1945 Kansas City Monarchs team photo (Negro Leagues eMuseum)
the NOSTALGIA EFFECT Evoking The Past To Honor Authenticity In Contemporary Sports-Based Design
Brittany C. Davis Savannah College of Art and Design MFA Graphic Design Thesis Spring 2015
Copyright Š Brittany C. Davis, 2015 All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, contact the author at bcdavis328@me.com. Graphic design and writing by Brittany C. Davis First edition Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Graphic Design at The Savannah College of Art and Design
Heritage Authenticity Commemoration
“DISCOVER THE TRUTH OF TODAY, AND PERHAPS FIND THE GREATNESS OF TOMORROW.” — JACKIE ROBINSON
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Contents ABSTRACT 10 INTRODUCTION 12 CHAPTER ONE: BACKGROUND 15 Defining Nostalgia 16 Origins in Design 17 The Athletic Aesthetic: Designing Sports Design 18 Nostalgia in Sports 19 Sports Heritage 20 CHAPTER TWO: ARGUMENTS 22 Nostalgia vs. Novelty 24 When To Use 24 Juxtaposition of Old and New 25 Case study 1: The Charlotte Hornets 26 Case study 2: Fighting Yusef 28 Case study 3: Throwbacks and Replicas 30 CHAPTER THREE: ANALYSIS 32 CHAPTER FOUR: CONCLUSION 36 CHAPTER FIVE: VISUAL THESIS 38 BIBLIOGRAPHY 72
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ACKNOWLEDGMENTs Apply your heart to instruction and your ears to words of knowledge. Proverbs 23:12 (NIV) While this thesis is an individual assignment, there are so many people who have helped guide me to this point. First I would like to thank my family for always encouraging my creative curiosity and aspirations as well as setting the standard for pursuing higher education. From crayons in elementary school to Creative Cloud in graduate school, you all have been with me through each step of my development. To my instructors and advisors at SCAD for pushing me beyond my comfort zone and challenging my thinking to expand my view on the purpose and importance of design education. To my “All-star” thesis committee—Trudy, Louise and Todd—thank you so much for your dedication, feedback and guidance in this entire project. Your emails and Skype calls really kept me on task. Thank you to Lyndsay Richter for being such a supportive supervisor and fantastic editor. Special thank you to the Creative South sports design crew for all your help, feedback and making me feel like part of the team. And thank you to those who offered a word of encouragement when I felt like I would not be able to see this through. The gesture may have been small, but the impact was larger than you know. Thank you all!
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DEDICATION For Orestes “Minnie” Miñoso (1922 - 2015) New York Cubans and the first black player in White Sox history Ernest “Ernie” Banks “Mr. Cub” (1931 – 2015) Kansas City Monarch and first Black player in Chicago Cubs history Earl Lloyd (1928 – 2015) The first black player in the National Basketball Association Charlie Sifford (1922 – 2015) The first black golfer to play on the PGA Tour And My Grandfather John Henry “June Bug” Cain (November 3, 1947 – December 30, 2014)
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ABSTRACT Nostalgia in graphic design is more than the application of sepia tones, faded images and vintage type – it can extract from the past to create authentic visual and emotional experiences for present-day audiences. Nostalgia is linked to personal memories and emotions and the arena of sports thrives on fans’ emotional connection to particular teams and franchises. For designers and studios tackling this niche, there is a need to not only understand the history of the team, but also be receptive to the connection that team has with the fan. In sports-based design, nostalgia not only prompts the embedded memories of the audience, it renews the essence of the sport experience. By analyzing team branding, sports heritage and the use of historic references in sports facilities, one may see nostalgia as moare than a visual trend, but a pathway to connect present and future generations of sport fans.
Keywords: Nostalgia, sports branding, graphic design, sports heritage, authenticity, vintage design, preservation
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Negro League All-Star Game At Old Sportsmans Park, St Louis. 1940. Eddie Winfred “Doc” Helm.
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introduction THE NOSTALGIA EFFECT
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Nostalgia in graphic design is more than the application of sepia tones, faded images and vintage type – it can extract from the past to create authentic visual and emotional experiences for present-day audiences. Steven Heller describes nostalgia as “a good indicator of what excites new generations”. Designers need to know how to apply the elements of the past in order to create the most effective and authentic visual experiences. Nostalgia is linked to personal memories and emotions and the arena of sports thrives on fans’ emotional connection to particular teams and franchises. For designers and studios tackling this niche, there is a need to not only understand the history of the team, but also be receptive to the connection that team has with the fan. In sports-based design, nostalgia not only prompts the embedded memories of the audience, it renews the essence of the sport experience. By analyzing team branding, sports heritage and the use of historic references in sports facilities, one may see nostalgia as more than a visual trend, but a pathway to connect present and future generations of sport fans. Sports branding is becoming an increasingly popular niche for designers. While more futuristic and innovative visual styles are dominant in this area, referencing visuals that trigger past memories and associations is a popular marketing and creative approach. Novelty versus nostalgia has stirred internal variances amongst designers. In the article “The Shock Of The Old: Rethinking Nostalgia” Jessica Helfand notes why some designers dismiss the use of nostalgia in their work: “Like retro and vintage it smacks of a sort of been-there-done-that ennui — looking backward instead of forward, nostalgia presents as the very antithesis of the new” (Helfand). This can be attributed to a lack of research and knowledge of nostalgia’s origins. Many designers may not be aware of the emotional connections associated with nostalgia and the influences it can represent. This has caused many designs
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to look very similar; elements become clichéd and no meaningful components connected to the design. While the resulting designs themed after the common visuals associations of nostalgia hold a strong aesthetic, many lack a true connection to the experience they represent. Experience and memory are key components to nostalgia and authenticity, yet most designers focus on the visual results. The goal for this thesis is to present effective use of nostalgic components, which sports-based designers can use to create visual experiences that suit the present-day audience while honoring and preserving the past histories they embody. The thesis will explore various sports design campaigns that use reminiscence and history as the foundation of the creative process to examine the cultural, social and historical relevance surrounding athletic franchises. The goal is to understand the origins of sports branding and design in order to construct a “play book” that outlines the visual elements that have become associated with this niche. With the definitions and backgrounds of nostalgia and sports branding established, the paper will move to examine how sports heritage can inspire designers to reach beyond the standard visuals associated with nostalgia. This would help build an argument of why nostalgia is a critical aspect in designing authentic visual and emotional experiences for sports-centered audiences.
“...nostalgia as more than a visual trend, but a pathway to connect present and future generations of sport fans.”
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chapter
background one
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DEFINING NOSTALGIA association with pleasant memories of the past, the term had more of a psychological definition. From that point, it evolved to describe a social disease of preferring the past to present times. By the 1950s, nostalgia was used more in daily conversation. Shafer attributes nostalgia’s transitional definition to the rapid advances in technology and its impact on society:
The Swiss physician Johannes Hofer formed the term nostalgia in the 17th century but the term’s history can be traced back to early Greek writing of Homer. In his epic The Odyssey, the hero, Odysseus journeys home to wife Penelope over the course of ten years. During his time away, he stays with an immortal nymph who offers to make him immortal if he agrees to stay with her. Odysseus’ response could be one of the earliest examples of nostalgia definition:
Modern inventions like the telegraph, the railroad, and photography brought about the ability to speed up time and freeze it forever in ways that had never been experienced by the masses. Communication and travel were speeding out of control, and at the same time it became possible to capture individual moments and possess them indefinitely. Through photographs, and later other recording technologies, the vicarious experience of places all around the world became possible and popular. The idea of possessions standing in for memories or representing the past is central to nostalgia. We hold on to any number of seemingly insignificant scraps of paper and trinkets because they have sentimental value (Shafer).
Full well I acknowledge prudent Penelope cannot compare with your stature or beauty, for she is only a mortal, and you are immortal and ageless. Nevertheless, it is she whom I daily desire and pine for. Therefore I long for my home and to see the day of returning (Homer, 1921, Book V, pp. 78–79).
For contemporary audience, longing for the past can be attributed to the same advances. While they make certain aspects of life easier – communication, social connection and daily tasks – they can also bring complications. Constant notifications from digital devices, messages and applications can be disruptive. Because of this the past can, at times, seem more appealing. Not necessarily for being better, but for its simplicity. In sports branding the ideas of “simplicity” references a return to playing for the love of the sport and team pride versus the more fame driven culture associated with sports today.
Nostalgia is a compound word, consisting of nostos (return) and algos (pain). “Nostalgia, then, is literally the suffering due to relentless yearning for the homeland” (Sedikides et al. 304). The more familiar references to the emotion associated with the nostalgia can be found in Hippocrates, Caesar, and the Bible (Sedikides 304). The earliest definition was identified as a clinical disorder of extreme homesickness (Shafer). Throughout its expansive history, the definition has evolved. Before the
Dissertatio medica De Nostalgia, Oder Heimwehe, 1688 by Johannes Hofer
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“For the person, the past represents an idealized memory...” Nostalgia’s definition has several layers. This could be attributed to the various interpretations and opinions related to its use. Sociologist Fred Davis used three central themes to describe nostalgia (Summers et al. 109):
time more preferred than the present. In terms of this paper, the definition refers to evoking the past for marketing purposes in order to transport audiences back to pleasant reference points in time, the third theme defined by Davis.
• The transformation of the meaning of nostalgia from a medical and psychiatric
Sports-based audiences are particularly prone to nostalgic tactics. Evoking the past is a skill that modern advertisers have used to repaint memories of earlier or fonder times in an effort to appeal to whole generations whose shared collective identity overwhelms the traditional distinctions of wealth, race, and geographic locations (Summers et al. 109). These earlier memories may point to a winning season, memorable game or significant personal connection to an event, such as attending with family member or friend. No matter the association, these memories are built on experiences that can be triggered to encourage audiences to return. These triggers come in the form of merchandise, heritage and commemorative games, stadium designs and museums. Not only do they trigger past memories, they serve as a bridge to connect the past to present audiences. Sports marketers and designers are selling the “anticipation of what is going to happen” to give the audience memories to take away (Summers et al. 110). An additional function of nostalgia may be its motivating potential. Nostalgia can boost optimism, spark inspiration, and foster creativity (Sedikides 306).
• •
condition to a contemporary description of what is clearly an emotion or feeling. The contemporary feelings associated with nostalgia are positive in nature. This positive theme is similar to the sanitized and idealized past The third and most obvious premise is that the material of nostalgic experience is the past.
Across the three themes, the term is rooted in a return or reference to the past. What is most fascinating is the transition of tone in which it holds meaning; from a negative psychological condition, toward positive feelings evoked by exultant memories. These experiences are personal and internal and offer a rich canvas of emotional themes of “selfhood, sociality, loss, redemption, and ambivalent, yet mostly positive, affectivity” (Sedikides 305). Sedikides suggests that nostalgia gives life meaning that can be used to maneuver a difficult present-day situation. From a sports audience perspective, this could be the memory of a winning season during a difficult game or less exciting season for their team. For the person, the past represents an idealized memory – a
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ORIGINS IN DESIGN Nostalgia is not an unfamiliar inspirational source in design; designers frequently reference various eras, comparable to the ways society recycles fashion trends. In contemporary design processes, recycling and referencing the past is being used more frequently. “Sometimes historic styles are revived out of admiration, while at other times they ironically poke fun at the naiveté of the past (Shafer)”. While some designs do reference the more naïve ideas communicated it the past, many designs reference the past for its character. According to Angela Riechers, “nostalgic design serves as a kind of safekeeping, preserving images of beloved objects so they don’t completely disappear from the collective unconscious.” In addition to referencing the past to preserve, nostalgia can also be a reference to quality. Hand-drawn styled visuals are very popular amongst designers despite access to sophisticated digital applications. There are even tutorials that use these applications to mimic hand drawn designs and compositions. Why is this so appealing? Target Creative Director Allan Peters believes using reference to the past is connected to obsession with vintage mid-century modern America design’s emphasis on craftsmanship. His own work (fig. 1) is heavily influenced by this time. Designers can use the past to understand and observe what worked then, and how it can be used in a contemporary application. Craftsmanship is an important aspect on the surface of nostalgia in design, but there is an even deeper reference beyond the visual treatments on the design – the emotion the visual references awaken. Sports, possibly more than any other platform, relays heavily on these emotional references and triggers. It is important for designers to respect and research these emotions in order to avoid distancing their designs from the core audience. Fig. 1.1 and 1.2. Target 50th Anniversary Party. 2012, from Cargo Collective, 23 February 2015. (Allan Peters)
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THE ATHLETIC AESTHETIC: DEFINING SPORTS DESIGN “Sports and nostalgia represents more than just a source of creative inspiration, but a connection to history.”
The design and aesthetic association of sports design is in a league of its own. Like other categories of design it has its own characteristics and visual associations. Several elements are considered in the design and development of a sports-based design. Estes notes some of the central qualities of the logo: the logo’s relation to the symbol, the line of the type, whether outlined or solid, and whether the logo is serif or san-serif (54). Motif and application of the designs are also very important. This includes characteristics of the team name, speed, strength, and energy. These are things commonly associated with athleticism and pride in performance. When breaking down the considerations for designing a sports logo Estes believes the following are the most important:
• Type of sport – this logo can be easily applied to the helmet of the player. It is • •
clear and easily recognizable from a distance. Location of the team – more than the specific location of the team, effective characteristics of current logos were considered in the design process. Characteristics of the original logo – this logo maintains the original motif of a design as well as the color palette of the original logo (54).
Sports logos in particular have wider application range that extends beyond print and digital mediums. Uniforms, animation, fields and courts are some of the other considerations that need to be addressed during the design phase.
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NOSTALGIA AND SPORTS In the context of sports design and branding, nostalgia is a rich source of creative inspiration. “Professionalization of sport, along with the proliferation of sport coverage through various media sources in the twentieth century, has fostered many collective and individualistic memories of sporting events” (Ramshaw 2). This arena is driven by the fans’ emotional connect to teams, clubs and franchises through the good and the bad. The good includes winning seasons, great plays and players that exude pride for the team. The negative associations, especially in recent years, are driven by scandal on and off the field or court, lockouts and inconsistency in player performance and conduct. The positive memories are what keep sports fans coming back the next season (Veeck). Fans implement filtering to restore and maintain the positive connections. Sports marketers and designers relay on this emotion to keep them coming back to support and invest in the teams. The emotion evoked for baseball is one the most classic examples of nostalgia at work in contemporary society (Jones). There are networks dedicated to airing great sports moments from the past. US Network and ESPN Classic are two such networks that showcase games, events and documentaries highlighting sports past (Ramshaw 2).
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Sports and nostalgia represents more than just a source of creative inspiration, but a connection to history. It is heavily overlooked in favor of aesthetic, but history is an essential facet in the ways in which memories are fashioned and reminisced. “In North America the birth of professional sport and the beginnings of many cities coincided in the late 19th century. The continuity of many sports franchises represents one of the few tangible links to a civic legacy and identity” (Ramshaw 3). Knowledge of history allows for the details a true fan would notice and appreciate. It also helps keep the history alive and relevant for newer generation of fans. Nostalgia can also acts as a form of currency (Radom); not in the sense of monetary value, but value in audience connection. This connection exceeds that of consumer brands as the audiences have deep invested history that spans generations. For example, a fan may be loyal to a team based on whom their family supports. To discount this type of connection would prove trivial for designers and marketer. These connection need to be respected and honored in order to maintain the trust and sensitive nature. Examples of this connection will be explored further in the case study sections.
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SPORTS HERITAGE The merger of sports and nostalgia could be identified as sports heritage. This term relates more to the idea of legacy over emotion, but like nostalgia, it uses the past to maintain connection to its audience. Heritage has a strong connection to culture. This may reference the culture of a city, collective fan base, or even a family. “Heritage often seeks to remember, enliven, teach – and even create – personal and collective legacies for contemporary audiences. Its purpose is often to celebrate the achievements, courage and strength of those who have come before, consequently making it unusual to see critical examinations of the past from a heritage perspective” (Ramshaw 230). There are four categories of sports heritage as defined by Ramshaw: tangible immovable (landscapes, buildings, etc.); tangible movable (objects, art, events, etc.); intangibles (memories, rituals, etc.); and goods and services (retro apparel, etc.). Some of these categories will be explored further in the case studies on the Charlotte Hornets and throwback and replicas.
This shows that, while innovation and the future is an important factor of the sports experience, there is still a need and want for connection to the past. Mason also explains that the connection does not necessarily need to be triggered by a particular established space. For example, the memories prompted by the Heritage Classic in hockey find “significance in the place (outdoors), but not associated with a recognized venue (a specific hockey arena)” (Mason 265). This shows how heritage can build on surroundings and blend tradition with new state-of-the-art structures.
Heritage can be built and used to establish legacy. It is more collective and communal in the nature of which it is celebrated and viewed. Nostalgia is more intimate and personalized. Heritage builds on nostalgia to elicit positive emotions. Because of its ability to be constructed and its more inclusive nature, heritage is a tool in the realm of developing sporting events, structures and tourism. Daniel Mason’s writing on sports heritage in hockey discusses ways nostalgia is used in constructing more social experiences. He places particular emphasis on sports facilities and events.
“As a result, attending a baseball game in Baltimore could be as much about celebrating baseball’s past as witnessing the Orioles play a visiting team, and catering to a new breed of nostalgia sport tourist” (Mason 254). The fans are not the only ones who look at sports heritage. The players and team franchise appreciate it just as much. Nike apparel designer Justin LaRosa also explains how design, built on heritage, can impact a player’s performance and connection to the team’s history and legacy. For the annual, highly anticipated Army versus Navy game, LaRosa was tasked with leading the design of the Army uniforms. He delved into achieves at West Point in search of inspiration. From his search, he was motivated by the Battle of the Bulge, a well-known World War II battle in Luxembourg (Barnhill 24). LaRosa found a parallel between the battle and Army’s football team back home. To draw from this historic moment for them, he used battle maps drown in 1941 to design a camouflage-like pattern to be used on the uniform (fig 2).
In North America, an increasing demand for nostalgia sport tourism, a lack of preservation of historic sports facilities, and a desire by the owners of sports franchises to have new facilities with modern, revenue-generating amenities, have resulted in the proliferation of hybrid facilities – new, state-of-the-art structures that incorporate historical elements into their design (Mason 255).
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At a certain level, there is a high expectation for game day experiences. With the high level of revenue sports teams and facilities generates, teams have worked to included the latest high-end amenities in their spaces. Heritage is used to bridge the spaces history with the more modern flare of the experience. Mason notes that another aspect of heritage in sport facilities is its appeal as a destination for fans and tourist.
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In addition to creating an intimidation effect, the “players saw the design as a cool new take on camo” (Barnhill 24). The players were not the only ones who found the uniforms as an appropriate application of the Army’s history. World War II veterans in attendance recognized the maps integrated into the uniform design. For them, it held direct meaning. The battle was not a happy time, but it reminded them of the strength, determination and pride that went into fighting for their country. The coach, Rich Ellerson, used the battle’s story as a way to inspire his team. The connection of the uniform design helped bridge moments and generations at two different ends of the Army history. Fig. 2.1 and 2.2. 2012 Army Uniform. (Nike.com)
In a separate interview, LaRosa was asked how to effectively apply nostalgia and imagery of the past. He shared one of his favorite examples – Nike Hyperdunk packaging to commemorate the life of Benji Wilson (fig. 3). The pack was built using reclaimed gymnasium wood and 25 (his jersey number) laser etched logos based on Wilson’s life on the court in South Side Chicago. For LaRosa, the project was authentic in its execution and told an inspiring story. He says “if you’re not telling a story with an honest point of view you’re not doing it right.” If designers can take the time to pull from real experiences and history, nostalgic-based work can feel more authentic and less cliché. Pulling from the methods and practices of sports heritage can teach designers how to use its collective character to evoke positive, rich memories of the past and create a more targeted approach to communication.
Fig. 3.1 and 3.2. Nike Benji Wilson Hyperdunk Commemorative Pack. 2012. (I Love Dust Studio)
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chapter
Arguments two
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Preservation of history and heritage are two strong reasons for the use of nostalgia in sports design. From long-standing tradition to connection across generations of fans, nostalgia is a critical bonding agent that keeps audiences loyal and passionate about all aspect of a team. This loyalty runs deep. It can emerge during a successful season, but can also surface in the face of adversity and dissatisfaction. Through research and
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visual communication, designers can connect, build and maintain fan bases, all while preserving history. The following sections will discuss the practices of effective branding and identity campaigns as well as approaches that were not as effective in rallying positive receptions and nostalgic memories.
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NOSTALGIA VS. NOVELTY
WHEN TO USE
The digital revolution had a major impact on design. Within the arena of sports design, digital and computer-based design application created more high-energy, fast-paced compositions. These applications remain a dominant tool in the creation of these designs, but many designers and teams have turned to the past experiences and history to evoke nostalgic experiences for the audience. While the digital age introduced a new medium in which to create, it also “created a longing for handmade things” (Heller 160). From hand-illustrated mascots and type to letterpress and block printing – these forms have been applied to recall the “simpler times (Shafer)” associated with the past to fill the void of longing.
Nostalgia is a tool and resource. Similar to a significant sporting event, the athlete has to know what plays, moves and calls to make to ensure a win. Designers must do the same. They should approach sports-based projects with an arsenal of plays and know what calls to make – when to shoot, pass, thrown, run or hold in order to score. It can be tempting to make a play without considering the formation of the project and intended message. In some cases, designers and marketers only see value in the surface of nostalgia – the grainy overlays, aged text, filters and anything that may suggest something has history. Emotion is the deeper component to nostalgia. For the audience it can take them back to a specific time and possibly draw them into the message being communicated. Ronald Grover looks at nostalgia’s use in the television and film industry. Producer Dean Devlin attributes the failed revival of certain projects to not being original. ‘’It can’t look so much like the original that it looks like it should be on late-night TV” (Grover). This same issue can be seen in the demise of campaigns, design and branding that uses nostalgia without consideration of the current audience. There needs to be elements of the past that speak to the present.
In addition to the recollection of simpler times, is the “human need to mark time” (Helfand). These reminders are embedded in tangible and abstract relics. They are “reminders of participation and engagement in the world around us” (Helfand). While many of these memories are singular experiences, designers can tap into them to reach a broader demographic. Helfand explains this as multiples being made up of singular experiences. To reach the audience visually, start small. In the case of sports branding and design, this may mean extracting and experience or moment from a particular game, story that could serve as the platform for a larger event design such as the World Series or All Star game. “Nostalgia is fuzzy and utopian, privileging an imagined past over a real one. And indeed, nostalgia can be kitsch — playing on the collective recollections of a generation and teasing the psyche through the occasional retro replay” (Helfand). Because personal memories hold emotional connections, one has to be careful with how they are used to evoke nostalgia.
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JUXTAPOSION OF THE OLD AND NEW “The new retro ethos has a thoroughly modern cast” (Naughton and Vlasic). When implementing nostalgia, designers should be encouraged to blend elements of novelty. Not only does it help speak to the audience, it is practical. For example “Log Cabin syrup brought back an old-timey label but sports a convenient squeeze-top bottle. When Coke redid its famous hourglass bottle, it made it in today’s popular big-gulp sizes. And movie remakes come complete with the latest in special effects” (Naughton and Vlasic). It is noted how younger generations adopt product and styles from the past as their own, but they tend to update the style in ironic was. This can be seen in fashion and has even made its way into social media. The popular photo sharing app Instagram gives the user access to a range of filters to make their photo feel like they were taken twenty years ago, instead of in the last 20 seconds. It even crops the image to a square composition, mimicking the style of a Polaroid photo. This instant vintage has grown into an attractive method of selling products and lifestyle to younger generations. By using filters to romanticize the event, no matter how routine it is – eating dinner, watching television, chores or just getting a cup of coffee – it can dilute the true sentimental moments. This is because audiences attempt to attached meaning and significance to everything – hurting the attempts to use nostalgia to evoke authentic memories. It so easy to access, it distracts from the true heritage and emotional connection of a memory. From glasses frames to kitchen products to jerseys, nostalgia is not only wanted by those who experienced it, but a sought after link to the past for younger generations. “Whether the way of life is remembered, or imagined, it signifies a widely held nostalgia” (Shaffer). Younger generations may use nostalgia as an escape from the complexities of modern life. There is a belief that that past represents a tile of simplicity and quality. The following sections outline several case studies that worked to extract the emotional connections of the past in sports. While some are successful in evoking a positive emotion and reception, other efforts did not.
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“Younger generations may use nostalgia as an escape from the complexities of modern life.“
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CASE STUDY 1:
the CHARLOTTE HORNETS On December 21, 2013 Charlotte Bobcats Owner Michael Jordan unveiled the new logo that will represent the team’s re-brand as the “Charlotte Hornets”. Sports franchise rebranding is not a novel approach; many teams updated their look each season. What made this particular unveiling distinctive was its pre-established history in Charlotte. Nostalgia and the connection the team established was a driving factor in the team’s return. After the Hornets name moved to New Orleans in 2002, the team name was replaced with the Bobcats in 2004. According to the Charlotte Observer, the original moniker drew inspiration from the 1700s. “The Hornets nickname in Charlotte dates back to the Revolutionary War, when British General Charles Cornwallis compared the resistance in Charlotte to a hornet’s nest” (Bonnell). The name had a direct connection to Charlotte, a great way to cement the foundation of a sports team to the local audience. It was part of Charlotte’s collective history. In an effort to create a connection between the new team brand and the audience, marketing created a naming competition (“Charlotte Bobcats”). Despite the newly built franchise, arena and brand, fans were quick to campaign for the return of the Hornets name when it was announced the New Orleans Hornets was in negotiations to rename the team to the Pelicans, their state bird. They understood for their team, a new name was needed to connect to the city like the original Hornets name did in Charlotte. Campaigns such as “Bring Back the Buzz” and “We Beelieve” helped garner massive support and grounds for fans to express the desire for the return of the team name to Charlotte. At the heart of the conversation was the team colors. The original designs, by North Carolina based designer Alexander Julian (fig. 4), was the most popular by 1995 and the legacy merchandise remains exceedingly popular amongst a new generation of fans (Bonnell).
Having a North Carolina designer deepened the team connection to audience. Julian’s unique palette and pattern combination made the uniforms and apparel some of the most popular in the league, especially for fans. The visual appeal, at time, surpassed the success of the actual team performance. That popularity continues with the new brand. When the new merchandise was released in January 2014, the sales represented the highest revenue since the basketball arena opened in 2005 (Spanberg). The Charlotte Hornets move and return shows the influence that lies in the connection and history of an established sports brand. The team’s updated identity also represents how to merge the past with the present. The update identity system was designed my Mississippi-based Rare Design, the NBA and Jordan Brand. The redesign also used Charlotte-based agency Boone Oakley to develop campaigns for the return campaign and color reveal. Successfully using nostalgia and history as a reference for sports design involves more than reintroducing the previous design. While respecting the history of the original, designers needs to consider the new audience and how they will react. Respect for the original history, memories and the emotions they may bring are at the core of understanding the fans and what makes a successful campaign.
Fig. 4. Hornets Uniform unveiling. 1988. (SportsLogos.net)
The Hornets show the level of passion and connection a team has for a city and even wider geographical audience. The return and re-launch of the name built more buzz round the team, gained new fans as well as picking up fans who faltered during the Bobcats era. The excitement surrounding the return was not limited to the fans. Players from previous seasons rallied behind the name change. One of the most visually and vocally supportive former players was Tyrone “Muggsy” Bogues (fig. 5), who played with the Hornets from 1988 to 1997. When asked about the Hornets popularity and return to North Carolina, he says: “It’s a great thing because it originated here and important because the fans made the franchise special by leading in the NBA at attendance for the first nine years of its existence. (24k a night which is unheard of). And speaking on the brand-- it became so popular during the early 90s making it the second most popular brand behind the Bulls (designed by Alexander Julian) the teal, purple and pinstripe just made a mark.”
Fig. 5. Muggsy Bogues posing with fans during a rebrand event. 2013. (Fox 46 Carolinas)
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CASE STUDY 2:
FIGHTING YOSEF The argument of the nostalgic designs being cliché is one that most designers focus on. Jessica Helfand believes this is due to the designers need to create the next best thing (Helfand). Designs that have been used repeatedly for their aesthetic appeal fall victim to becoming cliché, with designers distancing themselves as they do not want their work to be seen as outdated or dull (Friedman). This is the case with the rebranding of Appalachian State Athletics. In 2013 the athletics department announced its plans to revert to the schools earlier “Victory Yosef” (fig. 6) mascot mark. According to the press release, it was brought back in 2012 as a temporary throwback and known as “Vintage Yosef”. The school decided to move forward to make it the permanent mark to represent athletics (Appalachian). An excerpt from the press release expresses popularity as the driving force behind their decision: “The excitement that Victory Yosef has generated among our students, alumni and fans since we introduced it as a throwback logo last fall has been overwhelming. Due to its popularity, it only made sense to make Victory Yosef a permanent part of our branding. We hope that it endures as a recognizable mark of Appalachian athletics for years to come.” Lewis Hardy, president and CEO of Licensing Resource Group, Appalachian State’s licensing management partner states that “Traditional logos with strong mascots are hot in the market right now” (Appalachian). The problem with this thinking is reducing the mark that is meant to represent a team’s legacy to a trend. Sports identities should be built on more than a “hot” trend or an increase in sales of a special edition shirt featuring the mascot. Trends fade and in order for the mark to be a more functional part of the schools heritage, history and future is an updated mark that will
connect its original history to the current character of the university’s student culture. Upon the release and announcement the mark inspired parodies and anecdotes of individuals posting mascots created using Microsoft Paint and comparisons to children’s drawings began surfacing on sports blogs and social media. For many the design embodied the dated and unrefined characteristic that lingered over nostalgic design. Because the design was literally pulled from the schools history without consideration for an update, the audience did not consider the design a success. The design made headlines in the design and sports community. Fast Company’s “Design Crime” blog interpreted the various feedback points and found three reasons it failed to impress. First, the design lacks craft in its execution or as some described it “looked like it was drawn by a child” (Dunne). Handcraft appeal is one of the characteristics of nostalgia’s visual appeal, but craft and detail are still factors. Many critics felt it looked lazy. Second, it did not serve its purpose. According to Dunne, a sports logo should “symbolize a team’s pride and power”. The logo lost most of the strength and power the former logo commanded. The final conclusion made about the logo was just not aesthetically pleasing. In context of its visual appeal, to a wider audience not affiliated with the university, the logo does not have context. Using the mark on a shirt and selling it on campus was success because the campus community and affiliates knew its history and connection to the campus. When extending that identity to an external audience, lack of association has to be considered to help sell the idea. Unlike the rebrand and return of the Charlotte Hornets, modern adaption of the design was not a strong consideration. The design’s popularity as a shirt was misinterpreted. When worn as a graphic on a shirt the design works in paying homage to the universities roots and character associated with the Appalachian region. Their previous logo served as a more appropriately styled mark to represent their mountaineer heritage and the character if the athletic aesthetic. More application considerations and research into the athletics department audience demographic could have helped make the update more successful, accepted and a positive continuation of the university’s heritage. Fig. 6. Previous and current athletic mark for App State’s mascot. 2014. (SN Nation)
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CASE STUDY 3: THROWBACKS AND REPLICAS One of the most appealing hosts in carrying nostalgia in sports seems to be found in throwback and replica apparel and merchandise. In sports heritage, these throwbacks and replicas fall under the category Goods and Services. This category includes sporting goods, such as retro apparel and services with a heritage element (Ramshaw and Gammon 235). Throwback jerseys from current and defunct franchises can be found in most malls, sport apparel stores and online shops. Retailer Mitchell and Ness has become one of the leading brands that offer high quality replicas and vintage-styled merchandise such as jerseys, shirts, hats and other accessories to consumers. Their appeal and popularity can be attributed to the fact that they refer to eras when players were not littered with advertisements and players were more accessible (Ramshaw and Gammon 235). Athletes also promote these jerseys during commemorative games and events that pay tribute to a franchises’ history or collective history of a particular sport. For example, some baseball teams have worn the jerseys of Negro League teams (fig. 7) as well as the number 42 to honor Jackie Robinson break the color barrier. When asked about the appropriateness of current teams wearing and profiting off these jerseys Chuck Klosterman of the New York Times said this: The modern game has a historical relationship to segregation-era baseball but not a working relationship. Given that fact, the most important thing Major League Baseball can do — at least in terms of its racial history — is continually remind people that this kind of segregation once occurred and that many of the greatest players of all time were forced to play in alternate leagues for purely racist reasons. These throwback uniforms advance that goal.
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Another category, tangible immovable, refers to the sites and landmarks with sports significance (Ramshaw and Gammon 234). Museums, halls of fame, stadiums, and arenas fall under this category, particularly sites that hold significant heritage. One example is Fenway Park, the oldest baseball stadium in Major League Baseball and home to the Boston Red Sox, one of the oldest baseball franchises. In reference to replication of the past in the design of these structures, Oriole Park at Camden Yards (fig 8), home to the Baltimore Orioles, was the first in a wave of “retro” baseball park construction trend in the United States (Ramshaw 3). Housed in a tourist hub of the city’s Inner Harbor, the design of the park takes queues from the surrounding industrial structures and warehouses along with the styling of early 20th century baseball parks. The stadium creates a nostalgic sporting experience that “encompasses both the style and atmosphere of traditional baseball settings” (Ramshaw 4) in an attempt to connect the past to the current generation and audience. Fig. 7. The Washington Nationals donned Homestead Grays uniforms in a game against the Pittsburgh Pirates. 2008. (99 Feet of Perfection)
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Sport halls of fame are another example of replication in reference to the past and tangible immovable. The artifacts housed within these structures would be categorized as tangible movable. This is defined as “objects, articles and tangible experiences that need not be spatially rooted” (Ramshaw and Gammon 234). Visitors are transported back to various times in sporting history through the displays and artifacts featured with these museums. According to Snyder, “the underlying theme of sport halls of fame and museums is the glorification of a sport heritage. Consequently, a sport must have developed a sufficient heritage and antiquity to warrant the establishment of a hall of fame (229). At Yankee stadium, attendees can visit the on site museum (fig. 9) as part of the game day experience. The displays offer a rich visual history featuring uniforms, autographed baseballs wall, franchise highlights and display of World Series rings and trophies. Synder also points to juxtaposition of the past and present in the appeal of these facilities.
Fig. 8.1 and 8.2. Orioles Park at Camden Yards. (WBAL News Radio 1090)
“On the surface it appears the halls and museums attract people because of their fascination with sport, including the idolized figures and memorabilia from the past. But this is only part of the explanation; the attraction may also be based on the contrasts and incongruity between past and present. This juxtaposition of the past with the present creates the context for feelings of nostalgia” (229). Tourists and sports fans visit these museums, landmarks and facilities to be transported back to the past and share the memories with new generations. For designers, these sports heritage categories can be a source of understanding the audience through observation as well as the history and connection they can represent.
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Fig. 9. Season exhibit on display inside the Yankee Stadium Museum. (G and G Partners)
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ANALYSIS three
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What the rebrand of the Charlotte Hornets, designs of the retro stadiums and throwback merchandise illustrate, is the impact and importance of research and the consideration of the application of the past toward present day sports designs. When building the methods and framework for the use of nostalgia in sports design, designers will need to be conscious to these ideas to make the results a success. The case study surrounding Appalachian State mascot, while meaning well, used incomplete conclusions to implement a mark from the past as a primary identity. From these three case studies, several lessons can be learned and used to create designs that consider the aesthetic and emotional contributions of nostalgia. The first is renewed pride. The Hornets return came at a time when sports in Charlotte was something many fans could rally behind, especially in basketball. Before a consideration was even made to bring the name back, fan-lead campaigns garnered support locally and nationally. On the night of the announcement and reveal, a sold out arena cheered as owner Michael Jordan introduced the new identity. More season tickets were sold, merchandise sold out in the team store and fan pulled out their older apparel from earlier seasons. While the team’s performance has not been stellar, there is definitely greater buzz surrounding the franchise. The example of the Nike Army versus Navy uniform design, can show designers how to effectively connect generations as well as build on the heritage of a teams past to build the confidence of the current team. LaRosa’s design extracted the history of an epic battle for the Army during World War II. While the players wearing the uniform did not fight in the battle, they felt a connection to those who did fight and used that energy to fight on the field. They played wearing the battle maps as veterans of the war watched from the sidelines. “While an actual object or event may have occurred pre-birth, if the object or event is embedded within a culture (surrounding the object
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or event), then it is likely that it can be a focus for nostalgia” (Fairley 287). They may have not fought together and were separated by several generations, but they were connected by their determination to win and continue the legacy of the Army on the battlefield and the football field. Nostalgia can be used as a reminder of the “good old days” and comfort in less favorable times. “Nostalgia is a remembrance or recollection of the past, a past that is infused with imputations of past beauty, pleasure, joy, satisfaction, goodness, happiness, love, and the like, in sum, any or several of the positive affects of being” (Snyder 229). Post September 11th, sporting events and the emotions they evoke help ease some of the hurt, confusion and sadness that shadowed the country, especially in New York. Initially this was not the case. Due to the seriousness of the attacks and the fear that followed, the reaction was to dismiss sports (Politi). Overtime, the sporting events became an integral part of the healing process. Attendees waved American flags at games, shed tears during the Nation Anthem as players and coaches held their hats, adorn with patches honoring service men and women, to their hearts. Transition is a natural part of life. Nostalgia can be used to bridge some of the gaps between the phases. For nostalgia researcher Dr. Constantine Sedikides, it showed him that life had roots and continuity (Tierney). This can be a driving force to move legacy forward. Appalachian State saw an opportunity to push their sports legacy to a new level, while reviving their past. This transition needed more elements to move forward to the next level in exposure for them. There was definitely heritage present in the image of the mascot Victory Yosef, but the right transition was not present in order to make it work.
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The last, and perhaps most obvious lesson is nostalgic visual and emotional influences stand the test of time. Some do not agree with this as a reason to pursue this. Jeffrey Keedy believes graphic designers should be responsive to and responsible for the development of their own style. This is true, and an important aspect in developing as a designer. This does not mean the lessons learned and designs of the past should be disregarded, especially when a message seeks to stir a particular emotion. In sports, it is especially critical to be aware of the past and the connection it has for the audience. Designers must learn to find balance in blending the novelty of current ideas with the familiarity found in nostalgia triggering ideas. That is why it is important to break beyond the visual surface of nostalgia to see the underlying layers that hold emotion, history and heritage. Jessica Helfand makes this statement about designer simply making things: “Designers talk about creating a body of work, but they seldom talk about acquiring a body of knowledge. They take pride in being makers, but seldom identify themselves as thinkers. They claim to be emissaries of communication — to give form to ideas. And while we would like to believe this is true, it seems to us that all too often, we, as designers, are called upon merely to make things look good — rather than contributing to the evolution and articulation of ideas themselves.” If more understanding and connections can be made with the past to the present approach to design, novelty will began to pierce through the overlaying idea that the past has nothing new to offer.
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“Designers must learn to find balance in blending the novelty of current ideas with the familiarity found in nostalgia triggering ideas.”
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Poster design by Brittany Davis, 2015.
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CONCLUSION four
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From the case studies, arguments and background content presented, designers and marketers can see how there is more to nostalgia. It is not all textures, visual treatments and “retro” elements. Nostalgia is a tool that can tap into the emotional connections of the sports-based audience who lived the experience and for those who learned about the experience. If designers can learn to appreciate and apply deeper elements, the inspiration will flow and the resulting designs and messages can paint a more authentic representation. It can also strengthen the designers approach to pre-design research similar to the approach Nike used for the Army uniform designs. Design should be “different, yet deeply familiar” (Naughton and Vlasic).
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“Nostalgia is a tool that can tap into the emotional connections of the sports-based audience who lived the experience and for those who learned about the experience.”
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visual thesis five
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IT IS NOT THE HONOR THAT YOU TAKE WITH YOU, BUT THE HERITAGE YOU LEAVE BEHIND. —Branch Rickey
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Table of Contents PURPOSE 42 BRAND STANDARDS 43 Logos 44 Color Palette 44 Typography 49 THE TRIPLE 50 Exhibit 51 Virtual Experience 60 Brand Activation 62 PROMOTIONAL PACKAGE 68 BIBLIOGRAPHY 71
1920 Kansas City Monarchs (Negro Leagues Baseball eMuseum)
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Purpose Nostalgia in graphic design is more than the application of sepia tones, faded images and vintage type – it can extract from the past to create authentic visual and emotional experiences for present-day audiences. Steven Heller describes nostalgia as “a good indicator of what excites new generations”. Designers need to know how to apply the elements of the past in order to create the most effective and authentic visual experiences. Nostalgia is linked to personal memories and emotions and the arena of sports thrives on fans’ emotional connection to particular teams and franchises.
the essence of the sport experience. By analyzing team branding, sports heritage and the use of historic references in sports facilities, one may see nostalgia as more than a visual trend, but a pathway to connect present and future generations of sport fans.
For designers and studios tackling this niche, there is a need to not only understand the history of the team, but also be receptive to the connection that team has with the fan. In sports-based design, nostalgia not only prompts the embedded memories of the audience, it renews
The campaign is set in 2024, commemorating the 100th anniversary. The visual will serve as a proposal that can be presented to potential sponsors and exhibit hosts. It will celebrate the history of the event as well as highlight other significant moments and figures of the Negro League.
The focus of the visual thesis is the proposal for the 100th Anniversary of the first Colored World Series held in 1924. The 1924 Colored World Series was the first official championship series between two recognized Negro League championship teams.
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Brand standards
Heritage
The standards of the brand consist of three core themes: Heritage, Authenticity, and Commemoration. Heritage is the most essential of the components and serves as the name of the campain. “Heritage often seeks to remember, enliven, teach—and even create—personal and collective legacies for contemporary audiences. Its purpose is often to celebrate the achievements, courage and strength of those who have come before, consequently making it unusual to see critical examinations of the past from a heritage perspective” (Ramshaw 230).
Authenticity Commemoration
Like the definition of heritage, the Heritage on the Move campaign celebrates a momentous occasion in sports and American history - the 1924 Colored World Series. The brand is meant to build and recall connections to the legacy of this moment and serves as a bridge between the past, present and future.
“First colored world series, opening game Oct. 11, 1924, Kansas City, Mo. (Photo by J.E. Miller, K.C.)
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Logos
PRIMARY
The logo combines elements of road travel with familiar visuals from baseball. The combination communicates the travel and sports theme of the campaign. The Route 66 “shield” and the “wings” pay homage to the road trips the teams had to take to get to their games, as well as a reference to the buses used to transport them. The primary logo features the wings and crossed bats paired with the shield. In its complete form it best illustrates the two major themes of the campaign. The secondary logo is the shield only and is used in more applications where space is limited. The more squared composition is more accommodating for some of the print and digital applications.
SECONDARY
Colors “Heritage Red” Pantone 187 #AF2524
“Home Base Blue” Pantone 302 #003A5C
“Throwback Tan” #EEE8E0
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LOGOS: ONE COLOR
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Host city Logos The exhibit will travel across a number of cities with professional teams or original Negro League teams. To make the exhibit more appealing to each stop, the campaign will use an addition logo customized for the city. The examples on the right represent the four original host cities of the 1924 World Series. Each logo references a city landmark from the cities skyline.
Kansas city Chicago Philadelphia Baltimore
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Alternative Logos The alternative logo sets can hold a variety of uses. The main idea was to have a set that could appeal to a range of audience members across generations, while maintaining a strong level of consistency. This set will be used more for promotional and brand activation applications.
LOCK UPS
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novelty Logos
THE JUBILEE
The novelty logos are used on merchandise and promotional items. They can also be used on secondary print materials that fall under brand activation such as commemorative posters, cards and tickets.
THE DIAMOND THE WINGS
THE BASES
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Typography The type selections were based on advertisements and sports brands designed during the 1920s. Since authenticity is a core theme of the brand, it was essential to carry this message in the background of the type. The identity uses three typefaces in the design. The have their own character, yet work well together when creating block formats in compositions.
EXAMPLES
Headline
Moonshiner Rounded The typeface was designed based on the block lettering found on letterpress machines—a common form of producing broadsheet posters used to advertise the baseball games. Its bold face is perfect for highlighting content.
SUB-HEADER
Corki Tuscan Rounded While keeping the extended height of the headline type, a lighter selection was needed. Corki teams well, while providing needed contrast to create hierarchy in compositions.
SECONDARY
Citizen Slab To contrast the extended height on the headline and sub-header, a wide typeface was selected. It can be used for call outs as well as ornamental copy.
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THE “TRIPLE” 1 TOURING MOBILE EXHIBIT “HERITAGE ON THE MOVE”
The mobile exhibit will be in the form of a traveling tour housed in a restored bus. The bus is a reference to the mode of travel for the teams. It also represents a connection to the past. The interior of the bus will hold interactive exhibit stations and displays as well as a pop up shop. The bus will make stops in cities across the US.
2 VIRTUAL EXPERIENCE
For those who cannot experience the exhibit in person, a mobile-based virtual and augmented reality app will be available. Using the content from the mobile exhibit, the app will work to create a rich experience and offer access to the exhibits. The app will also host a bus tour tracker, schedule, shop and other interactive features.
3 BRAND ACTIVATION
The goal of part 3 is to encourage positive participation—physically or virtually. This is in reference to the sports heritage category “goods and services” discussed in the written thesis. Part 3 will include merchandise, advertising and cross promotions with the selected sponsors.
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Touring MOBILE EXHIBIT Theater
Interactive Timeline
This customized bus will be the feature component of the Triple. To build in sponsors, a transportation-based company would run the bus. For the purpose of the proposal, the selected company is Greyhound. They have a long, rich history with American history including the history and civil rights of African Americans. Their Scenicruiser lines are the perfect vehicle to transport the exhibit. Its body character references the past, while the interior is large enough to be outfitted with the technology running the exhibit.
Lifted Roof
The mobile exhibit will include: Interactive viewing stations, artifact displays, media presentation theater and an accompanying trailer for the pop-up shop.
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INTERIOR PLAN Display
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Display
Display
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Advertising In order to inform the public about the exhibit, a series of ads will be used. These include large format prints, public displays, bus ads, lamp post banners and billboards. The ads incorporate the type and color selections defined by the identity guidelines. It also uses 1920s-era stylized illustrations rendered in a modern medium—another example of juxtaposition of old and new.
MAIN POSTER HEADER
TAG LINE/LOGO SPONSOR BAR
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COVERED BUS STOP AD
BUS REAR ADVERTISING
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Access Levels Visitors will have the option of selecting different access levels when purchasing tickets. Each level comes with different levels of access to the exhibit, shops and associated events. The access will be granted based on the credentials they purchase. It serves as a ticket and a souvenir after the event. They will be classified in three levels:
“ALL-STAR” ACCESS “MVP” ACCESS “ROOKIE” ACCESS
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VIRTUAL EXPERIENCE The virtual experience serves two purposes: a tracker for the mobile exhibit and providing access to the exhibit for those unable to experience the exhibit in person.
APP FEATURES • • • • • • • • • • •
General Exhibit Information Augmented reality scanner Team rosters Timeline of events Tour schedule Event list Store Social media integration Bardick baseball card collection Jersey customizer Make your own baseball card (using phone camera)
TABLET INTERFACE
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PHONE INTERFACE
MAP/TRACKER
SPLASH SCREEN
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SCHEDULE
BUTTONS
BRAND ACTIVATION Brand activation is more than merchandise and promos. This last component is also about participation and interaction of the brand and the audience. The items suggested to promote the campaign can be sold and accessed through the site, app and at the exhibit stops. The idea is to use revenue to fund the exhibit and other sports heritage sites and exhibits. The different aspects of the deliverables would be sponsored by different companies. For example, the apparel would seek sponsors such as New Era, Mitchell and Ness, Lids, Fanatics, and Retro Brand. Promotions such as bats, gloves and commemorative baseballs, would seek companies Rawlings, Warstic and Louieville Slugger.
STICKERS
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PENNENTS
COMMEMORATIVE BAT AND BALL
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APPAREL
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CROSS BRAND PROMOTIONS © The Coca-Cola Company, all rights reserved. Coca-Cola®, “Open Happiness”, and the Contour Bottle are registered trademarks of The Coca-Cola Company.
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Promotional package
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bibliography THE NOSTALGIA EFFECT
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Appalachian State University. Appalachian State Sports Information. Appalachian State Announces Logo Changes. Appstatesports.com. App State Sports, 27 Nov. 2013. Web. 28 Feb. 2014.
Mason, Daniel S. Heritage, sport tourism and Canadian junior hockey: nostalgia for social experience or sport place?. The Journal of Sport Tourism 10.4 01 Jan 2005: 253-271. Politi, Steve. “One swing of the bat showed the healing power of sports after 9/11”. cnn.com. Special to CNN. 9 Sep. 2011. Web. 1 Jan. 2015.
Barnhill, Caroline. “UniFORM.” DesignLife Winter 2014: 24-25. Print. Bogues, Tyrone “Muggsy”. Personal Interview. 28 January 2015.
Ramshaw, Gregory and Sean Gammon. “More Than Nostalgia? Exploring the Heritage/Sports Tourism Nexus” Journal of Sport Tourism 10 (4), 2005, 229–241
Bonnell, Rick. “$3 Million Question: Will Nostalgia, Money Follow ‘Hornets Nickname.” Charlotteobserver.com. The Charlotte Observer, 6 Dec. 2012. Web. 01 Mar. 2014.
Ramshaw, Gregory. “Nostalgia, heritage, and imaginative sports geographies: Sport and cultural landscapes.” Forum UNESCO University and Heritage 10th International Seminar “Cultural Landscapes in the 21st Century. 2006.
Dunne, Carey. “Is This The Worst Logo Update Of 2013?” Co.Design. 05 Dec. 2013. Web. 05 Jan. 2015.
Riechers, Angela. “Toxic Nostalgia.” Printmag.com. Print Magazine, 26 July 2012. Web. 25 Jan. 2014.
Estes, Devon Elizabeth, “Developing a Method for Designing Sports Logos” (2011). Graduate Theses and Dissertations. Paper 10153.
“Rodney Richardson.” Interview by Adam Martin. Audio blog post. Makers of Sport. Makersofsport.com, 1 Sept. 2014. Web. 5 Sept. 2014.
Fairley, Sheranne. “In search of relived social experience: Group-based nostalgia sport tourism.” Journal of Sport Management 17.3 (2003): 284-304.
Sedikides, Constantine, et al. “Nostalgia past, present, and future.” Current Directions in Psychological Science 17.5 (2008): 304-307.
Friedman, Vitaly. “Celebration Of Vintage and Retro Design.” Smashingmagazine.com. Smashing Magazine, 21 Apr. 2008. Web. 26 Jan. 2014.
Shafer, Dan D. “The Construction of Nostalgia.” Visualvocal.com. VISUAL/VOCAL, n.d. Web. 27 Jan. 2014.
Helfand, Jessica. “The Shock Of The Old: Rethinking Nostalgia.” designobserver.com. Observatory: Design Observer, 27 Oct. 2005. Web. 26 Jan. 2014.
Snyder, Eldon E. “Sociology of nostalgia: Sport halls of fame and museums in America.” Sociology of Sport Journal 8.3 (1991): 228-38.
Helfand, Jessica, and William Drenttel. “Culture Is Not Always Popular.” Lecture. AIGA National Design Conference. Vancouver. 28 Jan. 2014. designobserver.com. Observatory: Design Observer, 25 Oct. 2003. Web. 02 Feb. 2014.
Summers, Jane, Melissa Johnson, and Janet McColl-Kennedy.”Evoking the Past: Exploring Nostalgia’s Relevance to Sport Consumption”. AP - Asia Pacific Advances in Consumer Research Volume 4. (2011) 108-113.
Grover, Ronald. “Hey, If It Worked Before…” in Business Week, March 23, 1998. Keedy, Jeffrey. “I Like the Vernacular... NOT,” in Lift and Separate: Graphic Design and the Vernacular, ed. Barbara Glauber. New York: The Cooper Union for the Advancement of Science and Art, 1993.
Tierney, John. “What Is Nostalgia Good For? Quite a Bit, Research Shows”. The New York Times. The New York Times, 08 July 2013. Web. 10 Nov. 2014. “Todd Radom.” Interview by Adam Martin. Audio blog post. Makers of Sport. Makersofsport. com, 2 June 2014. Web. 2 June 2014.
Klosterman, Chuck. “The Case for Throwback Baseball Uniforms.” The New York Times January 9, 2015 Accessed Jan. 25, 2015. Online Naughton, Keith and Bill Vlasic “The Nostalgia Boom: Why the Old is New Again” in Business Week, March 23, 1998.
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