Da mir nahegelegt wurde auch sehr angewandt zu arbeiten werde ich versuchen, einige meiner Arbeiten zu zeigen, welche mittels Creative-Coding entstehen.
Vorab möchte ich noch verschiedene „Creative-Coding“-Entwicklungsumgebungen recherchieren. Va ich mit visuellen Programmiersprachen noch kaum Erfahrung habe, möchte ich dahingehend mögliche Umgebungen erkunden.
Ich werde meine Recherche laufend erweitern:
By Cycling’ 74 – https://cycling74.com/company, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=87415137
Max „Max/MSP/Jitter“
Typ: visual programming language Anwendungsgebiet: Musik, Multimedia Entwickler: Cycling ’74 OS: MS Windows, macOS
Fazit: Speziell an diesem Punkt finde ich Max zu Musik und Multimedia lastig.
Typ: Application Framework, C++ library Anwendungsgebiet: Grafik, Audio, Video, Algorithmische Geometrie Entwickler: Open Source, entwicklet durch Github (lead architect Andrew Bell) OS: Cross-platform
Fazit: Wie Cinder eine C++ Library jedoch nicht Open Source. openFrameworks ist stärker von open Source Librarys abhängig und erlaubt Entwicklern so mehr Kontrolle und Transparenz. So gibt es auch mehr Updates und Bug-Fixes.
Die Selbstbeschreibung auf der Website spricht mich sehr an:
„OPENRNDR’s APIs are designed to embrace Java’s advanced functionality while still being easy to use. Bottom-line is, we feel that Processing is less suitable for a production context.”
Scapes is a project by sound designer Francis Preve, who dives into the belief that synthesizers can literally sound like anything.
This statement describes the project exactly:
“If we tend to recreate what we have heard, it is partly because we are synthesizing something we have listened to with some care. So why not go back to the richness and complexity of sound as we hear it in everyday life? Why not combine actively listening to a sound walk or a field recording with the art of producing something using synthesis, instead of a recording? “
Preve’s work goes in this direction, it does not have a single sample, the whole ambiental environment, such as the rainy day in the city, summer midnight, the birds, are synthetic.
Those sounds are also synthesized using just several instances of Ableton’s stock-synth operator and some internal effects.
It might not sound 100% realistic, but the resemblance with the natural world is stunning.
There have been various attempts to achieve this, and here I would like to share with you this fascinating project from music producer Darren Cunningham.
What I personally find interesting is his approach to electronic music. He not only tries to emulate the sounds of nature, trying to have the same sound with some synthesizers, but he wants to give us the same sensations from electronic sources. Not the sounds of nature from electronic sources, but the feelings of nature.
The way he also uses field recording is quite inspiring, because he uses it exactly like electronic sounds / synthesizers by taking them away from the natural context, but letting them hold their feel and translate it into another electronic world.
The story begins with Marc Benioff, the chief executive of the cloud computing company Salesforce, watching the MTV Video Music Awards last summer.
To be specific, he was watching Will.i.am, the rapper, entrepreneur and founding member of the Black Eyed Peas, cavorting around wearing what appeared to be a cross between a gas mask and an alien space helmet. So he called Will.i.am, whose full name is William Adams and who has been a regular at Salesforce’s Dreamforce tech conference since 2010, and asked what in the world he had on his face.
Will.i.am said it was an idea he had been noodling. So Mr. Benioff told Will.i.am that he really ought to talk to Darius Adamczyk, the chief executive of Honeywell, the multinational conglomerate that happened to be responsible for making millions of N95 face masks over the last year. Mr. Benioff made the introduction, and on April 8 the results of that conversation are coming to market.
After the surgical mask and the do-it-yourself mask and the fashion mask: the smart mask.
This ergonomic mask has a silicone face seal and an adjustable elastic strap, allowing it to adapt to different face shapes while being highly durable, which in turn allows year-round use of the mask in all climates.
XUPERMASK is equipped with two 3-speed fans and HEPA filters, as well as built-in wireless (Bluetooth 5.0) active noise canceling headphones with microphone, LED lighting, magnetic headphone dock, etc.
The declared operating time of the XUPERMASK mask is 7 hours. It will go on sale in two sizes and in two colors – black and white. All options will be priced at $ 299.
For the above price, in addition to the mask itself, buyers will also receive a special carrying case, a three-month supply of HEPA filters, earplugs for headphones of various sizes, a USB Type-C charging cable and a regular sheet mask.
Recently I have been writing about the conventions of TV Commercials. As pointed out in this blog post, most commercials get shot digitally nowadays and this is due to a good reason: Shooting on film can be quite a pain, pretty expensive and far from practical!
In this blog post I want to clarify the main differences between an analog and a digital image and further on try to simulate the celluloid film look myself.
Digital VS Analog
Shooting analog was the best option in terms of overall picture quality for quite some time until ARRI turned the professional filmmaking world on it’s head by introducing the ARRI Alexa back in 2009. Later on famous DP Roger Deakins said, “This camera has brought us to a point where digital is simply better.” In terms of practicality and workflow this was obviously no surprise but now ARRI managed to put out a digital camera that has the dynamic range and robustness of a film camera, whilst still having all the benefits of a digital camera.
As discussed in a previous blog post, some DPs like Hoyte van Hoytema still prefer shooting on film as they like certain characteristics that come with the process of shooting, developing and post processing film. I personally think this is quite a fair point to be made. I myself love the film look with all it’s technical imperfections. Watching Jonah Hill’s feature directorial debut Mid90s (2018), which was filmed on 16mm, quickly catched my attention with its reminiscent look and tone.
Screenshot from Mid90s (2018)
Grain is Trending
Quite a few consumer cameras can already record in a whopping 8K-Resolution and even lenses get sharper and sharper. Although this is a great development, filmmakers tend to go the other way more often nowadays. Opting for a more stylized vintage image rather than a clean and pristine one. Not only films but also music videos and even commercials (e.g. Volvos “The Parents”) show this trend, with more and more works like these coming up every week.
reggie – I Don’t Wanna Feel No More
As I only found out a few weeks ago, this analog trend even found it’s way into the consumer photography market. When a friend of mine suddenly pulled out his Fujifilm camera I’ve mistaken it for an analog camera even though it was brand new. He later on told me he bought it for the internal film simulations and showed me pictures, which were actually looking very on point. This product made me feel lied to in a way, like a wolf in sheeps clothing. A digital camera but with (nearly) all the benefits of an analog one.
The way this camera embraces it’s film simulations got me very curious. I have always loved the look and characteristics of film but due to ease of use, workflow advantages and financial reasons, shooting digital always seemed the way to go for me and many other filmmakers. Faking the film look seemed like a cheap trick that gets easily exposed which led me to stay away from doing it but after watching emulated videoclips and also reading into the topic I think I might change my mind. In the next blog post I want to break down the characteristics of the celluloid film look by reviewing examples and sharing my research.
As the music industry is getting more and more saturated, artists are trying to outperform each other in sound quality. It’s become more often to invest in a lot of advanced equipment, and many artists (mostly bigger) are splurging on mixing and mastering engineers with expensive studio set-ups. But this shouldn’t discourage everyone else! At the core of everything, music is about creativity, expression and unique sounds. As bigger artists are focusing on sound quality, smaller artist can still find their way by putting out something that doesn’t have an immaculate mix, as long as they have a signature sound and can take us on for a ride. The biggest example of this is TikTok. I have noticed that a lot of the artists getting famous on the app are bedroom producers with noticeably imperfect mixes. But they obviously have something that is appealing enough for a larger audience to give them a platform.
How to record from home? Instead of trying to perfectly isolate your space and spend your hard-earned money on specialised microphones, try using your phone! Phones released in the last few years have good audio quality, they can record WAV and some better phones can even do stereo (mine is stereo and goes up to 24bit 48kHz). Recording with a phone leaves more room for spontaneity, because you can just press record while something cool randomly starts happening. For example, 2 of my friends were playing guitar in the lobby and I just quietly put my phone down on the table between them, with each microphone pointing at 1 of them. I then signalled them that I am recording and that they shouldn’t stop playing. The wooden walls/floor actually gave it a very nice slap-back/ short reverb effect, which fit perfectly into the recording. I then used this recording to create a lo-fi track. Every microphone has its own specific coloration and EQing- so do phones. You can use this in your advantage to give your track unique colouring, instead of using the same industry-standard microphones/plug-in that give you a sound similar to 80% of other music in your genre. Lo-fi effects are actually a great way to go when recording on phone microphones. They will mask the quality imperfection and at the same time give a cool flavour to your tracks.
Also remember- you can use just one sound to create literally anything you want, thanks to all the different effects and sampler we have available nowadays- a lot of them for free! I have done this “challenge” multiple times in order to force myself to get creative and make a whole track using just one sound as the basis.
Here is a video from a Sound Designer using objects he has around the house on order to create a cool beat:
Sound Designer Makes a track using random sounds around the house
Im Animationsfilm werden seit jeher Menschen und Natur abgebildet. Doch abseits von klassischer Darstellung werden auch immer wieder Mischformen von Mensch und Natur gezeigt. In entsprechender Fachliteratur wurden diese Hybride bislang weitestgehend vernachlässigt. Dies könnte daran liegen, dass die Gesamtheit der möglichen Mischformen bislang noch nicht erkannt bzw. zumindest noch nicht benannt wurde. Aus diesem Grund wird hier ein Ansatz eines Modells zur Kategorisierung von Mensch-Natur-Hybriden im Animationsfilm vorgestellt.
Solche Mischformen lassen sich generell in zwei Gruppen kategorisieren: optische sowie symbolische Mensch-Natur-Hybride.
1. Optische Mensch-Natur-Hybride
Unter dieser Art der Mischform versteht man, dass optische Elemente des Menschen mit jenen der Natur verschmelzen. “Optisch” umfasst hierbei jedoch die gesamte visuell wahrnehmbare Erscheinung, also nicht nur das Aussehen an sich, sondern auch die Bewegung eines solchen Hybridwesens.
Das Aussehen der singenden Blumen in Alice im Wunderland deutet zwar leicht auf einen menschlichen Charakter hin, doch viel stärker wird dieser durch die anthropomorphen Bewegungen und nicht zuletzt durch das gesprochene Wort (bzw. Gesang) vermittelt.
Singende Blumen in Alice im Wunderland
Diese Mischform ist zumeist besonders leicht als solche erkennbar, je nachdem wie stark die einzelnen Komponenten von Mensch und Natur ausgeprägt sind.
Weiters kann man solche optischen Mensch-Natur-Hybride noch hinsichtlich der zeitlich Beständigkeit ihrer Form unterteilen. Denn während manche Mensch-Natur-Hybride den gesamten Film hinweg die selbe Mischform beibehalten, kann sich diese bei manch anderen im Laufe des Films verändern. Daraus ergeben sich Permanent-Optische und Metamorphisch-Optische Mensch-Natur-Hybride als Unterkategorien.
1.1 Permanent-Optische Hybride
Permanent-Optische Mensch-Natur-Hybride zeichnen sich dadurch aus, dass sie den gesamten Film über in Form eines Mischwesens auftreten. Ausschlaggebend dabei ist, dass die Elemente aus Mensch und Natur stets als solche erkennbar sind, unabhängig vom Grad der Hybridisierung bzw. dem “Mischverhältnis”.
Beispiele für solche anthropomorphen Naturwesen ist etwa der baumartige Groot in Guardians of the Galaxy, die Steinriesen in Frozen 2 oder der ähnlich steinerne Puck in der animierten Live-Performance Dream.
Groot in Guardians of the GlaxySteinriesen in Frozen 2Steinerner Puck in Dream
1.2 Metamorphisch-Optische Hybride
Metamorphisch-Optische Mensch-Natur-Hybride hingegen zeichnen sich dadurch aus, dass sie ihre Form im Laufe des Films verändern. Diese Veränderungen können recht unterschiedlich sein und reichen vom simplen “erwachen” bis zu einer ganz grundlegenden Veränderung der Form.
Großmutter Weide in Pocahontas oder die singenden Blumen in Alice im Wunderland sind nicht dauernd beseelte Pflanzen. Es handelt sich dabei um Pflanzen, die lediglich zu einem gewissen Zeitpunkt etwas menschliches annehmen – in diesem Fall ein Gesicht sowie anthropomorphe Gesichts- und Körper-Bewegungen. Im Gegensatz dazu kann man bei den Steinriesen in Frozen 2 auch im schlafenden Zustand die menschlichen Elemente erkennen.
Großmutter Weide in Pocahontas
Entgegen zum simplen “erwachen” von Hybriden legen andere Filmbeispiele einen großen Fokus auf die Metamorphose selbst. In Caminho Dos Gigantes etwa ist diese Metamorphose vom Menschen zum Baum ein zentrales Element des Filmes und unterstreicht das Thema des Kreislaufes des Lebens.
Metamorphose in Caminho Dos Gigantes
2. Symbolische Mensch-Natur-Hybride
Bei einer symbolischen Hybridisierung werden Mensch und Natur nicht auf visueller, sondern auf einer symbolischen Bedeutungsebene miteinander verknüpft. Daher ist diese Mischform nicht sofort als solche erkennbar, sondern ergibt sich erst durch den Kontext des Filmes.
Bei symbolischen Hybriden wird die Identität eines menschlichen Filmcharakters aufgesplittet auf sowohl die ursprünglich visuelle, menschliche Darstellung, als auch auf die Repräsentation durch ein Element der Natur. So kann etwa eine Pflanze, aber auch ein gesamter Wald oder das Meer symbolisch für einen Filmcharakter bzw. einen Teil davon stehen.
In einer Vielzahl von Filmen wird ein (abwesender) Charakter mittels eines Props symbolisch repräsentiert – und somit auch oftmals in Form von Elementen der Natur, wie etwa einer Blume oder einem Baum. In The Tree pflegt und beschützt der Vater einen Baum, der ihn an seine verlorene Tochter erinnert. Die Beziehung des Vaters zum Baum ist symbolisch gleichzusetzen mit jener zu seiner Tochter.
Vater pflegt den Baum in The Tree
Der Kurzfilm Sonder bedient sich im großen Ausmaß an symbolischer Hybridisierung. So etwa steht die Blume, die der Protagonist auf seiner Reise mit sich trägt, für seine Geliebte, die er verloren hat. Ähnlich wie in The Tree steht hier ein Prop für einen gesamten anderen Menschen bzw. für die Beziehung zu diesem Menschen.
Das das gesamte Outdoor-Environment in Sonder hingegen steht für den Seelenzustand des Protagonisten bzw. den Prozess seiner Trauerverarbeitung – sprich einen Teil seiner eigenen Identität. So muss er sich etwa durch einen Schneesturm kämpfen, bricht in ein Loch im Boden und gelangt so in einen dunklen Wald – sein dunkelstes Inneres, wo er durch Ranken bedroht wird und sich seiner Trauer stellen muss
Procedural Narratives ist eine Designtechnik, in der die Erzählung einer Geschichte aus vielen Bereichen besteht, welche in beliebiger Reihenfolge erkundet, erlebt und interpretiert werden kann. Eine sehr gute Anwendbarkeit dieses Prinzips findet sich vor allem in der Videospielbranche wieder, da die permanente Interaktivität des Spielers ein Grundbaustein für ein immer einzigartiges Storytelling sein kann.
Die Definition von Procedural Storytelling darf und kann jedoch nicht mit anderen prozeduralen Vorgängen, beispielsweise dem Procedural Modelling, verglichen werden. Diese sowie viele weitere Gebiete der automatisch generierten Erstellung von Content spezialisiert sich ausschließlich auf die visuelle Umsetzung digitaler Produkte. Ziel dieser Vorgänge ist es, manuelle Handarbeit zu minimieren und durch Algorythmen zeitintensive Vorgänge in möglichst kurzer Zeit in die Tat umzusetzen, während die Qualität nicht darunter leidet. Das Procedural Storytelling beschäftigt sich keinerlei mit visuellem Content, sondern ergibt sich hierbei aus dem Produkt des spielerischen Inputs und die vom Designer vorgegebenen Ressourcen. Welche Kommunikationsart das Spiel verwendet um ihre Geschichte zu erzählen, ist absolut gleichgültig und tut hier nichts zur Sache, denn die entscheidende Rolle in Procedural Storytelling ist das Verhalten des Spielers selbst – nicht die Erzähltechnik. Er entwickelt durch seine Entscheidungen den Verlauf der Geschichte und passt ihn ganz personalisiert nach seinen eigenen Vorstellungen an, sofern das Leveldesign diese Art von Gameplay zulässt. Je weiter dieses Konzept in ein Spiel implementiert wurde, desto “freier” fühlt sich der Spieler, wenn es um persönliche Entscheidungen und die Verantwortung für den weiteren Verlauf der Geschichte innerhalb des Spiels geht.
Frühere Videospiele verwendeten dieses Prinzip um ein einzigartiges Gameplay im Spiel zu erstellen. Auf diese Art und Weise ist es beispielsweise den Entwicklern von Pac-Man gelungen, jede einzelne Runde abwechslungsreich zu gestalten, da jede Runde unterschiedlich gespielt wird und dem Spieler vor neuen Herausforderungen stellt. Das Prinzip von Procedural Narratives und deren Funktionsweise in Videospielen lässt sich mithilfe des einfachen Spielprinzips von Pac-Man sehr einfach erklären.
Pac-Man bzw. der Spieler hat ein Ziel – jedoch hat er unzählige Möglichkeiten, dieses zu erreichen, da viele tausende Wege existieren, die alle zum gewünschten Ziel führen.
Während dem Spieler eine „volle Kontrolle“ der derzeitigen Situation jedoch nur vorgespielt wird, ist der Start- und Zielpunkt vordefiniert und bleibt bis zum Ende hin unverändert. Welche Aktionen der Spieler jedoch zwischen diesen beiden Komponenten tätigt, steht ihm frei zur Auswahl. Weiters ist das Navigieren innerhalb des Labyrinths aufgrund einer eingegrenzten Fläche beschränkt. Natürlich ist der Person diese Tatsache bewusst, doch wird dies mit diversen Aufgaben, die der Spieler zu absolvieren hat, meist in den Hintergrund gerückt.
Profit: Nicht nur das Spiel ist ein einzigartiges Stück Software – es unterscheidet sich ebenfalls jeder einzelne Durchgang und fördert somit die Langlebigkeit eines Spiels enorm.
(Following content is WORK IN PROGRESS)
Overview of Three Techniques for Procedural Storytelling:
Simulation: Bei diesem Ansatz lassen wir Charaktere nach bestimmten internen Regeln entwickeln, und Sie lassen zu, dass die Geschichte im Laufe der Zeit autonom entsteht. Sie platzieren eine Reihe von Zeichen in einem geschlossenen Raum und sehen, wie sie reagieren.
You can just run the simulation and see the story unravel under your eyes. In fact, another drawback is that you have no control over the story. Moreover, most of the stories are not enjoyable (as in life: not everyone’s life is worth a book or a movie). Therefore, the player needs to search for and reconstruct interesting stories actively. Like an archeologist. On the other hand, some people love this extra work.
Storytelling via Planning: (…)
Procedural Storytelling via Context Free Grammar: (…)
It’s important to note that there are many different types of use cases and usage scenarios when it comes to these interactions. Different backgrounds, different jobs and different cultures effect experiences drastically. A senior who adapted into the digital world due to their involvement with computers because of their work will have a much easier experience compared to a senior who didn’t have any sort of connection it their early ages.
It’s difficult to produce something that can be used by every possible user. Universal design principles dictates that a design should be equitable and accessible by all but it’s already pretty hard to provide for the needs of one single demographic.
Design is much more likely to be the source of exclusion than inclusion. When we design for other people, our own biases and preferences often lead the way. When we create a solution that we, ourselves, can see, touch, understand, or hear, it tends to work well for people with similar circumstances or preferences to us. It also ends up excluding many more people.
(Gilbert, 2019)
According to the personas and user journeys I have created it can be seen that the main focus of the interaction is social media and usage of certain sites to stay connected to the world. Although in the aspect of content consumed by seniors is similar, the way it is consumed and the issues they can run into are vastly different.
There are 4 main points when it comes to these issues:
Visual
As people age, a number of changes commonly happen to their vision. Many older adults use reading glasses or opt for much larger font sizes when given the option. Shades of blue can also appear faded to seniors, potentially reducing contrast when blue elements are used in a design. Overall, color contrast should be increased in websites and apps that cater to older adults.
Text and button sizes should be kept large. Basically, anything that’s meant to be read or clicked should be scaled up. Although the ultimate solution is to make it easy for users to increase or decrease font sizes at will. Sans serif typefaces are often preferred for on-screen readability. And any website or web app should be tested with a screen reader before being made public.
Cognitive
There are cognitive declines that happen with age for many people. The speed at which seniors process information slows with age. They can still complete the same tasks, but it may take them a bit longer than it did when they were younger.
Different types of memory also decline with age, including the ability to remember to do things in the future (this is where app notifications can be really helpful).
Mobility
Since motor skills tend to decline with age, this makes things like complex gestures more challenging.
When designing for older adults, particularly those over the age of 70, keep gestures simple to perform. Forget complex gestures that require more than two fingers (those can be a pain to master regardless of age). Simple horizontal, vertical, or diagonal movement is fine, as these are all natural motions. But avoid incorporating gestures with quick movements, difficult positioning, or multiple gestures that require the use of both hands or more than two fingers. All of these can be frustrating to even tech-savvy older users as motor function declines.
Motivation
These issues can define how a senior perceive an interface and how they use it and these factors set the main differences between the population. These 4 elements needs to be considered fully and implemented well enough to accommodate every different need.
Sources
Gilbert, R. (2019). Inclusive design for a digital world : designing with accessibility in mind.
Polyuk, S. (2019, June 20). A guide to interface design for older adults. Toptal Design Blog. https://www.toptal.com/designers/ui/ui-design-for-older-adults.
IBM accessibility REQUIREMENTS – IBM Accessibility. (n.d.). https://www.ibm.com/able/requirements/requirements/.
Phiriyapokanon, T. (2011). Is a big button interface enough for elderly users?
In 2020, an analysis of Shutterstock search data showed the importance of protest art. Topics like inequality, environmentalism or Black Lives Matter were search terms which show that there is a need for images that both represent and inspire change. When you look at the action of protest itself – walking on the streets and raising your voice – protest art is a powerful tool to underscore and accompany the protest itself.
But what is protest art?
Protest art has the aim to promote activism and inspire social and political change. Therefore, it refers to a wide range of visual media and can be split in three categories, which influence each other:
Art produced for demonstrations, such as posters, billboards, costumes, and performance art.
Campaign art created by groups looking to raise awareness of a particular issue, and circulated in print or online.
Artworks created by protest artists, which are displayed in galleries, online, or in the outside world.
Protest art aims to evoke both shock and empathy in relation to issues that need attention. Basic design rules and carefully chosen words are used for this purpose. In today’s world, where protests, marches and demonstrations are almost the order of the day, also the role of protest art is getting bigger and more important.
Yet protest art is not an invention of the 21st century. It is just as much a part of human history as great discoveries, wars and inventions.
The history of protest art
The invention of the printing press was also at the same time the gateway to a world in which the mass distribution of art and literature was suddenly possible. Protest art was not exempt from this. The technology, which made it possible to reproduce prints by using repeatable, machine-accurate letters and images, also made visual design possible as we know it today. And through the freedom of visual design, ideas could spread without gatekeepers.
The invention of the printing press in 1455 also made it instantly easier for citizens to protest. They no longer had to rely purely on word of mouth and were able to mass disseminate their philosophies and ideas, which also turned against the church and the government, in a summarized, concise form.
The first result of the printing press, The Gutenberg Bible, changed how humanity communicated. (Photo credit: imageBROKER/Shutterstock.)
Gutenberg’s printing press thus enabled entirely new avenues for protest through text. Art has always been used to supplement this text, but the early 20th century in particular is considered the time when visual art began to challenge the status quo. For example, Pablo Picasso led the reconstruction through Cubism, which in turn inspired the Bauhaus – who resisted the Nazis. This deconstruction, coupled with the ability to reproduce and share design, led directly to what we know as modern graphic design. The spirit of artistic protest was evident in the desire to deconstruct systems of oppression through modern, visual communication.
Protest art today
When it comes to protest art in today’s world, on the one hand you have a lot more reach through social media and can take your message around the world in no time, on the other hand it is increasingly important for protest groups – as well as companies – to stand out from the information overload and the multitude of visual signs. Protest art is no longer about the message alone, it’s about a unique brand identity. Logos, typography, and color schemes are just as important as they are in corporate identities for commercial companies. While the concept of branding might seem in contradiction with the anti-commercial nature of protest groups, the increasing visibility of and competition between groups online means that visual identities have quickly become a common feature of protest organizations.
Visual identity of Black Lives Matter Movement
For example, if you look at Black Lives Matter: it is a protest movement which has experimented with creating a visual identity. They have a logo (wordmark), color palette (black and yellow) and even typography. An independent design agency created it and the designers used a simple layout and a freely accessibly font, so the logo can easily be recreated – digitally and by hand. This is important for protest movements like Black Lives Matter as it makes it much easier to support the movement and spread the word.
