Copyright Issues

istock Images


The following photos were taken from istock. Istock is just one of many photo libraries where you can access an image.

To purchase this image you need to sign up to istock and purchase pay as you go credits, the photo are then bought using these credits.

The billboard photo would cost about $45.00 for 3021 X 2014px size. The guy playing rugby only costed $20.00 for a large file, silmilar size to the billboard. The bus shelter is the same, roughly $20.00 for a large file.

After purchasing you will then be sent a file, to download onto your computer. Almost all files are royalty free, every royalty-free file licensed on iStockphoto includes a free legal guarantee. This is their promise that content, used within the terms of the license agreement, will not infringe any copyright, moral right, trademark or other intellectual property right or violate any right of privacy or publicity. 

Each photo can be used in all print material, web and digital advertisements under the standard liscence. However they can not be used in logos or trademarks, or tems for resale, including prints, posters, calendars, mugs, mousepads, t-shirts, games, etc. Electronic templates for resale on websites, brochures, business cards, e-greeting cards, etc.

There is also the option of purchasing the Extended Legal Guarantee, this increases iStock photo's responsibility for your expenses up to $250,000.

Fonts

The above font Colossalis was found on my fonts website, it can be purchased for $150.00, providing you follow the termsand conditions, below are three chosen terms:


1. The Font Software may not used to create graphics for use in any LED or similar electronic display medium. For example, you may not use the Font Software to create graphics that will be either used or converted into another format and used in: (I) electronic displays such as sports scoreboards; (II) LED or similar sports, news or message displays; (III) video advertising; (IV) any graphics management and distribution system. 


2. The permitted number of Licensed Computers is five (5) unless you have obtained a license for additional Licensed Computers. Portable computers may be included within the number of permitted Licensed Computers provided that such portable computers are primarily used at the Licensed Location.You may install the Font Software on a file server for use on a local area network located at the Licensed Location, provided that use of the Font Software is limited to those computers that are the Licensed Computers.


3. Without the purchase of an additional license, you may NOT otherwise embed the Font Software. For example and without limitation: (i) You may NOT embed the Font Software into your hardware, software or other products, such as, application programs, electronic games, 
e-books, kiosks, printers, etc.; (ii) You may NOT embed the Font Software into your web pages; and (iii) You may NOT embed the Font Software into electronic commercial documents.




all information found come direct from the websites. www.myfonts.com and www.istock.com

This concept came from the idea, that cyclops is large, angry and fearful. The bulldog came from reffering to the school yard game ''british bulldogs'' which is a similar  to rugby.

This concept has the similar idea to above, fearful and angry. Bears can also run fast for a short distance, like rugby players and bears are stocky like rugby players too.

The name giants came from the cyclops, because I imagine them to be big and have big feet. The eye on the rugby ball comes from the idea that, ''your eye is always on the ball at all times" plus cyclops have one eye too.

Trends and Concepts spotted at AG Ideas

Typography 



Fanette Mellier, a graphic designer from France creates bright graphic signage for bilboards and street signs.Her work showcases bright, vibrant colours and produces absract typography, made of geometric shapes.

tbpdesign.blogspot.com

Sascha Lobe also used graphic typography to produce this advertising poster. By croping text, making shapes out of this, and using simple red, black and white colours it creates a strong image.

www.agideas.net/agideas-2011

Geometric Shapes
                                  

Brian Steendyk, an architect from France, created this unique architecturally designed house.This exterior wall was made of metal, with a diamond pattern cut out. This allowed the sunlight into the house and created more warmth.

www.steendyk.com

Fanette Mellier again produces graphic street signs and pin ups using the diamond/triangle pattern in a 2 dimensional form.

    

netdiver.net

An interesting concept I found was:
Nick Bell's Exhibition Design about the effect of climate change. The concept of having the floor representing the terrain of the earth and the roof representing the atmosphere was cleverly crafted, by using materials such as mesh and metal and projecting light onto these. He turned the roof into a sparkling swirl of gases. Nick bell also used the trend mentioned above of using geometric shapes created in the earths terrain. The concept created provided an interactive experience for the visitors.

seriousgamesmarket.blogspot.com

                  

Indigo Design Network

Referencing Design in current Cookware

http://www.indigodesignnetwork.org/?p=4485&cpage=1#comment-313

Aboriginal Motifs

Aboriginal Motifs

Functions and Philosofies
Responsible use of Indigenous cultural knowledge and expression ensures that Indigenous cultures are maintained and protected so they can be passed on to future generations. Here are two ways in which this can be done;

1. Respect

The rights of Indigenous people to own and control their heritage, including Indigenous images, designs, stories and other cultural expressions, should be respected. Customs and protocols for respect vary widely across the many and diverse communities of Indigenous Australian people. Respecting Indigenous rights to cultural heritage includes the following protocols: - Acknowledgment of country
- Public art
– acknowledging land
- Accepting diversity

9. Recognition and protection

The Indigenous visual artist owns copyright in his or her artwork. This means that he or she can control the reproduction and dissemination of the artwork. Such rights apply to all artists and are granted under the Copyright Act.99

It is important to understand these laws and how cultural material might be protected under them. However, there are currently no special copyright laws dealing with Indigenous cultural material.

The Copyright Act has been criticised for not recognising the communal ownership of heritage material and the continuing right of heritage custodians to control use of this material. In 2004, the Attorney General drafted a proposal to amend the Copyright Act and introduce Indigenous communal moral rights. However, this is not yet law. It is recommended that Indigenous custodians give express and clear notice of their interest to third parties.

Moral rights and issues 
The Moral Rights Amendments to the Copyright Act were introduced in December 2000 and provide some new ways to challenge inappropriate treatment of Indigenous artworks. These new laws provide the following rights to artists:

1. The right to be attributed as the artist – Artists can require their names be clearly and prominently reproduced alongside all reproductions of their works.

2. The right not to have work falsely attributed to another artist – Artists can take action against parties who falsely attribute others as the creators of their works.

3. The right of integrity – Artists can take action against parties who subject their works to inappropriate treatment. Inappropriate treatment includes:
- Doing anything that results in the material distortion of, the destruction or mutilation of, or material alteration to, the work that causes harm to the artist’s reputation.
- Exhibition of the work in public in a manner or place that causes harm to the artist’s reputation.


Some Indigenous art comprises certain ceremonial styles like rarrk/cross-hatching, and depicts particular creation figures like the Wandjina from the Kimberley Aboriginal language group. Unless copying from a particular copyright protected artwork, it is not an infringement of copyright to paint in these styles or to paint creation figures. However, it should be emphasised that it is against traditional Aboriginal law to paint ceremonial styles and creation beings without permission from relevant people in the communities where these styles and figures originate.

In the past, Indigenous people’s art images and language group motifs have been copied in artworks, dress fabric, souvenirs and on T-shirts, without the proper permission being sought. This type of copying is one area where the copyright laws do not recognise Indigenous rights to control cultural material.

Internationally, the United Nations Principles and guidelines for the protection of Indigenous people’s heritage recommends, Artists, writers and performers should refrain from incorporating elements derived from Indigenous heritage into their works without the informed consent of the Indigenous owner.

Native American Motifs

THE ATLANTA BRAVES

1967 - 1975

1972 - 1989

1987 - 1989

1988 -Present

The current logo

The Atlanta Braves logo comprises of an axe underneath the company’s name. The whole logo slants towards the right. The axe basically represents the strength of the team and its continuous efforts to improve its performance.
Keeping aside the shape and the font style, the colors (red with a navy blue outline) in the Atlanta Braves logo have been used to indicate the team’s strength to recover from the lows with a bang.

The logos used for the braves include a cartoon image of a Native American, as a war prone cartoon character locked in the past.  These elements are sacred such as eagle feathers, ceremonial paint, music, and dance. Often they are mocked by multitudes in orchestrated cheers during sports games. Native Americans consider these practices a disrespectful infringement on their cultural, spiritual and intellectual property rights.

Every major National organization representing Native Americans has asked for these uses of Native peoples and cultures to be stopped. The time was right for sports teams to consider this form of racism perpetrated under their auspices against Native peoples.  This lead to sports teams including the Braves to change their logo and create a new identity, which was culturally accepted. in 1988 the original Braves logo, changed from the cartoon native American to the Braves title with the axe underneath. 

Not many Native American motifs are recognizable in the Braves new logo, however there is the same illustration style, of bold outlines, which is seen in a lot of Native American paintings. Also the use of leather or twine, which is wrapped around the end of the axe, to me also represents the Native Americans.

I think the re-design of the logo has achieved its intentions dramatically, however personally I don’t think I like the logo. I think the title is fine, but there is something about the axe that I don’t think works quite right.

Melbourne Sports Museum Critique

HAWTHRON FOOTBALL CLUB

Designed by Cato Purnell Partners, 2007

Vector Image

The hawthorn logo uses strong dominant shapes. The dominant figure of the hawk in the foreground is the focal point. The large scale of the hawk enhances the strength of the hawk. The negative space behind the hawk has been carefully constructed to create shapes in itself. The negative space creates the eye, beak and the feathers. The asymmetrical design uses the brown colour to guide the eye around the logo, from the hawk, up to the title and back down and around the outside.

Strong basic shape and colour used make this a very effective logo. The simple but clever two shapes overlap and create this image of the hawk. Adding black and white lines to create tone and form around the beak and the eye. The design is a symmetrical design but nicely balanced with nearly a 50 – 50 percent ratio of negative and positive space. The large scale of the hawk enhances the strong and dertermined image of the club, the scale also adds to a good focal point. The rhythm in line has been crafted to give the idea of feathers on the hawk, but really this is just negative space from the brown shape. This negative space creates an implied line around the edge of the logo.

The hawthorn logo could be classified in the Supermatism style. This style originated in 1915.  It uses fundamental geometric forms in particular square and circles. You can see the similar resemblence in the logo. However it also crosses beween a modernist era as the shapes used are curved and modern.

The concept and theme behind the logo was creating a new direction for the Hawks, Cato Purnell Partners, felt they needed to reflect the focus and determination he had observed within the club so as to communicate that effectively to its members. The new shield portrays a sense of determination, pride, and focus. The Hawthorn Football Club is a club on the move. In the design we have hoped to capture the steely resolve it takes to win a premiership.

I think the concept of the logo has been successfully achieved. The strong focal point of the eye of the hawk resembles determination. The scale of the bird looks as if it is standing over tall, proud and on the hunt. The diagonal line above the eye gives expression and strengthens the determined look.

www.hawthornfootballclub.com.au

Melbourne Vixens Poster 2010

Vector and Photo

The advertisement uses a lot of ground, fore, middle and background, within a dynamic composition. The assymetrical design uses a strong focal point of a netball cartoon character, this character is the hirachy of the poster and it draws the eye down towards the vixens logo. The alternating rhythm of bold lines make this a dynamic composition, a lot of movement has been achieved within this poster, maybe to resemble netball, fast paced-moving.

The main element use is line. Line features heavily in the logo, so it has been taken from here and repeated throughout. The curved lines are bold but vary in stroke. The white stroke around the vixen logo has been also use in the bold heading, again this draws the eye from the secondary focal point back to the logo. Line also features frequently on the cartoon illustration, the use of curved, fine and bold weights create tone and form.

The three colours of red, green and white are used heavily through out the poster as these are their corporate colours. The navy blue comes from the uniforms, the blue sits nicely as the background, with a slight hue applied to the photos aswell. The scale of the illustration works effectively, had the illustration been smaller it would not have lead our eye down towards the logo.

The name Vixens, is a play on the word Victoria. The concept behind the colours of green and crimson were chosen to reflect that of a female, youthful and dynamic team. The colour of black conveys a sense of sophistication, authority and power. The colour of navy blue represents Victoria’s rich history of success at the elite sports level, a State with proud and active communities that will continue to support netball as we pursue our future triumphs.

The poster design is from a modernist era, it uses a lot of elements, including vector and photo imagery and has a sleek modern style too it. The main heading font is youthful and a little edgy.

I’m not too sure if I like the poster design, I think it is a little over done and busy. I think the elements on the page could have been arranged in a better format and still give a dynamic composition. The logo is ok, unlike the hawks logo, the vixens logo lacks character or emotion.

www.wikipedia.com.au

www.melbournevixens.com.au

Critiquing Tools

PRINCIPLES AND ELEMENTS OF DESIGN LIST

Line Line can be considered in two ways. The linear marks made with a pen or brush or the edge
created when two shapes meet.

Colour Also called Hue

Texture Texture is the surface quality of a shape - rough, smooth, soft hard glossy etc. 
Texture can be physical (tactile) or visual.

Shape A shape is a self contained defined area of geometric or organic form. A positive
shape in a painting automatically creates a negative shape.

Form Form is any three dimensional object. Form is also defined by light and dark. Form
may be created by the combining of two or more shapes

Stability The arrangments of elements, in a stable composition within a grid. Where all
elements sit vertically, horizontally or diagonally on the grid

Dynamics Dynamics is 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.

Rhythm Rhythm is the repetition or alternation of elements, often with defined intervals
between them. Rhythm can create a sense of movement, and can establish pattern and texture. 

Scale The principle where elements have been enlarged or reduced dramatically to contrast
against other elements.

ART VOCABULARY LIST

Negative Space is the space around and between the subject 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

Hirachy A hierarchy is an arrangement of items in which the items are represented as 
being "above," "below," or "at the same level as" one another. Abstractly, a hierarchy is
simply an ordered set or an acyclic directed graph.

Dominant path of movement: Sometimes a work has a dominant path of movement that
adds to a mood.  The sense of movement may come from a tall, vertical form reaching
upward.  Sometimes there is a path of motion leading to a center of interest.  Even the
absence of motion can be expressed.  For example, a quiet, still, calm feeling may come 
from the use of many horizontal lines or forms.

Emphasis by dominance Dominance describes a situation where something dominates
(is more important or more noticeable than its surroundings). Information is rarely of 
uniform interest in art (except in wallpaper). Most art is used to communicate 
-- to tell a story or present a point of view. There is usually a focal point, a place where
 the action begins.

Construction Lines Usually the first lines that you will use on your artwork, they may 
show definition of shape, form or texture. These lines are not visible once artwork is finished.

ADJECTIVE LIST

Pigment is a material that changes the color of reflected or transmitted light as the result
of wavelength-selective absorption Pigments appear the colors they are because they
selectively reflect and absorb certain wavelengths of visible light.

Shade is where black has been added to darken.

Tint is where white has been added to a colour to create a lighter colour.

Caricature the lines on a portrait or face which suggest characteristics of that person.

Curved lines are generally used to create a sense of flow within an image. They are also
generally more aesthetically pleasing, as we associate them with soft things

                                                        Magic Realism

Magic realism is an aesthetic style or genre of fiction, in which magical elements are blended into a realistic atmosphere in order to access a deeper understanding of reality. These magical elements are explained like normal occurrences that are presented in a straightforward manner which allows the "real" and the "fantastic" to be accepted in the same stream of thought.
A literary and visual art genre; creative fields that exhibit less significant signs of magic realism include film and music.

Magic realism was first used in 1925 by the German art critic Franz Roh to refer to a painterly style also known as Neue Sachlichkeit.

                                              Futurism

Futurism was an artistic and social movement that originated in Italy in the early 20th century. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, theatre, film, fashion, textiles, literature, music, architecture and even gastronomy.

Filippo Tommaso Marinetti launched the movement in his Futurist Manifesto, which he published for the first time on 5 February 1909 in La gazzetta dell'Emilia. He was soon joined by the painters Umberto Boccioni, Carlo Carrà, Giacomo Balla and Gino Severini

   

                                  

Suprematism

Kasimir Malevich originated Suprematism in 1915 when he was an established painter having exhibited in the Donkey's Tail and the Der Blaue Reiter (The Blue Rider) exhibitions of 1912 with cubo-futurist works. Suprematism was an art movement focused on fundamental geometric forms (in particular the square and circle) which formed in Russia in 1915-1916. It was not until later that suprematism received conventional museum preparations.                                                    


                                                      




                                                        Abstract Expressionism

Abstract expressionism was an American post-World War II art movement. It was the first specifically American movement to achieve worldwide influence and put New York City at the center of the western art world. Abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates.

The movement's name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus and Synthetic Cubism.

                                                       

Letterism

Letterism is a French avant-garde movement, established in Paris in the mid-1940s by Romanian immigrant Isidore Isou. In French, the movement is called Lettrisme, from the French word for letter, arising from the fact that many of their early works centred around letters and other visual or spoken symbols. Isou and the Lettrists have applied their theories to all areas of art and culture, most notably in poetry, film, painting and political theory. 


                                                        Purism

Purism was a form of Cubism advocated by the French painter Amédée Ozenfant and the architect Charles-Edouard Jeanneret. Purism rejected the decorative trend of cubism and advocated a return to clear, ordered forms that were expressive of the modern machine age as documented in their 1918 book After Cubism.

The two artists, Jeanneret and Ozenfant, strongly objected to developments in Cubist art, particularly the decorative elements. Ozenfant and Le Corbusier wanted a return to more basic forms mainly inspired by modern machinery.Purist works are notable in their explicit use of geometric form and large areas of pure colour, and for their cool and detached paint surfaces.                                                    

                          Neoism

It refers both to a specific subcultural network of artistic performance and media experimentalists, and more generally to a practical underground philosophy. It operates with collectively shared pseudonyms and identities, pranks,paradoxes, plagiarism and fakes, and has created multiple contradicting definitions of itself in order to defy categorization and historization.Neoism also gathered players with backgrounds in graffiti and street performance, language writing (later known as language poetry), experimental film and video, Mail Art, the early Church of the Subgenius and gay and lesbian culture. 

                                                   








                                                     Graffiti

Graffiti has existed since ancient times, with examples dating back to Ancient Greece and the Roman Empire times, paint, particularly spray paint, and marker pens have become the most commonly used graffiti materials. Sometimes graffiti expresses social and political messages and a whole genre of artistic expression is based upon spray paint graffiti styles. To some, it is an art form worthy of display in galleries and exhibitions; to others it is merely vandalism.

In 1979, graffiti artist Lee Quinones and Fab 5 Freddy were given a gallery opening in Rome by art dealer Claudio Bruni. For many outside of New York, it was their first encounter with the art form.The new stencil graffiti genre were created in 1981 by graffiti artist Blek le Rat in Paris; by 1985 stencils had appeared in other cities including New York City, Sydney and Melbourne.

                                                        

                                                       Toyism

Toyism is an art movement that rose to prominence in The Netherlands in the 1990s. The toyist style of painting emphasizes narrative depictions featuring figurative rather than abstract objects focusing on aspects of the human condition.

Toyism is about the group, and not the individual artists, the individual artist is refffered to a toyist, every Toyist portrays his own unique story and so adds a new dimension to Toyism.

Although Toyism is not readily captured by any one sentence or genre, it can be recognised by its figurative style. The exciting play of smooth lines with sharp boundaries, dots and the power of bright contrasting colours, gives the paintings an extremely vivacious character.




        
                                                                   Shock Art



Shock art is a contemporary art that incorporates disturbing imagery, sound or scents to create a shocking experience. It is an increasingly marketable art, described by one art critic in 2001 as "the safest kind of art that an artist can go into the business of making today".
Aa group of young British artists, made headlines nationwide for including works that offended many, such as Chris Ofili's "The Holy Virgin Mary," which featured a black Virgin Mary with elephant feces on one breast and cutouts from pornographic magazines glued in the background, and Damien Hirst's dead animal's preserved in formaldehyde. As Peter Surace, co-owner of the Rare Gallery in New York, explained: "If you concentrate on the shock value of anything too much, you don't get beneath the surface to the more important issues that are trying to be raised Sometimes shock value is what the artist uses to get you to look at the work, but then they also expect you to dig deeper."