Where – iStockphoto (www.istockphoto.com)
How – Register online, purchase credits, download images
To purchase images from iStockphoto, you must first register online at www.istockphoto.com. You can then purchase credits on a pay-as-you-go basis, allowing you to use them whenever you need. Customized subscriptions are also available, providing you with a certain number of credits per day over a period of 3 months, 6 months or 1 year. Once you have purchased your credits, you can search the site for the images you require. Credits are deducted once you hit the ‘buy’ button and the image can be downloaded.
How much:
12 credits - $25.50 ($2.12/credit)
26 credits - $54.50 ($2.10/credit)
50 credits - $102.00 ($2.04/credit)
120 credits - $237.50 ($1.98/credit)
300 credits - $544.75 ($1.82/credit)
600 credits - $964.00 ($1.61/credit)
1000 credits - $1,501.75 ($1.50/credit)
1500 credits - $2,165.25 ($1.44/credit)
2000 credits - $2,654.25 ($1.33/credit)
Image Size:
x-small = 1 credit
small = 3 credits
medium = 6 credits
large = 10 credits
x large = 15 credits
xx large = 20 credits
xxx large = 25 credits
Terms and Conditions:
iStockphoto provide a legal guarantee that all content available on their site, if used according to the terms of the license agreement, “will not infringe copyright, moral rights, trademark or other intellectual property rights or violate any right of privacy or publicity.”
Images can be used for:
· advertisements in newspapers, magazine, or other printed material, (up to 499,999 times)
· printed promotional projects including product packaging, catalogues, brochures, promotional greeting cards, promotional postcards and promotional posters (but not for resale or license), (up to 499,999 times)
· Editorial purposes: printed magazines, newspapers, editorials, newsletters, (up to 499,999 times and author must be credited)
· Prints, posters, stationery items and other reproductions for personal or business use (but NOT for resale or license) (up to 499,999 times)
They do however prohibit the use of their images as part of any logo or trademark, or in such a way that it depicts personal endorsement by a model. Items for resale, including prints, posters, t-shirts etc are also excluded from the usage agreement, unless a limited run license is acquired. Content must also only appear in one location at a time.
Information, figures and terms and conditions sourced from www.istockphoto.com
Monday, June 14, 2010
Friday, May 28, 2010
Sports Logo Critique
Title: Shooting Arrows Archery Club Logo
Artist: Steven Mitchell
Medium: Vector Artwork
Date: 29/05/2010
The logo I have designed for the Shooting Arrows Archery Club is both dynamic and bold in appearance. The bright, complementary colour scheme attracts the viewer’s attention and relates to the concept of a shooting star. The logo flows diagonally due to the curved lines of the arrow and its tail. The typeface follows with this curve and is italicised to create a sense of speed.
While originally centaurs were seen as creatures too primitive to wield a weapon, in recent times they are often depicted holding a bow and arrow. In light of this modern interpretation, I have used an arrow as the main feature of the logo as it reflects both the sport and the mythical creature. The name ‘Shooting Arrows’ was derived from the fact that the constellation and star sign ‘Sagittarius’ is symbolised by a centaur. It also acts as a description of the sport, which revolves around the act of shooting an arrow. The main imagery of the logo is inspired by a shooting star however I have altered it to show an arrow flying through the air. The colour scheme shown below was chosen to reflect a star shooting through the night sky, however I am also considering using the colours found on the target as an alternative.
In terms of creating this logo, I will use illustrator to develop a highly stylised vector graphic, to be accompanied by a strong typeface that reflects the movement of the arrow.
Artist: Steven Mitchell
Medium: Vector Artwork
Date: 29/05/2010
The logo I have designed for the Shooting Arrows Archery Club is both dynamic and bold in appearance. The bright, complementary colour scheme attracts the viewer’s attention and relates to the concept of a shooting star. The logo flows diagonally due to the curved lines of the arrow and its tail. The typeface follows with this curve and is italicised to create a sense of speed.
While originally centaurs were seen as creatures too primitive to wield a weapon, in recent times they are often depicted holding a bow and arrow. In light of this modern interpretation, I have used an arrow as the main feature of the logo as it reflects both the sport and the mythical creature. The name ‘Shooting Arrows’ was derived from the fact that the constellation and star sign ‘Sagittarius’ is symbolised by a centaur. It also acts as a description of the sport, which revolves around the act of shooting an arrow. The main imagery of the logo is inspired by a shooting star however I have altered it to show an arrow flying through the air. The colour scheme shown below was chosen to reflect a star shooting through the night sky, however I am also considering using the colours found on the target as an alternative.
In terms of creating this logo, I will use illustrator to develop a highly stylised vector graphic, to be accompanied by a strong typeface that reflects the movement of the arrow.
Tuesday, May 18, 2010
Monday, May 3, 2010
agIdeas
Trends and Designers:
The use of texture has become an important part of design as we look to move away from flat, vector based artwork. Not only does it give the piece a unique appearance, but also appeals to our sense of touch. The way in which we associate different textures with different feelings helps to evoke an emotion from the audience. Textures can also hint to the age of a piece, be it old and weathered or modern and smooth. Paper stock has also become an integral facet of design in terms of its texture, thickness and finish. The choice of stock and the way it feels can also add an extra element to a design and emphasise a concept. Ali Vazirian shows strong use of texture by layering multiple images and text on top of each other, creating quite
an aged appearance. Michael Mabry also uses texture to give his work a sense of tradition and warmth. Through both their work we can see the individuality that can be gained by adding texture to a piece and how it can evoke a certain emotion.
Character design has become more and more prominent with the reintroduction of hand-drawn illustration into graphic design. This has also come with the recent rebellion against completely computer based design. This form of illustration adds individuality to a design, allowing the artist to achieve exactly what they intend to do with their preferred form of traditional media. The use of a character in a design encourages the viewer to a
ssociate themselves with the emotions or concept being expressed by that character. Ghost Patrol’s style of character often portrays a sense of isolation and sadness, while Eamo Donnelly’s eclectic and intensely bright characters appeal to our national pride and sense of fun.
Concept Evaluation:
Smart Design – Ford Smart Gauge with EcoGuide
Use of Texture:
The use of texture has become an important part of design as we look to move away from flat, vector based artwork. Not only does it give the piece a unique appearance, but also appeals to our sense of touch. The way in which we associate different textures with different feelings helps to evoke an emotion from the audience. Textures can also hint to the age of a piece, be it old and weathered or modern and smooth. Paper stock has also become an integral facet of design in terms of its texture, thickness and finish. The choice of stock and the way it feels can also add an extra element to a design and emphasise a concept. Ali Vazirian shows strong use of texture by layering multiple images and text on top of each other, creating quite
an aged appearance. Michael Mabry also uses texture to give his work a sense of tradition and warmth. Through both their work we can see the individuality that can be gained by adding texture to a piece and how it can evoke a certain emotion.Character Based Design:
Character design has become more and more prominent with the reintroduction of hand-drawn illustration into graphic design. This has also come with the recent rebellion against completely computer based design. This form of illustration adds individuality to a design, allowing the artist to achieve exactly what they intend to do with their preferred form of traditional media. The use of a character in a design encourages the viewer to a
ssociate themselves with the emotions or concept being expressed by that character. Ghost Patrol’s style of character often portrays a sense of isolation and sadness, while Eamo Donnelly’s eclectic and intensely bright characters appeal to our national pride and sense of fun.
Concept Evaluation:
Smart Design – Ford Smart Gauge with EcoGuide
Dan Formosa from Smart Design presented the Ford Smart Gauge with EcoGuide, a car dashboard that is designed so that the driver does not need to look directly at it, but can view it using only their peripheral vision. The design itself looks extremely sleek and modern, using digital display and moving images to create a unique aesthetic. The gauges were scientifically tested and proved to be much easier to read at a glance without the need to take your eyes off the road. However the key to the concept was to encourage the driver to be more economical in terms of fuel consumption by influencing their driving style. This was achieved through an image of a vine that would provide feedback to the driver. The vine would grow and sprout leaves based on the efficiency of the person’s driving style. This would influence the driver by challenging them to drive in a more environmentally friendly and economical manner. Not only would this result in less fuel consumption but compel the driver to make better driving decisions.
I believe the team at Smart Design have created an extremely intelligent and highly influential design. Not only does the design look good but its functionality is extremely innovative and effective. The feedback given by the dashboard creates a relationship between the driver and car, while encouraging them to be more aware of the impact that their driving style has on the environment and fuel consumption.
Bibliography:
Monday, April 19, 2010
Trends
tattoo art
mixed media
collage
character-based design
texture
animal imagery
environmental design
use of line to add detail
use of vintage objects
random imagery
stencil art
origami
psychedelic
arabesque
80's geometric
puzzle patterns
classic modernism
pictograms
typographic logos
mixed media
collage
character-based design
texture
animal imagery
environmental design
use of line to add detail
use of vintage objects
random imagery
stencil art
origami
psychedelic
arabesque
80's geometric
puzzle patterns
classic modernism
pictograms
typographic logos
Tuesday, April 13, 2010
Aboriginal Motifs
Functions and Philosophies:
Respect:
Out of respect to the original custodians of the land, the Aboriginal people retain the rights to all “indigenous images, designs, stories and other cultural expressions”. As a means of protecting and acknowledging these rights, certain protocols have been established.
Acknowledgment of Country:
The Aboriginal culture has an extremely strong connection with the land and as such, a “welcome to country” address should now be given at the opening of all exhibitions, installations and events of local, state and national importance.
Public Art – Acknowledging Land:
Before the installation of indigenous art in a public place, it is common practice to seek permission from the local aboriginal community to ensure that the artwork does not cause them offence. This is particularly important when an artist from one trip is exhibiting work on the land of another tribe.
Accepting Diversity:
It is important to acknowledge the wide variety of indigenous artwork, their significance, and the fact that it is constantly evolving in the same way that all art does.
Recognition and Protection:
All artwork created by Indigenous artists are protected under the Copyright Act, therefore making them the owner of the copyright.
No special consideration is given in terms of copyright when dealing with Indigenous artwork. This includes the recognition of “communal ownership of heritage material” and the “right of heritage custodians to control the use of this material.”
Moral Rights and Issues:
In referencing Aboriginal motifs, it is important to remain respectful and true to the original style, cultural significance and meaning behind each type of artwork. The following needs to be considered:
- does the artwork cause offence to a particular individual or indigenous community?
- is a clearance required from the original custodians of the land or an indigenous organisation for the use of artwork or a traditional style?
- is the content sensitive in terms of its sacredness?
- does it reference a secret form or artwork that should not be publicised?
- is the artwork gender specific?
- “does the work reflect the cultural value of the subject matter?”
- “does the work reinforce negative stereotypes?”
-has the work been altered in such a way that the integrity of the piece has been lost?
- does it involve the reproduction of a deceased artists work?
- does the work infringe copyright laws?
- will the work require ongoing consultation with the ever-evolving indigenous community?
Ultimately, the work should not be passed off as traditional Indigenous artwork as it is seen to “undermine the cultural authenticity of Indigenous visual arts”.
Respect:
Out of respect to the original custodians of the land, the Aboriginal people retain the rights to all “indigenous images, designs, stories and other cultural expressions”. As a means of protecting and acknowledging these rights, certain protocols have been established.
Acknowledgment of Country:
The Aboriginal culture has an extremely strong connection with the land and as such, a “welcome to country” address should now be given at the opening of all exhibitions, installations and events of local, state and national importance.
Public Art – Acknowledging Land:
Before the installation of indigenous art in a public place, it is common practice to seek permission from the local aboriginal community to ensure that the artwork does not cause them offence. This is particularly important when an artist from one trip is exhibiting work on the land of another tribe.
Accepting Diversity:
It is important to acknowledge the wide variety of indigenous artwork, their significance, and the fact that it is constantly evolving in the same way that all art does.
Recognition and Protection:
All artwork created by Indigenous artists are protected under the Copyright Act, therefore making them the owner of the copyright.
No special consideration is given in terms of copyright when dealing with Indigenous artwork. This includes the recognition of “communal ownership of heritage material” and the “right of heritage custodians to control the use of this material.”
Moral Rights and Issues:
In referencing Aboriginal motifs, it is important to remain respectful and true to the original style, cultural significance and meaning behind each type of artwork. The following needs to be considered:
- does the artwork cause offence to a particular individual or indigenous community?
- is a clearance required from the original custodians of the land or an indigenous organisation for the use of artwork or a traditional style?
- is the content sensitive in terms of its sacredness?
- does it reference a secret form or artwork that should not be publicised?
- is the artwork gender specific?
- “does the work reflect the cultural value of the subject matter?”
- “does the work reinforce negative stereotypes?”
-has the work been altered in such a way that the integrity of the piece has been lost?
- does it involve the reproduction of a deceased artists work?
- does the work infringe copyright laws?
- will the work require ongoing consultation with the ever-evolving indigenous community?
Ultimately, the work should not be passed off as traditional Indigenous artwork as it is seen to “undermine the cultural authenticity of Indigenous visual arts”.
All quotes and research from the "Indigenous Visual Arts Protocol Guide"
Monday, April 12, 2010
Native American Motifs
The Cleveland Indians – “Chief Wahoo”
In terms of its design, ‘Chief Wahoo’ is simple yet attention-grabbing. With vivid use of colour and a sense of humour portrayed through the large grin, the logo does the job that is intended – to be memorable. While I agree that it is insensitive due to its stereotypical portrayal of an American Indian, the logo itself is done in a highly stylised and interesting manner, making it an ideal symbol for a sporting team from a design point of view.
The Cleveland Indians logo has developed significantly over the years and is now known as ‘Chief Wahoo’. The logo has caused much outrage, with many finding it outdated and racist in terms of its imagery and underlying motifs. A depiction of a stereotypical American Indian, the face has bright red skin, a feathered headband and a hooked nose. While the contrasting colour scheme is striking and reflects the American Flag, it is seen as a disrespectful representation of the American Indians and their culture. The cartoon style and ‘cheesy’ grin are also seen to promote the idea that the natives were subhuman, a stigma that has lingered throughout much of American history. While over the years the logo has consisted of several different variations of an American Indian, the call to dump the imagery all together is yet to be answered.
According to the Cleveland baseball franchise, the name ‘Indians’ was adopted in 1915 in honour of Louis Sockalexis, the first Native American to play Major League Baseball. His arrival at the club created such a stir that local newspapers nicknamed the team the ‘Cleveland Indians’, however at a time when racism was accepted, they often reported such things as “he’s gonna be scalping people.” The Cleveland Leader published a story on January 17, 1915, publicising the name change by saying “in place of the Naps, we’ll have the Indians, on the warpath all the time, and eager for scalps to dangle at their belts.”
In terms of its design, ‘Chief Wahoo’ is simple yet attention-grabbing. With vivid use of colour and a sense of humour portrayed through the large grin, the logo does the job that is intended – to be memorable. While I agree that it is insensitive due to its stereotypical portrayal of an American Indian, the logo itself is done in a highly stylised and interesting manner, making it an ideal symbol for a sporting team from a design point of view.
Bibliography:
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