Creativity and Color (Double blind peer review

2017

Creativity and originality of style are key elements to affirm themselves in an increasingly crowded and competitive world of advertising photography. Some photographers challenge conventions to assert their innovative ideas. Dealing with extremely delicate social issues and using them effectively in the advertising world is a very rare and difficult task. Oliviero Toscani and David LaChapelle marked an era in advertising photography using similar content but with totally different technique and style. They have written and started a new phase of fashion photography, inventing a revolutionary approach to business, communication and public relations. There are many similarities in the two photographers work, but a big difference in the implementation and execution of the photographic project. The following article aims to highlight resemblances and differences between two artists considered among the most important and influential photographers of the 20th century. Creativity and col...

European Scientific e-Journal, 2021

In this article, we will discuss how contemporary advertising becomes the territory where various artistic expressions contribute in a complementary way to the constitution of the meaning of a work. The case study will approach the activity of Oliviero Toscani, and his two decades of collaboration with Benetton materialized in memorable advertising campaigns that rewrote the visual history of contemporary advertising. We will analyze how photographic media provides advertising with one of the most consistent expressive resources, based on the realism of the image, the endless possibilities in managing the visual composition, the premises of reproducibility and, last but not least, the appetite of an audience eager for the technological image. Also, we will try to discuss the creative premises and mechanisms that characterize Toscani's creation, the reading conditions of his advertising works, as well as how his creative strategies combine the expressiveness of the technological precision of press photography, and the appropriation strategies specific to artistic postmodernity.

Anastasis. Research in Medieval Culture and Art, 2021

In this article we analyze from the perspective of vocabulary and visual language elements the way in which the photographic media provides advertising with one of the most consistent expressive resources. The realism of the image, the endless possibilities in managing the visual composition, the premises of reproductibility and, last but not least, the appetite of an audience eager for technological image, ensured the success of this medium acquisition in the field of advertising expression. The way in which photography is used in advertising mechanisms is, instead, the prerogative of the artistic sphere and it is fully subject to professional standards of design, concept, and realization of the image. In particular, we examine how contemporary advertising becomes the territory where various means of expression contribute in a complementary way to the constitution of the meaning of a work, emphasizing the specific sensitivity of those expressive mediumsnamely photography and painti...

Zenodo (CERN European Organization for Nuclear Research), 2023

geografski digitalna, je dobila -strukturnih, sociokulturnih in primerjalnih metodah. Vrednost Avtor poudarja, da imajo e storitve, kreativne kompozicije, nenavadne perspektive in barvni kontrast, ki zagotavlja funkcionalnost ugotavljanje novih dejavnikov ustvarjanja podobe. : plakat, barvna semantika, vizualizacija oglasov, kulturni kontekst.

Art, advertising and industrial design through the transposition of pictorial works to consumer objects. Analysis of local and national artists (Atena Editora), 2024

Desde la aparición de los ready-made en el siglo XX, autores como Arthur Danto (2004), George Dickie (2005) y Elena Oliveras (2008) desde la perspectiva de la teoría institucional del arte, han intentado definir cuándo hay arte, partiendo de la tesis de que no todos los objetos cotidianos son obra de arte, aunque podrían llegar a serlo. Para ello se necesita que el artista, el público conocedor del tema: marchands, críticos, filósofos, historiadores, etc. (mundo del arte) y los espectadores “comunes”, se entrelacen para dar validez y estatus artístico al que no arriba cualquier objeto. A partir de esta premisa, este proyecto de investigación analiza el proceso a través del cual artistas contemporáneos formados en el medio artístico visual local y nacional, como Milo Lockett, Mario Lange, Claudio Baldrich, Germán Toloza, Ricky Crespo, y Felipe Giménez, han ido desplazando la materialidad de su producción pictórica a un conjunto de objetos de consumo, ganando reconocimiento y legitimación a nivel nacional por la fácil de asimilación de una imagen simple, una paleta de colores estridentes y una estética “ingenua”. Al mismo tiempo, la obra de varios de estos artistas forma parte de acciones solidarias permitiendo que el mundo del espectáculo, los medios masivos de comunicación y las firmas comerciales conozcan y adquieran sus obras “transfiguradas en objetos de consumo” (zapatillas, ropa, artículos de librerías, de cocina, libros, anteojos, borcegos, indumentaria, etc.) Esta investigación busca indagar esta cuestión analizando los límites entre el arte, la publicidad y el diseño industrial. En otros términos, partiendo de la difusión de las imágenes de los artistas citados en productos de consumo, busca examinar cuándo sus propuestas operan como obras de arte y cuándo y cómo pasan a ser productos industriales.

International Journal of Arts Humanities and Social Sciences Studies, 2021

Contemporary societies are expressed from codes and visual mechanisms. The vehement and constant stimulation of pictorial information within the postmodern media has complicated individuals' ability to recall a fashionable advertising image within the abundance of digital photographs, illustrations, images, or effigies. This article focuses on a study and analysis of the compositional elements of fashion photography, through a series of bibliographic reflections by theorists, editorial photographers and creative directors in order to generate a better understanding of the compositional, technical and theoretical dimensions. that make up the aesthetic phenomenon of contemporary fashion photography.

This essay explores the terms high and pop culture, their relationship and how it has changed in modern times. It is argued that there is a tendency for the blending of the two in what would be called a ''postmodern time'' which denies clear categorization and definition. This might be a positive or negative trend however it is worth exploring. For this purpose two commercials, the 2014 KIA Super Bowl Commercial featuring Laurence Fishburne as Morpheus from The Matrix and the Dewar’s Live True Commercial, will be used in relation to the work of pop artist Marco Battaglini and especially his paintings "Gentlemen prefer blondes" and "Unhappy ending" which appear in an Appendix.

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Paradigm of knowledge, 2022

The problems of advertising are visualization, stylistics, and development tendencies. Methodology is based on socio-cultural, axiological, and comparative methods. Originality includes the scientific study of possible solutions in advertising communication, using associative connotations of color images. Color harmony in advertising is interpreted as a dynamic balance of contrasting elements of the visual info media. As an alternative to globalization processes with an aspiration to standardization and assimilation of cultural peculiarities, the process of a nation's selfidentification is actualized in posters. The functions of color in advertisements are here considered, e.g., expressive, physiological, emotional, informative, and aesthetic. The study on color in Advertising Design in a vast cultural context pays special attention to art-aesthetic aspects. The authors conclude that the use of visual means in advertising is orientated to a target audience with aesthetic ideals and national colors Paradigm of Knowledge № 1(51), 2022 from Italy, Switzerland, and Ukraine. The practical value of the obtained results lies in the application of this complex approach to color designing posters.

La publicidad y el arte son dos sistemas de representación que ocupan, dentro de nuestra escala de valores, dos lugares diametralmente opuestos. A lo largo de la historia se ha considerado a la publicidad como una forma de contaminación por su carácter intrusivo, mientras que el arte ha sido sacralizado. En esta investigación, los autores han tratan de conseguir ir un paso más allá respecto a esta relación de la publicidad y el arte, tratando esta temática con todo el respeto posible, y desde un punto de vista que difiere en su más alto grado de una acti-tud iconoclasta. Se analiza una parte de la historia de Francia denomi-nada Belle Epoque, donde, de acuerdo con el punto de vista de los au-tores, la publicidad y el arte se fusionaron y se influyeron mutuamente. Este libro tiene la intención de ilustrar este enfoque descrito en un de-terminado momento y un lugar preciso en la historia. Donde debido a razones y circunstancias políticas, económicas, culturales y sociales se produjo un cambio de mentalidad que llevó a la "era de la moderni-dad", que ha influido en todas las sociedades desarrolladas a lo largo del siglo XX.