MONOGRAPH | Final Concept
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MONOGRAPH | Final Concept PROJECT ONE | Tia Blunden INITIAL CONCEPT PROJECT TWO BRIEF Monograph TOPIC Tattoos! The exact topic is yet to be nailed down. It could be tattoos & public perceptions, or tattoos & the health consequences of different colors of ink, or tattoo trends in history, or tattoos in relation to the graphic design world. SOURCES I have sourced a couple of articles for the mono- graph but am still undecided. They are attached. AUDIENCE People aged 16-28 Considering getting tattoos College students GOALS To inform people (who are interested in getting tattoos) on a specific aspect or consequence of getting a tattoo. VISUAL DIRECTION Similar to the style of Detailed illustrations of tattoos, these will be adrenalinevancity.com tattoos traced in illustrator. 5 PRESENTATION AESTHETIC Borrowing from previously established aesthetic. monograph From adrenaline vancouvers’ website. tattoos TOPIC Vector outline illustrations of tattoos - allows me to evaluate them all on the Tattoos! Between two articles right now. same level. Then I can include different styles of tattoos (comic, native, natu- tia blunden | project two 1. “An Ironic Fad: The Commodification and Consumption of Tattoos” ral) but they can still relate to each other. - how tattoos are becoming more & more popular 2. “Skin and Self-Indictment: Prison Tattoos, Race, and Heroin Addiction” Ecust, te reius, sequi aborepe lluptate qui untem hillaut eum faccus aliatemposto corenih itatur - tattoos are unnatural, death & rebellion alibust, et reptasimilis aute odi net as exeri reiuscipsum quiderferrum fuga. Lorum quae nonseque omniminvent et in pra volupta parum repe alitatem ad ea susdae. Ximagnis verro qui doluptaQuiasin exerchil modignimus. Dolorro omni di cusande ruptaecus eum as con perrunt pore adiaes earion rate liquos sit undam hitione eniatur, et, sed quam imagnat emporep AUDIENCE erferore perci te nusant. At pore voloreri vent quodi quo venet is volor apicius apitis dusam et, soluptaestis idigenimet quiae. Et id moloreprae nosam velenda ntiiscid ut eos earum dis que ped ullupti orerupt Target audience 18-26 asperiatiur, non nam rem dolectium natem. Et quiam sequaepro con et isi cum quuntium debis eatendit, odi ut porrum inctem rescimporero Lorem ipsum dolor sit amet, consectetur consend itatisimus arciend emporepe molum adipiscing elit. Phasellus vitae risus a est tempor molestie. Nunc mauris mauris, molestie et mollis People considering getting tattoos a, vestibulum vel nunc. Proin sed ultricies lorem. Nulla nunc dolor, fermentum a auctor eget, dic- tum ut mi. Sed sed fermentum ante. Quisque sit amet nisl at nisi venenatis varius sed ac elit. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Male & female Nam non quam elit, quis facilisis felis. Morbi et nibh risus, vel elementum nisl. Integer quis nisi quis purus porttitor placerat non id purus. Integer posuere nisl at velit hendrerit ut gravida magna tempor. Quisque vel lacus vel nulla ullamcorper ornare. Fusce vitae est sem. Suspendisse ac But not like super masculine - biker type, but more kids on the outside looking suscipit mauris. Donec posuere ante nec libero elementum blandit. Vivamus eu nulla et dui adipiscing vestibulum. into the potential implications of having a tattoo Nam purus nibh, cursus sed cursus eget, TYPEFACE Ecust, te reius, sequi aborepe lluptate qui untem hillaut eum faccus aliatemposto corenih itatur alibust, et reptasimilis aute odi net as exeri reiuscipsum quiderferrum fuga. Lorum quae nonseque omniminvent et in pra volupta parum I like the condensed sans-serif for the headers (like in this presentation) repe alitatem ad ea susdae. Ximagnis verro qui doluptaQuiasin exerchil modignimus. Dolorro omni di cusande ruptaecus eum as con perrunt pore adiaes earion rate liquos sit undam hitione eniatur, et, sed quam imagnat emporep erferore perci te nusant. At pore voloreri vent quodi quo venet is volor apicius apitis dusam et, soluptaestis idigenimet quiae. Et id moloreprae nosam velenda ntiiscid NEUTRAFACE HEADER ut eos earum dis que ped ullupti orerupt asperiatiur, non nam rem dolectium natem. Et quiam sequaepro con et isi cum quuntium debis eatendit, odi ut porrum inctem rescimporero consend itatisimus arciend emporepe molum FRANCHISE HEADER LEAGUE GOTHIC HEADER SCALA SANS HEADER But needs more consideration for body copy. 10 11 12 13 PAGINATION ironic consumer product because they resist print media. As Margo DeMello notes, grades. They are no longer the emblems of of Natural History and an expert on tattoo by presenting exhibitions that focus on the mechanization and distance created by popular print discourses have contributed the economically and art. ‘‘Many people who have tattoos see it tattoo specifically, or juxtapose tattoo the assembly line. Unlike other commodi- to the erasure of early images and mean- socially excluded: punks, gang members, as art, collect it as art and wear it as art.’’ with other body modification practices.8 ties, tattoos are highly individualistic and ings of tattoo by recreating tattoo as a and bad kids from economically ravaged (Greenberger A1) According to Catherine Balle´, these types personal, as opposed to impersonal factory- middle-class cultural practice with inher- neighborhoods. This perceived cultural evo- Such discourses, especially those founded of exhibitions are a product of a new produced goods. Even standardized tattoo ent aesthetic value, distancing ‘‘modern lution functions to sanction the practice of on expert testimony as in the passage museum era, or ‘‘institutional renais- drawings commonly found on studio walls, tattooing from its working-class history’’ tattooing, allowing the possibility for tat- above, effectively brand tattoo with ethno- sance’’ wherein ‘‘museums have tried hard as opposed to original, one-of-a-kind tattoo (Bodies 97). In roughly the past five years, toos to be acceptable to the mainstream, if historical and aesthetic legitimacy. Other to attract the public and the public has 9 21 designs, are rendered uniquely idiosyncratic there has been a striking similarity in the 19 not into respectability. The new tattooees articles connect tattoo directly to the legiti- responded by coming in large numbers’’ 8 18 20 during the application process. The image way that tattoos are described and con- are not exotic or deviant others—they are mate or high art world by not only equating (139). Today, privately owned US museums remains the same, but the artist’s hand and textualized by journalists and reporters. everyday people with aesthetic sensibility. skin with canvas, but by publicizing the face new challenges, including precarious the recipient’s body personalize the product. While some articles focused on teenagers, Besides stressing shifts in tattoo popula- academic training of some tattoo artists. economic resources and the question of For this reason, tattoo is a rather contra- women, or celebrities with tattoos, there tions, another significant aspect in the ele- A 2001 New York Times article announces how best to serve a mass public (Balle´ 132 dictory consumer good. Is it a commodity is one common thread that connects all of vation of tattoo’s status can be attributed that ‘‘today many practitioners come out of – 45; Zolberg 53 – 4). The cultural strategies AN IRONIC FAD whose value will soon be exhausted, or an them—a differentiation between how tat- to articles that declare tattoo to be an art art schools, finding fulfillment in painting of American museums have shifted since inherently creative and agentic postmodern toos used to be and how they are now. The form. A recurring theme is the placement on skin rather than on canvas—all with the 1970s, emphasizing special temporary the commodification & product? Tattoos have clearly undergone a following passage is an excerpt from a 1997 of contemporary tattoo practices within a newer designs, brighter inks’’ (James NJ-1). exhibitions meant to draw a larger and process of commodification; they are not US News & World Report article entitled larger cross-cultural historical context of Similarly, another explains that ‘‘the art- more diverse audience. The Guggenheim consumption of tattoos only purchased as embodied status sym- ‘‘A Hole in the Head? A Parents’ Guide to body modification and body art. For exam- istry of the business was enhanced’’ with Museum’s 1997 Art of the Motorcycle bols, they are used to sell other commodi- Tattoos, Piercings and Worse.’’ It serves ple, a 2001 article on San Francisco tattoo innovative design techniques by contem- exhibition, and the 1999 – 2000 exhibi- ties. Tattoos are also subject to mediation, as an example of the mainstream media’s culture proclaims that certain members of porary tattoo artists (Hurley 01). Tattoo tion, Body Art: Marks of Identity, hosted by particularly through carefully constructed acknowledgement of the new tattoo phe- the community are ‘‘rediscovering the long- artists with art school training have clearly the American Museum of Natural History, images created by the music and film indus- nomenon, differentiated from the deviant dormant art’’ practiced hundreds of years influenced the development of new tattoo are prime examples of this contemporary Unfortunately, MTV put us on the map with tries. Even though they have been pulled ‘‘bad old days’’ when tattooing was still in ago in Polynesia (Hartlaub E4). While a styles, yet mainstream articles focusing on museum strategy. As tattoos are anchored celebrities getting tattooed. Today it’s chic from their subcultural roots (blue-collar, the closet, so to speak. Tattoos and pierc- 1998 Boston Globe article, ‘‘Making a Mark these changes have also crystallized the in prestigious cultural institutions their . .. deviant, underground) and replanted in ings are far more mainstream than most on the Culture: Body Piercing, Tattoos, and connection between tattoo and art in the cultural value will continue to rise, further the mainstream, tattoos still have a certain parents realize. In a forthcoming study of Scarification Push the Cutting Edge,’’ states public’s imagination. The mainstreaming of blurring distinctions between high and (‘‘Tattoo Lou’’ Rabino, qtd. in McCabe 125) aura of cool and rebellion about them.