Who am I ?
At the heart of every visual identity, is the logomark. A successful mark can result in strong brand, the perception and feelings generated by a visual identity. Phase 1 of this project involved logo development, which lasted throughout the semester. Phase 2 involved the finalization and application of our logomarks to multiple mediums and formats. The objectives of this project was to integrate graphic elements and typography to build a visual identity, become familiar with the concept of branding, apply typography to long format and execute a complex set of restrictions and guidelines.
– Dinography –
Our goal was to choose a typeface for each dinosaur and create two different dinosaurs with using the letterforms only. The purpose of this project was to become familiar with existing letterforms and learn how to express the meaning of a word through the spacing, sizing and placement of letters. We could only use one typeface family for each dinosaur and only use the letters within the dinosaur’s name to create the design. We were not allowed to distort, stretch or eliminate components of the type.
Type Anatomy & Classification
– Type Anatomy Clouds –
We were asked to design a package of easy to use study tools that can successfully teach type anatomy and type classification. Our goal was to learn and memorize type anatomy and classifications, develop basic typography skills, including hierarchy, alignment, white space, and balance. The main purpose for this assignment was to learn how to incorporate design cohesion throughout multiple formats and mediums. We were not allowed to use texture, and photo realistic art in this project.
– Jazzardio –
In design, analog refers to any element created by physical means. For this project, we were assigned to design a vinyl record album cover and a spindle label. Our goal for this project was to learn how to craft an analog type, with the simplest workflows and to learn how to integrate analog and digital type with contrast, hierarchy and grid. We could use texture, color and shape however, photography and illustration was prohibited.
Q: How do you perceive, or not, the influences of Cinema, popular culture, advertisement and graffiti in his work?
A: In Jeff Soto’s work there is influences of cinema, pop culture, advertisement and graffiti. I perceive the influence of cinema because it looks like cartoons have inspired him a lot with the characters he chose to use. The characters almost look like some kind of an alien; the artist could be inspired by movies like Robots or Despicable Me while choosing his characters. According to Jeff Soto’s website, his work is a role of bridge the gap between Pop surrealism and graffiti. His pieces are extremely abstract, he uses a mixture of Japanese animated colors, shapes and pop culture. You can also get a sense of advertisement in his work, especially in the black figures, which are represented by graffiti. These black figures represent advertising due to their reach, observation and sex. To me, the way how the work is structured looks like it could be used in an advertisement campaign and could make a great advertisement. His works are also influenced by graffiti because of the writing and the background. It looks like that Soto he painted on a real wall. The overall style of the painting, shapes, characters, the meaning behind the work and the writings remind me of a typical graffiti. He also uses spray paint while doing his work which also makes it seem like a graffiti. He puts many objects together to create one message. I see the influences of advertisement, popular culture, and cinema as the images are composed of modern technologies.
Q: Mariko Mori in the series Pureland or Burning Desire explores a Relationship with Japanese popular culture, Elaborate on the use of parody by the artist.
A: The environmental disasters such as volcano and earthquake frequently happen. Because of these natural disasters and reincarnation in Buddhism, Japanese people are scared of invisibility and they think that in the future they are meant to be invisible in another world. The Buddhism guidelines teach its people that if they serve their ancestors after death, they will go to the perfect world and enjoy richness as their unending lives. To look at the works of Mariko Mori in the series Pureland or Burning Desire, they have a deep, strong and mysterious relationship with Japanese culture. Mori’s work also indicates a desire to live a paradise world because of the fear that people have of environmental disasters. Women in the series Pureland or Burning Desire are wearing clothes like Kimono, which is the Japanese traditional costume (T-shape, straight-lined robes with attached collars and long, wide sleeves). Her work also contrasts women that wear traditional clothes and a perfect background with a distinct layer and opacity. Both of the series look like they have an extremely spiritual meaning behind them.
Q: Based on Martina’s work, develop the use of memory and narrative in her work.
In Martina Lopez’s work, the contrast between the foreground and the background suggests the significance of perspective and viewpoint when examining the topics of memory and narrative. The artwork not only portrays memories in a narrative that is distinct to Lopez’s family only, but also lets the audience to adapt the narrative to their own individual perceptions. How the audience adapts the narrative to their own perspectives is accomplished through the background that uses familiar symbols within each family, person’s life. Also, the background is presented in darker, passive and the sky is shown in a dream-like feel, which is significant of a memory. I believe her art is a way of her recreating her memories with her family in a way that she would prefer to remember. Lopez used to look at these old pictures and be upset. They would only bring bad memories to her. Therefore, she decided to edit and manipulate the pictures into a new image which would make her look back at them and smile.
3 Questions about the Articles:
1) How do professionals make the models skinnier without any distortions within the image/ model? Do they use the layer mask, as we used it in the “Mask” project or do they use the anchor points?
2) Why do they make skinny models even skinnier on the pictures when they are naturally thin?
3) How do we add lipstick, brush etc. (make up) to the models on Photoshop as well as being able to change their skin color?
Q: In the series Dystopia, what do you think are the main concepts, in relation to the digital effect and process?
Haziz and Cucher are trying to make a statement about the loss of individuality with the digital effects such as photo editing. Nowadays, any image can be edited, altered and distorted to look in a particular way. With this process, we loose the real and genuine truth within a picture. The artists wanted to address this feeling in their published work. They said “Furthermore, with the end of truth in photography has come a corresponding loss of trust; every image, every representation, is now a potential fraud.” While technology improves, photographs are more about how well they can be distorted to look perfect and less about representing an individual truthfully and genuinely. The expectations of attractiveness in pictures are at a level that could never be attained without the correct and appropriate editing. A dystopia is the opposite of utopia. Utopia means ideal and means that a society is supposed to be perfect. However, dystopia on the other hand is a society where everything is unpleasant or bad. By eliminating or covering up the people’s features such as their eyes, mouths, ears and noses the artist creates an image that is somewhat unpleasant to look at. Furthermore, I would think that people living in a dystopia would lack some rights, for example freedom of speech. These imagines might represent how people in a dystopia are not allowed to speak for themselves, view things their own way etc.