Wednesday, February 25, 2009
Thursday, February 19, 2009
Wednesday, February 18, 2009
This is probably the best, though it's also the most complicated:
Here are two other techniques that are quicker, but less comprehensive:
For next class -- Monday -- be prepared to print out both your finished logo page, and your "envy" ad. Bring $4 to class to pay for the prints (it costs $2 per sheet). We'll look at them and critique them in Monday's class.
Also -- this assignment won't be due until a week from today, but you should get a head start on it -- don't wait until tuesday and scramble to put it together at the last minute. As a prelude to our poster project, everyone is going to do an in-class presentation on a poster artist or a poster movement. Feel free to present images in powerpoint, or as an image slideshow. Everyone will have 10 minutes to present and take questions. In addition to the presentation, you'll need to email me a minimum three page paper (double-spaced), which will serve as an outline of your presentation. That's three written pages -- not one written page and two pages of pasted-in images. If you want to include images as supplements to the three page paper, feel free. Include a fourth page that lays out your bibliography (I want you to use at least four separate sources). If you can get your hands on some actual books to bring to class to show around, please do. There are a few poster art books in Prim Library
In your presentation and paper, give a description of the artist/movement, and what the social context for the work was. Who was the audience for the posters? What sorts of messages were they trying to convey? Who paid for the posters to be made (if relevant -- some posters, like the May '68 posters, were not commissioned)? What made the posters interesting or unique? What made them stand out? In addition to giving some biographical and social context, pick out several images that interest you, and critique them in some detail. What sorts of formal decisions make the posters "work" (or fail to work, if you think they're bad posters?) Talk about the use of images, the use of composition, the use of color. Talk about how text and fonts are used in the posters.
Here are the poster artist assignments, assigned to each student:
Théophile Steinlen -- Victoria
Alphonse Mucha (and Art Nouveau) -- Heather
May 1968 Posters (look up 1968 Paris Uprising, 1968 Street Posters) -- Logan
Polish movie posters (esp. Jan Lenica) -- Nick
Soviet Movie Posters (esp. The Stenberg Brothers) -- Thomas
Rene Mederos (and Cuban poster artists of the 1960s) -- Drew
Gary Grimshaw (psychedelic 60s posters) -- Jenn
Victor Moscoco (psychedelic) -- Chelsea
Rupert Garcia (chicano movement posters) -- Sam
The Beautiful Angle Poster Project -- Cody
Shigeo Fukuda -- Matt
The above image is by Bay Area Chicana artist Ester Hernandez
Wednesday, February 11, 2009
1. Your finalized logo. On an 8.5"x11" Illustrator document, place one large version of the logo, and two small versions of the logo (no larger than 1" across). The large versions and one of the small versions should be in full color, and the second small version should be a black and white version (obviously, if your logo is only in Black and White, you only need the one small version). You can lay out the page in landscape format if that gives you more space to make the large version bigger.
2. A good start on your next project, the magazine ad selling something you envy. The Berger article made the argument that envy is a powerful engine for advertising; for this project, I want you to identify something you personally envy, and craft a magazine ad selling that thing. You can think of it as an ad with a very targeted demographic: yourself. It doesn't necessarily have to be an object that you envy -- it could be something less tangible, like a lifestyle, a talent, a social position. Just identify something you're envious of, and think of an ad that would make you envy it more.
The ad could have a photo (or photos), or it could use illustrations (or it could be a combination of illo and photo) -- and it MUST have some text to it as well. The text could be a sort of tagline, or something more developed. Go to a magazine stand and look over the ads if you need ideas for the sort of text and text layout you want to use. I want you to integrate text and images using illustrator as a tool. If you are shooting photos for this project, please have them shot before next class, so that you can being putting the ad together in class. Whatever your approach will be, I want a fairly worked-out sketch of your ad at the beginning of Wednesday's class.
The last element of this project: I want your presence to be felt in the ad. That doesn't mean that you need to have a picture of yourself directly in the ad (though you can do that, if you want) -- there could be a figure who is a symbolic stand-in for your feeling of envy. Or perhaps your presence is implied, but stands outside of the page itself. But I want this ad to be very personal to yourself.
Wednesday, February 4, 2009
So -- next class we'll be completing the logo presentations. We'll also discuss the article I handed out -- the chapter from "Ways of Seeing." And you need to bring a magazine ad to class, to discuss in conjunction with the article (see #6 below).
Before Monday, email me a response paper to the handout. I want you to answer the following questions:
1. On p.131, Berger writes: “Within publicity, choices are offered between this cream and that cream, that car and this car, but publicity as a system makes a single proposal. It proposes to each of us that we transform ourselves, or our lives, by buying something more.” Do you think that’s accurate, or do you think publicity, as a system, offers other proposals as well? List two or three more proposals the system of publicity makes.
2. Berger talks of how images from Fine Art have been used to generate an air of “prestige” in advertising. Is this still the case, or is that approach now outmoded in advertising? What, if anything, has replaced Fine Art as a generator of “prestige” in publicity?
3. On p.140, Berger writes "Publicity makes all history mythical." What does he mean by that, and how does it apply the the Pepsi commercial, spanning the various youth movements, we watched a few classes ago?
4. Following Berger's definition of "glamour," what makes "glamour" different from qualities such as wealth, beauty, and talent?
5. On p.149, Berger writes: "Publicity turns consumption into a substitute for democracy." What does he mean by this, and do you agree or disagree? Why?
6. Berger writes that the "absent, unfocused look of so many glamour images" is due to the fact that the models "look out over the looks of envy which sustain them." Find a magazine ad in which you can identify that look, and bring it to class. Be prepared to answer the question: what, exactly, is the viewer supposed to be envying in this ad? Is it an envy you share? And how would it be possible for you to possess, in practical terms, that thing which you envy?
Monday, February 2, 2009
Exaggerated graphic is what I would call this because eating a dorito is like having a magical chip which can do anything.
Plus is very funny
This is an ad campaign that we are all familiar with. Master Card has used a number of the 12 different ad tactics in there priceless campaign. Predominantly they are using an on going characters and celebrities approach. In essence Master Card has transcended there first ad in the priceless campaign and now little articulation is necessary for user product association. I enjoy the simple clean imagery and soft tone to the ads.
this advertisement from New Zealand is a PARODY/ BORROWED FORMAT. The use of colloquial syntax and words relates to the intended market.Bugger me.
Sunday, February 1, 2009
I had to ad this one also. Brings me right back! ha