Maren Brophy

Maren Brophy, Nov 25, 2022

Beginnings in Design 

Kiyoshi Awazu is a Japanese graphic designer born in 1929 and died in 2009. I was drawn to him as his use of traditional themes with modern design elements was inspiring to me. Awazu is said to be self-taught, and unlike most artists, he learned from practice and experience. His career launched in 1954 when he joined the advertising department for a film company known as Nikkatsu. His role in the company was small as he was only part-time and he was involved in just a few minor theatre design projects. In 1955, his poster “Give back our Sea” (海を返せ) became a sensation in the graphic design world. The poster represents the restrictions placed on fishermen due to military conflict and Awazu’s own experience growing up in post-World War 2 Japan. The award-winning poster was recognized by the Japan Advertising Artists Club and represented a turning point in Awazu’s career. 

Give our Sea Back (1955) Kiyoshi Awazu. https://www.nonaka-hill.com/artists/121-kiyoshi-awazu/works/567-kiyoshi-awazu-give-our-sea-back-1955/. This award-winning poster put Kiyoshi Awazu on the map as a designer. The poster is also an example of how Awazu incorporated social commentary into his designs which would become a staple of his work throughout his career.

His Design Work: Many Important Messages, Mediums, and Motifs 

Awazu was a versatile artist who worked in a wide variety of media such as editing, essay writing, photography, filmography, and graphic design. He incorporated his interest in film into his graphic design work by creating movie posters. Along with his involvement in the graphic design world, he also collaborated with architects and urban designers and aimed to address social issues in his work. In the post-war modernism era, design was becoming a vehicle for economic growth.  Awazu remained traditional in the sense that he wanted to create art with a deeper meaning. The rapid change at this time meant that folklore values were rapidly disappearing. One of Awazu’s goals was to resurrect these traditional art forms using ancient printing methods to represent modern symbolism. Awazu believed that a designer’s mission was “to extend the rural into the city, foreground the folklore, reawaken the past, summon back the outdated.” 

Most of his design work resembles elements of pop or psychedelic art, but what really makes his work stand out is his use of colour and symbols which create a unique visual aesthetic. What I adore about Awazu’s work is although it is classified as modernist, it is still incredibly complex and rich. 

The Japan Council Against Atomic and Hydrogen Bombs (1957) Kiyoshi Awazu. This poster was done by Kiyoshi to speak up against atomic and hydrogen bombs. This piece shows his use of social messages in his designs along with post-World War 2 themes. https://pen-online.com/arts/kiyoshi-awazus-psychedelic-prints/?scrolled=2

An example of Awazu’s ability to take the traditional and represent it in a modern context is the “New Spirit in Japan” (1984) poster. On the left, there is a topographic pattern made up of traditional Japanese symbols. Through using modern, thin lines in the wave patterns on the right, vivid colours and bold shapes, Awazu brings a fresh perspective to traditional Japanese ideas. 

New Spirt in Japan (1984) Kiyoshi Awazu, https://visualmelt.com/Kiyoshi-Awazu. This piece is a great example of Awazu’s ability to use modern design elements (simplified shapes, bright colours) with traditional Japanese imagery as seen on the left.

His Impact on Design as We Know it Today

Awazu continued to create up until his death in 2009. His legacy in design continues many years after his death. Between developing graphic design culture in Japan, challenging the status quo of design at the time and advocating for art with social messages, Awazu’s ideologies continue to be inspiration for designers. Kiyoshi Awazu’s work is a reminder that traditions and change can co-exist, and by utilizing elements of both, we can create some truly impactful and important designs. 

Sources: 

https://www-oxfordartonline-com.ezproxy.capilanou.ca/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000005376#oao-9781884446054-e-7000005376

https://www-tandfonline-com.ezproxy.capilanou.ca/doi/pdf/10.1080/17547075.2017.1315222

https://npo-plat.org/awazu-kiyoshi-en.html

https://sabukaru.online/articles/kiyoshi-awazu-reawaking-the-outdated

Maren Brophy, Nov 11, 2022

A Monumental Showcase

In 1851, Henry Cole and Prince Albert (husband to Queen Victoria), organized the famous Great Exhibition otherwise known as the Crystal Palace Exhibition, which came from the name of the palace in which it was held. The exhibition was monumental for many reasons. Most notably, it was the first of the World’s Fairs, a series of exhibitions that were popular around the 19th century and showcased technology and culture. A grand total of around 6 million visitors attended the event. As the Crystal Palace was part of the exhibition itself, visitors marvelled at the impressive glasswork and the scale. Throughout the exhibition, there were displays of cutting-edge technology including microscopes and electric telegraphs. The event was a tremendous success and made £186,000 (which is equivalent to tens of millions today). In addition to the financial success, the Great Exhibition helped bring other global and cultural influences to Britain and helped further the development of design, technology, and science. 

The Crystal Palace for the Great Exhibition of 1851. Dedicated to the Royal Commissioners., London: Read & Co. Engravers & Printers, 1851.

The Wondrous Displays of the Exhibition 

The Exhibition showcased nearly everything one could imagine, from machinery to fine arts, to industrial design and textiles. There are many notable pieces from the exhibition, including a 27-foot-high fountain at the center of the building, a howdah displayed on a stuffed elephant, and the world’s largest known diamond. Exhibitions came from all over the world exposing the British to the art and technology from different cultures. For example, the Indian section of the exhibition introduced attendees to colourful and high-quality Indian textiles. 

A telescope at the exhibition. image is taken from: “The Half Hour Library of Travel, Nature and Science for young readers” Volume: 03 Page: 237, 1896

Scholarships for Science

While the exposure to other international technologies and advances diversified Britain’s design and technology industry, it also demonstrated how other cultures were upstaging the British in this area. Some of the British exhibits lacked in comparison to the aesthetic appeal that the French had, or the engineering that the Germans had. Prince Albert took action to change this and created a series of scholarships. The scholarships were realized in 1891 with the foundation of the Commission’s Science Scholarships. The goal of these scholarships was to help developing inventors and scientists further their research. These scholarships demonstrate how the Great Exhibition still influences our world today. The scholarships (now known as Research Fellowships), are still being awarded over a century later.

The Legacy

The Great Exhibition was incredibly influential for Britain’s culture and technology and was one of the defining points of the nineteenth century. From the profits made, education and culture were further spread throughout Britain. A new cultural quarter was established in South Kensington using the money from the event. This quarter is now home to the Victoria and Albert Museum, Science Museum, Royal Albert Hall and many others. The technology on display at the Great Exhibition influenced our world for years to come such as steam locomotives and the printing press. The Great Exhibition shows us the importance of funding and showcasing technology and design to develop and improve our society. 

Frieze detail in the internal courtyard. The frieze is a commemoration of the 1851 Great Exhibition. Here, Queen Victoria is shown in front of the Crystal Palace in Hyde Park and is surrounded by figures who represent the countries that were a part of the exhibition. Pres Panayotov/Shutterstock

References: 

https://www.theguardian.com/science/blog/2015/aug/28/how-the-great-exhibition-of-1851-still-influences-science-today

https://www.historic-uk.com/HistoryUK/HistoryofEngland/Great-Exhibition-of-1851/

https://www.cityoflondon.gov.uk/things-to-do/history-and-heritage/london-metropolitan-archives/collections/the-great-exhibition-of-1851

​​https://www-jstor-org.ezproxy.capilanou.ca/stable/j.ctvnb7rvd 

I went through a few different iterations for the museum artifact exhibit project before landing on a final cohesive design. At first, I wanted to do something inspired by The Book of Kells/Illuminated manuscripts but decided against it as it was too challenging to re-create the incredibly detailed designs. In a change of direction, I decided to do Greek Pottery instead, specifically black-figure pottery. Greek pottery has always been of interest to me so I felt inspired to research more about the subject. Rather than re-creating an existing piece of pottery, I decided to design my own piece of artwork as a way to better retain and understand what I had researched. Before designing, I did a deep dive into the design behind the pottery. For example, I discovered that white was used for female flesh while black was used for the males portrayed on the vessels. Understanding the mythology of Greece at the time was important for creating an authentic scene. Scenes often depicted on these pieces of pottery included war stories and Greek Mythology. As I decided to portray a war scene, I took time to research the appropriate dress and style for this era. The lion in ancient Greek culture symbolized power which I thought would be a suitable motif for the scene.

As for my design process, I started by researching different items of pottery and designs. Once I finally landed on an idea, I created concept sketches for the layout in Procreate. Then, I went in and drew the greek vase first and then put it into the background I created after. Finally, I used Illustrator for the text. 

Overall, the project went smoothly, but I think I would have benefited from planning out more in advance to save time. I also would have spent more time on the background to come up with a more creative composition. 

In total, this project took around 6 hours to complete. 

The process: 

The final image with text and details, along with adjusted lighting.

Below are the reference images I used for this project:  

This vase was the primary inspiration behind the shape and patterns of my design. 

The piece that was one of the biggest inspirations to me was Heracles and Geryon c. 540 BCE. 

References: 

https://www.brown.edu/Departments/Joukowsky_Institute/courses/greekpast/4887.html

https://www.worldhistory.org/Black_Figure_Pottery/

https://www.joshobrouwers.com/articles/making-ancient-greek-vases-look-red-figure-black-figure-pottery/

https://www.hellenic-art.com/black-figure-pottery.html

 By Maren Brophy, 9/30/022

History and Design 

 Dating back as far as when humans began to walk this earth, we have been inventing different ways to communicate and share ideas. From cave paintings to hieroglyphics, our desire to communicate has led to some of the most valuable pieces of history. Not only that, these artifacts are the basis for what design is today. I have been fascinated with paleolithic and neolithic history. Cave paintings are particularly interesting to me as they combine my love of prehistory with my interest in the evolution of communication. When I learnt about Wandjina I was instantly intrigued. The striking imagery of the paintings and the rich story behind the art instantly drew me to the topic. Images of Wanjina spirts are the oldest sacred paintings found on the planet to date. Found in the Kimberley region in Australia, these incredible pieces of art give us insight into the fundamental nature of humans and our desire to communicate. 

Wandjina cave art in Kimberly WA, Australia. https://japingkaaboriginalart.com/articles/wandjina/

The History of Wandjina paintings 

 It is theorized that the rock paintings of the Wandjina located in Kimberley are roughly 4,000 years old. Stylistically, these rock paintings emerged due to a millennium-long drought which resulted in a wetter environment. Wandjina paintings are done in a variety of white, black, yellow, and red. The paintings are arranged either horizontally or vertically depending on the size of the rock and the spirits have been depicted in either groups or solo. Occasionally, they are portrayed with objects such as a Rainbow Serpent ( a deity seen as a creator god). The figures appear with huge eyes and a long nose and body, but no mouth. 

The dots that are drawn on many Wandjina represent rainfall. https://aboriginalartshop.com/wandjina-rock-aboriginal-art/

Wandjina and Aboriginal Beliefs 

Something that drew me to Wandjina as a topic for this post was how it is one of the first sacred images. It also has a rich story and mythology behind it. In the aboriginal Australian’s beliefs, the Wandjina is a shape-changing being which is associated with rain and fertility. Dreamtime legends (the term to describe the stories and beliefs of the Aboriginal Australians) state the Wandjina are the ones who created the landscape and inhabitants and still have power over these elements. As for the cave paintings, is told that when spirits find a place to die, they put their images on the rocks and would leave the physical world through a nearby waterhole. 

The Power of Design on Story and Symbolism 

Design can be an impactful thing, and if done right, it can be truly timeless. Wandjina is a prime example of this. Something that surprised me about Wandijnas is that they are still revered by the Aboriginal tribes of the Worora, Ngarinyin and Wunumbul. This shows us the impact that these cave paintings had as the imagery and stories that they represented are still an important part of Australian Aboriginal culture today. These incredible images which provide insight into human history also demonstrate the power that the history of design has on art today. For example, the palettes used in Wandjina paintings are used today and their imagery even was said to inspire modern-day depictions of aliens. Wandjina cave paintings are an early example of the use of symbolism as many different aspects of their design communicate the stories behind these spirits. Diving into the art of the Wandjina cave paintings inspired me to think about using symbols and stories behind my design to give them another level of interest. Researching this topic showed me how powerful a design with meaning and a story can be and I am excited to keep learning about the history of visual communication.

Modern day street art of a Wandjina in Perth showing how the legend of the Wandjina has lived on and is still an important part of Australian culture. https://www.researchgate.net/figure/A-Wandjina-style-figure-amid-graffiti-in-Perth_fig3_242558094

References 

Aldridge, R. (n.d.). Wandjina. aboriginal-bark-paintings.com.       https://www.aboriginal-bark-paintings.com/wandjina/

Gillan, J. (2021, November 27). The Mysterious Aboriginal Rock Art of the Wandjina Sky Beings. Ancient Origins. Retrieved October 3, 2022, from https://www.ancient-origins.net/human-origins-folklore/wandjina-rock-art-00701

Korff, J. C. S. (2020, July 16). What are Wandjinas? Creative Spirits. Retrieved October 3, 2022, from https://www.creativespirits.info/aboriginalculture/arts/what-are-wandjinas

Plunkett, J. (2022, February 1). Wandjina Dreamtime Story. Japingka Aboriginal Art Gallery. Retrieved October 3, 2022, from https://japingkaaboriginalart.com/articles/wandjina/

Wroth, D. (2017). Aboriginal Rock Art of the Kimberley – An Overview. 

japingkaaboriginalart.com. https://japingkaaboriginalart.com/articles/kimberley-rock-art-overview/

My first project for IDES 141 was to create a page like a yearbook spread that encompassed who I am. 

To begin, I started with brainstorming different design palettes and layouts. I was drawn towards blue and earth tones aesthetic wise, but these colours also represent my own personality. Blue is associated with calm, freedom, intuition, imagination, and sensitivity which are all prominent traits of mine. The complementing earth tones display my love of the natural world. I then bounced around many different layout ideas such as a magazine or a character sheet, however; none of those concepts suited me.  Eventually I landed on the idea of a scrapbook/sketchbook look which felt a lot more like Maren. 

Visuals are my language, I learn through visuals and I think in visuals. So naturally, my spread needed to be image heavy with less emphasis on text. I illustrated scenes that would match what was in the text to create an engaging layout. One noticeable design aspect I employed was my use of celestial and sky imagery. I’ve always had my head clouds (literally and metaphorically), therefore; I felt using an image of some dreamy, watercolour looking clouds would be the perfect thing to tie everything together. Finally, you will notice that I incorporated sketches around the layout to organize the design in a creative way and add an extra visual novelty. 

On the topic of layout, to ensure my composition was pleasing I used a variety of organization methods. These methods include using the pen tool in Illustrator to create a natural outline around my photos and using arrows to help connect the text with their corresponding images. 

Overall, I had a ton of fun with this project even if developing the concept took a while. Because of the effort I took in creating this project and the thought I put into it, I’d give myself an A. I’d estimate I spent about 48 hours in total working on this project.