Saturday 30 January 2016

OUGD505 - Studio Brief 2 - Initial Ideas and Research

As soon as we got briefed for Studio brief 2 I knew what social/environmental issue I wanted to take forward to react to and that was animal cruelty in farming. I have been a vegetarian for just over 9 years now and I am passionate about caring for and treating animals equally to humans. I am very aware that most of society turns a blind eye to how meat is actually produced and what the animals have to suffer through in order to feed our species when there is no problem with a plant based diet. We have many charities that help to stop animal cruelty such as the RSPCA, WWF and the Blue Cross yet none seem to remotely be concerned about the cruelty happening just to put cheap food in our shopping baskets. So I know that I want to focus on the plight of cattle in the farming industry rather than animal cruelty as a whole because of how little it is publicised. So I thought that I should research some of the facts about this cruelty.



ANIMAL CRUELTY IN FARMING

CHICKENS

Such a high number of chickens are killed: over 900 million chickens were slaughtered in the UK during 2013 (Defra 2014). This figure does not include the hundreds of millions of male chicks who are gassed or crushed to death simply because they can’t lay eggs for the industry to sell.


Chickens for meat

Broiler chickens have been manipulatively breed to grow much quicker than they would do naturally. To increase the industry’s profitability, chickens are now reared to reach slaughter weight in a much shorter time. If humans grew at the same rate as broiler chickens, we’d weigh 25 stone at age two. As Dr Toby Knowles from the UK’s Bristol University Division of Food Animal Science states:

‘In the past 50 years, broiler growth rates have increased by over 300 per cent from 25g per day to 100g per day’.

This unnatural rate of fattening puts increasing pressure on the chickens’ legs. Many of them are unable to support their own body weight and eventually collapse. Hock burns (small areas of dark discolouration around the knee joints) are evidence of this suffering. As the birds struggle to stand, they will often squat to the ground where high concentrations of ammonia (from their faeces) will burn the chickens’ legs and breast.

Egg Laying Hens

50% of laying hens in the UK are kept in cages. These chickens have very little space (not much larger than a single sheet of A4 paper) and spend the majority of their lives inside. In such small spaces, hens are unable to engage in basic natural behaviours like walking, nesting, spreading their wings, dust bathing, or foraging for food. The system uses artificial lighting, which is set for prolonged periods, to encourage hens to lay more.

This overcrowding allows disease to spread quickly and causes other serious welfare issues for the chickens. In these close confinements their bodies are often crushed as the chickens compete for space. Unable to escape, stressed, many chickens suffer from severe feather loss and foot deformities from standing on wire cage floors.

AnimalNatural lifespan (on average)Age at which they are typically killed
Broiler chicken7 years40-50 days old
Male chicks7 years1 day old
Layer hens7 years18 months old
COWS

According to the dairy industry, there are around 1.8 million dairy cows on the 14,550 dairy farms across the UK, which equates to 2 million dairy calves born every year. Statistics from DEFRA put the UK’s beef herd at approximately 1.6 million. In total, this equates to 3.4 million cows being raised for dairy and beef production in the UK alone, and does not factor in the estimated 2 million calves born as a result of dairy production.

Milk Production

Like all female mammals, to produce milk, a cow must give birth. And like human females, a cow’s pregnancy lasts nine months. A dairy cow has her first calf at around 18 months old. Typically, this calf is taken away from her within hours of birth. This separation is traumatic for both her and her baby. Cows will often bellow for prolonged periods to be reunited with their young. Mother cows will walk back and forth rapidly in an effort to reconnect, often for several days.

To ensure a constant supply of milk, a cow will suffer this same process of pregnancy, and separation several times in her life. She is caught in this cycle for as long as she can produce enough milk to be deemed ‘profitable’. A dairy cow is typically artificially inseminated every 13 months, meaning she will give birth to a calf nearly every year. While a cow would naturally live 15-20 years, because of the health toll of constant pregnancies and milk production, the lifespan of a dairy cow is only five to seven years.

With so many cows having baby after baby to ensure a constant supply of milk, the dairy industry produces millions of ‘surplus’ calves. Female calves, as soon as they are old enough, will become milk-producing machines just like their mothers.

Male Calves

Since they do not produce milk, male calves (also known as bull calves) are of no use to the dairy farmer, and fetch very low prices at auction. The males of dairy-producing breeds do not grow as large as breeds raised for beef, so these calves are often killed at birth, sold for low-quality meat, or raised for veal.

Some countries still use veal crates to confine dairy calves. Because veal is prized for its pale, tender texture, baby calves are confined to very small pens, hutches, or crates to restrict their movement, and fed nutrient-deficient diets. Veal crates are so patently cruel they have been banned in the entire European Union and at least seven U.S. states. Veal calves, whether in crates or pens, are slaughtered at around six months.

Cows for beef

Globally, more than 290 million cows are slaughtered every year. The beef industry is a large sector of agriculture within the UK – Scotland primarily, with the second largest beef herd in Europe, after France. During the first week of their lives calves are often disbudded and castrated. Then they are fed on cereals in ‘fattening sheds’, where numbers can reach as high as 8,000, before they are sent to slaughter at the early age of 11 – 12 months.

Whether they are raised for beef or dairy, all cows end up at the slaughterhouse, and experience the same horrors.

Once at the slaughterhouse, most cows in the UK are stunned with a pistol-like captive bolt gun to the brain, then shackled, bled, disembowelled, and skinned. However, due to the high speed of the production, the law stating cows must be rendered unconscious or insensible to pain before being killed is routinely ignored as cows and unskilled workers struggle and many animals have their throats cut and their skin removed while fully conscious.

Tuesday 26 January 2016

OUGD505 - Studio Brief 1 - Initial Ideas and Manchester Trip

Show me the Money Exhibition





















There was an exhibition on in Manchester Art Gallery showcasing some contemporary Japanese designs. There was a theme running through the exhibition of clean cut sculpture as well as minimal colour. Most of the pieces were either predominately white, black or red. This made me think that perhaps instead of going for a more traditional outlook (which most bank notes currently use) that I should play around with more contemporary designs.













A lot of the pieces provided different textures which suggested that they don't only look beautiful, they have a unique feel to them when you touch them. Perhaps I could play with embossing or debossing paper to create interesting textures to feel on the paper bank notes to add a more sensory response. 





I loved all of the designs and how they pushed the forms of objects to create beautiful shapes and silhouettes. Also what I found really interesting was that on the banners on the walls throughout the exhibition was information about the Japanese culture and it's art.











After deciding to do the Japanese Yen I took a look at their current bank note designs. The bank notes today are quite traditional like most bank notes today. The predominate colours used in the notes are greens, blues and reds. It looks like halftones have been used to mix colours and simplify the imagery. It also seems that the main notes for the yen are the 1000Y, 5000Y and 10000Y. 






The one thing that I feel I might struggle with this brief is the fact that the text will be in Kanji, the Japanese characters. This will massively effect the typography choices that I can make but I think it will provide a good challenge for me. So I started to try and research about the notes themselves rather than the designs.

The Bills


The Japanese bank notes have the face of a renowned Japanese figure on the front, along with the amount written in kanji and numerically. 1,000 yen or “sen-en,” 5,000 yen or “go-sen-en” and 10,000 or “ichiman-en.” There is a shiny seal on the bottom left front of the 5,000 and 10,000 yen bills (the 1,000 yen not doesn’t have it). The oval in the center of the notes possess a watermark. When you hold the bill up to the light, you can see the same face of the historical figure that’s on the front of the bill.

As far as bills go, there is a 1000-yen bill, a 5000-yen bill, and 10,000-yen bill. There was a 2,000-yen bill and perhaps you can get them from a bank, but I’m not sure. It’s much like the $2 bill in the United States, few people have them but you may still be able to get them from your bank. So who’s on the front of these bills. Currently, Noguchi Hideyo (family name is listed first) is on the 1000-yen bank note. In the U.S., our banknotes have pictures of presidents on the obverse sides of the bills. In this case, Noguchi wasn’t a politician, but a prominent, Japanese bacteriologist. Pretty neat, huh?

Who’s on the 5000-yen note?

Currently, Higuchi Ichiyo (again family name first) is on the 5000-yen bank note. Higuchi was renowned for her writing and poetry during the late 1800s. Although Ichiyo is the name that appears on the bank note itself, “Ichiyo” was actually a pen name that Higuchi Natsuko used for her writing.

Who’s on the 10,000-yen note?

Fukuzawa Yukichi is on the 10,000-yen bank note. No, Fukuzawa wasn’t a Japanese politician either. Yukichi was a number of things, a writer, a translator, and a businessman, among other things. However his most well-known accomplishment was the founding on Keio University, which is located in Tokyo.

Kanji:

10,000 Yen = 一万円 (ichi man en)
1,000 Yen = 千円 (sen en)
2,000 Yen = 二千円 (ni sen en)
5,000 Yen = 五千円 (go sen en)

References used:
http://thejapanesepage.com/culture/japanese_money
http://www.thejapanguy.com/the-japanese-yen/

Saturday 16 January 2016

OUGD505 - Studio Brief 1 - Licence to Print Money Briefing

THE BRIEF: 'Licence to Print Money'

In an age of Apple Pay, Bitcoin, contactless, Paypal and other options for the transferring of funds, is there a future for "real" money?

Undertake research into the development of coinage and banknotes while also exploring the cultural understandings of legal tender. Following this initial engagement (including the research trip to the People's History Museum's Show Me The Money exhibition), begin a more developed interrogation of financial transactions in order to complete your own proposal for the future of the banknote.

Your proposed banknote design should be presented as a finished print that makes use of any of the varied analogue print processes available within the college's workshops. Submissions should additionally be created using a minimum of two colours/finishes. Paper size for completed work will be 21cm x 26cm with banknote designs displayed landscape. (The size of the actual banknotes are to be determined by the student when based on their design rationale. It is up to the student whether they choose to display one or two sides of a banknote on the print.)

Each 21cm x 26cm print is to be submitted by 21st April 2016 for inclusion in a Level 4 and Level 5 group show that will run in May 2016.

Please note, finished prints for this brief are not digital prints.




Once I heard the brief and we went on the trip to Manchester I knew immediately that I wanted to do the Japanese Yen. Initially I thought that I could have a look at Japanese wood block prints and replicate these textures with linocuts or screen prints. Yet the brief states about the future of banknotes so I decided to look a bit more into the history of money itself and the Japanese culture of money to see whether a bank note would be appropriate in this day and age. 

The History of Money

The concept of money dates back to the beginning of civilization. The Israeli currency, the shekel, was originally a measure of weight (11 grams) and each shekel coin originally corresponded to that amount of silver. Coins were stamped to certify that they contained the required weight, infusing transactions, even among strangers, with an element of trust.

It’s easy to see how money caught on. It was a much more efficient way to transact business than bartering one good for another. Money was also a useful store of wealth, certainly more convenient than livestock or grains. These two core functions—a medium of exchange and a store of value—still define money today.

The nature of money changed after the Bretton Woods Conference in 1944, when most countries tied the value of their currencies to the US dollar, rather than to gold or silver. When the US went off the gold standard in 1971, all currencies essential became fiat moneys, with their value derived from the governments that issue them rather than from commodities.


The Future of Money


“Even though we’re using credit and debit cards more than ever, people still have cash in their wallet,” says chief executive Martin Sutherland of De La Rue is the company which produces the £5, £10, £20 and £50 notes for the Bank of England “It’s convenient, it’s free at point of use, classless – not everyone has a bank account - and most of all, it’s reliable... Cash is the payment mechanism of last resort, it will still work when there’s a power cut or the card reader won’t scan.”

“We are generally seen as the leading designer of banknotes and passports but we have to be innovative about the security features we introduce because we are in an arms race with counterfeiters,” he says. “The longer a particular feature is in circulation, the more time they have to work out how it is done and how to reproduce it, so we have to be constantly introducing new ideas. We’re a counter-counterfeiting business.”

As well as “covert” security measures known only to central banks and De La Rue itself, there are more obvious features, such as the silver foil running through notes, holograms and ultraviolet inks.

Sutherland highlights a recent introduction called “active”, a visual affect where depending on how you view a note, it shows a different colour. “Think of it as an animation,” says the chief executive, who flatly refuses to even hint at what direction “covert” measures take in the future.


So here Sutherland suggests that banknotes and legal tender are the only thing that stops counterfeiters and thieves from stealing money. In this day and age we are constantly warned by the dangers of identity fraud and hackers where we could easily loose large amounts of money in the blink of an eye. Yet a couple of notes in your purse or wallet are safe while you hold them, immune to the effects of the advancing digital age.



References:
http://www.delarue.com/
http://www.telegraph.co.uk/finance/newsbysector/industry/12061880/Cash-is-king-for-the-future-says-UK-banknote-printer-De-La-Rue.html
http://www.forbes.com/sites/gregsatell/2014/11/08/the-future-of-money/#7493fe1f3324