Copyright Issues

Stock Images

"Stock photography is the supply of photographs licensed for specific uses. It is used to fulfill the needs of creative assignments instead of hiring a photographer. Today, stock images can be presented in searchable online databases. They can be purchased and delivered online." Quoted from Wikipedia

 The following three images would be suitable to use for branding with the 'Thunder Blood' logo;

A pair of MMA fingerless gloves

An MMA fighter in shorts (and gloves)

Team tour bus

These images can be bought from shutterstock.com. They offer both one-off and subscription based options for purchasing their stock imagery (as seen below). 
In this case, the three images for the team logo could be bought with two more images for $50.
This purchase would be made online with a credit card and the photo files would be downloaded for use.

Terms & Conditions;

"2.

By this Agreement, Shutterstock grants you a personal, non-exclusive, non-transferable, right to use and reproduce Images in the following ways, subject to the limitations set forth herein and in Part II hereof:

a)

On web sites, provided that no Image is displayed at a resolution greater than 800 x 600 pixels;

b)

As toolbar skins, screensavers and mobile phone "wallpaper" for your own personal, non-commercial use, not for resale, download or distribution;

c)

As prints, posters (i.e. a hardcopy) and other reproductions for your own personal, non-commercial use and display, not for resale, download or distribution;

d)

As a single hand painted reproduction (not as a printed reproduction) on canvas or other material to be used as decoration and not resold;

e)

In coordination with opt-in email marketing. However, Images cannot be used in connection with unsolicited email - or linked from unsolicited email and no Image may be reproduced or used more than 250,000 times;

f)

On letterhead and business cards, pamphlets, brochures, catalogs and on pop up and/or panel displays for use in conventions and trade shows, provided that no individual Image is reproduced more than 250,000 times in the aggregate;

g)

In the artwork for the packaging of any product provided that the print and/ or manufacturing run does not exceed two hundred fifty thousand (250,000) copies in the aggregate;

h)

Incorporated into software as a background image or splash screen, provided that the Image or any digital files containing the Image cannot be unincorporated from the software and further provided that the manufacturing or duplication run(s)of such software (including downloads of such software) does not exceed two hundred fifty thousand (250,000) copies in the aggregate;

i)

In multimedia presentations and incorporated into film and video for television and/or internet broadcast, and theatrical display only where the intended audience will consist of fewer than two hundred fifty thousand (250,000) viewers;

j)

In multimedia presentations and incorporated into film and video for distribution and/or sale in the home video market, provided that the manufacturing or duplication run (including downloads) of such home videos does not exceed two hundred fifty thousand (250,000) copies in the aggregate;

k)

As CD or DVD cover art and/or artwork, provided that the manufacturing or print run of such CDs or DVDs (including downloads of such artwork) does not exceed two hundred fifty thousand (250,000) copies in the aggregate;

l)

As part of editorial or advertising copy in magazines, newspapers, books, book covers, textbooks, editorials and directories provided that the print or manufacturing run(s) of such magazines, newspapers, books , book covers, textbooks, editorials and directories does not exceed two hundred fifty thousand (250,000) copies in the aggregate;

m)

In eBooks, including multi seat license electronic textbooks, provided that the number of potential seat licenses or end users is fewer than two hundred fifty thousand (250,000) in the aggregate; and

n)

As advertising posters for use in promoting the sale of other products (as opposed to promoting the sale of the prints, posters, etc. containing the Images), provided that such prints and/or posters and/or other reproductions combine words and an Image or Images and further provided that the print or manufacturing run(s) of such posters does not exceed two hundred fifty thousand (250,000) copies in the aggregate."

www.shutterstock.com

http://www.shutterstock.com/licensing.mhtml

Fonts

"FSI FontShop International and its FontFont label was founded by Neville Brody andErik Spiekermann in 1990 in Berlin and is now one of the largest manufacturers of digital typefaces in the world."

Fonts can be purchased from FontFont either individually or as a collection. They are paid for online with credit cards etc and downloaded to the buyers computer.

My Team Logo

 My first design is a direct connection between the figures of Greek mythology and present day cage fighters (Mixed Martial Art). The idea of mixed martial arts as the 'ultimate' combat sport and the high level of fitness and technique these athletes achieve, is a reflection of the 'warrior' status and represents power and strength. This is where the comparison between these athletes of brutality and ancients gods is made. The logo is a strong man resembling the imagery associated with ancient greek gods, modernises by the vector style and MMA gear.

 The second concept is based around one of the most used weapons/strikes in MMA-The fist/Punch. This design is strongly vector based as well, The heavy use of outline and the detail in the bulging veins, and shock waves makes this design busy and overall un-succesful. 

This concept has focused again on the fist, this time grasping a thunderbolt. This imagery of the thunder is a link to the Mythology based around the Greek God Zeus. The open-finger gloves also helps to put the logo in context and make it more recognisable as an MMA logo. The dripping blood on the thunderbolt is also heavily suggestive towards violence and aims to capture some of the reality of the sport.

AGIDEAS

Trends and Designers


Interactivity; 
A trend I noticed at the conference was the crossover between media, culture, and communications. The presentation of content  being connected through the use of technology as well as material work. For example merging print and web, or interactive media in a physical form such as Natan Linder's 'GetLost' compass & Interactive lamp projection. This trend in design is creating a more tangible experience and connecting a broad range of information and techniques. 
Claudio Kirac's work showed another form of this 'Interactivity'. There was a strong exchange and cross-over between creative fields in his work . This broad range of styles and medium is a noticeable step away from specialty in arts or information skills. As access to information increases there is a renaissance mindset re-ermerging that is visible in Claudio's work. This crossing between fields of art and design is in response to creative Directors collaborating between fields e.g lighting, web, print, photography, art, & design.




Simplicity;
There was a re-occuring theme of minimal design and the use of space, shape, and colour. There was an exploration of this in Ken Miki's theory of "Complicated simplicity" and the clean style of his work. Pieces such as his cubed Earth business card and 'snow' art are reflections of this. Though this is a current trend Miki's work has been applying these principles since the 80-90's. A more modern interpretation of this can be seen in Christopher Doyle's work such as the AGDA calendar and for 'The Jezabels' album artwork.



http://www.agideas.net/index.php?nodeId=82&speakerId=73
http://www.agideas.net/index.php?nodeId=82&speakerId=82
http://www.agideas.net/index.php?nodeId=82&speakerId=74
http://www.agideas.net/index.php?nodeId=82&speakerId=60


Concept Evaluation


Stephen Dupont's photographic/print work for the 'Raskols' series was one of the most conceptually refined artwork I observed at AGIDEAS. The idea and the impression it left was extremely thorough in it's detail and presentation. The consistency across the photographic style, the presentation of the gallery, and the final publication created a distinguishing character to that body of work. The use of metals and etchings in the final work did alot to convey the subject matter and reinforce the concept.
The dark moody lighting creates a threatening vibe and portrays the danger of his subject matter. The single subject portraits also reflect the sense of identity and strength held by those in frame.
As a whole, Raskols was a highly finished and hugely conceptual work. The simplicity of his work lies in the pure documentation of a specific culture. The idea of the crime, brutality, violence, and poverty of the situation in Papua New Guinea (where these gangs come from) is expressed with a sense of truth and reality through this series.


http://www.contactpressimages.com/exhibitions/raskols/Raskols.pdf

Culture in Design

Culture in Design

(talking stick article response)

http://www.indigodesignnetwork.org/?p=2716

Aboriginal Motifs

Functions and Philosophies

It is important to understand and reflect the diversity of Aboriginal culture and the perspective of this relationship in both a spiritual and geographical sense. This is strengthened by the role the design will play as material for an Aboriginal community-based footy team, and the association to allegiance, support, and belief.

The first and main principle relates to the connection of this culture and the outlook it holds toward ‘Country’.

“Country in Aboriginal English is not only a common noun but also a proper noun. People talk about country in the same way that they would talk about a person: they speak to country, sing to country, visit country, worry about country, feel sorry for country, and long for country. People say that country knows, hears, smells, takes notice, takes care, is sorry or happy. Country is not a generalised or undifferentiated type of place, such as one might indicate with terms like ‘spending a day in the country’ or ‘going up the country’. Rather, country is a living entity with a yesterday, today and tomorrow, with a consciousness, and a will toward life. Because of this richness, country is home, and peace; nourishment for body, mind, and spirit.”

This strong bond between individual and homeland must be acknowledged and respected when creating a visual identity for an indigenous team. In saying this it is also important to understand specific differences in tribal culture and the diversity of these backgrounds. These are principals that should be understood and reflected in the choice of medium and subject matter while still maintaining the integrity of the culture/community in a modern context.

As the aim of a ‘community-based’ footy team is to bring people together and reflect a common heritage, I would aim to represent this in the design of the logo, uniform, etc. To create a representation of the diversity within a common cultural group while still encompassing the ideals toward the whole spiritual and ancestral motifs of indigenous culture.

Moral rights and Issues

When referencing Aboriginal art and motifs there are moral issues and rights to be aware of to avoid offending those indigenous to the culture. The main concern is using the traditional knowledge or expression of culture in any other form.

This includes;

·      Any use of traditional cultural expression, which does not acknowledge in an appropriate way the community as the source

·        Any distortion, mutilation or other modification of or inappropriate action in relation to the traditional cultural expression

·       Reproduction or publication of the traditional knowledge or expressions of culture

·       Performance or display of the traditional knowledge or expressions of culture in public

·       Make available online or electronically transmit to the public (whether over a path or a combination of paths, or both) traditional knowledge or expression of culture

Any design or artwork referencing or using parts of Aboriginal Culture has an obligation to acknowledge the rights of the original artist and their community/culture. The appropriation and distribution of indigenous artwork should be carefully considered within the context of the design. The use of this artwork should also be relevant as to not offend anyone sensitive to the issue.

http://www.australiacouncil.gov.au/__data/assets/pdf_file/0004/32368/Visual_arts_protocol_guide.pdf

Native American Motifs

The logo for the Washington Redskins NFL team is a simple portrait view of a native American with feathers in his hair. This has evolved from the original logo -a rough, textured tonal version of the image contained in a white circle with yellow stroke- to the modern logo which is a strongly vector based depiction with bold shapes and strong black lines. The yellow stroke of the circle has also become thicker in the modern logo. The facial expression of the character has also become more solemn over time. The logo has had several variations including colour, background, and orientation changes. The concept was also revised on a couple of occasions to a single spear with a feather, and to a ‘R’ circle with feathers.

All logo’s use a variation of the team colours; yellow, red, white, and brown, whether it is shades of these colours or monochromatic.

The concept of the logo relates to tribal customs of Native American culture, and presumably references this in a historical context. The use of Native American motifs in Modern U.S.A –especially sports- culture can be related to general views of native tribes to be fierce warriors or enemies. The appropriation of these symbols to mascot/logo design in many circumstances and has been viewed as offensive and insulting to Native American culture due to the disregard of the symbolic meaning for the members of the society. This may be the reason it has changed to a spear and type-based design in the past, however the choice to change back may be due to tradition and the teams past reputation for racial sensitivity.

Overall the design is successful. It has grown into a strong visual piece over time, and is generally respectful of the culture it has chosen to idealise, especially compared to other, similar designs.

http://en.wikipedia.org/wiki/Washington_Redskins

http://www.dinesh.com/history_of_logos/nfl_logos/washington_redskins_logo_-_design_and_history.html

Trends

• Woodgrain and/or natural fibre (Texture/Material)
• Bright High contrast colours
• Simplicity