VRA 2012, Visual Culture, Matrices: the missing framework

1. MATRICES {the missing framework} BROOKE SCHERER I THE UNIVERSITY OF TAMPA I BSCHERER@UT.EDU

2. the PROBLEM {thinking locally, acting globally} BROOKE SCHERER I THE UNIVERSITY OF TAMPA I BSCHERER@UT.EDU

3. the PROBLEM {thinking locally, acting globally} BROOKE SCHERER I THE UNIVERSITY OF TAMPA I BSCHERER@UT.EDU

4. the PROBLEM {thinking locally, acting globally} If this picture offends you, we apologize. If it doesn’t, perhaps we should explain. Because, although this picture looks innocent enough, to the Asian market, it represents death. InterTrend Communications, California BROOKE SCHERER I THE UNIVERSITY OF TAMPA I BSCHERER@UT.EDU

5. the MATRIX {breaking down elements, forming foundations } SYM CLR CB IC EC DIM SYM WUA MAS SYM FEM HPD COL SUA STO LPD LTO IND X sym = symbol / clr = color / cb = consumer behavior / ic = image construction / ec = environmental context / dim = dimension / ind = individualistic / col = collectivistic / mas = masculine / fem = feminine / lpd = low power distance / hpd = high power distance / wua = weak uncertainty avoidance / sua = strong uncertainty avoidance / sto = short-term orientation / lto = long-term orientation BROOKE SCHERER I THE UNIVERSITY OF TAMPA I BSCHERER@UT.EDU

16. the PRACTICE {the matrix in use} Audience: United States Client: Verizon Wireless Image Attributes: • Individualistic • Masculine • Short-Term Orientation AdAsia, New York/Los Angeles BROOKE SCHERER I THE UNIVERSITY OF TAMPA I BSCHERER@UT.EDU

17. the PRACTICE {the matrix in use} SYM CLR CB IC EC DIM SYM WUA MAS SYM FEM HPD COL SUA STO LPD LTO IND X sym = symbol / clr = color / cb = consumer behavior / ic = image construction / ec = environmental context / dim = dimension / ind = individualistic / col = collectivistic / mas = masculine / fem = feminine / lpd = low power distance / hpd = high power distance / wua = weak uncertainty avoidance / sua = strong uncertainty avoidance / sto = short-term orientation / lto = long-term orientation BROOKE SCHERER I THE UNIVERSITY OF TAMPA I BSCHERER@UT.EDU

22. the PRACTICE {the matrix in use} Audience: China Client: Verizon Wireless Image Attributes: • Collectivistic • Masculine • Long-Term Orientation BROOKE SCHERER I THE UNIVERSITY OF TAMPA I BSCHERER@UT.EDU

27. the PRACTICE {the matrix in use} SYM CLR CB IC EC DIM SYM WUA MAS SYM FEM HPD COL SUA STO LPD LTO IND X SYM CLR CB IC EC DIM SYM WUA MAS SYM FEM HPD COL SUA STO LPD LTO IND X BROOKE SCHERER I THE UNIVERSITY OF TAMPA I BSCHERER@UT.EDU

28. the PROJECT {opening minds, broadening horizons } • Draw for assigned country • Research: color, imagery, context, symbology, form • Break apart preexisting visual messaging • Create three posters that visually define assigned culture • Present final information and matrices to class BROOKE SCHERER I THE UNIVERSITY OF TAMPA I BSCHERER@UT.EDU

29. stepONE {research} Cultural Integration | S. Cwalina and M. Lizarraga INITIAL RESEARCH INITIAL RESEARCH Cultural Integration | S. Cwalina and M. Lizarraga Cultural Integration | S. Cwalina and M. Lizarraga INITIAL RESEARCH INITIAL RESEARCH Cultural Integration | S. Cwalina and M. Lizarraga Where the sun is full, colors tend to be rich, deep and vivid. Today, colors are more centered on cultural conventions. Bright Mexico Mexico’s color traditions certainly reflect its environment: the reds and yellows signal a fiesta, while red and white have more deep blue sky, the yellow sun, the warm colors of the sand and somber, religious connotations, symbolic of the passion of dirt, the greens of vegetation. Christ and purity. White alone is somewhat magical, imbued The Aztecs had very definite meanings for color: Green stood with the power to fight black magic and prevent illness. Green In China, purple is worn by for royalty, blue was for sacrifice, and yellow was for food. has come to stand for national independence. educated figures. literary and Orange represents love. Mexico’s color palette is a mix of historical associations and the en- Among the Aztecs, white meant Black was a sacred color for the Incas; Red is thought by some to have pro- In Mexico, red and death. Today, white is considered to it was the color used for sacrifices. tective capabilities. If a person white have religious vironment’s deeply toned offerings. be pure and have the ability to cure The Zapotec Indians did not differenti- passed a house where someone significance, some- sickness and fight black magic. White ate between black and purple. was very ill or had died, he or she times representing also has religious connotations. would cover his nose and mouth the Sacred Heart of with a red handkerchief. Red also the Catholic church. stands for unity. The colors of the Mexican flag are long-lived. First used in 1821, the colors are all symbolic: Green represents independence or hope; white stands for purity In some areas, yellow is the color of Dark blue is a common color for The Mayans associate green with and unity; and red stands for the mourning. Yellow marigolds are mourning clothes. For the Aztec, blue luck. The Aztecs regarded green as blood of patriots and other grown only in cemeteries. The Aztecs represented sacrifice. royal. Today, green as a national heroes. The colors also mirror used yellow to represent food. color, stands for independence. those found in different areas of the Mexican landscape. Photos courtesy of PhotoDisc, Inc. The flag’s centerpiece, the national emblem of Mexico, is drawn from the symbol of the Aztec capital, which translates to “cactus rock.” Purple is the color of death and funerals in Mexico. 25 24 6 | Process Material Process Material | 7 16 | Process Material Process Material | 17 Cultural Integration | S. Cwalina and M. Lizarraga INITIAL RESEARCH INITIAL RESEARCH Cultural Integration | S. Cwalina and M. Lizarraga Cultural Integration | S. Cwalina and M. Lizarraga INITIAL RESEARCH INITIAL RESEARCH Cultural Integration | S. Cwalina and M. Lizarraga Gonzalo García Barcka & José Luis Acosta Mexinbat Tiypo by various designers Aztlán by Gabriel Martínez Meave Lagarto by Gabriel Martínez Meave Proteo by Leonardo Vázquez Pólvora by Quique Ollervides El Chamuco by José Luiz Cóyotl Mixcóatl Lucheta Payol by Quique Ollervides Darka by Gabriel Martínez Meave Galia by Nadia Méndez Garcia Arcana by Gabriel Martínez Meave Espinosa by Cristóbal Henestrosa 4 | Process Material Process Material | 5 30 | Process Material Process Material | 31 BROOKE SCHERER I THE UNIVERSITY OF TAMPA I BSCHERER@UT.EDU

30. stepONE {research} Cultural Integration | S. Cwalina and M. Lizarraga INITIAL RESEARCH INITIAL RESEARCH Cultural Integration | S. Cwalina and M. Lizarraga Cultural Integration | S. Cwalina and M. Lizarraga INITIAL RESEARCH INITIAL RESEARCH Cultural Integration | S. Cwalina and M. Lizarraga Where the sun is full, colors tend to be rich, deep and vivid. Today, colors are more centered on cultural conventions. Bright Mexico Mexico’s color traditions certainly reflect its environment: the reds and yellows signal a fiesta, while red and white have more deep blue sky, the yellow sun, the warm colors of the sand and somber, religious connotations, symbolic of the passion of dirt, the greens of vegetation. Christ and purity. White alone is somewhat magical, imbued The Aztecs had very definite meanings for color: Green stood with the power to fight black magic and prevent illness. Green In China, purple is worn by for royalty, blue was for sacrifice, and yellow was for food. has come to stand for national independence. educated figures. literary and Orange represents love. Mexico’s color palette is a mix of historical associations and the en- Among the Aztecs, white meant Black was a sacred color for the Incas; Red is thought by some to have pro- In Mexico, red and death. Today, white is considered to it was the color used for sacrifices. tective capabilities. If a person white have religious vironment’s deeply toned offerings. be pure and have the ability to cure The Zapotec Indians did not differenti- passed a house where someone significance, some- sickness and fight black magic. White ate between black and purple. was very ill or had died, he or she times representing also has religious connotations. would cover his nose and mouth the Sacred Heart of with a red handkerchief. Red also the Catholic church. stands for unity. The colors of the Mexican flag are long-lived. First used in 1821, the colors are all symbolic: Green represents independence or hope; white stands for purity In some areas, yellow is the color of Dark blue is a common color for The Mayans associate green with and unity; and red stands for the mourning. Yellow marigolds are mourning clothes. For the Aztec, blue luck. The Aztecs regarded green as blood of patriots and other grown only in cemeteries. The Aztecs represented sacrifice. royal. Today, green as a national heroes. The colors also mirror used yellow to represent food. color, stands for independence. those found in different areas of the Mexican landscape. Photos courtesy of PhotoDisc, Inc. The flag’s centerpiece, the national emblem of Mexico, is drawn from the symbol of the Aztec capital, which translates to “cactus rock.” Purple is the color of death and funerals in Mexico. 25 24 6 | Process Material Process Material | 7 16 | Process Material Process Material | 17 Cultural Integration | S. Cwalina and M. Lizarraga INITIAL RESEARCH INITIAL RESEARCH Cultural Integration | S. Cwalina and M. Lizarraga Cultural Integration | S. Cwalina and M. Lizarraga INITIAL RESEARCH INITIAL RESEARCH Cultural Integration | S. Cwalina and M. Lizarraga Gonzalo García Barcka & José Luis Acosta Mexinbat Tiypo by various designers Aztlán by Gabriel Martínez Meave Lagarto by Gabriel Martínez Meave Proteo by Leonardo Vázquez Pólvora by Quique Ollervides El Chamuco by José Luiz Cóyotl Mixcóatl Lucheta Payol by Quique Ollervides Darka by Gabriel Martínez Meave Galia by Nadia Méndez Garcia Arcana by Gabriel Martínez Meave Espinosa by Cristóbal Henestrosa 4 | Process Material Process Material | 5 30 | Process Material Process Material | 31 BROOKE SCHERER I THE UNIVERSITY OF TAMPA I BSCHERER@UT.EDU

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VRA 2012, Visual Culture, Matrices: the missing framework