soundtrack ninety-one

north bristol art trail 2009

2010-04-20T13:47:00.000-07:00

28th - 29th november

i didn't have much time to spend looking around many venues on the art trail, however luckily i lived quite close to a few venues, so i went and had a quick look around.

first i looked at the work of photographer mart nicholls, and even bought four of the greeting cards he was selling with his work on the front. american architecture, geishas, gas stations...:

in the same venue as mart nicholls was the work of jeweller patricia fagg, who fashions ornate jewelled mirrors and vintage brooches:

i then went to visit nell nile's home and venue for the trail. i had been to see her work during the previous year's art trail. her brightly painted mugs filled a whole dresser, and the walls either side of the staircase (leading to her impressive robot collection) were lined with her decorative crosses, embellished with everything from keys to coins to spoons to needles...:

finally i went to look at the work of terry carter, and was particularly interested in a photographic study he had done on the deconstruction of a building in the city centre:

ch&i session 8 notes - POTENTIAL TOPICS FOR ESSAY

2009-12-16T06:02:00.000-08:00

(continuation of session 7)

modernism was not a period, describes a wide range of 'texts' that influence how we think and experience the world. it co-exsisted with other styles and concerns

enlightenment:

- universe is rational and can be understood through use of reason

- man's experience is key to man's understanding of truth

- mankind is progressing

- religion has no place in a rational understanding of the physical and human world

- modernism was concerned with evidencing progression

- nationalism (WWI) was seen as a source of conflict

design was driven by reason

bauhaus: 'form follows function'

postmodernism:

- cultural plurality

- becomes increasingly difficult to locate an artefact in its originaty time and place - borrowing from different times and cultures

- identity as a text to be written: you can construct it yourself, and it can be re-written

___________________________________________

the world has 'shrunk': now takes 19-24 hours to get from one side of the world to the other, when it used to take years. information via the web, etc, can be transferred in a matter of seconds - a condensing of the world has occurred due to electronic mass-media

romanticised notions of exotic places ('otherness'). e.g: 'chinoiserie', exotic, mysterious

* risk of homogeneity

- 'mcdonaldisation'

- mass-production

cultural imperialism = one culture dominating/subsuming others

american cultural imperialism has been written about alot - noam chomsky

postmodernism - there isn't just one way of perceiving something

'the virtual self'

2nd life forum, virtual character, 'be' whoever you want, fantasy

society imposes the impression that as a person you are never good enough

idea of constraining the natural body and effects (gaining weight, ageing, pregnant stomach, feet constraints)

plastic surgery has become regular, botox

airbrushing, weight loss aids

idea of 'perfection'

* orlan, reinvented herself to make point about striving for perfection, obsession with image

did 'performances' whilst having a surgical procedure, changed name

tattooing - body adorment, representing aspects of yourself, and your identity

gang culture - identity, belonging: afrika bambatta (used to be part of a gang, but turned around when he grew older and started to help kids get out of gangs as he did - positive role model)

ch&i session 7 notes - MODERNISM/POSTMODERNISM

2009-12-16T05:07:00.000-08:00

modernism: up until 1939 britain had very rigid class structure >> upper classes believing their own morals and culture were superior over working classes' - 'proper' way of being - 'high culture'

discussion: what is class?

- income?

- how you act?

- social circle?

- what you wear?

stereotypes have shifted

1950s:

- increase in individualism

- americanism

- young people challenging old ideas - youth culture

- identity

- affluence, price of goods going down, luxuries could now be necessity

- american influence, rise of cinema

- adverts presenting an idealised view of the world: nice house, perfect housewife, shiny car in the drive

- ford production line: car ownership grew by 250% between '51 and '61

- futurism

* 'the era of the lifestyle'

1915 - design and industries association established (GD)

1935 - bassett-gray group of artists and designers became industrial design partnership (GD)

1944 - council of industrial design est. (GD)

1945 - arts council england est. (GD)

1942 - utility furniture co. set up by board of trade in 1942. committee approved furniture design. 'black market' developed in carved and decorated furnishings

- 'britain can make it' and 'festival of britain' exhibitions, post war

raymond loewy (U.S) "good design is an upward sales curve"

1948 - DRU established the design index - set of criteria for 'good' design, primarily aesthetic, was criticised as the taste of the minority

1961 - reyner banham 'HM fashion house'

description of art/design as 'fashion' became no longer negative

key post-modernistic theorists:

- baudrillard "consumer objects constitute a system of signs that differentiate..."

- foucalt - proposes that there are underlayers of suppressed knowledge in and throughout history

postmodernism:

- dancing building in prague: challenges what we see as architecture 'the norm'

- 1964: warhol's brillo boxes >> 'low culture' worthy of being in a gallery space

- milton glaser: drawing reference for bob dylan piece

- cindy sherman - flexible identity

- vivian westwood - punk era. defied authority. traditions, boundaries

nike iD: you are the designer

division between technicians and designers: do designers just think of an idea and the technicians produce it, with the 'author' still being the designer?

ch&i session 6 notes - SEMIOTICS

2009-12-15T16:38:00.000-08:00

semiotics = the way we 'read' things/the language of a piece of work/using a certain font, colour, shape, etc, to convey what your idea is...

shift in meaning can occur according to context, e.g: gary glitter in 80s, vs peoples opinion of him now >> language doesn't stay fixed

* street art different when in a gallery?

footprints, snail trails: our instinct tells us something has been there before because we can see the mark they've made

* hussein chalayan - avant garde. plays with what audience sees as fashion. made garments that could be turned into furniture (skirt into coffee table)

* martin creed - 'lights going on and off' pushing at boundaries of what people consider to be art

structuralism = meaning is contained within the text, and can be understood by deconstructing it

post-structuralism = meaning is not contained within a text, it relies on knowledge of external things to 'make sense' of it

* absout vodka advert series, bottle shape - getting the 'in joke'

* apple logo - adam&eve, nice but dangerous, positive, fun, natural, human

LANGUAGES REFERRED TO IN PINK'S 'STUPID GIRL' MUSIC VIDEO

- group deconstruction -

people being so obsessed with their looks to the point where they look ridiculous, exaggerated, like a caricature

symbolism - angel/devil theme. white/red, cloud/fire. special effects. mythology of humans making moral choices

mimicking - little girl hair flicking. 'stepford wives', 1950s video, black & white, beehive hair, charm school

costume, how she walks as the rich girl: ditzy, clumsy, sunglasses at night, walking into glass - stupid, not caring when she runs people over because she is worrying more about her looks: superficial

camera angles - female president (camera's pointing up towards her, status); on operating table (looks down on her: she is vulnerable)

r&b video w/50 cent - 50 is looking like he doesn't care, vs. girl who is exaggerating her dancing for attention/approval. context: people familiar with modern r&b videos will know how women are often portrayed in them. 50 is wearing fur: rich, glamorous, masculine? (man going out to hunt and killing animals)

tanning salon: obsessed with tan, 'californian' look, but has overdone it and looks stupidly orange

bowling alley: girl with big fake boobs attracting attention from boys causes pink to pull her 'in case of emergency' tab, which inflates her breasts! calling this an 'emergency' is another example of losing sight of what is important

locations: LA, tanning salon, boutiques, gym, flash car, cosmetic surgeon's..

mocking paris hilton 'home video' & jessica simpson's music video, pulling funny faces, falling over in soap suds - viewer has to understand context to fully understand this joke, however is still clear what pink is doing, as it relates to the rest of the song

staying true to yourself: pink looks worried/regretful on the surgeon's table; at the end little girl decides to stick with playing football

ch&i session 5 notes - FINE ART (HISTORY)

2009-12-15T15:08:00.000-08:00

values & tastes: how do we form these? more than one answer, debate, opinion..

is 'art' different from graphics or fashion? (its only art for the sake of art?)

what's the criteria for being 'better', 'best' or 'good', if we all have contrasting opinions?

to discover why you like something, or how you've come to like it, you may have to go back further in your memory to other things you experienced/liked

- 3000 - 1000BC: ancient egypt. stylised/idealised view of world. not depicting reality. afterlife - funeral was a ritual

- 1000 - 146BC: ancient greeks. 'ideal man' & 'ideal woman'. sculptures depicting idealised society

- 146BC - 313AD: ancient rome. artist was part of the society they were depicting rather than just an 'outsider' reflecting their own view of society

- renaissance 1400s - 1500s: artists were 'special'. lots more thinking about aesthetics & science. narrative: told stories, religious. artists portraying their own views was unheard of. commissioned art. simply using their skill as a tool. mirrors just being developed - self-portraits

- 1525 - 1700: mannerism (show off technological skill) & baroque (encouraged by roman-catholic church)

- 1700 - 1750: rococo. all very 'nice'. decorative and superficial

- neoclassicalism: moral tones

- romanticism: narrative, overwhelming power of nature in relation to humans

- 1850s: realism. artists wanted to make art that depicted reality, didn't want art that showed a mythical or unrealistic view of the world. this challenged public taste

* 'the salon' in paris was THE place to have your art hung

- modernism/post-modernism: pop artists, 1960s. offensive to public taste, making insignificant things important (e.g: warhol's campbell's soup tin)

* prior to renaissance the self was not considered to be a subject to explore in isolation

- francesco del cossa, 1470. asked to be paid more due to his status and the fact he was making a name for himself (people were usually paid per foot, etc.)

artistic 'personalities':

- civilizer. presenting people with art that teaches people what 'good taste' is.

- representer. artist that represents thoughts, beliefs, ideas.

- border crosser. artist that pushes the boundaries of what people see as 'the norm'.

does art have to contribute to society? what is the role of the creative practitioner?

authorship: is the artist the artist because they thought of the idea?

the birth of the reader needs the death of the author.

ch&i session 4 notes - PHOTOGRAPHY

2009-12-15T14:43:00.000-08:00

ethics: would you work on an advertising campaign promoting firearms, ivory/fur, or smoking products?

photoshopping - artificial, 'unachievable' beauty

photography: the art or process of producing images of objects onto photosensitive paper.

photography is used...:

- as evidence, to document something

- to sell (e.g: fashion)

- photojournalism

- to capture a moment, press photography

- as the relationship between image and words

- sports photography

- to depict how we want things to be perceived (staged photographs, wedding photos)

1800s - silhouette machine

1850 - negative, image manipulation

photography was seen as a technology, not as an art form

roger fenton, 1855, crimean war - almost p.r.

1850s - political agendas, want to see which types of people were living in different places - recording people, the idea that how you look on the outside reflects aspects about you as a person

1909, female photographer took photos of children, whereas at this time a male photographer would have prosecuted for doing this

* does being an artist allow you to do things that would be deemed unacceptable in society?

1910 - 1920 realisation of what photography could do that painting couldn't

1930s - government sent out photographers to document the effects the depression had on people (dorothea lange, very famous photo of mother and children)

ch&i session 3 notes - GRAPHICS

2009-12-15T13:17:00.000-08:00

i couldn't attend this session but i have taken notes from the powerpoint on blackboard.

sign = "something that stands to somebody for something in some capacity" - charles saunders pierce, 1977. (in 'Semiotics and Significs', Hardwick, C.)

forms of communication are constructed

logos, sign language, tribal markings, braille

the social role of graphic design:

- discussion on graphic design has largely focussed on 'visual style'

- overemphasises the visual structure

- omits problems of appropriateness

- leaves out certain forms of graphic design, such as signage, forms, timetables, maps, and educational materials

graphic design 2009

"the excessive importance given to the avant garde movement in the context of graphic design is based on the failure of theory to recognise graphic design as something other than art" - franscara, 2005: 46 ..."as an art form, graphic design is viewed only from an aesthetic perspective, without enough consideration of communication and social signigficance"

contexts for graphic design:

- advertising

- political or ideological propaganda (e.g: careless talk costs lives)

- to organise (e.g: regulatory signs on roads)

- information design

- instructional design (e.g: ikea instructions with flat pack furniture)

- international and intercultural communication

- teaching aids

- bank notes (designed to make forgery difficult)

questions to consider r.e: graphic design

- is it possible to asses the quality and/or fully understand a piece of graphic design work outside of the specific communication system it is made in relation to? (e.g: social marketing to a specific group)

- is it possible to do this for a piece of work which would be considered to be a work of fine art?

- quality in graphic design is measured by the changes it produces in the audience - discuss.

definitions of GD:

- noun. the art or profession of visual communication that combines images, words, and ideas to convey information to an audience, esp. to produce a specific effect.

- the development & manipulation of signs and creation of meanings.

- semiotics: visual language.

ch&i: advertisement deconstruction

2009-12-15T10:21:00.000-08:00

i've chosen to look at the current GHD ad campaign (being a daily ghd user myself!)

0:00 - 0:02: setting the scene, medieval, fairytale setting - chivalry and the concept of the man saving and protecting the woman, as in many common fairytales

0:03 - 0:04: knight smiles as he looks through telescope at princess rapunzel (we recognise her as rapunzel because of her long hair falling from the window of the tall tower) she is typically attractive, as many princesses in fairytales are described as being beautiful - an object of desire for the prince/knight. ghd saying if we buy and use the product, we will have the same effect on men.

0:05 - 0:06: knight gets on motorbike - relating to modern day (i.e: chivalry is not dead? this could happen to you in todays world, not just for romantic fairy stories) motorbike = element of danger and excitement, 'macho'.

0:07 - 0:11: jumps on motorbike, fog in the forest: he is taking risks for her. (also at 0:14 - 0:17, attacked by giant crows)

0:11 - 0:13: princess uses ghd hair straighteners in very feminine, romantic surroundings: candles, ornate mirror, perfumes on dressing table. she is also well made up and wearing a luxurious lacy dress: all this suggests that she leads a comfortable life, and that ghds are an object of luxury and desire, as she is to the knight.

0:19 - 0:21: the knight, realising the princess has gone, looks confused, leaving the princess looking smarter - appeals to women, as suggests they are the superior sex! close up of ghds as part of her handywork.

0:23 - 0:26: the knight looks out of the window and realises how the princess has tricked him: he is now in the tower, and she is on the bike (power, role reversal) - she is clever and can use her beauty and her groomed hair to manipulate men! juxtaposition of her delicate pink dress with the leather jacket and dirty bike - she does what she wants and doesn't feel she needs to stick to what people expect from her: ghd saying you can do that with their straighteners, style to be different, freedom to look how you want because they work so well..

..relating to tagline at 0:29 'you can do anything with your hair' meaning styling, but also use it for anything, to your advantage.

ch&i session 2 notes - FASHION

2009-11-21T19:42:00.000-08:00

--DRAFT--

a few of my notes from session 2 on the history and context of fashion.

- FASHION: ' a system of signs, symbols and iconography that non-verbally communicates meanings about individuals or groups.'

- charles frederick worth (1826-1895) considered to be first fashion designer. previously, people had just been tailors. people would show tailors what sort of thing they wanted to wear through drawing - art as communication.

- society was very structured, 'no room for manouvere across social classes'. people thought if you were born a peasant, royal, etc, then that was how God wanted you to live your life, that was your destiny. charles darwin's evolution theory revolutionised the way people saw religion. if everyone was equal, then why couldn't you shift class by hard work? making the change yourself instead of just accepting your 'fate'.

- industrial revolution: trends spread as more people moved into cities.

- 'orientalism': exotic fashion. increase in travelling caused discovery and imigration of new trends, materials, styles.

- 1910: maison redfern designed suits for women - gender in fashion.

- paul poiret (1879 - 1944): one of the first designers who made stylish clothes that people could put on themselves. before, high fashion was complex, and needed a second person like a servant (if you were rich enough to afford high fashion you were rich enough to have someone to help you put it on..)

- **ART DECO

-**1930s ROARING 20s and HOLLYWOOD GLAMOUR

- WWII: europe under threat. paris was fashion capital of the world - all the haute couture fashion houses. nazis wanted to move fashion industry to berlin. many people working in fashion moved to new york. main fashion capitals now also include milan, new york, london. euro-american cross germination of ideas.

- 1950s: teenage clothes came more into their own. before, you would become a adult after childhood and wear clothes like your parents.

- 1960s: optimism. no war, moon landing, freedom, youth culture. hippies - subcultures, beliefs, politics, relaxed.

- ***1970s: teddy boys vs mods. fashion meant becoming part of a 'tribe'.

- (culture, class) thorstein veblen 'the theory of leisure class' (1899) - keeping up with fashion, so rich you can 'throw away' last month's fashion and afford this month's, demonstrating wealth eg: wearing clothes that are impossible to work in gives the impression of being so wealthy you don't need a job. 'conspicuous leisure' - wealthy enough to spend time 'swanning around in fancy clothes, not working, going to cinemas and art galleries'

- fashion, popularity: burberry example - used to be a signal of high fashion but now is copied, 'the norm': everyone has knock off burberry.

- beauty/ugliness dependent on cultural attitudes: what makes someone beautiful in society's eyes? see notes on ethics session: size 0 vs size 14 models.

- largely used to express individual identity.

festive

2009-11-20T13:24:00.000-08:00

'ALL I WANT FOR CHRISTMAS' CARDS PROJECT

the project 'all i want for christmas' involved 25 local bristol artists, who were each asked to design a christmas card based on the theme 'all i want for christmas', with proceeds of the card sales going to local charity, 'young bristol'.

from the 'all i want for christmas cards' facebook group:

"The mission statement for this project is for us to help raise awareness and money for a very worthwhile local charity by bringing artists and people of Bristol together to get involved in something really positive this Christmas time."

top image: by tom mullen. he wants someone to catch santa this christmas..?

bottom image: by danny osbourne. at first i thought this was just a striking design, which reminded me of a knitted christmas jumper. but then i looked closer, and saw that the elements that make up the pattern are actually all the major bank logos. maybe he's hinting that all he wants for christmas is some money.

ch&i: exhibitions/events from now til xmas..

2009-11-06T16:05:00.000-08:00

i've signed up to a few mailing lists which i hope will give me info on arts events happening around bristol.

28/11/09 - 29/11/09 : NORTH BRISTOL ARTS TRAIL. i went last year, and even though not everything was my kind of thing, it was really good and i found a few pieces and styles that i liked.

20/11/09 - 05/12/09 : PETRO @ 24 PARK ROW. recently i noticed a new gallery space on gloucester rd. i've been past it a few times, day and night, and never seen it open, so i tried to see if there was anything online about it. i found out its run by FRIEND & CO, who produce limited edition prints with artists and put on shows. on their blog i found an advert for an upcoming exhibition they're putting on at park row (below), featuring work from a bristol graffiti artist, petro.

have a look: http://fiveprime.org/hivemind/Tags/graffiti%2Cpetro

30/11/09 : 'WE ARE ONE' NATALIE SHAU @ KNIFESMITH GALLERY, CHRISTMAS STEPS. paintings inspired by fairytale illustrations, such as alice in wonderland.

til 31/12/09 : 'TENSILE STRENGTH: THE POWER OF PAPER' @ CITY MUSEUM & ART GALLERY. homage to paper, incl. early 20th century travel advertising.

til 31/12/09 : 'SUBVERTISING' @ CITY MUSEUM & ART GALLERY. group of local artists & young bristol project have produced work making social and political statements by altering the meaning of existing adverts.

til 06/12/09: 'LUCKY FOR SOME' NIKILL @ WEAPON OF CHOICE GALLERY. street artist/illustrator nikill's current work.

11/12/09: CHRISTMAS GROUP SHOW OPENING @ WEAPON OF CHOICE GALLERY. group exhibition of street artists, illustrators, photographers..

ONE MONDAY A MONTH : AOK @ THE JUNCTION. giving students a chance to showcase and maybe sell their work, free from commission charges.

ch&i homework: reading tasks

2009-10-29T16:24:00.000-07:00

CONNECTING CREATIVITY - MARAMOTTI, L. (2000)

i found the idea in this article that each style creates an 'anti-style' that helps to define it very interesting, including the linking reference to Fred Davis' book, Fashion, Culture and Identity (2002) where he talks about contrasting concepts in fashion: young/old, conformity/rebellion, simplicity/complexity, work/play, etc. if one trend contrasts with another, it outlines the features that make the other so different and unique, helping to define it.

i could see maramotti's point when he talked about new fashion ideas and trends usually having to relate to something that has previously existed. you often hear about trends coming back into fashion referencing eras. for example, a current mainstream trend: shoulder pads and sequins, popular in the 80's. it was also interesting to read of Chanel's contextual influence in the 1930's with the economic struggle: how one of the themes in her design was to play on the contrasts between rich and poor (getting her wealthy clients to dress like their maids)

one of my favourite quotes/ideas from the article: "...our experiments will never reach a conclusion. The game will last forever"

VIVIENNE WESTWOOD - BLANCHARD, T. (2004)

the main point that came across to me within this article was the concept of the graphics creating the brand identity being strongly linked to the product (fashion). i feel that in any case where graphics are representing a product, whether its music, a film, a book, a computer game, that they should reflect what they represent. especially where there is a strong creative element (music, film, novel..) if i was designing a dvd insert for a film, i don't think it would e a very effective outcome if i'd never even seen the film.

there seems to be a common use of symolism in westwood's brand design:
- in the use of colour on the bags: the pink for femininity, and the gold for status and luxury.
- in the 'man' logo: perhaps westwood and her team of designers chose a tough material such as stone to represent a masculine strength.
- in the orb logo: the traditional british elements of her label in the royal orb, and the fresh, modern feel in the futuristic saturn ring.

THE ARTIST IN THE MARKETPLACE - TRAUB, C. (2006)

i found a lot of the views coming across in this interview relating to discussion points in our photography lecture. for example, 'public access to art': art not just part of 'high culture' but for everyone if they want. also, the point that photography has not always been considered an art form. when it was first discovered and established as a process it was seen as used simply as a technology, put to use 'recording people' and to produce images of a situation (e.g: war) to show people who could not be there, i.e: the public.

i liked charlotte cotton's take on independent practice: "independent practice is about what a photographer creates when no-one is paying for it, there is no guaranteed round of applause, but you will create it anyway" its as if you can really explore and create what you want to create when someone else isn't tailoring your work to their needs.

i found the idea of creating your own magazine very interesting: "i think if someone wants to see their work in magazines, why not think about what sort of magazine you would create". you don't need some big famous gallery to want to show your work in order for your work to be appreciated, you can get it out there yourself.

CONTROVERSIES: A LEGAL AND ETHICAL HISTORY OF PHOTOGRAPHY - PRESS RELEASE (2008)

i felt this point by comedian steve hughes pretty relevant to controversy in art, and people being offended.. skip to about 3:47 for the joke, but the whole thing's pretty funny :D

relating to daniel girardin's point: "it's all a question of how the pictures are interpreted", photographs being censored due to people being offended.. steve hughes: "so what? be offended! nothing happens!"

i also feel that girardin highlights the flexibility of photography, when he talks about it's 'unrivalled ability to reproduce reality'. but this made me think that with technologies and techniques having been developed to manipulate photographs, it is now all to easy to create the unreal, a fantasy, or simply false, environment too.

i found a couple of quotes that linked together in the article: christian piker's idea of considering previous possible reactions to a photograph, compared with your own in the modern day; linking with girardin's point of photos that have been censored and hidden away for many years suddenly being liberated due to a gradual change in context or public opinion, or visa versa: a photograph that has been circulating freely for years suddenly being put down as being 'unacceptable'.

the theme of gary gross' 'untitled' piece on brooke shields (and other pre-adolescent girls) was one i found quite shocking. i could imagine how infuriating it must have been for shields during her legal battle with gross, and losing due to her mother's decision when she was younger and unable to sign for those sorts of decisions.

however, although i found the approach exploitive towards the young girls, i felt the theme relevant: young girls growing up faster and faster in today's culture, perhaps influenced by the media.

THE SOCIAL TURN: COLLABORATION AND ITS DISCONTENTS – BISHOP, C. (2006)

i had to agree with claire bishop when she said how the projects listed in the opening paragraph did not have a high profile in the commercial art world, because i definitely hadn’t heard of any of them. however, they all sounded distinctively unique and interesting.

biennial = art exhibition/event that occurs every 2 years

i liked bishop’s description of artists using social situations and politics in their work: ‘blurring art and life’. many contemporary artists portray their view or experience of the world through art, like a documentation of their life and opinions. looking at (particular) art and design work through history is like looking at the changes the world goes through.

- art bringing people together, creating conversation, “art as a means for creating and recreating new relations between people” (maria lind on oda projesi)

a recurrent theme in the works discussed in this article seemed to be using people and their reactions as art, using them to convey and depict the topic.

ch&i homework: encounters w/graphics over 24 hours

2009-10-25T10:51:00.000-07:00

HOW DO YOU DEFINE YOUR CHOSEN SPECIALISM?

- communicative - text working with image - how something looks - design process, choices made - typeface - colour - information - powerful - manipulative - creating something unique, new - addressing an audience -

______________________________________________________

woken up by phone: symbols on phone screen, eg: bell for alarm, envelope for messages..

breakfast: cereal box branding, table of nutrition, background gradient

packaging design on shower gel bottle, toothpaste, shampoo, conditioner..

walking to work: street art, road signs, road markings: arrows, dotted lines, blackboards outside cafes, posters for events: neon & black, neon lighting signs..

business logos, shop signs

at work (crew clothing): logos on clothes, branded buttons, care labels: washing instructions, symbols for hand wash, etc.

web design

promo flyer to enter competition, form to fill in

food packaging, branding (mcdonalds), nutrition info with percentage shown as bar chart - information graphics

music graphics: cd design - cover & disc

cd player symbols (play, pause, fast forward..)

symbol on radiator '*'

television advertisements: animation, video, text, montage

tv guide: ordered columns, graphic on cover advertising main feature

on bedroom wall: posters, tickets, flyers, editorials, patterns, photographs, drawings..

grady & metcalf

2009-10-23T08:59:00.000-07:00

one of the things that i am most interested in is music artwork.
album covers, flyers, posters, merchandising, etc.
i found this website, which gives a preview of a book called '1000 music graphics'
(follow the link and click on 'look inside') >> http://www.1000musicgraphics.com/
and came across some amazing stuff, so thought i'd mention one of my favourites on here :)

GRADY & METCALF have produced 2 magazines: GUM (1 & 2) and LEMON (3 & 4).

GUM was produced as a collectable, and it reminds me of a kids' magazine, with its comic book style, bright colours and free bubblegum.

LEMON is like a collection of screenshots, props and posters for a film. these images are pages from the 2nd issue of LEMON, which has the feel of a european gangster-spy film, with its blackletter font and photos of important documents and guns on desks, and even a reference to 'panvision technicolor' to make the film promo posters look genuine. it also features interviews with bands in a comic book style.

first post.. homework

2009-10-11T14:10:00.000-07:00

creative histories and industries homework - create blog, & post:

- answers to questions on blackboard...

left: the image mentioned in
answer to first question. 'Snow
White', from the Guardians free
book, 'Great Fairytales'.

- a link to another site...

one of my best friends, stevie, has a successful fashion blog that she's been working on since 2006. she calls it 'her baby' :)

http://www.discothequeconfusion.blogspot.com/

- an image that you feel represents you in some way...