Beall.

During the month of April, the southern United States has been hit with some of the worst tornado outbreaks in recent years.  These tornados have completely devastated areas in states like Alabama and cost hundreds of people their lives.  In lieu of these circumstances, we were given the opportunity to create posters in the style of Lester Beall and his Rural Electrification Administration posters to help raise awareness about helping those affected by the storms.

I used the following posters as inspiration. 

Beall’s posters were very simple in design.  Common characteristics of his work include, angled objects, horizontal lines, arrows, black and white images, color blocks, simple shapes, and red, white, and blue, to convey his message.  The red, white, and blue, helped to show that the issues he was promoting affected all Americans.

In my image, I used red, white, and blue, but with a twist.  I chose crimson red to represent Alabama and from there decided to darken the blue so it would compliment the crimson better.  One of the largest tornados touched down in Tuscaloosa, right outside of the University of Alabama, which is why I felt the color change was appropriate.  I used the crimson as a color block, like the ones Beall’s images often contained. 

The element that stood out to me the most from Beall’s posters was the arrows.  I knew I wanted to include them so I decided to create a spiral shape to represent the tornado.  I placed it at an angle on the paper to add movement to my image. 

I found an image of people sorting through a devastated building in Alabama to represent the need to rebuild.  After disasters, people tend to pull together to accomplish a common goal so this image represents people working together to overcome this tragedy.  I altered the picture so that the colors are the American flag would come through.  I wanted to incorporate that spirit of patriotism and togetherness within the U.S.  I wanted people to feel like by helping the tornado victims in Alabama, they are helping the country as a whole.  I feathered the edges of the color on the flag to allow the flag to still be connected to the black and white image behind it.  I just wanted to mention that in case someone thought I just didn’t want to finish masking the image. 

I also tried to find a font similar to the type found on Beall’s prints from the 1930s, to bring in more elements of the inspiration. 

Here is the finished product.

Let me know what you think.

I also posted this image on a couple sites to help promote disaster relief efforts in Alabama.  Here are the sites: 

http://tinypic.com/view.php?pic=2mq3wis&s=7

http://www.flickr.com/photos/62705729@N02/5707398475/

http://shalant.deviantart.com/art/Tornado-Poster-208338430

"Joy of Design" Facebook Forum:
http://www.facebook.com/home.php?sk=group_124675937593174

Then, I posted it on my personal facebook and twitter as well. 

Media Portrayals of Political Figures.

In 1968, Esquire magazine ran an issue with the cover depicting Richard Nixon having his makeup put on.  The copy read, “Nixon’s last chance (This time he’d better look right!).”  This of course, is in reference to the 1960s election vs. JFK, where Nixon’s appearance on television was his downfall. 

The stock photo of Nixon has to been altered to appear like he is having his makeup put on for a television appearance.  The brushes were even colored pink to further emasculate him.  This is only one of the gender reversal covers that the magazine has run.  Even without copy, this photo creates a visual statement undermining his credibility as a political figure. 

This is not the first time a parody has been made of a political figure, and it certainly is not the last.  These images send messages to the public - especially voters - about the subject's campaign and image.  People may end up not taking the figure represented as seriously as they should.  These images could also sway voters' opinions of candidates.  

I just thought this was funny.

During the most recent presidential election in 2008, the prominent political candidates were under brutal fire from the media in regards to political parodies and cartoons.  These spoofs were designed to satirize political figures in order to make social and political points.  While some parodies seem like sarcastic attacks on the political figure, many are done with respect and appreciation for the subject. 

One more controversial example would be the cover of July 21, 2008, edition of The New Yorker magazine.  The cover features caricatures of, at the time, Sen. Barak Obama and wife Michelle, in the white house.  Barak is dressed in traditional Muslim garb while Michelle pictures with an afro and a gun slung over her shoulder.  The couple is “fist-bumping” while an American flag burns in the fireplace under a painting of Osama Bin Laden.  The New Yorker intended the cover to be a satire on Barak’s patriotism. 

Personally I think this cover is very distasteful on the part of The New Yorker.  Their cartoons are usually witty and ironic, not slanderous.  Both political parties are reported as having found the magazine cover very offensive and inappropriate. 

In August 2008, Vanity Fair magazine created a cover featuring Sen. John McCain using a walker and “fist-bumping” his wife Cindy while the Constitution burns in the fireplace under a portrait of President Bush, as a spoof on the highly controversial cover The New Yorker unveiled the previous month.  This cover was not the official cover of that month's issue.  

These covers have no additional copy and are therefore, left for interpretation by the viewer, even though, I think most people will agree that the images of these political figures are being undermined.  I find a lot of these spoofs unnecessary. 


I believe that these covers are much harsher than the 1968 Nixon cover.  Although, it may have been controversial at the time, the Nixon cover has nothing on the brutality of today’s political parodies.


Design-wise, all three designs are similar in using lighter shades of colors in the image.  Placement on the page is different as well as the fact that the newer images are illustrated, whereas the Nixon image is a photograph.   

These images are about visual associations of political figures, however, if you enjoy verbal and visual associations of political figures, check out Tina Fey and Amy Poehler as  Sarah Palin and Hilary Clinton.

Check out one video here: (The video actually starts about 20 seconds in.)

http://www.youtube.com/watch?v=FdDqSvJ6aHc

Then check out this article about advertisers paying to be associated with the parodies...

http://www.tvweek.com/news/2008/10/political_parodies_pay_in_elec.php

...and these other political magazine covers.

http://rakesprogress.wordpress.com/2008/09/12/top-5-funniest-political-magazine-covers/

Enjoy!

Image of Women in Advertisements

Throughout history women have been portrayed negatively in advertisements; whether they are playing the roles society expects of them (mother, housewife, cook, etc.) or appearing as sex symbols.  Younger girls who see these images are can receive a false interpretation of women’s place in society.  Such portrayals can affect girls’ confidence levels and lead to lower self-esteem. 

For example, as part of his “Great Ideas” campaign, Herbert Bayer designed an advertisement in 1960, featuring a Theodore Roosevelt quote.  In case the letters are too small, the quote reads, “Theodore Roosevelt on the preservation of America: The things that will destroy America are prosperity at any price, peace at any price, safety first instead of duty first, and love of soft living and the get-rich-quick theory of life.  (Letter to S. Stanwood Manken, January 10, 1917) From “The Letters of Theodore Roosevelt,” Harvard University Press.”  To illustrate the quotation, Bayer created a collage depicting “affluence and decadence” (Meggs 347). 

The ad represents a partying lifestyle and features an attractive woman enjoying gambling, money, booze, fruit, and jewelry.  The very riches that lead to corruption surround her.  The use of the female form as an element that embodies ideas and possession was a popular theme in the Art Nouveau movement that is used in ad during this time.  Each object is placed in a way that draws the viewer’s eyes around the page to examine each element more closely.  As we talked about in class, “the ad suggests the fruitfulness of women along with sexuality."  The fruit may also be used to represent evil, like the apple in the Garden of Eden. 

Bayer's portray is hardly offensive when compared to the way women appear in magazine advertisements today.  Today’s ads must be racy and sexual to attract consumer attention.  I feel like the same associations are being made as they were in the 1960s, but with more skin showing.  Many women in fashion ads barely have any clothes on.  These advertisements are damaging the way women think of themselves. 

What do you think D&G is trying to say with this ad?

This isn't Hustler...put some pants on already.

I think Calvin Klein uses women negatively in just about every ad they produce.  The women in these ads are definitely being portrayed as sex symbols.  Many of these ads have had to be removed from public places because they made people too uncomfortable.  These ads portray women as objects and are degrading to women.  

The underlying theme of Bayer's advertisement as well as advertisements today is that riches are the most important things in society.  If you are rich, you can afford the company of beautiful women, to gambling and to drink without consequences.  This partying lifestyle is far from reality.  Sure, I suppose some celebrities live this decadent lifestyle, but just think about how many of them end up in rehab or debt.  Everyone wants to be rich and famous, but corruption follows those who attain this lifestyle.  These ideas are bad influences, especially on younger kids.  

These images represent the modern day version of what Bayer was trying to translate through his "Great Ideas" campaign advertisement about the threats of corruption.   

Scott Pilgrim.

Having never read the comics, I didn’t know what to expect from the movie, Scott Pilgrim vs. The World.  The movie itself was a bit confusing and I felt like they left out a bunch of scenes.  For example, for the majority of the movie I was confused on who Gideon was and how he related to everything.  But it wasn’t the story that was captivating—it was the graphical elements.  Many scenes were set up just like in the comic book.  

When the movie first started I loved the 8-bit Universal logo with the retro video game music.  It was very memorable.  When the band played and the sounds appeared visually, I was drawn in.  I had never seen certain graphics incorporated in real life scenarios before, like the “vs.” graphic appearing between opponents before battle scenes.  It was really neat.  

I couldn't find an exact screenshot of when it said Bass Battle Fight, but this is right after it, and contains the "vs" graphic I mentioned above.  

I also thought it was very considerate of the first ex to send an email explaining the situation before the dual, although the song he sang was really dumb.  When Scott defeated him, the evil-ex burst into coins like in a video game...that was pretty funny.  

The only graphics I didn’t quite understand where the big foot and dragons when he defeated ex-boyfriends #5 and 6.  These graphics didn’t fit the style of the rest of the movie.  Maybe they are from a video game I am not familiar with. 

My favorite uses of graphical elements were when the camera scanned the room and “tag” boxes appeared describing different objects in the room and during fight scenes when the giant words would appear like in an actual comic book.  The first reminded me of the movie, Stranger Than Fiction, which I LOVE, and how it incorporates infographics into each scene.  The use of comic book style words reminded me of Sin City and the original Batman movies from the 60s. 

Stranger Than Fiction

Here's a super blurry screenshot from 1960s Batman. 

This scene is priceless! Watch for the graphical elements. My favorite part is when Catwoman throws the cat and Batman carries it around for the next couple minutes. haha  

Check out the youtube video here: 

http://www.youtube.com/watch?v=r94AJzJZZaU

If you haven't seen any of these movies, I would recommend them all!

Sense&Sensibility.

I watched the movie Sense & Sensibility for the first time Thursday night and couldn’t help but notice the connection to themes of the periods of The Enlightment and Romanticism. 

The two periods were being juxtaposed through the two sisters Marianne and Elinor.  (I know Elinor is usually spelled “Eleanor,” but I check IMDB and they said it was spelled the other way.)  Anyways, the Dashwood family consists of Mrs. Dashwood, Elinor, Mariann3, and Margaret, who are left poor when Mr. Dashwood dies at the beginning of the movie, by the rules of inheritance at the time.  This was Mr. Dashwood’s second marriage and his son, John, from his first marriage was left the inheritance, which left the girls with barely enough to live off of. 

Elinor is the oldest daughter and acts as the voice of reason.  She is very practical in her actions and very reserved in her words.  She acts as the “sense” in the family.  Although her emotions run deep, overall she is more in tune with what society asks of her than Marianne.  She finds herself having to conceal/suppress her emotions in order to appear decent in public.  For example, she must cover up her true feelings for Edward to keep her family in good standing with John and Fanny, Edward’s sister, since they possess their step-father’s riches.  She is very rational, which is a main ideal during The Enlightment; however, she does marry for love, which is irrational for the time.  

Marianne, as the title suggests, acts as the “sensibility.”  She loves spending time outside and is very spontaneous.  Unlike Elinor, she speaks her mind and her impulsive actions tend to get her in trouble.  She falls madly in love with Mr. Willoughby after he carries her back home when she hurt her ankle.  She has a romantic view of love.  She loves to read and memorize poetry as well.  The Romantic era was all about art, literature, and man’s connection to nature.  Elinor understand how her standing in society differs after Mr. Dashwood dies, but Marianne does not.  She wants to attain happiness with the right man, even though she is reaching for undesirable matches according to society. 

Additionally, I loved the set and costumes designs in the movie.  They were beautiful designs that flattered the characters on which they were worn. 

Plus, Hugh Laurie—who I love—was it in, if not only a couple scenes. 

(Let me know if I need to write more.)

hatch.

Last Friday I visited Hatch Show Print in downtown Nashville.  I have written out what was written on the poster below because the type is so small.  It explains the history of Hatch Show Print.

Hatch Show Print

History

Hatch Show Print, America’s oldest show poster printer, began operations in 1879.  Printed by the thousands and slapped on the sides of buildings and barns across America, the images you see in this shop have survived the ravages of time and the evolution of modern graphic arts technology by virtue of their outstanding design and special printing process.

The posters in this shop are all hand printed.  Many are modern posters designed and manufactured utilizing wooden type and hand-carved blocks; others are newly printed posters pulled from original wood blocks in the Hatch collection.

Hatch Show Print is now a national Landmark and is listed with the National Register of Historic Places.  Hatch is owned and operated by the Country Music Hall of Fame and is operated as a historic site, unique retail store, and learning center.  

Some examples of the traditional woodblock prints Hatch Show Print is known for.

The interior walls are covered with past woodblock posters they have printed over time and the building still has original flooring and presses.   Upon entry to the store there is a comforting smell of ink on rollers and paper.

When I first arrived they had just hired an intern for part of the summer and were finishing talking about different techniques they use, which was very interesting.  

Here's a pic of me with a neat circus themed poster.

The people working at Hatch Show Print are very nice and helpful.   I would recommend everyone make a visit at some point to this historical landmark.  

Der Blaue Reiter.

Last class, amongst other things, we discussed Wassily Kandinsky and Der Blaue Reiter.  I found the last subject very interesting.

Der Blaue Reiter means "The Blue Riders" in Dutch and refers to a group of artists from Munich, Germany.  Two of founders were Kandinsky and Franz Marc.  The group formed after one of Kandinsky's paintings, The Last Judgement, was rejected from an exhibition.  The group name came from Kandinsky's painting shown below.

Der Blaue Retier, 1903

The Blue Rider's held a series of exhibitions from 1911 to 1914.  The individuals in the group had different design aesthetics and style, but all agreed upon a desire to express spirituality through their art.

Then, in 1923 four members of the original group reunited to form Die Blaue Vier, or the Blue Four.  There held a series of exhibitions during the following year.  


A collection of works from all the artists in the original Blue Riders was published in the Der Blaue Reiter Almanac.  


*This is Kandinsky's painting, The Last Judgement, that was rejected from the show.

Vishnu.

Vishnu: Hinduism’s Blue-Skinned Savior

Since I am unable to attend the trip to the Majid Al Islam tomorrow night, I went to see the Vishnu exhibition at the Frist Center after class.  It was a wonderful show and I would definitely recommend everyone go see it before it leaves at the end of May.  The show focused on sculpture, textile design, and paintings that featured Vishnu and his avatars.  Vishnu himself is the savior, but also recognized as the creator and destroyer of the universe.  Vishnu is easily recognizable because he is the only god to stand straight and his blue complexion separates him from others.  He is depicted carrying four objects, one in each hand.  He carries a discus, a mace, a chakra (conch shell), and a lotus.  The mace is his favorite weapon while the conch shell is used as a trumpet for battle, to which the sound is said to have left enemies “paralyzed in fear.” 

Avatars allow gods to decent to earth in more concrete forms.  The different avatars of Vishnu represent different aspects of the god.  They are easier for worshippers of Vishnu, called Vaishnavas, to relate to.  Vishnu has ten primary avatars, but on occasion Krishna is included so the exhibition focused on eleven.  I really enjoyed the art related to Matsya the fish because he is the form that retrieved the sacred Vedas and saved the ancestor of all humans during the great flood. 

The ninth avatar was actually the Buddha, founder of the Buddhist religion, which I found very curious.  However, in the Vaishnava tradition, he is celebrated as a false prophet.

No matter the medium, the artwork that was featured at this show was incredibly detailed and ornate.  The carvings often featured a multitude of forms, especially in the arches for the Vishnu figure.  I noticed that the art was very colorful often featuring reds, blues, yellows, and greens with a focus of gold leaf or metallic paint.  There was a work titled, Fragment of a-Lampas-Weave Textile Depicting Avatars of Vishnu that was absolutely gorgeous.  The amount of detail work was truly amazing.  I have looked everywhere online, but have not been able to find it—just another reason everyone should see the show while it is here!  Another common aspect of Vishnu’s form was that he appeared very feminine, like he was gender neutral.  It was interesting to think about. 

At one point there were color lithographical posters from Bollywood production, which I was intrigued by since I am study graphic design. 

Lastly, the final room of the exhibit featured objects and photos from home shrines from Hindu families in the Nashville community.  It was interesting to see how a family made room for a special place in their house.  There was even an area setup for people to sit and meditate.  It was a nice place to sit and reflect after the exhibition. 

*I would like to add more photos, but pictures of some of the work featured at the show are hard to find.  I will try and scan in some from the program itself.  

Eggleston.

Yesterday afternoon I attended the William Eggleston: Anointing the Overlooked exhibition at the Frist.  Eggleston was born in 1939 in Memphis, Tennessee.  He remains one of the most influential photographers of the generation because he brought recognition to color photographer as a legitimate artistic medium.  His photographs are characterized by the ordinary subject matter. 

The show featured works from his early years as well as more recent additions.  I found that a lot of his work featured asymmetry, fragmentation, and cropping.  Many of his works were done using the dye-transfer process, a technique developed by Kodak in the 1940s and widely used in advertising and fashion photography.  This process allowed Eggleston to intensify hues in his prints.  Each image has a series of colors that flowed around the page making the viewer’s eye encompass the entire piece.    

He often grouped work into collections based on the location of a trip or time period.  My two favorite collections that some work was featured from was The Southern Suit Portfolio circa 1981 and the Troubled Waters Portfolio circa 1980.  Here are some of the pictures from these portfolios that were featured at the exhibition.

William Eggleston, Untitled, c.1971-73, from Troubled Waters, 1980, Dye transfer print

William Eggleston, Untitled, c.1971-73, from Troubled Waters, 1980, Dye transfer print

*Most of his photos are actually left Untitled so here is the link to the Eggleston Trust site where I found the following picture. This are from the Southern Suit portfolio.

My overall favorite photograph was  actually one of his newer prints.  It is featured below.

William Eggleston. Untitled (Leg with Red Shoe, Paris), 2007. Pigment print