OUGD504 - Studio Brief 1 - Written Content Inside the Publication

SECTION 63, THE 1994 CRIMINAL JUSTICE ACT,  GIVING POLICE THE POWER TO SHUT DOWN EVENTS AND GATHERINGS INVOLVING MUSIC CATEGORISED AS ‘A SUCCESSION OF REPETITIVE BEATS’. BEFORE THE PHENOMENA OF SO CALLED ‘REPETITIVE BEATS’ WAS COMMERCIALISED, THE SHORTAGE OF PLACES TO HEAR THE UNDERGROUND MUSIC MEANT THAT DIVERSE FOLLOWERS FROM ALL DIFFERENT BACKGROUNDS WOULD GATHER TOGETHER IN ECSTASY UNTIL THE EARLY MORNING HOURS. THIS CONTROVERSIAL RAVE MOVEMENT STEMMED FROM THE EXPLOSION OF YOUTH CULTURE AT THE TIME, BUILT AROUND REBELLING AGAINST SOCIETY AND POLITICIANS. PIRATE RADIO STATIONS, D.I.Y WAREHOUSE PARTIES AND THE EMERGENCE OF ‘PARTY DRUGS’ BROUGHT ON A SENSE OF UNITY WITHIN THIS UNORTHODOX UNDERGROUND SOCIETY. FOOTBALL HOOLIGANS WHO WOULD HAVE FOUGHT FOR FUN FIVE YEARS PREVIOUSLY WOULD COME TOGETHER TO DANCE SIDE BY SIDE UNTIL THE EARLY HOURS OF THE MORNING. THESE ANTI SOCIALIST IDEOLOGIES ARE WHAT BROUGHT ON A SENSE OF PEACE AND LOVE THROUGHOUT THE 80’S AND 90’S.


THIS BOOK INTENDS TO DISPLAY THE ARTWORK, TYPOGRAPHY, SOCIAL INDIVIDUALITY, AND ANTI CONFORMIST YOUTH CULTURE THAT AROSE WITHIN THE RAVE MOVEMENT. THESE  IDEOLOGIES ARE REPRESENTED THROUGHOUT THE HAND RENDERED TYPE AND POST MODERNIST DESIGN ELEMENTS DESIGNED ON FLYERS AND POSTERS FROM THIS ERA. THE SOCIAL INDIVIDUALITY OF THE RAVER IS REPRESENTED BY EACH UNIQUE BOOK COVER BEING PRODUCED USING UNCONVENTIONAL AND BESPOKE PRINTING METHODS. EACH PRINT HAS BEEN APPLIED BY HAND USING RUBBER STAMPS IDENTICAL TO THOSE OF THE HAND STAMPS USED IN EXCHANGE FOR RAVERS TICKETS. INK USED FOR EACH DESIGN IS THE SAME INK WHICH RAVERS WOULD HAVE HAD IMPRINTED ON THEIR HAND AT THE START OF EACH RAVE, AND WHICH WOULD HAVE BEEN SMUDGED AWAY IN A COCKTAIL OF SWEAT AND ALCOHOL AS 9AM CALLED.