HISTORY III

Excercise 1

This one’s for the fridge

This 1991

This one’s for the fridge

This 1991

This one’s for the fridge

This 1991

Fig. 1.1

Fig. 1.2

Fig. 1.3

Fig. 1.4

Fig. 1.5

 

Fig. 1.6

Fig. 1.7

Fig. 1.8

Fig. 1.9

Fig. 1.10

This is a formal analysis of how to Swiss products relate to the international typographic style and design through the choice of the first five logos(Fig. 1.1 - Fig. 1.5).

The office Of Institutional Research logo uses grid structures that was first used in schools that adopted the international typographic style. The shapes used in the logo shows evidence of the use of law of proximity. This is when two objects are grouped together to be seen as a whole. There is also clear evidence of visual hierarchy. The more important letters, for example: the name is much larger then the labels and description of the logo. This is also shown in the volume studio logo that usses the method of reading from top to bottom and left to right. I't doesn't matter on which side you begin reading, the information is grouped in sections. This is called the law of closure, where objects (in this case the typographic and geometric layout) is grouped together in sections to be seen as a whole.

the Department of Transport USA logo design uses law of proximity and figure ground principles. The logo in the middle of the typography is represented as a silhouette, (in this case a star circle) and negative space to create a different image The lines used to create the logo are grouped together to create another visual aspect of a whole. This is the principle of applying the laws of closure to the design. The letters or name (abbreviations) of the logo is set closer together to form unity. This allows the viewer to analyze that all the visual imagery, along with the typography belong together or fit together as a whole.

Thus I conclude that Gestalt principles can be found in everyday design products whether it be Swedish or not. 

Class excercises

POST MODERNISM/MODERNISM

Post Modernism and its influences

Post Modernism and its influences include how futurists tried to depict their future in terms of technology and the pass they wanted to develop technology. This lead to social differences, which brought forward things like alienation between races and other cultural relations. this also brought forward a divide and struggle for power.

Feminism is the description of the role of women in society. because of how women were seen and classed in the years before the 1990's, women started to becoming depended on themselves and grew self conscious. The group named blooms berry are established in the 1920's, the reason for their establishment was to empower women in society and women's rights.

An interesting word i learned was Psycogeography. This is the study of how your psyche interacts within your environment or experiences.

The International Typography Style.

Class exercises

Chapter 19 – The New York School

_SUMMARY

European immigrants who had fled the political climate of totalitarianism in Europe introduced modern design in America during the 1940s. An original American approach to modernist design gained international prominence in the 1950s and continued as a dominant force in graphic design until the 1970s. This introduced an egalitarian society with capitalist values, which limited artistic traditions before World War II. A diverse ethnic heritage engendered an original approach to American modernist design. European designs were theoretical and highly structured, American design was pragmatic, intuitive, and less formal in its approach to organizing space.Novelty of technique and originality of concept were much prized in this highly competitive society, and designers sought to solve communications problems while satisfying a need for personal expression.

Modern design introduced American designers like Paul Rand who understood the modern movement, especially the works of Paul Klee, Wassily Kandinsky, and the cubists. New York City attracted him and other talented individuals and by the middle of the twentieth century. Other Pioneers of the New-York school are Alvin Lustig, Alex Steinweiss, George Tscherny, Brad- bury Thompson, Saul Bass. Three partners in the New York design office of Brownjohn, Chermayeff, and Geismar: Robert Brownjohn, Ivan Chermayeff, and Tom Geismar.

Rand’s strength was in his ability to analyze a message, reduce it to a symbolic essence, and communicate the message through dynamic visual form. Work that illustrated his style can be found in works like the barbed wire on the 1940 cover of Direc- tion magazine. He applied his design approach to advertising at the Weintraub agency from 1941 until 1954. Thsis is where he collaborated with copywriter Bill Bernbach became a prototype for the art/copy team that worked closely together to createa synergistic visual/verbal solution. Their work presented visual puns and wordplay supported by Rand’s whimsical integration of photography, drawing, and logo, asin the Ohrbach’s campaign. After he left the agency he became an independent designer and launched a book called Thoughts on Design. A book that inspired generation of designers.

Alvin Lustig applied his design methodology to album covers and book and jacket designs for New Directions in New York.He incorporated symbols that captured the essence of the contents, as on the cover for 27 Wagons Full of Cotton by Tennessee Williams. Tscherny possessed an ability to capture the essence of the subject and express it in simple terms that were elegant, to the point, and disarmingly simple.His visual vocabulary consisted of a variety of techniques, including type, photography, calligraphic brush drawing, and bold, simple shapes cut from colored paper. Regardless of technique, his process of reducing complex content to an elemental graphic symbol remained constant.

Bradbury Thompson was one of the most influential graphic designers in postwar America. His designs for Westvaco Inspirations demonstrated a thorough knowledge of printing and typesetting. This included works that combine typography in forms like halftone screen and four-color process plates, were design elements in his visual vocabulary. Thompson turned increasingly to a classical approach to book and editorial design, focusing on readability, formal harmony, and the use of old style typeface during the 1960s and 1970s.

Saul Bass brought the New York School to Los Angeles in 1950. He was influenced by Rand’s use of shape and asymmetrical balance, but used single dominant images in his designs. Bass had a remarkable ability to reduce mes- sages to powerful, simple pictographic images, which enabled viewers to interpret content immediately.These forms were often cut from paper with scissors or drawn freely with a brush. He created the first comprehensive design program unifying print and media graphics for a film. Examples from this can be seen in a short film named Why Man Creates.

The initial contribution of Brownjohn, Chermayeff, and Geismar to American graphic design formed from a vas understanding of European designs. At this time designs adhered to the client and design problems were character- ized by inventive and symbolic manipulation of imagery and forms, including letterforms and typography.In 1960, Brownjohn left the partnership and moved to Eng- land, where he made significant contributions to British graphic design, especially in the area of film titles, such as the motion picture Goldfinger. The firm changed its name to Chermayeff & Geismar Associates and played a major role in the development of corporate identity.

Many of the pioneers of the New York School mentioned here were either guest lecturers or served on the faculty of Yale University’s graphic design program under the direction of Alvin Eisenman and later Sheila de Brette- ville the current director. This programme contributed to the advancement of graphic design and design education throughout the world.

Editorial design in America was advanced during the1940s by Fortune, Vogue, and Harper’s Bazaar. The Fortune magazine developed a unique identity because of the innovative use of photography under the direction of Leo Lionni In 1949.Alexander Liberman replaced Dr. Agha in 1949 as the art director of Vogue.At Harper’s Bazaar, Alexey Brodovitch continued as the art director until his retirement in 1958. Pineles was the first female to become a member of the New York Art Director’s Club. Henry Wolf became the art director of Esquire in 1953, and redesigned the magazine’s format, placing greater emphasis on white space and large photographs. He used ypography and imple- mented his vision of the cover. This was done through conveying a simple image as a strong visual idea. This can be seen in his works like “the Americanization

of Paris”—which was signified by a packet of “instant red wine,” satirizing the spread of American technology, customs, and conveniences.

In the late 1960s, factors including television, public con- cerns over the Vietnam War, environmental problems,

and the rights of minorities and women produced a need for a wider variety and different types of magazines. New smaller magazines were developed like the New York Magazine. This was a magazines for Print and Communications Arts for artists. Among the editorial art directors who helped shape the viewpoints and philosophies of these publications were Dugald Stermer at Ramparts, Bea Feitler at Ms. More examples are Rolling stone(a rock and roll magazine) classical Times Roman typography set in two columns per page, and full-page illustrations or photography.

The ad agency Doyle Dane Bernbach ushered in the era of “the new advertising.” For each campaign they explore the varies strategies in advertising, this includes the advantages and disadvantages. Bill Bernbach and his colleagues evolved a visual/verbal syntax through which word and image were fused into a conceptual expression of an idea so that they become completely interdependent—like “think small” and the image of the Volkswagen beetle.

Typographic trends in the 1950s and 1960s brought new approaches to graphic design. Gene Frederico spear- headed figurative typography. This is when typography became images, such as the wheels in Frederico’s ad for Woman’s Day. n Don Egensteiner’s “Tonnage” advertisement, for example, the word tonnage takes on a connotative meaning as it crashes down into the text below, and the rotated type takes advantage of reading patterns to reinforce the top-to-bottom flow toward the body copy.

Another typographic trend that began inthe 1950s was a renewed interest in nineteenth-century decorative and novelty typefaces, which had been rejected due to the influence of the modern art movement. in 1936 when the firm Photolettering was established photographic paper became commercially viable in the United States. A major advantage to phototypography was the reduced cost of producing new typefaces. During the 1960s, the expansion of phototypography was accompanied by new designs and reissues of old designs, including Victorian faces, The new technology brought about a proliferation of type designs that rivaled the increased production of the Victorian era.

Herb Lubalin defined the aesthetic potential of phototypography. He ooked at characters of the alphabet as a means of giving visual form to a concept or a message. ubalin explored the creative potential of type through “typograms,” . This term means visual typographic poems in which concept and visual form merge. An example is his work is the “Mother and Child” logo, in which the ampersand enfolds and protects the child in a visual metaphor for motherly love.He also explored through techniques like letter spacing, word spacing, and leading; condens- ing, expanding, touching, and overlapping characters; and enlarging and reducing type to extreme scales.Lubalin also made significant contributions to editorial design through his work for the Saturday Evening Post, Eros, Avant Garde, and U&lc. Avant Garde, a lavishly vi- sual periodical that published visual essays, fiction, and reportage, was one of Lubalin’s most innovative achieve- ments. The logotype he designed for this magazine was developed into a family of sans-serif typefaces under the same name.

In 1970 Lubalin, phototypography pioneer Edward Rondthaler, and typographer Aaron Burns founded International Typeface Corporation (ITC) and began to publish a tabloid-size journal, U&lc, designed by Lubalin, to demonstrate and publicize ITC typefaces. Lubalin saw the designer’s role as projecting a message from a surface using three interdependent means of expression: photography, illustration, and letterforms. The complex and dynamic design style of U&lc had a major impact on typographic design of the 1970s. The works of graphic designers Ernie Smith and Alan Peckolick and lettering artists Tony DiSpigna and Tom Carnase share similarities with Lubalin’s work while achieving original solutions to a diverse range of problems.

George Lois worked at Doyle Dane Bernbach during the late 1950s, adopted the Bernbach philosophythat fully integrated visual/verbal concepts were vital to successfully conveying a message. His designs are deceptively simple and direct, such as the Esquire maga- zine cover in which Muhammad Ali. Ali was stripped of his world heavyweight championship title because he was a conscientious objector and refused military service, posed as Saint Sebastian(a famous religious man who was condemned by Roman Emperor Diocle- tian and shot by arrows). The powerful image combined with a simple line of type, “The Passion of Muhammad

Ali,” captures the reader.

Excercise 2

 This is a small thought on the layout and content use of the magazine one small seed

 

 

It is evident that this magazine uses a chic style in image content and still uses international typographic style and design through the use of the GESTALT principles. The layout stays consistent in layout hierarchy but uses imagery to draw in the audience. 

I like the dark color tones especially the dark shades.  It is clear they use contrast to draw attention to a specific area. 

These advertisements use structure for their layouts. For example a visual hierarchy of structuring information. The evidence of grid structure is clear in all four images.  As always the typeset seem to be the focus points even thou the pages consist of images with high contrats. 

Exercise 3

The contemporary brand that I as a designer admire is the united front of Benetton design campains. 

The united colors of Benetton

The Benetton family is a sleeping giant of the fashion industry.

Benetton is a company that a company a branding approach that is being used by many fashion giants, including retailers like Zara, Uniqlo and H&M. 

"These days, upstart brands such as Zara and H&M are stealing the headlines - and the allegiance of many younger shoppers - as they storm the world from Moscow to Manila. But Benetton, which had sales last year of about [US]$3 billion, hasn't gone away," writes Peter Gumbel in a prescient 2009 article published in Time magazine. "(Iboni J. 2012. United colors of Cool. http://www.thegenteel.com/articles/business/united-colours-of-cool)

Benneton's approach to marketing is to rely on a network of young people to map trends, this reflects their desire to be associated with the social issues of the day. They use shock tactics with its 'Unhate' campaign, which provoked the Vatican's anger by using an image of Pope Benedict XVI kissing Imam Sheikh Ahmed el-Tayeb. US president Barack Obama was also on the receiving end of the Unhate treatment. (Chapman M. 2012. Benetton's Gianluca Pastore on emulating the brand's glory days. http://www.marketingmagazine.co.uk/article/1143418/benettons-gianluca-pastore-emulating-brands-glory-days)

My thought on Benneton advertising

Benneton's approach to branding their products is to address society problems in order to unite differences  within people. This is done by trying to connect or relate similarities within people and beliefs. They try to change people through uniting them through a method where everyone can relate to one another with feeling and same society problems.

Their designs appeal to me as a designer because of the philosophy behind their belief or marketing structure. In my designs i try to portray negative imagery or symbols in a positive manner. We are united ans we all have walked through and in darkness. I believe that this philosophy appeals to me as designer because the way i try to make people relate to that darkness and not see it as a bad situation or feeling but one that you can relate to and talk about openly because we are all human, even though we live different lives we can relate and share the same pain. This is something i try to portray in my designs and it is what Benetton is trying to throw out into the world.

I'f i was the manager of the Benetton cooperation i will not change anything because some people are sensitive. We should not throw certain issues into the dark and not address these issues, because they will always be there and somehow all that pressure that is thrown into the darkness will overflow into the light.

Thus i conclude that showing the truth is a symbol of living ones life to the fullest even if that truth makes others uneasy, no one is special. Everyone bleeds when they are cut.

Exercise 4

This was primarary in the form of a power-point presentation
 Images sourced from Megg's History of Graphic Design

Group members

Shaulin 

Renier

Heino

Excercise 5

5.1.

 

 

 

Green Shack features at Design Indaba 2013

This shack is an exploration of light. Some of the creators Andrew Lord and Justin White wanted to demonstrate that corrugated iron and timber need not represent poverty and oppression. The Green Shack looks at how simple, low-tech design can transform temporary spaces into home comfort spaces. The problem being pinpointed is that people who live in shacks live within dangerous spaces which leads to many shack fires and shack owners sometimes experience floods. This shack wants the viewer to experience a safer means of building safer shelters and saving trees as nature is influenced from fire outbreaks. This is an attempt to teach the people ans masses. (The design indaba. 2013. http://www.designindaba.com/news/green-shack-design-indaba-2013)

I think this was a cool idea of promoting safety and staying green. This in actual fact may be the most cleanest shack i have ever seen even though i only saw them in images.


5.2.

 

The Spear

The spear depicts the current (2013) South African president, which exposes his manhood parts. This was an art piece that many people saw differently or interpretative in their own manner.

I loved this painting. To me it seemed appealing for me. When i look at the image i see a man that fears nothing. A suiting role for a person who acts the part. It's a shame it was destroyed. Some people do not understand art for they are judging the artist and i feel judging everyone and everything that is art.

This paintings depicts the arrogance or methods and attitudes of the current ruling party. ANC supporters were the ones that ended up vandalizing the painting by throwing black paint over it seeing it as discriminating.



5.3.

Save the Rhino: Nothing Will Ever Bring Them Back

 This is a nothing will bring them back campaign as people keep killing rhinos that are inhabiting South Africa. Rhino poaching and the possible extinction of the species.The exhibition was entitled “nothing we do will ever bring them back” , this makes the audience aware of the cause while the artificial rhino horn being strapped on to other animals emphasizes this. Thus portraying that putting a rhino horn onto a another animal will not represent that animal as a rhino. (http://www.trendhunter.com/trends/save-the-rhino-campaign)

When i came across this i thought that even though there is strong meaning behind this ad, i thought that if it is relevant in a sense that would people listen to these cries or not. If it was me i would use children or a human figure. The use of human imagery and being slaughtered for the benefit of another would touch others hearts. The idea of a baby being slaughtered is a strong image to take in.

Exercise 6

Ebony and Ivory 1982

This one's for the Fridge 1991

This one’s for the fridge

This 1991

This one’s for the fridge

This 1991

This one’s for the fridge

This 1991

This one’s for the fridge

This 1991

This one’s for the fridge

This 1991

This one’s for the fridge

This 1991

This one’s for the fridge

This 1991

Oliviero Toscani, 1989

Oliviero Toscani 1993, Advertisement campaign, United colors of Benetton

 

Whoa, whoa, what's important 1993

Oliviero Toscani, 1994

 

Sentenced without words 1996

 2000 Oliviero Toscani

 2007

 

The Model as Muse 2009

The charm of the uniform 2013

 

Exercise 7

Table and keywords, compare the key elements of Modernism and Postmodernism.

Modernism 

A. Master Narratives

B. Social and cultural unity

C. Master narrative of progress through science and technology

D. Sense of unified

E. Model of the middle-class

F. Hierarchy

G. Faith and personal investment in big politics

H. Faith in "Depth"

I. Mass culture,

J. Art as unique object and finished work

K. Broadcast media

L. Determinacy

M. Sense of clear generic boundaries and wholeness

N. Clear dichotomy between organic and inorganic

O. Phallic ordering of sexual difference,

Post-modernism

A. counter-myths of origin

B. Social and cultural pluralism

C. Anti-technology reactions

D. Sense of fragmentation and decenter-ed self

E. alternatives to middle-class marriage model

F. Subverted order,

G. Trust and investment in micro politics

H. Attention to play of surfaces, images

I. Misclassified culture

J. Art as process, performance, production, intersexuality. 

K. Interactive

L. Indeterminacy,

M. Hybrid,

N. Cyborg mixing of organic and inorganic

O. Androgyny, queer sexual identities, polymorphous sexuality,

All keywords found at ( Irvine, M. http://www19.homepage.villanova.edu/karyn.hollis/prof_academic/Courses/2043_pop/modernism_vs_postmodernism.htm)

Exercise 8 

Thematising the ugly side of sublime technological development:

Sonzero’s Pulse (2006) as an inadvertent critique of the
‘technocentrism’ of postmodernity by Inge Konik

In this article Inge konik critiques a film Sonzero’s Pulse (2006). The main focus is the context or content of the film. The main focus of the critique is the context of postmodernity that courses the spread of capitalism, which ends up in the development of technoscience through the cinematic medium. The extend of the article focusses on how these terms that relate to one another or their relevance of context in how the film portrays itself and effects social bonds in the real world. It also discusses the difference between Modernism and Post-modernism and states that modernistic ideals cannot survive in a Post modern era. It states that the film uses the approach from an uncritical perspective, thus confusing the audience through what is reality or fiction. The article stresses that the film has a highly negative effect on the audience, mainly the effect of human social bonds.

Exercise 9

Visual culture and lifestyle in the digital age

Global Village

The global village is the home to many different people or cultures that live together, these cultures include Russian, Japanese, Mandarin, Dutch, German, French, Portuguese, Afrikaans ect. (Mangrum, S. 2013. http://blog.burningman.com/2013/09/participate/the-global-village/)

Postmodernism

Post modernism embraces the period from about 1980 to the present. It can be characterized by the emergence of the postindustrial information economy, replacing the previous classes of aristocracy, middle class, and working class with the new paradigm with the hierarchical structure of information elite, middle class, and underclass. The post modern era also questions past believes of order and restructures it into new so called modern notions such as feminism, multiculturalism, environmentalism, etc. Thus post modernism is the complete opposite of Modernism beliefs. (Hartman, P. What is "Postmodernism"?. http://www.naciente.com/essay15.htm)

Culture industry

"Cultural Industries are defined as those industries which produce tangible or intangible artistic and creative outputs, and which have a potential for wealth creation and income generation through the exploitation of cultural assets and production of knowledge-based goods and services (both traditional and contemporary).  What cultural industries have in common is that they all use creativity, cultural knowledge, and intellectual property to produce products and services with social and cultural meaning.The cultural industries include: advertising; architecture; crafts; designer furniture; fashion clothing; film, video and other audiovisual production; graphic design; educational and leisure software; live and recorded music; performing arts and entertainment; television, radio and internet broadcasting; visual arts and antiques; and writing and publishing.  The term “cultural industries” is almost interchangeable with the concept of “creative industries.” Whereas the notion of “cultural industries” emphasizes those industries whose inspiration derives from heritage, traditional knowledge, and the artistic elements of creativity, the notion of “creative industries” places emphasis on the individual and his or her creativity, innovation, skill and talent in the exploitation of intellectual property.  The notion of ‘cultural industries’ is also closely linked to but, again, slightly different from a categorization based  strictly on the notion of “intellectual property,” which is closely linked to the concept of information-driven economies, and which includes such activities as scientific and technological innovation, software and database development, telecommunication services, and the production of hardware and electronic equipment."(Loy, A. 2009. What are Cultural Industries?. http://culturalentrepreneur.org/blog/what-are-cultural-industries/)

Virtual Reality – Interactive media

Virtual reality is a 3D simulation made through the use of software and electronics to create a virtual of non real wold, which is presented to the user in such a way that the user suspends belief and accepts it as a real environment.

Virtual reality can be divided into:

• The simulation of a real environment for training and education.
• The development of an imagined environment for a game or interactive story

(Rouse, M. 2009.  http://searchcio-midmarket.techtarget.com/definition/virtual-reality)

Exercise 10

African Culture/Aesthetic

What is African Aesthetics? 

One source explains African Aesthetics to be a way of appreciating nature. It is the way of evaluating nature and becoming one with it. Thus using it's raw materials and improving one's life. Thus creating stronger relationships with God, nature, spirit and ancestors. (Ozumba, G. http://www.academia.edu/568356/Outlines_of_African_Aesthetics)

European and American artists have acknowledged African art and artists for it's refreshing and simplified forms, but still do not understand the true meaning of these art works. The word aesthetic in African art is used to describe characteristics and elements of art work(this is all different types of African art works, not specified to one), this includes characteristics like the resemblance of sculptures to human beings and the luminosity or smoothness of objects or surfaces. (Belton, J. 2013. African Art and Aesthetics. http://www.yale.edu/ynhti/curriculum/units/1998/3/98.03.02.x.html)

 Marcus Garvey – Back to Africa movement

Marcus Garvey (1887 - 1940) born in Jamaica and the founder of Rastafarian

Marcus Garvey was the leader of the Universal Negro Improvement Association (UNIA). He was the first African-American leader in American history to organize masses of people in a political movement. He migrated to America and became a Black Nationalist. His goals was to free Africa from the strong hold of European power and build a free and United Black Africa. This lead to him creating the Back-to-Africa Movement and organized a shipping company called the Black Star Line which was part of his program to conduct international trade between black Africans and the rest of the world and eventually return to Africa. Garvey built the largest mass movement of people of African descent in the United states (USA) history. (Biography Marcus Mosiah Garvey. http://www.marcusgarvey.com/pages/bio)

 

This is a speech from Marcus Garvey entitled

A Black Man's Speech To A White Man In America

I'm not as educated, sir, as thee,
But God Almighty's sun I see,
And you may treat me very hard l'or this,
But I His Holy Hand shall kiss.
I have no nation, none as great as yours
That kills and grabs beyond the stores;
I have no selfish laws to keep men down
And then upon them ever frown.
You have the wealth of land and sea and sky,
You boast as if you'd never die:
How great you are, my mighty earthly king,
So great that I must tribute bring!
But, sir, one day you'll surely be in Hell,
And then a story I will tell;
As Dives asked for quenching water then,
So will you all from that hot pit.
Your gilded pride is much in this your day
It's time for you to gather bay
And so you feed upon my sorry life,
And rob me of my home and wife.
My lands you say are yours, and minerals too,
How sweet it is, dear sir, to you!
You kick me down and lash me on my back,
And when I cry there's one more whack.
But one good day will surely come for me,
When God of men will speak to thee,
And then the awful thunder clap will tell,
How far down you will be in Hell.

(http://www.marcusgarvey.com/pages/A_Black_Man%27s_Speech_To_A_White_Man_In_America)

Back to Africa movement

The Back to Africa movement was a developed to inspire African Americans to return back to Africa during the 9th and 20th centuries. Marcus Garvey believed that all black people all over the world should unite in order to form their own government in their native land, in Africa. This was the purpose of the UNIA, to promote Black Nationalism, or an “independent African nationality". It was his believe that all Africans would create and build a nation that honors and uplifts African heritage and ideals to enjoy enjoy economic, social or political freedom. Thus he promoted unity and racial pride for all Africans under oppression. (Black Nationalism and the “Back to Africa” Movement. http://badcursive.wordpress.com/2013/06/04/black-nationalism-and-the-back-to-africa-movement/)

 

Marcus Garvey influences in non political means

He influence almost nearly all every prominent reggae songwriter, including Peter Tosh, Burning Spear, The Mighty Diamonds, Steel Pulse, Garnett Silk, Lucky Dube, and Culture. He is known to be the founder of Rastafarian. 

Here is a partial list of some of the writers, leaders, and artists who have been influenced by Marcus Garvey:

Kwame Nkrumah

Nelson Mandela

Julius Nyerere

Leopold Sedar Senghor

Henrietta Vinton Davis

Martin Luther King Jr

Alhaji Ahmed Sekou Toure

Fela Anikulapo Kuti

Amy Jacques Garvey

Jomo Kenyatta

M. L. T. De Mena


Paul Robeson

Malcolm X

Steve Biko

Kwame Ture (Stokely Carmichael)

Patrice Lumumba

Frantz Fanon

(Marcus Garvey's influences. http://geoffreyphilp.blogspot.com/2011/06/marcus-garveys-influence.html)