SB2 - 2. Research

\ The research stage in the design process is the first iterative stage which means that you will continue to revisit the following activities as your project develops and you acquire new knowledge of the field. Task 1: 1 x design sheet outlining relevant contextual research This design sheet must include at least 4 relevant areas of contextual research/information that will inform your design strategy. At least 1 of these areas must be related to your chosen CoP theme (Politics, culture, society, history, technology or aesthetics). Some suggested contexts: Client / project background | industry / sector | cultural aspects | sub culture | specific technologies | the internet | social media | historical periods | branding | advertising | colour theory | psychology Anarchy Theory  - Noam Chompsky, Kelle lasn, Anarchy design, Meme wars, Ad busters Punk Aesthetic/Design  - Jon savage, Malacom Garret, Jamie Reid, Johan Kougelberg - Oh so Pretty, The art of punk, Punk: an aesthetic, Fanzines, The revolt of punk, punk art DIY ethos  - Record labels. Record sleeves, Design Studios, Memes, Snapchat, fanzines,  Task 2: 1 x design sheet outlining target audience research This design sheet must include geographic (country, region) , demographic (age, job role, income, socio-economic status, nationality) and psychographic (interests, values, beliefs, opinions, attitudes, activities, social groups, lifestyle) information on the target audience. In order to further substantiate these you must compose 3 x "personas" representing three types of your ideal target audience/user. Each persona should have a name and cover all the aspects of geography, demographic and psychographic. Punk -  Geographic: United kingdom, Britain.  demographic - age: 50 - 70, Gender: Male/Female, Polotics: Socalist, Income: 30,000 - 60,000, Socio-economic status: Working Class, Nationality: English psychographic - Anarchist, anti-establishment, Bikers group, Punk music, Believes in equality, Values others, Femanist,  Task 3: 1 x design sheet identifying and analysing relevant and related visual examples. This design sheet must include at least 4 examples of graphic works related to your project. Use this extract from "Visual Research" by Noble and Bestley to aide your analyses. To demonstrate that you have understood the text you must use at least 3 of the key terms discussed within your analyses. Ausaf Abbas, 55 Then: bass player, Alien Kulture Now: investment banker We very much believed in the philosophy of punk – here’s a chord, here’s a second, here’s a third, now go and form a band. I’d never touched a bass guitar until our first rehearsal, but that didn’t matter. It was all about the energy and the enthusiasm. We were probably from the more intellectual wing of punk and were very much involved in the Rock Against Racism campaign. Our name came from Margaret Thatcher, who’d made an infamous comment about how Britain was in danger of being swamped by an alien culture. We interpreted that to mean that if you weren’t white, Anglo-Saxon, middle-class, Protestant, maybe you didn’t fit in. The reason we split up was quite classic. The drummer and I were both students at the London School of Economics. We had our finals coming up, but got an offer of a 20-gig tour with another band. Our singer insists it was The Specials, but I’m not so sure. However, our Pakistani roots reasserted themselves and we decided we’d better concentrate on passing our finals. I loved what the band did, but I knew I wasn’t going to make a living from it. After getting my masters degree, I started working for BP as an economist. I didn’t know much about finance – it was quite an arcane, closed industry – but when Thatcher liberalised and deregulated large parts of the British economy, she set off a revolution in financial services. It seemed an obvious move to make, from oil into finance, so I joined Merrill Lynch, where I spent 21 years. The money I earn does allow me to do some good – one of my friends worked for Amnesty International and knew I was an investment banker. He called me up and said, “Hi. I need you to send me £1,000, otherwise 12 people will die in Colombia tomorrow.” I agreed immediately. I stumbled into investment banking by chance, but I love the opportunities it has given me. I’ve met prime ministers and finance ministers and CEOs of major corporations. This was unbelievable for an immigrant kid who grew up in Brixton in a single-parent family. I’m sure my 20-year-old self would look at me and shout, “Sellout!” But I don’t feel like a sellout. I’m just older and wiser. I’m 55 now. I’m old, fat and bald. When I tell people I was in a punk band, most just laugh and think I’m joking. But I’m very proud of what we did. In our own way, we helped Asian kids stand up and be counted for the first time in this country. Why wouldn’t you be proud of that? Lesley Woods, 56 Then: singer/guitarist, Au Pairs Now: barrister I was a late starter. Punk had been around quite a while when I got into it, in 1978. What was really appealing was sticking two fingers up at rock musicians. People could get up and do their thing without having to be these great, macho lead guitarists. And women could do it on their own terms, without having to conform to some female stereotype of having big boobs and being really pretty. People like Siouxsie Sioux, Poly Styrene and Patti Smith were great role models. But we were constantly met with a wall of violence and aggression. There were fights; [Slits singer] Ari Up got stabbed. There comes a point where you can’t go on any more at that level. After the band folded, my brain was quite scrambled and I needed to get my mind back, so I thought I’d do something really difficult and started studying law. I was called to the bar when I was 32. I started off doing asylum law, working with refugees, which tallied with my political values. Although it was heartbreaking a lot of the time, when you won a case, you came out and yelped for joy. You knew you’d made a difference. I do very little asylum law now, but I still work in immigration. I’ve always had a very strong sense of justice, and working in this area means I haven’t had to compromise my integrity. People were aware of my past and it probably put a lot of the more straight people off. When I first came to the bar in 1992, women couldn’t wear trousers, which gives you an idea of how backward it was. I still muck about with music, but I wished I’d paid more heed to that particular itch about five or 10 years ago. My work is so intense that it’s hard to fit music in now. I’ve been making new recordings and I still do the odd performance. I’d love to do some collaborations, though. It’s a bit lonely doing it on your own. https://www.theguardian.com/music/2016/may/07/never-mind-bus-pass-punks-look-back-wildest-days#img-4