6:19 PM
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For the sake of argument, I’m going to assume that you are like me: an art/design/architecture aficionado. That said, you’ve most likely had the experience of standing in the middle of a bookstore happily flipping through a beautifully designed large-format tome only to come across a piece screaming “fuck” at the top of it’s lungs in an attempt to shock the viewer. Quite frankly, the only thing that shocks me is that such a half-heartedly designed piece got into a collection of superior design in the first place. To be fair, I must admit that I tend to use expletives on a daily basis, so I had to honestly consider that this directly ties into my reaction. Which brings me to the question: Does “fuck,” or the use of any other expletive for that matter, have any shock value in a modern context or is it simply an ambiguous, obsolete attempt to garner attention? Has it become the hallmark of a linguistically and conceptually-challenged individual or is it a legitimate, communicative means of expression? And, if so, can such deeply personal sentiments be expressed in another definitive, immediate manner? The above poster by Modern Dog was designed for the Hurricane Poster Project (www.thehurricaneposterproject.com). The charity is an important one and Modern Dog creates some great stuff. I even own one of their posters myself, but in this particular design, I think it’s a lazy way to communicate. You toss in a curse word in the hope to get attention. Expletives simply don’t have as much punch as a well considered, well designed presentation. You’ve lost the argument if all you’re doing is throwing about insults with little-to-no context. It dilutes any intended message to a “sticks-and-stones” recess argument. Its boring and without substance.
This poster, by May Sorum, is far more powerful because it not only gets immediate attention, but also quickly communicates the facts about the sitting President and his cabinet members. It quickly expresses similar sentiments, but in a far superior manner as context is equally balanced by message.
To further support my point, the Jonathan Barnbrook poster, above, is a spectacular example of how to grab the viewer’s attention, without insulting his personal sensibilities or intelligence, and immediately communicate the message. Like Sorum’s poster above, he utilizes rich color and visual textures that draw the viewer in. However, as the viewer moves closer, there is even more context and detail to absorb. The poster has moved on from a simple collection of images to a fully realized presentation.
The question then becomes: can one utilize vulgarity in a way that maximizes both the communicative and attention-grabbing aspects of a well-constructed communication? I’m sure there is a way, although I have yet to see it. At best, I believe that you run the risk of insulting the viewer, causing them to overlook any concise, succinct communication contained within the piece. It may also cause a backlash against the cause you were trying to support. In most cases, the recipient may simply feel talked down to.
Being fully aware that I am quite opinionated, I asked another designer I look up to for an opinion, and he eloquently summed up the situation and, in turn my sentiments as well: “Of course, everything is ultimately contextual, but consider this: expletives, when used for an audience that accepts them because they are part of their own speech usually produces little effect. Expletives experienced by people who use them rarely generally respond with shock and withdrawal. Consequentially, it never seemed like an effective way to communicate important ideas.”