For my research I want to look at the images, colours and graphic associations used by companies to directly market and influence children and there immense buying power.
Mostly looking at the food and beverage and fast food industry. Their use of cartoon characters, movie and tv characters to sell high calorie and saturated foods to children. eg. McDonalds happy meals, cereal boxes containing prizes etc.
I want to look at the changing laws to do with these types of products aimed at children and the new regulations by the government to stop the associations of children buying nutritionally bad food because it has there favourite cartoon character associated with it. Or they are given a prize or should I say bribe for buying this unhealthy product.
The way society is slowly changing the association between cartoon characters and bright colours to not only associate with bad food choices eg. Sesame streets Cookie monster now only eats cookies as a sometimes food, rather than eating them constantly on screen.
ColaLife is working in developing countries to bring Coca-Cola, its bottlers and others together to open up Coca-Cola’s distribution channels to carry ‘social products’ such as oral rehydration salts and zinc supplements to save children’s lives.
You can buy a Coca-Cola virtually anywhere in developing countries but in these same places up to 1 in 5 children die before their 5th birthday from simple preventable causes like dehydration from diarrhoea.
ColaLife started as an online ‘movement’ in April 2008. We have more than 10,000 online supporters and these have given us the power to engage Coca-Cola, UNICEF and other key stakeholders. We are now focussing on getting a trial of the ColaLife concept underway in Zambia.
The AidPod is at the heart of the ColaLife model. It is a wedge-shaped container that fits between the necks of the bottles in a crate of Coca-Cola. The AidPod makes use of unused space to get simple medicines, such as oral rehydration salts, and other social products like water purification tablets to the places that Coca-Cola gets i.e. most places.
Simon Berry founding member of Cola Life
We are excited by the possibility that we might make the AidPod from PET so that it could serve as a water ‘steriliser’ using the SODIS method.
Petroleum Based Inks
Uses a mixture of water resins, pigments, and a variety of metals such as barium, copper and zinc. When used, the water waste from the printing press, can leach these toxic metals into the soil and groundwater.The problem with petroleum based ink is that the petrol and alcohol content evaporates in the drying process, releasing up to 30% VOCs (Volatile Organic Compounds) into the atmosphere. Solvents are also required to clean the press after use – solvents are another source of VOCs. Petroleum based ink is also harder to de-ink when being recycled, which results in toxic waste.
Vegetable Based Ink
The base liquid for this ink is made from a variety of vegetable oils such as corn, walnut, coconut, linseed, canola and soy bean.Soy ink is made from soybean oil, pigments, resins and waxes. Vegetable based ink takes longer to dry but, as a result, releases only around 2-4% VOCs into the atmosphere. Vegetable oils are a renewable resource, unlike petroleum. Solvents are not required for cleaning the press.Vegetable based ink is also much easier to de-ink when recycling and results in much less hazardous waste.
However, we are also very aware of the fact that only 33% of the soybeans produced in 2008 came from the US and many acres of forrest and rainforest in other countries are being cut down in order to provide room for soy bean growing farms.
The De Stijl, literally translated as “the style” was an art movement founded by architect and painter Theo van Deosburg in 1917 in Leiden. Other founders included the sculptor Vantongerloo, architect JJP Oud, designer Rietveld, and the painter, Piet Mondrian (Netherlandish, 1872-1944) was the group’s leading figure.
An art movement advocating pure abstraction and simplicity– form reduced to the rectangle and other geometric shapes, and colour to the primary colours, along with black and white.The group was intent on finding a new aesthetic of art and principles. The movement spread through town planning, fine arts, applied arts and philosophy. The De Stijl movement also published a magazine between 1917 and 1932 and provided and overview of the movement’s works and theories.
Artists of the De Stijl movement saw art as a collective approach, and as a language that went beyond culture, geography and politics. The artwork created by the De Stijl movement artists gave off a depersonalized, anonymous feel. It was felt that the artist’s personality should take a back seat in the artwork. The key to creating art within the movement’s views was to follow the theory of scaling down formal components of art – using only primary colors and straight lines. De Stijl forms were often geometric, and made up of primary colors. The main views of the De Stijl movement greatly influenced the Bauhaus movement in Germany in the 1920’s.
Art Deco was introduced in the 1920’s and reigned through the 1930’s, encompassing both the Roaring Twenties and the Great Depression. It is an elegant style of decorative art and architecture reflective of Art Nouveau, yet with more modern sophistication. Art Deco features sleek straight lines and an element of boldness.The movement affected city styles, architecture, high fashion, jewelry, commercial printmaking, and interior design, and embraced lifestyles of hedonism, indulgence and mass consumption. . Notable Art Deco buildings include the Empire State Building designed by William Van Alen, Rockefeller Center, Radio City Music Hall, The Chrysler Building, and the Midland Grand Hotel.
An art movement involving a mix of modern decorative art styles, whose main characteristics were derived from various avant-garde painting styles of the early twentieth century from ancient Egyptian and Aztec forms. Art deco works exhibit aspects of Cubism, Russian Constructivism and Italian Futurism– with abstraction, distortion, and simplification, particularly geometric shapes and highly intense colors–celebrating the rise of commerce, technology, and speed.
The growing impact of the machine can be seen in repeating and overlapping images from 1925; and in the 1930s, in streamlined forms derived from the principles of aerodynamics.
The name came from the 1925 Exposition Internationale des Arts Decoratifs Industriels et Modernes, held in Paris, which celebrated living in the modern world.
Although many design movements have political or philosophical beginnings or intentions, Art Deco was purely decorative.
Well-known artists within the Art Deco movement included Tamara de Lempicka, fashion illustrator Erte, glass artist Rene Lalique and graphic designer Adolphe Mouron (known professionally Cassandre).
1890 – 1914
Art Nouveau explored a new style in the visual arts and architecture that developed in at the end of the nineteenth century.
The Art Nouveau style appeared in the early 1880s and was gone by the eve of the First World War. For a brief, brilliant moment, Art Nouveau was a shimmering presence in urban centers throughout Europe and North America. It was the style of the age–seen on public buildings and advertisements, inside private homes and outside street cafés–adorning the life of the city.
At its height exactly one hundred years ago, Art Nouveau was a concerted attempt to create an international style based on decoration. It was developed by a brilliant and energetic generation of artists and designers, who sought to fashion an art form appropriate to the modern age. During this extraordinary time, urban life as we now understand it was established. Old customs, habits, and artistic styles sat alongside new, combining a wide range of contradictory images and ideas. Many artists, designers, and architects were excited by new technologies and lifestyles, while others retreated into the past, embracing the spirit world, fantasy, and myth.
Art Nouveau designers also believed that all the arts should work in harmony to create a “total work of art,” or Gesamtkunstwerk: buildings, furniture, textiles, clothes, and jewellery all conformed to the principles of Art Nouveau.
Beardsley’s flamboyant black and white block print J’ai baisé ta bouche lokanaan for Oscar Wilde’s play Salomé (1894), with its brilliant incorporation of Japanese two-dimensional composition, may be regarded as a highlight of the Aesthetic movement and an early manifestation of Art Nouveau taste in England. Other influential graphic artists included Alphonse Mucha, Jules Chéret, and Henri de Toulouse-Lautrec.