Monday, March 22, 2010

Aboriginal Motifs


Functions and Philosophies:
Principles and Protocols

Respect
We respect the rights of indigenous people to own and control their own heritage, such as indigenous images, designs, stories and other cultural expressions.

Aknowledgement of country
Country means more than simply land to the Aboriginal people. It is the very living essence of the place, with its own past and future,

Communication, consultation and consent
Communication and consultation is important if planning to use any indigenous motifs or themes, or if planning a public piece that could be misinterpreted. The depiction of Dreamtime stories or creation beings requires consent from tribal elders.

Communication is most effective if each group:
  • is aware of the way in which their culture effects how they see an issue
  • endeavours to understand and build awareness on the other culture
  • patiently unravels misunderstandings which arise out of cultural differences
  • finds the right people in the community to consult
With regard to the process of gaining consent:
  • allow time (perhaps more than one meeting) for communication of a proposal
  • allow time for a decision to be made
  • remember that a decision will be made on other bases than the ones brought from outside the community
  • be prepared to take no for an answer
  • respect the views of all factions of a community, ensure that consent comes from the appropriate quarter for a particular activity or project.
(Australia Council - Protocols for producing Indigenous Australian visual arts)

Traitional and communally owned images
There may be requirements to consult with the traditional custodians and community members, as well as the artist for information that is communally owned ritual knowledge.
There may be more than one individual or group which claims ownership of a certain idea or image. It is advised to seek Eldership permission for any tribal or traditional designs, as well as creation stories.

Sensitivity
Sensitive content, such as secret or sacred material or gender-based work, may require special procedures that should be ascertained first.

Geographic Diversity
Groups vary from one community to another, this includes cultural traditions and language.
It is important to make sure that the appropriate group is the one consulted.

Gender
During consultation it is important to remember that there may be a genderal difference in cultural knowledge.

Photography of Indigenous people
Indigenous people have shown alot of concern about having their images used without permission. Permission should be asked to take photographs even when at a public event, and separate permission is needed to use the image for a promotion or on the internet.

Collaboration
In the case that an Indigenous artist is to be collaborating with other artists or communities on a major community project, there must be consultation with the artist and their community in the initial planning phase of the project. Permission must be given before going ahead.
It is also important to discuss copyright ownership at the outset if more than one artist or community are working on a collaborative project.


Moral Rights and Issues


Bibliography:
Protocols for producing Indigenous Australian visual arts, www.australiacouncil.gov.au
Dreamings-The art of Aboriginal Australia, edited by Peter Sutton

Native American Motifs - Golden State Warriors

The Golden State Warriors have changed their logo many times throughout their history, as well as their name changing as they moved from Philadelphia to San Francisco. Below are the range of logos they have used throughout their over 60 years of history.

The current Golden State logo is not only a far more advanced piece of design work than the previous logos, but it has also replaced the racist and disrespectful caricature of a native American with a stylised Hellenic warrior holding a lightening bolt.
It is a dynamic design, with the bold font setting up a diagonal which the rest of the image sits apon. The warrior faces to the right, which traditionally means moving forward. Behind the warrior is a stylised basketball which also resembles the setting sun and provides a container for the design. The sunset image is appropriate as the Warriors are based in a western state.
The colour scheme is predominantly gold, in reference to the team name. It has been made out of yellow-orange gradients complimented by two tones of blue. The simultaneous contrast of this colour choice generates a lot of visual energy, which in turn implies the energetic nature of the team.
The warrior character is, as mentioned, a Hellenic warrior, but also has the style of a cartoon character which fits well with the more modern aesthetic and resembles The Rocketeer, Iron Man or a Power Ranger. The head or helmet is inspired by ancient Greek armour design and the lightening bolt motif is a reference to Zeus. Even the sharp nature of the serifs on the text seem to echo the jagged shape of the lightening bolt.

When we look back now on the original logo from 1947 it is hard to believe that it was ever considered to be the sort of logo a team would want. One could imagine wanting to use an image of a native warrior if the intention was to invoke the strength or skills he possessed (for example the current Washington Redskins logo displays a native American in a way that seems very respectful and reverent, even inspiring), yet this image seems like it is making fun of its own mascot and therefore also the team. It is wrong in any case to create a stereotypical image of any race or group, it robs them of their individuality.
In this age of global mingling, political correctness is extremely important. By taking care to respect the dignity and beliefs of others we ensure that, not only for them but also for ourselves, our experience of life is far more positive.
I like this logo and it is very effective. However there is debate about whether it should stay as it is. Some favor a design which is more in line with the teams origins - including many of the Warriors native American fans. This could be a m0dification of the current logo to have a spear instead of lightning. If done properly, this might be an acceptable way to bring back a native American flavour whilst remaining politically correct.

Bibliography:
http://www.nba.com/warriors/history/logo_history.html
http://thesportdigest.com/article/aboriginal-stereotypes-sports-intentions-gone-horribly-wrong
http://www.norcalbuffs.com/wp-content/uploads/2008/08/warriors.png
http://logoshak.com/~asgsport/images/Philadelphia_Warriors.gif
http://nakayoshi-jacl.blogspot.com/2008_11_01_archive.html
http://www.nba.com/media/warriors/GS1000_Logo.jpg
http://www.australiacouncil.gov.au/about_us/organisation/structure/research_centre
http://www.goldenstateofmind.com/2009/11/23/1171589/hot-or-not-san-francisco-warriors
http://www.sportslogos.net/logo.php?id=5970
http://www.sportslogos.net/logo.php?id=1bhcqs6l5t44lw04y1tygdsce

Tuesday, March 16, 2010

Melbourne Sports Museum Critiques

Logo:












Geelong Cats Football Club 2007 Logo Redesign
Vector Graphic by design firm Cato Partners

These are the twinned new logos of the Geelong Cats. Each were designed by design firm Cato Partners to reflect the club values of Respect, Precision, Adventurous, Conviction, Unity and Commerce. They involve the shield motif which portrays them to be strong and well defended, as well as keeping a traditional feel to the logos. For the purpose of this critique I am focusing on the logo of the stylised cats face rather than the silhouetted version.

This logo gives the impression that if you mess with The Cats you will come to regret it. The angry eyes and hissing/roaring jaws embody pure menace. Although cats can be cute, if you have ever been scratched or bitten you will know that you don't want to be on their bad side.

This version of the logo is the "main marketing logo" of The Cats while the other is their "on field identity" it is clever in that it mirrors the uniforms which are simple blue and white stripes which and are now morphed into the cats face. It seems worth noting that The Cats are one of the few teams who retained the traditional horizontally striped design to their uniforms when most others went over to a more "modern" style, however it is not the uniforms we are discussing here.

The logo displays an expert use of line and shape, the horizontal lines/bars of colour merge seamlessly with the cat image, the highly contrasting colour scheme gives a very bold look to the logo. It is strongly symmetrical and employs the principle of stability while still having a dynamic look. The waving, organic lines seem to suggest a flag flying in the breeze. The use of negative space in the cats face is very effective and instantly recognisable. The reversed out type for the word "Geelong" almost disappears when we look away from it and seems merely a continuation of the striped theme. The Bold, square font for "Cats" contrasts well with the rest of the design which is predominantly curved.

The design while being highly stylised and minimalist also seems rooted in surrealism. To me it is reminiscent of the Cheshire Cat from Alice in Wonderland which is also appropriate, in that it says "Beware The Cats powers of deception!".

The Cats anthem is "We are The Cats! The greatest team of all!". I know little of football, but for me I feel that they do at least have the best logo.

Logo Application:

Official 1936 Berlin Olympic Games Poster
Designed by Franz Würbel, June 1934
Screenprint

In the foreground it features the Quadriga from the Brandenburg Gate, a landmark of the city of Berlin. In the middleground is the figure of a wreathed victor, his arm raised in the Olympic salute, symbolising Olympic sport. In the background are the five interlocking Olympic rings, representing the five continents, and coloured to contain at least one of the colours from the flag of every participating country.

When considering the meaning of each element of this design, one cannot forget that we are looking at an image from two years prior to the beginning of Hitlers campaign to make the world Germany. It would be foolhardy to look on it as anything short of a tool of the Third Reich's Propaganda Ministry.

This poster was several years in development. After a nationwide competition was held, no winner was announced and instead the 'Propaganda Committee for the Olympic Games Berlin 1936' selected key elements from the best entries and had graphic designer Franz Würbel re-work them into the poster we see in a way that was designed to accentuate the power of Germany.

The principles at work in this poster are like a combination of stability and dynamics. This has been used in a very clever way. One can notice that the Olympic victor, the rings and the words "Olympic Games" are aligned to the grid in a strictly stable arrangement. This is combined with the image of the Brandenburg Gate and the words "Germany Berlin - 1936" which are not in line with the grid but instead charging in on a diagonal in a very dynamic way. I believe this has been done quite deliberately to emphasise Germany as a fast moving, dynamic power soon to overshadow the old traditions with their so-called "New World Order".

The Olympic victor image is another propaganda tool in this case and has been rendered to resemble a member of Hitlers proposed Arian master race. The way that the head of the character with its typically Greek olive-leaf wreath interacts with the circular forms of the Olympic Rings even seems to suggest telepathic emanations, and the promotion of this ability was another common ploy of Hitlers propaganda machine.

The figure is even coloured in a greenish yellow that resembles gold. This is of course a very reasonable personification of the Olympic ideal, but yet it also seems to scream "Germany will win!". Also the exaggerated size of the figure implies the superhuman. His gaze is cast over and above we the viewer, it gives us a sense of our own insignificance as it looks ahead to the horizon and the future.

The font used is very similar to the style of the letterforms on inscriptions on ancient Greek architecture which ties in perfectly with the Olympic aesthetic. The colour scheme contrasting the dark blues in the foreground with the bright gold figure behind give the composition a sense of energy and excitement.

In many ways the Nazi's may have been the perfect design team to promote the Olympics. The ideal of "Faster, Higher, Stronger" was I think very close to their hearts and is not so different to trying to create a superior, master race.

I feel that this poster is a masterpiece of design work, both as an Olympic poster and as a government propaganda tool. It is even slightly worrying that I have found I've gained a new respect for its creators. I've got no love for the Nazi's but they really know how to build a corporate identity.


Bibliography:
http://images.artnet.com/WebServices/picture.aspx?date=20040205&catalog=18047&gallery=111588&lot=00275&filetype=2
http://olympic-museum.de/poster/poster1936.htm
http://ajhblog.files.wordpress.com/2009/09/geelong-cats-logo2.jpg
http://www.thecattery.com.au/Images/Geelong2008Logo1.jpg
http://en.wikipedia.org/wiki/Richard_Simon_%28painter%29
http://www.dhm.de/lemo/objekte/pict/629_1/index.html
http://www.janecky.com/olympics/motto.html

Monday, March 8, 2010

Critiquing Tools

Art Vocabulary List:

Proportion -
1. The comparative measurements or size of different parts of an object or image.
2. The correct, attractive or ideal relationship in size or shape beetween one thing and another or beetween parts of a whole.

Transparent -
1. Allowing light to pass through so that objects behind can be distincly seen.
2. (In relation to grahic designing on a computer)When an object is not printed at its full opacity allowing imagery or text behind it to show through.

Asymmetry -
1. Lack of equality or equivalence beetween parts or aspects of something.
2. Lack of symmetry.
3. Lopsidedness.

Aesthetics -
1. A set of principles concerned with the nature and appreciation of beauty.
2. The branch of philosophy that deals with the principles of beauty and artistic taste.
3. A set of principles underlying and guiding the work of a particular artist or artistic movement (eg: the Cubist aesthetic).

Emphasis -
1. Special importance, value or prominence given to something
2. Vigor or intensity of expression.
3. A difference in colour, size or placement of an element in a composition which tends to cause the element to be especially noticable.

Adjective List:
Organic-
1. Of relating to or derived from living matter.
2. Having the appearance of a naturally occuring or living thing.
3. A style of line or form in which the objects are shaped in such a way that they appear to be alive or natural, usually involving flowing curves and voluptuous rounded shapes.

Geometric-
1. Of or relating to geometry, or according to its methods
2. Characterised or decorated with regular lines or shapes
3. A style of design where most or all of the elements used are straight lines, circles, ellipses and regular polygons.
4. A modern style derived from the more ancient styles of Ad Triangulum (made of or following the lines of triangles - 0, 30, 60, 90, 120, 150, 180 degrees) and Ad Quadratum (made of or following the lines of squares - 0, 45, 90, 135, 180 degrees)

Monochromatic-
1. Containing or using only one colour
2. Of a single wavelength or frequency
3. Lacking in variety, monotonous
4. A style of colour use where the only colours employed in a piece are shades and tints of a single hue.

Matte-
1. Dull or flat, without a shine
2. Antonym of gloss
3. A sheet of cardboard placed on the back of a picture, either as a mount or to form a border around the picture
4. A quality of a substrate where the surface is textured on a very fine scale thus breaking up any reflection on the surface

Nebulous-
1. In the form of a cloud or haze
2. Unclear, vague or ill defined



Principles & Elements of Design List:
Elements:
Line - Line is fundamental to design. A line is a mark made by the moving of a point, which can be made to have a psychological impact depending on its weight and direction and by variations in its weight and direction. There are a wide variety of types of line, including: agressive, straight and calm, dynamicly angled, chaotic, gently curvaceous, energetically curved, lyrical, textural, tonal, implied and psychic.

Colour - Colour is the property of an object that refers to the way that it reflects different wavelengths of light, the range of colours represented by a rainbow make up the colour spectrum with red (long wavelength) at one end and violet (short wavelength) at the other. These colours can also be arranged into a circle making a colour wheel, which has the three primary colours; Red, Blue and Yellow spaced at 120degree angles to one another and with the secondary and tertiary colours in beetween. It is important to note that these primary colours apply only to pigments and there is even disagreement since many artists say that the primary's are Cyan, Magenta and Yellow, like those used in the printing process. None of these are the true primary's though since colour by its very nature is light, and the primary colours for lighty are Red, Blue, and Green. When mixing colour with light we call it additive colour and with pigments subtractive.
Different colours have different psychological effects on people and cujure up different emotions, for example: Blue - calm and relaxed, Red - exciting and lusty, Green - envy and sickness as well as natural and serene, Black - depressing and evil, White - pure and clean.
Different colour combinations are given different names depending on their relative position on the wheel: Complimentary is colours which are on opposite sides of the wheel, Analogous is colours that are near each other on the wheel, Monochromatic is variations in brightness of a single colour, Triadic means that the colours are at 120 degrees to each other on the wheel, the primary colours are an example of this.
Colours are also refered to as hues, and different brightnesses are referred to as values
Texture - Texture refers to the surface quality of an object, it is a sensation of touch that can be invoked visually by the way line and shape are used. Some types of texture are: smooth, rough, ridged, spiky, grainy, undulating, cracked and embossed.

Shape and Form - these are masses of colour or areas encompassed by lines which define objects in space. By their existance they imply the space around them. Space is the precondition of all that exists.
Shapes and forms can be two dimensional or three dimensional and can be organic or geometric in nature. Organic shapes are things such as the contours of a landscape, naturally occuring things like plants, or the curves of the human body. Geometric shapes are things like squares, circles, triangles, spheres and cubes.

Principles:
stability and dynamics are most easily defined in relationship to the invisible grid implied by a page or space.

Stability - this is where objects align themselves to the lines of the grid, stable layouts can be central or symetrical but are not neccesarily so. It tends to create a sence of rigidness or order.

Dynamics - this is where the elements on a page are not aligned to the grid, often involving diagonals or seeming randomness. it can be used to create a sence of movement, energy or instability.

Rhythm - in rhythmic layouts copies of an object or many similar objects are arranged with similar spacing or as if they are filling grid squares. As the name suggests this tends to create a sense of rhythm and so is often used in the music industry for album covers and so forth.

Scale - when a design is either dominated by one very large shape or image (maximum object), or when a design has alot of space in it and the shape or object is very small (maximum space), we refer to the design style as using scale.
The use of large amounts of white space is very popular these days in areas like advertising because it seems to give the impression that other than the object pictured there is nothing else in the world.

Bibliography & Image Credits:
http://vinugaa.files.wordpress.com/2009/04/squiggly_buildings.jpg
http://www.canadianshakespeares.ca/multimedia/images/bnl_cd_cover.jpg
http://www.cddesign.com/covertalk/images/dark-side-of-the-moon-cd-cover-design.jpg
http://www.sonhenry.com/cd_art/live_cd_cover_2s.jpg
http://www.freedos.org/freedos/images/logos/cd-cover-2004-slogan.jpg
http://www.weborithm.com/wp-content/2009/07/transparent-jellyfish-689547-sw.jpg
http://photos.essence.com/system/images/gallery/000/015/672/full/hairstyle-asymmetric-bold-angle_src.jpg
http://farm2.static.flickr.com/1200/801482765_17a56d1b72_o.jpg
http://www.nhsdesigns.com/images/examples/graphic-principles_emphasis.jpg
http://www.silkroadcarpetandrugs.com/views/images/collections/geometric/full/geometric12.gif http://www.artistblacksmith.com/gardengate.jpg
http://clemag.com/IL308WhMatteRicePaper.jpg
Apple Computer Dictionary, version 1.0.2

Style Time Line











Ancient Australian Aboriginal

10,000bc-2,000bc

"Wandjina" of the Kimberly Region, "X-ray art" of Arnhem Land and Kakadu

Gothic

1100-1500


Eugene Viollete-le-duc, William Ramsey









Art Nouveau

late 1800's


William Morris, Baron Victor Horta

Cubism

1908-1914


Pablo Picasso, Fernand Leger









Bauhaus

1919-1930


Walter Gropius, Herbert Bayer


Art Deco

1920-1930


William Van Alen, Tamara De Lempicka










Surrealism

1920-1930


Salvadore Dali, H.R. Giger

Post Modernism

1926-1960


Alexander Rodchenko, William S Burroughs








Pop Art

1950-1969

Andy Warhol, Roy Lichtenstien

Op Art

1960-1969

Victor Vasarely, Richard Anuszkiewicz


Bibliography & Picture Credits:
http://www.destination360.com/north-america/us/new-york/nyc/chrysler-building
http://en.wikipedia.org/wiki/Chrysler_Building
http://en.wikipedia.org/wiki/Art_Deco
http://static.guim.co.uk/Guardian/artanddesign/gallery/2008/oct/28/1000-artworks-to-see-before-you-die-art1/GD7816429@ALI213269-Gargoyles-f-2311.jpg
http://www.guardian.co.uk/artanddesign/gallery/2008/oct/29/1000-artworks-to-see-before-you-die-art?picture=339062929
http://blog.operative.com/?tag=agencies
http://blog.operative.com/wp-content/uploads/2009/07/picasso.jpg
http://en.wikipedia.org/wiki/Bauhaus
http://en.wikipedia.org/wiki/File:BauhausType.jpg
http://politicalarchaeology.wordpress.com/2007/01/10/wanderin-wandjina/
http://politicalarchaeology.files.wordpress.com/2007/01/wandjina.JPG