lunes, 18 de junio de 2007

"Terrorism's Targets"

Hadas & Amir. Publication in an article from Israel.

Please tell us about the postcard you designed at 2006, Terrorism's Targets.
Well, we try envy a message to general people about the terrorism problem.
In the poscard back we said: The targets of terrorism are civilians. Terrorism exploits the relative vulnerability of the civilian “underbelly” the tremendous anxiety, and the intense media reaction evoked by attacks against civilian targets. Far from being a bearer of freedom, the terrorist is the carrier of oppression and enslavement...

Was it pre-ordered or an independent work?
Normally, we work total independence. We produce and finance our Works.

Why did you decide to use a fingerprint?
The concept was mark as identity, and the man like a target of violence (violence makes marks in our individual and social personality). In this sense, fingerprint es a symbol very clear and simple.

Did you use fingerprints on other designs as well?
Oh yes, because produce a straight message and stragiht visual form. We like make variations with “cliché” images and concepts. We think that people can recognize it better. We use it in one poster about “Homeles at Los Angeles”. And here we send you several that we will publish in a book called “PURE STATE / EN ESTADO PURO” with 400 vectorial images and 200 movies in low resolution.

What gave you the inspiration for this work?
Several designers work like Grapus, Nous travaillons ensemble, Ne pas plier, Andrea Rauch, Alain Le Quernec, Per Arnoldi and Saul Steinberg…

How did people react to the poster (colleagues, people on the street)?
There is different reactions, in Spain there are two experiences that speak about this: the ETA’s question and the tragedy of 11M attacks. People see it with different see but, we think both attack our freedom and they are unjustify.

Which part of the rich symbolism of the fingerprints did you mean to point out?
Identity, That we are. Our personal mark.

In your opinion, what happens to a fingerprint when it is put in art or design context?
It speak stronger. Its symbolic value become unique for human community.

What are your specialties in design and art?
We are graphic designers (corporate identity, exhibitions, editorial…), but we love specially to design for social and humanitarian causes.

Would you like to tell us about one of your recent projects?
We create several images for the project “Graphic work. Imaging today’s Labor Movement” in NY City. And we participated in “Gno! (Guantánamo No), a Project of graphic dissent against Guantanamos’s prison. We worked with ‘cliché’ graphic concepts: bars (jail), eye (TV, Big Brother), Mickey´s silhouette (USA), hand and heart (Peace), fist (fight), skull (death). We related the above to straight texts: Guantánamo is not an illusion, an icon of lawlessness, end torture now, the Caribbean paradise, nightmare on paradise, terror paradise, incarceration is not an equal opportunity punishment…

Working process: Do you make hand sketches before working with the computer?
Hand and digital sketching. Sometimes we use perfect images and others we prefer dirty drawings and manipulated images. We make some variations on the same theme but normally, we work quick, during one day or less…

Which software do you prefer working with?
Freehand and Photoshop.

Could you recommend us about a design book and / or a website you love?
“The design of dissent” by Mirko Ilic and Milton Glaser, also “Graphic agitation I, II” by Liz McQuiston or “Peace Signs: The Anti-War Movement Illustrated”.

Do you know of another design or art works which include fingerprints?
Andrea Rauch’s “Mafia, Spirali di Violencia” poster, Per Arnoldi’s “Save the Alps” poster, Gunter Rambow’s “Onkel-Onkel” poster and Saul Steinberg’s “The Passport” illustration…

Sonia & Gabriel Freeman

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