I found this picture while I was reading articles about the FIFA scandal and the major violations of human rights in Qatar. Some artist, who was sadly unaccredited where I found this picture, took the logos of international brands who support and donate money to FIFA and manipulated their logos to represent the fact that they are also supporting slave labor. The men lifting the larger and larger bars of the Adidas logo in the middle of the desert sends a clear message. When I first saw the image the shape of the logo seemed to reference the building of the pyramids in Egypt, which caused the death of tens of thousands of people. The artist in this case is implying that holding the World Cup in Qatar will have a similar death toll. This manipulated design sends a clear and unflinching message.
This image is a great example of both color theory and typography. The bright green and blue are analogous colors and very refreshing to the eyes in a way that suggest the drink would be equally refreshing to your palate. The typography is also fresh and bold and exciting, so the two design elements have a great harmony and there is no need for any further images.
As I read Vignelli’s Canon, I was reminded many times of the work of Celeste Rodero, a Hawaiian woman who lived in Richmond for a while before making her way to Portland. Most of her work is three dimensional, and she designs a lot of collections with a cohesive concept. Her aesthetic is perfectly balanced pieces that speak volumes for themselves. For this designblitz, I chose a few of her pieces that reflect most clearly her minimalist use of space and elegant balance of her designs. The first is a screenshot of part of her thought process. When this was originally posted, Celeste included a long explanation of why she chose the shapes that she did and the number that she did ect ect. If you recall my reflection on Vignelli’s Canon, I mentioned that I didn’t realize how much of design was the thought process as opposed to raw artistic talent. Well, Celeste Rodero has a boundless amount of both of these. The second photo is of one of the pieces from another collection, but it still has the elegance of design that is present in all her work.
The final picture in this set is of a couple planters that she built. These objects play with our sense of balance. The concrete bottom of the planter to the right is in direct contrast with the perceived weight of the transparent glass and plastic sides. This sense of a heavy bottom and light sides is magnified and taken to the extreme in the case of the planter on the left. In this case, there is the same heavy concrete base, but there are no sides at all, which is an extreme form of the asymmetrical design exhibited in the piece on the right.