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visual communication

Movember: ‘Stache Antics

November 13, 2010

A few years back, while living in India, I sharpened my skills in mo’-spotting and now consider myself a discerning observer of upper-lip exhibitionism. Imagine then my delight in coming across a site where the time-honoured art of the ‘stache meets the modern phenomena of Twitter. On Stache Tag guys can track the growth of their moustaches, categorize their facial hair types, and even create animations of their day-to-day growth – using the hashtag #movember with viral fervor.
 

Even better – it’s supporting the Movember Foundation which raises funds and awareness for men’s health and male cancer initiatives.* Sparked in 2003, Movember challenges men to change their appearance and the state of men’s health by growing a moustache. The rules are simple, start Movember 1st  clean-shaven, then grow a moustache for the entire month.  The moustache becomes the ribbon for men’s health – the means by which awareness and money are raised to fight cancers and health issues which affect men. 
 

From Stache Tag’s creators Blast Radius:

“Twitter is really huge, moustaches are on trend, and Movember is a great cause,” says Sean Chambers, the executive creative director for Blast Radius in Europe. “It did feel like a really good time to pull all these things together.” The site strikes that perfect balance of worthwhile and useless. In addition to building in frivolous (read: totally awesome) features like animations for the moustache photos, Blast Radius hopes the site will increase international awareness for Movember and help participants raise more money.

And it’s not all about guys. Mo Bros have been joined by Mo Sistas too.
 

And I couldn’t resist adding my buddy from Mumbai.
Giving a whole new meaning to ‘letting one’s hair down’.
 
Related posts:
Twitter, Hip-Hop & Smoke Free Style
Lo-fi Meets Hi-fi at the Corner of Send & Receive

* If you’re keen to donate to Movember – head over to your local division.
And if you want to parade your mo or check out the Mo Stylers – drive by Stache Tag.

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Germany’s Historic Hues

October 12, 2010

At the height of procrastination from a mountain of work, I’ve found myself seduced by a series of nostalgic colour palettes of late. Imprint points us to the exquisite colour system developed by German inventor Jacob Christian Schäffer way back in 1769.
 

Flash forward to 1920s German modernism then dip your brush in some twenty first century styling – and you have New Zealand fashion designer Karen Walker’s paint collection for Resenes. Launched last year, the range was inspired by Bauhaus architecture and their notion that colours could be grouped to tell a story rather than merely by matching tones.
 



 
Hopping back to East Germany in the 60s – a colour chart for the two-cylinder Trabant (tauntingly referred to by West Germans as the “spark plug with a roof”).
 
 
Related post:
Archival Adventures

[Image sources on respective links]

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Brand Polarities

September 21, 2010

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Brand Essentials: Identification. Recognition. Distinction.

Worth noting that the term maverick – which came to describe independent mindedness – was derived from the name of Texas rancher Samuel Maverick. Given that most cattle in the 1860′s were branded, Maverick chose to identify his stock by their absence of these branded markings. More recently Japanese retailers Muji have excelled in ‘no-brand’ designs and maverick minimalism.

Should your brand be playing pianissimo, mezzo-forte or fortissimo?
(very soft, moderately loud or very loud)?

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Archival Adventures

July 11, 2010


Artist Unknown, Mission School, circa 1849 Image Source

A good friend recently showed me an illustrative version of the Lord’s Prayer in Maori.
I noted that it was credited to the National Library here in Wellington so headed over to see what related items were in their online archive. I came across the piece above – promoting an early mission school.
 

Thomas Kendall, Nuku Tawiti, 1824 Image Source

Alongside Maori adoption of Christianity, the archive also points to colonial attempts to understand local spiritual belief. Early missionary Thomas Kendall made this sketch of Maori gods – which he observed on carvings in 1824.
 

K.P.M. South Pacific Line, 1939 Image Source

Carvings feature elsewhere on the site – here on the cover of a promotion for a passenger ship run by major Dutch company, Koninklijke Paketvaart-Maatschappij. Framing Mount Cook they gave an exotic spin on the antipodean landscape.
 

NZ Railways, Auckland to Rotorua – the Thermal Route, circa 1954 Image Source

Switching from sea-faring to land transport, the Railways advertised its once popular route to my home town of Rotorua from Auckland. Rotorua drew tourists with its thermal activity, thriving Maori culture and welcoming hosts. The advertisement features a tiki alongside the train and Maori carving motifs.
 

Horatio Robely, Arms of Dr TM Hocken, circa 1900 Image Source

The tiki and Maori motifs were used again in this artist’s rendition of the initials of Dr Thomas Moralnd Hocken, who funnily enough headed to New Zealand to escape British winters. I can’t imagine he found much respite in Dunedin. A doctor, avid collector and historian – he donated his sizeable stash of books, maps, manuscripts and ephemera to the citizens of Dunedin in 1910 in the form of the Hocken Library.
 

Charles Hill & Sons Ltd, Models 27-49, 1897 Image Source

Fittingly, it was the good folk at the Hocken Library who had pointed out the Maori Lord’s Prayer to my friend – which I mentioned in opening as prompting my foray into the National Library Collection in the first place. Back home in Wellington I’ve been having a great time trawling the library archive discovering a wealth of local visual history. Hats off to the National Library – for old times sake:
 

Christmas Card, Kia Ora. For Old Times Sake, circa 1890-1910 Image source

Related posts:
A Wind-Swept Walk of Words
Germany’s Historic Hues

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A selection of creative endeavors featuring SMS, social media and spam provide artful commentary on digital communication.

SMS Stitching – embroidered text messages track ebb and flow of modern romance.
 



 
Wildlife-Social Media Mash-up – blasé bird tweets on life in New York.
 

 
Spam One Liners – hand-lettered renderings inspired by junk mail subject lines.


Highlighting aspects of immediacy, attention and privacy – all three artists share a tendency to save what others may delete.

Related posts:
Still Life, Smooth Moves
Writings on Walls

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Veiled Paradox

March 30, 2010

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New York-based photographer Kate Orne has focused her lens on Pakitsani prostitution over a number of years in an effort to expose the denial, modesty, pretense and cultural oppression which envelope it.

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Young women from rural villages and refugee camps are sold to the brothels by human-traffickers, while others are born into the trade.

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Prostitution is forbidden under Islamic law, but with the increasing influence of extremist groups, the women risk severe punishment under Sharia Law through beheadings and stoning to death.

The laws – both secular and sacred – seem to disregard the context in which women have entered the profession while paying negligible attention to the men who engage their services.
 
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The women practice modesty according to Islam. For a woman not to cover her chest… is considered daring – even among prostitutes.

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Proceeds from Orne’s print sales from the series May You Never Be Uncovered: The Victims of Pakistan’s Sex Trade support education of the children of Pakistani prostitutes via the Sheed Foundation – “a small but highly efficient community-based organization addressing the social problems faced in particular by the local female sex workers and their children who suffer from oppression, poverty, illiteracy and abuse.”
 
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Orne highlights cultural complexity through her portraits and studies which are both intimate yet modest. Her images don’t provide us with answers but rather confront us to question deeper the paradoxes at play surrounding prostitution. And I’d hasten to add that they are not limited to Pakistan nor Islam.

Related Posts:
Fashion, Humanism & the Online Environment
Still Life, Smooth Moves
 
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Indo-French Street Skills

January 9, 2010

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I first photographed the work of French street artist C215 in Paris in 2007. This week here in Delhi I hit the streets of Karol Bagh to see if I could find any remaining examples of the works he produced in the vicinity late in 2008. It proved to be an ambitious task which led to many alley-way adventures.
 
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Christian Guémy (aka C215: self portrait above in Delhi) resides in Paris where he has developed his distinctive street-art style. Armed with a Masters in Art History from Sorbonne and an arsenal of aerosols plus painting paraphernalia, he hits the streets with persistent zeal. He has taken his skills further afield to Casablanca, Dakar, Jerusalem, Sao Paulo and beyond, alongside gallery showings in Paris and London. He has collaborated with the Norwegian Children at Risk Foundation (CARF) to raise money for their projects in Brazil – where he also visited to give workshops to local youth and make his mark in surrounding favelas.

Back here in Delhi I located a handful of C215′s works which have survived. One old woman in a poor neighbourhood recalls “They brought so much energy to our area with children all crowding round to watch this strange foreign-type painting just for the love of it.”
 
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Guémy gifted some works on paper to various locals plus stencilled t-shirts for young onlookers and boxes for shoe-shine boys. He fondly remembers one shy girl whom he gave a framed work – indeed she was too shy to be photographed by me with the piece but was happy to take it down from it’s proud perch in her tiny home and let me capture it being held by a neighbour. [below left]
 
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Along the way I encountered frequent examples of Indian vernacular flair – from rickshaw decorations to juice stall signs – showing that creativity is alive and well in this crowded corner of Delhi… both local and imported.
 
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Related posts:
Street Art International (Flickr)
Street Art Gets Behind the Wheel

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Painted National Pride

December 30, 2009

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Visitors to India are frequently enchanted by the spirited decoration of trucks which traverse the nation. We are immediately drawn to the quaintness of English phrases like Horn Please which are commonly emblazoned on the rear of commercial vehicles.
 
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However we often miss the assortment of Hindi phrases – the most common of which reads Mera Bharat Mahan (मेरा भारत महान) meaning My India is Great. This patriotic declaration was popularised by former Prime Minister Rajiv Gandhi in his campaigning efforts to evoke a spirit of modernity across the nation. It went on to become a favoured proclamation of Indian cricket fans. The slogan prevalently graces the tailgates of trucks which cross state and cultural boundaries in a diversely painted salute to national pride.

Sometimes the sentiment is translated into English…
 
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And other times things get a bit jumbled…
 
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Related posts:
Indian Street Graphics (Flickr)
Street Art Gets Behind the Wheel

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Disrupting Urination Norms

December 15, 2009

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Last week in Mumbai someone kindly explained to me the custom of putting wall tiles of gods from different religions along street facades. They’re positioned at pissing height – and act as a perfect deterrent in a reverent nation.
 
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UN_jesus
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Related Posts:
Illuminating Urban Imperfections
Same, Same But Different

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What do laundry and lunch delivery have to do with my favoured intersection of communication, culture and creativity? Well, in the case of Mumbai’s Dabbawallas and Dhobi Ghats – quite a lot. Via their respective coding systems, both enterprises are able to track items within their service chain to ensure accurate delivery.
 
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The Dabbawalla service entails collection of freshly prepared meals from the residences of suburban office workers from vast reaches of the city, delivery to their workplaces and the return of empty lunch boxes (dabba or tiffin) to its original home – all for a reasonable monthly fee. Delivering over 200,000 lunch boxes each day to workers who have diverse eating habits (often governed by religion) requires an accurate system – especially as each lunch box commonly passes through the hands of at least six men, in quick exchange, on its path from home to office and back again. Most tiffins are collected by bicycle, sorted into destination groups, then carried together on trains and cycled to the offices of their respective customers. In between they are commonly carried on hand pushed carts and large head-balanced trays – all while jostling with chaotic Mumbai rail and road traffic.
 
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With low literacy being an issue for some of the 5000 dabbawallas, they have devised a coding system using colour, symbols, numbers and a few letters which is painted on the lids of the tiffins to indicate the train lines, hub points and destinations at both ends of the delivery cycle. Each part of the marking can be understood by the relevant dabbawalla as the lunch box exchanges hands through the service chain. In the case that a lunch box gets on the wrong path, the code allows it to be set back on the right track – yielding only one mistake per 6 million deliveries according to economic analysis.
 
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The Dabbawalla’s have been operating for over a century and the business continues to grow at a rate of 5-10% per year. When I asked about the effects of the economic downturn I was told with a smile that “the stomach knows no recession.” Their innovative localised system has been studied by business schools worldwide and covered by international media including the New York Times. As a brand strategist I also note an additional factor that contributes to their iconic status in the city: the dabbawalla’s signature Gandhi cap. This further serves as a recognition device between workers at busy exchange points and failure to wear one attracts a fine from their registered co-operative association.
 
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The Mahalaxmi Dhobi Ghat is the world’s largest outdoor laundry which processes three quarters of a million items daily from households, hospitals, hotels and schools.
 
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With articles to be washed, dried, starched and pressed coming from distant neighbour-
hoods to this central location – they have also developed a coding system to track and assure accurate return. Many customers dispatch their laundry to local hubs which send in bulk orders to Mahalaxmi. Each laundry hub attaches their articles with a scrap of cloth bearing a code penned in indelible ink – indicating the short-form name of their hub and their total number of articles over the recorded individual item number.
 
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Workers in both systems are proud of the value that their services provide to the megacity. Together they exemplify the virtues of bottom-up innovation and entrepreneurship at play in this densely populated urban centre. Most dhobis and dabbawallas are migrants to the city – but in the words of 65 year old dhobi walla, Jan Mohammed [pictured above]: “There’s no city like Mumbai.”

Related links:
You can see and read more on my Flickr sets of Dabbawallas and the Dhobi Ghats
and I have upcoming pieces on both services being broadcast on Radio New Zealand.

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