lghadeerr

[lghadeerr]

تخليص بحث بعنوان: تفكرات الفكر الوجودي في النحت المعاصر

متطلب لمقرر قضايا معاصرة في الفن FA413

الطالبة: غدير مجيد سلمان 20186149

تحت إشراف د. سماء الهاشمي

[lghadeerr]

FA224

Mockups of my final story

[lghadeerr]

"Painter, photographer, film maker, video artist, whatever you do, nobody else can do that better than you."

This is a video of artists giving young artists some advice that might help them to motivate, and keep up the good work.

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"As a designer, I have been disillusioned by the quest for recognition and awards - design should spread joy. I have made my own infographics in the past, but I never considered using them for anything other than my own amusement. Perhaps with the inspiration of this talk, I will!"

[lghadeerr]

Logo analysis:

Red Bull logo has two bulls readying to fight because the drink before creating red bull was made for Muay Thai fighters to boost their energy. The logo kept developing throughout years achieving a great success. This picture is the current logo of the brand. Using a silver and blue background was a success and it made it even more outstanding although a focus group considered it as a failure but the creater knew it was a good idea. and it was indeed.

I just like everything about the logo, it's noticeable and unique. It just can't be ignored.

[lghadeerr]

Logo analysis:

As we all know that Fanta is a brand for soft drinks. The logo is so obvious and you actually can tell the first time you lead your eyes on it. The use of bright orange color background shaped like an orange represents the orange flavor obviously. They made the text bubbly to represent the idea of how fun and energetic the brand is. The logo colors also show that the drinks can be prefectly consumed in fun gatherings like on the beach, festivals etc..

I personally like the logo and its energy.

[lghadeerr]

Interview summarization:

This interview was made by designboom with the graphic designer Kevin chao.

designboom: what originally made you want to become a graphic designer?

kevin chao: like many other designers I started studying graphic design without fully understanding what it entails. I can thank my high school death metal band for my beginning. in order to have the right to play, we were forced to sell a certain number of tickets. in order to successfully solicit random teens outside of hot topic, I was forced to create band logos, posters, and merchandise, re-design the tickets, and learn some HTML for our myspace page. this was the only way. when it was well-received I decided it wouldn’t be a bad job if the whole band thing didn’t work out…

my journey has been great but admittedly a little niche. I knew from the start I would enjoy the fast pace and intimate working environment of small studios and have stuck to my gut. the largest place I worked at was maybe around 12 people. but honestly even in small numbers, the close quarters taught me so much about working in a tight-knit snug-fit team.

how would you describe your approach to design?

I try to approach design from an honest point of view. if you’re branding a product, it should highlight all of the reasons someone might want to buy it (e.g. useful, ergonomic, culturally rich, beautiful, etc.) rather than create an illusion of filling the role of something it doesn’t. the market is over-saturated with lifestyle brands that market objects as extravagant as carbon fiber toilet paper dispensers. we’re not in the business of maximum duping. if we’re good at our job, we’re communicating significant ideas that are specific to the project. ‘good design’ cannot be achieved by the formulaic mentality that seeks to successfully put the object in question into the hands of the bearded 28-year-old standing before a brooklyn garage door

DB: do you have any superstitious beliefs or rules that you live by?

KC: superstitions are used as attempts to explain why bad things happen. I think that bad things just happen.

[lghadeerr]

Interview summarization:

This interview was made on april 15, 2015 by Kaleem Aftab with the artist Anish Kapoor. Here are some of the important questions that were mentioned:

Mr. Kapoor, you are in the privileged position where you are able to make fantastic, elaborate art works that cost a lot of money. Does that mean you have a bigger canvas to work with than other artists?

I don’t think it works like that. I probably am in a privileged position, yes. And cost is always an issue, of course, but I think the bigness of a thing can also be banal. Being big can be meaningless. It’s not the point. The point is that bigness has to be related to what it’s about, the content. I hope the scale of my works is way bigger than what you see. I hope they live in you.

In what way?

I want to write a grand opera! I want to deal with all the great human issues.

Would you say that your work is introspective?

I always have been introspective. It’s like going to the psychoanalyst, where you lie on a couch and say, “I feel terrible about this,” and then suddenly there is this whole thing in the room and you think, “Look what’s happened, it’s all here!” Even the very big work that I made at the Tate that was called Marsyas. I called it that in a way of course on purpose because it’s the myth of the flaying of the man Marsyas by Apollo. The object itself, this stretched form, is referring to an interior. It’s like a stretched skin.

Over the course of your career your work is striking for the way you use different materials. How do you choose the material that you work with?

I’m very drawn to exotic materials. I like pink marble. It depends on what one is trying to do. I have worked with lots and lots of materials. Vantablack is this incredible new material. It’s the blackest material after black holes. At the moment they can only make it the size of an A4 sheet of paper, so we are working together trying to get the scale up. But a new material brings all kinds of possibility. I’ve been long engaged in the idea of the void object, the object that absorbs all light, which is kind of a non-object in a way. And this material seems ready made for such a thing.

[lghadeerr]

Advertisement analysis:

This ad was made for foodonclick.com, it's an online website for ordering food. It's very smart and kind of funny. Which makes it special and outstanding. The text that says "Ordered wrap got crab?" helps to understand the idea of the ad, which focuses on the problem of getting wrong food orders when ordering by phone calls because people have different accents so it's common when workers get you order wrong, but by this website it's much easier, because you could choose whatever you want from the menu and confirm it by just a click.

The design is good but it would've been better if the logo of the website was placed somewhere else.

[lghadeerr]

Advertisement analysis:

This ad was made by Heinz to advertise their ketchup. Heinz make their ketchup with very red and ripe tomatoes only from heinz seeds, and that's probably what makes the flavor thick and unique.

Using slices of tomatoes to represent the bottle of ketchup implises that it's prepared fresh by hand. The text says "No one grows Ketchup like Heinz" that also supports their idea of making every bottle of ketchup a fresh tomatoes based. They have another famous quote on other ads that says "HEINZ.GROWN,NOT MADE." which also shows how rich and original their tomatoes are. I think the ad is pretty good and obvious, i like it.

[lghadeerr]

Bahrain premiere international art fair - ArtBab 2018

The third edition of Art Bahrain across Borders (ArtBAB) opened on March 14, 2018, at the Bahrain International Exhibition Convention Centre.

It serves as a catalyst for the future of Bahrain, Bahraini artists and arab art in general. Its aim was to strengthen the base of Bahraini artists as well and it offers a chance for people outside of Bahrain to learn more about Bahraini art, and shows how strong and cultured Bahraini art is. The documentary video displays a huge amount of artworks of many different participants which shows how passionate about art Bahraini people are.

[lghadeerr]

[ Cézanne Portraits exhibition ]

Cézanne Portraits is the first exhibition devoted to the famed post-impressionist’s portraits from across his career. The exhibition explores the unconventional aspects of his portraiture, the role his portraits play in the development of his radical style and method, and the range and influence of his sitters. Rather than accepting commissions for portraits, Cézanne painted them as part of his ongoing experimentation as he searched for a pictorial language to capture his intense perceptions of the world. He rarely painted people he did not know; instead he portrayed himself, his family, his friends, art-world admirers, and working-class inhabitants of his native Aix-en-Provence with whom he felt an affinity.

The exhibition brings together some 60 paintings drawn from collections around the world. They encompass his entire career and include portraits made in Paris, where he went to launch himself as an artist, and in Aix, which remained his anchor throughout his life and where he eventually settled permanently. Several paintings are exclusive to the National Gallery of Art’s presentation, while some works have never before been exhibited in the United States. The exhibition is accompanied by a fully illustrated catalog with essays by John Elderfield, chief curator emeritus of painting and sculpture at the Museum of Modern Art, New York; Mary Morton, curator and head of the department of French paintings at the National Gallery of Art; and Xavier Rey, director of the Musées de Marseille. Also included are a biographical essay on Cézanne’s sitters by Alex Danchev and a chronology of the artist’s life by Jayne S. Warman.

The exhibition is curated by John Elderfield, chief curator emeritus of painting and sculpture at the Museum of Modern Art, New York, with Mary Morton, curator and head of the department of French paintings at the National Gallery of Art, and Xavier Rey, director of the Musées de Marseille.

It was organazied by the National Gallery of Art in Washington, The National Portrait Gallery in London and the Musée d'Orsay in Paris.

[lghadeerr]

Assignment 6 : Principles of graphic design exercise

We must design in this assignment and present 1 artwork that demonstrates each of the assigned principles.

My principle was proportion, I chose to represent the (out of proportion) where it shows two things that don't match the size at all, so i took a photo of Bucky's figure and my nephew, and i editted it to make the the figure looks larger than a real human body.

[lghadeerr]

Assignment 5 : Logo Redesign Exercise

This assignment about findy a sample of a logo that you wish to redesign. Analyze and criticize it in terms of its visual, aesthetic, social, economic, and /or political dimensions. You may also suggest ways of improving the logo.

Redesign the logo in Adobe Illustrator based on your analysis and suggestions.

- The first picture is the original logo, as we all know stradivarius is a type of violins, that's why their logo has a music note, it's very simple.

- in order to improve the logo, i chose a very fancy gold font on a black background that has violin strings on it.

[lghadeerr]

Assignment 4 : Photography Metaphor Exercise

This Assignment abot Taking a photograph of any landscape, street, building, objects, etc.

2. Use Adobe Illustrator to draw additional shapes or lines around it in order to convey a specific figure or item metaphorically. Limit your composition in the A4 size artboard. You should begin with several sketches and planning.

I chose an old photo of some cafe that has swings and i drew an imaginary girl sitting there.

[lghadeerr]

Assignment 3 : Barcode Design Exercise

This Assignment abot Drawing any composition in Adobe Illustrator that uses the barcode lines.

• The main color must be black and white but you can add one more color.

I drew a scarf and i used the barcode lines as threads.

[lghadeerr]

Assignment 2: Typographic logo design exercise

This assignment is about choosing a word that reflects a certain idea or a concept, then transform it into a logo that mainly relies on typography through manipulating certain aspects of the letters in order to reflect the signification of the word.

I chose the word Book and i made the K looks like an open book.