An Identity for Social Change by Maine College of Art

An Identity For Social Change

By Ana Maria Garcia

To my dove, Thank you for helping me get through this one.

CHAPTER X: CHAPTER NAME

4–5

CHAPTER X: CHAPTER NAME

Submitted in partial fulfillment of the requirements for the degree of Bachelor of Fine Arts at Maine College of Art, Portland, Maine, May 16, 2021. Designed by Ana Maria Garcia. Set in Sporting Grotesque, designed by George Triantafyllakos and Lucas Le Bihan, and Raleway, designed by Edward Johnston. Printed on Mohawk natural linen, in an edition of 2. All writing and photographs by Ana Maria Garcia. © Ana Maria Garcia 2021 All rights reserved.

AN IDENTITY FOR SOCIAL CHANGE

By Ana Maria Garcia

The Process 1. My Work 2. Inspirations 3. Ideation 4. Research Posters 5. Context 6. Creating A Brand 7. Site Specific 8. Final Thoughts

MY WORK

CHAPTER X: CHAPTER NAME

Five years ago, I found that there was a distinction between art and design. I preferred art and pursued a sculpture degree at, what I would refer to now as, an elitist university. Enduring my first major physical injury, and other accumulated tumultuous events, found me back home at community college studying business while working prepress at a printing and

I am a black and white thinker; I fear the gray. This makes it difficult to say that I am a graphic designer and an illustrator. Throughout my education, it has always felt that I had to choose one field over the other. If I was working on my typography skills, my drawing abilities seemed to weaken. If I spent too long in my sketchbook, my hand would reject a computer mouse. I spent time trying to dedicate myself to one practice over the other to officially define myself in one field, but staying within the specific realm of each practice felt too narrow for me. Recently, however, I realized that there is no need to define myself as one or the other. Graphic design and illustration are ingrained in my practice as an artist, and I might as well embrace the color gray. My design work utilizes vibrant colors, playful graphics, layered compositions and texture, as well as engaging and dynamic typography. I use photography and collage, and typically implement some hand-drawn illustration or digital graphic into my work. My illustrations share the same previously mentioned qualities; I utilize multimedia tools and a wide range of colors to render a drawing, adding new illustrative layers and different paper textures for visual interest. I tend to use dry media like graphite and colored pencil the most since they provide a variety of strokes, texture, and saturation from the sensitivity of one’s own hand. I love to evoke

CHAPTER 1: MY WORK

distribution company. I was severely depressed and felt as if I had lost my identity as an artist. Despite this, I eventually began to find joy in my work. At first, it was the simple pleasure of going through the tedious tasks that any designer might have to endure: printing with bleeds and trim marks, crisps folds of the paper, and a satisfying cutting board. When I had developed more experience and got to design simple projects for local companies, I found increasing gratification in the work I was doing, and eventually changed my major at community college to graphic design. This combination of real-life work and education immersed me in

10–11

the world of design, and I felt like myself again—like an artist. I began to see no distinction between art and design, and found that there was creativity in everything I did. Now I am inspired to help people, communities, and businesses grow with my work and all of this has led me to an interest in visual identity systems. —Inspirations, Thesis Paper No. 2

elements of youth, childhood, play, and fun in both my design and illustration. I pair these ideas with a strict adherence to typographical conventions, visual hierarchy, and compositional balance. The first step in my design process begins with research. I gather information on the project, client, and neighboring competitors to understand how my work needs to stand out or blend in. I research visual inspiration like color palettes, typography styles, and photography, but instinct is really what drives my process. It is as if I can imagine the final end product and strive to achieve it, but I encourage the challenging of this vision and trust my instincts as the designing unfolds. After my research, I begin to sketch different iterations digitally or on paper, depending on how I can most easily render my idea. If an illustration or graphic is needed for a client, I try to research different illustration styles that would best fit the intended brand and application. During the design phase, I look for feedback from peers and enjoy a collaborative environment where ideas can bounce between people. Graphic design is not viewed by a singular audience, so I think it is important to hear more than my own opinion. On the contrary to my design practice, I believe my illustration process is very internal and personal. I design for others, but draw for myself, so I look for no external feedback during this creation process, and only hope that what I make can satisfy others like it satisfies me. Because of the personal nature, I draw inspiration and ideas from my past experiences, personal photography, and the environment around me, as well as the emotions that are connected to each phenomenon. These emotions can change which colors are used, the narrative composition, or even the rendering of a specific object to better reflect my feelings. I view my illustrations as a type of living document, where a work is never finished, but instead added or subtracted to/from over time. This, again, is connected to my current emotions or thoughts on the subject. No matter the type of project, I think the best mode for any artwork is a book. As a graphic designer, I love book design, and aspects associated with it like page layout, editorial design, and typesetting. Nonetheless, I believe that the ability to unfold a narrative over

PROCESS

several pages is beneficial to any project, even if it is to tell the story of the design, or a documentation of a work. This is the same for illustration. I can explore a consistent illustrative narrative over several pages, and take time expanding on an idea whether it be conceptual or visual. Even so, the physical qualities of books are my favorite aspect—flipping back and forth, holding the document in your hand, and even the ability to accidentally rip or tear, notate and edit the work as a user.

CHAPTER 1: MY WORK

Page from sketchbook

12–13

INTENTIONS

CHAPTER X: CHAPTER NAME

Blackness as Commodity: How Mainstream Pop Culture Appropriates Black Culture

Growing up I consumed many magazines, gossip columns, celebrity news and media outlets—I loved pop culture. Pop, or popular, culture is defined as cultural products such as music, art, literature, fashion, dance, film, television, and the internet that are consumed by the majority of a society’s population. Pop culture and mainstream media dictates how we speak, how we dress, what we watch, and who we give our money to. This love of pop culture soon turned into a liking of social and cultural commentary as I got older and oversaturated with popular content. Through an analysis of trends, fashions, and everyday experiences, one thing was always abundantly clear: white people are racist. Yes, this is a generalization, but it signifies the deeper cultural problem that white people have towards black Americans. Black people get ridiculed, mocked, and belittled for aspects of their identity like fashion, art, and language. Nonetheless, when white people appropriate these aspects as their own, society celebrates it as new and novel. Pop culture consistently and historically favors these white celebrities, when in reality they are stealing black culture, using it for their own profit, and erasing the black individuals who invented the trend. For my thesis, I want to explore how blackness is used as a commodity in mainstream pop culture. This includes, but is not limited to, the co-opting of AAVE (African-American Vernacular English), black people as memes and “internet culture,” and fashion and beauty. For background context, I will research cultural appropriation, cultural appreciation, and racism in the entertainment industry. My goal for this project is to show which popular trends come from black culture and how it’s current representation repurposes and decontextualizes the trend and creator’s origin, further dehumanizing and dismissing black people in America.

CHAPTER 2: INTENTIONS

—Original Thesis Statement of Intent

14–15

What would America be like if we loved black people as much as we love black culture? QUOTE

Amandla Stenberg, DON’T CASH CROP ON MY CORNROWS (2015)

CHAPTER X: CHAPTER NAME

16–17

IDEATION

100 WORDS Brainstorming exercise to generate 100 words on my thesis topic—generated by train of thought.

CHAPTER 3: IDEATION

18–19

1. CALENDAR 2. PHOTO SHOOT: BLACK FASHION 3. PATTERNS FOR BANDANAS 4. MAGAZINE 5. HAT RACK POSTER: BLACK FASHION 6. MURAL 7. HAT RACK POSTER: IMAGES OF CULTURE BEING APPROPRIATED 8. ALBUM COVER ILLUSTRATIONS 9. MOVIE POSTER ILLUSTRATIONS 10. QUOTE BOOK 11. MAGAZINE COVER 12. INFO GRAPH: POPULARITY OF X TREND

BRAINSTORMING

20 PROJECTS Brainstorming exercise

13. POSTER SERIES OF FAMOUS WHITE CELEBRITIES AND WHERE THEIR LOOK/ FACE COMES FROM 14. COMMON MICROAGGRESSIONS AND WHAT THEY MEAN 15. HIGHLIGHT BLACK TREND STARTERS, CONTRIBUTIONS 16. INFO GRAPH: USE OF AAVE WORDS OVER THE YEARS 17. I’M UNLEARNING RACISM PINS 18. GRAMMAR BOOK –> CODE SWITCHING 19. WHERE DO YOUR MEMES COME FROM? 20. AAVE DICTIONARY

CHAPTER 3: IDEATION

20–21

RESEARCH POSTERS

CHAPTER X: CHAPTER NAME

Excerpt from FIVE YEARS OF 100 DAYS, from the Design Observer (2011)

For the past five years, I’ve taught a workshop for the graduate graphic design students at the Yale School of Art. The specific dates always change, but the

Our first assignment of the semester was to introduce our thesis topic to our audience. The requirements were a black and white twenty-four by thirty-two inch poster; that’s it. This proved very difficult at first—this would be the first artwork I create under the umbrella of my thesis, and it was supposed to tell the whole world what I would be valiantly working on for a semester. Of course, Charles kept reminding us that “we’re not going to save the world,” but that did not stop the amount of pressure I put on myself in this assignment. I made a lot of rough drafts, experimented with illustration, text-only, photography, and even used cut-paper collage. After a few days of unsuccessful posters, I noticed that the work lacked a quality of scale and hierarchy, and finally began to make something more interesting with this notion in mind. The final result was my first thesis poster of the semester found on the following page. During this making phase, we were introduced as a class to Michael Beirut’s “100 Days” project, which is a workshop taught at the Yale School of Art where students complete a design task everyday for one hundred days. Because of the difficulty of my first poster, I decided I wanted to try to make a new poster everyday to get the ball rolling my projects. I did give up after nine days, but nonetheless, within those nine days, I ended up creating a poster that summarized a specific topic that I was researching that day. I believe this collection of posters is an excellent showcase of the amount of research put into my thesis.

basic assignment goes something like this: Beginning Thursday, October 21, 2010, do a design operation that you are capable of repeating every day. Do it every day between today and up to and including Friday, January 28, 2011, the last day of the project, by which time you will have done the operation one hundred times. That afternoon, each student will have up to 15 minutes to present his or her one-hundred part project to the class. The only restrictions on the operation you choose is that it must be repeated in some form every day, and that every iteration must be documented for eventual presentation. The medium is open, as is the final form of the presentation on the 100th day.

CHAPTER 4: RESEARCH POSTERS

22–23

DAY 1–2

24–25

CHAPTER X: CHAPTER NAME

DAY 3-4

26–27

CHAPTER 4: RESEARCH POSTERS

DAY 5–6

28–29

CHAPTER X: CHAPTER NAME

30–31

CHAPTER 4: RESEARCH POSTERS

DAY 9

The poster a day was only supposed to be a side project and a way to generate ideas, but I decided to stop this work because of the amount of time I was putting into the research and creation of each poster. Initially within my thesis I had the intention of creating more “artistically” (whatever that means) to what I had learned within the research phase, but after creating the posters I was unsure of where to go from there. I was not used to responding “artistically” to all of this learned knowledge. Do I make a painting? A print? Are prints and paintings not just other-sized posters made in a different medium? I thought I didn’t want to make posters anymore. These thoughts ran through my head as I was deciding what to do next. At this point I was unsure how to contextualize my research and create artwork from it. I began to think about what I would normally do in the past. At first I felt frightful when I could only think of my previous branding projects. This was supposed to be my thesis, not just another branding project. Then suddenly, I got excited. I got very excited, and ideas started coming to me so easily—posters, posts, videos, photography, messaging, mockups, t-shirts, and more. Now it seemed so silly to think I was trying to stop myself from creating a brand. I had all this information and wanted to tell people about. Branding and visual identities was how I contextualized information, was how I made art, and now I was able to really start creating a thesis to show the world.

CHAPTER 4: RESEARCH POSTERS

Does this sound like fun? I’m not sure. But some years, up to two dozen students start the assignment. And some years, more than half drop out before the end. Everyone starts with high hopes. But things get repetitive by day ten. By day twenty, no matter what you’ve decided to do, it feels like you’ve been doing it forever. And bridging the end-of-year break is always a big challenge. But the students who get past day thirty or forty tend to get in a groove that will take them through to the end... —Michael Beirut for the Design Observer (2011)

32–33

CONTEXT

CHAPTER X: CHAPTER NAME

Excerpt from DOING ART POLITICALLY: WHAT DOES THIS MEAN? (2008) – [ENG]

Doing art politically means deciding in favor of something I decided to position my work in the form and force fields of Love, Politics,

Visual identity, or branding, stems from a long tradition of crafts, trading, and object ownership and identification.

Philosophy and Aesthetics.

The equivalent of a logo, or known back then as ‘makers marks’, were used by Ancient Greek, Roman, and Egyptian craftsmen, allowing for their handiwork to be known throughout kingdoms and empires. In medieval Europe, this practice of visual identification continued with heraldry where armor and uniforms were fashioned with different crosses, animals, and other graphic shapes to distinguish allies or enemies on the battlefield. The word branding itself can be seen in the practice of cattle ranchers in Mexico and Texas, brought over from Spain by Christopher Columbus himself, where cows and other animals are marked by a hot iron rod with letters, words, and shapes to deter poachers. Branding began to further develop with the economic boom after World War II, where consumer goods and corporations began to fight for the attention of the average person. “As feudal domains became economic enterprises, what was once heraldry is now branding. The battle for physical territory has evolved into the competition for share of mind.” In today’s world, branding has now even evolved to consider the likes of personal identity and marketing for individual people. Visual identities are everywhere and have been a necessary tool throughout history. Corporate identity and visual systems began to take shape during the 1950s after the post-war economic boom. These growing corporations, like CBS, IBM, and PBS, were in need of recognizable symbols as well as a cohesive visual identity to unify

All four fields are equally

CHAPTER 5: CONTEXT

I always want my work to touch each of these fields. important to me. My work does not have to cover all these fields evenly, however, I always want all four fields to be touched. One of these four form-and force-fields, but only one, is the field of Politics. To choose the force- and form-field of Politics means that, in my work, I always want to ask the question: What do you want? Where do you stand? It also means that I always want to ask myself: What do I want? Where do I stand? The force and form field of Politics—just as the field of Aesthetics – can also be interpreted negatively, I am aware of it. But it is never about excluding or rejecting the negative, it is about confronting the negative also, working within the

34–35

negative also and involving oneself in it, it is always a matter of not being negative oneself. Through my work, I want to create a new truth beyond negativity, beyond current issues, beyond commentaries, beyond opinions and beyond evaluations. Doing art politically means building a platform with the work Creating a platform enables others to come in contact with the work. I want all of my works to be understood as a surface or a field. This field or surface is the upper surface that enables access or contact with art. The impact or friction takes place on this upper surface, and through a contact, the other can be implicated. This surface—my work—must be a locus for dialogue or for confrontation. I think that art has the power and capacity—because it is art—to create the conditions for a dialogue or a confrontation, directly, one-to-one, without communication, without mediation, without moderation. As an artist I want to consider my work as a platform, a platform which is a clear opening toward

their national and international scope. Two large inspirations of mine are the well-known designers, Paul Rand and Herb Lubalin, creators of the IBM and PBS logos, respectively. Rand’s IBM logo, designed in 1956, started from a typeface designed by Georg Trump in 1930 called City Medium. He then modified the typeface to what is the iconic IBM corporate logo. Rand made future updates like adding stripes to mimic scan lines on video terminals in the 70s. Nonetheless, the updates did not stop there. In 1981, Rand developed the even more iconic “eye, bee, m” logo using the rebus principle. Further packaging shows several logo variations used in fun patterns and colors. Throughout the years, Rand was able to create an iconic and visually strong logo, yet updated its personality to reflect modern changes in technology and even played with its own iconography. In 1970, Public Broadcasting Services, or PBS, was born and hired Herb Lubalin at Lubalin, Smith, Carnase, Inc. to create a nationally known logo that still maintained a sense of local pride. Lubalin ended up creating the still iconic PBS logo, which features bold typographic letters, yet modified to represent a person. Lubalin’s fun and creative vision lasted from sketches to the final product, which is further shown through a set of animated titles. Rand and Lubalin’s bold typographic logos are inspirational for their strong visual identities as well as their ability to last through decades. Furthermore, their ability to change and adapt shows how graphic design can make a continued impact on a company’s identity. Rand and Lubalin’s idea of corporate identity, although not to say they were not fun or dynamic, began to take a shift in the postmodern era of graphic design in the 1980s. With new technological updates in music, television, and the internet, graphic design became fun and subversive. In 1981, Robert Pittman, media executive, hired the Manhattan Design studio, which consisted of Pat Gorman, Frank Olinsky, and Patti Rogoff, to create the logo for a new cable station, Music Television, or MTV. Olinsky created the bold three dimensional sans-serif M, which Gorman, whom the logo is mainly attributed to, then added a spray painted ‘TV’, creating the final memorable logo. “A moment of insight occurred when the designers realized the potential of varying the

HISTORICAL CONTEXT

36–37

color, decoration, material, dimensionality, viewing angle, and motion of the logo, with its broad flat M and vigorous TV. With these variations, the logo could assume different personalities, participate in animated events, and be demolished.” This notion of an ever-changing logo is contrary to the idea that a visual brand must be consistent across all platforms/ media to create recognition. The team produced hundreds of sketches to show all possible variations, which included a large mix of animation, illustration, photography, and video manipulation. This large range of logos displayed an understanding of MTV’s young and evolving audience, as well as an evolved sense of consumer culture, or even counter-culture. Olinksy and Gorman’s lively, playful, and dynamic logo concepts set new precedents for what a logo should look and act like. Now, the person who is the antithesis of the corporate identity structure is Tibor Kalman, revolutionary graphic designer working from the 70s until his death in 1999. Kalman writes in a June 1998 essay titled, “Fuck Committees (I believe in lunatics),”

By now, virtually all media, architecture, product and graphic design have been freed from ideas, individual passion, and have been relegated to a role of corporate servitude, carrying out corporate strategies and increasing stock prices...All cars look the same. Architectural decisions are made by accountants. Ads are stupid. Theater is dead. Although it sounds completely pessimistic of graphic design’s evolving nature, Kalman believed that “Graphic design is a means, not an end. A language not content.” This is to say that our corporate identities, bold logos, and dynamic variations mean

CHAPTER 5: CONTEXT

Tibor Kalman, TIBOR, ed. Peter Hall and Michael Beirut (New York, NY: Princeton Architectural Press, 1998), pp. 26.

the other. I always want to ask myself: Does my work possess the dynamic for a breakthrough? And I ask myself: is there an opening, is there a path into my work? Does my work resist the tendency toward hermetic? My work must create an opening; it must be a door, a

nothing if the use and utility of these brands are only used for the accumulation of wealth. Kalman carried this sentiment into his magazine about the rest of the world, Colors, created in 1991. This magazine used the tools of graphic design, like typography and language, photography and manipulation, to focus on multiculturalism and global topics, dedicating issues to specific conversations like racism, the Aids crisis, and religion. I believe Kalman brought art and humanity back to graphic design, setting the example of how we designers can change the world.

window or even just a hole, a hole carved into today’s reality. I want to make my artwork with the will to create a breakthrough. Doing art politically means inventing oneself guidelines It means inventing one’s own guidelines or appropriating them. My guidelines are: acting in headlessness; ‘Energy = Yes! Quality = No!’; Being weak—but wanting to make a strong work; not economizing oneself; self-expenditure; ‘Panic is the solution!’; Being both precise and exaggerating; undermining oneself; being cruel vis-à-vis one’s own work, being tenacious, ‘Less is less! More is more!’; ‘Never won, but never completely lost!’; Having the ambition to coin a new concept with my work; assuming responsibility for everything concerning my work; accepting to look dumb in front of my

Although I believe that my work follows the same path as the aforementioned white corporate designers, the scope at which I am using these design tactics is by considering ideas that are far too often unconsidered: the black experience in America. After the wake of George Floyd’s murder on May 25, 2020 by police officer Derek Chauvin, an old call for black representation in all sorts of media has finally been answered—well at least an attempt has been made at trying to answer. In this push for representation comes the first lecture series of its kind, BIPOC Design History, Black Design in America: African Americans and the African Diaspora in Graphic Design, curriculum designed by Silas Munro, Pierre Bowins, Tasheka Arceneaux-Sutton. Throughout these courses, I have been able to learn about graphic design in the context of black American history, like the show posters and album artwork of American minstrel shows which began the tradition of racist stereotypes as entertainment, or the work of W.E.B. Du Bois, who made infographics on, in Du Bois’s on words, “(a) The history of the American Negro. (b) His present condition. (c) His education. (d) His literature.” These classes have allowed me to have a more inclusive understanding of design history, allowing for a more inclusive understanding of American history as well. Within this new design history, as well as a lifetime of redefining my own experiences as a afroCaribbean woman, I have recontextualized my art within narratives or discussions that I believe are more pertinent than corporate marketing. As previously

CURRENT CONTEMPORARY CONTEXT

mentioned, George Floyd’s death in 2020 ignited a new call and effort to end racist discrimination in America—most significantly done by the Black Lives Matter movement. #BlackLivesMatter, or BLM, was founded in 2013 in response to the acquittal of fourteen year old Trayvon Martin’s murderer. BLM’s mission is to “eradicate white supremacy and build local power to intervene in violence inflicted on Black communities by the state and vigilantes. By combating and countering acts of violence, creating space for Black imagination and innovation, and centering Black joy, we are winning immediate improvements in our lives.” This revolutionary and inspiring movement has taken America, and the world by force, also using the tools of graphic design along the way. BLM has a very strong visual identity that begins with their bold typographic logo, which is reminiscent of the “I AM A MAN” protest posters, carried by Memphis sanitation workers in their 1968 strike in the height of the Civil Rights movement. Their logomark includes three yellow stripes to accentuate and underscore the sentiment: black lives matter. The visual identity extends into campaigns, articles, their website, social media, informational posts, resources, and so much more, and features black and white, or yellow-toned, imagery, ripped papers, and gritty textures. BLM’s identity focuses on highlighting the work that they do by using prominent, bold headlines with facts and achievements they made, powerful images of their community in action, and keeping information simple, clear, and legible. To me, this identity is more invaluable because of the work that BLM has achieved. BLM’s design isn’t responsible for their mission, size of audience, community impact, or its worldwide reach—their strong visual language is informed from their strong impact. Now under this context of social justice, I can begin to position myself further within established industries, hoping to take up space as I do so. One industry that I want to see a change in is the entertainment or media industry, as previously mentioned before. I can easily highlight media companies that perpetuate the same old racist stereotypes, biased facts, and institutional ideologies, but instead I will focus on one company that disrupts the status quo. In my opinion, Vice Media Group,

CHAPTER 5: CONTEXT

own work; ‘Better is always less good!’; Refusing all hierarchies; believing in the friendship between Art and Philosophy; being ready – because the first – to pay the price for one’s work. Doing art politically means working for the other Working for the other means first of all to work for the other within myself. It also means working for a non-exclusive public. The other can be my neighbor or can be a stranger, someone who frightens me, whom I don’t know and don’t understand. The other is someone I did not think of and did not expect. The non-exclusive public is not just ‘all’ or ‘the mass’ or ‘the majority’, the non-exclusive public consists of the others, the sometimes more and sometimes less numerous ‘others’. Through and in my work I want to work for a non-exclusive public. I want to do everything in order to never exclude the other from my work and I want to include the other, always and without conditions. I want to include the other through the form of my work. The other is also the reason why I make no

38–39

distinction between works in public space, in a commercial gallery, in an art fair, in a museum, in an Art-center or in an alternative art space. That is the Political. To work for the other enables me to position myself as an artist on the outside of the spectrum of evaluation. Doing art politically does not mean working for or against the market The question is much more about understanding the market as part of the artist’s reality and about working in this reality. Not wanting to work for

which started as a magazine but has moved further into young-adult related digital media, exemplifies what a media company should look like. As a media company, I think their message is simple and true: “With a focus on global lifestyle and culture, the network’s original content slices across the cultural spectrum: food, sex, fashion, music, sports, politics and more.” To me, it’s a global, inclusive look at culture, where different peoples and communities are brought to the forefront to tell their own story—a sentiment that I am bringing forth in my work. Their design is simplistic, but only in order to highlight their content and creators, aligning with their larger mission. The identity takes shape through big, bold, and legible typography, a black and white color palette, as well as dynamic motion and vibrant photography. Each design element can easily translate to print, web, or video mediums, again upholding the message of a global, inclusive culture. Through global content and subsequent global outreach, Vice has made it look easy to be a diverse and successful news network, so I wonder why more companies don’t follow suit?

or against the market is not merely a declaration. It is the awareness that only through autonomy and independence can art maintain itself beyond the laws of the market. Only a direct and affirmed confrontation with the reality of the market—despite the errors, the defects, the faults and the injuries—make it possible to resist and go beyond the market pressure and as an artist, I cannot become dependent. The artist—especially during the first years—always needs support and assistance. Although I know the

CURRENT CONTEMPORARY CONTEXT

importance of this support and assistance, I must never let myself or my work be dependent on it. —Thomas Hirschhorn (Translated from German)

CHAPTER X: CHAPTER NAME

40–41

CREATING A BRAND

CHAPTER X: CHAPTER NAME

When I was young, I consumed many magazines, gossip columns, celebrity news and media outlets—I loved pop culture. However, pop culture consistently and historically favors white stories and

In my daily life, I am inspired and impassioned by current social issues affecting different communities in our society, primarily issues of racism, feminism, and intersectionality. As a Dominican woman, who has existed in primarily white spaces, I have grown accustomed to how black and non-white people are treated and how these racist ideologies are covertly intertwined into everyday occurrences. I have also grown to understand how these issues are aggravated when dealing with intersectional identities like being a woman, LBGTQ+, and disabled. With my experience living in a systematically racist society along with the height of the current civil unrest, I was inspired to take my knowledge of branding and apply it to these issues that affected me and those in my community. In regards to these issues, I believe that technology and social media proliferate these notions of institutional racism. Technology has updated old Jim Crow racism for the modern age. Here, I am referencing ideas of digital blackface, appropriation and commodification, hate groups, and so on. The internet allows for the sharing of culture and information without the obligation of accrediting and fact-checking. This is why I wanted to create and brand a cultural commentary news and media company that focuses on these issues of pervasive racism online and how it affects our lives offline. I wish to create a media company that uplifts BIPOC voices and discusses these taboo yet prevalent issues that contribute to the systematic oppression of black people in America. I want an online community where one can learn about these issues in order to unlearn and relearn taught behaviors and ideologies.

CHAPTER 6: CREATING A BRAND

experiences, while simultaneously stealing and erasing the stories of BIPOC people and communities. As I grew older, I started to undo some of these harmful, internalized ideologies through the help of different types of online social commentary from these undermined, and often forgotten, communities. After a year of social outcry, long-known injustices coming to light, and an outstanding amount of misinformation, I was inspired to use my knowledge of visual branding and identity to create a media outlet that had the conversations that helped me understand these systematic oppressive forces, learn modern ways of racism, and connect to the diverse communities I belong to. —Thesis Re-introduction

42–43

FIRST ROUND

Notebook scan detailing the conception of Collage

CHAPTER 6: CREATING A BRAND

44–45

A technique by which visual art, music, or film results from an assemblage of different forms, thus creating a new whole. QUOTE

“Collage.” Merriam-Webster.

CHAPTER X: CHAPTER NAME

46–47

FIRST ROUND

Initial logo sketches based off different typefaces

CHAPTER 6: CREATING A BRAND

48–49

FIRST ROUND

ROUND1.AI

CHAPTER X: CHAPTER NAME

50–51

FIRST ROUND

BRAND GUIDE, Version No. 1

CHAPTER 6: CREATING A BRAND

52–53

ANA MARIA GARCIA

Collage is a news and media outlet that provides insight and commentary on current culture phenomenons, social justice, entertainment, tech & more.

Recommended use of logo, color, and typography

Values..........................................................4

TABLE OF CONTENTS

BRAND IDENTITY GUIDELINES

MISSION

Collage from the French: coller, “to glue” or “to stick together”

Logo.............................................................6 Icon.........................................................7 Dynamic Identity.................................8 Words.........................................................10 Typography.........................................11 Assets........................................................13

Collage’s mission is to uplift BIPOC voices, unpack and undo outdated ways of thinking, and educate others on different world experiences from the people who have lived them.

March 2021

Ana Maria Garcia BFA 21’ Thesis

March 2021

Collage values diversity, inclusivity, empathy and understanding.

INTRODUCTION

BLACK & WHITE

Main logo

BRITISH CONCEPTUAL ARTIST

When I was young, I consumed many magazines, gossip columns, celebrity news and media outlets—I loved pop culture. However, pop culture consistently and historically favors white stories and experiences, while simultaneously stealing and erasing the stories of BIPOC people and communities. As I grew older, I started to undo some of these harmful, internalized ideologies through the help of different types of online social commentary from these undermined, and often forgotten, communities.

LOGO

JOHN STEZAKER

VALUES

Collage: an artistic composition made of various materials (such as paper, cloth, or wood) glued on a surface

Knockout

Collage is a news and media outlet that values diversity, inclusivity, reflection, and understanding, and is interested in stories about current culture phenomenons, social justice advocacy, and commentary on entertainment, technology, and more. Collage’s mission is to uplift BIPOC voices, unpack and undo outdated ways of thinking, and educate others on different world experiences from the people who have lived them.

“COLLAGE ALLOWS THE OPENING UP OF CONSCIOUS, WHICH IS VERY DIRECT…IT’S ALSO A WAY OF LOOKING AT WHAT YOU ARE CONSUMING ALL THE TIME.”

After a year of social outcry, longknown injustices coming to light, and an outstanding amount of misinformation, I was inspired to use my knowledge of visual branding and identity to create a media outlet that had the conversations that helped me understand these systematic oppressive forces, learn modern ways of racism, and connect to the diverse communities I belong to.

Ana Maria Garcia BFA 21’ Thesis

March 2021

Ana Maria Garcia BFA 21’ Thesis

Collage: technique by which visual art, music, or film results from an assemblage of different forms, thus creating a new whole

Collage: an artistic composition made of various materials (such as paper, cloth, or wood) glued on a surface

SECTION

LOGO

Techniques of collage were first used at the time of the invention of paper in China, around 200 BC.

Collage wants to represent all types of people, walks of life, and new ideas.

The logo should never be outlined.

The logo wordmark should never be altered, edited, or modified.

The primary logo should be a minimum width of 1”.

The logo should never include any secondary type.

The icon should never be used in a lockup with the primary logo.

The logo should never be stretched or condensed in any manner.

There should always be a clear space of one Collage period surrounding the Collage logo.

The logo must always remain clear and present.

SECONDARY

SECONDARY ICON

The primary logo is set in Presicav Bold.

Icon

DYNAMIC IDENTITY

Clear Space

Collage’s logo and icons are dynamic.

Some rules are made to be broken.

Collage has a secondary logo icon for variety across media.

The primary logo can be transformed and used as a dynamic logo for variety across all types of applications.

The icon should not be used in a lockup with the primary or dynamic logo.

When transformed the logo should still be recognized as a Collage logo.

The icon can be used on its own or as an additional graphic element.

The logo should only be transformed or modified using Adobe Illustrator distort & transform effects.

The icon can be used as a pattern, statically or dynamically. The icon should be used in any small scale application where the primary logo would be illegible.

The logo can be transformed using any type of Adobe Illustrator distort & transform effect.

The logo or icon should not be completely covered by any other brand elements, always to be revealed underneath.

Only one effect should be applied to the dynamic logo at one time.

The logo can be used in black, white, or any Collage gray.

Only one dynamic logo should be used within a collection, sub-brand, post, or printed matter.

The secondary color palette should not be applied to the logo.

Additional graphic shapes can be created from the periods of a dynamic logo or icon.

Only one color should be applied to the logo.

March 2021

Ana Maria Garcia BFA 21’ Thesis

March 2021

Collage: an assemblage or occurrence of diverse elements or fragments in unlikely or unexpected juxtaposition

WORDS

ASSETS

TYPOGRAPHY

TEXTURES & SHAPES

WORDS

In the 19th century, collage methods also were used among hobbyists for memorabilia and books.

Font styles

LANGUAGE

Collage knows that words matter.

Commuter Sans Extrabold

Commuter Sans Bold Italic

Commuter Sans Regular

ABCDEFGHIJ KLMNOPQRS TUVWXYZabc defghijklmno pqrstuvwxyz 0123456789 !?@#$%&*

Taglines Commuter Sans is used consistently across the brand. For variety across media, Commuter Sans can be used in any style. Body copy should be set in Commuter Sans Regular for legibility. Collage should never use racist, sexist, homophobic, transphobic, ableist, or xenophobic language. Collage should use politically correct language for compassion and empathy’s sake, not for any fear of public shame. Collage should use language that promotes conversation and discussion, rather than mob mentality and quick judgment. Collage should use the words of the people and communities whose stories they are telling.

Collage should always be mindful of opinion-based speech, facts, and misinformation. Collage should never report stories that are not fully investigated, contain false information, or stories based in sensationalism and exaggeration.

BLACK, WHITE, AND IN BETWEEN. WHO TELLS YOUR STORIES? UNPACK IT. DISCUSS IT. RELEARN IT.

Ana Maria Garcia BFA 21’ Thesis

March 2021

FIRST ROUND

Ana Maria Garcia BFA 21’ Thesis

ASSETS

SECTION

BRAND GUIDE, Version No. 1 Collage is into the black, white and everything in between. COLOR PALETTE

Color Palette

100% Black

80% Black

20% Black

10% Black

SECONDARY

60% Black

5% Black

C20 M0 Y100 K0 R210 G240 B50 PANTONE 388 C

C20 M100 Y0 K0 R200 G40 B163 PANTONE 240 C

C20 M0 Y0 K0 R164 G233 B251 PANTONE 635 C

C0 M87 Y84 K26 R190 G55 B36 PANTONE 7598 C

0% Black

Collage’s primary color palette features seven shades of black and white.

Ripped paper can be used as a digital or physical texture across different media.

Collage secondary color palette features bright pops of color.

Shapes, derived from the period of a dynamic logo option, can be used sparingly across media for call-outs, highlights, and texture.

Secondary colors should be used sparingly across media in call-outs, highlights, and additional pops of color.

+1.203.430.8780 ana@collagenews.com 522 Congress St. Portland, ME 04101

The appropriate color code should be used depending on print or web application. Photographs can be in color or grayscale. Halftone circles can be applied to any photograph for a cohesive look.

March 2021

CHAPTER X: CHAPTER NAME

54–55

Brand mockups created using my first brand guide,

MOCKUPS

56–57

CHAPTER 6: CREATING A BRAND

Motion graphic envisioned for a title sequence for potential video platforms

MOCKUPS

58–59

CHAPTER 6: CREATING A BRAND

Collage allows the opening up of conscious, which is very direct…it’s also a way of looking at what you are consuming all the time. QUOTE

John Stezaker, British conceptual artist

60–61

FINAL-ASSETS_V2.AI

FINAL ROUND

62–63

CHAPTER 6: CREATING A BRAND

Logo Dont’s: The primary logo should

Key Features Ad et offic te molor reium ilibus ma volo excesero temporatias aciliquos atur a conem resti ad etur. Ad et offic te molor reium ilibus ma volo excesero temporatias aciliquos atur a conem resti ad etur. Ad et offic te molor reium ilibus ma volo excesero temporatias aciliquos atur a conem resti ad etur. Ad et offic te molor

reium ilibus ma volo excesero temporatias aciliquos atur a conem resti ad etur. Ad et offic te molor reium ilibus ma volo excesero temporatias aciliquos atur a conem resti ad etur. Ad et offic te molor reium ilibus ma volo excesero temporatias aciliquos atur a conem resti

ad etur. Ad et offic te molor reium ilibus ma volo excesero temporatias aciliquos atur a conem resti ad etur. Ad et offic te molor reium ilibus ma volo excesero temporatias aciliquos atur a conem resti ad etur. Ad et offic te molor reium ilibus ma volo excesero temporatias aciliquos atur a conem resti ad etur. Ad et offic te

molor reium ilibus ma volo excesero temporatias aciliquos atur a conem resti ad etur. Ad et offic te molor reium ilibus ma volo excesero temporatias aciliquos atur a conem resti ad etur. Ad et offic te molor reium ilibus ma volo excesero temporatias aciliquos atur a co-

not be transformed in any manner. The logo should not include secondary type. The logo should not be

Brand Identity Guide RECOMMENDED USE OF LOGO, COLOR, AND TYPOGRAPHY

covered by any secondary elements. The icon should never be used in a mockup with the

Primary Logo

logo. The secondary color palette should not be applied to the logo. Only one color can be applied to the logo. The logo should never be outlined. Dynamic Logo:

Logo Do’s The primary logo is set in Presicav Bold.

Collage’s logo and icon are

The logo must always remain clear and present. There should always be a clear space of one Collage period surrounding the logo.

The primary logo should be a minimum width of one inch. The logo can be used in black, white, or any Collage gray.

dynamic. The primary logo can be transformed and used as a dynamic logo for variety across all types of applications, including magazines, videos, and social posts. Dynamic logos are created for new publications, seasons, and campaigns.

Logo Dont’s The primary logo should not be transformed in any manner.

The logo should not be covered by any secondary elements.

The secondary color palette should not be applied to the logo.

The logo should not include secondary type.

The icon should never be used in a mockup with the logo.

Only one color can be applied to the logo. The logo should never be outlined.

When transformed the logo should still be recognized as part of the Collage brand.

Stories in your vernacular.

The logo should only be transformed or modified

FINAL ROUND

nem resti ad etur. Ad et offic te molor reium ilibus ma volo excesero temporatias aciliquos atur a conem resti ad etur. Ad et offic te molor reium ilibus ma volo excesero temporatias aciliquos atur a conem resti ad etur. Ad et offic te molor reium ilibus ma volo excesero temporatias aciliquos atur a conem resti ad etur.

Dynamic Logo Collage’s logo and icon are dynamic. The primary logo can be transformed and used as a dynamic logo for variety across all types of applications, including magazines, videos, and social posts.

Dynamic logos are created for new publications, seasons, and campaigns. When transformed the logo should still be recognized as part of the Collage brand.

The logo should only be transformed or modified using Adobe Illustrator Distort & Transform tools. The logo can be transformed using any type of effect listed below.

Transformations should maintain generally within the ranges shown.

Some rules are made to be broken...

using Adobe Illustrator Distort & Transform tools.

Only one effect should be applied to the dynamic logo at one time.

The logo can be transformed using any type of effect listed below. Transformations should maintain generally within the Free Distort

Twist

Tweak

Roughen, no detail

Roughen, with detail

ranges shown. Only one effect should be applied to the dynamic logo

Dynamic logos are created for new publications, seasons, and campaigns. When transformed the logo should still be recognized as part of the Collage brand.

The logo should only be transformed or modified using Adobe Illustrator Distort & Transform tools. The logo can be transformed using any type of effect listed below.

Transformations should maintain generally within the ranges shown.

Some rules are made to be broken...

at one time.

Only one effect should be applied to the dynamic logo at one time.

Some rules are made to be broken... Dynamic Shapes: Additional graphic shapes can be created from the periods of a dynamic logo.

Zig Zag

Pucker & Bloat

Transform with copies

Shapes can used for variety across media. Icon:

Dynamic Shapes Additional graphic shapes can be created from the periods of a dynamic logo.

Collage has a secondary

Shapes can used for variety across media.

logo icon. The icon should not be used in a lockup with the primary or dynamic logo. The icon can be used on its own or as an additional graphic element. The icon can be used as a Icon Collage has a secondary logo icon. The icon should not be used in a lockup with the primary or dynamic logo.

The icon can be used on its own or as an additional graphic element.

The icon should be used in any small scale application where the primary logo would be illegible.

The icon can be used as a pattern, statically or dynamically.

pattern, statically or dynamically. The icon should be used in any small scale application where the primary logo would be illegible.

CHAPTER 6: CREATING A BRAND

64–65

Color Palette: Collage’s color palette

Color Palette Collage’s color palette features nine shades of black and white and three bright hues.

The appropriate color code should be used depending on print or web application.

Hues should be used sparingly across media, like in call-outs, highlights, and additional pops of color.

Photographs can be in color or grayscale.

Halftone circles can be applied to photographs for cohesion or for low quality images.

features nine shades of 100% Black

90% Black

80% Black

10% Black

5% Black

White

60% Black

50% Black

20% Black

C:20 M:100 Y:0 K:0 R:200 G:40 B:163 PANTONE 240 C

C:20 M:0 Y:0 K:0 R:164 G:233 B:251 PANTONE 635 C

C:20 M:0 Y:100 K:0 R:210 G:240 B:50 PANTONE 388 C

black and white and three bright hues. Hues should be used sparingly across media, like in call-outs, highlights, and additional pops of color. The appropriate color code should be used depending on print or web application.

Type & Language Commuter Sans is used consistently across the brand. For variety across media, Commuter Sans can be used in any style.

Commuter Sans Light Italic

Photographs can be in color or grayscale. Halftone circles can be applied to photographs for cohesion or for low quality

ABCDEFGHIJKLMNOPQR STUVWXYZabcdefghijkl mnopqrstuvwxyz012345 6 7 8 9 !?@#$%&* Commuter Sans Regular ABCDEFGHIJKLMNOPQR STUVWXYZabcdefghijkl mnopqrstuvwxyz012345 6 7 8 9 !?@#$%&* Commuter Sans Bold Italic ABCDEFGHIJKLMNOPQR STUVWXYZabcdefghijkl mnopqrstuvwxyz01234 5 6 7 8 9 !?@#$%&*

Commuter Sans Extrabold ABCDEFGHIJKLMNOPQR STUVWXYZabcdefghijkl mnopqrstuvwxyz01234 5 6 7 8 9 !?@#$%&*

COMMUTER SANS BOLD, ALL CAPS, TRACKED -25 Commuter Sans Light, Tracked -25 | Commuter Sans Regular

METATITLE 00/00/0000 | Byline

Commuter Sans Header Bold, Title Case, Tracked -25 SUB HEADER

COMMUTER SANS REGULAR, ALL CAPS

Commuter Sans Regular, Drop cap 3 lines Commuter Sans Light, 13/16

Commuter Sans Regular, 10/13 First paragraph, no indent Following paragraphs, first line indent 0.125”

Commuter Sans Bold, underlined

Commuter Sans Light, 14/16 Left indent, 0.5”; Right indent, 0.5”

COMMUTER SANS EXTRABOLD, ALL CAPS, 24/30

his is an exmaple of a leading paragraph. accaturit pratus ea accuptat rerspernamet acepernam, serchillaut exerum ullecepe nosto que omniti aris sa porum, volo ium doluptam eosteces dolupiciisit adit ab intor mi, ipic tem eat ut que rem sim recullu ptatenihil magnist ibust, simpere core imaxim et ipita alibus, occat harum, ute pa sitatem alitate consequatis nonsequid qui offic to omnihic tem faccat eumquo cum lam sed es essi ullore.

This is a body paragraph. Dam det, senius iam tantrisquis conlocta medo, nonscre musulicam mussulvit iam perius vit, nonsicave, se et vivid pon viveriumus auderfere consciem strum ine tusperum publico nsupiorem pl. Simum tam tiam notesus inequem movit faudess escerac recompe rfenate abultus is, et que non te et cultor in ve, ut gra? This is an example of a link. ex medenatque peribus.Sunt, officipid magnam vendio. Aximpel latius sant et escillab id ut veliqui aceperro et rerum necuptatur, audae quosam ditas dolo venis ut eribust, idus net hil et quatem estrum fuga. Met ommod quis volo que voluptatint quam ut lam explita temporem. Am nonsequiat ommolupta quia con nonsecum qui bero dolor sanda quiae ne id enihill aboribusdae.

“This is a block quote. Nam, expeditae nient landi sa sandisque ad excerum fuga. Itasitis dolores es a imi, el il id quo in cum et facepra turibus ad ullis eum nonseque vel minctur audis aut aut velicit atasimpore velentum.” Accusa simi, sundit as vellictatem velles ut velestiis et latatem persper roriat modipis aut lantem quam exces doluptatur? Us magnis etur? Accus, verisquia et ea sincti quibusam es volo consequam audit officiatur? Us volesto coreica eptatiae volume

remporis digendu ntestotaque nem. Nequi idusa nobis volupitam velenis nullace pudit, eicienti tempore non conse dolupta core ipientusame volupturemo ipit lam, ommoles accus. Parum fugite vendebi sitiis rerspero eos delesecum qui nonecum reped ulpa escienient eicit fugit ut volora velecul lorrum qui doluptatures sit, vid quid magniassum aut eossit accuptur? Onsequundio tem volorposa cusae. Tempern atiore, si ium, quis et elluptae officiissi blabore doluptate cus evendantur? Ximusam, te conseque niscia dolorporiae dis nobit quamus, essit faccum hiciisim estiumqui blant eligentur?Adigende nditassim dictios moluptae nobisin ihicimaio ipienis aut rest duciunti optatet, sequostrum volorum volorestis everias magnatquam voluptatur min erspere icienditati te volore volorer umquia et esti optate con eventi dolor res et doluptatis sitatia cus quam qui quodipi endisin vendita tessedi asperi ut aut que nonsect otatqui dolupta ad quam soles este exersperum dem qui volecti tem am, omni con prorepe libeatius, quia nis audis modis ea eic tem fuga. Nam consequo ipsae volupti solendia quod maion nonsequam veles int quas et ea sum volupta turiate voluptus ilique pra voluptat harita et a dolent id et maximen dereium cum sime sunti ut demporessit aliquia vel ius simini omnimus simostrum untiam eostibust eium voluptatur minctus dolupta quaspere voluptaque consentium harumquia sam ut od et aut inturia velis alicil magnis mincillaute mo bearum quae pario vollorectem ra porum con prori sam que et rehent omni quo odis as elitas reperum int magnia quid quiaspelis reperiore dolupta id eriationse doluptasimet ad quassi tet, quibeatur, sum aut et quatio ent landi dolore intemporum id ut aut rem sitia et modi dolecta eaquistis quatae veliquia voluptatur solores re nissusdaerro tem. Toreris mo essunt, idemporem. Tatendia dolorepro dunt officia spiendusam, sum fugitat iossincid magnis molorio blateni ipsam voluptatur, verovidi cor rate net rehenitatur, et fugit offictemqui ipiendae siminti onsequi opta nos aces sitatum nonsed et dolupti andus, simus alique occatiat. Apitiorum quam qui blabore venimilique qui consequ assero officit et, aut que reiciatius eos andem. Nequam etum licipsus perata sin cuptias sam utem samustiae eat ut quiatem cori ipis aut ipis dolo volorumquia volupta tusapit hiciunt aborecerro quas rem qui dolorate voluptatur re modita velitaquos ape post lab ideless entemqu atempossiti conet, quidero repraecus, nobit reptas explatem inient expliquia dis endus. Um doloria tintur? Et aut odis dipsam ea qui ratia dis dolut ipid molo exerupt ationectet excerio blaboris exerest, evel et ma sint, con remqui dolestrum vendisquo idelent ibercitaquae nonsectem. Ita aut eium non nis iur sinveleces conse perrovide nis nisite a vent quae plit is aut ut re, nobit, consequosti cuptatur santiuntis erum et rem aut expliquatam voluptasiti dendaepero vellique solupta quissum, sinctis dia il modit iliate volorum, sum alicim estiusanit

images. Type & Language: Collage knows that words matter. Commuter Sans is used consistently across the brand. For variety across media,

“AMERICA’S SOCIETY IS NOTHING BUT A CANCER, AND IT MUST BE EXPOSED BEFORE IT CAN BE CURED.”

Commuter Sans can be –Nina Simone

used in any style. Collage should never use racist, sexist, homophobic, transphobic, ableist, or xenophobic language. Collage should always be mindful of opinion-based speech, facts, and misinformation. Collage should never

FINAL ROUND

ipsanda ntecto iliqui odistio nsequaspedi duntur, suntio et modipsum qui te everro mo mod eturiam elenienis remped moluptur alibusa explaborem evenis molupti berspedi autemperum ilis assi

“This is a block quote. Nam, expeditae nient landi sa sandisque ad excerum fuga. Itasitis dolores es a imi, el il id quo in cum et facepra turibus ad ullis eum nonseque vel minctur audis aut aut velicit atasimpore velentum.” Ilibus rerfero dolorrovid qui dianisto optaept atiorumquia nimet et volorep udignat. Endit, sam et omnisqui sint enia volor ariosant volori coriatesti qui dolene velibus pernam, sit aris ide corepudit untis ut velit eum delectur am sit et acestis digent. Reium fugit eum quaes milluptatur ad quae de eaqui omnissi minvellupti cus magnit eseque senihillique molorro blanis qui sitia quatiissit as repudi quibus explaboribus sunt volo doluptatenda preptatem in nossit, sendand enihitiam dicti sime liquiamus illatur a dolupti oresciur assimil ipsandi alis et omnim aliscium cullaborpos si quo torit aut unt, ut am inciati onserum abor mi, esti quiatio blabore, inctiamus, cumeni aliquatium eum et etur aliquos renistrumet expla sumquun danihilis perumet perum quatur aut aces ullorem. Itae. Ut qui ani comnien issint utes dolut aciis modist pe nis doluptat dolorum volorib eaquat et parum res acitae di offic te aut et debis et omnime quo evelique nem re, nonsequibus ex estiscid quia aliquibus, sequi in commolu ptasiti dit ipsum dolor senest adi ut vollab id qui dignient adipis et verum sitat audae voluptamenet odis autem. Inullat aut aut facimpe non el inciis et am facesciaesti qui ipisti voloreh endignihilic tempore rerspel id quuntium et et que doluptatest, consequo vero ea dolorporest apidebitem aut expe odio. Ed escium si ipsae. Sero moloraerem quam fugiasint assunt lanti am, cus preicatio. Ut quid eiur ad eum et que porere pre, corum dio doluptaepta aliquaeped moluptae moloris ad et ut mod qui dolorror re, vitat alist laboriae nectae. Us. Maximperum, officii ssimpedit moluptatiis nobit antem eos delent magnatecates volorum expliquodit reped magni ut earitiam nihit quianda qui tem hictend istibus et dolorehenis alibusa ndiame

“PULLOUT QUOTE...”

Collage is a media outlet that provides the diverse gen-z with radical insight and commentary on current culture phenomenon, entertainment, tech and more by uplifting BIPOC, latinx, and LGBTQ+ voices. Our mission is to reclaim our narratives, confront appropriation, and undo white supremacist ideologies in a digital age. Collage is diverse, inclusive, empowering, and unapologetic. I want to offer stories in your vernacular, meaning stories written by the communities and people involved. (Of course, in my thesis most language is written only by myself because of the constraints.) We do not conform to anyone’s notion of what’s standard, normal, or expected. In our experience, that usually means racist, homophobic, or sexist! Stories are inspired by my research into the appropriation of black culture by mainstream pop culture, current-day news stories, and experiences I’ve faced personally. Throughout this exploration, I have created a digital website that discusses issues of race in America, diversity, and inclusivity, acknowledging the work of those who set on this path before me, and those who are still fighting the fight today.

CHAPTER 6: CREATING A BRAND

report stories that are not fully investigated, contain false information, or stories based in sensationalism and exaggeration.

66–67

To me, America’s society is nothing but a cancer, and it must be exposed before it can be cured.

QUOTE

Nina Simone, American musician and activist

CHAPTER X: CHAPTER NAME

68–69

SITE SPECIFIC

CHAPTER X: CHAPTER NAME

Excerpt from THE PARADOX OF THE LIBERAL DOCUMENTARY (2021)

Born in 1949, Luis Ospina was a filmmaker, screenwriter, and producer active

I wanted to exhibit all the information I had to share with others, so creating a website seemed like the obvious solution for Collage. Within a website,

from the 70s until his death

I thought I can showcase and create different articles, creators and videos, create forms and polls, interactive data studies, and so much more. This quite ambitious goal led to a fun exploration of type and imagery, as well as an implementation of interactivity within my design. I began this process by experimenting with different website platforms like, Squarespace, Adobe Portfolio, and Cargo, to help with the possibility of actually sharing my website with the public. I decided, however, to go against these options because of the learning curve I would have to undertake to create the vision I had in mind. I opted to go for an Adobe XD prototype, so I can quickly add and edit text, imagery, and layouts without complete comprehension of specific web design tools. I started my website with the homepage, and began creating different articles for Collage’s topics of interest: culture, entertainment, and technology. This part allowed me to verbally react to the information I had learn, and let me implement my own voice into the conversation as well. This release of frustration continued into other parts of my sight, as I implemented new language or sections depending on certain events or microaggressions that transpired this semester. Next, I created two featured articles that included work from other classes this semester because of the relevance to Collage. Collage’s More page includes my brand mockups and an overload of interactive hover effects, for exhibition purposes and just for fun! Finally, I finished the website off with an about page and my brand guides as well, for viewers looking for more background information on the brand.

including Carlos Mayolo

CHAPTER 7: SITE SPECIFIC

in 2019. He was a part of a group of other filmmakers from Cali, Colombia, (b. 1949–2007), known as the Caliwood group. Their filmography focuses on disputes of “class warfare,” exposing the social order, and seeing issues in a new light. The Vampires of Poverty (1978) is a satirical documentary film, where a group of directors drive through Cali, choreographing, filming, and dismissing the poor people for their documentary film being shot for an international audience. “His documentary-manifesto film was an outrageous hybrid that criticized the left for presenting illusions of good while sensationalizing poverty.” The Vampires of Poverty was a provocation against miserabilist films about poverty, famine,

70–71

Collage’s website includes a irremovable banner, referencing current COVID-19 banners, as well referencing a remark by MECA’s current President Laura Freid,

SPLASH PAGE

72–73

CHAPTER 7: SITE SPECIFIC

SPLASH PAGE

The splash page features a patterned background with certain colored icons, indicating a hover effect. These icons lead you to Collage’s featured articles.

CHAPTER 7: SITE SPECIFIC

74–75

My research poster re-imagined as articles.

ARTICLES

76–77

CHAPTER 7: SITE SPECIFIC

ARTICLES

78–79

Left: Entertainment section from Collage’s homepage. Above: Articles from Collage, “Hello Me, Gypsy! I just Found Out I’m The Diversity Hire. What Do I Do?”, “Black Square, Infographics, and The low Down on Performative Activism”, “So What is the Line Between Appropriation and Appreciation?”

CHAPTER 7: SITE SPECIFIC

Interactive section created to release tension one may feel after an overload of upsetting information.

MOCKUPS

80–81

CHAPTER 7: SITE SPECIFIC

Brand merchandise assets were used to create banners, as well as other interactive sections.

MOCKUPS

82–83

CHAPTER 7: SITE SPECIFIC

CHAPTER X: CHAPTER NAME

84–85

CHAPTER X: CHAPTER NAME

T-shirt mockup created featuring Martin Luther King Jr. quote. Right: About page featuring Collage’s mission statement.

CHAPTER X: CHAPTER NAME

86–87

CHAPTER 7: SITE SPECIFIC

CHAPTER X: CHAPTER NAME

88–89

CHAPTER X: CHAPTER NAME

Other academic and illustration classes allowed for additional exploration in other topics for Collage’s articles.

and international crises. Ospina says in an interview published in 2020 with Ela Bittencourt, “One of our purposes [for The Vampires of Poverty] was to make directors think about ethics before making a film, because there’s an intrinsic vampirism in cinema. You’re taking somebody’s image, and with that image and sound you can make an ideological film that is leftist or rightist or whatever...Film is not objective and documentary is not all true.” By evoking documentary film, Ospina not only exposes the role of the director, but the viewer as well, in this cycle of exploitation. In The Vampires of Poverty, Luis Ospina and Carlos Mayolo use documentary film tactics to expose the exploitative nature of the medium particularly in relation to non-white bodies, questioning the ethics of liberal filmmakers and viewers. —Visions of Dissent, research paper

ADDITIONAL CLASSES

90–91

CHAPTER 7: SITE SPECIFIC

SENIOR MOMENT

CHAPTER X: CHAPTER NAME

92–93

I have many feelings when I look at my final thesis exhibition. I think about the long hours I put into my work, what else I have left to do, and what I want to change, but overall I am proud of the quantity and quality of work I am able to achieve when I put my mind to something. In under four months, I branded a media company and created a website that discussed topics that mean something. My thesis is something I am excited to share with my friends, family, and anyone who wants to see! I’d like to thank my professor, Charles Melcher, for encouraging me to have fun and create, enjoy the process, and most of all, sleep. Thank you to Samantha Haedrich, my unofficial mentor, for all the information, advice, and support the past two years. For the critiques throughout the semester, I’d like to thank, Margo Halverson, Amy Parker, Stuart Rogers, and once again, Samantha Haedrich. Hayley, thank you for installing vinyl with me for twelve hours to create my final vision, giving me constant feedback and guidance, and supporting me throughout this long semester. Without these people, I wouldn’t have been able to accomplish the work I achieved during my final semester in college. I have many feelings when I think about this final semester, but overall I am relieved to be leaving this behind as my legacy.

CHAPTER 8: SENIOR MOMENT

FINAL THOUGHTS

94–95

CHAPTER 8: SENIOR MOMENT

Bibliography “About.” BIPOC Design History, 2021. https://bipocdesignhistory. com/About. Bittencourt, Ela. 2020. “Blood on Their Hands.” Film Comment 56 (3): 64–68. http://search.ebscohost.com/ login.aspx?direct=true&AuthType=ip,shib&db=a9h&AN=142917722&site=ehost-live. Bierut, Michael. “Five Years of 100 Days.” Design Observer. Observer Omnimedia LLC, February 10, 2011. https:// designobserver.com/feature/five-years-of-100days/24678. #BlackLivesMatter. “About.” Black Lives Matter, October 16, 2020. https://blacklivesmatter.com/about/. Evamy, Michael. Logotype. London, United Kingdom: Laurence King Publishing, 2016. “Day 7: The Making of the PBS Logo.” Lubalin 100. Herb Lubalin Study Center, March 23, 2018. http://lubalin100. com/day-7/. Hirschhorn, Thomas. “Doing Art Politically: What Does This Mean? (2008) - [Eng].” Thomas Hirschhorn, April 23, 2020. http://www.thomashirschhorn.com/doing-artpolitically-what-does-this-mean/

BIBLIOGRAPHY

96–97

Kalman, Tibor. Tibor. Edited by Peter Hall and Michael Beirut. New York, NY: Princeton Architectural Press, 1998. Meggs, Philip B., and Alston W. Purvis. “Corporate Identity and Visual Systems.” Essay. In Meggs’ History of Graphic Design, 439–63. Hoboken: Wiley, 2016. “Viceland.” Gretel, 2016. https://gretelny.com/viceland. “W. E. B. Du Bois’ Hand-Drawn Infographics of African-American Life (1900).” The Public Domain Review. Library of Congress. Accessed April 22, 2021. https://publicdomainreview.org/collection/w-e-b-du-bois-handdrawn-infographics-of-african-american-life-1900. Wheeler, Alina. Designing Brand Identity: A Complete Guide to Creating, Building, and Maintaining Strong Brands. 2nd ed. Hoboken, New Jersey: John Wiley & Sons, Inc., 2018.

CHAPTER 8: SENIOR MOMENT

98–99

CHAPTER X: CHAPTER NAME