Wrath, Greed, Sloth, Pride, Lust, Envy, and Gluttony

Courtesy: https://www.behance.net/ilovedust

The 7 Deadly Sins are usually given as wrath, greed, sloth, pride, lust, envy, and gluttony. Each is a form of Idolatry-of-Self wherein the subjective reigns over the objective.
Although these "sins" are most associated with Christianity/Catholic Church these are also referred to as sins of humanity throughout the artistic community.

The Divine Comedy is an epic poem by Dante Alighieri, begun 1308 and completed 1320, a year before his death in 1321. It is widely considered the preeminent work of Italian literature and is seen as one of the greatest works of world literature.

The Divine Comedy with the mentioned Seven Deadly Sins has been a source of inspiration for countless artists for almost seven centuries. There are many references to Dante's work in literature. In music, Franz Liszt was one of many composers to write works based on the Divine Comedy. In sculpture, the work of Rodin is notable for themes from Dante, and many visual artists have illustrated Dante's work. 

Now this is your time to interpret these Seven Deadly Sins as you so choose.

For your final senior graphic design assignment each of you will interpret the Seven Deadly Sins as you see them manifested through your own personal definition of each subject.
These are your personal interpretations. These may include political, sexual, religious, historical, financial, or any other interpretation you so choose. 

These can be original art, digital prints, silkscreens, photos, sewn, painted/drawings, transfers, mixed media and/or any other technique you so desire.  This set of 7 should also include some type of packaging for your original images/interpretations.  It could be a simple box or paper portfolio or slipcover or anything you feel is appropriate to your concept. 

One of these of your choosing will be printed to a larger 22x30 glicee print format that you will show at the final critique on April 27th.  Please prepare one of your 7 "sins" in a high res format pdf to be put on shared space so CMC can print all of them at once. This larger format is due by Wednesday April 22nd.

These larger 22x30 formatted prints will become property of the Welch School of Art & Design and be installed/framed on the premises for the future.  Should you choose to have an additional one printed please advise ahead of time for production.

Each original design/artwork should be 6 x8 inches.
Each will have a front and you should also include some design/information for the reverse.
It could be just your logo on the reverse or text that somehow describes your vision.

Specs:
7 individual 6 x 8 interpretations of The Seven Deadly Sins and Packaging for the 7 interpretations. 
Creative Brief for the 7 set of Sins.
Paper choice is up to each designer.
Media is up to each designer.

At least one "sin" should be created high resolution (300dpi) pdf to be printed 22x30 glicee CMC print due Wednesday April 22nd. No later.

Keith Haring:
One of Keith Harings last series of work was a portfolio based on Williams Burrough's Apocalypse. When the late renowned artist Keith Haring was diagnosed with AIDS in 1988, he collaborated with author William S. Burroughs on this Apocalypse series, which offers an insight into Haring’s personal struggle with the disease.  He died in 1990.These large scale dramatic art series depicted his personal narrative/journey in the final years of his life.
Each panel is 38 x 38 inches.

 Also check out work by Nathan Fox who created a set of skateboards:

Check out the opening title sequence for "Seven."

Directed in 1995, David Fincher’s Se7en is a film that defies easy categorization. Perhaps too dark to qualify as a golden classic despite having all the right ingredients, neither is it a cult film in the traditional sense, as it is stocked with A-list talent and propped up by a smart script, a memorable score and rich cinematography, and a production value in lockstep with Fincher’s vision for the film.

It’s a sequence that has drawn comparisons to the grotesque photography of Joel-Peter Whitkin and the experimental self-aware filmmaking of Stan Brakhage, and its format has been likened to Stephen Frankfurt’s title design for Robert Mulligan’s 1963 adaptation of the courtroom thriller To Kill a Mockingbird, which also features close-up photography of personal items to describe the psyche of one of the film’s key players. But it is more likely a convergence of unique circumstances and artistic vision that gave the Se7en titles their own distinct cadence, blending Fincher’s treatment of the film itself with Cooper’s visual interpretation of its narrative.

And what ultimately distinguishes Se7en is its delivery, piecing together bits of leader and other film artifacts with ephemeral imagery and type etched right into the emulsion, all sewn together by Angus Wall’s staccato edit and Coil/Danny Hide’s nail-on-chalkboard remix of Trent Reznor’s industrial hit “Closer.” It’s an effortless presentation which — much like the killer’s diary featured within — wears its construction proudly on its sleeve.




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