags and the letters or numbers that they represent, this was taken from the 1963 International Code of Signals. This is a good example of how communication is being mediated through design and is quite simplistic and can be understood internationally.


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International code of signals. (2009). 2nd ed. Seattle, WA: Starpath Publications.