The Interaction of Content and Form in OBJECTIFIED

The film “Objectified” (2009), directed by Gary Hustwit, is an intriguing documentary about objects for a few reasons.  The two biggest being, first, because it is eye opening, but second because it is different.  Most documentaries of this sort would focus on the creators of these objects, but, though this film does feature different designers talking about their work and the processes the designers’ use to create, neither are seemingly the director’s focus.  Every word spoken by the designers and camera shot between designers, however, revolves around explaining or displaying different objects.  From this and the statements of the designers that are featured, I have concluded that it was his goal for us to be inspired to immerse ourselves in the world of objects and think about them as what their designers know them to be, carefully articulated designs - to realize that everything we see and use, in fact every contour and feature of everything we see and use, was created thoughtfully and intentionally.  

 Image from  http://movies.nytimes.com/2009/05/08/movies/08obje.html

I came to conclude this for a few reasons.  The biggest one being, just like in the design of an object, the director had absolute control over the form his film was going to take.  This being true, every aspect of the film can be looked at critically and from it, the film’s purpose, or content, can be inferred.  For example, the way objects are presented, though subtle, can reveal a lot to a watchful eye.  The shots of the many objects are presented to us close up, from unique angles, and sometimes even from “open form” shots only showing parts of objects.  All of these shots create a circumstance which we have to really examine an object’s features and automatically lead us to think more deeply about what, why, and how. 

Image from  http://thescoutmag.com/blog/film?page=7

Even the objects that were not the main focus of a segment, such as the experimental materials the creators used on prototypes and such items as the computer mouse a designer used to put a design into a CAD (Computer Aided Design) program were presented in this unique way, proving that the objects are definitely the focus of the film.  Also, the way the director shifts from designer to designer, from country to country, gives a sense of designers’ impacts on objects worldwide.  Truly every aspect of the film’s form and the inferred content made Hustwit’s concept clear.  All man-made objects are designs. 

Image from  http://gadgets.boingboing.net/2009/02/18/gary-hustwit-directo.html

Making Distinctions

What makes something unique?  What are the elements that we remember most distinctly about people we have only met once or recall from our past, and why do these elements stand out? 

In fact, the answer to all these questions is because we make distinctions from salient characteristics, or distinguishing features.

When considering people, someone’s abundance or lack of hair, their hair color and type, the size and shape of their eyes, ears, nose, and mouth, if their chin is cleft or not, if they have anything pierced, the size of their head, their mustache or beard, their height and weight, and their personal style all make a person unique.  When we remember someone, we think about what made them look different from the many other people we have met in our lifetime.  We draw upon a person’s salient characteristics.

The most simple example of such, though highly dramatized, is a caricature.  Artists that do caricatures have developed an eye for what makes someone look the way they do, and a talent for exaggerating their salient characteristics. 

Image from http://riawibisono.wordpress.com/2007/11/02/liat-karikatur-yuk/gorgeous-george/

In this caricature, George Clooney’s features such as his pronounced chin, eyes, eyebrow lift, and his signature smirk, along with the added obvious elements of his gray hair and suit gives this cartoon an essence that makes it instantly apparent whom this caricature is supposed to resemble.  These are George Clooney’s salient characteristics because though the caricature obviously doesn’t look like a picture of George Clooney, we know who it is.

Not all characteristics have to be as exaggerated as these, but a caricature is the simplest way to demonstrate the importance of salient characteristics to capturing the essence of something, whether it be man or object, that one is trying to depict accurately.

So then what is the role of salient characteristics in society?

Actually, being able to sift out salient characteristics from all the other features can be a valuable skill for many types of artists and designers.  More than just caricaturists, it seems, learn to utilize salient characteristics.  Photographers also work to find the essence of a person to highlight, rather than just capture, what it is everyone else sees.   Designers can pick out the essence of a product, or even problem, and create something that best shows off the item or fills the need.  Clearly, salient characteristics, though sometimes not obvious, can be very valuable if they are detected.

Comparison and Contrast

The Campbell’s Soup can is a staple in households all across the United States.  Made even more iconic by Andy Warhol beginning in 1962, the Campbell’s soup can’s half red, half white design with a golden seal is recognizable by millions worldwide.  It is a simple design yet uniquely distinct, a fact that is proven as the can below remains obviously Campbell's despite Warhol's alteration of its color. 

Image from http://hypebeast.com/2007/10/andy-warhol-foundation-x-bond-no-9-andy-warhol-silver-factory/

Recently, however, Campbell’s soup has decided to change their label in a subtle yet definite way. 

http://www.campbellsoup.com/condensed_soups_new_look.aspx

According to the website, the new can is a “fresher, more contemporary take on Campbell’s classic red and white design.”  The biggest difference is it features a curved line instead of a parallel one spitting the top red half and the bottom white. 

The cans are the unchanged in most ways. Both the old and new have red tops and white bottoms meaning the colors have remained true to the original, the font used for the Campbell’s name hasn’t been altered, the shape is not different.  Both the old line and the new one display the same amount of unity through repetition of elements in all their flavor labels.  In the past few years, the company has tried many different variations of cans with and without pictures so this changing element is not new.  One of the most distinct elements that has always remained the same, however, is the straight line splitting the red and white of the can, but this is no longer the case.  This change is not dramatic, but it still different from what Campbell’s customers have come to expect to see.

Image from http://www.facebook.com/campbellscondensedsoup

So then why change it? 

Apparently a new marketing campaign is in the works to promote a new system of organizing and making the cans easier to find through the color coding of 4 distinct categories of soups: Classic Favorites, Healthy and Delicious, Taste Sensations, and Healthy Kids.  The new look is likely meant to highlight the company's new commitment and outlook on the importance of making shopping easier and making buying soup an overall better experience... but will this “new look” truly be effective in doing all the company desires for it to do?  I guess only time will tell. 

Design as Conversation

Any movement of information about design, whether from person to person, a group to a group, or even from past to future, is a conversation that deserves to be had.  But how and why are conversations about design so common and important?

Design begins as an idea, is formulated, and presented… sent back, revised, and presented again… then revised some more.  Finally, after both the designer and the client are satisfied that it meets the criteria set forth, it is sent out into the world. 

So then where does the conversation begin?

In fact, the conversation commences as soon as a concept is articulated.

As a design is being perfected, input into what the design needs to be and what should be creates a definite forum for discussion.  Designers converse with other designers, and their own clients to try to convey information through a number of mediums.  They search for the proper manifestation of whatever they need to express, whether it be an emotion, essence, or the utility of a product.  It is a process that challenges and improves both designs and designers alike. 

Image from  http://www.cbelearning.com/gallery/fullscreen/designer%20team%20meeting%201.jpg

The conversation then continues when a design enters the world and is interpreted by other designers.  A design will undoubtedly impact other designers work, whether they appreciate the design or dislike it.  A good design sparks a conversation about what elements make it so appealing.  If they are inspired by it, elements from a design may show up in other designer’s works in the future.  If they dislike it, their future work may not resemble the design, or any of the design elements, at all.  Either way, a conversation has been started. 

          

Right Image from  http://design-milk.com/images/2010/05/kingston-shaw-daily-4.jpg

Image from  http://www.reuther.wayne.edu/node/3230

Possibly more than anything else, though, designs have the ability to transcend time.  When something is created, it has the potential to impact a society and make a lasting impression.  If it is effective enough, it can inspire many designers to come.  Looking into the past we often find our inspiration for future designs.  In this way, design never dies and the conversation about why and how can continue into the future generations of designers.

Let’s face it, design is conversation.  It’s as simple as that.