Corporate Memphis: Difference between revisions
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== Reception == |
== Reception == |
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[[File:Corporate_Memphis_-_Diada_de_Sant_Jordi_-_Ajuntament_de_Barcelona.jpg|right|thumb|The official 2024 [[The Day of Books and Roses|''Diada de Sant Jordi'']] illustrations from the [[City Council of Barcelona]], in [[Catalonia]], were entirely made with Corporate Memphis by the local artist Pau Gasol Valls.<ref name=":6">{{Ref-publicació|cognom=Subirana|nom=Jordi|article=L’Ajuntament de Barcelona s’oblida de la senyera als cartells de Sant Jordi|publicació=TOT Barcelona|url=https://www.totbarcelona.cat/societat/ajuntament-barcelon-oblida-senyera-cartells-sant-jordi-497454/|data=11 abril 2024|consulta=6 maig 2024|llengua=ca}}</ref> They were fiercely criticized by multiple social, cultural and political segments due their strong [[depersonalization]] and loss of identity traits, such as the omission of the [[senyera]], which is ubiquitous in the city's streets during that day.<ref name=":9">{{Ref-publicació|cognom=Solé Ingla|nom=Alba|article=Polèmica pel cartell de Sant Jordi de l'Ajuntament de Barcelona: què s'hi troba a faltar?|publicació=El Nacional|url=https://www.elnacional.cat/ca/barcelona/polemica-cartell-sant-jordi-ajuntament-barcelona-troba-faltar_1195268_102.html|data=12 abril 2024|llengua=ca|consulta=6 maig 2024}}</ref><ref name=":10">{{Ref-publicació|article=“Sorprèn que encara mantinguin el català”: crítiques al cartell de Sant Jordi de Barcelona|publicació=[[Vilaweb]]|url=https://www.vilaweb.cat/noticies/cartell-sant-jordi-barcelona-senyera-catala/|data=11 abril 2024|consulta=6 maig 2024|llengua=ca}}</ref><ref name=":6" />]] |
[[File:Corporate_Memphis_-_Diada_de_Sant_Jordi_-_Ajuntament_de_Barcelona.jpg|right|thumb|upright=1.3|The official 2024 [[The Day of Books and Roses|''Diada de Sant Jordi'']] illustrations from the [[City Council of Barcelona]], in [[Catalonia]], were entirely made with Corporate Memphis by the local artist Pau Gasol Valls.<ref name=":6">{{Ref-publicació|cognom=Subirana|nom=Jordi|article=L’Ajuntament de Barcelona s’oblida de la senyera als cartells de Sant Jordi|publicació=TOT Barcelona|url=https://www.totbarcelona.cat/societat/ajuntament-barcelon-oblida-senyera-cartells-sant-jordi-497454/|data=11 abril 2024|consulta=6 maig 2024|llengua=ca}}</ref> They were fiercely criticized by multiple social, cultural and political segments due their strong [[depersonalization]] and loss of identity traits, such as the omission of the [[senyera]], which is ubiquitous in the city's streets during that day.<ref name=":9">{{Ref-publicació|cognom=Solé Ingla|nom=Alba|article=Polèmica pel cartell de Sant Jordi de l'Ajuntament de Barcelona: què s'hi troba a faltar?|publicació=El Nacional|url=https://www.elnacional.cat/ca/barcelona/polemica-cartell-sant-jordi-ajuntament-barcelona-troba-faltar_1195268_102.html|data=12 abril 2024|llengua=ca|consulta=6 maig 2024}}</ref><ref name=":10">{{Ref-publicació|article=“Sorprèn que encara mantinguin el català”: crítiques al cartell de Sant Jordi de Barcelona|publicació=[[Vilaweb]]|url=https://www.vilaweb.cat/noticies/cartell-sant-jordi-barcelona-senyera-catala/|data=11 abril 2024|consulta=6 maig 2024|llengua=ca}}</ref><ref name=":6" />]] |
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Once Facebook adopted the style, the sudden ubiquity of vector graphics led to a critical backlash.<ref name=":3" /> The style has been criticized both professionally and popularly (including in myriad [[internet memes]]) for being overly minimalistic,<ref name="gg" /> generic,<ref>{{Cite web|last=Quito|first=Anne|date=October 26, 2019|title=Why editorial illustrations look so similar these days|url=https://qz.com/quartzy/1728767/why-editorial-illustrations-look-so-similar-these-days/|url-status=live|archive-url=https://web.archive.org/web/20210208044929/https://qz.com/quartzy/1728767/why-editorial-illustrations-look-so-similar-these-days/|archive-date=2021-02-08|access-date=2021-02-10|website=Quartz|language=en}}</ref> lazy,<ref name=":2" /> overused, and attempting to sanitise public perception of big tech companies by presenting [[human interaction]] in [[Utopia|utopian optimism]].<ref name=":1">{{Cite web|last=Hawley|first=Rachel|date=2019-08-21|title=Don't Worry, These Gangly-armed Cartoons Are Here to Protect You From Big Tech|url=https://eyeondesign.aiga.org/dont-worry-these-gangley-armed-cartoons-are-here-to-protect-you-from-big-tech/|url-status=live|archive-url=https://web.archive.org/web/20210822143019/https://eyeondesign.aiga.org/dont-worry-these-gangley-armed-cartoons-are-here-to-protect-you-from-big-tech/|archive-date=2021-08-22|access-date=2021-02-10|website=Eye on Design|language=en-US}}</ref> Criticism of the art style is often rooted in larger anxieties about the creative industry under [[capitalism]] and [[neoliberalism]].<ref name=":0" /> Some{{who|date=January 2024}} have argued that, despite the criticism, Corporate Memphis has unexpected depth and variety, and deserves to be understood on its own merits beyond an association with tech dystopias.<ref name=":3" /> |
Once Facebook adopted the style, the sudden ubiquity of vector graphics led to a critical backlash.<ref name=":3" /> The style has been criticized both professionally and popularly (including in myriad [[internet memes]]) for being overly minimalistic,<ref name="gg" /> generic,<ref>{{Cite web|last=Quito|first=Anne|date=October 26, 2019|title=Why editorial illustrations look so similar these days|url=https://qz.com/quartzy/1728767/why-editorial-illustrations-look-so-similar-these-days/|url-status=live|archive-url=https://web.archive.org/web/20210208044929/https://qz.com/quartzy/1728767/why-editorial-illustrations-look-so-similar-these-days/|archive-date=2021-02-08|access-date=2021-02-10|website=Quartz|language=en}}</ref> lazy,<ref name=":2" /> overused, and attempting to sanitise public perception of big tech companies by presenting [[human interaction]] in [[Utopia|utopian optimism]].<ref name=":1">{{Cite web|last=Hawley|first=Rachel|date=2019-08-21|title=Don't Worry, These Gangly-armed Cartoons Are Here to Protect You From Big Tech|url=https://eyeondesign.aiga.org/dont-worry-these-gangley-armed-cartoons-are-here-to-protect-you-from-big-tech/|url-status=live|archive-url=https://web.archive.org/web/20210822143019/https://eyeondesign.aiga.org/dont-worry-these-gangley-armed-cartoons-are-here-to-protect-you-from-big-tech/|archive-date=2021-08-22|access-date=2021-02-10|website=Eye on Design|language=en-US}}</ref> Criticism of the art style is often rooted in larger anxieties about the creative industry under [[capitalism]] and [[neoliberalism]].<ref name=":0" /> Some{{who|date=January 2024}} have argued that, despite the criticism, Corporate Memphis has unexpected depth and variety, and deserves to be understood on its own merits beyond an association with tech dystopias.<ref name=":3" /> |
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Revision as of 06:55, 6 May 2024
Corporate Memphis (alternative names: Alegria art, big tech art, flat art, or corporate artstyle[1]) is an art style named after the Memphis Group that features flat areas of color and geometric elements. Widely associated with Big Tech illustrations in the late 2010s[2] and early 2020s,[3] it has been criticized for its use in sanitising corporate communication,[2] as well as being seen as visually offensive, insincere, pandering and over-saturated,[1] though some illustrators have defended the style, pointing at what they claim to be its art-historical legitimacy.[4]
Origins
Flat art developed out of the rise of vector graphic programs, and a nostalgia for mid-century modern illustration.[4] It began to trend in editorial illustration and especially the tech industry, which relied on simple, scalable illustrations to fill white space and add character to apps and web pages.[2] The style was widely popularized when Facebook introduced Alegria, an illustration system commissioned from design agency Buck Studios and illustrator Xoana Herrera[2] in 2017.[5][6]
The name "Corporate Memphis" originated from the title of an Are.na board that collected early examples,[2] and is a reference to the Memphis Group, a 1980s design group known for bright colors, childish patterns, and geometric shapes.[6] The style itself was inspired by a synthesis of elements spanning the 20th-century, including the Art Deco style of the 1920s, futurism in interior design from the Atomic Age, and color and patterns from the Pop Art movement.[6]
Visual characteristics
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Common motifs are flat human characters in action, with disproportionate features such as long and bendy limbs,[3] small torsos,[7] minimal or no facial features, and bright colors without any blending. Facebook's Alegria uses non-representational skin colors such as blues and purples in order to feel universal,[5] though some artists working in the style opt for more realistic skin colors and features to show diversity.[2] However, such style has overall been criticised for tokenism and feeling inauthentic.[1]
Corporate Memphis is materially quick, cheap and easy to produce, and thus appealing to companies; programs such as Adobe Illustrator can produce such designs rapidly.[1]
Reception
Once Facebook adopted the style, the sudden ubiquity of vector graphics led to a critical backlash.[4] The style has been criticized both professionally and popularly (including in myriad internet memes) for being overly minimalistic,[1] generic,[11] lazy,[3] overused, and attempting to sanitise public perception of big tech companies by presenting human interaction in utopian optimism.[2] Criticism of the art style is often rooted in larger anxieties about the creative industry under capitalism and neoliberalism.[7] Some[who?] have argued that, despite the criticism, Corporate Memphis has unexpected depth and variety, and deserves to be understood on its own merits beyond an association with tech dystopias.[4]
See also
- Material design, a Google-derived design language linked to Corporate Memphis
- Frutiger Aero, a prominent design style preceding Corporate Memphis that embraced contrasting skeuomorphism
- Flat design
- Postmodern art
- Metamodernism
- Pop art
- Capitalist realism
References
- ^ a b c d e McGinn, Julian (30 March 2022). "It's Not Just You: Why People Hate "Corporate Art Style"". The Grand Geek Gathering. Archived from the original on 8 January 2024. Retrieved 8 January 2024.
- ^ a b c d e f g Hawley, Rachel (2019-08-21). "Don't Worry, These Gangly-armed Cartoons Are Here to Protect You From Big Tech". Eye on Design. Archived from the original on 2021-08-22. Retrieved 2021-02-10.
- ^ a b c Gabert-Doyon, Josh (2021-01-24). "Why does every advert look the same? Blame Corporate Memphis". Wired UK. ISSN 1357-0978. Archived from the original on 2021-08-22. Retrieved 2021-02-10.
- ^ a b c d Frey, Angelica (10 January 2022). "Facebook made a certain type of illustration ubiquitous—but it's time to stop knocking it". Fast Company. Archived from the original on 19 December 2022. Retrieved 18 December 2022.
- ^ a b "Facebook Alegria". Archived from the original on 19 November 2021. Retrieved 19 November 2021.
- ^ a b c "Blue people and long limbs: How one illustration style took over the corporate world | Webflow Blog". Webflow. Archived from the original on 2022-11-16. Retrieved 2022-11-16.
- ^ a b Posture, Julien (2022-01-13). "What the Think Pieces About "Corporate Memphis" Tell Us About the State of Illustration". AIGA Eye on Design. Archived from the original on 2022-05-28. Retrieved 2022-05-10.
- ^ a b Subirana, Jordi (11 April 2024). "L'Ajuntament de Barcelona s'oblida de la senyera als cartells de Sant Jordi". TOT Barcelona (in Catalan). Retrieved 6 May 2024.
- ^ Solé Ingla, Alba (12 April 2024). "Polèmica pel cartell de Sant Jordi de l'Ajuntament de Barcelona: què s'hi troba a faltar?". El Nacional (in Catalan). Retrieved 6 May 2024.
- ^ ""Sorprèn que encara mantinguin el català": crítiques al cartell de Sant Jordi de Barcelona". Vilaweb (in Catalan). 11 April 2024. Retrieved 6 May 2024.
- ^ Quito, Anne (October 26, 2019). "Why editorial illustrations look so similar these days". Quartz. Archived from the original on 2021-02-08. Retrieved 2021-02-10.
