Branding

  The process of generating these posters in Photoshop was not without its rather intricate technical and mental hurdles.  From a technological point of view, I had to face the problem of having a long learning curve, that would require me to learn such things as embossing, texture overlays and drop shadows. Working on photo-shopping the pictures of real people with being able to make sure they are not deformed, uses a lot of manipulation and editing skills.  Deciding what typefaces to use, how to make it visible, by blurring or adding some embossing, or by applying some drop shadow, and not overwhelming the message with this, requires precision. Theoretically, bringing the sensitive subjects that define racism and inequality through one visual form daunting.  Each poster was to deliver short and weighty message which should suggest complex concepts but to avoid redundancy.  It was part of the mission to choose images and signs that the audience might relate to ...

  To realize what my poster design should look like, I intended to use some particular techniques that should not only be attractive to the viewer, but also express a pertinent message about discrimination. Conveying strength and unity by using bold visuals, as the intertwined black and white's and the clenched fist, was meant to raise hope and help workers. To inscribe symbolic imageries into the design, for instance the guns locked by people of different races, was a cue for the viewer to grasp the connectedness of racial problems and to look for collective actions. For this purpose, I applied typography to highlight important textual segments and phrases which helped to increase the luminous impression of the poster and to stress on the central theme. Aim I had initially was to craft the design visually appealing and stimulating to make the viewers think about role they play in bringing an end to racism.

How Yusaku Kamekura managed to mix various cultural influences and modern design characteristics proves how competent he was in that field during the international competition of Yamagiwa in 1968.  As a student Japanese designer, I am growing to understand the value of design in the art world as it overflows to overcoming the cultural divide.  While meditating upon Kamekura's notion, I have been motivated to develop a racial poster that upholds complementarity and stimulates cooperation.  I picture in my mind inserting emblems and pictures from different cultures that signify the same.  The use of a bright color palette and dynamic designs will ensure attention is grabbed and the message of harmony is sent precisely.  I will thoughtfully look at font decisions and composition to make sure that the slogan is very well seen by a diverse audience.  Kamekura will provide me with references and from there I will make my own design that will go beyond cultural bo...

 

Give me a sign: The Language of Symbols      Exploring "Give me a sign: The exhibition titled "The Language of Symbols" at the Cooper Hewitt was a greatly done marvel that explored the complicated sphere of visual language.  Through the narration of the evolvement of the accessibility sign, it became clear that design was harmoniously working with the social activism and inclusivity domains.  It thus illustrated the complicated way in which a logo may develop into a symbol of accessibility and representation on a wider scale which merely represents the ongoing discourse of incorporating disability rights and universal design principles. Consequently, symbol inspection of the Olympic sports showed how there is more to the simple imagery than one would expect.  Every symbol was more than just another way of putting the nature of the sport in imaginary forms. It also gave a flavor, cultural and historical context, becoming an affirmation of the common human ex...