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http://www.istockphoto.com/stock-photo-1866303-clothing-hats.php
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My Team Logo 2

Inline Hockey Team, Komazawa NEXT Logo
30 May 2010

Komazawa NEXT is a team to enjoy playing hockey rather than to stick to the wins. Their strategy is well thought-out just like Odysseus' one during the Trojan War.

(Odysseus is a Greek king in Greek mythology. He is renowned for his intelligent attack. During the Trojan War, he made a wooden horse for the Greek to hide inside. The Greeks pretended to sail away, and later the Trojans found the horse. They pulled it into their city as a victory trophy and celebrated that night. When the Trojans started getting drunk, the Greek came out of the horse's belly and attacked the drunk Trojans.)

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Concept 1 (image 1 & 2)

The first concept is typography with a little icon of a bulb.
This logo is symmetric in its form. However, to give a dynamic feeling of potential hockey nature, both ends of 'NEXT' are enlarged like a fish-eye lens. 'KOMAZAWA' is placed along the top edge of 'NEXT'.

It will be made by vector art. They will be not too neatly lined up, but slightly moved like American old cartoon tytles' style such as the Popeye, the Pink panther, the Woody woodpecker, etc. The idea is not to make it look too serious as the team is more to have fun.

The bulb represents that this team plays based on its well-thought strategy. This will be kept very simple vector shape not to distract the team name.

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Concept 2 (image 3 & 4)

The other concept is a hockey mask with two sticks crossed each other. This kind of mask is rarely used now, but it could be a symbol of aggressiveness as it looks like a scull and reminds of Jason's mask.
Two sticks are cossed behind so that the mask looks more like a scull.

The colours used are red and brown. Red is aggressiveness, and brown is from Odysseus's winning icon, the Trojan Horse.

My Team Logo

Sport: Inline Hockey

Team Name: Komazawa NEXT (existing team that I belonged to)

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AGIdeas 2

Concept Evaluation

"Intelligence is remembering what you are interested in."

Michael Mabry is not only a graphic designer but also an illustrator.

He has dedicated his career to creating visual images that challenge the mind and touch the heart.

One of his clients includes The Land of Nod, kid's bedding and furniture store.

In the end of his talk at AGIdeas, he actually showed us how he created his illustrations.

The process was:

He starts working on computer first to decide the composition, and then draws some sketches.

Then brings them into computer and divide them into hundreds of layers.

To create a nice warm texture, he used paints, sand paper, sticky tapes, and many more things.

The outcomes appear like these:

Images from: http://www.michaelmabry.com/

Although he uses computer largely to create these images, the outcomes have very nice hand-drawn-like feeling. The images are very fun and lots of animals and insects appear, which kids definitely love. There are many tiny things hidden in his illustrations, so I found that makes people feel like taking a closer look at them. I remember I always felt happy to find tiny things behind the main characters on the story books when I was a kid.

I was very inspired with his works and I reconfirmed that I would love to be involved in these types of works in the future.

AGIdeas

Trends & Designers

Trend 1: Grotesque/Quirkiness

-Ghostpatrol-

Ghostpatrol is a Melbourne-based illustrator.

He's drawn many illustrations since he was a kid, and he keeps on drawing on his sketchbooks now as well. Some of them have very strong concepts behind, the others are just some sketches from his daily life.

Images from: http://ghostpatrol.net

His illustrations are very quirky, which I think is very interesting and stays in your mind strongly. Most of the kids in his works don't have any facial expressions at all and they often appear holding knives. They never be happy smiling faces, and I think this is a big trend in illustrations recently.

-Webuyyourkids-

Another example is Webuyyourkids, the sydney-based design team.

They were formed in 2005 by Sonny Day and Biddy Maroney.

"Computer Arts magazine described our work as "Harsh Majical" and "Fresh As Fish In Restaurant". We like to draw pictures about witchcraft, mishaps, misdemeanours, and voodoo."

http://www.webuyyourkids.com/site/about/

Sonny's inspirations are comic, skateboard, and Neckface, an American graffiti artist.

Biddy was inspired by the collections of his grandfather's (or father's?) 50's movie posters when she was a kid.

And they both like horror movies but artistic ones. I can see they give them a huge impact on thier works.

Images from: http://www.webuyyourkids.com/

Trend 2: Bold sans-serif

(International typographic style)

The other trend is International typographic style (also called Swiss style).

This trend has been seen for a few years, but I think it still works very well when the design has very strong concepts.

-Andreas Uebele-

Andreas Uebele is founder and director of the bisual communications agency Buro Uebele in Stuttgart. In recent years, his agency's sork has honoured with more than 240 national and international awards.

Images from: http://www.uebele.com/

-Dean Poole-

Here is another designer who uses International typographic style very well.

Dean Poole is a creative director at Alt Group in New Zealand.

His works are made in a very clever way. Among them, the works he has done for Hudson Gavin Martin gave the most strong impression on me.

Images from: http://www.hgmlegal.com/People.aspx

http://www.wiwo.de/unternehmen-maerkte/galerien/die-gewinner-des-red-dot-grand-prix-2009-796/2/corporate-design-hudson-gavin-martin.html

Aboriginal Motifs

http://www.ozmall.co.jp/trip/kaigai/001/uluru.asp

Functions and Philosophies

1. Respect

Respecting Indigenous rights to cultural heritage includes the following protocols.

Acknowledgement of the country

Indigenous Australians, the Aboriginal and Torres Strait Islander people, are the original inhabitants of Australia.18 As such they have a strong link to country, meaning the totality of life and the spirit of the particular area of land they and their ancestors inhabited.

When organising an exhibition, installation or event of local, state or national significance, it is respectful to invite a representative of the traditional owners to attend and give a ‘welcome to country’ address.

Public art - acknowledging land

For Indigenous artists, it it common practice to seek approval from the Indigenous community for public art-based projects in any particular ‘country’ in Australia. This ensures it would not be offensive to the local community.

Accepting diversity

There are many experience and cultural context within Indigenous communities. The Indigenous cultures are living and evolving entitles. Avoid inappropriate or outdated perspectives and terminology when dealing with any cultural groups.

2. Recognition and protection

The Indigenous visual artists own copyright in their artworks. They can control the reproduction and dissemination of the artworks. It is important to understand the Copyright Act and how cultural material might be protected under them. However, there are currently no special copyright laws dealing with Indigenous cultural material.

Moral Rights and Issues

The Indigenous arts were created not just for entertainment but for passing their messages over the new generations or for the sacred reasons. The techniques has been taken over from the old to the new generations for long time.

Their culture must be respected and the moral rights are to be thought about as well.

 

The alteration of the work by adapting, cutting, editing or enhancing may materially alter the original intention of the work and infringe on the artist's moral rights. It is also important to note that with Indigenous cultural material, maintaining the integrity of the work is important for the source communities as well.

Source:

Protocols for producing Indigenous Australian visual arts:

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

Native American Motifs

Cleveland Indians

"Chief Wahoo"

THEIR LOGO'S HISTORY

1915-1920

1921-1927

1928

1929-1932

1933-1945

1946-1950

The 1st "Chief Wahoo"

1951-1972

1973-1979

1980

Symbolism and Racism in Sports

The findings about symbolism and racism underscore observations that the Chief Wahoo icon is an appropriated image of American Manifest Destiny ideologies that is difficult to study, and impossible to root out. In a perverted sense this "honoring" or inferiorizing of the "natural" noble-savage Native, is an integral symbol of American popular culture and history. An "Indians" team is generic language shared by "the major six" (National Coalition Against Racism in Sports): Washington "Redskins" and Kansas City "Chiefs" football teams, Atlanta "Braves" baseball team, the Florida State "Seminoles" and the Illinois "Illini" university named mascots, including dancing "Chief Illini" and horseback riding fake warchiefs in feather headdresses at Florida games.

Racism is thus controlled and defined by dominant group ideologies (Thompson, 1990), that responds differentially to similar cases of different ethnic groups. "Frito Bandito and Black Sambo were eliminated, but Chief Wahoo and his ilk live on...." Bellecourt, (1997) maintains, speaking for the suppressed American Indian Movement. Responding to social movements, protests, economic and demographic pressures emanating from minority ethnic groups in relation to institutional structures with specific goals and objectives, our American society, collectively, does not include small groups with idealized or denied histories, like Native American "Nations."

Racism is thereby expressed through the Wahoo icon as being socio-politically acceptable, especially in accordance with group behavior and ritual, continually reinforced by its own leaders. 

CONCEPT/THEME

The name of the team was changed to "Indians" for the honour of the first native American player, Louis Sockalexis.

Then the logo was created, which is modeled on a character in a cartoon called "big chief wahoo". This cartoon was very popular during the 30's.

Sources:

http://www.toonopedia.com/wahoo.htm 

http://www.sportslogos.net/team.php?id=57

http://www.aistm.org/symbolic.racism.htm

http://www.bluecorncomics.com/wahoo.htm

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

Melbourne Sport Museum Critiques

Critique 1

Image from: http://www.economicshelp.org/blog/sport/costs-and-benefits-of-the-olympics/

The Olympic symbol was originally designed in 1912 by Baron Pierre de Coubertin, the founder of the modern Olympic Games. It is composed of five interlocking rings, coloured blue, yellow, black, green, and red on a white field. These are the colours that were used for the national flags at that time.

The five rings represent the five (inhabited) continents of the world: Africa, America, Asia, Europe and Oceania (including Australia).

This symbol is very simple and the concept is strongly reflected. They are just lines creating circle shapes and they are overlapping each other, which reflects the interaction of the countries. The complementary colours are sitting next to each other, and the black sits in the middle. This makes it look very balanced and stable.

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Critique 2

Image from: http://www.mapsofworld.com/olympic-trivia/olympic-poster.html

London Olympics in 1948.

Compared to the other Olympic posters, this one looks very settled down because of the use of light lines and the subtle colours. Every object is set in the center, so it creates the stability as well. I found it could have more movement as the Olympic is a sporting event but the message “there will be the Olympic in London from July to August” is conveyed well. There is a yellow Big Ben on a blue background. It uses the complimentary colours well while keeping the neutral tone. The bottom of the Big Ben is bit blurred. This creates a bit of movement.

Critiquing Tools

Art Vocabulary List

-Neutral: Not very bright or strong

-Bold: Having a strong clear appearance

-Circle: Completely round flat shape

-Complementary: Two colours that sit opposite to each other in the colour wheel

-Light: Gentle or delicate 

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Adjective list

-Symmetry: The exact match in size and shape between two halves, parts or sides of something.

-Blur: A shape you can not see clearly, often because it is moving too fast

-Back Ground: The part behind the main objects/people

-Aesthetic: Concerned with beauty and art and the understanding of beautiful things

-Hierarchy: An arrangement of items. The classifications are made with importance.

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Principles and Elements of Design List

Elements

-Line: a long thin mark on a surface. Ex.) straight, wavy, dotted, etc…

-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. Ex.) red, orange, purple, etc…

-Texture: The way a surface, substance, or fabric feels when you touch/see it. Ex.) rough, smooth, fluffy, etc…

-Shape: The form of the outer edges or surfaces of something. Ex.) circle, rectangle, triangle, etc…

Principles

-Stability: the quality or state of being steady and not changing or being disturbed in any way

-Dynamics: full of power and movement. Often the images go out of the edge.

-Rhythm: a movement in which some elements recurs regularly. Like a dance it will have a flow of objects that will seem to be like the beat of music.

-Scale: the size or extent of something, especially when compared with something else.

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Source:

-Incredible Art Lessons

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

-Wikipedia

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

-"Oxford Advanced Learner's Dictionary"

2000 Oxford University

Style Time Line

Hudson River school (mid 1800s)

Name loosely applied to a number of 19^thc U.S. Romantic landscape painters who worked mainly, though not exclusively, in the vicinity of the Catskill Mountains and the Hudson River. They were never an organized group but shared a sense of wonderment at the grandeur of the newly discovered American landscape. Painstaking attention to detail is a common feature of their style. A. Bierstadt, F. E. Church, T. Cole and T. Doughty are among the many representatives of the school. 

Symbolism (1885-1910)

A movement in European literature and the visual arts c. 1885-c. 1910, based on the notion that the prime concern of art was not to depict, but that ideas were to be suggested by symbols, thus rejecting objectivity in favour of the subjective. It combined religious mysticism with an interest in the decadent and the erotic. Among the artists associated with the movement were Redon, G. Moreau and Puvis de Chabannes in France, F. Khnopff in Belgium, J. Toorop in Holland, F. Hodler in Switzerland. G. Klimt in Austria and G. Segantini in Italy.

Orphism (1911-1914)

A tendency of abstract art in Paris 1911-1914. In 1912 Apollinaire called the Cubist painting of R. Delaunay ‘Orphic’, linking it with that of Leger, Picabia, Marcel Duchamp and some works of the Picasso and F. Kupka. The name has only stayed with the painting of Delaunay and his wife Sonia Terk Delaunay, who experimented with colour circles, segments and rhythms in a style called ‘simultaneity’. 2 U.S. painters, MacDonald Wright and Morgan Russell, stressed colour in a similar way. (Synchronism)

Synchromism (1912)

U.S. art movement, originated in Paris (1912) by S. Macdonald-Wright and M. Russell and joined by P. Bruce and A. Frost. They developed a brilliant chromatic idiom, clearly related to Orphism, and exhibited at the Armory Show(1913).

Pop art (mid 1950’s)

A movement originating in the mid-1950s with the Independent Group who met at the Institute of Contemporary Art, London. Prominent figures were the critic Lawrence Alloway, who coined the term, the architects P. and H. Smithson, the architectural historian Reyner Banham, and the artists E. Paolozzi and R. Hamilton. The basic concept was that of mass popular urban culture as the vernacular culture shared by all. Irrespective of professional skills. Films, advertising, science fiction, pop music etc. and American mass-produced consumer goods were taken as the materials of the new art and a new aesthetic of expendability proposed. Similar ideas were being explored in the U.S.A. independently at about the same time. P. a. in all its manifestations was given its greatest impetus in the U.S.A. during the 1960s, where it came as a reaction to Abstract Expressionism and in fresh responses to Dadaist notions. The most important artists in the establishment of American Pop art were R. Rauschenberg and J. Johns. Other U.S. artists specifically associated with Pop art are J. Dine, R. Indiana, R. Lichtensten, C. Oldenburg, J. Rosenquist, A. Warhol and T. Wesselmann. Artists working in Britain were P. Blake, D. Boshier, D. Hockney, A. Jones and P. Phillips.

Barbizon school (mid 1950’s)

Group of mid 19^thc romantic landscape painters who, led by T. Rousseau and J.-F. Millet. Settled in the village of Barbizon in the forest of Fountainebleau. In opposition to academic conventions they painted the ‘paysage intime’, undramatic details of the countryside or peasant life. They were influenced by 17^thc Dutch landscapists and Constable, and were forerunners of the Impressionists. Other members of the school included N.-V. Diaz, J. Dupre and G. Daubigny.

 

Hyper Realism (1970s)

Art of extreme verisimilitude, associated with the U.S.A. in the 1970s but to a lesser extent popular also in Western Europe. In painting it is usually. Though not always, based on the direct copying of photographs; in sculpture it makes much use of direct casts from the human figure.

 

Neo expressionism (also called Bad Art) (late 1970s- early 1980s)

Term used with reference to the Expressionist art revival in Germany, the U.S.A. and Italy in the late 1970’s and early 1980’s, as practised by artists such as G. Baselitz and A. Kiefer, in Germany, Sandro Chia, F. Clemente and Mimmo Paladino, in Italy, and Julian Schnabel, in the U.S.A.

 

 

Space Art (mid 1980s)

Space art is a general term for art emerging from knowledge and ideas associated with outer space, both as a source of inspiration and as a means for visualizing and promoting space travel. Whatever the stylistic path, the artist is generally attempting to communicate ideas somehow related to space, often including appreciation of the infinite variety and vastness which surrounds us. In some cases, artists who consider themselves space artists use more than illustration and painting to communicate scientific discoveries or works depicting space; a new breed of space artists work directly with space flight technology and scientists as an opportunity to expand the arts, humanities and cultural expression relative to space exploration. The first painting to be brought to Earth-orbit was a radiant study of the golden sunlight on a Soviet space station by Russian artist Andrei Sokolov, carried aboard the Soviet Mir space station in the mid 1980s.

Lucien Rudaux (1874-1947)
Ron Miller (1947-)

 

Sosaku Hanga (1904-)

The Sōsaku hanga (創作版画, lit. "creative prints") art movement in early 20th century Japan.

The birth of the sōsaku hanga movement was signaled by Kanae Yamamoto’s (1882-1946) small print called “Fisherman” in 1904. Departing from the ukiyo-e collaborative system, Kanae Yamamoto Kanae made the print solely on his own, all the way from drawing, carving and printing. Such principles of “self-drawn”, self-carved” and “self-printed” became the foundation of the creative print movement, which struggled for existence in prewar Japan along with other art movements, and gained its momentum and flourished in postwar Japan as the genuine heir of the ukiyo-e tradition.

Bibliography

"Dictionary of art and artists" 1985, By the Thames and Hudson

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

http://www.askart.com/AskART/interest/base_essay.aspx?id=98&glossary=1&pg=style

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

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

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

http://www.metmuseum.org/works_of_art/collection_database/european_paintings/on_the_banks_of_the_oise/objectView.aspx?&OID=110000520&collID=11&vw=0

http://www.black-cat-studios.com/spaceart.html

http://www.sosakuhanga.net/index.php?page=1900-1910-period

http://en.wikipedia.org/wiki/S%C5%8Dsaku_hanga