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Freedom Fyah
Taking into account the historical context when Freedom Fyah was born (2010), there is a forced reference to my academic studies, as that work was the true turning point between traditional representation and digital representation. But let's delve into more detail.
As mentioned, I was attending ACME in Novara (Academy of Fine Arts), where I enrolled to become a graphic designer.
During those times, the use of digital tools was not as predominant. Paper and pencil were still the mainstays of the "craft," through which the creative process was set in motion with a rough sketch. With the help of a pencil (usually HB), the initial guidelines of the project were drawn.
With the advent of Adobe Photoshop, one of the most well-known image editing programs in the world, which was rapidly gaining popularity, I developed new methods of representation. These methods allowed me to give a clearer and more defined look to the works I was creating.
My "encounter" with this software took place during my fifth and final year of Art High School..
It was a period of experimentation to become familiar with the tools within the software. I was particularly curious to discover the most common painting techniques, such as watercolor or oil painting, which could be achieved with a simple click, saving hours of work.
During my initial academic journey, I experienced this atmosphere of change with the joy of a child in front of a new toy.
Tools for Digital Representation Techniques.
Tools for Traditional Representation Techniques.
So, starting from a hand-drawn sketch, I would transfer the preliminary work using a scanner, which allowed me to enhance the artwork with endless graphic combinations. Consequently, I became passionate about this entirely new world, and in parallel, the academic exercise sheets were no longer enough to "satisfy" my desire to experiment. I felt a continuous need to broaden horizons in representing more personal aspects that emerged from within me.
In visual art, language is dictated by the image, which, like a language, speaks through a representation of elements that have the precise purpose of guiding the observer through multiple reflections on the theme under examination. Without the use of words, but solely through the use of the mind, these lines are obtained and processed as an interpersonal discourse.
Creative Process
Exactly during that period, the proposal to take care of the image of Freedom Fyah emerged.
Driven by the desire to create an image that could reflect the profound themes of the melodramatic music I was listening to regularly, I chose the lion as the predominant figure and the collective symbol of the group.
The choice was simple, due to its strength and leadership, which supported the concept of freedom and pride. Its uniqueness was determined by its mane, composed of flames that burned as fiercely as its purity of soul.
Lion of Judah statue in Addis Ababa (Ethiopia).
Haile Selassie I, Emperor of Ethiopia 1892-1975.
King Solomon.
Secondly, being a Reggae band, they drew inspiration from the image of the Lion of Judah, a symbol associated with Haile Selassie I, the Emperor of Ethiopia. In Rastafarian culture, Haile Selassie I is considered the "prophet of Liberation" as he is believed to be a descendant of the lineage of King Solomon.
Before the official logo, I had designed a simple drawing for the creation of t-shirts dedicated to the first live performance.
I had unmistakably based it on the image of the lion, kept in a faded effect (about 70%) to enhance the impact of the Freedom Fyah text.
Inspired by African-style fonts, and consequently adding a touch of color to highlight the flags of the majority of African countries, namely:
-Green,
as a symbol of the continent's nature.
-Yellow,
as a symbol of the sun that kisses the "cradle of humanity" (nickname for Africa).
-Red,
as a symbol of the blood flowing through the veins of the people.
Over time, the logo underwent some minor modifications, without affecting the ornamentation lines or the visual impact of the design. It was a change made to soften the overall color scheme of the final artwork. The decision was made to remove the names of the band members from the symbol.
In the spring of 2019, I wanted to expand the illustrations related to the "flaming lion" ensemble by introducing a new logotipo to accompany the symbol that had served as a celebratory banner for almost a decade.
I sought an illustrative and terminological connection between the words "Freedom" and "Fire" to merge the two terms into a visual expression.
I chose one of the oldest languages, Aramaic, which boasts a history of approximately three thousand years. In the past, it was a sacred language used in religious contexts as well as for imperial administration.
My goal was to enhance the effectiveness and penetrating power of the group's morphological root. Through thorough research, I discovered the characters that comprised the two terms.
Afterward, I incorporated elements of African culture to replace certain letters in the two terms.
Figure: Lion.
Figure: Baobab.
Figure: Resistance punch with microphone.
Figure: Serigne Touba, sacred symbol linked to the Senegalese creed.
The first figure, the lion, is the cornerstone of the illustrative project for obvious reasons, as already emphasized in the development of the initial logo.
The second figure is that of a Baobab tree, chosen for its strong connection to Senegalese culture, where the tree holds sacred significance. For this reason, I wanted to associate the appearance of the tree with the value of freedom.
A key concept linked to growth, symbolizing the similarity between the human and natural hemispheres.
Taking inspiration from nature itself, the tree starts as a seed and gradually develops over time, growing its branches and leaves. The way it grows is of infinite importance, so I wanted to connect it to the meaning of freedom of expression, which grows within the individual, just like the Baobab tree during the seasons of the year.
The third figure is a stylized representation of one of the most famous fists in history: the raised fists of Tommie Smith and John Carlos during the 1968 Olympics. It symbolizes protest and the assertion of their civil rights against a nation, the USA, that at the time relegated African-American culture to a "second-class race" due to the racism perpetuated by a certain segment of the "white" population (the most ignorant part).
The microphone highlights the instrument through which the protest and "revolution" that the Freedom Fyah aims to bring about occur.
The last image is associated with the luminance of one of the most important figures in the cultural-religious landscape of Senegal. I'm referring to Serigne Touba, who liberated the minds of an entire people from European colonialism through his teachings. By combining the Aramaic characters with the chosen figures, the logo reaches its final and definitive stage.
The 2.0 logo is nothing more than a reinterpretation of the original logo. Created for the customization of clothing items, the 2.0 logo stands out from the original one due to its shape and the elements it contains.
Figure: Logo 2.0.
The banner was created for the console department during live events to avoid being repetitive by always using the same emblem. The idea was to incorporate the figure of the lion within the "perimeter" of Africa.
Initially, the concept was represented in black and white, but it was later enriched with the intention of expanding the design into the realm of clothing as well.
Figure 1: Banner.
Figure 2: Image for T-Shirt, Sweatshirts & CO.