Woody Pirtle - Milton Glaser

This is a poster by the artist Woody Pirtle (one of my favorite graphic designers). I was attracted for two reasons, as I said, Woody Pirtle is one of my favorite designers and I have fond childhood memories of the original poster.  The poster is entitled After Dylan and was done for the Dallas Society of Visual Communication announcing a lecture by Milton Glaser on the subject of plagiarism.  This poster is a "copy" of Glaser's famous poster from Bob Dylan's Greatest Hits Album 1967.   Glaser designed the poster with Dylan's face in black silhouette, the famous rainbow swirled psychedelic hair, and the iconic Glaser font (Baby Teeth) at the base of the poster.  I grew up in the '60s and had older siblings in high school and college during the flower child era.  We had the Bob Dylan poster and album in the bedroom I shared with my sisters from the time I was seven until I was about ten when my sister who owned them went off to college.  Sigh...  I think the poster was pretty trashed ever before she took it to college.

For After Dylan, Pirtle used Glaser's aging silhouette  -  glasses, receding hairline, and all to illustrate the concept of plagiarism.  The audience for the piece would be people attending the interested in attending the lecture by Milton Glaser, the Dallas Society of Visual Communication and its followers, Milton Glaser fans, Woody Pirtle fans, and lovers of great graphic design.

The design style is psychedelic - Milton Glaser is one of the most famous designer of this underground graphic design style, along with Peter Max, Seymour Chwast, and Victor Moscoso.  This poster is typical of Glaser's style - telling a story using simple but strong illustrations. The design uses many of the principles that we discussed in class - unity, emphasis, visual rhythm, and balance.  Unity is created through the use of repetition of shape and color in the hair, the strength of the black silhouette, and the closure created by the edges of the poster and the silhouette.  Emphasis is created through by the black/white silhouette and the rainbow hair.  The thin, white glasses also stand out on the black.  A flowing visual rhythm is created by the hair - very smooth yet the colors are very vibrant.  The poster is highly balance through color in the silhouette, hair color, and placement & color of the title.  The typography is Glaser's own representational font he entitled Baby Teeth.  The rounded letters are almost circular - like the G but also angular with a wedge cut to create the center.  The E is created by a series of stair-steps.  Very interesting - a little bit Art Deco-ish. 

Check out Pirtle's website.  I love his sense of humor, application of his art to social causes, ability to engage his audience, and the broad scope of his work.  Amazing artist.

Source: http://www.pirtledesign.com/

fourty eight posters josef muller-brockman

This is the program guide for an exhibition of 48 posters by pioneer in the Swiss style of graphic design Josef Müller-Brockmann.  The audience for the work would likely be people who attended the installation and purchased the program.  And who wouldn't given the opportunity?!?  The showing opened May 27, 2004 which was after his death and I don't know who designed the cover of the program but it is definitely done in the Swiss style with a modern twist.  Some typical features of the Swiss style used in this piece include: asymmetric design;  mathematically constructed grid; use of tilted axes; visual & verbal information presented clearly; san serif typography flush left  leaving a ragged right margin; after Helvetica was designed  the Swiss used it almost exclusively; often use only lower case font; use of geometric shapes; repetition of shapes to create unity.

The modern twist?  It appears that the circles are actually cut out of the program.  I wish I could see the treatment of the inside.  The website (http://www.imagenow.ie/work/expression/fortyeight-posters-josef-mullerbrockmann.php) shows four of the inside pages but I want more.  And, oh, how I wish I could have seen this exhibit!

This is a highly unified and well-balanced piece.  Unity is created through the use of repetition of the colors of typeface (no doubt helvetica), the typeface itself, the three column grid, and the circular shapes. Emphasis is created in the title by size of the text and change in color of words Josef Müller-Brockmann, and the ever increasing circular pattern from the bottom right to upper left. The photography of the work is well done also with the lighting from the left illuminating the text and the reflection of on the surface of the table.

I love the colors used in the piece the burgundy, white, and light blue/gray engraved into the cover make a beautiful statement - soft, warm, peaceful.  My initial attraction to the composition was the idea of the cut-out circular pattern in the thick cardstock (cardboard?).   I also love the rhythm of the piece created by the circles - the off-center feel of the piece,  As I said earlier I love the Swiss Style and I feel that this is an excellent tribute to Müller-Brockmann. 

Subway Posters Score - Constructing Meaning

This chapter in the text was entitled Constructing Meaning and it included sections on Modernism and Postmodernism.  While taking Graphic Design History last fall, I discovered that I love the American Modernist Movement.  So, why not?

This is a poster designed by Paul Rand, an iconic American graphic designer in the modern style.  I found this poster on the MoMA website www.moma.com.  He has an amazing body of work from posters to corporate branding to packaging to books.  His website is www.paul-rand.com. This particular piece was commissioned in 1947 to advertise the NY subway system.  It attracted me because of the use of simple shapes, bright colors, asymmetric balance, and its overall happy effect.  Since the composition was designed in 1947 to advertise the NY subway system, I would guess it was designed to appeal to a broad audience to entice them to use the subway.

The artwork in this poster is made from overlapping circular and rectangular brush strokes in primary red, blue, and yellow, with green of a similar value (brightness) and black (smile and nose).  The shapes create a stick figure of a human.  The angled text is serif, all lower case in black.  The axis of the poster is tilted from lower left to upper right.  The logo is placed beneath the text 24 hours a day they never miss.   This piece is unified and balanced by color, shape, texture, and repetition.  The angles, colors, and sizes of the text boxes, and head also provide balance. 

The style of the piece is typical of Paul Rand who was the pioneer of the New York School.  His style was unique and distinctive portraying humor and straightforwardness.  He made use of many of the modernist techniques such as collage, tilted axes, typesetting, print setting, and other techniques that changed the look of graphic design.  He strongly believed that the audience should be an active participant in advertising - not just a passive onlooker - that the audience should make an intellectual connection between the artwork and the ideas being presented.  Intelligence should be awakened; the audience should invest, think. 

To quote Rand, "To design is to add value and meaning, to illuminate, to simplify, to clarify, to modify, to dramatize, to persuade, and perhaps to amuse.  To design is to transform prose into poetry."

The Red Shoes - Color

This is the cover art for Kate Bush's seventh CD which was released in 1993.  In addition to the CD, she created a short film entitled The Line, The Cross, and The Curve.  The film was inspired by the 1948 full-length film of the same title. Both Kate Bush's and the 1948 film were based on a Hans Christian Anderson fairy tale (same title).  The fairy tale is about a dancer who is possessed by her art and then her red shoes take on their own life.  The shoes will not allow her to stop dancing.  Eventually, it drives her insane.  The CD had an amazing variety of high-profile cameos - Prince, Jeff Beck, Eric Clapton, and Gary Brooker (Procol Harum) to name a few.  The title track The Red Shoes tells the story of desire, obsession, and mania. 

I have always been a Kate Bush fan - even though some of her music is odd - so, I purchased this CD as soon as it was released.  I immediately loved the artwork, storytelling, and the music.  The photo of the red shoes is really appealing to me: the shape of the foot, the strength, the satiny, red shoes.   Recently, my daughter and I were listening to my iPod in the car and The Red Shoes shuffled on.  She liked the music and especially the artwork.  To her, the artwork represented a dancer's commitment.  Worn shoes, big holes, and runs in tights are a "badge of honor" at the studio - it means you've worked hard and have been dancing a long time.  After listening to the song, she understood the real idea behind the picture.  Obsession.  Desire.  Insanity.  Many dancers feel these emotions especially when trying to make it professionally. Obsession with body weight.  Obsession with practice.  Obsession with auditions.  Obsession with performance.

I think the artwork is appealing to all audiences.  It is well-unified, balanced, and has a strong focal point.  The circular picture focuses on the shoes.  The shoes are surrounded by a yellow, highly-shadowed, nondescript background - maybe a drop cloth of some kind.   The background color makes the red, satin shoes stand out even more.  The circular picture is enclosed in a black square.  I feel like I am looking through a telescope - focusing solely on the shoes - nothing else to distract.  The white text is a funky (hand-drawn?), all upper-case typeface which curves to the picture at the top and bottom of the photo. This adds to the balance and unity.   

Color...  Red is an emotional, high energy color.  It has been known to increase heart rate, pulse, and respiration rate.  Red is the color of fire and blood.  It is associated with danger, power, determination, passion, desire, and love.  The red shoes in this artwork represent all of these emotional responses: the blood, sweat, and determination that go into dancing; the fiery, passionate emotions that possess dancer; the desire for fame; and finally, the power and danger of the obsession.  The Red Shoes - initially an object of desire - turned into obsession - and eventually into demise.

Jimi Hendrix - Color

This is a poster of Jimi Hendrix that was created by Waldemar Swierzy in 1974.  Swierzy was initially a fine artist and approached graphic design from the point of view of a painter.  He often incorporated crayon, chalk, acrylics, and watercolor into his design.   This is one of his many (and possibly most famous) works.  I initially saw an image of this poster in Megg's History of Graphic Design by Philip Meggs and Alston Purvis.  This image is taken from http://www.polishposter.com/.   The image is still sold today through numerous websites to Hendrix fans and art lovers alike.  The price for a 26.5" x 38" poster is around $400 and is waitlisted on many sites.

I was initially attracted to the representation of Hendix because of the dynamic - almost electric - feel of the poster.  It is animated with nervous, vivid, bright lines which vibrate around his hair and clothing. This represents his cutting-edge music.  Jimi Hendrix's work was raw, harsh, but always soulful with a strong blues influence.  The emotional eyes of the artist are so expressive and sad - blues personified.  Swierzy created outlined shapes in the hair and clothing. Then he filled them with flat and graduated values of color - he used different brightness values of purple (and a bit of green) for the fill and gradation.  He shaded the face, eyes, and background using various value (brightness) of the purple hue.  This is basically a monochromatic purple color scheme (with a touch of green in the clothing).  Although the we image may not reflect it, the background is a purple-gray color. The purple/green colors are warm and the electricity created from the bright lines create a dynamic contrast.

The piece reflects the design principles of unity, emphasis, balance, and rhythm.  The monochromatic color scheme, repetition of the lines and grouping promote unity and balance.  As stated in the text, the human face draws our attention thus creating emphasis.  There is a rhythm to the piece - the soft flowing lines create a smooth, legato feel while the brightness of some of the lines creates accent and energy.

The Economist - Problem Solving/Seeking

Problem Seeking/Solving

I found this photo on the London International Awards LIA website (http://www.liaawards.com).  The LIA awards were established to honor creativity and new ideas in advertising, design, and digital media.  It was established in 1986 in London and quickly grew to a global award.  This was one of the finalist in the billboard category in 2005. 

This billboard is an advertisement for The Economist,  a weekly news magazine which is published in London.  The audience for billboard is prospective readers/subscribers to The Economist.  The typography is a serif style font characteristic of a newspaper or weekly (perhaps Times Roman?).  It is placed in the lower left-hand corner in white  The background color is red which immediately catches the eye.  The 3D light bulb is initially off until someone walks under it and then it lights up.  The implementation and cleverness of the advertisement initially attracted me to the piece.  I really like the idea but what happens if no one is passing beneath the bulb OR if a large crowd is walking past and the text is covered?  I guess it would still attract attention because of the color and 3D bulb.

How does this relate to the topic of the week?  Problem solving/seeking.  A glowing light bulb, above a head, is an iconic image representing creative thinking and problem solving.  The advertisement is counting on the public connecting the bright idea with The Economist magazine.  Read The Economist and be well-informed, be filled with good ideas, be brilliant...  As mentioned in the text, ideas come from many places - some of the strategies idea generation include:

·         Transforming a common object,

·         Studying nature,

·         Observation,

·         Brainstorming,

·         Making connections between ideas

·         Journaling,

·         Collaborative brainstorming,

·         Sketching, and

·         Model making.

I would guess that all of these strategies went into creating this solution (maybe not studying nature).  The thought of creating a connection between a common object (light bulb) or idea (light bulb over a head = great idea) and the magazine is most obvious to me - the notion of  creating a relationship between the light bulb, being brilliant, and reading The Economist. 

Through the Eyes of a Child - Cultivating Creativity

I found this picture on a website about talented and gifted children called http://www.exquisite-minds.com/.  It is a source of information for parents of gifted children.  The website presents resources, a forum, and offers products for sale (games, books, and movies) to enhance the world of the gifted child.  I was attracted to this photo for two simple reasons.  I like close-up photography and I am a math geek.  Upon closer inspection, I was attracted to the green eye, the linear pattern shown as a reflection in the glasses, and the rectilinear shadow cast across the eye.  I think this is a well-composed piece.  It has a strong focal point - the green eye of a child.  It is well unified in that it uses grouping, proximity, & repetition (the math formulae) and containment (glasses frames).  I like the continuity created by the math formulae flowing seamlessly through the glasses and the tilt of the face (eyes).

In my opinion, this represents the opening of a young mind - the attentiveness, the focus, the shadow being lifted to reveal more about the world that surrounds us.  So, what does this have to do with cultivating creativity?  According to the text, there are seven characteristics of creative thinking:

·         Receptivity - openness to new ideas and experiences;

·         Curiosity - eagerness to understand the world around us;

·         Wide range of interests - art, math, science, literature, music, language, culture,...

·         Attentiveness - realization that every experience is valuable;

·         Connection Seeking - finding similarities in seemingly different disciplines;

·         Conviction - passionately and openly looking for knowledge; and

·         Complexity - ability to combine the rational with the intuitive.

In a child, all of these can be fostered and developed without any of the preconceived notions of adulthood. Who better represents each of these characteristics than a child?  To quote Picasso, "All children are artists.  The problem is how to remain artists once we grow up."  I think this applies to every field of study.  Many people believe math and science are not creative - nothing could be further from the truth. While it is true the 2+2 will always equal 4, real math is so much more!  Creativity is essential.   I have so often heard the questions "When am I going to use algebra in my life?" or "I am not going to be a scientist, so why do I have to study chemistry?" or " Why do I have to read Shakespeare?  It doesn't have anything to do with my life now."  When did we lose our childlike need to learn for the sake seeking knowledge?  For unearthing connections between the past and present?  For inspiration?

When I was an undergrad, studying math and engineering, I read a book that opened my world.  It was entitled "Gödel, Escher, Bach The Eternal Golden Braid" by Douglas R. Hofstadter(1979).  It discussed the connection between math, art and music - specifically the mathematician Kurt Gödel, artist M.C Escher, and musician J.S. Bach.  It also tied in literary and historical findings. It borrows from author Lewis Carroll (Alice in Wonderland) in that each chapter has a dialogue between historic characters like Achilles and the Tortoise.  This book made me see how everything - even the most obscure scientific findings - are interconnected in our world, through pattern and music and ideas.  Knowledge is doubling at an astounding rate - nearly every 18 months now according to many experts.  Since the book was written, many of the ideas in the book have been expanded to the n^th degree - chaos theory, fractals, number theory - yet the connection remains unending - the connection between math, art, literature, and music. To me, this represents the connection between creativity and the quest for knowledge.

Which brings me back to the photograph and the topic...  Retaining a child's sense of receptivity to knowledge is so important to each one of us on a daily basis.  Our creativity can be sparked in so many ways that we can never predict.  This photo represents all of the possibilities, all of the focus, all of the complexity, curiosity, and conviction that is required to ignite creativity - though the eyes of a child.

The Old Violin - Texture, Value, & Illusion of Space

William Michael Harnett, The Old Violin, 1886, National Gallery of Art, Washington

This is a composition by the American artist William M. Harnett  (1848 - 1892) entitled, The Old Violin, which was painted in 1886 and is displayed at the National Gallery of Art in Washington, DC. The audience for this work is gallery visitors and art spectators.

William Harnett was a still life painter who use the technique called tromp l'oeil .  Trompe l'oeil meaning trick of the eye is a method that can "so resemble reality that deception occurs." [Stewart p.25-26]  This work of art was so realistic that the people actually reached out to grasp the violin to see if it was real or painted.  This style is also called illusionism.  This technique was popular with the public but often criticized by the art reviewers of the time as "exact copies" or "threatening the ideal of art as beauty and truth".

I was intrigued by the explanation of and debate about this method and started looking at artists and works which employ this device.  This particular piece attracted me because of the beautifully aged violin, the curl of the music, and the letter at the bottom of the painting.  Everything in this painting looks aged, well-used, even loved - the door with the rusted braces, the varnish on the violin worn from years of practice, the dog-eared music, the lighter color beneath the curled corner of the music, and the letter...  The  letter, what does the letter mean?  Is it innocuous - just representing a correspondence to be noticed?  Does it represent the reason that the violin was hung on the door, never to be played again?  A lost child, a jilted lover, a rejection... 

The colors are melancholy, earthy, subdued.  The color value refers to the relative lightness or darkness of a surface and contrast is the amount of difference in the values.  Value distribution refers to the proportion of lights and darks in the composition. This piece is visually heavy due to the dark colors, low contrast, and darkness of the value distribution.  In this painting, darker values create the sense of sadness, loss, or a forgotten past.  The lighting appears to be from the left of the painting which help to create the three-dimensional feel of the composition.  Cast shadows appear on the letter, music, and the door (from the bow and violin).  Even the rusty nail on the door casts a shadow to its right.   Maybe a hint to the contents of the letter?

This work (and the device of trompe l'oeil) is an example of color value distribution, visual texture, and linear perspective.  Each fold in the music and letter was drawn and shaded to represent the objects as if they were lighted from a source to the left of the painting.   The strings and body of the violin show the white residue of the rosin and it's reflection from the light.  The bow's shadow is projected due to the source of light.  The color of the door darkens from left to right. 

As stated in the text, this technique is visual texture taken to an extreme.  Each and every detail is drawn - nothing is left for the observer to complete - except the interpretation.

http://www.nga.gov/feature/artnation/harnett/oldviolin_1.shtm

Evian Bottle - Line/Rhythm

This is a limited-edition Evian bottle designed by Paul Smith for the French water maker (distributer?), Evian.  It was used to promote the water by attracting attention to the beautiful bottle.  I saw the bottle on the following website: http://www.highsnobiety.com/news/2009/09/22/paul-smith-for-evian/  According to the website, Evian has commissioned several designers to design limited-editions of their bottles.  Paul Smith is the second designer.  The design features the actual signature of the designer and uses his signature colors. 

The typography for the logo is red and in Evian’s typical font – san-serif, lower-case - simple and corporate. The signature is the designer’s hand – smaller in size and black in color.  It adds interest to the Evian logo.

I was attracted to the weightless appearance of the bottle – translucent bottle, crisp clear water, rings of color rising to the top, the colorful bottle tops which match the colorful rings.  It looks so refreshing and appealing.   It must be just delicious and thirst-quenching.  I’m not at all affected by advertising…  Tee Hee. 

In my opinion, the bottles are really works of art.  As I said, it looks simple, clean, refreshing.  I love the way the colored bands appear to overlap and can be seen through the glass as they circle the back.  The shape of the bottle is luscious, smooth and curvy.  And the way it is topped off with the colored bottle cap that matches one of the bands on the bottle.  The colors are also just gorgeous and highlight the neck of the bottle.

Now more on rhythm and line…  As I said, the shape of the bottle, the way the bands move up the neck, the colors, the lovely bottle tops all contribute to the visual rhythm, the lightness of the bottles.  The bands are not equally spaced so they create a dynamic, spiraling effect – like the water is going to jump right out of the bottle.  The repetition of colors and decreasing sizes of the bands also creates a sense of motion and movement toward the top of the bottle.  The way the bottles are presented in the photograph creates a curved line from the bottom left to the top right, the bottles get smaller as they move along the line, and they also tilt toward the right reinforcing the dynamic nature of the composition.  The tilt makes it look like someone may be getting ready to take a drink. Very appealing advertisement!

Herman Miller Poster - Balance

I learned about Armin Hofmann, a famous graphic designer in the Swiss Style, when I took Graphic Design History last fall.  I fell in love with Swiss Style and was especially attracted to this poster because of the asymmetrical balance of the design, the abstraction of the images of the chairs, and the desire for a Herman Miller Aeron Chair in true black (sigh).  I looked up the designs of Armin Hofmann on the MoMA website: http://www.moma.org/collection/artist.php?artist_id=2697.  I think this poster was commissioned by The Herman Miller Company and was used to promote a Herman Miller Chair Collection in Switzerland in 1962.  The audience was probably the community interested in art installations, Herman Miller chairs, and followers of Armin Hofmann (his posters are still available online through many retail sites). 

This composition represents the Swiss/International style in so many ways.  Some typical attributes of the style that are represented here include: asymmetrical design, color scheme of red, white, & black, tilted axis, clear presentation of visual information, san-serif style typography, and geometric abstraction of shapes.

The typography deserves special treatment – it is no doubt Helvetica or one of it predecessors.  The Swiss designers used this san-serif style font exclusively for their designs, typically flush left with a ragged right margin.

The artwork is also very prominent in the design.  The flow of the geometric abstraction of the chairs leads the eye from the bottom left to the upper right of the poster.  Although the shapes are simple, the idea of the “chair” is never lost.

Herman Miller’s red logo is still used today on their website: http://www.hermanmiller.com/global.  The dimensions and colors may have changed (not sure about either of these suppositions) but the idea is still the same.  I love how its shape represents the “M” in Miller in a sleek style.

I think this composition is an amazing work which represents balance in graphic design. The visual weight of the piece is influenced by the size, color, and shapes of the text boxes, typeface (addressed previously), and shapes of the chairs.  The red text (top and bottom) and the Herman Miller logo balance the strong black representations of the chairs.  The vertical lines of the text boxes highlight the dates and location of the installation – the date is further left to emphasis the closing date as well as balance the poster. The vertical orientation of the piece and the weight of the black chair shapes make the piece stable yet it appears that the chairs are floating off the page at the top. The overall balance of the composition is asymmetric with a tilted axis from the lower left to the upper right through the chairs.  A balance line is created through this axis.  There is lots of energy in the poster with the chair shapes changing and generally lightening in size and visual weight – just enough variation to this rule to keep it interesting. 

BHTC Logo - Emphasis

I found this composition on The Broward Human Trafficking Coalition (BHTC) website http://www.bhtc.us/.  BHTC is a nonprofit, grassroots organization whose mission is to raise awareness about human trafficking through information, education, and networking resources.  This artwork is essentially the logo for the organization.  I think the simplicity, focus, and object familiarity of the piece should have broad appeal for all demographics.  Hopefully, it inspires questions about the topic. The organization is partnered with many others such as The FBI, The Missing Children’s Foundation, The Polaris Project (End World Slavery), Crime Stoppers, Shared Hope International, and many more. 

I was initially attracted to the composition because of the effectiveness of the message.  The use of the bar code attaches BHTC’s message with something highly recognizable.  We all see bar codes every day.  We touch them; we bring them into our homes; they are within our reach at all times. The treatment of the barcode as the bars of a jail cell is greatly effective – the figure, the human, must break free of the prison.  The message is clear.  People must work to free victims of human trafficking.  Breaking out from behind the bars – a very dynamic image – the human is actually, physically, breaking free from the bars that imprison him/her. Very successful imagery!  Also, the universal bar code is something that is placed on a product for purchase - interestingly human trafficking treats people like products - selling them into slavery.

I also feel that the colors of the composition were carefully chosen – red, white, and blue.  Many flags from around the world use this color scheme and these colors have come to represent freedom and protection (especially in the U.S.).  Also, the color red attracts attention, so the human figure is red – to draw our attention to the victims of trafficking and the work that must be done to liberate and defend against further abuses of human trafficking.  The red figure is the focal point of the composition – the color red is used for emphasis (more later). 

I also was attracted to the general structure of the composition.  The figure 2/3 – 1/3 proportion that is so attractive to the human eye is used well here.  The figure breaks free about 2/3’s of the way across the bar code.  The work is very well balance.  The location and color of the text balances the strong blue bars and red figure.

The typography is an all upper-case, san serif typeface similar to Helvetica – stretched horizontally.  The title “Human Trafficking” is red in color and is a larger point size than “Broward” and “Coalition” (smaller and blue in color).  So, the text “Human Trafficking” stands out more than the other words – both due to size, color, and location (at the base of the bar code.

How does this composition reflect the principles of emphasis?  I believe it does so through use of emphasis by isolation and emphasis by contrast.    Emphasis by isolation is when an element is set apart from other elements.  Emphasis through contrast is when an element is set apart by scale, shape, and/or color.

(1)  Emphasis by isolation is used here in that the human figure breaks the pattern of the bar code. The figure is an anomaly in the pattern and automatically attracts our attention.  The text “Human Trafficking” also creates an anomaly at the base of the bar code, drawing our attention to the title but to a much lesser degree. 

(2)  Emphasis by contrast is also used here – both color and shape.  Obviously, the red figure (and text) stand out from the blue bar code, thus contrast in color.  The shape of the entire piece is very rectilinear – the barcodes, the shape of the whole work, the text blocks.  The curves of the figure and the broken bars also create emphasis and make the figure the focal point of the composition.

Graphic design is such a big part of our lives.  It surrounds us and affects us daily in so many ways – products, road signs, billboards, books, magazines, TV, posters, labels, notepads, etc.  I like when graphic design is used to make an important statement in an effective way.  I believe this composition does just that.

The Black Swan - Unity

Poster design by La Boca

This is one of the film posters for the movie The Black Swan which was released December 2010.  The movie received excellent reviews, so I was looking at some websites and came across this film poster.  I was immediately attracted to the use of color in the piece, the portrayal of the ballerina within the swan, the title font (art deco style), and the overall grace of the poster.  The function is to advertise the movie and create revenue through sale of the posters.  The audience for this piece is movie-goers over the age of 17 (rated R).  To further narrow the audience, the film is a “psycho-sexual thriller.”

I believe that this represents all six Gestalt methods of creating unity in design.

Grouping is displayed in this work through the use of color, shape, location, and orientation.  Alternating black and red are used for the arms, hands, and head of the ballerina to represent the wings of the swan.  The use of white to outline the dancer’s face and swan’s eye also create unity through color.  The curves of arms, hands, and head are repeated to create unity by grouping the shapes together.  Location of the swan’s wings, neck, and head balance the heavy, black, all upper-case font of the title block.  Orientation plays a large part in creating unity in this work.  The angle of the wings and neck of the swan are angled such that the dancer seems to open up but the head of the swan is angled downward in opposition.  The vertical orientation of the artwork within the poster, the colors, and the head of the swan create a sinking feeling.

Containment is created using the outer edges of the poster.  The fact that the swan’s body isn’t “completed” on the left and bottom of the pages creates visual interest and unity.

This composition uses repetition to great effect.  The color choice of black, red, and white; the repetition of the arms and head of the ballerina; the repetition of the typeface throughout the entire work; and the use of the white outlines reflect the principle of repetition.

Proximity and fusion are used throughout the swan/ballerina to create unity.  This creates the tension found in the piece.  The title block is separated and reads as a separate object yet it is still unified via color and location.

Continuity, the fluid connection among compositional parts, is an essential element of unity in this poster.  Actual continuity is used for the ballerina/swan.  This artful use of continuity creates movement through the upward glance of the ballerina and the angle of the arms and hands.  The eye is led to the face of the swan which helps complete the visual image. The diagonal lines of the arms and tilt of the head create a focal point upward toward the head of the swan. It also appears that the ballerina and the swan are looking at each other which further promotes continuity.

Closure in this work is created though the use of the images of the ballerina as part of the swan.  The smaller images became part of the whole.  The arms and face become opening wings.  The swan itself helps unify and close the entire poster by leading the viewer to the text. 

I didn’t see this movie but I love the artwork that was produced for it.  All of the posters can are shown at: http://www.impawards.com/2010/alpha1.html.

think before you eat



© PETA



This is a leaflet distributed by PETA (People for the Ethical Treatment of Animals) which is entitled “think before you eat.”  My 15 year-old daughter is a vegetarian and is a strong believer in animal rights.  She often speaks powerfully (translate: lectures) about the treatment of animals, the environmental benefits of vegetarianism, and how there are other food options besides meat.  And I believe that she has a point – we eat very little meat.  I was looking around on the web and found this leaflet on the PETA site.  The pigs are so endearing that I just couldn’t resist them.  The function of the advertisement is to inform about the plight of animals in the U.S. and persuade viewers to stop eating the cute little pigs. The text beneath the pigs states, “Every year in the U.S., more than 17 billion animals are killed in the meat, egg, and dairy industries.” 

PETA has many advertising campaigns that appeal to many distinct age groups, ethnicities, and both genders.  I believe that this one has universal appeal but may be a bit more focused on girls and women – just because the pigs are so darn cute.  Of course, it could offend many because of the message and the stance of the group on animal rights – people tend to have strong beliefs on these subjects.  Because PETA has gone to some extreme measures to make many political statements - against the fur industry, animal slaughter, animal experimentation, force-feeding of animals, animal cruelty, and many others - individuals could reject the advertisement just because of the messenger.

The overall composition is well-balanced in color and design.  The title is shown in a dark green color block and the typeface is san-serif, fun, soft, and almost childish.  The word “think” is in a large size which is further emphasized by the lighter shade of green.  The rest of the title “before you eat” is white, flush right, and the word “eat” is bold for emphasis.  The picture of the pigs cuddling in the grass on a bright, sunny day creates a tranquil image.  The text (probably Helvetica) in white superimposed at the base of the photo states, “Every year in the U.S., more than 17 billion animals are killed in the meat, egg, and dairy industries.”  Beneath the photo in a white footer block is the PETA logo and the text (both in the dark green color of the title block), “Call 1-800-VEG-FOOD or visit PETA.org for more information and delicious cruelty-free recipes.” 

The photo is of interest in that it is a bit manipulative.  It is taken at an angle looking up at the pigs making them seem angelic.  Why would anyone want to eat these adorable creatures? They cuddle. They nuzzle. Comfortable.  Lovable.  And they are the most adorable shade of pink!  The photo also shows a lovely day – green grass, trees waving in the background, blue sky.  Happy, happy, happy feelings…

© PETA

I really like the PETA logo.  The italicized all upper-case “P”, “T”, and “A” are probably Helvetica – the stuff of corporate logos.  The lower-case “e” in a script-style font, but the same height as the upper-case letters, is an out-of-the-ordinary twist to a traditional logo.

Introduction

Where were you born? What was your home town like?

I was born in a small, blue-collar community about 80 miles west of Chicago. It was a dreary, industrial, post-World War II community. My dreams were bigger and my parents, although they had no higher education, valued learning.


Tell us about your education. What is your preferred way of learning?

I have a Master’s in Civil Engineering. I worked as a practicing engineer for about nine-years and then went back to school to work on a Doctorate in Statistics. I finished about half my course work but decided not to complete the degree. I taught engineering courses and statistics at the college level. I have always loved taking classes and I am a visual learner. I learn through reading, research, and repetition.


Who is your favorite artist? musician? filmmaker?

Artist: Oh, so many … Georgia O’Keefe – I love her lush imagery, mystical quality, and sense of composition. Edgar Degas, his intimate scenes and beautiful interpretation of dance, have been a part of my life because my daughter is a dancer. For his infinite possibilities and mathematical connection, M.C. Escher has captivated me since I was in college and learned about his amazing body of work.
Musician: Again, hard to choose, but some of my current favorites on my playlist are Josh Radin, Imojean Heap, Missy Higgins, Barenaked Ladies, Nick Drake…
Filmmaker: Christopher Nolan – WOW – suspense, mind-boggling, intense - Insomnia, Memento, Inception.. Spike Lee, poignant social commentary, unbelievable portrayal of characters – Malcom X, Jungle Fever...


Tell us about your computer experience. Rate your comfort level with technology.

I have a good deal of computer experience but not much in the way of graphic design software. I know how to fumble my way around Photoshop… Nearly all of my experience is on a PC but I feel confident that I can learn the Mac format. I’d rate my comfort level as an 8 out of 10.

Attach an interesting photo of yourself and tell us about the picture.

This is a picture of me and my daughter taken this summer in San Francisco.  We went across the Golden Gate to view San Fran from the other side.  My daughter took about 10,000 pictures (a slight exaggeration), from every possible perspective along the ride there and back.  This is one of the few that has a human focal point!