INSPIRATION: Swoosh Art

Swoosh Art is an anonymous art project recently launched in January 2013. In the series, the iconic Nike swoosh, logo and tagline "Just Do It" are superimposed into classical paintings and sculptures, in lurid or subtle colours. The swoosh looks visceral and stark contrasted against the soft flesh of the classical figure, yet there is an undeniable cohesion in the flow and movement of the compositions. The odd combination reveals a fundamental set of principles shared between classical art and modern design.

La Mort de Marat (1793) by Jacques-Louis David

The First Mourning (1888) by William-Adolphe Bouguereau

Samson and Delilah (1878) Alexandre Cabanel

Hercules and Lichas (1796) by Antonio Canova

Historia (Allegory of History) [1892] by Nikolaos Gysis

Ruth (1835) by Francesco Hayez

Tasso In the Prison (1853) by Louis Gallait

PROJECT #2: Art Nouveau Soap Box

For my Art Nouveau Soap Box, I chose to base the brand and the design on a dragonfly (or the libellule in French, a reference to the European origins of the style). Much of Art Nouveau work was inspired from nature, so I thought it was fitting to organize my design around the same principles. The dragonfly was a popular motif in the movement, and is considered a symbol for "pure water", which I felt was fitting for soap. I drew much of my inspiration for colour and form from the art nouveau jewellery, particularly that of René Lalique, a designer who created intricate, vibrant and decadent pieces. 

Dragon Fly Woman by René Lalique |  Art Nouveau Dragonfly Brooch by Elizabeth Bonte

I felt a traditional rectangular box would be unsuitable for the subject, so I chose to create a box that was curvilinear in its shape, and would open organically. By making the wings as the clasp to open the box, I was able to add an additional sculptural element to the packaging, that would reference my original idea of a dragonfly landing on water. The packaging would be a atypical for a mass produced product, but I wanted to create a luxury product for a more bourgeois, upperclass consumer.

Resources:

1. Box Template
2. Dragonfly Wings
3. Font: NouveauFLF by Casady & Greene

PROJECT 1: Victorian Matchbox

For my matchbox, I took inspiration from the following examples:

In my design I wanted to mimic the Victorian decadence of the third design, using the limited colour palette of the first two. I also used the classic Victorian matchbook design style of the a cartouche or oval in the centre, with an animal to identify the brand. The font I chose was Mesquite Std, which is a bold, decorative slab font that would be easily readable on a small box. I chose to leave out any other identifying copy, because the contents of the box would be recognized by its size and brand.

Resources: 

1. French Borders
2. Snake Vector
3. Victorian Wallpaper Pattern
4. Font: Mesquite Std

INSPIRATION: #0000FF

Happy New Year  (2013) by Roseanna Afrika M

Le KAB de L’Usine Posters (2010) by Todeschini Mamie  

Ultimate Sweatshirt Design (2012) by MILKBBI (aka Justin Wallis)

WEEK 1: What historic styles and designers interest you and why?

My work has mainly been focused on illustration, so I'm not very knowledgable about important design  history, styles or designers. Hopefully through this course and throughout the program I will improve my understanding of design. Here are some historic styles and designers who I know of, and am interested of studying in further depth:

Peter Moscoso, Matrix Club, 1967.

PSYCHEDELIC POSTER ART

The posters and album cover art that flourished from the 1960-80s attracts me with its jarring use of colour, confrontational compositions, decorative typography that challenge legibility, and bizarre imagery. The design is impractical, daring and irreverent, which are useful characteristics in a culture of visual overload. Includes important designers such as Peter Max, Tadanori Yokoo and Victor Moscoso.

Paula Scher, Public Theater, 1995.

PAULA SCHER
Scher's design interests me through its ability to command attention, and convey action solely through bold typography, limited imagery and simple yet vivid colour palettes. Her work is minimal in its style, yet incredibly maximalist in its effect.

Neville Brody, Fuse (Magazine Cover), 1994.

NEVILLE BRODY

I recently discovered Brody in our Creative Thinking for Designers class. Initially I was repulsed by Brody's work however once I began learning about his influences and design process I began to appreciate his style. His design is not easy, and not pretty like a lot of design is today. He uses inharmonious colour combinations, illegible fonts and impractical layouts but its these aspects which make his work so compelling. It challenges viewers expectations of design, requires dissection and rewards closer inspection.