Native American Motifs

Chicago Blackhawks

image from: http://wordsoftheweb.com/2009/10/incredible-pro-sports-logo-concepts/

The Chicago Blackhawks joined the NHL in 1926 as part of the league's first wave of expansion from Canada into the United States. They were one of three American teams added that year, another two are the New York Rangers and the Detroit Cougars (now the Detroit Red Wings).

image below is Chicago Blackhawks primary logo in use from 1927-1935 /

image from: http://www.sportslogos.net/team.php?id=7

The Blackhawks' first owner was coffee tycoon Frederic McLaughlin. He had been a commander with the 333rd Machine Gun Battalion of the86th Infantry Division during the first World War. This Division was nicknamed the "Blackhawk Division", after a Native American of the Sauk nation, Chief Black Hawk, who was a prominent figure in the history of Illinois.

The original logo version was designed by McLaughlins wife, Irene Castle. A rough drawn black and white image of a Native American head in a circle. The logo has undergone several distinct changes since its creation.

image below is a Chicago Blackhawks primary logo in use since 1965 until now/ image from: http://www.sportslogos.net/logo.php?id=56

The Blackhawks currently logo features the head of a Native American man wearing a stylised version of traditional feather headdresses and Native American face paint.

Elements of this logo Design used Line, colour, texture, shape and form.

The lines drew the shape and form of Native American face and the details of feather headdresses and face paint. The main colours used Analogous colour scheme green, yellow and orange which are good combination and create serene and comfortable designs. On the other hand, red, black and white colours make this logo more contrast and stronger. The face is smiling and the eyes look straight that make this logo look friendly, happy and achieve the goal.

The logo has been changed slightly throughout the years to become more culturally appropriate. We can see from the original black and white logo in 1926–1935 to the second logo in 1936–1937. It has been changed by fill black, light brown and red colours and make some thinner line. And on the face a bit more happier that make the logo more stand out. And then the logo changed colours and lines again in 1937–1955. It's nothing much to changed but I prefer the one before. Until 1956 the logo changed again. During this year the logo was develop a lot such as the colours and the shape of the Native American more happier and had painted face which is has meaning in the Native American culture. Face Painting has also been used for many other reasons such as for hunting, religious reasons, and military reasons. For the colours are along with the ideal face painting designs do create a desired effect.

Colors in Native American culture have special significance. Red is a violent color; it is the color of war. Strangely enough black, which is considered to be an inauspicious colors in most cultures, is the color of ‘living’, worn on the face during war preparations. White predictably is the color of peace. The color green when worn under the eyes is believed to empower the wearer with a night vision. Yellow is the most inauspicious color, it is the color of death, and is worn only when a person is in mourning.

Finally, In my opinion The Blackhawks have one of the most classic looks in the Hockey league. The Chicago Blackhawks logo is relatively harmful and it can represent the Native American Motifs very well.

Bibliography

http://www.native-languages.org/headdresses.htm

http://www.sportslogos.net/team.php?id=7

http://bmac25blog.blogspot.com/2009/12/chicago-blackhawks-concept.html

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

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

Aboriginal Motifs

image from: http://artsearch.nga.gov.au/Detail.cfm?IRN=2843&PICTAUS=TRUE

Functions and Philosophies

Principles and protocols asscociated when using Indigenous cultural material and interacting with Indigenous artists and Indigenous communities to design applications and visual arts.

Protocols are appropriate ways of using Indigenous cultural material, and interacting with Indigenous artists and Indigenous communities. They encourage ethical conduct and promote interaction based on good faith and mutual respect. Responsible use of Indigenous cultural knowledge and expression will ensure that Indigenous cultures are maintained and protected so they can be passed on to future generations. The protocols protect the rights of Indigenous Australians, the Aboriginal and the Torres Strait Islander people. There are also many different protocols across the diversity of urban,rural and remote communities.

While protocols differ from legal obligations, the guide outlines the current copyright law framework. The process of following the protocols supports the recognition of Indigenous heritage rights.It encourages culturally appropriate working practices, and promotes communication between all Australians with an interest in Indigenous visual arts.

The visual arts sector can adopt a ‘best practice’ approach by encouraging respect for the cultures of Indigenous Australians. It can do this by acknowledging their innate value, their difference from other cultures, and by respecting Indigenous ownership and control of Indigenous heritage.

Moral Rights and Issues

If we have to design art work which use references from Indigenous culture. We should be aware of moral right and issues. The general concept of communal moral rights itself raises theoretical concerns – primarily the challenge of legally naming and identifying Indigenous communities and whether this form of codification is desirable. In themselves such concerns require serious consideration, both in relation to the problem that the law is supposed to be ‘fixing’ and indeed whether this is at all possible. Critical reflection is needed upon the position of law and legal processes in establishing remedies for problems that are social and cultural in nature.

Dot painting are the traditional visual art form of the Aborigines in Western Australia Central Desert. The canvas is covered in small dots of paint which create patterns and symbols. These symbols can easily be recognize by those familiar with the Dreamtime Story illustrated. Bright colors are now more common with the use of acrylic paint, but traditional dot painters used natural pigments such as ochre, crashed seeds. 'Dot paintings' are stories that were traditionally drawn in the sand to teach the culture and impart the traditional ways of the aboriginal people to their young - it is their 'language', and tells of the time of the Dreaming when the Ancestors roamed the countryside shaping the country into what we see today.

Rainbow Serpent is a common motif in the art & mythology of Aboriginal Australia. The first appearance of the motif on rock paintings dates back to approximately 6000 years ago. Today the Rainbow Serpent is associated with ceremonies about fertility and abundance, as well as the organisation of the community and the keeping of peace. The Rainbow Serpent is also part of the beliefs of Aboriginal people in other parts of Australia, but is best known from Arnhem Land.

So when the designers are producing work which reflects or references Indigenous culture. The designer should be aware and find the possible ways to use all Aboriginal Motifs in their design.

Bibliography

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

http://www.austlii.edu.au/au/journals/ILB/2004/15.html

www.cooinda-gallery.com.au/aboriginal_art.asp

http://www.didgeswedoo.com.au/aboriginals.htmlhttp://www.australiacouncil.gov.au/__data/assets/pdf_file/0004/32368/Visual_arts_protocol_guide.df

Melbourne Sports Museum Critiques

Critique 1 and 2

The 1976 Olympic Games in Montreal, Canada

The Montreal Games were designed by the Graphics and Design Directorate, and featured 2 sets. The first concentrated on the flag, mascot and stadium, and the second on the sports themselves. The mascot consisted of a beaver called 'Amik' wearing a ribbon of COJO colours. The stadium poster involved geometric drawings overlaying flat coloured stripes.

Image from: ambassadors.net/archives/ issue18/opinions2.htm

The Mascot in my opinion

I really like this mascot with the beaver called 'Amik'. It is a simple form with basic geometric shapes. The shape also show contrast well and look pretty. And the three stripes down the middle fill rainbow colour give its look fresh and cheerful. The ribbon is emphasis and dynamic with the shape and add a line stroke of positivity and contrast to the solid black shape.

The Logo in my opinion

I also like the logo. The shape and form in the logo look really elegant. On the other hand,it is quite strange to re design the classic olympic rings which is obviously unique. The designer George Huel was also passion on the minimal style.

The Poster in my opinion

This very unusual Olympic poster celebrates International Youth Camp, an unofficial tradition started by King Gustav V at the 1912 Stockholm Olympics.

Personally I really love 70's styles and this poster extremely represent that time well. The headline and main logo its look a bit lost in the denim and the typography not strong, but that’s fine, because the main event is the badges collection. Every badges can represent to youth culture and values such as love, peace, equality of the sexes, return to nature, the search for spiritual values, personal harmony, and the need for brotherhood. And the harmonica and the white flower in the pocket is a nice detail too. Interesting concept and very well.

Image from: blog.ounodesign.com/ tag/montreal/

Bibliography

http://history1900s.about.com/od/fadsfashion/a/olympics1976.htm

ambassadors.net/archives/ issue18/opinions2.htm

Style Time Line

Fantastic Realism (1940's)

image from: http://www.tilteed.com/images/uploads/Elephant_Head.jpg

The work of a group of Australian artists, among them Erich Bramer, Ernst Fuchs and Rudolph Hausner, who came together in the 1940s. It combines Surrealism with elements borrowed from late mediecal fantastic art and 19th-c. academicism.

Dada (1916's)

'Hydrometric demonstration of how to kill by temperature' Artist Max Ernst 1920 Collage and gouache on paper

Image from http://members.peak.org/~dadaist/Art/hydrometric.jpg

Artistic movement started in Zurich in 1916 by a group, mostly painters and poets, who went to Switzerland to take refuge from World War I and who gathered at the Cabaret Voltaire, a ‘literary nightclub’ organized by Hugo Ball. Other members included Emmy Hennings, H. Richter and Richard Huelsenbeck from Germany, H. Arp from Alsace, M. Janco and T. Tzara from Rumania. Under F. Picabia’s influence, man and wrote the Dada manifesto (1918). D. works are nihilistic gestures and provocations. Tzara, encouraged by A. Breton and other members of the Parisian Litterature group (L. Aragon, Philippe Soupault and others), went to Paris in 1920 to launch the movement which prepared the way for Surrealism. In the meantime, other Dadaists moved to other European centres: Arp joined M. Ernst and Johannes Baargeld in Cologne in 1919, but it was primarily in Berlin, after the war, that D. became identified with political radicalism. The Berlin Club D. included among its members J. Baader, G.Grosz, R. Hausmann, J. Heartfield, Wieland Herzfelde, Hannah Hoch and Huelsenback. K. Schwitters, although rejected by the Berlin group, became associated with Arp’s and Picabia’s branch of Dadaism. D. in Paris collapsed in 1922; most members of the French group formed the Surrealist group in 1924 when Breton published the 1st Surrealist Manifesto.

Op Art (1960’s)

Movement in Squares, 1961. Tempera on hardboard, by Bridget Riley.

Image from: Riley,_Movement_in_Squares.jpg‎

Term which gained currency in the 1960’s for a style of abstract painting deriving from the work of such painters as J. Albers and V. Vasarely. O. a. concerns itself with purely visual sensations, relying for its effects upon optical illusions; often canvases are a mass of small shapes, lines or vivid colours constantly shifting under the eye. The best works are black-and-white. Some of the most inventive works are by B. Riley.

Symbolism (c. 1885-c. 1910)

Image from: http://en.wikipedia.org/wiki/File:Buddha-Footprint.jpeg

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

Conceptual art (1960’s)

Photograph of Bits & Pieces Put Together to Present a Semblance of a Whole, by Lawrence Weiner, laser-cut aluminum typography on brick.

Image from: http://en.wikipedia.org/wiki/File:WeinerText.JPG

Art form and theory evolved in the later 1960’s, the logical development from Minimal art. It questions the whole idea of ‘art’, e.g. whether it has reference outside itself, and especially the validity of the traditional art object, and uses concepts as its ‘materials’. Since physical form is not essential in the presentation of concepts, and as a concept is usually the starting point of a work of art, conceptual artist purpose that traditional media and physical manifestations (objects) are unnecessary. Ideas and information are thereby presented as, and conveyed by, written proposals, photographs, documents, charts, maps, film and video, and above all by language itself. The U.S. artists D. Huebler, J. Kosuth and L. Weiner, and the British based Art & Language group have been the main exponents.)

Minimal art (1960's)

Image from: minimal Art www.moca.org/.../archive/exhibition/detail/3015

Art movement or style of the 1960s, especially pertaining to 3-dimensional objects, originating in the U.S.A. In sculpture, modular, spatial, grid, assembled structures which attempt to re-define ideas about space, shape, scale, enclosure, are typical; expressiveness or illusion are totally antithetical to Minimalist principles. M. a. leading practitioners, who have often written on it, are C. Andre, D. Flavin, D. Judd and R. Morris. M.a. uses a rationally evolved, conveptual method of composition which consists of simple arrangements of identical and interchangeable units, often modular, mathematically derived. Or working out geometrical permutations, grids or repetitions which can be continued or extended indefinitely.

Color Field painting (1940's and 1950's)

Image from: http://en.wikipedia.org/wiki/Color_Field

Style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to Abstract Expressionism, while many of its notable early proponents were among the pioneering Abstract Expressionists. Color Field painting is characterized primarily by large fields of flat, solid color spread across or stained into the canvas; creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favour of an overall consistency of form and process.

During the late 1950s and 1960s, Color field painters emerged in Great Britain, Canada, Washington, DC. and the West Coast of the United States using formats of stripes, targets, simple geometric patterns and references to landscape imagery and to nature.

Baroque

Image from: http://photos.igougo.com/images/p341264-Innsbruck-BaroqueRoccoco_organ.jpg

Baroque (perhaps from Portuguese barroco: a misshapen pearl). A term, at first of abuse, applied to European architecture and painting of the period approximately 1600 to 1750. B. architecture was at its height in Rome under Bernini and Borromini (c. 1630-80) and in S. Germany (c. 1700-50) under Balthazar Neumann and Fischer con Erlach. The building was planned round a series of geometrically controlled spaces- circles, squares and ellipses, within, imposed upon, adjoining one another, rhythms of convex against concave curves, exterior lines contrasted or harmonized. The actual structure forced to conform to these patterns was heavily decorated with relief and stucco-work and free-standing sculpture, which burst in upon and receded from the interior space.

Pop art (mid-1950's)

Image from :http://en.wikipedia.org/wiki/File:Hockney,_A_Bigger_Splash.jpg

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

New Objectivity(1923's)

Image from:logs.warwick.ac.uk/.../

Term coined in 1923 by G. F. Hartlaub, director of the Kunsthalle, Mannheim, to describe the paintings of Max Beckman, Otto Dix and George Grosz. The term ‘magic realism’ was also used to describe the work of this artist. Clear, detailed, highly realistic, sometimes grotesque, satirical paintings and drawings, which express disillusionment and are a form of social realism, are characteristic of these artists, who reacted against the violent distortion of other Expressionists. An exhibition under this name was held in 1925.

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Bibliography

Book: Dictionary of Art and Artist By: The Thames and Hudson )

Internet:

en.wikipedia.org/

www.moca.org/.../archive/exhibition/detail/3015

http://en.wikipedia.org/wiki

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Critiquing Tools

Art Vocabularly List

SYMMETRY is when one shape becomes exactly like another if you flip, slide or turn it.The simplest type of Symmetry is "Reflection" (or "Mirror") Symmetry, as shown in this picture of my dog Flam e

DEMOGRAPHICS are the physical characteristics of a population such as age, sex, marital status, family size, education, geographic location, and occupation.

HIERARCHY is an arrangement of items (objects, names, values, categories, etc.) in which the items are represented as being "above," "below," or "at the same level as" one another and with only one "neighbor" above and below each level. These classifications are made with regard to rank, importance, seniority, power status or authority. A hierarchy of power is called a power structure. Abstractly, a hierarchy is simply an ordered set or an acyclic graph.

AESTHETIC in philosophy, is the study of beauty and it is one brand of the philosophy. The word was in Greek term that takes back to Aristotle day. This Aesthetic, back in that day, is defined as a competitive exchange of ideas, making claims upon the loyalty of the mind, keep changing each other. There are no conclusion for aesthetics; it’s a process, however, no an end product. The best way would put all these into word is that in Socrates thought, Aesthetic is a conversation among earnest minds.

PALETTE A palette is the surface on which an artist lays out their colors (paints) as well as the range of colors an artist works with (see for instance Basic Color Palette for Acrylics).

Palettes can be wood, plastic, or a disposable palette where you simply tear off the top sheet from a pad of paper and throw it away when you're finished painting. Special palettes are available foracrylic painting to stop the paint drying out too fast – the paint sits on a sheet of wax paper place on top of a damp piece of watercolor paper.

Bibliography

http://www.mathsisfun.com/definitions/symmetry.html.

http://www.answers.com/topic/symmetry

http://www.learnthat.com/define/view.asp?id=136

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

http://painting.about.com/od/artglossaryp/g/defpalette.htm

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Adjective List

MULTICOLORED: Printing Capable of printing in two or more colors simultaneously.

PIGMENT: is a material that changes the color of reflected or transmitted light as the result of wavelength-selective absorption. This physical process differs from fluorescence, phosphorescence, and other forms of luminescence, in which a material emits light.

INTENSITY: the strength or sharpness of a color due esp. to its degree of freedom from admixture with its complementary color.

BIOMORPHIC: is a painted, drawn, or sculptured free form or design suggestive in shape of a living organism, esp. an ameba or protozoan: The paintings of Joan Miró are often notable for their playful, bright-colored biomorphs.

VISUAL: perceptible by the sense of sight. Usually, visuals: the picture elements, as distinguished from the sound elements, in films, television, photographs, slides, films, charts, or other visual materials, a rough, preliminary sketch of an advertising layout, showing possible arrangements of material.esp. as used for illustration or promotion. etc. or any item or element depending on the sense of sight.

Bibliography

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

http://dictionary.reference.com/browse/pigment

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Principles and Elements of design

Basic Elements of Design

Line is the basic element that refers to the continuous movement of a point along a surface, such as by a pencil or brush. The edges of shapes and forms also create lines. It is the basic component of a shape drawn on paper. Lines and curves are the basic building blocks of two dimensional shapes like a house's plan. Every line has length, thickness, and direction. There are curve, horizontal, vertical, diagonal, zigzag, wavy, parallel, dash, and dotted lines.

Colour is the most expressive element of art and is seen by the way light reflects off a surface. Color occurs when light hits the surface of an object and is reflected back to the eye and is used to create illusion of depth, as red colors seem to come forward while blue seems to recede into the distance. Color and particularly contrasting color is also used to draw the attention to a particular part of the image.

Texture Texture is the way the surface of an object feels. In art, there are two types of texture: tactile and implied.Examples of this include sandpaper, cotton balls, tree bark, puppy fur, etc.

Shape is an area enclosed by lines. Shapes are two dimensional or in other words flat. Shapes can also show perspective by overlapping. They can be geometric or organic.

Form is any three dimensional object. There are two types of form, geometric and natural. Form may be created by the combining of two or more shapes. It may be enhanced by tone, texture and color.

Basic Principles of Design

Stability No sense of movement, symmetrical, balanced and visually calm.

Dynamics layouts are when elements are placed to create a sense of visual discord and movement within the borders. Elements often are running diagonal and off the page.

Rhythm The recurrence of elements within a piece: colors, lines, shapes, values, etc. Any element that occurs is generally echoed, often with some variation to maintain interest.

Scale(Proportion) involves the relationship of size between objects. Proportion is also relative sizes of surface areas of different colors. Proportion also depends on functionality of object.

Bibliography

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

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

http://dictionary.reference.com/

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