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Ancient Greek Shield
http://www.shutterstock.com/pic-45678343/stock-photo-image-of-an-old-metal-shield-used-in-the-antique-ages.html

MMA Vectors
http://www.shutterstock.com/pic-30884218/stock-vector-mixed-martial-arts-certificate.html


Kickboxing Silhouettes
http://www.shutterstock.com/pic-1276467/stock-vector-karate-fighters.html


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My_Team_Logo

3 Mixed Martial Arts Logos




Concept Analysis

These logos are to be designed for a Mixed Martial Arts Gym. The proposed names for the team are "Spartans" or "Warriors" which are both based on Greek Mythology. Different elements from the ancient Greek Mythology were used so as to relate the concept to Apollo. As the logo is about Martial Arts, I chose to use the "Warrior" side of Apollo who is also known as the multi-talented God.

Logo 1

The first logo consist of a Spartan's helmet which sits at the top of the design. Spartans were recognized as the overall leaders of the combined Greek forces in the ancient time. They were also great warriors, reputably known for their team spirit as they could battle against very big armies with little amount of soldiers. A martial arts black belt and boxing gloves were placed in the middle. The intention is to balance the design giving it a stable and symmetric look. The top part of the helmet, along with the type at the bottom provide a circular sense of movement to the logo.

Logo 2
Simple logo design with a a dynamic composition with a little sense of depth to it. A warrior's shield positioned in the middle of martial arts belt. The shield is the representation of a big focus at Warriors MMA which is the self-defense. Serif typeface were considered so as to allow a nice old look to the logo design.

Logo 3
At first sight, I believe this logo looks like a badge that would easily fit on the team's uniform. It consists of a shield which is the main element in the design. The team's initials "MW" is purposely drawn as a serif font to decorate the shield. Also, the silhouette of a martial artist was also considered in order to make the design more obvious.

The above logos are to be further developed so as to create a logo that will promote some of the focus as well benefits that the gym provide. Self Confidence, mental/spiritual development, respect and goal setting are some of the benefits provided by the Spartans MMA.

The color palette chosen for the final logo is limited to four colors. The style of the logo will be a simple illustration comprising bold lines with bright colors.

Conceptual Evaluation

Alt Group

"Art is preserved, Design is consumed."

Dean poole was my favorite speaker at the agideas conference 2010. He is the creative director at Alt group, a multi-disciplinary design studio based in Auckland, New Zealand.

The group revolves around its four principals who all graduated from art school and bring their experience to design. Initially trained as a sculptor, Dean says at the conference that the difference between the two disciplines is the way it's received: "Art is preserved, Design is consumed."

Specialized in intellectual property, the group has won many awards since their existence and not only their designs are sophisticated and effective but communicate great concepts with smart ideas that communicates well to the audience. I like how they use pair of threes as a concept and how their communicate that to people. In doing so, they create a bigger name for their company and they showcase a unique personality and style.

The concept of threes all started up with the three names Hudson, Gavin and Martin. Its amazing how from this little idea, they come up with a great concept. They eventually came up with some "threes.

• "lights, camera, action."
• rock, paper, scissors.
• jump, skip, hop.
• straw, sticks, bricks.
• reading, willing, able.

Its also clever how they implement the idea of threes in their color palette. As shown on the image on the left Red, Green and Blue (RGB) were used. All their work are consistent as they it is easily noticeable how concept of threes is applied effectively with smart little ideas.

Bibliography

http://www.agda.com.au/news/national/6/new-zealand%27s-alt-group-can-be-a-mysterious-breed/year/2007

http://www.septemberindustry.co.uk/alt-group-hudson-gavin-martin-identity/

http://img2.scoop.co.nz/stories/images/0902/ee176d6f378bbfe2e0e7.jpeg

Trends and Designers

AGideas

Michel Bouvet is a French graphic artist who has a particular approach to his work. During the AGideas conference he said that the most common things he include in his works are animals, fruits, vegetables. He is a big fan of pop-art. Inspired by natural things and fed with what he sees, his style is very unusual. He stated that sometimes he asks himself if he is not too figurative with the work he does. It is also noticeable that his works are more likely art than design. The drawings that he does consist of thick black outlines. Likewise, he uses not too many elements in his pieces. For example, his posters are always simple with one or two imagery on which the emphasis is put.

This poster consists of bananas, bean and peas. The inspiration of this piece comes from pop- art. The textures used remind us of the Lichtenstein textures. As I stated above, Bouvet's artwork usually consists of drawings with thick black stroke. Also, it consists of only one drawing which occupies the whole page.

The second piece was used for Les Rencontres photographiques d'Arles and the challenge for Bouvet was not to use photography. This poster was perfect for the event. A metaphor va être pimenté et chaud which means that Arles will be spicy and hot as a chilli was used in the design. the Bouvet used the exact colours of Arles which was great as he managed to give the exact tones to the poster. He stated that it took him six hours to get the perfect colour match and tone.

Bibliography
http://www.pixelcreation.fr/graphismeart-design/graphisme/michel-bouvet/
http://www.pixelcreation.fr/nc/galerie/voir/michel_bouvet/michel_bouvet/nbsp-4ee711fd7d/
http://www.pixelcreation.fr/nc/galerie/voir/michel_bouvet/michel_bouvet/nbsp-d9de807344/

Aboriginal Motifs

Funtions and Philosophies

To make use of aboriginal materials for use in any design and arts, principles and protocols are to be followed. Protocols are the only legal ways of using Indigenous cultural material as they will ensure that Indigenous cultures are maintained and protected so that they can be passed on to future generations. Personally, I would say that it is also a legal and authentic recognition of the truth of Australia's history throughout the Aboriginal Culture. The following is a list of the principles implemented by the Australian Government:

1. Respect
2. Indigenous Control
3. Communication, consultation and consent
4. Interpretation, integrity and authenticity
5. Secrecy and confidentiality
6. Attribution and copyright
7. Proper returns and royalties
8. Continuing cultures
9. Recognition and protection

Agreeing to comply with the protocols promotes interaction based on good faith and mutual respect, provides a wider knowledge of the aboriginal culture thus encouraging ethical conduct.

• Respect
  This protocol gives the rights to Indigenous people to own and to control their heritage. The Aboriginal community has any rights to decide on any of their cultural material ranging from images, designs, stories and other traditional expressions thus avoiding scorning of their cultures and beliefs. For example when designing the logo, I will require permission before using images or symbols from aboriginal content.
  
  As there exist various and diverse indigenous communities across Australia, protocols may vary from one community to another. For example, using an element for my logo design may be offensive to a community as it may not be to another. This is why it is really important to get good resources and recommendations so as not to offend any aboriginal community.
  
  For the Aboriginal, Indigenous Australians and the Torres Strait Islander people, the term "country" means everything for them. Country means for them the totality of life and the spirit of the particular area of land they and their ancestors inhabited. In other words, I would say that "country" is like a god for them because they revere it and they talk about it as if it is a person. So it is respectful to invite a representative of the traditional owners to attend and give a 'welcome to country' which is an address given by an Indigenous custodian of the land.
  
  People should be aware that the Aboriginal culture is constantly evolving. It is not just an historical entity. Indigenous visual artists come from a diversity of backgrounds. Some learn their craft from their cultural teachers, others learn by themselves while a growing number have completed university and college courses. The protocol of respect guides people to avoid inappropriate or outdated perspectives and terminology when dealing with any Indigenous cultural groups.
  
  
• Interpretation, integrity and authenticity
  This protocol allows Indigenous artists and their communities to decide how their art that is their cultural heritage is presented to the world. The presentation of their work should provide good and clear interpretation, integrity and authenticity of their own artwork.
  
  Interpretation refers to how the cultural material is interpreted and showcased. Good interpretation of the aboriginal culture is a good perspective given to it. Also, the language used, as well as, the medium in which cultural heritage is applied on. This protocol also allows the Indigenous artists to interpret and present their artwork in Indigenous way by magnifying and adding depth to the cultural significance of the work.
  
  Integrity is about how the original pieces and copies are treated. Indigenous artists have the right of protection for against inappropriate treatment of their work.
  Inappropriate treatment might also include cutting or destroying a physical artistic work or cropping a reproduction of it when reproducing it in a magazine, or reproducing it in poor quality. Note that with Indigenous cultural material, maintaining the integrity of the work is important for the source communitities as well. For example; when designing my logo, I will need to discuss the context of reproduction and any proposal material alterations. So I should be prepared to change my plans if the Aboriginal community or group does not agree with my proposal.
  
  Authenticity turns out to be the complex inquiry. It deals with the roots of the cultural artworks.This protocol is about whether the cultural artworks and its artists if considered the customary law when the artwork was produced. For instance; only an artist who has the right to portray imagery under customary laws may paint some Arnhem Land language group designs. Other images may only be expressed by males.The authenticity if a work should be checked and verified by an appropriate authority.
  
  
• Stories
  Indigenous artwork may sometimes comprise cultural stories included by the artist. These stories are sometimes personal and sacred. The use of these stories must be observed whether it is used appropriately. Before any stories that has been narrated by the artist based on oral narration is published, the approval and consultation of the artist is needed. Especially, if the artist's personal information is included. Drafts are being given to approve. Also, the artists has the right to be accredited as the copyright owner of the narrated text descriptions. If traditional knowledge or a traditional story is included the storyteller or language group should be referred to.
  
  
• Sensitive subject matter
  Research should be done about the subject of the matter of the work whether it is appropriate for the suggested use or reproduction. Be mindful that it is not tolerated in indigenous communities to distribute widely sacred material or works that have gender restrictions. Artists should consider the appropriate context for reproduction of particular images.

Moral Rights and Issues

The Moral Rights Amendments to the Copyright Act were introduced in December2000 and provide some new ways to challenge inappropriate treatment of Indigenous artworks.

I have to be careful when reproducing designs or logos derived from indigenous source that I do not distort, destroy or mutilate or do material alteration to the work that might cause harm to the artist's reputation. For example, when using the rainbow serpent as an aboriginal motif in my design, much care must be taken not changing its cultural significance otherwise I would cause infringement under the moral right amendments to the copyright act and also cause harm the indigenous culture and people. This in fact, deals with the integrity of the culture and ensures that it is not compromised. However, if in any case the integrity of an artwork is likely to be compromised, it is important to discuss any material changes of artwork, and get the consent of the artist in written form.

Likewise, it is said by the Copyright Act that Indigenous artists can claim to have their names on each piece and copy of their work. This ensure that aboriginal artworks remain belongings of their cultural roots. For example, if I want to make use of the rainbow serpent for my logo design, the final outcome of my design should inlude the name(s) of person/community this symbol belongs to. Often in aboriginal art, traditional symbols are used to represent some aspects of their culture. For example, snakes are commonly represented by curvy lines, porcupine by small parallel lines, dingo by a set of paw prints and lizard or goanna by two parallel lines with small prints on either side made by feet. Those symbols are actually inspiration of what is left behind in the sand by those animals. They are represented by aerial views. If I come to misuse one of those sylmbols in my logo design, it would be an infringement to the moral right of integrity.

Another moral right is the prohibition of work falsely attributed to another artist. This I think also applies for all any aboriginal artist who doesn't have the rights on a piece of work. The authentic artists have the rights to take actions against parties who attribute others as the creators of the work. A chronicle of a spate of so-called 'Aboriginal art scandals' which happened in the late 1990s, some of which involved white artists passing off work as Aboriginal. The custom amongst indigenous artists of family members working with an artist on paintings creates problems for the western art market and leads to claims of fraud. The media is often guilty of distorting and sensationalising events. The newly launched Label of Authenticity enters the scene.

Scandal in late 1990s
http://www.artlink.com.au/articles/1395/the-aboriginal-art-scandals-scandal/

Australia Council
http://www.australiacouncil.gov.au/research/visual_arts/reports_and_publications/visual_arts_protocols_for_producing_indigenous_australian_visual_arts

Aboriginal Symbols
http://www.aboriginalartstore.com.au/aboriginal-art-culture/aboriginal-symbols-and-their-m.php

Moral Rights
http://www.artslaw.com.au/legalinformation/Indigenous/00IndigenousMoralCulturalRights.asp

Native American Motifs

KANSAS CITY CHIEFS

The Kansas City Chiefs is the name of an American Football Team. The team is based in Kansas City in the state of Missouri. The Kansas City Chiefs form part in the Western Division of the American Football Conference (AFC) in the National Football League (NFL). The team was created in 1960 by Lamar Hunt and was initially called the Dallas Texans. In 1963, it changed to Kansas City Chiefs when Kansas City was relocated to Missouri. From 1960 to 1969, the Chiefs were a successful franchise in the American Football League (AFL), winnning three league championships (1962,1966 and 1969)and having an all time AFL record of 90-50-5. The Chiefs were the second AFL team, after the New York Jets to defeat an NFL franchise in a AFL-NFL World Championship Game when they won over the Minnesota Vikings in Super Bowl IV on January 11, 1970. However, this was the Chiefs' last victory and appearance in a championship game (Super Bowl). Moreover, they were the second team to, after the Green Bay Packers to make appearance in more than one Super Bowl. They were also the first team to appear in the championship game in two different decades.

KANSAS CHIEFS PAST LOGOS

Dallas Texans Team Logo

State of Texas in white with yellow star marking Dallas (1960-1962)
http://www.sportslogos.net/logo.php?id=413


Primary Logo

Primary Logo (1963-1971)
A chief running with a tomahawk and football across midwest
http://www.sportslogos.net/logo.php?id=2aqyixgohws3xwl7zir9


Script Logo

Chiefs written in red (also used in yellow)
(1988)
http://www.sportslogos.net/logo.php?id=856


Anniversary Logos

Chiefs/Texans Franchise 25th (1984)
http://www.sportslogos.net/logo.php?id=1mffk0jua9ggrd04rny9

Chiefs/Texans Franchise 35th (1994)
http://www.sportslogos.net/logo.php?id=0xuixj0pqymggqtjsgdh


Chiefs/Texans Franchise 40th (1999)
http://www.sportslogos.net/logo.php?id=859

Kansas City Chiefs 40th (2002)
http://www.sportslogos.net/logo.php?id=858


Memorial Logos

Memorial Logo(1983)
Joe Delaney
http://www.sportslogos.net/logo.php?id=ixbc22g6x7rehhphz2t4

Tribute for Director of Player Personnel Whitey Dovell(1992)
http://www.sportslogos.net/logo.php?id=bpfmvwjlwubq3r9lk2ue

Derrick Thomas memorial (2000)
http://www.sportslogos.net/logo.php?id=4619

Hank Stram Memorial(2005)
http://www.sportslogos.net/logo.php?id=5963

Lamar Hunt Memorial (2006)
http://www.sportslogos.net/logo.php?id=bx4ezbc5pv3h69nxalvo

Lamar Hunt AFl Logo (2007)
http://www.sportslogos.net/logo.php?id=a6pnopzfe7rrs38a3002p2hz5


Miscellaneous Logo

Community Quaterback Kansas City Chiefs (2002)
http://www.sportslogos.net/logo.php?id=b7thegledh3ywpi23ghs

THE CURRENT LOGO

1972 - Present

When the Kansas Chiefs first started to play, they used to be known as the Dallas Texans. Back then, the team's logo comprised of the state of Texas in white with a yellow star marking the location of the city of Dallas. As the team was relocated to Kansas City in 1960, they had a new logo which featured a native American figure running and holding a pigskin. This logo was used during the 1960s but as the club moved to Arrowhead Stadium in 1972, the logo changed and remained till this day.The current logo design was not initially used as the team logo. It was only used as a design on the Chief's helmet. It became the team's official logo in 1972 when the team moved to Arrowhead Stadium.

The design of the Kansas City Chiefs logo, which is the one just above is a design originally sketched by Lamar Hunt on a napkin. Throughout research, I have learned that Hunt's inspiration for the interlocking "KC' came from the design of the"SF" inside the oval of the San Francisco 49ers logo. The Kansas City initials appear in a white arrowhead with black and wavy stroke. Very simple logo and quite easily understood for the target audience.

I personally feel that the logo is conceptually strong and its simplicity makes it more effective as it communicates the concept and the culture of the Kansas City Chiefs. The arrowhead that forms the logo symbolizes the Native American culture as the bow and arrows are well known to be the hunting tools of the Native Americans. The logo has been used as the team's official logo since 1972 and I think its effectiveness is yet to be questioned.

Bibliography
http://en.wikipedia.org/wiki/Kansas_City_Chiefs#cite_note-Uniform_History-59

Melbourne Sports Museum Critiques

Design Critique 1
Berlin 1936 Olympics, Franz Würbel

This poster was the first important task in the preparation of the Berlin Olympics 1936. The aim of this poster was to advertise the Berlin Olympics that would be held in Berlin, Germany. Obviously, Franz Würbel designed this poster while taking consideration of three factors that would make the poster effective on the international scale as well as for hitler's own requests. Personally, I think that the shadowy figure of a wreathed victor with his arm raised up in the air works really well with the design as it represents the Olympic sport and likewise, victory. The quadriga of the Brandenburg gate was included in the foreground as the landmark of the host city which is Berlin. The five Olympic Rings were included behind the head of the shadow figure in order to make the poster be appealing on the international market, as they represent the five continents.


From my point of view, the increasing international rivalry that developed in the Olympics after their re-establishment in 1894 was reflected in their posters. The German Chancellor, Adolf Hitler, saw the Berlin Olympic Games as a major opportunity for publicity for his Nazi regime and its racist ideology, and high-profile posters were commissioned from Franz Würbel and Ludwig Hohlwein. The art movement/style used in this poster is classical realism and it was in fact Hitler's chosen stylethis design incorporates sculpture from Berlin's Brandenburg Gate which somehow show the German supremacy.

From observation, the design looks stable. The Olympic rings in the background are placed right in the top middle of the page. The shadowy figure, being on the left hand side of the artwork and the quadriga placed on the other side kind of balance the overall design. Likewise, the typefaces participate in making the design stable as they are all capitals and quite bold.

The concept of this poster sure is to represent all the good aspects of the Olympics. But strictly from my own opinion, I would say that the concept behind the Germans, especially behind Hitler's Nazi dictatorship on promoting his racial supremacy. At the same time, the German launched their propaganda as the Games were a brief, two-week interlude in Germany’s escalating campaign against its Jewish population and the country’s march toward war.

http://olympic-museum.de/poster/poster1936.htm
http://en.wikipedia.org/wiki/1936_Summer_Olympics
http://desaingrafisindonesia.files.wordpress.com/2008/06/berlin1936.gif


Design critique 2
Athens 2004, Olympic torch


The Athens 2004 Olympic torch was designed to resemble an olive leaf. Note that the Olive tree is one of the most powerful symbols in Greece. it has left an inedible mark the Greek's mythology and art.

Weighing 700 gr. and standing at 68 cm. The torch has a really upward dynamic shape which enables it to enhance the flame. Its ergonomic design is dominated by curves and it was particularly designed for the purpose of establishing the torch as the continuation of the flame in its free movement. The flame rises as the extension of the torchbearer's hand. Personally, the design is quite simple but it has a lot of thoughts behind it.

The main concept behind the simple design of the Athens 2004 Olympic torch was to carry peace and freedom around the world as it was the first Olympic torch that travelled to all five continents. The Olive branch being the inspiration of the torch is actually the global symbol for peace and symbol. The concept is strongly based on the Olive tree concept as the wood of which it is made is from Olive tree. I believe that this concept shows Greece's pride as it the the source of the Olympic Games and this makes Greece stand out from all the other previous host countries.

http://en.wikipedia.org/wiki/2004_Summer_Olympics
http://eng.tibet.cn/Features2008/2008shzf/ljsh/200803/W020080312328784940782.jpg