Copyright Issues

FONTS

I have chosen the font, Ed interlock, which is only available in the Ed Benguiat Font package.
http://www.houseind.com/fonts/edbenguiatfonts

Source: http://www.houseind.com
House Industries are known throughout the world as a prolific type foundry and have made a considerable impact on the world of Design

To get fonts or any products through House Industries, you must first create an account through the website. Products can be mailed or can be downloaded directly, they send a kit with some additional goodies through post.

The cost of fonts on House Industries is dependent on the amount of Devices used, they define a device as anything that uses the font data to render type, such as computers and printers.
Minimum cost - 1-10 Devices - $149.34 ($160 US)
96 -100  Devices - $1373.93 ($1472 US)
100 + : Quoted Individually

The Licence doesn't permit any form of embedding or encrypting in Digital documents or any other form. If embedding of fonts is desired the user must purchase an additional licence.

Images, Illustrations and Patterns are Royalty Free, Except for some of the following:
– Logo Design
– Products for Sale
– Retail Packaging
– Printed Applications over 500,000 Impressions

Web use is unrestricted in applications under 150 X 150 Pixels. Applications over this size or in entertainment will be priced on an individual basis.

IMAGES

I got all of my images from Shutterstock.com, a range of surfing related images. Other sites had a fairly limited range, especially when looking for a VW van shot that i could apply a logo to.

All of the images are downloaded directly, whether it be a TIFF or JPEG they are still downloaded.

Shutterstock requires users to subscribe, i think the most cost effective way to subscribe would be the Enhanced Licence, being graphic designers, we will most likely need to use the images for purposes outside of the web.
Enhanced Licensing Subscriptions enable a user to download images ant time for up to one year, ranging from 2 - 25 images. Considering i found 7 images i want to use for a single job it will be most cost effective to take the 25 images subscription.
25 Downloads = $1586.17 ($1699 US)
This is a fairly expensive cost, but when broken down into individual image costs, each image only costs $63.45. This would allow me to charge a client $65 and give them complete ownership of the image.

Some of the terms and conditions on Shutterstock.com

Restrict a user from using any image on websites or in connection with any service to sell or induce sales of "print on demand" products, such as postcards, mugs, t-shirts, posters, wallpaper etc.

Use the image in such a way that gives the impression that it was created by you.

Images cannot be re-sold, used for commercial use or display, downloaded or distributed.

3 concepts

Just trying to capture the Hawaian beach style because of the hang 10 reference.

Trident is a symbol of posiedon, also a modern symbol of power and strength.

Simple, included the two main elements, water and surfer. simple representation allows the logo to speak for itself.

Agideas

"Trends and Designers"


It was hard to get a real perspective on trends that each of the designers were using, having only seen one or two speeches from start to finish, my experience of the event will be completely different to anyone else's.



One trend that I noticed a lot of the designers utilising was to poke fun at themselves and the industry's trends. The trend of hating trends in a way, Christopher Doyle gave me a newsletter print that basically utilised this trend to highlight the use of other trends around us, titled "This year I will try not to" the book then follows through a bunch of trends in a pretty humorous ways, some of the best include:
– "Create collages of galaxies, triangles and wistful looking European looking women."
– "Convince my clients they need 27 iterations of a logo, when in reality they only need one (if they need one at all)
– "Publish a cynical, over the top commentary on design trends in a fashionable, yet ultimately redundant format, when a simple blog would suffice."
Ending the blog even pokes fun at the newsletter itself with "This year I will try to be new" "we may fail, but we will try" 

=Adam Hunt was also one of the speakers who really gave this anti-trends/anti-advertising feel, as someone who had been at the peak of advertising market, he discussed his detest for the industry with me and how his design was in a way an attack on boring, day to day advertisements. He wanted his designs to break all trends, all the rules to become the advertisement you would remember at the end of the day, which is something he did successfully.



The most prominent design trend that I was able to get a real insight into was Stuart McLachlan's paper illustrations, he was in a way the founding father of this style and when talking to him he would always mention his desire to create this new style and way of illustrating, never without following that he had only tipped the iceberg and that he biggest challenge now, was to get some funding and really take the style to its next level (which i found hard to believe that he could take it further). The pieces he created were at times hard to believe that they were made from paper, his final piece of the presentation blew me away when he created a modelling set completely from paper, in this mixture of craft and surrealism that was just magic.


Fanette Mellier also had this running theme or trend throughout her presentation, that was simply a love for her craft, I remember at one point she said to me "I do not consider myself a typographic artist, i am more concerned with the application, the finished product and its relationship with its environment and the people who see it" something that really stuck with me and was in a way a concurrent trend that each of the designers posessed in their own way.



 Concept Evaluation
I have chosen to evaluate a piece of Claudio Kirac's artwork, he was such a major factor and inspiration to the entire event and in particular the committee that i feel as though i owe it to him.


This piece titled "Lux Aeterna - 2004" is conceptually very spontanious and surrealist in nature, much like the artist himself, the mixture of paint splatters and drips brings forward a sense of street art and fun, the idea of spontaneity and impulse is made really strong. The addition of astronauts and the moon really reinforces the surrealist nature of the artwork as well as involving the viewer through humor and interest.


I really like this art piece is was my favorite of Claudio's works on his website, i think that seeing these artworks shows a side of the artist that we didn't get to see in the Agideas conference, even being in the committee i developed a friendship with Claudio and it amazes me that he produces such beautiful works and makes me want to get to know him more! All of his works are really symbolic of himself, a really spontanious and crazy dude that just came at us with such vibrant energy that he was almost adopted as one of the committee ( hence the self-intro).
I remember him producing some similar surrealist works for his two hosts during his workshop and it was really suprising to me that the guy could produce such hands on artworks.
Overall i think that this peice is successful because of its contrast between its crazy coloured background and the black and white imagery, these two areas also highlight a contrast in texture. The combination of these elements draws a viewer to the two pieces of imagery and allows us to capture a glimpse of  the humour inside of the artist mind.
http://www.fanettemellier.com/
http://cargocollective.com/christopherdoyle
http://www.goatboy.com.au/
http://www.stuart-mclachlan.com/
http://claudiokirac.com/

Culture in Design

http://www.indigodesignnetwork.org/?p=2716&cpage=1#comment-325

Aboriginal Motifs

Functions and Philosophies

Respect

The rights of Indigenous people to own and control their heritage, including Indigenous images, designs, stories and other cultural expressions, should be respected.Customs and protocols for respect vary widely across the many and diverse communities of Indigenous Australian people. Respecting Indigenous rights to cultural heritage includes the following protocols

• Acknowledgment of country

Aboriginals across Australia share a strong link to country, meaning the totality of life and the spirit of the particular area of land they and their ancestors inhabited. If organising an exhibition, installation or event of local, state or national significance, it is respectful to invite a representative of the traditional owners.

• Public art – acknowledging land

Indigenous seek approval from the Indigenous community for public art-based projects in any particular ‘country’ within Australia.

• Accepting diversity

Diversity of experience and cultural context is strong inside of Indigenous communities. Indigenous visual arts reflect diversity in the mediums, subject matters and cultural settings they may choose while avoiding inappropriate or outdated perspectives and terminology when dealing with cultural groups.
Consent
Consent is necessary for the reproduction of Indigenous visual arts, and if traditional communal designs are included, consent may be required from traditional owners. Consent can be achieved best though some of the following

• Awareness of the way in which their own culture affects how they see an issue
• Understanding and building awareness of the other culture
• Patients in misunderstandings which arise out of cultural differences
• Find the right people within a community to consult.

Consent must be informed. This means that people must be given time and information to consider the requests made. 

Moral Rights and Issues

Many moral rights and issues are risen when dealing with other cultural works, much the same as the rights that we have as designers artists maintain specific rights to protect not only thier artworks but the cultural implications that come with reproduction and reuse of thier artwork. Some rights or issues include:

• Internet sale of art
• Exhibition of Indigenous art
• Displaying art
• Acknowledging the artist
• Using works from collections
• Documenting the exhibition
• Exhibition fees
• Secret and sacred material
• Representation of deceased people
• Copyright

All of these issues and moral rights must be taken into account when dealing with any cultural groups not only those of Aboriginal heritage. we must always act appropriatly when dealing with such issues and remeber that Inappropriate treatment like cutting or destroying a physical artistic work, cropping a reproduction or reproducing in poor quality are not only morally wrong to any person of any cultural background but can create problems for you in the future.

Native American 'MoChiefs'

Boston Beaneaters - 1900

Boston Braves - 1912 - 1915

1916 - 1920

1925 - 1928

1929 - 1935

1941 - 1944

1945

1953 - 1956

1957 - 1966

1967 - 1971

1971 - 1986

1990 - Current

The Atlanta Braves

The Atlanta Braves logo and support logo are successful logo’s, they display a strong sense of letter form and colour in order to create a strong identity and brand. The scripted type gives a sense of tradition and history, as the club is one of the oldest in the MLB teams beginning as the Boston Braves in 1900 and this would be an important aspect for the club to highlight. The logo uses the image of a stone tomahawk to continue its connection with the Native American culture that has been utilized throughout the clubs history, as well as the tomahawk motif the use of the word ‘braves’ is also a Native American term that symbolizes a strong member of the native American tribe or communities similar to a chief. I think the colour use completes the logo nicely, earthy warm tones assist the Native American theme and idea of sharing a connection to the land.


When we look at the imagery used throughout the clubs history the original Atlanta braves logo stands out. The use of a comical, jovial  and even somewhat stereotypical image of a Native American man is very eye catching and works really well as a logo. However, what I think is more grabbing about this logo is the blatant racism that comes with such an image, having come from Boston originally then Milwaukee and currently Atlanta, I think it is important to note that both Boston and Atlanta have a 0% native American population,only to be outdone by Milwaukee with only 1%, for a team that has based its identity on a culture that has been extinct from their communities for many years I think it is un ethical to use such stereotypical motifs.


Having said that I think the newer updated and more culturally considered logo has been more well thought and condsidered to create a successful composition. The support logo in particular is very successfull in popular culture today, being used in popular clothing, I knew the actual logo before I knew which team or city that it belonged to.

Trends

Handmade

Natural Vs. Man Made

Geometric Shapes

Custom Typography

Paper Illustration

Melbourne Sports Museum Critiques

Australian Institute of Sport
Designer: Unknown
Vector Image


The Australian Institute of Sports (AIS) logo displays strong use of shape, colour and rhythm in its composition, the contrast of colours which are also the main colours of the Australian flag allow the large central shape to ‘pop’ out at a viewer. Its simplicity in shapes becomes very easy on the eye and the rhythmic loop created by the dynamic direction of the blue shapes draws the focus down towards the title. This smooth transition of focus from center to top and back down to the bottom ensures that someone will see and remember the entire image. 


The large solid shapes really make the logo what it is, strong and bold, it gives the AIS a clear and identifiable image and identity, this is supported by the equally strong and bold letterform used, creating a rhythmic loop across the logo. For this reason I believe that this logo is extremely effective and successful in achieving its intention, creating a sense of strength and power would seem to be a concept important to a sports industry, teamed with the colours reminiscent of the Australian flag, the symmetrical composition and word Australian above all other text create a sense of unity and nationalism, which is important aspect when designing for a national institution. 



Olympics - Montreal 1976
Designers: Ernst Roch & Rolf Harder
Poster


The Montreal Olympic games poster is an excellent and very original adaptation of the Olympic rings. The use of scale and positive/negative space is most prominent around the logo, whereas the use of repetition and line make the logo stand out. A strong sense of movement is created through the repetition of the rings, fading outward helps to maintain focus on the centre of the poster and imagery. 


The visual repetition created is symbolic of the movement seen in an Olympic games as well as the idea of the 5 continents of the world converging in Montreal. The scale of rings on the poster and large vast areas of negative space reenforces this idea, having the rings significantly larger than  all other graphic elements on the page causes this to become the central focal point, much like the concept suggests. Colour is also used in a very subtle way in order to inform a viewer further, the black ring is the only ring that fades out towards the top leading towards the title, also black. The small red logo in the top left and text in bottom left could also be seen as creating a slight rhythmic loop across the design with the far right red ring.


Personally I thought that this poster, amongst all of the other Olympic posters stood out at the museum, it has a very different look and style and had the ability to set itself apart from the rest, the concept of movement, unity and convergence of the world also stood out and separated itself from all other Olympic themes.  


http://tiny.cc/rgjul
http://tiny.cc/xcsop
http://tiny.cc/rdiyg

Critiquing Tools

Art Vocabulary

Negative Space - the area of a design that has been left blank (often intentionally) these area’s highlights and places emphasis on areas of positive space (Subject of design), the negative space of a design can also create  interest through its shape.

Asymmetry - The opposite of symmetry, asymmetric compositions are not equal on either side of a design, this is often seen in qualities of the design balance and hierarchy.
Palette - in art a palette could be a small or large group of colours used in a designs composition, palettes are often carefully chosen and help to convey the message of the design, i.e. cool, or warm, happy or sad.
Hierarchy - the arrangement of elements and principles of a design on a page, the hierarchy of a certain object determines its importance and relevance on a page.
Scale: exadurated - an exadurated scale will show and extreme use of mis proportioned content, this may be used to create asymmetrical relationship between elements of design.

Adjectives

Geometric - Strong, hard edged and man made lines and shapes.
Organic - free, flowing and natural lines made without restraint or measurement.
Shade - colour that has had black added to the original hue in order to achieve a darker tint of the original colour or hue.
Tint - colour that has had white pigment or value added to achieve a lighter tint of the original hue.
Vertical - Lines are very strong and imposing, very male in its approach.

Principles & Elements

Line - the basis that all elements begin, line is the most versatile of all elements, can be straight, curved, irregular, regular, thick, thin, strong or soft.
Colour - heightens the emotions and dimensions of a design, colour can give meaning and feeling to a design.
Texture - tactile and visual texture is the look and feel of design characteristics.
Shape & Form - shape is created by the convergence of lines, it is unlimited to amount of sides and surface area, form is created when tone is added to a shape, giving it a third dimension.

Stability - Compositions elements are arranged in an almost symmetrical manner, vertical and horizontal lines , shapes and directions are most prominent in a stable composition.
Dynamics - dynamics are the opposite of stability, elements are moving in diagonal directions often off of the page, this gives the implication and feeling of movement in the design.

Rythm - the repetition or alteration of graphic elements on a page, Rythm is the key to creating a successful pattern or texture effect.

Scale - the enlargement or reduction of elements in relation to each other or other elements on a page to contrast with each other.

Style Time Line

Anti-realism - Base for many movements

Anti-Realism is strongly based on analytic philosophy making it hard to give the movement a specific date, the term anti-realism is used to describe any position involving either the denial of an objective reality of entities of a certain type or the denial that verification-transcendent statements about a type of entity are either true or false. put shorts its the denail of the knowledge we poses in day to day life, an anti or negative position to the mainstream way of thinking.  As well as existing in Science, literature and Mathematics, in art ,anti-realism and anti-realist may be used in contrast to realism, this means that other art movements such as surrealism and psychedelic bands common in the 1960s were “anti-realist”.
Ricardo Asch shows a more modern adaption of Anti-Realism
Frida Kahlo also shows connections to anti-realism ways of provocking thoughts and images.


Info & Images
http://en.wikipedia.org/wiki/Anti-realism
http://www.ricardoaschfotos.com/


Fururism - 1909
An Italian avant-garde art movement that came into being with the appearance of a manifesto published by the poet Filippo Marinetti on the front page of the February 20, 1909, issue of Le Figaro. Futurism took speed, technology and modernity as its inspiration, portraying the dynamic character of 20th century life, glorifing war, the machine age, and favoured the growth of Fascism. The aim was to portray sensations as a “synthesis of what one remembers and of what one sees”, and to capture what they called the ‘force lines’ of objects.
Movement was strongest from 1909 and continued this way until the 1930’s, The movement is still seen and applied today.

Giacomo Balla is one of the first people to take to the futurism movement, being a signatory on Filippo Marinetti’s manifesto.
Augustine Kofie is regarded as a modern Futurism artist and brings a connection between futurism and street art.




Info & Images
http://www.artmovements.co.uk/futurism.htm
http://www.huntfor.com/arthistory/C20th/futurism.htm
http://en.wikipedia.org/wiki/Futurism
http://tiny.cc/usl3k
www.keepdrafting.com


Metaphysical painting - 1911
Metaphysical painting flourished mainly between 1911 and 1920, a style involving engaging the unconscious mind, beyond physical reality, hence the name..  Metaphysical painting originated with de Chirico. In Munich, Germany, where he spent his formative years, de Chirico was attracted to 19th-century German Romantic painting and to the works of the philosophers Arthur Schopenhauer and Friedrich Nietzsche. The metaphysical movement provided significant impetus for the development of Dada and Surrealism.
The works of the Italian artists Giorgio de Chirico and Carlo Carrà turned metaphycial painting into a mainstream sect of art.


Info & Images
http://www.britannica.com/EBchecked/topic/377908/Metaphysical-painting
http://en.wikipedia.org/wiki/Metaphysical_art
http://tiny.cc/ww83q


Harlem Renassance - 1920
The Harlem Renaissanceand at the time known as the “New Negro Movement” was an expression of African-American social thought and culture which took a place in newly-formed Black community in neighborhood of Harlem. The Harlem Renaissance flourished from early 1920 to1940 and was expressed through every cultural medium-visual art, dance, music, theatre, literature, poetry, history, politics and consequently allowing African-American culture to be absorbed into mainstream culture.
Jacob Lawrence and Romare Bearden are among the best-known twentieth century African American painters. Lawrence Became Nationally famous with his “Migration Series” released only in his 20’s.


Info & Images
http://www.huntfor.com/arthistory/C20th/harrenaiss.htm
http://en.wikipedia.org/wiki/Jacob_Lawrence
http://en.wikipedia.org/wiki/Romare_Bearden
http://tiny.cc/0xj4e


Socialist Realism - 1932
Socialist realism is a style of realistic art which was developed under Socialism in the Soviet Union and became a dominant style in other communist countries.  Socialist realism was the officially approved type of art in the Soviet Union for nearly sixty years and should not be mistaken for Social Realism, a type of art that realistically depicts subjects of social. Socialist realism held that successful art depicts and glorifies the proletariat’s struggle toward socialist progress, the Soviet Union making the art form a state policy in 1932 to spread proaganda the art depicted the common worker, whether factory or agricultural, by presenting his life, work, and recreation as admirable. In other words, its goal was to educate the people in the goals and meaning of Communism. The ultimate aim was to create what Lenin called “an entirely new type of human being”
Notable artists include  Walter Womacka and Sergey Malyutin


Info & Images
http://www.britannica.com/EBchecked/topic/551721/Socialist-Realism
http://en.wikipedia.org/wiki/Socialist_realism
http://tiny.cc/24fhv


Op Art - 1938

Op Art also known as Optical Art, began in the 1960’s but examples can be dated as far as 1938. Op art is a non-representational art form with strong use of Perspective and Juxtapozing colours. Invloves a method of painting concerning the interaction between illusion and picture plane, between understanding and seeing.” Op art works are abstract, with many of the better known pieces made in only black and white. When the viewer looks at them, the impression is given of movement, hidden images, flashing and vibration, patterns, or alternatively, of swelling or warping.
M.C Escher is a much older optical artist but remains as one of the most well known.
Victor Vasarely Best known as the “father” figure of Op Art, producing Zebra, 1938.


Info & Images
http://en.wikipedia.org/wiki/Op_art
http://arthistory.about.com/cs/arthistory10one/a/op_art.htm
http://tiny.cc/axgvy


Letterism - 1942
Lettrism is a French avant-garde movement, by Romanian immigrant Isidore Isou. In 1942 Isou develops the principles of Lettrism, and begins writing the books that he would subsequently publish after his relocation to Paris. Becoming established in Paris in the mid-1940s, Isou’s principals were simple to atomize language. To reject the idea of language and the word itself as a conveyor of meaning. To reduce art to its most elemental form, the atom of language, the letter. Works rarely includes readable words, rarely even includes readable letters. Most Lettrist works depend on invented characters, and it is primarily an asemic artform.
Key members of the movement include Guy Debord and Gil J Wolman.


Info & Images
http://dbqp.blogspot.com/2004/05/beguiling-lettrists-and-crisis-of.html
http://en.wikipedia.org/wiki/Lettrism#Key_Concepts
http://tiny.cc/o2c0y


International Typographic Style - 1950's
Emerging in Switzerland in the 1950s and becoming the predominant graphic style in the world by the ‘70s. Because of its strong reliance on typographic elements, the new style came to be known as the International Typographic Style. The style was refined at two design schools in Switzerland, one in Basel led by Armin Hofmann and Emil Ruder, and the other in Zurich under the leadership of Joseph Muller-Brockmann. All had studied with Ernst Keller at the Zurich School of Design before WWII, where the principles of the Bauhaus and Jan Tschichold’s New Typography were taught. 
Notable Artists include Armin Hofmann,  Josef Mueller-Brockmann and Hans Neuberg.


Info &  Images
http://www.internationalposter.com/style-primer/international-typographic.aspx
http://tiny.cc/o2c0y 


Neoism  70’s
Neoism was coined in 1914 by the American satirist Franklin P. Adams as a parody of modern arts, the Art movement of the same name however started life as No Ism, a concept invented during the late seventies by David Zack, Al Ackerman and Maris Kundzin in Portland, Oregon. No Ism was an open, inclusive and anti-ideological grouping of individuals who saw themselves as artists opposed to the gallery system. Emerging  out of the mail art network, particularly those parts of mail art that emphasized - rather than the exchange of artwork - alternative lifestyles, pranks, practical jokes, the use of pseudonyms and experimentation with identity. Centered around the idea of the “open pop star” or multiple persona, Neoism quickly spread to other places in America, Europe and Australia and involved up to two dozens of Neoists. Before the mass availability of the Internet throughout the 1980’s, the mail art network continued to be used as the main communication and propaganda medium for Neoism.


Info & images
http://en.wikipedia.org/wiki/Neoism
http://www.stewarthomesociety.org/neoism/neoneg.htm


Toyism 1992
Toyism is an art movement that rose to prominence in The Netherlands in the 1990s. Introduced by an artist using the pseudonym Dejo at the Veenmuseum in 1992, the toyist style of painting emphasizes narrative depictions featuring figurative rather than abstract objects focusing on aspects of the human condition. Stylistically, it features the heavy use of outlining, bold colors and craftsmanship. There are Currently 18 Toyists from around the world.
Dejo is the original creator and leader of the Toyist movement
Notable Members currently in the Toyist movement include, Pixy, Amukek and Ollafinah


Info & Images
www.toyism.com
http://en.wikipedia.org/wiki/Toyism

The Trident in Pop Culture

Posiedons Trident in Popular Culture
Commonly seen in many aspects such as fishing, military, biology and also in the alphabet, Posiedons trident is very common and adopted as a modern symbol.
Places we can find the Trident:

• The Semitic letter shin comes from the shape of the trident.
• The “forks of the people’s anger”, adopted by the Russian anti-Soviet revolutionary organization
• The symbol of the Swedish Coastal Rangers, Kustjägarna.
• The coat of arms of Ukraine
• Britannia, the personification of Great Britain (since before the Victorian era), depicted wielding a trident, symbolising Britain’s naval power
• The US Navy Special Warfare insignia, worn by members of the US Navy SEALs, and containing a trident representing the three aspects (Sea, Air, and Land) of SEAL special operations.
• The symbol for Washington and Lee University.
• The Maserati logo
• The glyph or sigil of the planet Neptune in astronomy and astrology.
• The USB logo resembles a trident.
• Posiedons Trident is seen in many crests and emblems representing water sports are activity but is also used commonly in coperate logo’s and identities.

Other popular uses or appearances of the trident symbol include:

• DC Comics, the superhero Aquaman and Blue Devil both carrie a trident.
• In the cartoon series “Ulysses 31” the Tridents were spacecraft used by the Gods of Olympus to attack Ulysses’ ship, The Odyssey.
• In the series The Big Bang Theory the character Sheldon Cooper thinks that forks with three prongs are actually tridents and will not eat with them.
• In the movie Anchorman: The Legend of Ron Burgundy, Brick Tamland uses a trident to kill a rival
• n The Da Vinci Code, there is some discussion about the symbolic use of the trident.
• Many Christian-themed depictions of Satan show him holding a trident or using a trident as an instrument of torment

Info:
http://en.wikipedia.org/wiki/Trident
http://en.wikipedia.org/wiki/Trident_in_popular_culture


Images:
http://tiny.cc/an94e
http://tiny.cc/2a7tg
http://www.poseidonbarge.com/
http://tiny.cc/k17t7
http://tiny.cc/9vrsc
http://tiny.cc/tmafb
http://tiny.cc/1ynnn
http://tiny.cc/8bxhv
http://tiny.cc/5akwt
http://tiny.cc/xs7tv