February 2010 Archives

project1 - critique.pdf

The first design is based on a the principle of light through a prism. Each of the faces represent a different sect of humanity as well as a beam of light. They all meet in the center and converge into a single white beam of light, as it would being sent through a prism. This symbolizes a merging of beliefs, peoples, cultures, etc. for a sense of "global harmony," as stated above and below on the design.

The second design features the word "UNITY" in various languages from around the world. The message behind this is that each country can still retain a sense of identity and nationality but also be apart of a larger global scene. Each language is colored by that languages primary country's flag to further establish this idea.

Anotomy of a Design: Robot Nixon

In my recent wanderings of a website called reddit.com (a fabulous way to see the workings and goings-on of the internet), I stumbled across this comedic gem that plays off of contemporary headache as well as past ones.


The design is playing off of the now (in[?])famous "HOPE" Obama poster. The heading to the link to the picture read, "Fuck it. I'm done with all this Ron Paul and Obama bullshit. I know who I'm voting for next year." A fitting statement given recent kindergarten tactics employed by Congress.

The above caption "Seek Attack Destroy" plays off of this reborn Robot Nixon, but also hints at his term that many would call a "Seek Attack Destroy" time for American politics. Even the below caption "May death come swiftly to his enemies" plays off of the headache an outspoken opponent would ultimately feel when locking horns with Nixon.

It's Nixon as a calculating, cold, efficient killing machine-- AGAIN!

...and if you're interested: http://www.reddit.com/

Reading Response: Anotomy of Design - iRaq

"Parody is humor used as a weapon."

What struck me the most about this article is coming to a realization that by changing the narrative behind a well established design (i.e. iPod 2004-5 commercials), a designer can completely alter and control how onlookers think, feel, act.

The "iRaq" poster struck me and fits the above statement perfectly. The sleek and cheery iPod-like design is betrayed by the message associated. It shows an all black figure, head covered and fully blanketed with two all-white electric cables running from fingers to [probably] a battery circuit fitted onto the person's body. Below the pitiful figure reads "10,000 volts in your pocket, guilty or not."

Being a commentary against prisoner treatment at Abu Graihb, this poster takes a fun, playful ad campaign and turns into a dark, even morbid, reminder. The fact that this "guerrilla" poster was also illegally displayed next to other iPod posters of the same likeness would have really driven the message home.

Other poster designs adorn the bottom dating from 1480 to the early 2000's. The most striking, in my opinion, being pictures taken from actual moments in conflict (social, war, etc.). Just the sheer emotion of people in these pivotal moments trumps any design included.

Definitely keeping this reading for future inspiration.

International Design: Iran

" Without one distinct culture or identity, how can Iran's graphic designers represent the nation through visual communication? "

Iran is a curious thing. It struggles to modernize, as apparent in last year's election riots and the ever burgeoning youth, and it also tried to hold onto its rich historical and even chaotic history. The terms culture-clash and globalization instantly flew to mind as I read through the article.

" One of the most sensitive parts in studying graphic design is our relationship with the graphic design of the West - a relationship of love and hatred altogether. "

Again, Iran seems almost a torn nation. Modern culture is dominantly western styled and historically Iran has not been western...unless said otherwise by invading armies (a symptom common in that part of the world).

Iran is a nation seeking to define itself and settle its inner disputes, modernizing, progressing, and still holding onto those ideals that make Iran what it is. From this there arises an interesting situation. From the examples given in the article there isn't one look that fits Iran (then again, is there ONE look for anything?).

An interesting read. Deserves another look at sometime.

International Design: Japan

In response to a blog post concerning international design, I found a quaint article discussing some base, fundamental principles behind Japanese designs:


I took notice of the "Contemporary" section. This form of design took off in Japan during the early 1950's, and while the article doesn't necessarily say why, but from my well rounded sense of history, I think it came about as a response to post-war reconstruction. Especially in the wake of the two nuclear bombs and the birth of the atomic age. Godzilla is testament enough to that claim.

It's interesting to see how our forms of art play off and transform after prolonged periods of violence / war.


Further pursuing a word that expresses an idea of "oneness" I chose to go with "harmony."

It works rather well.

I was also intrigued by various aspects of harmony; definitions, applications. To see what I'm talking about, take a gander at the wikipedia article concerning harmony.

--> http://en.wikipedia.org/wiki/Harmony

Further research...

I typed "world peace poster" into Google, clicked search, switched to images, and started to sift through what I saw.

First off I noted to the avid color use exectued by most of these designs; our world is rather colorful, makes sense to capitalize (a fun word to use given the situation) on that facet.

Here are three poster designs that especially caught my eye. Either for color or subject composition. I intent to incorporate some elements of these designs into my own:




and this one for some laughs:


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