Early Reflections:
My fascination with dictatorships started at a early age. Around the age of nineteen I was studying for my A - levels in the UK. One of my graphics projects was to design a book cover. This period was during the early stages of the first Iraq war during (1990-1991). After some research into Saddam and the previous atrocities he had already inflicted on the Kurds and his own people, I felt that showing him on the book with a close up to his eyes, was appropriate. The title in bold RED said it all, "Through the Eyes of a Dictator". The face was made up of thousands of stipple dotes that were placed more heavily in areas of greater tone, to give the effect of an old broken photograph, and some how gave it more of a military feel. The piece was a success, just wish I could share it with you all, as its in storage way back in England.
This interest in politics and dictators continued throughout my illustration career, as the style I created catered well for the newspaper and their supplements. This led me to go on to work for most of the major newspapers in the UK, not always on a regular bases, but when the right article fitted with my approach and style I would some times get an email for a job that needed to be done before 5pm the same day /or by tomorrow morning, such is the nature of the newspapers and fast turn around. (I WILL SHARE SOME EXAMPLES OF MY WORK ON MY BLOG, WITH COMMENTS)
Steven Heller - "IRON FISTS"
With reference to "Steven Heller" whom I am a Big fan of with the writings, opportunities and support he has given Illustrators in the past. The article on "IRON FIST" really rocked my boat with how he describes the regimes and dictators that founded them, with all the propaganda and attention to detail in all forms of advertising, used to get their message(s) across. The regimented colours that go with advertising Hitler with the use of a b&w photo centred on a page with a solid black background symbolizing power, and reminded me of the the idea of controlling societies through a totalitarian state, with reference to the books by George Orwell, 1984 and Animal Farm, with that whole idea of BIG BROTHER WATCHING YOU!. The text being a sans serif, with reference to the square dot above the I, as an indicator to the Hitler moustache. I made a similar reference in a self initiated portrait I painted of "Robert Mugabe" to whom I felt very strongly about at the time… and still do. The reference was linked to Hitlers moustache, as Mugabe has one that's very much the same. Found this interesting with an African that was educated in England, and granted power to his own country by the ex-colonial empire, England.
The colours I used were referenced to the colours of Zimbabwe, with the flag embedded into the tie, which also reflected his skin tones. The blue suite gives of a sense of power and royalty, with the purple background used to project a sense of tranquil calm and healing for propaganda purposes. Notice the Hitler style moustache with the feather like paint strokes that decorate his glasses. This was a reference to Zimbabwe, and how rich they once were in wildlife and nature, with one of the strongest economies in Africa. You crazy Afro Hitler, what have you done!
The quote below is taken from the "INTO THE PINK" website by Jessica Helfand.
http://www.designobserver.com/observatory/entry.html?entry=4907
I love the way Oscar writes, even I have never any of his books from start to finish. This piece of text, with the descriptive and creative use of words inspired me to want to know more about the colours red and pink… I will pursue more of Oscars readings, and also investigate the colours pink and red further, and how they are used in every day society and contemporary art.
Quote by Oscar wild
Which makes (Red) and (Pink) all the more remarkable. "Mere colour," wrote Oscar Wilde, "unspoiled by meaning, and unallied with definite form, can speak to the soul in a thousand different ways." Unallied with form it may be, but when color connects to an institution, a purpose or a cause, something extraordinary takes place. It goes far beyond branding, because it hints at the emotional degree to which we respond to something that transcends language. To speak to the soul may seem a lofty goal, but it is by no means an impossible one.
Proposal:
My idea will be designed for the purpose of a public are piece. It will bring attention to a particular issue that has always baffled me since my arrival here in Vancouver, Canada - that Asians make bad drivers. I envision the piece to consist only of selected type, with the emphasis on limited colour, size, bold, italic, leading and kerning etc… The type will be designed within a banner format, much like the ones you see situated around the city of Vancouver. I feel that initially I would focus the public art piece in the heart of China Town, and then in Richmond, where the Asian population is 59%, with the highest immigrant population in the whole of Canada. The slogan initially was "NOT ALL ASIANS ARE BAD DRIVERS" - but after asking several friends they felt that "NOT ALL ASIANS MAKE BAD DRIVERS" worked better. I think the "MAKE" is more subtle and less possessive, and subtly more considerate. I don't want to pigeon myself in a hole by trying to justify the use of words, as both slogans contain racial stereo typical beliefs, that imply that white people are more superior and make better drivers. From my findings and gaining knowledge first hand in a variety of situations from kids birthday parties, to adult house parties and working on a construction sites in Richmond, were racial tensions seem to run high, I have learnt to disregard this term as a myth that has a cultural stigma attached to it, meaning that Asian culture whether Chinese or Japanese have strong cultural beliefs that the average Canadian doesn't really understand, apart from what they initially see first hand, on TV, festivals and the food they enjoy to eat. For example, if you enjoy eating Chinese food, why not accept the people and culture more, and the contributions they have made through generations to help make Canada what it is today. Vancouver is a growing metropolis where its citizens should embrace the growing diversities of its growing multi cultural society.
Chosen colour palette based on the pretty dolls below.
The fonts I chose to use are standard fonts you get with In design. The first is a sans serif font ‘Skia’ for the word(s) ‘NOT’ and the ‘MAKE’, the reason for this is that it has a serious yet comical feel to it, with the N,M,A and K looking like they could be based on bamboo that’s been twinned together. The line below the ‘MAKE’ also helps to control the viewer to red it, even though it is reasonably low in the hierarchy of the design. Now the choice of font for the ‘ALL ASIANS’ is Papyrus that could be considered a bad choice to a designer /typographer, but my decision to use it was based on the need to communicate the essence of Asian culture to the public, with most not really understanding what it means to be Asian. I used IMPACT as an obvious and appropriate font to use - this is due to how it can start to dominate the page as the pt size is increased. I tried to create a feeling of animation by angling the word BAD 3 degrees to the left – with the word DRIVERS 10 degrees to the right, with some over lap, kind of like some thing you would see in a bad PowerPoint presentation… death by PowerPoint.
Design variants for banner to be used as a public art piece placed in and around China Town.
Chosen design below:
Banner in context.
Conclusion:
I feel reasonably happy with the outcome of the banner, based on the time research I have committed to this project. The colour combination was based on the Mao dolls, with him depicting himself in a child like regimented authoritarian manner - “The Father of all Children of the Republic”. This is where the Mao brand starts to create momentum and loyalty among its followers, and in this instance the new youth of the China republic. I found the colours a cliché to what we still see today, especially in China Town. Is it that these colours are embedded now as part of Asian culture? The reference to yellow as the colour of Asian’s skin /or to be more specific Chinese skin. The association of yellow is a way of colour coding ethnic cultures, much in the way Afro Caribbean’s, Africans and Jamaicans etc… are referred to sometimes as having black skin. The bright red, orange and yellow become more grounded/balanced by the use of the neutral safe grey.
I want to pursue this project more thoroughly, and spend more time in and around China Town and Richmond gathering sketches, photos, colour studies with collected materials such as: packaging, food etc… oh and must not forget the dried bats on sticks.
Thanks for reading!
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