VLVC wk 14 - Team Lesson D: Identity & Logo Design

That takes us to your reading for this week and your first lesson in this Identity unit. As I stated above, this is a more advanced unit and lesson than I would teach my 5th grade students, but even they would be able to find useful information in the Logo Design Workbook: A Hands-On Guide to Creating Logos. Please follow the link I emailed to you and read pages 12-40 (there are a lot of pictures!) in the Workbook so that you may complete this week’s assignment: Use what you learned from the book to find three well known logos—one successful, one that could be improved and how, as well as one that really misses the mark and does not represent its company/brand/person well at all. You should be able to list what it is that makes these logos successful, or, in the case of the unsuccessful logo, what makes it fail in its representation. Please include images of all logos and post to the discussion board. 


Here are the logos I am pondering for the assignment this week:

Unsuccessful:

Modifiable:

Successful:

Chosen Logos and their discussions:

OKay, here are my selections: 
1. Unsuccessful - I have chosen the ACT logo from the FBI's Art Crimes Team as my unsuccessful logo because I am looking at it an awful lot right now and am bothered by it every time I see it. The Font used for the ACT is overworked, with too many facets and multiple colors. The chosen color does not stand out from the background. It is too busy with all the artworks behind the letters, each with their own colors and minuscule details.  And unless you are familiar with each of these pieces, it is not evident that these are art works that have been stolen or otherwise been involved in a crime. And what is the purpose of this logo? Unlike the FBI logo which is used as a department identity (seen on countless official jackets, hats, vests, and not to mention less wearable functioning items such as folders, letterheads, etc.) how is this logo used? Seen on the FBI.gov website, but very few other places. Is it because it is such a poorly designed logo?

If I look back at the 10 rules, I start to analyze it multiple ways. How does this hold up over time? How can something so timeless as art, feel so outdated immediately? It is not a very seductive image, even filled with countless items of beauty. It does not seem to pose any questions, and it does not seem suited to multiple uses. Although readable if large on a computer screen, it does nto translate well to letterhead, emblems, or other more official uses. It also just seems to have a weak presence. Perhaps that is reflective of its position within the FBI, in fact. It is a small team, relatively new (formed in 2004), and perhaps not respected as many other departments? Hard to say, but I could definitely read that from its chosen logo. 

2. Improvable - For the logo in need of improvement, I have chosen the National Endowment for the Arts. Although perhaps a successful logo, I still see a need for improvement. It is clean, sharp, instantly recognizable, but leaves me a little cold. The feeling of it isn't behind it. 
The logo is the stylized image a growing plant that can also be seen as a human head with outstretched arms.  I like the idea that the NEA offers opportunity to allow artists to grow, so it seems like a good metaphor. However, it still seems like there is something missing. I think if the logo had a better connection to the creative side of the area it supports it would sit better with me. 

3. Successful - The Art Fund 

I loved this logo. It is clean and simple but conveys the intent of the company clearly. It has what the NEA's logo was missing  - a clear connection to the feeling side of the company. You can tell there is a connection to the arts through the frame and that they are investing in philanthropy in the arts. The color is eye-catching and contrasts nicely with the black on white. The font is classic and clean without feeling stodgy, dated, or flippant.

VLVC wk 13 - Team Lesson C: Protest Art

For this assignment I would like for you to find an image that takes a stand and does so in an artistic way. Think about how it makes you feel, do you understand what the image is saying? What is it saying to you? Do you believe it is powerful? Does the image reflect the position it is standing for?
You have complete freedom in where you find this protest image. You can even use one that I have chosen, if it really speaks to you.


 More than 100 Tibetans have set themselves on fire in protest of Chinese government policies.  Artist Liu Yi wants to tell their story. He has painted the portraits of over 100 Tibetans that have set themselves on fire in protest to the Chinese government's occupation and crack down on the people inside Tibet. But as I look at these faces, and think of Liu Yi's goal, I think of a question I ask my students, "What does the face really tell us?" It can be powerful in some cases, we can see into the eyes, we can look at their expressions, but in reality all we are doing is superimposing our own ideas onto this anonymous face. Looking at Liu's faces, all I see is a Tibetan that no longer exists. I don't see the pain, or oppression, or desperation, or defiance that made this person want to set themselves on fire, to give up their life in an attempt to make the world take notice. 

 

As a protest image, I don't find this artwork nearly as powerful as JR's depiction of eyes. It really seems more like a memorial piece. When I think of protest art, I tend to think more of pieces that have an intense power behind them such as either of these pieces: 

   

Although both of these have a sense of violence, not all protest art has to be as dark as these. I think the cause tends to dictate the level of intensity. When people are desperate, the protests can escalate, both in visual form and physical. In fact, I may be likening the act of lighting themselves on fire to the performance art pieces I've seen / read about it before, however I would never readily identify these acts as art. 

On another note:
I love looking at the work of Banksy as protest art. He seems to protest a lot. His idea of rats as a metaphor is used constantly to bring to light issues around the city (and sometimes world). He had this to say about his surroundings: "twisted little people go out every day and deface this great city. Leaving their idiotic little scribblings, invading communities and making people feel dirty and used. They just take, take, take and they don't put anything back. They're mean and selfish and they make the world an ugly place to be. We call them advertising agencies and town planners."

His sarcasm and wit make his graffiti more than just a nuisance, but something to think about as our society marches forward. Though I don't agree with him about everything, he often gives his audiences something to think about. 

VLVC wk 12 - Team Lesson B: Typography

For your assignment, I’d like you to find at least two texts from your visual culture that incorporate typography. Deconstruct the typography used in the texts and how they construct meaning, as well as any visual associations you make to them. Please include an image with your post. As you respond to other student’s posts, comment on your own reactions to th typography they chose and what visual references you make.  It’ll be interesting to compare our visual culture experiences. 


Right now, my life tends to revolve around just a few things: my teaching and lessons, leading curriculum teams, my own learning and this class, and my family. And since next week is my son's 5th birthday, I have been looking at text in a couple of contexts. The first being in the context of TOYS! Gotta get the birthday boy a present. He is into a couple of things right now, one being legos and building blocks. He really likes these Fisher-Price Little People castle blocks that his sister has, so in searching out the brand to find something more age appropriate, I came across these UK toys, Moshi Monsters. I loved their logotype:

No idea what the story is behind the toy, but from the typography alone you get the feel its a playful monster. The typeface is very playful in its use of rounded "bubble" style letters. The green color evokes the feeling of lizards or makes me think of the monster Mike Wazowski from Monsters. Inc. Even the single eye forming the dot to the 'i' in moshi is a single eyeball like Mike. Other features of the letters that build in monster features are the 'M' that includes two horns and the 'i' that has a lion-like tail with a bushy end. The creep factor is kept to a minimum by the use of shiny, not slimy or gooey, looking letters and no other features that would emphasize the gorey or frightening side of monsters - no teeth, no sharpness. Everything is round and bouncy. 

The other side of the birthday is planning his birthday party. The theme for his party is Mickey in Space! So I am planning the invitations as an invite to go on a Space Training Mission with MASA (Mouse Aeronautics and Space Administration). In planning the invites, I have been examining the NASA logo and its fonts to modify for our own purposes. 

 

Both have a very appropriate spacey feel. The "worm" logo (if you couldn't guess which one they refer to as "the worm," it is the logo on the left) also has a certain nostalgic feel to me, harkening back to the 1950's and the mid-century modern minimalism. It has changed very little since its creation whereas the blue insignia logo (or "meatball") has had some updates over the years. 

The worm logo uses a font called nasalization. It's curvy lines also make me think of satellites, and planets, and the rings around those planets. The "A"s also remind of the nose of space shuttles ready for launch, pointing towards the skies.  The insignia typeface looks much more official to me. The font has pretty much stayed the same over the years, with the qualities of the graphics being what has changed. However, the "meatball" font doesn't feel as space infused as the "worm's." Without the visuals around it, in fact, it doesn't look spacey at all. Not quite entirely governmental, but more official with the serifs. It feels more solid, connected, smart and less playful than its brother. But with the red wing, the flight path, the stars, and the circle of blue representing a planet, it still sends the message of reaching for the stars and ultimately reminding the public of its mission to get to space. So with this big, lofty, scary goal, the seriousness of the typeface grounds the ambitions in something trustworthy and stable.

VLVC wk 11 - Team Lesson A: Political Cartoons

For this week’s assignment, find a political cartoon that sparks YOUR interest. It can be from this week’s Economist or a newspaper in the 1950s. Once you have found a cartoon you like, analyze that cartoon by looking deeply at the images and text and prior knowledge. What do you think that the artist of the cartoon is trying to say? What point might he/she want a viewer to take away from that cartoon? Make sure to include the image of your cartoon in your post.
After you have made your analysis, please respond to several of your classmate’s cartoons, making comments about how your perceptions of the cartoons might alter their meaning. Be sure to include your own analysis of that image. 

      

My political cartoon is comparing the behavior of Kim Jong-Un to that of a spoiled teenager trying to impress others with his power, wealth, and abilities when in actuality all he is doing is looking a fool and bothering his neighbors. His threats of nuclear development, missile launches and general war mongering seem to be taken no more seriously than that of a rowdy teenager trying to prove themselves in an adult world, everyone hoping that he will hurry up and grow up already. Unfortunately this political cartoon does little to address the seriousness of his potential behavior. The world threat of nuclear bombings reawakens an eighties-like fear of the Soviet Union and their potential actions. An additional detail of him driving with a beer in his hand might provoke the image of a potential tragedy brought on by careless and irresponsible behavior such as driving drunk which may or may not impact others in a devastating way.

Classmate Responses:

Amy: How right you are.  Having grown up in the 80's, the feeling is all too familiar.  I dont like it. That cartoon is disturbing.  :(

Sara: This is great. What an excellent comparison. I definitely understood what this cartoon was trying to say the moment I looked at it. And the kid yawning! I'm wondering if you showed your students how they would feel, and react to this. Oh wait, the kid isn't yawing, my bad. Second look, he's not impressed, and seems to be holding his ear from the noise. Either way, it's still funny.

VLVC Semiotics Research Paper

Here is my paper on Issuu.

Creative Space: A Semiotics Research Paper by M. Ridlen on Issuu

VLVC wk 10 - Teaching Visual Literacy

After reading the McBrien, Eisner, and Woywod articles, as well as viewing the handout on visual teaching strategies, list specific ways you could incorporate visual literacy lessons in your classroom.  Be sure to define what “classroom” means for you at this current stage in your career, so your colleagues can help provide constructive suggestions.  In general, use this post as a brainstorming session for the unit plan you need to create for this class.

My "classroom" is an art class in a large typical suburban high school with around 2,500 students. I currently teach Intro to Art that is made up of mostly freshmen and sophomores with a smattering of juniors and seniors. My classes at this point range from 19 on the low end to 28 at the high end (but that is unusually small). I have  a few kids with IEPs and 504's but I have to be honest and I am not seeing much evidence for the need for modifications in my class. I do see a need to differentiate my instruction, but who doesn't? Art is a nice vehicle for that, in my opinion. It sort of comes naturally with the right assignment. It rises to meet them where they are. 

I see many ways to integrate visual literacy in my class and now after getting a better idea about what it is, can say I do use it already with my students (how can an art teacher not, I ask you?) 

I try to use VTS strategies to warm my kids up to new projects, even though it is technically an elementary program. VTS is extremely beneficial to getting high school students to think deeper about what they are seeing and then translate that into whatever work they are working on. They really start to use the ideas behind visual literacy more when they work it out through VTS. 

I like the idea of tying together visual literacy with some sort of design project. Maybe having them break down some advertisements and then develop a product, designing the packaging to appeal to a certain type of customer. Or we examine the big idea of identity through out the semester...maybe they could design a product that gives them a new identity and then create a print ad, or web ad, or television ad even.

It would also be interesting to look at ads from the 60's from around when Warhol and Lichtenstein were first developing their Pop Art style. Reading the ad's from another time and place and relating it to the products we see today. 

I was also thinking it would be fun to do a collaborative comic book, but I'm not sure how to do that logistically. But since we are just brainstorming here...I also like the idea of using this ZOOM book to build community within my classroom.Having people put the story in order without speaking to each other. I was thinking I would use it this year, but couldn't bear to take apart the book. Maybe some time I will make color copies.

I'm sure I could think of lots of other ideas. These are just the ones that have bubbled to the surface first. As I read our new book I will have to jot them down in my sketchbook.