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

Melbourne Sports Museum Critiques

Essendon Bombers Logo

The logo of the Essendon A.F.L team is a flying jet. This is an obvious relationship to the team nickname ‘The Bombers’. It is a triangular shaped depiction of a flying plane with a solid red background and grey outline. The foreground plane figure is also grey with heavy black strokes and dark tonal shapes. A flat use of line and shape create a simple vector based logo that is easily recognized and a distinct representation of the team. The colours used create an aggressive attitude to suggest strength and stability, which is reinforced by the symmetrical and dynamic composition. As a supporter of the team I feel the Bomber logo is a strong symbol of the clubs ideals and focus, and is an appropriate logo for the team.

Rugby logo/Wallabies Jersey

A kangaroo on a rugby ball is the logo for Australian sevens rugby and is adorned on the Wallabies team uniform. The kangaroo is a series of simple flowing organic lines, used to form the shape of the Australian icon. This figure is fit onto a dynamically angled rugby ball; a solid coloured oval with three thick lines on the top. The symbols used are very straightforward and create a strong feeling of Australian identity while reflecting the sport in question.

The shirt is relatively simple too; mainly yellow with green curving shapes on the arms/waist and thin green lines shaped vertically down the torso. Negative space of the kangaroo in the ball is used effectively to smoothly connect the logo to the shirt. Placed on the left breast the logo is figuratively protecting the heart and developing a strong relationship to country, sport, and team. Five stars representing the Southern Cross are also on the bottom of the shirt, again reflecting Australian identity. Green and gold are used on both the logo and the shirt, as these are the iconic Australian sports colours.

Both the logo and the team uniform are designed well to fit contours of the body, and standout while playing. The logo is also a strong visual representation of the dynamics of the sport, the values, and the country of the team. 

Critiquing Tools

BASIC ELEMENTS OF DESIGN

Line;is a mark on a surface that describes a shape or outline

Colour;refers to specific hues and has 3 properties, Chroma, Intensity and Value.  The color wheel is a way of showing the chromatic scale in a circle using all the colors made with the primary triad.  Complimentary pairs can produce dull and neutral color.  Black and white can be added to produce tints (add white), shades (add black) and tones (add gray).

Texture;is about surface quality either tactile or visual. Texture can be real or implied by different uses of media. It is the degree of roughness or smoothness in objects.

Shape;is a 2-dimensional line with no form or thickness. Shapes are flat and can be grouped into two categories, geometric and organic.

Form;is a 3-dimensional object having volume and thickness. It is the illusion of a 3-D effect that can be implied with the use of light and shading techniques.  Form can be viewed from many angles.

BASIC PRINCIPLES OF DESIGN

Stability; is what gives a design balance and equilibrium. It distributes visual “weight” throughout space making the design seem fluid rather than lopsided or heavy. The balance of a design can be symmetrical or asymmetrical.

Dynamics;Dynamics is the arrangement of visual elements in a composition to suggest the illusion of movement or direction. The effective use of dynamics in a design can add an emotive characteristic to your design making it appear restful and calming or active and energetic.

Rhythm; is the design principle that bring everything together. By repeating a visual image rhythm imparts a sense of organization that brings a graphic together. This means that everything on the page is visually joined to something else thus giving the work a feeling of wholeness or “oneness”.

Scale; Scale is the size of an object compared to other objects in a piece.

ART VOCABULARY LIST

Proportion; the size of  part of an object compared to the rest of the object.

Negative Space; the space around and between the subject(s) of an image

Mood; the emotional state created by a design

Flowing;  Steady and continuous movement

Jazzy; Showy and/or flashy

ADJECTIVE LIST

Controlled (Line); Restrained and specific 

Chiaroscuro (Colour); The artistic distribution of light and dark masses in a picture

Organic (Shape/Form); Relating to, or derived from living organism e.g. random/sporadic

Geometric (Shape/Form); Composed predominantly of simple geometric forms, such as circles, rectangles, triangles,straight lines etc.

Gooey Texture; Soft and sticky

http://www.princetonol.com/groups/iad/Files/elements2.htm

http://www.adigitaldreamer.com/articles/graphic-design-principles.htm

http://www.swinburne.edu.au/design/tutorials/design/design/

http://www.scribd.com/doc/3224103/Principles-of-Design

http://www.thefreedictionary.com