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Coursework

Final Video Project

Final Video Project: Today will be a Good Day!

Based on my day at the Botanical Garden and my own home.

Youtube Video Link:

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Coursework Digital Media Foundations

Designer Research Paper

Angela Alvarez

Digital Media Foundations

November 2020

Professor Thelma Bauer 

Designer Research Paper: Paul Rand

Familiarized within our beloved home of New York, Paul Rand was a designer whose work contributed to influencing the modernizing eras of illustration, typography and overall in the design world, who grew by the methods of designated art for decades and eventually led to share his talent and work for many. Rand, who was originally born as Peretz Rosenbaum, was raised in Brooklyn, New York on August 15th, 1914 (Wiki). From when Rand was a very young child, he had quite an interest for art and design despite cultural and familial influences preferring otherwise.  From attending Haaren High School in Manhattan during his teen years, to simultaneously taking night classes at the esteemed Pratt Institute, Rand visibly tried his best to dedicate his passions into his accomplishments in education for both himself and his familial environment. After this, Rand eventually attended Parsons New School for Design and the prestigious Art Students League. Through Rand’s multiple experiences of schooling, his dedication and perseverance for his passion in art clearly showed that he was intent on pursuing a pathway related to design and art. 

Seen below is one example of Paul Rand’s artwork, in his multiple mediums of work found on his website and history, one genre of works he created are posters. The poster below, “Ice Cream Cone” stood out to me from the rest of them, because of how simplistic it appears yet how it seems to resonate with artwork that I see today in 2020, compared to when it was made in 1956. Made with a semi-circle filled in with a peachy-pink, and a triangle that is beige-cone colored in the shape of an ice cream cone, the combination of these two shapes form a simplistic yet almost modern painting of a sweet treat.

(Rand,Paul)

If you are familiar with companies like IBM (International Business Machines), ABC (American Broadcasting Company), EF (English First) and many more, then Paul Rand is to thank for their very familiar logos, present or past. Rand seemed to have experimented in his multiple mediums, by not sticking to one type of font or type style, which showed his versatility. I think Rand’s design for American Broadcasting Company is a really good example of simplicity used to represent a company. Seeing that same logo now, I recognize it on TV, internet and on billboards as it is a simple yet well known logo. Below is the ABC logo that Rand created in 1962.

(Rand,Paul)

According to an article based on Paul Rand’s lifetime work as a designer, his impact is accredited. “By creating complete brand identities, Paul Rand transformed corporate communication in North America. According to his colleague Lou Danziger, he managed to persuade companies, almost on his own, that design can be a powerful business tool. As an author, teacher and designer, Rand confirmed the idea that good design is good business as Thomas J. Watson Jr., IBM’s CEO, stated. Paul Rand invites his clients, students and ourselves to look at the world with a fresh eye, because: ‘everything is design!’ “ (Grapheine). Rand’s ethics and passion in creating design not only impacted his success, but the success of so many corporations and other aspiring artists. Paul Rand was eventually inducted into the New York Art Directors Club Hall of Fame in 1972, an amazing accomplishment.

Paul Rand’s experimentations in design and art throughout his life had an enormous impact on everything he was involved and took part in. For a designer who had a passion from childhood, he manifested not only his passions but extended the limitations of genres of design and art by not limiting himself to one type of expression. This fact inspires me not only to pursue one degree of design but multitudes, as it all ties together in expression and shared impact within its messages, whether it be on poster, logo, writing, photography or videography. In Rand’s last years, he was still designing, still coming up with inspiring ideas. He passed from cancer in the year 1996 and yet, his art will live on forever and inspire generations of aspiring designers.

Bibliography

“Paul Rand.” Wikipedia, Wikimedia Foundation, 1 Oct. 2020, 

en.wikipedia.org/wiki/Paul_Rand.

“Paul Rand, Everything Is Design! The Man Who Changed the Face of the USA.”

Graphéine – Agence De Communication Paris Lyon, 3 Oct. 2019, 

www.grapheine.com/en/history-of-graphic-design/paul-rand-everything-is-design. 

Lewandowski, Daniel. Paul Rand – American Modernist, 16 Sept. 2013, 

www.paulrand.design/.

“Paul Rand: Biography, Designs and Facts.” Famous Graphic Designers, www.famousgraphicdesigners.org/paul-rand.

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Coursework Digital Media Foundations

Poster – Climate Change Advocacy

The poster I created is based on climate change and how pollution is affecting our oceans. A fishing rod is seen pulling in a plastic six-pack holder, a common piece of plastic that seriously harms wildlife in the ocean. If people are more active in properly recycling and reducing their plastic waste, then ocean life would have better chances of survival.

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Coursework Digital Media Foundations

Logo Research Project

Below is the paper for the Logo Research Project.

Angela Alvarez
Professor Bauer
Digital Media Foundations
September 30, 2020


There are several definitions behind the word “Target”, from a point of aim, an objective, and a selection. In the United States, many are familiar with the red, round bullseye plastered across hundreds of stores as the corporation titled “Target”, a place where home goods and a multitude of other daily products are sold. You can expect to find a target in about every state of America, within cities and in less urban areas. If you are familiar with Target, you are also familiar with the convenience that the franchise commonly offers, and over the years, Target has been upgrading to suit modern needs and keep their stores appearing “up to date” with visual renovations and continual product improvements.

The Target Corporation has a long history from its foundation as a corporation back in 1902, to the actual Target store in 1962. (Wiki). The corporation, previously known as “Dayton’s”, spent a while determining the name of the franchise, and eventually concluded with
Target, as its corresponding logo fit in perfectly with its significance. In the beginning of the Target named store in the 1960’s, the Bullseye logo was created, featuring three red and white rings that signified it being a “Target”, a main selling point and a stable logo to attract customers. What is different about this 1962 logo and today’s version of the logo is that the name of the store is placed alongside or below the logo now, while in its introductory phase, the name “Target” was placed over the bullseye logo in black font, seen below. (1000logos.net).

In the years to follow, Target decided to size down their initial logo and redesign it with the original intention remaining intact, thus the corporation decided to create a simpler bullseye, with one red or white ring. The corporation experimented with several different font formats to represent the name “Target”, with the initial format being a thick and bolded serif text, in a few years changing to a hollow, “outlined” black and white sans-serif font. In the following years,
Target kept the sans-serif font formation and experimented with capitalized and lowercase letters in the colors black, red or white. In today’s current version of the Target logo, we can expect to find the typical bullseye with a sans-serif red, bolded text stating “target” below the logo. What can be noted about the corporation’s experimentations is how versatile the company name branded their logo style, as the simple indicated bullseye and text can be inverted in any colors, whereas we can often find versions of the logo placement being in white instead of red, or black instead of red, yet it remains the same company and remains easily recognizable by its customers. Below is an example of the versatility that the company’s logo offers.

There is a lot to be noted in the statistics of the Target corporation and how it uses its logo for outreach and comfortability around the states and possibly for those outside of the states. According to Target’s A Bullseye View, “nearly 75% of the American population lives within 10 miles of a Target store.” While this may seem like a stretch, for 75% of the population, this indicates that millions of people live within driving or transit proximity to a Target franchise, which is why the focus on the logo is of great importance in ensuring that customers know exactly what brand it belongs to. If a billboard features an advertisement simply with the logo’s bullseye, customers should be able to determine that it is a Target-branded advertisement. Target utilizes the bullseye logo along with the recurring theme of the colors red and white in their advertisements and stores to keep the strong flow of branding and customer awareness.

Below, we can see the multitude of evolved logos from the Target enterprise, provided by Wikipedia:

In the provided list of Target logo evolutions, it is important to note the attention to modern age, whereas the initial versions from the early 60’s displayed a thick, bolded font with serifs. There is no exact record that states the exact typeface used during this period, but it faces an identical similarity to the font “Bodoni Ultra Bold”. The Bodoni serif typeface family has a much extended history, originating from the early 1900’s by Giambattista Bodoni, and eventually evolving into a number of differentiated versions through time and successors of the typeface. Bodoni is considered a modern typeface, and the one used in the original Target logo emphasizes the modern appeal with a much more bolded texture than typical modern typefaces. For the time period that this logo was created in the 1960’s, it represents the time period it is engulfed in where many brands and other forms of signage featured fonts such as Bodoni and other serif-based typefaces. As the years passed, Target transitioned their logo typeface into one that is much popularized as a sans-serif font: Helvetica, specifically Helvetica Neue Bold. This typeface, developed by Max Miedinger in 1957, was made and used for its purpose of fulfilling a typeface that is clean, sleek and simple to read and use on signage (Wiki). One aspect that is interesting is how the corporation attempted several different ways of adding text to the bullseye, such as the brand name, but also other examples such as the sub-stores that take place in the city, or in a “super” target, or “express”. The titles of these sub-brands may have temporarily improved sales, but the attempts at adding the titles to the bullseye logo seemingly failed due to their differences and the original bullseye was kept isolated up to present. Target’s past sub-branded logos visibly featured in its “Greatland” or “Supertarget” titles had display fonts that differed from the sans-serif that Target became known for. The use of display and scripted fonts alongside sans-serif, “straight” fonts were definitely an attempt of change for the sub-brands.

Target has demonstrated their values of retaining their original logo that corresponds with their brand name over the course of its development. No matter what stage of life one is in, Target is recognizable by its red, round bullseye logo across stores nationwide, titled or not. In the United States we have grown to know and appreciate the logo for being right on “Target” with the brand, meaning that it can’t be replaced within its originality. If I had to choose any evolution of logo throughout the Target Corporation’s history, I would simply be happy with its current, titleless red bullseye.

Sources Cited


“All about Target: Target Corporation Fact Sheet.” Target Corporate,
corporate.target.com/about.
“Bullseye Love: The History of Target’s Logo.” Target Corporate,
corporate.target.com/article/2014/04/bullseye-love-history-of-target-logo.
Helvetica. (2020, October 02). Retrieved October 18, 2020, from
https://en.wikipedia.org/wiki/Helvetica
“Target-Logo-Reverse-Wide.” Vernis & Bowling, 25 Oct. 2019,
www.national-law.com/timeline/vb-presented-with-target-corporations-law-department-e
xcellence-in-diversity-inclusion-award/attachment/target-logo-reverse-wide/.
“Target Corporation.” Wikipedia, Wikimedia Foundation, 14 Sept. 2020,
en.wikipedia.org/wiki/Target_Corporat
“Target Logo.” 1000 Logos The Famous Brands and Company Logos in the World Target Logo
Comments, 26 Aug. 2020, 1000logos.net/target-logo/.

Categories
Coursework Digital Media Foundations

Audacity

Assignment: Edit some Free Sounds using Audacity or another program of your choice and post the original sound and the editing one on your ePortfolio site and write about what you learned doing this edit.

Audacity is a great program for experimentations with music and sounds whereas the user is able to conform the sounds, bend it, stretch it and a range of other effects that can totally alter a song or sound. I created some waves in a portion of the clip, and slowed down a word in order to add effect to the word. This activity is really helpful in understanding the different ways in which media, even more than sound media, can be adapted in multiple/various ways, manipulated into something completely different than how it started. With enough pitch, wave, and any other changes, the song “Mirrors” by Justin Timberlake could be made into a song of a completely different genre.

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Coursework Digital Media Foundations

Virtual Field Trip Post

This week, we attended during our Blackboard Collaborate meeting the Nassau County Museum Exhibit Blue and also the Digital Museum at the Cooper Hewitt.

Our virtual field trip to the Nassau County Museum of Art explored the exhibition “Blue”. During our virtual field trip, we explored multitudes within the art world of different pieces that delve into understandings of color. More importantly, the understanding that forms of blue have many differentiated representations and meanings, from defining the feeling of sadness, to creating inspiration in a home or living space, there are a multitude of emotions or personas that can be embodied through the use of the color blue in addition to other forms of color.

In the virtual museum trip, I was fascinated by so many artworks. One piece that I would like to bring up is Antonio Santín’s “Toast to Ashes”(2020), and especially for the medium that it was made in, which is oil, and not photography as I thought it had been. The reason why this artwork intrigued me so much was because it had first caught my eye as a photograph, a medium in which I love and was trying to decipher when looking at the artwork. What was astonishing was how it was not a photograph, but instead an entire painting, which puts into view how much precise detail was invested in the entirety of this artwork, so much to the point that it is mistaken as a photograph because of how real the artwork appears. In addition to the artist’s great visual work on this piece, the meaning and context behind the piece is very real, in which the unevenly placed rug that is depicted in the piece is a representation for culture, tradition and history. As emphasized in the artwork’s description by the museum, the inclusion of the color blue represents factors such as “truth, honesty, and also to the idea of a peaceful afterlife” (Nassau Museum), and extracts made with traditional elements such as indigo and woad leaves make it much realistic.

Antonio Santín’s “Toast to Ashes”: (below)

Antonio Santín – TOAST TO ASHES, 2020 | Nassau County Museum of Art

Two more pieces of work that can be emphasized would be Jeffrey Gibson’s “Deep Blue Day” (2014, 49.5 x 15 x 15 in.) which is a part of the exhibition that features a painting and a physical artwork made with a boxing bag decorated entirely differently. This part of the exhibition was very intriguing and would have definitely been a sight to see in person, due to how the blue tones used in both the painting and the object are really captured by the eye and interesting. The object, specifically, is made with beads so delicately wrapped around the boxing bag in coordinating layers, with the bottom half of the bag having deep blue tassels tired in with golden bases. In the painting behind the bag, a rich blue hue is centered with black shadowed edges. When seeing these two pieces and their similarities and differences, I feel that the simple color coordination had a large effect on the appearance of the exhibition, being that the deep blues were only associated with either dark/black, gold, or white hues, down to the beads that were wrapped around the bag. Gibson’s work as portrayed here sends a powerful emotion through their effort.

Jeffrey Gibson’s “Deep Blue Day” (below)

Jeffery Gibson – DEEP BLUE DAY, 2014 | Nassau County Museum of Art

And finally, an artwork from the exhibit that would be recognized by our classmates as we worked together on its observations, Paul Klee’s “Beulen Birne / Bulgy Pear” (1934, 8.25 x 8.5 in) was another great piece shown at the exhibition. There is not much depth to this piece, made with gouache on paper and featured its weighted outlines on the centered pear and surface it resides on. What is noted, nevertheless, is the various methods of blue utilized throughout the work, even down to the pear’s anatomy which of course would not be blue, yet the tone is used to form a third-dimension, possibly to add grittiness and reality in accordance to its two-dimensional, very abstractional figure. According to the Museum, Klee wrote in an essay, “Today we reveal the reality that is behind visible things, thus expressing the belief that the visible world is merely an isolated case in relation to the universe and that there are many more other, latent realities.”(Nassau Museum).

Paul Klee’s “Beulen Birne / Bulgy Pear” (below)

To conclude, I feel as though the virtual tour was very quick in terms of how we moved through it as a class. In reality at a museum, I would spend more or less time looking at certain pieces in order to articulate it, and of course everyone moves at a different speed so we can gain our own contexts. I would have loved to have attended this exhibition in person in order to really see the details of the artworks on display, and hopefully in the future can see more works based around the idea of color involvement.

Categories
Coursework Digital Media Foundations

Visually Enhanced Quotes

Project Description

Visually Enhanced Quote Project

Reflection

My visual quote that I chose for the project assignment was “I am not fireproof”, which I illustrated in three different ways: through a pictographic form, a fiery text form, and through a person’s eye lense. There isn’t a deep interpretation behind the origins of this quote, which is from lyrics to the song “The Beach” by The Neighbourhood, although most of their music and this song makes references to coping with heartbreak and traumas in relationships and life. Despite this, when I had to think of a visual quote that could be represented in different ways, this phrase came to mind. Humans tend to uphold themselves in many ways as being able to withstand a lot of suffering, but to be truthful, it’s okay if we don’t. We are human, and we are not superheroes. But we have the power of communication and hope to get through things.

When I used the first background image for my visual quote, I felt it was important to have the burning home, burning American flag and smoke behind the text. “I am not fireproof” is meant to symbolize not only us, but the state of our country that is falling apart while certain groups think that America is perfect. It is a literal and political representation of what feels like the current downfall and hatred taking place here, and it is burning everyone. This quote is drawn out so it’s a custom typeface and font.

For the second image, I wanted to make a simple pictograph that represents the phrase in a way that doesn’t use text. Taking it word for word into image, a person points at themself to present “I”/”I am”, a big red X represents “not”, and a clip of a fire with the “proof” stamp on it represents “Fireproof”.

Lastly, the visual with the eye is another representation of the phrase with it being partially literal, as the first word “I” blends into the eye of the person in the image, following along with the rest of the text wrapping around the pupil in black and white colors. The typeface was made with Bungee Shade regular font in 28 pt. size.

NOTE: Right Click each image and download to save them, the formats presented below are JPEG and PNG.

Additional Formats

To download, right click each image and save file.

Angela Alvarez