PUNK T
  P O S              P U N K
 +   the British design identity

     GS/MDES 5102
     Design Issues
     CHRIS MOOR...
Our image of modern British graphic design is
directly shaped by the punk + post-punk music
movements beginning in 1977
Pu...
Three areas examined:
   1. British graphic design history
   2. Devolution of United Kingdom from its
      status as the...
Brophy, P. (1990). Post Punk Graphics: The Displaced
      Present, Perfectly Placed.
    Poynor, R. (2003). No More Rules...
Berman, M. (1982). All That is Solid Melts into
    Air: the Experience of Modernity.
  Gardiner, M. (2004). The Cultural ...
KEY TEXTS
C U LT U R A L
     Hall, S. & Jefferson, T. (2006). Resistance Through Rit-
      uals: Youth Subcultures in Po...
E N D   O F   E M P I R E
Sectarian conflict
—British army was
deployed late 1969
Home rule suspended
1972
Provisional IRA
commenced armed
campaign ...
INSTABILITY
U R B A N           U N R E S T
Rioting in Bristol, Toxteth,
Brixton + Moss Side
A particularly violent race
r...
P U N K
November 5, 1975
        Played first show, at St
        Martins College of Art
        Raw energy, outrageous
        be...
JAMIE REID
         A R T I S T          +         A N A R C H I S T

Affiliated with the
Situationist International
Art s...
Developed his unique
                  collaged ‘ransom note’
                  typography while art
                  dir...
TH E DAM N E D, M U S I C F OR PLEAS U R E (1977)


                                                    Alias of Swiss-tra...
BARNEY BUBBLES
I N F L U E N C E

Designed sleeves for
Elvis Costello, Ian Dury
+ the Blockheads, + the
Damned
Very public...
N O   S O C I E T Y
INSTABILITY
Y O R K S H I R E            R I P P E R
  Murdered 13 women in +
  around Leeds, Bradford,
  Manchester, Hudd...
RISE OF THE RIGHT
M A R G A R E T   T H A T C H E R
                  Became Prime Minister on
                  May 4, 19...
LABOUR UNREST
C O A L           M I N E R S ’   S T R I K E
1984 to 1985
Eventual defeat
permanently
weakened the trade
un...
URBAN UNREST
  M O R E        R I O T I N G
   “From 1980 to 1990, Thatcher’s
   Britain was the riot capital of
   the wo...
P O S T P U N K
B UZ ZCOCKS, A DI FFE R E NT KI N D OF TE NSION (1980)




Graduate of Manchester
Polytechnic University
Influenced by the...
PETER SAVILLE
 F A C T O R Y                                       R E C O R D S

  J OY D I V I S I O N , U N K N OW N P ...
Designed sleeves for industrial bands Throbbing
    Gristle, 23 Skidoo, + Cabaret Voltaire


NEVILLE BRODY
F E T I S H    ...
Designed sleeves + posters
     for Factory Records
     Pioneered an intensely
     typographic aesthetic
     Pre-comput...
VAUGHAN OLIVER
4 A D      R E C O R D S
British independent
label best known
for American bands
Throwing Muses +
the Pixie...
N E W   D E S I G N
Sheffield-based
          design collective
          Subverted
          corporate logos
          on album sleeves


W A...
Mixing music + design—Tomato/Underworld
   Renavigating concept of authorship




TOMATO
  B L U R             R I N G    ...
WHY NOT
    A S S O C I A T E S
At first glance, work
appears to be un-
controlled
However , highly-
disciplined sense of
...
Once-radical graphic design such as that created by
    Why Not Associates has now become mainstream
    Contemporary Brit...
PUNK
  P O S T          P U N K
 +   the British design identity


     February 2009
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Punk, Post-Punk & the British Design Identity

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An examination of how modern British graphic design is directly shaped by the punk + post-punk music movements of the 1970s & 80s.

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Punk, Post-Punk & the British Design Identity

  1. 1. PUNK T P O S P U N K + the British design identity GS/MDES 5102 Design Issues CHRIS MOOREHEAD
  2. 2. Our image of modern British graphic design is directly shaped by the punk + post-punk music movements beginning in 1977 Punk developed as a reaction to the economic, political + social turbulence experienced in the UK during the 1970s as the former British Empire dissolved Evolved into post-punk, + eventually percolated into mainstream culture ABSTRACT + O V E R V I E W
  3. 3. Three areas examined: 1. British graphic design history 2. Devolution of United Kingdom from its status as the British Empire, + the related economic, social, + racial turmoil experi- enced during the process 3. Rise of alternative subcultures in response to an inflexible + authoritarian mainstream RESEARCH M E T H O D S
  4. 4. Brophy, P. (1990). Post Punk Graphics: The Displaced Present, Perfectly Placed. Poynor, R. (2003). No More Rules: Graphic Design and Postmodernism. Poyner, R. (Ed.) (2004). Communicate: Independent British Graphic Design since the Sixties. Huygen, F. (1989). British Design: Image & Identity. Triggs, T. (2003). Type Design: Radical Innovations and Experimentation. D E S I G N KEY TEXTS
  5. 5. Berman, M. (1982). All That is Solid Melts into Air: the Experience of Modernity. Gardiner, M. (2004). The Cultural Roots of British Devolution. Hall, S. (1988). The Hard Road to Renewal: Thatcherism and the Crisis of the Left. Nairn, T. (1977). The Break-up of Britain: Crisis and Neo-Nationalism. KEY TEXTS P O L I T I C A L / E C O N O M I C
  6. 6. KEY TEXTS C U LT U R A L Hall, S. & Jefferson, T. (2006). Resistance Through Rit- uals: Youth Subcultures in Post-War Britain. Haslam, D. (2005). Not Abba: the Real Story of the 1970s. Hebdige, D. (1977). Subculture: the Meaning of Style. Marcus, G. (1989). Lipstick Traces: A Secret History of the Twentieth Century. Reynolds, S. (2006). Rip It Up and Start Again: Post- punk 1978-1984. Savage, J. (1991). England’s Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond.
  7. 7. E N D O F E M P I R E
  8. 8. Sectarian conflict —British army was deployed late 1969 Home rule suspended 1972 Provisional IRA commenced armed campaign against British mainland In most British urban centres, bombings became a regular oc- currence INSTABILITY N O R T H E R N I R E L A N D
  9. 9. INSTABILITY U R B A N U N R E S T Rioting in Bristol, Toxteth, Brixton + Moss Side A particularly violent race riot occurred at the Notting Hill Carnival in 1976 Response to heavy-handed + often brutal police tactics Suspected Persons Act, 1977
  10. 10. P U N K
  11. 11. November 5, 1975 Played first show, at St Martins College of Art Raw energy, outrageous behaviour, + contempt for conventions of established British society Spawned new era in British music, fashion + design BIRTH OF PUNK S E X P I S T O L S
  12. 12. JAMIE REID A R T I S T + A N A R C H I S T Affiliated with the Situationist International Art school colleague of Sex Pistols manager Malcolm McLaren Designed the sleeve for the first Sex Pistols album, Never Mind the Bollocks (1976) S E X P I S T O L S , N E V E R M I N D T H E B O L LO C K S ( 1 9 7 6 )
  13. 13. Developed his unique collaged ‘ransom note’ typography while art directing radical political magazine Suburban Press Influenced by the student uprisings of May 1968, + the accompanying Situationist- themed posters + graffiti JAMIE REID C O L L A G E D T Y P E
  14. 14. TH E DAM N E D, M U S I C F OR PLEAS U R E (1977) Alias of Swiss-trained graphic designer Colin Fulcher Art directed Oz magazine + designed sleeves for progressive-rock band Hawkwind, before becoming designer for independent label Stiff Records R E L U C TA N T I C O N BARNEY BUBBLES
  15. 15. BARNEY BUBBLES I N F L U E N C E Designed sleeves for Elvis Costello, Ian Dury + the Blockheads, + the Damned Very publicity-shy, + never signed his work Suffered from depression, + committed suicide in 1983 at the age of 41 Influenced an entire generation of British E LV I S C O S T E L L O , T H I S Y E A R ’ S M O D E L ( 1 9 7 8 ) graphic designers
  16. 16. N O S O C I E T Y
  17. 17. INSTABILITY Y O R K S H I R E R I P P E R Murdered 13 women in + around Leeds, Bradford, Manchester, Huddersfield, + Halifax between 1975 + 1980 Apprehended in early 1981— Peter William Sutcliffe, a lorry driver from Bradford Claimed he was a tool of “God’s will”
  18. 18. RISE OF THE RIGHT M A R G A R E T T H A T C H E R Became Prime Minister on May 4, 1979 Dismantled UK welfare state, privatizing all nationalized industries + shutting down state- owned coal mines, steel mills, + manufacturing facilities Social Darwinism— “There is no such thing as society”
  19. 19. LABOUR UNREST C O A L M I N E R S ’ S T R I K E 1984 to 1985 Eventual defeat permanently weakened the trade union movement An ideological victory for the Thatcher government
  20. 20. URBAN UNREST M O R E R I O T I N G “From 1980 to 1990, Thatcher’s Britain was the riot capital of the world. Thatcher may have ruled in Parliament but out on the street it was a different matter. From the first eruption of inner-city rioting in St Paul’s Bristol in 1980 through the July rioting across the country in 1981 to Brixton and Broadwater Farm in 1985 someone some- where was lobbing a brick or petrol bomb at Thatcher.” IAN BONE
  21. 21. P O S T P U N K
  22. 22. B UZ ZCOCKS, A DI FFE R E NT KI N D OF TE NSION (1980) Graduate of Manchester Polytechnic University Influenced by the work of Barney Bubbles Designed iconic sleeves for the Buzzcocks, Duran Duran, + Peter Gabriel P O S T P U N K P I O N E E R MALCOLM GARRETT
  23. 23. PETER SAVILLE F A C T O R Y R E C O R D S J OY D I V I S I O N , U N K N OW N P L E A S U R E S ( 1 979 ) FA C 1 T H E FA CT O R Y ( 1 978 )
  24. 24. Designed sleeves for industrial bands Throbbing Gristle, 23 Skidoo, + Cabaret Voltaire NEVILLE BRODY F E T I S H R E C O R D S
  25. 25. Designed sleeves + posters for Factory Records Pioneered an intensely typographic aesthetic Pre-computer—all type set + layered by hand 8VO T Y P E A S I M A G E
  26. 26. VAUGHAN OLIVER 4 A D R E C O R D S British independent label best known for American bands Throwing Muses + the Pixies Highly conceptual design which did not always appear to relate to the subject matter PIXIES, DOOLITTLE (1989)
  27. 27. N E W D E S I G N
  28. 28. Sheffield-based design collective Subverted corporate logos on album sleeves W A R P R E C O R D S DESIGNERS REPUBLIC
  29. 29. Mixing music + design—Tomato/Underworld Renavigating concept of authorship TOMATO B L U R R I N G B O U N D A R I E S U N DE RWOR LD, DU BNOBASSWITH MYH EADMAN (1993)
  30. 30. WHY NOT A S S O C I A T E S At first glance, work appears to be un- controlled However , highly- disciplined sense of hierarchy maintains readability Successful transition from music industry to corporate world
  31. 31. Once-radical graphic design such as that created by Why Not Associates has now become mainstream Contemporary British corporate design borrows heavily from punk + post-punk eras Conceptual, experimental, + uniquely British D E S I G N I D E N T I T Y CONCLUSIONS
  32. 32. PUNK P O S T P U N K + the British design identity February 2009

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