History of the Disney Studios Logo

Since its founding in 1923, Disney Studios has been pushing the limit of animation, bringing a world of fairy tale into our reality. 

Aside from Disney’s success in movies and animation, as the largest media company in the world, Walt Disney’s company logo is one of the most iconic, recognizable, logo in the world. 

The Walt Disney Studios we know grew out of the “Disney Brothers Cartoon Studio”, founded  in 1923 by Walt and his brother Roy.

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 The early Disney logo was simple: black letter spell out the name of the company.

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wail-disney_revolving_mickey_logo

  The success of Micky Mouse in 1928 brought the company to the next level. Mickey Mouse, as the mascot of the company, made appearances in almost every logo design.

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In 1995, Pixar and Disney released the world’s first computer animated movie Toy Story. With the help from Pixar, Disney revolutionized the animation industry, bringing the world in a 3d era. Along with the success of the movie, Pixar helped Disney create a 3d logo, featuring Cinderella castle, a shooting star, and company name spelled out down below; very similar to the Disney logo we see nowadays. 

The “Disney font”, introduced around this time, has become an iconic symbol as well. “The typeface is not, as many assume, based on the actual handwriting of Walt Disney; rather, it is an extrapolation of the Walt Disney Company’s corporate logotype, which was based on a stylized version of Walt Disney’s autograph. First released in 2000, Walt Disney Script was continuously updated and eventually renamed Waltograph in 2004.” (Waltograph, wikipedia)

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With the advanced of animation technology, Disney Logo went through a makeover. Continuing use the same same color theme, font, castle and the shooting star, however the current logo took a realistic approach, with help of modern technology, showing incredible details. “This picture serves to be even more eye-catching to the average viewer and, like the original logo, serves as an example of the technological abilities of the company.”(Walt Disney Logo,logaster )

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The Disney Logo is a success in countless ways. The spell out “Disney” in Waltograph has become an icon for varies ages of audiences. “The Disney logo remains a symbol of growth, magic and entertainment.”(techcty.com)

 

Resources:

https://www.designyourway.net/blog/graphic-design/the-disney-logo/

https://www.logaster.com/blog/walt-disney-logo/

https://en.wikipedia.org/wiki/Waltograph

The Disney logo: All there is to know about the Walt Disney brand

Movie Parasite International Posters / Irene Lee 3171320

 


The movie, Parasite, has been gaining international recognition. As a person with a Korean background, it was fascinating to see how such Korean cultures contained in the movie were able to be communicated worldwide. Throughout various international film festival nominations, many different versions of posters were produced as well – which will be the topic of the post today.


 

South Korea, Kim Sang-man. (“Movie Poster of the Week: The Posters of ‘Parasite’”)
South Korea, Kim Sang-man. (“Movie Poster of the Week: The Posters of ‘Parasite’”)

The original Korean poster was designed by Kim Sang-man, a film director who started his career as a poster designer. Despite the fact that the intension of the designer is not really known, the design choices communicate the content of the movie. The major characters are featured with numerous significant objects used in the movie which deliver menacing feeling within settling and organized tone. The semi-anonymity of the characters, their eyes being covered, also adds the dramatic tension to reveal the genre of the film. The socioeconomic classes of the families are specified with the colour of the boxes covering the characters’ eyes – colour white is used for the Kim’s family, while colour black is used for Parks. The custom designed typography adapting parasitic plant features also resembles the theme of the movie, depicting how people in society are closely connected, while “feeding” each other.

 

 

 UK, La Boca. (“Movie Poster of the Week: The Posters of ‘Parasite’”)
UK, La Boca. (“Movie Poster of the Week: The Posters of ‘Parasite’”)

The poster designed by La Boca, in U.K, is divided into 9 blocks, emphasizing the architectural spacing of the movie. The divided, but yet still connected “rooms” represent important places of the movie, containing signifiers of the film – such as peach, toilet and scholar’s rock, etc. Its unique stylistic choices alongside the bright and vibrant colours, would be the Oscar under the living room table, although it was released ahead of the Oscar nominations. While carrying the designer’s personal prediction, it adds wit, as a hidden element.

 

 

UK, Andrew Bannister.(“Movie Poster of the Week: The Posters of ‘Parasite’”)
UK, Andrew Bannister.(“Movie Poster of the Week: The Posters of ‘Parasite’”)

Another example of alternative UK poster is made by Andrew Bannister, which is designed to be reversible. The letters of the title divide the plane in half, vividly presenting the contrast of two different families. The characters are walking down and up the stairs depending on the point of view. This illustrates the sharply-setup-storyline that happens based on a single architecture, both metaphorically and physically depicts contradicting socioeconomic classes. Colour use is also echoing the theme, while the highlights and shadows are done with the colours from the other half for the balanced harmony. This poster also depicts few of the main signifiers such as the self-portrait and the scholar’s rock.

 

 

South Korea, Parasite Poster (International). (“Movie Poster of the Week: The Posters of ‘Parasite’”)
South Korea, Parasite Poster (International). (“Movie Poster of the Week: The Posters of ‘Parasite’”)

Meanwhile the previous poster chose to represent the story with use of clear lines, two-dimensional treatment of the colours, ad simplified figures – here is another alternative poster made in Korea targeting the international audience. Unique enough, the entire poster is done with ink wash painting, which connects to the concept of the scholar’s rock functioning as a fortune teller. Placing the sueseok (scholar’s rock) as the main background feature, the two families from different socioeconomic status are positioned. Interestingly, the water reflection of the characters is reversed, to emphasize the similarities and differences of the characters as members of the society.

 


Citation

“Check out the Brand New International Poster for Bong Joon-Ho’s Parasite.” Little White Lies, lwlies.com/articles/bong-joon-ho-parasite-new-international-poster/.

“Movie Poster of the Week: The Posters of ‘Parasite.’” MUBI, 24 Jan. 2020, mubi.com/notebook/posts/movie-poster-of-the-week-the-posters-of-parasite.

Design in the wild- DHL

Eugene Yang

#3160515

I’d like to think that the logo of DHL is one of the most iconic logos in the present. Before I started to write this blog, I googled ‘most famous logo designs’, ‘iconic logo designs’, and more, to get an inspiration. Then I found a lot of Nike, Google, Apple and so on- and of course, it goes without saying that these logos are very much iconic. However, DHL- was nowhere to be found. In this blog, I will be explaining about how the DHL logo was made, and why this DHL logo deserves much better.

DHL logo (2002-present), developed by Nitsch Design
DHL logo (2002-present), developed by Nitsch Design

Personally, I just love all the design elements from this logo. The mustard-ish yellow background and bright red colour from the typography goes well together, the colour scheme just draws my eyes to it. I like how there’s a line going across the typography so it does not look plain or boring, and three red lines on both sides give me a sense of speed, which I believe is suitable for express mail service company.

This design was created by Helge Rieder, who is a former creative director for Nitsch Design from 1995 to 2003. From his own article ‘An “ugly” T-shirt for  £185? Nuts’ Rieder states,

“From the beginning we developed a strong, concise and remarkable colour concept as the main anchor for the Deutsche Post identity. At that time DHL was already an established brand in the US and we decided to make only slight changes to the logo itself (adjusting the angle of the letters and the spacing between them, opening the counterforms and adjusting proportions and the shade of red) to bring it into line with the Deutsche Post brand family.”

 

 

 

DHL logo (1969-1983)
DHL logo (1969-1983)
DHL logo (1983-2002)
DHL logo (1983-2002)
DHL logo (2002-present)
DHL logo (2002-present)

Considering what Rieder said from the quote above and by the glance of these past logos, it is noticeable that not a lot has changed from the first DHL logo to the logo they have now. They all have the similar bold italic typefaces and they all give a sense of speed using lines and shapes. A big noticeable change is the change of colour scheme, from red and white to yellow and red colour palette.

In the same article, Rieder explains about DHL’s new colour concept:

The colour concept (replacing the white with the Deutsche Post yellow) was important for brand recognition. Still, establishing a global brand on a long-term basis requires market penetration and patience. Today DHL is a brand leader and almost everyone recognises its yellow vans.

 

The new colour scheme was applied to not only the logo itself but also other parts on Deutsche Post and DHL, such as  icons, brochures, uniforms, screen designs, packaging, and more, according to the post ‘Deutsche Post AG- Brand Identity on Behance’ by Helge Rieder.

I believe that having their own symbols/emblems, or a unique colour scheme, or a special typography recognized by most people are some of the important traits for brand logos to have. Such as Nike, Starbucks, Adidas, Mercedes-Benz and so many other big name brand logos have one or more of those things. And I’d say that DHL also has one of those traits, which made me believe that the logo of DHL is one of the most iconic logos in the world along with the brands I mentioned above.

 

 

 

(this looks more than 500 words but without citation it’s not)

works cited

“DHL Logo.” 1000 Logos The Famous Brands and Company Logos in the World, 1000logos.net/dhl-logo/.

Rieder, Helge. “An ‘Ugly’ T-Shirt for £185? Nuts.’” Financial Times, 30 Mar. 2016, www.ft.com/content/a948135a-ed08-11e5-bb79-2303682345c8.

“History.” DPDHL, www.dpdhl.com/en/about-us/history.html.

Rieder, Helge. “Deutsche Post AG – Brand Identity.” Behance, 28 June 2014, www.behance.net/gallery/188476/Deutsche-Post-AG-Brand-Identity.

Junny’s “Feel that” album cover

This track was released on August 1st, 2018. Junny is a Vancouver based Korean hiphop R&B artist on his way to mainstream but not quite yet. Personally I’m not that into R&B music, but when I saw the album art for this, I just HAD to listen to the song. The song wasn’t my favourite genre, it went really well with its cover. My favourite part of this piece is the halo of lines on the background. I think that the graphic elements are blended very well together although they are a collage.

"Feel that" Album cover
“Feel that” Album cover

The designer’s name is Woogs Park (Ig:@woogs_park). He is also based in Vancouver, he is very famous in the Korean hiphop scence for very unique and personallized album covers. He always use different colour schemes and types. In every album cover, vintage-like texture, contrast of type and image combined with graphic elements and illustrations is always visible. Also, he uses his own barcode as a signature on each piece which I think is very interesting. Below is his other works for comparison.

Dandi Album cover by Woogs Park
Dandi Album cover by Woogs Park
another artwork by Woogs Park
another artwork by Woogs Park

 

Development of Nike logo

XinmingYi

#3171274                                                                   

 

I am a huge sports fan.Whenever I go to the mall, I always go and take a look at many sports brands. Speaking of honesty, the one that catches my eye the most is Nike. In 1964, Bill Bowerman,  the field coach at the University of Oregon, founded Blue Ribbon Sports. Bowerman and his student Phil Knight, opened their first outlet of the company Onitsuka Tiger in 1966. 

Later on, sport Nike was founded in 1964. They launched the Nike brand shoe in 1972.  “The company takes its name from the Greek goddess of victory, Nike. The goddess was an inspiration to Greek warriors”. (Campbell Jof & Campbell Jof, 2019). The shape of the logo of Nike was inspired by the wings of the Greek goddess Victory. 

Carolyn Davidson was  the designer of the Nike swoosh in 1971.At the moment, she was studying graphic design at Portland State University.  It is ironic that she only got $35 at that time for the perfect logo.This logo was called “the strip”at first , and it became the “Swoosh” as we know today. The  word “swoosh” illustrates the fast sound, motion, and speed. It is clear that the simplicity of the logo of Nike is iconic, memorable, and refined. People wish they could achieve a goal that is beyond speed, and wearing Nike could make this dream come true. 

The most stylistic choice was that Davidson chose a shape instead of the font. This leads to this logo becoming the most popular graphic design in the world. When the brand Nike first launched, their main figurative and symbolic commodities were track and field sports items. But as a trend changes with the time, Nike is activating in all other areas, and also focusing on fashion. These days, Nike collaborates with high fashion like off white, supreme, and more. Nike also works with many celebrities like Michael Jordan, Edison Chan, Kobe Bryant. I argue that the reason why Nike has become the most popular brand in the world is because of their high quality reliable products, and advancement by the effort to stay ahead of the trend. For example, when there were only a few products from Nike, the colour of Nike swoosh was initially red. But nowadays, the colour changes to black and white. This change enables the product from Nike to match the other clothings. These effort leads the Nike logo to become more transparent, symbolic and representative.

To conclude, Nike is the irreplaceable brand in the world, and the shape of the swoosh is such an influential, well known, and also eye catchy logo. People could easily remember Nike at first sight. As a Nike lover, I bought a lot of shoes and clothes, and I think they were so classic in a neat, tidy and fashionable way, that I could wear them for many years without going out of fashion. Nike earns a lot of respect from young people and Nike represents people’s energy and youth and encourages people to try. Nike makes this world colourful.

 


history

Work cited

CreativePassionate International Logo & Brand Identity Design Studio. “Nike Logo Evolution – The $35 Swoosh – Famous Logos.” The Logo Creative | International Logo Design & Branding Studio, 5 Feb. 2020, www.thelogocreative.co.uk/nike-logo-evolution-the-35-swoosh/.

Campbell Jof. “9 Surprising Facts You Didn’t Know About Nike’s Swoosh Logo.” Designhill, 27 Nov. 2019, www.designhill.com/design-blog/surprising-facts-you-didnt-know-about-nike-swoosh-logo/.

Www.facebook.com/stuartlcrawford. “History of the Nike Logo Design.” Inkbot Design, Inkbot Design, 13 Aug. 2019, inkbotdesign.com/nike-logo-design/.

 

BTS Album Covers Take You On A Journey – Robyn Dang

BTS’s album “Love Yourself: Tear” was nominated for best recording package at the 2019 Grammys. Even if this South Korean boy band’s music isn’t acknowledged yet, design studio HuskyFox’s graphic design is an excellent primer to BTS’s bigger message.

The Love Yourself series consists of three albums with four different package versions each. The series is structured according to the Asian storytelling format Kishōtenketsu: 起 (beginning) 承 (development), 轉 (twist), and 結 (conclusion) which are at the bottom corners of each album starting with development since the beginning was expressed in one song, “Euphoria”. The metaphorical buds of love in that introduction continue to grow in “Love yourself: Her” with tracks like “DNA” that’s lyrics dramatically declare eternal love: 

From the day of the universe’s creation and beyond

Through the infinite centuries and beyond

In the previous life and maybe the next too

We’re eternally together

Fig 1. HuskyFox Inc., Love Yourself: Her (all versions)., 2017

 

 

 

 

 

One continuous line depicts flowers that represent blooming love. They’re neat and perfect, an illusion of what love is and who we are when we first present ourselves to those we wish would love us. The line moves steeply up and down like the wavering feelings of a blossoming love, and the theme is reiterated with the pairs of flowers leaning into each other. The holographic line contained within a white background could mean untainted or perhaps naive love.

The series continues with “Love yourself: Tear” which expresses the suffering when hiding your true self in pursuit of love. This can best be understood through V’s “Intro: Singularity”:

It’s ringing again, that sound

A crack again on this frozen lake

I dumped myself into the lake

I buried my voice for you

Fig 2. HuskyFox Inc., Love Yourself: Tear (all versions)., 2018
Fig 2. HuskyFox Inc., Love Yourself: Tear (all versions)., 2018

 

 

 

 

 

The packaging is black, instantly suggesting a dark mood. The flowers are now abstracted, falling petals with no sense of direction or pattern. It’s chaotic composition reflects the band’s conflicted feelings on whether hiding themselves was worth the love they received. This could be interpreted as romantic turmoil, or it could refer to their relationship with fame.

In “Love Yourself: Answer” BTS provides a solution to this inner battle and that is to love yourself before you hope to give or receive love. This is best expressed in Jin’s “Intro: Epiphany”:

Shining me, precious soul of mine

I finally realized so I love me

Not so perfect but so beautiful

I’m the one I should love

Fig 3. HuskyFox Inc., Love Yourself: Answer (all versions)., 2018

 

 

 

 

 

The holographic colours are finally unleashed, no longer restrained by a background colour. HuskyFox explains the lines depict what remains after the petals have fallen and they so happen to look like hearts which reiterates the answer is to love yourself. The connecting line between each version is not dramatic; they flow gently across and of all the compositions, it’s the most symmetrical which suits the peaceful closure perfectly. When placed together, the line continues through all versions of the albums to express self-love is a long and difficult journey, but we can get there if we try. 

Fig 4. HuskyFox Inc., Love Yourself Series (all versions)., 2017-2018
Fig 4. HuskyFox Inc., Love Yourself Series (all versions)., 2017-2018

 

 

 

 

 

 

 

 

 

 

 

Works Cited: 

Wickman, Gloria. “Love Yourself: The Message Behind BTS’s Record Breaking Album Series.” Medium, Bangtan Journal, Oct 19. 2018, medium.com/bangtan-journal/love-yourself-the-message-behind-btss-record-breaking-album-series-229119e81902.

Morin, Natalie. “BTS’ Grammy Nomination Celebrates Much More Than Their Music.” Refinary29, Feb 8. 2019,

www.refinery29.com/en-us/2019/02/223166/bts-grammy-nomination-best-recording-package-explainer.

HuskyFox. “BTS ‘LOVE YOURSELF’ SERIES Album Identity.” Behance, www.behance.net/gallery/77735237/BTS-LOVE-YOURSELF-SERIES-Album-Identity.

“’그래미’ 후보 허스키폭스 ‘방탄소년단 위상 덕.’” ‘그래미’ 후보 허스키폭스 “방탄소년단 위상 덕” : 네이버 포스트, Feb 2. 2019, m.post.naver.com/viewer/postView.nhn?volumeNo=17765605&memberNo=2959&vType=VERTICAL.

 

 

 

Design In The Wild – Household Luxury

Francesco Manconi 3161691

        More often than not, we are witnessing designs that push culture forward. Depending on the specific fashion label and the target audience involved, it has become evident that rules & regulations have no more legitimate meaning. Throughout the years cultural shifts have occurred which ultimately have shaped the way product design circumstances are regulated. Tisci and Abloh are among the leading class of fashion designers who don’t categorize themselves in a box. They recognize deciding what is permitted in the fashion industry is an unwritten rule to live by. The best way of creating is through freedom of thought and endless expression. Enabling fashion designers to re-create everyday household materials into luxury jewelry items has become a recent trend in glamour directed society. It’s become evident that there is a place for high quality simplicity.  Throughout my research I noticed a developing occurring factor that played apart in determining what was allowed in jewelry design. The rule to live by was obvious, be aware of your market and establish clarity.

       Expecting a message that conveys too much can be detrimental to the viewer. Product design needs to remain simple, reflecting on objects from the past while adding a new spin will lead to automatic success in the digital market. Posting products online on social media which contain sentimental value that have a sense of nostalgia will bring success in the current consumer based industry. This will then bring rapid growth to the company’s name brand. 

Everyday Bracelets that are easy to understand seem to be on the up rise in today’s market. The two products I am highlighting are involved in the high fashion industry. In terms of originality, the likes of Virgil Abloh ( Off-White ) and Ricardo Tisci ( Burberry ) are clearly the stand out leaders.  Although these men primarily focus on street wear, they remain pioneers in the field of design. Their direction towards creating groundbreaking apparel has become evident in the era of high fashion simplicity.

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Ricardo Tisci , Burberry  450 USD

Ing saint Ingvaldsen, Torsten. “Burberry’s Latest Bracelet Mimics a Bicycle Chain.” HYPEBEAST, HYPEBEAST, 6 June 2019, hypebeast.com/2019/6/burberry-bicycle-chain-silver-tone-bracelet-release.

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Virgil Abloh , OFF – WHITE   600 USD

“Paper Clip Bracelet.” UNION LOS ANGELES, store.unionlosangeles.com/products/paper-clip-bracelet.

The Story Behind Pink Floyd’s album, “The Dark Side of the Moon”

Album covers serve the purpose of advertising music created by a band or singer, but there are some iconic designs that stood out among other albums.  One of them is Pink Floyd’s album, “The Dark Side of the Moon” designed by Storm Thorgerson, which was released in March 1, 1973.

Image result for the dark side of the moon

Storm Thorgerson was a significant figure in the graphic design industry, mainly for his album covers. He was one of the first to consider album art as a concept. Rather than having the band or singer as part of the cover, he wanted to “encapsulate in art what bands were trying to say in their music” (Chilton). Thorgerson himself even questioned, “If you were trying to present an emotion, or a feeling, or an idea, or a theme, or an obsession, or a perversion, or a preoccupation, when would it have four guys in it?” With the power of photography, he was able to include surrealistic elements into his work, bringing uniqueness to each design. This style was suitable during the classical rock era and many bands were “keen on overblown and fantastical album covers” created by him (Chilton).

Pink Floyd was one of the bands who had the privilege of working with Thorgerson a couple of times. When given the task to create the album cover for “The Dark Side of the Moon,” he was only instructed to create something “clean, elegant and graphic.”  Thorgerson showed seven different concepts and immediately, the band was drawn to the design with a prismatic triangle. In an interview with Rolling Stone, Thorgerson said that the idea was mostly related to Pink Floyd’s light shows: “They hadn’t really celebrated their light show. That was one thing. The other thing was the triangle. I think the triangle, which is a symbol of thought and ambition, was very much a subject of Roger’s lyrics. So the triangle was a very useful – as we know, obviously – was a very useful icon to deploy and making it into the prism” (Rolling Stone).

Because of its unique and simple concept, it is regarded as one of the famous album covers in history. To this day, it is known as an icon of classical rock as well as modern commercial art.


Works Cited

Chilton, Martin. “Cover Story: A History Of Album Artwork.” UDiscover Music, 14 Oct. 2019, www.udiscovermusic.com/in-depth-features/history-album-artwork/.

Rolling Stone. “Storm Thorgerson: How I Designed the Cover of ‘Dark Side of the Moon’.” Rolling Stone, 25 June 2018, www.rollingstone.com/music/music-news/storm-thorgerson-how-i-designed-the-cover-of-dark-side-of-the-moon-99919/.

Nast, Condé. “Storm Thorgerson and the End of Album Art.” The New Yorker, The New Yorker, 18 June 2017, www.newyorker.com/culture/culture-desk/storm-thorgerson-and-the-end-of-album-art.

 

 

 

 

Creativity within Movie Posters: Parasite

Written by Steph Burns (3167495)

Recently, I’ve become quite bored with a lot of movie posters as I find a sizable amount of them formulated and lacking in creativity. Often times many posters, especially of the same genre, have the same colours, compositions and overall feel. For me, they just get lost in the saturated market and I often forget about them. On the other hand, if a poster for a movie is quite creative or inciting to me, I’ll likely be interested in seeing it, (which makes sense, as a graphic design student). This was a major factor in me seeing the South Korean movie, Parasite, last year. I initially heard about it after hearing so many positive reviews about the film. I then searched it up, saw the main poster for it and I knew I had to see it.

designed by Kim Sang-man, 2019
designed by Kim Sang-man, 2019

The poster is designed by film and art director Kim Sang-man (shown above) and features many important aspects to the movie, such as the rock, teepee, and the positioning of certain characters. Looking at the overall design of the poster, it’s unclear what the actual story is about. That’s actually intended, as the director advises the film is best experienced if the viewer knows as little as possible about the plot. Another important aspect to the design that adds to the mystery is the coloured bars over the eyes of each character; their eyes are concealed to further abstract the individual person and to show the initial equality of the characters.

official posters for Parasite from, clockwise from top left, the US, Vietnam, the Czech Republic, Hungary, Russia and Greece
official posters for Parasite from, clockwise from top left, the US, Vietnam, the Czech Republic, Hungary, Russia and Greece

The main poster for the film doesn’t change locally, but the title of the film and typeface changes depending on the language (shown above). Despite the difference, whatever typeface that’s used suggests uniqueness and a degree of tension. For example, with the English poster, the terminals of some end strokes don’t end in a serif while others do. It also features atypical changes in stroke weight that feature drastic shifts from thick strokes to tiny, curved ones. This creates a battle of balance between the letters that can be related to the major theme of the movie, which features a social commentary on class and the hierarchy between the rich and poor.

Additionally, because of the response to the film and the overall art direction within the original main poster, there have been many alternative posters made with I think are worth mentioning (shown below). Although the main poster uses photography, a lot of these alternative posters use illustration; I think that’s interesting to note as the majority of these posters were created as secondary to the main one. Perhaps there’s an underlying understanding that within this period, illustration is less marketable than the typical photographic and image based film posters that heavily dominates the industry. I think it’s interesting to observe the differences between these posters, but it’s clear that the concept of hierarchy is explicitly shown in all of them.

an alternative art poster from Canadian artist Marie Bergeron, 2019
an alternative art poster from Canadian artist Marie Bergeron, 2019
For the French Blu-ray release of the film, Korean artist Jisu Choi chose to represent the house of one of the family that plays a key role in the film
For the French Blu-ray release of the film, Korean artist Jisu Choi chose to represent the house of one of the family that plays a key role in the film
alternative art for the U.K. release, designed by design firm La Boca, 2020
alternative art for the U.K. release, designed by design firm La Boca, 2020
Alternative UK poster, designed by Andrew Bannister, 2020
Alternative UK poster, designed by Andrew Bannister, 2020

Works Cited: 

Curry, Adrian. “Movie Poster of the Week: The Posters of ‘Parasite.’” MUBI, 24 Jan. 2020, mubi.com/notebook/posts/movie-poster-of-the-week-the-posters-of-parasite.

Design In The Wild – “PUBLIC SERVICE ANNOUNCEMENT” Tour Poster

So I want to start off with how much I absolutely LOVE Rage Against The Machine. With their last reunion tour being back in 2007, I thought Zack de la Rocha, Tom Morello, Tim Commerford, Brad Wilk would EVER take the stage again to absolutely rock out. A few months ago the band announced that they were going to be playing 5 shows in a few states. Again, I was bummed that they would not be coming to Canada. However, on February 11th, a post on the band’s Instagram announced that they are going on a world tour in 2020 alongside rap duo Run The Jewels. Run The Jewels is a rap group whose name is slang for a stick up or robbery. The duo’s music is similar to RATM’s, often political and very critical of capitalism.

Abloh, Virgil. "Public Service Announcment" Tour. 2020.
Abloh, Virgil. “Public Service Announcment” Tour. 2020.

The tour poster, designed by fashion designer Virgil Abloh (OFF-WHITE and Louis Vuitton) reveals the name PUBLIC SERVICE ANNOUNCEMENT TOUR, as well as 40 shows across the globe. The name of the tour reflects the reason why the band is touring again; Rage Against The Machine has always had radical political views – often criticising corporate America. It seems that with the current political landscape of America with Trump’s presidency as made the band want to tour again – with some fans feeling that their music is now more relevant than ever. The typography used on the poster (and will presumably be used on merchandise) is vastly similar to the typeface that is used displayed on American televisions in times of emergency by the Emergency Alert System (EAS). The use of this typeface draws on the nature of emergency broadcasts, which are rarely ever used (save for the Hawaiian Missile scare in 2018)  tries to, and successfully, evokes the same panic and alarm. The use of the font further cements the band’s tour to be a wakeup call for people not only in America, but around the world. The use of a bold red colour is meant to grab the attention of the viewer, just as an emergency public service announcement does across television and radio, and now on mobile devices. The designer’s (Virgil Abloh) use of texture in both the copy text of the tour dates and locations, as well as the visual are very dirty and coarse. The combination of colour, typeface, and imagery create an eye catching poster while also maintaining the theme of the message that the band intends to communicate through their music.

Works Cited

  • Abloh, Virgil. “Public Service Announcment” Tour. 2020.
  • Becker, Rachel. “CDC Confirms That Hawaii’s False Missile Alarm Was Scary.” The Verge, The Verge, 21 Feb. 2019, www.theverge.com/2019/2/21/18234901/cdc-hawaii-false-missile-alarm-reactions.
  • Absolutely. “National Emergency Alert System Test (November 9, 2011)” Online video clip. Youtube, Nov 9, 2011. Thursday, February 13, 2020,https://www.youtube.com/watch?v=rF4BCMs-8BE.