Stock Images

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

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.

My Team Logo

agIdeas

Trends and Designers:

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 associate 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:

http://www.smartdesignworldwide.com/work/project.php?id=166
http://www.agideas.net/home
www.vazirian.com
www.michaelmabry.com
www.ghostpatrol.net
www.eamo.com.au

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

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”.

All quotes and research from the "Indigenous Visual Arts Protocol Guide"

Native American Motifs

The Cleveland Indians – “Chief Wahoo”

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:

http://cleveland.indians.mlb.com/index.jsp?c_id=cle
http://www.clevelandfrowns.com/2008/06/curse-of-chief-wahoo.htmlhttp://www.mopsquad.com/baseball/teams/indians/logo_history.htm

Critiquing Tools - Elements and Principles

Elements of Design

The elements of design play an important role in the creation and success of a piece of art, whether it's for outdoor, indoor, digital or print medium. These elements include:

Line

Line is the basic element that refers to the continuous movement of a point along a surface, such as by a pencil or brush. Every line has length, thickness, and direction. There are curve, horizontal, vertical, diagonal, zigzag, wavy, parallel, dash, and dotted lines.

Color

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. Color and particularly contrasting color is also used to draw the attention to a particular part of the image. In some cases of interior design, color can be added to increase visual appeal. There are primary colors, secondary colors, and tertiary colors. Complimentary colors are colors that are opposite to each other on the color wheel. Complimentary colors are used to create contrast. Analogous colors are colors that are found side by side on the color wheel. These can be used to create color harmony. Monochromatic colors are tints and shades of one color. Tint of one color is to add white to the color and shade is to add black to the color. Warm colors are a group of colors that consist of reds, yellows, and oranges. Cool colors are group of colors that consist of purples, greens, and blues.

Shape

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

Texture

Texture is the way the surface of an object feels. In art, there are two types of texture: tactile and implied. Tactile texture (real texture) is the way the surface of an object actual feels. Implied texture is the way the surface on an object looks like it feels. The texture may look rough, fizzy, gritty, but cannot actual be felt. This type of texture is used by artist when drawing or painting.

Form

Form is any three dimensional object. Form can be measured, from top to bottom (height), side to side (width), and from back to front (depth). There are two types of form, geometric (man-made) and natural (organic form).

Principles of Design

Scale
Scale involves the relationship of size between objects, comparing one object to another.

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. Rhythm in interior design also may be used to reduce randomness.

Dynamics
The arrangement of visual elements in a composition to suggest the illusion of movement or direction. The effective use of dynamics in a design can add an emotive characteristic to your design making it appear restful and calming or active and energetic.

Stability
To be solid and balanced in terms of design, with each element set using a grid structure either horizontally or vertically.

Melbourne Sports Museum Critiques

Olympic Logo, Mexico City 1968
Designed by Lance Wyman

(Logo & Application)

The logo for the 1968 Mexico Olympics, designed by Lance Wyman shows strong use of interchanging lines to create an extremely dynamic layout, similar to that of an optical illusion. The lines create a continual sense of movement around the page, drawing your eye back to the centre. While the line work is simple, Wyman’s use of repetition creates complexity within the design. The straight lines of the X and I break the circular motion of the design, however the X in particular acts as an arrow to lure the viewer’s attention back to the centre. His use of white space creates a focal point, as does his minimal use of colour. The repetition of the black lines creates a jarring effect, making it hard for the eye to focus on the design. This effect draws inspiration from ‘Op Art’ (Optical Art), a style that manipulates the eye to see “movement, hidden images, flashing and vibration, patterns, swelling or warping.”* The design also shows a strong Mesoamerican influence, inspired by the symbols of such ancient South American cultures as the Aztecs and Mayans and traditional Mexican Huichol art.



Personally I believe the logo is extremely effective. While in some respects the word ‘Mexico’ is slightly hard to read, this forces the viewer to look more closely at the design. The way in which Wyman has chosen to use colour sparingly to draw attention to the Olympic Rings promotes the fact that the logo not only represents Mexico but the games themselves. The circular motion created by the lines ensures the viewers attention is retained as they are continually drawn back to the word ‘Mexico’. As the focal point of the design, Wyman ensures that the logo communicates to its audience, the main objective of any successful logo.



The success of this logo can also be seen through its application to a wide variety of mediums, from postage stamps to wall murals. The striking line work serves as an excellent point of interest when applied to promotional material such as clothing and balloons. The flexibility of the lines can be seen through their ability to appear at postage stamp size, or on a much larger scale such as the stadium roof. The way in which these lines radiate outwards was used to portray the idea that Mexico is “an emitting or expanding centre”^, while also creating an extremely modern and dynamic style.

Wyman’s logo was a triumph in terms of its ability to become the face of Mexico during the Olympics. Not only does it represent the culture but it arrests the viewer through its ‘Op Art’ style and dynamic use of line. Its minimal use of colour also acts as an advertisement for the Olympics themselves, while Wyman’s use of white space ensures that ‘Mexico” is the focal point.

*quote - http://en.wikipedia.org/wiki/Op_art
^quote - http://olympic-museum.de/design/lancewyman/wyman.htm


http://www.creativereview.co.uk/cr-blog/2007/june/2012-logo-lance-wyman-says-give-it-a-chance
http://www.logodesignworks.com/blog/top-10-olympics-logos
http://olympic-museum.de/design/lancewyman/wyman.htm
http://art.webesteem.pl/9/wyman_en.php
www.lancewyman.com/
http://en.wikipedia.org/wiki/Op_art

Critiquing Tools

Art Vocabulary List:

Proportion

Proportion in art is the comparative harmonious relationship between two or more elements in a composition with respect to size, color, quantity, degree, setting, etc.; i.e. ratio.
http://www.bluemoonwebdesign.com/art-lessons-7.asp

Proportion refers to the relative size and scale of the various elements in a design. The issue is the relationship between objects, or parts, of a whole.
http://char.txa.cornell.edu/language/principl/principl.htm

Opaque

a. Impenetrable by light; neither transparent nor translucent.
b. Not reflecting light; having no luster: an opaque finish.
http://www.thefreedictionary.com/opaque

Negative Space

Negative space is the space around and between the subject(s) of an image. Negative space may be most evident when the space around a subject, and not the subject itself, forms an interesting or artistically relevant shape.
http://en.wikipedia.org/wiki/Negative_space

Demographic

A portion of a population, especially considered as consumers.
http://www.thefreedictionary.com/demographic

Characteristics used to classify people such as age, race, or gender.
en.wiktionary.org/wiki/demographic

Mood

The feeling, or atmosphere, that a designer creates for the viewer. The designers use of the elements and principles develops the mood of a design.


Adjective List:

Monochromatic

Monochromatic colors are all the colors (tints, tones and shades) of a single hue.

Collage

A paste-up made by sticking together pieces of paper, photographs or other materials to form an artistic image.
wordnetweb.princeton.edu/perl/webwn

A collage may include newspaper clippings, ribbons, bits of colored or hand-made papers, portions of other artwork, photographs, or other found objects glued to a piece of paper or canvas.
http://en.wikipedia.org/wiki/Collage

Matte

Dull paper finish without gloss or luster.
www.originpressny.com/glossary.php

Flat (not glossy) finish on photographic paper or coated printing paper.
www.trumbullprinting.com/index.php/support/glossary

A non-reflective, flat surface.
www.gomakesomething.com/ht/thebasics/glossary

Tint

In color theory, a tint is the mixture of a color with white.
en.wikipedia.org/wiki/Tint

A hue produced by the addition of white.
http://www.worqx.com/color/color_basics.htm

Ambiguous

Equivocal: open to two or more interpretations; or of uncertain nature or significance; or (often) intended to mislead.

Having more than one possible meaning.

Having no intrinsic or objective meaning; not organized in conventional patterns.
www.wordnetweb.princeton.edu/perl/webwn

Style Timeline

Romanesque Art (1000 - 1300)
Master Hugo
Gislebertus













International Gothic (late 1400's - early 1500's)
Gentile de Fabriano
Simone Martini













Baroque: (1600 - 1750)
Sir Peter Paul Rubens
Gian Lorenzo Bernini













Ukiyo-e: (1600 - 1867)
Hishikawa Moronobu
Utugawa (Ando) Hiroshige)









Impressionism (late 1860's - 1890's)
Claude Monet
Pierre-Auguste Renoir









Art Nouveau (1890 - 1914)
Gustav Klimt
Victio Horta









Orphism: (1912 - 1914)
Robert Delaunay
Marcel Duchamp










Suprematism: (1915 - 1935)
Kazimir Malevich
Alexander Rodchenko












Pop Art: (1958 - 1975)
Andy Warhol
Roy Lichtenstein













Graffiti (1970's onwards)
Banksy
Ha-Ha













Bibliography
http://www.senses-artnouveau.com/biography.php?artist=HOR
http://www.huntfor.com/arthistory/C20th/suprematism.htm
http://www.visual-arts-cork.com/contemporary-art-movements.htm#graffiti
http://wwar.com/masters/movements/ukiyo_e.html
http://www.impressionism.info/info.html
http://en.wikipedia.org/wiki/Impressionists
http://www.talktalk.co.uk/reference/encyclopaedia/hutchinson/m0039897.html
http://wwar.com/masters/movements/orphism.html

Centaurs

Appearance:

The Centaur is a Greek mythological creature made up of the torso and head of a man and the body of a horse. In recent times it has become commonplace for a centaur to be depicted holding a bow or sword, however they were initially seen as wild beasts too primitive to wield such weapons.

History:

In Ancient Greek Mythology, it is said that Centaurs were the offspring of the cloud nymph Nephele who was raped by the King of the Lapiths Ixion. They presided over Mount Pelion where a great battle ensued at the wedding of their half-brother Peirithoos, from which the centaurs were nearly wiped out. Hostility between humans and the centaurs continued as they became known for their heavy drinking, violent nature and raping of women.

However in contrast to such representations, the most famous of the centaurs was Chiron. A son of Cronus and therefore immortal, Chiron fathered a separate race of centaurs who were not only civilized but extremely wise and kind.

Adventures:

Blessed with great knowledge, Chiron became tutor to many Greek heroes including Jason, Hercules, and Achilles. One day King Pholus held a feast in Hercules honour. During the feast the King’s wine stocks had become depleted and as Hercules was still thirsty, men were sent into the forest to steal wine from the centaurs. Upon their return a battle began between the centaurs and Hercules. Chiron was a kind being and therefore did not take part in the battle, however he was accidentally wounded by his former pupil Hercules with a poison arrow. Although Chiron was immortal, he lived in great agony due to the incurable nature of the poison. So unbearable was the pain that he chose to give up his life for that of Prometheus, whom Zeus had sentenced to death for giving man the gift of fire. Chiron was rewarded with a place among the gods as part of the constellation Centaurus.

Relationships:

Centaurs are the offspring of the cloud nymph Nephele and the Lapith King Ixion.
Chiron was born when Cronos took the form of a horse and impregnated the nymph Philyra. As a great tutor, Chiron taught many famous and powerful pupils including Asclepius, Aristaeus, Ajax, Aeneas, Actaeon, Caeneus, Theseus, Achilles, Jason, Peleus, Telamon, Hercules, Oileus, Pheonix and Dionysus. He also fathered a kind and very wise race of centaurs, as well as a daughter Endeis.

Symbolism:

Centaurs are well known as the symbol of the zodiac sign Sagittarius and the constellation Centaurus, said to be in honour of Chiron. Centaurus is one of the largest and brightest constellations. The Alpha Centauri star system can be found within Centaurus. Centaurs have also appeared in such modern films as Harry Potter and The Chronicles of Narnia. In ancient times, centaurs were associated with violence, lust and chaos.

Bibliography:

http://www.greekmythology.com/Myths/Creatures/Centaur/centaur.html
http://monsters.monstrous.com/centaurs.htm
http://www.mythicalcreaturesguide.com/page/Centaur
http://www.mythcreatures.co.uk/beasts/centaurs.asp
http://www.godchecker.com/pantheon/greek-mythology.php?deity=CHIRON
http://www.greekmedicine.net/mythology/chiron.html
http://www.theoi.com/Georgikos/KentauroiThessalioi.html
http://en.wikipedia.org/wiki/Centaur
http://en.wikipedia.org/wiki/Chiron

Centaur

(http://www.eaudrey.com/myth/images/Centaur.gif)