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15 OCTOBER 2012

The Korea Institute of Design Promotion

"Korea (South) has recognized design as the future growth engine and has introduced 'Building a Creative Design Nation' as a new government project. The Korea Institute of Design Promotion (KIDP) lies at the center of national design promotion policies. KIDP has been putting its best efforts into promoting Korea as a global leader in the design community and as a result, has created a global design portal site that will compile design information in an integrated and systematic way.

Global DesignDB.com is an integrated online service system set up to manage the latest design information for designers and others involved in the global design industry. It will act as a 'Design Navigator' for anyone interested in design. We look forward to your continuous interests and support."

(The Korea Institute of Design Promotion)

Fig.1 Suzy Sunsook Cho, Package Design [http://suzycho.blogspot.co.uk/2011/04/package–design.html].

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197021st centuryapplied arts • Building a Creative Design Nation • commoditycountry brandscreative design • creative design academy • creative design nation • creative economycreative industriescultural capitaldesign • design academy • design book cafe • design community • design companies • design information • design innovation • design navigator • design policy • design portal • design promotion • design promotion policies • designers • global design industry • government policy • government project • industrial centres • industrial competitiveness • innovative design • KIDP • knowledge economyKorea • Korea Institute of Design Promotion • national identity • North East Asia • Republic of Korea • South Korea

CONTRIBUTOR

Simon Perkins
24 JUNE 2012

A History of Eastern European Matchbox Design

"Matchbox labels from the former Eastern bloc often display a remarkable degree of sophistication, elegance and artistic quality. They were, at a time, the most convenient,efficient and powerful medium for visual communications. Although they were produced under strict state–controlled production processes; that were aimed at exploiting them as a means of publicizing political initiatives, promoting public health and safety, and selling the communist ideal both at home and abroad, the artists used them as a vehicle to experiment with various imaginative ideas and artistic techniques, achieving truly stunning results."

(Guity Novin – گیتی نوین (ناوران) – ا)

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Albania • Alexander Dubcek • artistic techniques • Bulgaria • Central Europe • communism • communist design • communist reformers • communist systemCzechoslovakiaEast GermanyEastern bloc • Eastern Europe • EstoniaGDR • German Democratic Republic • graphic designgraphic design history • Guity Navran • Guity Novin • history • history of graphic design • Hungarian Uprising • Hungary • Imre Nagy • Jane McDevitt • Joseph Stalin • label design • LatviaLithuania • matchbox • matchbox labels • national identity • NATO Alliance • Nikita KhrushchevPoland • political initiatives • post-war erapostwar • powerful medium • Prague Springpublic healthpublic information • public safety • publicising • RomaniaRussiaSocialist Federal Republic of Yugoslaviasocialist realismSoviet Union • state-controlled • the communist ideal • USSRvisual communication • Warsaw Pact • Western democracies • Yugoslavia

CONTRIBUTOR

Simon Perkins
13 MAY 2011

Flag of the United Tribes of New Zealand

"This flag was made on the Tory during its voyage from England to New Zealand in 1839 and raised at Petone on 30 September. The Tory carried New Zealand Company agents who intended to buy land from Maori. William Wakefield, the principal agent, referred to the flag as the 'colours of New Zealand' and the Tory gave it a twenty–one gun salute. It is possibly one of several used by the Company.

The flag's design was based on a flag adopted by a group of Maori chiefs at Waitangi in 1834 when New Zealand was an independent territory. The flag came to be known as the flag of the United Tribes of New Zealand, a term derived from an 1835 declaration of the country's independence by a group of northern chiefs.

The flag was the New Zealand Company's acknowledgement of the independent status of the country. After chiefs signed the Treaty of Waitangi with the British Crown in February 1840, the Union Jack was used as the national flag. When the Company continued to use the original New Zealand flag, Lieutenant–Governor William Hobson saw this as a challenge to the Crown's authority and dispatched an armed party to lower it on 30 June 1840. The next day the Union Jack was raised and British sovereignty proclaimed.

Despite the adoption of the Union Jack, the 1834 flag continues to have a special relevance to Maori and to the Treaty of Waitangi."

(Museum of New Zealand Te Papa Tongarewa)

Fig.1 New Zealand Company flag, 1839, gift made to The Museum of New Zealand Te Papa Tongarewa by Andrew Haggerty Richard Gillespie, 1967

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1834 • 1835 • 1839 • 1840Aotearoa New Zealand • British Crown • British historycolonial history • colours of New Zealand • flag • independent status • independent territory • Maori • Maori chiefs • Museum of New Zealand Te Papa Tongarewa • national flag • national identity • New Zealand Company • Petone • sovereigntysymbolTe Papa Tongarewa • Tory (ship) • Treaty of WaitangiUnion Flag • United Tribes of New Zealand • vexillologyvisual identityvoyage • Waitangi • William Hobson • William Wakefield

CONTRIBUTOR

Simon Perkins
07 MARCH 2011

Trove: repository of Australian cultural heritage

"Trove is a new discovery experience focused on Australia and Australians. It supplements what search engines provide. If you are researching in the fields of the social sciences, literature, local or family history, or need inspiration for your school assignment, then this is the tool for you.

For example if researching images relating to Edmund Barton, our first Prime Minister, results will include descriptions such as people, book, manuscript, map and newspaper articles. A researcher searching for information on Nellie Melba will be presented with a range of results including biographies, pictures, music, newspapers, books etc."

(The National Library of Australia)

Fig.1 Teenage Weekly Supplement (page 5) in Australian Womens Weekly 20 September 1961 [http://trove.nla.gov.au/ndp/imageservice/nla.news–page4830846/print]

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archive • ARO • articlesAustralia • Australian Research Online • biographybookscataloguecategoryclassificationcollectioncontentcultural heritagedigital heritagefamily history • historic newspapers • images • journals • knowledge managementliteraturemagazinesmapsnational cultural heritage onlinenational heritagenational identityNational Library of Australianewspaperrepositoryresourceresourcessearch enginesocial historysocial sciencesTrove • Womens Weekly

CONTRIBUTOR

Simon Perkins
25 APRIL 2010

Flagging interest in Nation Branding and National Identity?

"We are a changing, emerging state that no longer seeks inspiration from the present flag. It is part of our history and the role that it has played can be respected. We are moving from a predominantly bicultural society to one that now involves an important component of Pacific island people and also immigrants from Asia.

We must now seek inspiration, visual excitement and stimulus to creativity and excellence from many directions and develop a flag that can be a source of pride to New Zealanders as we continue to impact strongly on the wider world in the many areas of commerce, sport, films, literature, tourism and creative thinking in which we have to strive to excel."

(Ian Prior, 27 February 2004)

Fig.1 New Zealand National flag and state ensign; Fig.2 Michael Smythe, 'Koru (after Gordon Walters)'; Fig.3 Cameron Sanders; Fig.4 'Tino Rangatiratanga'; Fig.5 Kyle Lockwood.

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2004Aotearoa New ZealandAsia-Pacificautonomy • biculturalism • brand development • brand recognitionBritish Empirechange of imageCommonwealthconstitution • creation of a brand • defaced Blue Ensign • distinguishing featuresflag • Gordon Walters • historyidentityindependenceIndigenous • koru • Koru Flag • Maori • Michael Smythe • motifnation brandingnational identity • NZFlag.com Trust • PacificPakehaplace brandingpostcolonial • Southern Cross • sovereigntysymbol • Tino Rangatiratanga • vexillologyvisual identity

CONTRIBUTOR

Simon Perkins
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