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MACRO:

communication, community, culture, identity, expression, emotions

MICRO:

meaning, interpretation, audience, color, shape, line, media, tools, process

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Use the language of visual arts to communicate effectively. 

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Use the language of visual arts to communicate effectively. 

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Book: "Radiant Child: The Story of Young Artist Jean-Michel Basquiat" by Javaka Steptoe
-I would coordinate with K-2 teachers to hopefully be able to have my middle schoolers do a read out loud to the younger students. I would pair K & 6th, 1st & 7th and 2nd & 8th. I would like them to point out the symbols in Basquiat's life while they are reading, asking the younger students what they think the symbols representing. Giving the elementary students an introduction to Basquiat and symbols while Middle School students get public speaking/reading practice.

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Factual:

What visual elements make a symbol?

What types of information can symbols communicate?

What tools, media and processes could an artist use to create visual messages?

Conceptual:

Why are symbols an effective form of communication?

Why can the same symbol convey different messages?

How can using different tools, media and processes to create the same symbol change the meaning?

Debatable/Provocative:

What symbols would you use to express your emotions?

What symbols would you use to express the beliefs of your community?

What symbols do you think represent your culture?

Do you feel like any of the symbols you chose could be misinterpreted by an audience? Could that misinterpretation lead to your culture and identify being misrepresented?

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Apply creative and critical thinking skills to artistic expression. 

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Apply creative and critical thinking skills to artistic expression. 

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Create art using a variety of tools, media, and processes, safely and appropriately. 

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Create art using a variety of tools, media, and processes, safely and appropriately. 

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Understand the global, historical, societal, and cultural contexts of the visual arts. 

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Understand the global, historical, societal, and cultural contexts of the visual arts. 

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Understand the interdisciplinary connections and life applications of the visual arts. 

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Understand the interdisciplinary connections and life applications of the visual arts. 

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1. Symbols communicate information visually by representing ideas, objects, emotions, and processes.

2. Symbols are created using colors, lines and shapes.

3. Artists use a variety of tools, media and processes to express their emotions, identity and convey social and political messages.

4. Grouping symbols together is visual storytelling.

5. Symbols reveal the shared beliefs of a culture or community.

6. Meanings of symbols may vary by describing their interpretations.

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Different symbols (printed and laminated) for students to gather around and as a class we talk through how they would sort them and why.  Talk about what the symbols represent. This leads into then going over the type of symbols and as a class we can do Frayer models of the different kinds of symbols.

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This easy strategy, loaded with higher-order thinking, lets students get their hands on the content without further ado.
Sure, you've heard that we shouldn't just spoon-feed information to our students, but what exactly should we be doing instead?

One possibility is inductive learning.

Inductive learning takes the traditional sequence of a lesson and reverses things. Instead of saying, "Here is the knowledge; now go practice it," inductive learning says, "Here are some objects, some data, some artifacts, some experiences...what knowledge can we gain from them?"

A number of instructional approaches, including discovery learning, inquiry-based learning, and problem-based learning, could be considered inductive, and all of them are well-supported by research. If you're just getting started with inductive learning, take a look at the video below, where we break down a very simple inductive strategy, one that takes less time and requires less planning than something like a PBL unit. It's a method that can work with very simple concepts, like parts of speech, or more complex ones, like systems of government, and it would be appropriate for just about any grade level.

Dig it:

[Want to make videos like this? Learn more here.]

This strategy comes from a book I can't seem to get enough of: The Strategic Teacher , by Silver, Strong, and Perini. This is the fourth research-based teaching strategy we've studied up close.

Try it and let me know how it goes. Or if you've already used this strategy or something like it and have finer points to share with the rest of us, please do. Happy teaching y'all. ♦

Like what you've seen so far?
If this one spoke to you, I'd love to have you come back for more. Join my mailing list and get weekly tips, tools, and inspiration - in quick, bite-sized packages - all geared toward making your teaching more effective and joyful. To thank you, I'll send you a free copy of my new e-booklet, 20 Ways to Cut Your Grading Time in Half. I look forward to getting to know you better!

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How to Teach an Inductive Learning Lesson

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Instead of saying, "Here is the knowledge; now go practice it," inductive learning says, "Here are some objects, some data, some artifacts, some experiences...what knowledge can we gain from them?"

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Using the symbol print outs from the sorting activity, as a class we can use the Frayer model to define the different types of symbols.

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As a class, we can walk around our school looking for symbols. Categorizing them as we go. Deciding what is and is not a symbol as we all spot different visual communication around the school. They can do a quick sketch of the symbol on the symbol hunt template.

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I would have my students form small groups and each group would be given a different word/idea to create a symbol for. A timer would be set for 5 minutes and then groups would take turns showing their drawings for the rest of the class to guess what their symbol represents.

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The use of symbolism can transform student art. Understanding and being able to use symbolic imagery and visual metaphors empowers students' voices and creative depths. One challenge is how to provide access to sophisticated concepts of symbolism in effective ways. Why not try a spin on the classic game, Pictionary?

Here's how to teach symbolism and visual metaphor through games in the classroom.

Symbolic Pictionary

Introduce Symbolism

Begin by exploring what a symbol is. Some key vocabulary words to define first are symbol, symbolic, symbolic image, and visual metaphor. Students should understand that symbols represent something else. You can easily illustrate this point by providing simple symbols and asking students to identify what each represents: A peace sign represents peace, a green traffic light represents go, a heart represents love, etc.

You may also want to take this opportunity to analyze symbolism in relation to color. For example, ask students if a dozen red roses represent the same thing as a dozen white roses. Many will say they do not, which can start a great discussion.

Set Up the Game

To set up the game, you'll need to do the following.

1. Break the room into teams.

2. Give each student materials to draw with. Dry-erase boards and markers work best, but pencils and paper will suffice.

3. Create a slideshow with a word on each slide. Some ideas include hard work, strength, quickness, knowledge, anger, and relaxation.

Play the game

To start, show one of the slides. Once the word is shown, have students work together in their groups for 3-5 minutes to come up with a symbolic image to represent that word. When the group comes to a conclusion, all students should draw the agreed upon symbol. After the time is up, one person from each group should hold up their board or paper to show the symbolic representation.

Give one point if a team comes up with a symbolic image. Give two points to any teams that have unique images not replicated by other groups.

For example, let's say the first word of the game is "school." Groups 1, 2, and 3 show apples, groups 4 and 5 show pencils, and group 6 shows a book. Group 6 would earn two points for having a unique symbol, while all other groups would earn one.

You can switch up the scoring in various ways. For example, maybe you give bonus points if students can clearly explain why they chose the symbol they did. Or, maybe students lose points if they use words or use emoji-style symbols.

If you're looking for more ways to use games to enhance your students' learning, head over to the Games in the Art Room PRO Learning Pack! Lindsey will share how to best design a game tailored to the needs of your students and share specific ideas to implement immediately in your art room!

Visual Metaphor Pictionary

Once your students have mastered symbolic images, it's time to dig deeper. This is because symbolic images and visual metaphors can be different. For example, a cake in an art piece can be a symbol for an inner-struggle with food addiction or a condition such as diabetes. However, an artist could also use a cake as a metaphor for themselves. In that case, it would most likely mean that the artist believes that he or she is sweet, liked by many, or can really make the party.

Introduce Visual Metaphor

Start with animals when introducing visual metaphor. Have students choose an animal that they share some sort of a similarity with. One example students easily understand is that of comparing a lazy or tired person to a sloth. When students can compare themselves to an animal because of similar characteristics, they are able to create a metaphor.

Then, give students a bit more scaffolding work. Break down a subject into various traits or characteristics in order to make connections. One way to do this is through a series of questions about an image such as:

What do you see?

What kinds of characteristics does this have?

What is something that has similarities to this?

What can this be a metaphor about?

Another way to get students warmed up for visual metaphor is a quick worksheet. Ask students to come up with a word or two that describes their own personal characteristics around their personality, behavior, life at home, and life at school. Then, have them compare those characteristics to something else with a similar characteristic. It can be helpful to give students a category to use for the metaphor. For example, what is a form of transportation that can be used as a metaphor to describe life in school?

Below is the sheet I use in my classroom. Feel free to download a copy to use or as inspiration to create your own.
Download Now
Set Up the Game

Game set up is the same as Symbolic Pictionary.

1. Break the room into teams.

2. Give each student materials to draw with. Dry-erase boards and markers work best, but pencils and paper will suffice.

3. Create a slideshow with a word on each slide. Some ideas are poverty, crime, wealth, success, perseverance, and change.

Play the Game

Again, show students a slide with a word or concept. Five minutes should be enough time to let students negotiate their responses and then come up with some quick renderings.

Push the metaphor game a step further by mandating an explanation of the metaphor. One point can still be given for a drawing, two points for a unique metaphor, and two additional points for an explanation.

So, if the word "school" is what students are making a metaphor about, make sure they can explain the connection. A popular metaphor students use for school is prison. Drawings are made with bars and locks. The key is to insist that students can break down the thinking that compares schools and prisons and give examples from each to support their opinions.

Symbolism can completely enhance student art. Symbolic imagery and visual metaphor can be a bit difficult for some students at first. However, adding the elements of collaboration within a game setting can help all students internalize and apply symbolism.
How do you introduce symbolism into your classes? What other types of games or friendly competition have you used with students?
Magazine articles and podcasts are opinions of professional education contributors and do not necessarily represent the position of the Art of Education University (AOEU) or its academic offerings. Contributors use terms in the way they are most often talked about in the scope of their educational experiences.

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How to Introduce Symbolism in the Form of a Game

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The use of symbolism can transform student art. Understanding and being able to use symbolic imagery and visual metaphors empowers students' voices and creative depths. One challenge is how to provide access to sophisticated concepts of symbolism in effective ways. Why not try a spin on the classic game, Pictionary?

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Creating self portraits using collage, bold colors, techniques and personal symbols like Basquiat.  After students complete an identity survey, they will choose what personal symbols are most important for them to display in their piece.

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A questionnaire to get students thinking about how to develop personal symbols. Ideas from this survey can be used to decide what information they want to communicate in their artwork.

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Teaching Students with Emojis, Emoticons, & Textspeak

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My books- Learning to Go https://gum.co/learn2go & The 30 Goals Challenge http://amazon.com/The-Goals-Challenge-Teachers-Transform/dp/0415735343 Resources at h...

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Students seeing an article about using emojis in the classroom feels like it would peak their interest. Using a form of communication they are already well versed in for my SYMBOLS study could lay a foundation for other interdisciplinary lessons involving emojis. Expressing emotions, telling stories, recalling conceptual understandings.

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Using Emojis to Teach Critical Reading Skills

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Use kids’ expertise with emojis to help them analyze texts more effectively.

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The fun little characters can add visual cues to student assignments and help you manage classroom routines.

Mitch Blunt / Ikon Images

Do your students love using emojis? While they might seem silly on the surface, emojis can definitely pack a punch. Why not incorporate them into your teaching?

Here are some ideas that go beyond the popular or common ways we use emojis (in text messages, comments, and social media posts) and connect to projects and routines you might already be using in your classroom.

Using Emojis in the Classroom

Bullets on anchor charts: If you're making anchor charts in your class, use emojis instead of a traditional bulleted list. For example, as a classroom teacher I used to put lots of reference materials on chart paper for students, including resources to support student writers. Print out emojis (making them larger) or draw emojis on your chart paper.

Sharing feelings: Another way to use emojis is to have students choose an emoji that illustrates their feelings. For example, give students a selection of emojis to choose from each day, and give them an opportunity to record or write about their feelings. Or you can use a tool like Emoji Finder that lets students type in keywords and see different emojis that connect to their feelings.

Rating experiences: Just as we might give a five-star rating to an online shopping experience or a ride service, students can rate experiences using emojis. Whether it's a star emoji, the fire flame emoji, or another favorite, they can rate how much they enjoyed a class read-aloud, the outcome of a science experiment, a field trip, or any other experience.

Peer feedback: Encourage students to add emojis, just one or two, to any comments or feedback they give to their classmates. They can use an emoji keyboard on their device or an online tool, such as the one above, for finding the perfect emoji to add to their comment before posting their thoughts.

Labeling folders: Emojis can work for you, as well. Add emojis to your folders in Google Drive, Dropbox, and OneDrive, or anyplace you're adding a new title to a folder or file. Emojis can help you find what you're looking for faster.

Organizing information: Students can organize their work using emojis, too. For example, they can include emojis as part of the headers for different categories of information as they conduct research, or they can use emojis alongside their comments in the margins of the text they read, for quick access.

Retelling a story: Students can retell stories or short excerpts of text using emojis as part of their retelling. Ask them to choose one emoji that goes with each sequence of a story, "first, next, then, and last." If they're creating a retelling with emojis that connect to their own stories, this might even be an opportunity for students to play a guessing game with their classmates.

Giving directions: In the same way that we recognize a logo of a company before we read their corresponding social media post, emojis are visual cues for students. If you're posting directions for a task like a do-now or exit slip on an interactive board in your classroom or as a post in a learning management system, adding emojis can help break up information and provide a visual cue for directions.

Add to infographics: Have students use emojis as the icons that go along with the information they share on an infographic. This is a great way to connect visuals to any research they do themselves or data they want to represent in an infographic. In my book, EdTech Essentials: The Top 10 Technology Strategies for All Learning Environments, I discuss infographics and other favorite student project ideas.

Indicate patterns: Emojis are a great option for having students represent patterns. This could be part of a coding course or an opportunity for students to annotate the patterns in poetry. For example, if you explore ABABAB patterns, ask students to use emojis to represent the patterns.

Annotating a passage: Your students might be familiar with using color coding to annotate a passage, whether they use physical highlighters or have access to a few colorful digital tools. Introduce the idea of annotating a passage by adding emojis next to the text. You can give students a lot of flexibility for annotating with emojis or model for them how to use just a selection of emojis as part of a regular annotation routine.

There are many creative ways to use emojis-I share a few more on this episode of the Easy EdTech Podcast-and I hope the above list will help you get started.

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The fun little characters can add visual cues to student assignments and help you manage classroom routines. Mitch Blunt / Ikon Images Do your students love using emojis? While they might seem silly on the surface, emojis can definitely pack a punch. Why not incorporate them into your teaching?

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Spanning the artist's entire oeuvre, this exhibition illustrates Basquiat's prolific yet brief career and broad range of subjects, especially his keen observations of his contemporary world, while giving insight into his politics, heroes, influences, and singularity of vision. The exhibition will also bring together several of the artist's most celebrated large-scale canvases including two of his most well-known head paintings, both Untitled from 1981 and 1982, and the monumental multi-paneled Grillo (1984).

"Basquiat's complex oeuvre has established him as one of the most important innovators in modern art, even thirty years after his death," says Brant. "Numerous recent retrospectives have spotlighted his radical approach, illuminating his interdisciplinary contributions to music, poetry, performance, and art and cementing him as one of the most forward-thinking artists of his generation, whose complex engagement with social and political questions makes him more relevant than ever."

The exhibition demonstrates Basquiat's ability to distill the world around him into its most poetic essence. One can witness the artist's process through what Buchhart describes as his "inimitable line ... one that is ready to fight, razor sharp, injured and injuring at the same time; it becomes an existential line between powerlessness and self-empowerment, between human existence and the urgently pressing forces of everyday and institutionalized racism, repression, violence, and death."

Influenced by artists including Franz Kline and Cy Twombly, in particular, Basquiat focused on drawing and the use of language using a combination of oilstick and acrylic, manifesting his keen thoughts and observations on canvas.

"Jean-Michel Basquiat took in everything he perceived with his five senses, from all around him," says Buchhart. "He collaged from his surroundings, from his everyday life. It is the appropriating of the everyday, the coincidental as well as the ostensibly significant that makes his art so unmistakable, so unique."

Born in 1960 to a Haitian father and Puerto Rican mother, Basquiat was acutely aware of racial tensions and his marginalized place in the world. The artist brought the issues of colonialization, the African Diaspora, racial inequality and representation, and his experience of the street to the forefront in early seminal works such as Arroz con Pollo (1981), Price of Gasoline in the Third World (1982), Untitled (Yellow Tar and Feathers) (1982), Hollywood Africans (1983), and In Italian (1983).

Other paintings served to immortalize his heroes: jazz legend Charlie Parker and boxers Sugar Ray Robinson and Joe Louis are depicted as symbols of black excellence and resistance in works such as Charles the First (1982), Untitled (Sugar Ray Robinson) (1982), and St. Joe Louis Surrounded by Snakes (1981). Beyond specific pop culture icons, Basquiat's struggle with systemic racism and resistance plays out on several canvases on which he creates archetypes and fuses language to reflect his thought process, as seen in Irony of a Negro Policeman (1981), Per Capita (1981), and Untitled (Boxer) (1982). The complex manner in which Basquiat reflected on modern oppression and exploitation of African Americans draws distinct parallels with contemporary discussions of racial injustice, making his works incredibly timely.

Basquiat's use of language in his works functions like a road map for the viewer, with the artist revealing and crossing out words to show a distilled narrative of thought. Words and names are often abbreviated, fusing form and content, evoking the Modernist concrete poetry exemplified by the writings of William S. Burroughs and Gertrude Stein and pointing to the birth of hip-hop, then a nascent art form, in which Basquiat was involved . Not only did he create a form of visual hip-hop through the rhythm of words and design, Basquiat also worked in numerous Manhattan clubs as a deejay and made music with fellow musicians including Nicholas Taylor and Michael Holman. Later works such as Untitled (1986) show a progression of this free association manifested into dense collages of words overflowing like a flood of thoughts and feelings onto the paper.

"With his way of working, he anticipated the principle of our copy-paste society and literally signaled the coming madness of our allover communication in his art," says Buchhart.

The object and assemblage became increasingly important in Basquiat's work. He transformed everyday objects, including discarded windows and doors, refrigerators, clothing, and old boards, and incorporated them into his art. This innovative approach is also seen in the treatment of his paintings as objects, exemplified in the exhibition with key pieces such as Now's the Time (1985), made on a shaped canvas; and Gold Griot (1984) and Anthony Clark (1985), both executed on wood slats.

The Brant Foundation is pleased to inaugurate its second space with this Basquiat survey, reconnecting the East Village to a seminal figure of its past. Located at 421 East 6th Street, the space occupies a century-old building originally designed as a substation for Consolidated Edison. The building subsequently served as the home and studio of famed artist Walter De Maria from the mid-1980s until his death in 2013. Richard Gluckman of Gluckman Tang Architects has renovated the former substation to create a 16,000-square-foot building featuring 7,000 square feet of exhibition space arrayed across four floors. The project includes two new gardens adjacent to the structure and a landscaped roof terrace.

J ean-Michel Basquiat Exhibition Announcement
The Brant Foundation Library: Jean-Michel Basquiat Art Activities Inspired by Jean-Michel Basquiat

Click on the circles that appear on your screen to move through the space and explore The Brant Foundation's 2019 Jean-Michel Basquiat exhibition at its New York space!

© Estate of Jean-Michel Basquiat. Licensed by Artestar, New York.

360 VR tour captured and produced by Tom Powel Imaging

Jean-Michel Basquiat is represented in several prominent museum collections all over the world. Major solo exhibitions include "Jean-Michel Basquiat: Paintings 1981-1984," Fruitmarket Gallery, Edinburgh (1984; traveled to the Institute of Contemporary Arts, London; and the Museum Boijmans Van Beuningen, Rotterdam, through 1985); Whitney Museum of American Art, New York (1992; traveled to the Menil Collection, Houston; the Des Moines Art Center, Iowa; and the Montgomery Museum of Fine Art, Alabama, through 1994); "Basquiat," Brooklyn Museum of Art, New York (2005; traveled to the Museum of Contemporary Art, Los Angeles; and the Museum of Fine Arts, Houston, through 2006); Fondation Beyeler, Basel, Switzerland (2010; traveled to Musée d'art Moderne de la Ville de Paris); and "Basquiat: The Unknown Notebooks," Brooklyn Museum, New York (2015). Basquiat starred in "Downtown 81," a verité movie that was written by Glenn O'Brien, shot by Edo Bertoglio, and produced by Maripol in 1981, but not released until 2000.
The Brant Foundation Loan Program: Words Are All We Have The Brant Foundation Loan Program: Jean-Michel Basquiat at Fondation Louis Vuitton Jean-Michel Basquiat Exhibition at The Brant Foundation The Brant Foundation Library: Jean-Michel Basquiat

GROUP

2015

Sprayed. Gagosian Gallery, Britannia Street, London, England.

America Is Hard to See. Whitney Museum of American Art, New York, NY.

2014

Basquiat and the Bayou. Ogden Museum of Southern Art, New Orleans, LA.

Poetics of the Gesture: Schiele, Twombly, Basquiat. Nahmad Contemporary, New
York, NY.

The House. Faggionata Fine Art, London, England.

Look at Me: Portraiture from Manet to The Present. Leila Heller Gallery, New York, NY.

2013

Navigating Art Languages: The James M. Shelton, Jr. Collection. El Paso Museum of Art, El Paso, TX.

Selections from the Permanent Collection. Museum of Contemporary Art, Los Angeles,
CA.

Calligraffiti 1984-2013. Leila Heller Gallery, New York, NY.

30 Years. Galerie Thaddaeus Ropac, Salzburg, Germany.

I, You, We. The Whitney Museum of American Art, New York, NY.

30 Americans. Frist Center for the Visual Arts, Nashville, TN.

Textures: the Word in Contemporary Art. ACA Galleries, New York, NY.

Don't Be Shy, Don't Hold Back. San Francisco Museum of Modern Art, San Francisco, CA.

Blues for Smoke. Whitney Museum of American Art, New York, NY.

This Will Have Been: Art, Love & Politics in the 1980s. Institute of Contemporary Art, Boston, MA.

2012

Micro Mania. Gagosian Gallery, Paris, France.

Regarding Warhol: Sixty Artists, Fifty Years. The Metropolitan Museum of Art, New York, NY.

Masterpieces from The Berardo Collection. Gary Nader Art Centre. Miami, Florida.

Ménage à trois: Warhol, Basquiat, Clemente. Bundeskunsthalle, Bonn, Germany.

2011

Club 57 and Friends. Dorian Grey Gallery, New York, NY.

Art in the Streets. Museum of Contemporary Art, Los Angeles, CA.

Graffiti New York 80's: Group Exhibition. La Galerie Jérôme de Noirmont, Paris, France.

The Street Art Show. Opera Gallery, London, England.

Street and Studio: From Basquiat to Séripop. Kunsthalle Wien, Vienna, Austria.

2010

The Record. Nasher Museum of Art, Duke University, Durham, NC.

Basquiat/Terada/Mapplethorpe. Robert Miller Gallery, New York, NY.

Miró/Dubuffet/Basquiat. Nassau County Museum of Art, Roslyn Harbor, NY.

Big Paper Winter. Woodward Gallery, New York, NY.

Afro Modern: Journeys through the Black Atlantic. Tate Liverpool, Liverpool, England.

2009

A Tribute to Ron Warren. Mary Boone Gallery, New York, NY.

The Jazz Century. Centre de Cultura Contemporània de Barcelona, Barcelona, Spain.

2008

30 Americans. Rubell Family Collection, Miami, Florida.
Traveled to: North Carolina
Museum of Art, Raleigh, NC, Corcoran Gallery of Art, Washington, DC, Milwaukee Art
Museum, Milwaukee, WI, Contemporary Arts Center, New Orleans, LA.

2005

Winterpaperseven. Woodward Gallery, New York, NY.

2004

East Village USA. Curated by Dan Cameron. New Museum of Contemporary Art, New York, NY (through 2005).

Drawings. Gagosian Gallery, Heddon Street, London, England.

1998

Portraits Obscured. Gagosian Gallery, New York, NY.

1996

Two Cents: Works on Paper by Jean-Michel Basquiat and Poetry by Kevin Young. Castellani Art Museum of Niagara University, Buffalo, NY.

1994

The Harman and Harriet Kelley Collection of African American Art, San Antonio Museum of Art, TX.

1993

The Theater of Refusal: Black Art and Mainstream Criticism, Fine Arts University of California, Irvine, CA.

Extravagant: The Economy of Elegance, Tony Shafrazi Gallery (in collaboration with Jonathan Seliger), New York, NY.

Traveled to: Russisches Kulturzentrum, Berlin, Germany.

1982-1983: Ten Years After, Tony Shafrazi Gallery, New York, NY.

1992

Dream Singers, Story Tellers: An African American Presence. Fukui Fine Arts Museum, Fukui, Japan (organized by New Jersey State Museum). Traveled to: Tokushima Modern Art Museum, Tokushima, Japan; Otani Memorial Art Museum, Kanagawa, Japan; New Jersey State Museum, Trenton (through 1994).

X Mostra de Gravura, Curitaba / Mostra America. Fundacio Culturel de Curitaba/Museo de Gravura, Curitaba, Brazil.

Baziotes to Basquiat...and Beyond. Bellas Artes, Santa Fe, NM.

Jean-Michel Basquiat, Jonathan Borofsky, Richard Bosman, Kant So Lee, Terry Winters. Haenah-Kent Gallery, New York, NY.

Gifts and Acquisitions in Context, Whitney Museum of American Art, New York.The Power of the City / The City of Power. Whitney Museum of American Art,
Downtown, New York, NY.

Ars Pro Domo. Gesellschaft für Modern Kunst an Museum Ludwig, Cologne, Germany.

Passions and Cultures: Selected Works from the Rivendell Collection, 1967-1991.The
Richard and Marieluise Black Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY.

An Exhibition for Satyajit Ray. Philppe Briet Gallery, New York, NY.

Allegories of Modernism: Contemporary Drawing, the Museum of Modern Art, New
York, NY.

Paris Connections: African American Artists in Paris. Bomani Galelry and Jernigan Wicker Fine Arts, San Francisco, CA.

1989

Modern and Contemporary Master Drawings, Rosa Esman Gallery, New York, NY.

Words. Tony Shafrazi Gallery, New York, NY.

Jean-Michel Basquiat/Julian Schnabel, Rooseum, Malmo, Sweden.

1979-1989: American, Italian, Mexican Art from the Collection of Francesco Pellizzi. Hofstra Museum, Hofstra University, Hempstead, New York. Traveled to: Lehigh University Art Galleries, PA; Ralph Wilson Gallery, Bethlehem, PA.

The Chase Manhattan Bank Collection 1974-1989, Yokohama Museum of Art, Japan.

A Decade of American Drawing 1980-1989, Daniel Weinberg Gallery, Los Angeles, CA.

The Blues Aesthetics: Black Culture and Modernism, The Washington Project for the
Arts, Washington, D.C. Traveled to the California Afro-American Museum, Los Angeles, CA; Duke University Museum of Art, Durham, NC; Blaffer Gallery, University of Houston, TX; The Studio Museum in Harlem, NY.

An Eclectic Eye: Selections from the Frederick R. Weisman Art Foundation, Bridge Center for Contemporary Art, El Paso, TX. Traveled to New Mexico State University, Las Cruces, NM; Cheney Cowles Art Museum, Spokane, WA; Boise Art Museum, ID; University of Wyoming Art Museum, Laramie; Virginia Beach Center for the Arts, VA; Gibbes Art Gallery, Charleston, SC.

1900 to Now: Modern Art from Rhode Island Collections, Museum of Art, Rhode Island School of Design, Providence, RI.

Figure As Subject: The Revival of Figuration Since 1975. Whitney Museum of American Art at the Equitable Center, New York, NY. Traveled to: Erwin A. Ulrich Museum of Art, Wichita State University, KS; The Arkansas Arts Center, Little Rock, AK; Amarillo Art Center, TX; Utah Museum of Fine Arts, University of Utah, Salt Lake City, UT; Madison Art Center, WI.

1988

Selected Americans. Edward Totah Gallery, London, England.

Rebop. Paula Allen Gallery, New York, NY.

After Street Art. Boca Raton Museum of Art, FL.

Collaborations: Andy Warhol, Jean-Michel Basquiat. Mayor Rowan Gallery, Mayor Gallery, and David Grob Limited, London, England.

Works on Paper. Gabrielle Bryers Gallery, New York, NY.

Works on Paper. Michael Maloney Gallery, Los Angeles, CA.

L'art Contemporian a la Defense: Les Annees 80 Vues par Cinq Galeries, Galerie La Defense Art 4, Paris, France.

Art et Langage: Annees 80 Oeuvrs Choisies, Centre d'Histoire de L'art Contemporain, Quimper, France.

1987

Avant-Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles, CA.

The East Village Force de Frappe Comes to the South Bronx, Fashion Moda, Bronx, NY.

Pop Art from the U.S.A and Europe from the Ludwig Collection, Forte Belvedere,
Florence, Italy.

16 @ 56: Summer Salon, 56 Bleecker Gallery, New York, NY.

The Frederick R. Weisman Collection: An International Survey, San Antonio Art Institute, TX.

New York Graffiti. Ludwigshafen, Wilhem-Hack Museum, Heilbronn, Germany.

Logos, Anne Plumb Gallery, New York, NY.

Works on Paper, Tony Shafrazi Gallery, New York, NY.

1985

XIII Biennale de Paris, Grand Halle du Parc de la Villete, Paris, France.

The Door. Annina Nosei Gallery, New York, NY.

Das Oberengadin in der Maleriei, Segantini Museum, St. Moritz, Switzerland.

Drawing the Line: Painting. Annina Nosei Gallery, New York, NY.

Vom Zeichnen: Aspekte der Zeichnung 1960-1985. Frankfurter Kunstverein, Frankfurt, Germany. Traveled to: Kasseler Kunstverein, Kassel, Germany; Museum moderner Kunst, Vienna, Austria.

Drawings. Knight Gallery. Spirit Square Arts Center, Charlotte, NC.

Basquiat and James Surls. La Jolla Museum of Contemporary Art, La Jolla, CA.

7000 Eichen. Kunsthalle, Tubingen, Germany. Traveled to: Kunsthalle, Bielefeld, Germany.

The Chi-Chi Show, Massimo Audiello Gallery, New York, NY.

1981

New York/New Wave, P.S. 1 Institute for Art and Urban Resources, Long Island City,
NY.

Lower Manhattan Drawing Show, Mudd Club, New York, NY.

Beyond Words: Graffiti Based-Rooted-Inspired Works, Mudd Club, New York, NY.

Public Address, Annina Nosei Gallery, New York, NY.

1980

Times Square Show. Colab (Collaborative Projects Incorporated) and Fashion Moda, New York, NY.

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Jean-Michel Basquiat Exhibition - The Brant Foundation

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Spanning the artist's entire oeuvre, this exhibition illustrates Basquiat's prolific yet brief career and broad range of subjects, especially his keen observations of his contemporary world, while giving insight into his politics, heroes, influences, and singularity of vision.

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What do emojis have to do with education? According to the SAMR model of teaching-which stands for substitution, augmentation, modification, and redefinition-the most basic step in the transition to digital learning is the substitution level, which is what teachers do when they upload assignments to digital platforms. The final step is redefinition, in which students become creators of their own content. By using emojis in the classrooms, we're moving beyond the simple substitution model and into the more advanced aspects of digital learning.

Even as most students head back to school buildings this fall, educators may use some of their new digital teaching skills in their brick-and-mortar classrooms. Here are just a few of the ways you can use emojis to expand your digital teaching prowess.

Emoji exit ticket: Ask students to use emojis to explain their learning from the class. While it may sound low-level to have students use pictures instead of words to show learning, this couldn't be further from the truth. Try explaining photosynthesis, the effects of World War II on the homefront, or the mood created in a Langston Hughes poem using only emojis.

Emoji check-in: Over the past few years, we've seen a major focus on social and emotional learning. Emojis are perfect for assessing the mental well-being of students. Some teachers create posters with emojis that represent various emotions. Students touch the emoji that matches their mental state on the way into the classroom, and the teacher has an immediate understanding of the energy and emotional level of the class.

Even educational technology companies are using this strategy in their platforms. Pear Deck, for example, has a "classroom climate" func- tion that helps teachers gather informal data about the mood of the class.

A few years ago, Monte Syrie, creator of letschangeeducation.com, introduced me to a community circle strategy called "smiles and frowns." At the start of each class, student volunteers pick "smile or frown" and describe why they're feeling that way. It gives them an amazing opportunity to process their feelings in a positive way. And what better way to build a class culture than actually spending some time every day learning about your classmates or teacher?

Emoji understanding check: Similar to the exit ticket, this practice has students rate their levels of understanding with emojis. More informal than an exit ticket, this strategy allows teachers to gauge the level of understanding from their students at the end of class. Place a poster of emojis (or have students respond on their devices) and have students pick emojis that represent their level of comfort with the content or skills they learned that day.

Emoji feedback: Let's be honest, most students ignore teacher feedback forms. But it's much harder to do that when you have colorful emojis representing your compliments or suggestions for improvement.

Many teachers already use some form of shorthand for student feedback. By using a system of emojis to represent common respons- es, students will begin associating their growth with these colorful representations. This approach can also save valuable time since an emoji is much simpler to type than full feedback.

Overall, emojis can be a wonderful addition to any classroom from kinder- garten to high school. They tap into the zeitgeist of our time, allowing students to form deep and lasting learning expe- riences while improving their social and emotional well-being. They are easy for teachers and students to use and can spice up any lesson.
The"American Revolution Challenge"
Ask your students to narrate the causes of the American Revolution in 10 emojis or less. This requires the students to closely analyze the events leading up to the war with only visual representation. As a social studies teacher, my goal is for students to engage in this type of deep, critical thinking.

The activity should include an opportunity for students to explain why they chose that particular emoji and what it represents. A simple chart with sentence starters can be found below:

I chose the ______emoji. It represents ______.

The connection between this emoji and this event is _______.

I chose the French flag emoji. It represents the French and Indian War. The connection between this emoji and the event is that after defeating the French, the British increased their control over the colonies.

I chose the arms crossed emoji. It represents the Proclamation of 1763. The connection between this emoji and the event is that the British restricted the colonists from moving west of the Appalachian Mountains after the French and Indian War, deeply upsetting the colonists.

I chose the money bag emoji. It represents the Stamp Act, a tax on paper in the colonies. The connection between this emoji and the event is that this tax angered colonists because it was one of the first times the British levied a direct tax on them.

I chose the skull and bones emoji. It represents the Boston Massacre. The connection between this emoji and the event is that five colonists were killed by British soldiers after an angry mob of colonists threatened the soldiers.

I chose a teacup emoji. It represents the Boston Tea Party. The connection between this emoji and the event is that colonists dumped British shipments of tea into Boston Harbor to protest the Tea Act.

I chose the banned emoji. It represents the Intolerable Acts. The connection between this emoji and the event is that the British closed the Port of Boston after the Boston Tea Party, leading to further anger among the colonists.

I chose the horseback riding emoji. It represents the ride of Paul Revere. The connection between this emoji and the event is that the British sent troops to confiscate the colonists' weapons, but Paul Revere warned the colonists before the battles of Lexington and Concord.

I chose the dove emoji. This emoji represents the Olive Branch Petition. The connection between this emoji and the event is that the Second Continental Congress sent a letter to the King of England asking him to secure the colonists' rights. The king rejected this petition and declared the colonists to be in open rebellion.

I chose the book emoji.This represents Thomas Paine's famous pamphlet, Common Sense. The connection between this emoji and the event is that the booklet inspired the colonists to seek independence from England.

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What do emojis have to do with education? According to the SAMR model of teaching-which stands for substitution, augmentation, modification, and redefinition-the most basic step in the transition to digital learning is the substitution level, which is what teachers do when they upload assignments to digital platforms. The final step is redefinition, in which students become creators of their own content.

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Students can check out this website dedicated to symbols-based communication. A discussion can be started about why these visual aids are useful and who they are useful for. ESL Students, non-verbal children? I want them to start grasping the power of symbols and how they can communicate messages universally, regardless of language.

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England Inclusion Twinkl Symbols Resources

Twinkl Symbols allows you to create symbol-based Communication Boards, Timetables, Flashcards and Word Banks quickly and easily on desktop, phone or tablet. With a range of templates and an ever-growing bank of symbols to choose from, as well as the ability to upload your own photographs, Twinkl Symbols can support communication in your classroom or at home. Features include: Text-to-speech audio with a choice of voices, pitch and pace; 1000+ symbols and 150000+ illustrations; a range of templates or create your own boards; easy to edit, including colour change for colourful semantics; load, save and print straight from your phone or tablet; timer mode; quick chat function.

Using Twinkl Symbols:

Twinkl Symbols is an app that allows you to create symbol-based Communication Boards, Timetables, Flashcards and Word Banks quickly and easily on desktop, phone or tablet.

We have a range of templates and an ever-growing bank of symbols to choose from, as well as the ability to upload your own photographs.

This means that Twinkl Symbols can support communication in your classroom or at home.

The resources on this page are designed to help parents, carers and teachers to understand more about how to use Twinkl symbols and supporting children in developing their communication through the app.

Twinkl Symbols Resources:

We have lots of fantastic resources to help you understand and use our new fantastic app, here is some information to help you learn a little more about them:

Twinkl Symbols - How To Guide For Parents - As a parent or carer this guide will help you to understand how Twinkl Symbols will benefit your child at home and how it will complement the work done in school with teachers. The guide is designed to help parents understand more about the app and how they can use it.

Introducing Twinkl Symbols into Your School - This guide is designed for SENCos and SLT to understand how Twinkl Symbols will benefit your staff, children and families at school.

Twinkl Symbols: Cookbook - This brilliantly written cookbook resource is perfect for helping you to create opportunities within activities for the student to use symbols - an essential part of their communication development. From different options to put on toast or pizza to ice cream sundaes and fruit kebabs, this cookbook is sure to bring lots of yummy fun for your student.

Twinkl Symbols: Strategies to Use When I Am Upset About the News - As well as our guides and daily symbols mats, you'll also find ways to support your children in communicating their emotions and feelings. Use this resource to help children understand news events, and reflect on their emotions relating to these.

Twinkl Symbols: Lanyard Visuals for Adults - Perfect to use every day to support communication skills around school and home.

What is Twinkl Symbols?

Twinkl Symbols is an easy-to-use app and website that has been designed and developed to support children with SEND and communication and language difficulties, as well as a tool to be used by parents, teachers and professionals helping your child.

Symbols can be used to help children communicate feelings, opinions and choices.

Find out more about the Twinkl Symbols app with the video below:

The above video is from a third-party source. We accept no responsibility for any videos from third-party sources. Please let us know if the video is no longer working.

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Twinkl Symbols - SEND Communication and Interaction Resource

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England Inclusion Twinkl Symbols Resources Twinkl Symbols allows you to create symbol-based Communication Boards, Timetables, Flashcards and Word Banks quickly and easily on desktop, phone or tablet. With a range of templates and an ever-growing bank of symbols to choose from, as well as the ability to upload your own photographs, Twinkl Symbols can support communication in your classroom or at home.

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Improving Schools through Cultural Symbols

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Demographic, technological, and economic forces are transforming societal institutions and the ways in which people interact within them. Major challenges of twenty-first century education include adjusting to these shifts and structuring schools to improve human interaction and learning. One important way to shape schools is through their cultural symbols.

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This board game "Concept" is available at my school and is a perfect, fun tie in to this symbols study. One player draws a card and has to pick from a list of concepts or ideas to get everyone to guess by placing little pieces on images/symbols on the main board. The more difficult choices are more culturally relative idioms.

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Select icons to help your team guess a secret word or phrase.

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A short video from a social studies perspective. This video takes the lesson on symbols a bit further by explaining symbolism and how symbols can communicate complex ideas and how those ideas can change depending on the context.

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Watch RL.8.4 Symbols & Symbolism, Reading, Middle School, Social Sciences, Government Videos on TeacherTube.

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A short TedTalk video to start learning about Basquiat, his life, artistic process and use of personal symbols.

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Jean-Michel Basquiat was invested in many creative arenas outside of painting. He collaborated with a high school friend, Al Diaz, under the pseudonym SAMO; you can see documentary images of these early SAMO writings here. Basquiat also formed a noise band with the artist Michael Holman in the late 1970s named (likely after the Gray's Anatomy book that his mother gave him as a child). Holman wrote a history of the band and recently produced an album with former band member Shannon Dawson called Shades of Gray
(2011).

If you would like to know more about Basquiat's painting in the larger context of American art, see the online essay on the 1985 painting Horn Players by art historian Jordana Moore Saggese and his entry on The Art Story. More advanced readers might consider Dr. Saggese's 2014 book Reading Basquiat: Exploring Ambivalence in American Art.
The New York Times published an article about the record-breaking auction of Basquiat's painting, which sold to the Japanese billionaire Yusaku Maezawa for $110.5 million in 2017. This was the highest price ever paid for a work by any American artist, for a work by an African-American artist. This painting was also the first work created since 1980 to make over $100 million at auction.

A richly-illustrated book (for grades K-5) on the life Jean-Michel Basquiat, Radiant Child: The Story of Young Artist Jean-Michel Basquiat, was awarded the Randolph Caldecott Medal in 2017 middle and high school students would enjoy the biographies by Leonard Emmerling and Eric Fretz. Older readers may like the recently updated biography by Phoebe Hoban, which details the artist's life as well as provides a vivid picture of the downtown scene of 1980s New York.

Films that take Jean-Michel Basquiat as their subject, include the scripted drama Basquiat (1996) and the documentaries Jean-Michel Basquiat: The Radiant Child (2010) and Boom for Real: The Late Teenage Years of Jean-Michel Basquiat (2017). Basquiat also plays the main character in the film Downtown 81 -made by Glenn O'Brien in 1980-81 and released in 2000.

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The chaotic brilliance of artist Jean-Michel Basquiat - Jordana Moore Saggese

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Like Beat writers who composed their work by shredding and reassembling scraps of writing, artist Jean-Michel Basquiat used similar techniques to remix his materials. Pulling in splintered anatomy, reimagined historical scenes and skulls, he repurposed present day experiences and art history into an inventive visual language.

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Students can use this encyclopedia to get ideas and spark their creative thinking in terms of transforming the important aspects of their lives into symbols. Also a great art history resource chocked full of well renown art!

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By using our website you accept our conditions of use of cookies to track data and create content (including advertising) based on your interest. Find out more about what data we collect and use at .

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By using our website you accept our conditions of use of cookies to track data and create content (including advertising) based on your interest. Find out more about what data we collect and use at .

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A 100 days project displaying different symbols with explanations. Full of super eye catching, brightly colored examples that provide a great variety of art styles. Website has a grid option with no words which would be great to turn into a guessing game that sparks "what makes you say that?" and "see, think, wonder" discussions.

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For over 40,000 years, humans have used logographic symbols to communicate complex ideas. Whether it's the manifestation of a god, or a unified graphic language to communicate cultural values, the symbol has always been driven by concept.

This is no different today. As a brand strategy and design agency, Emotive Brand uses the same time-tested principles of symbology to communicate complex concepts quickly.

This project was part of #the100daysproject. We posted one symbol per day on our Instagram.

This year, the design team at Emotive Brand participated in the #100DayProject. We sat down with Senior Designer Jonathan Haggard to discuss symbols, simplicity, and how to be brave in your creative decision-making.

What is the #100DayProject?

The 100DayProject is a free art project started by Lindsay Thomson that takes place online. Every spring, thousands of people all around the world commit to 100 days of exploring their creativity. The idea is that you pick a theme or a project and rev on that 100 times. This year, our focus is on how ancient symbols inform contemporary brand design.

In the beginning, you tend to go for the most obvious choices, but by day 19, you find yourself really having to flex your creativity. It forces you to think from different perspectives and be thoughtful about your approach to rendering something in a unique way.

How did the team land on symbols?

We threw around a couple of ideas, but something about exploring symbols seemed to capture everyone's imagination early on. Three or four years ago, I created a site called the State of Symbols, which is a designer-friendly repository for symbols. #100DayProject is a great way to build off that work and the fact that there are so many symbols with thousands of years of history fits the 100-day format nicely.

What excites you most about this project?

I think my favorite aspect is being able to research each symbol and the creative process of meditating on how to render it in a new way. With the State of Symbols, I was mainly recreating existing symbols. This project is much more about breathing new life into these ancient shapes and allowing yourself the time to reflect on the core idea in an illustrative way. That requires learning the history, what it means, and seeding it in your mind as a concrete thing.

Designer Keyoni Scott is helping create the animations, and he described the process "almost like doing crosswords or those daily mind games. It's a good way to keep the creative mind sharp and fun to just create something daily. Nine times out of ten, I learn something that I didn't know before and I think that's amazing."

What reference materials are you using in your research?

We've been using "Shepherd's Glossary of Graphic Signs and Symbols," which is an amazing collection of everything from punctuation to railway iconography to maritime navigation symbols. Also, Carl G. Liungman's "Dictionary of Symbols" and I. J. Gelb's "A Study of Writing."

To me, there's something about these print collections that are a little more legitimate than wandering for images online. You can find interesting things online, but it can be hard to tell if the person is just making stuff up without the original source. As Design Director Robert Saywitz said, "Projects like these allow you to explore different mediums beyond just the computer and brings inspiration to the forefront rather than waiting for it to arrive."

What have you learned from the process thus far?

For one, just how many Venus stars there are. From far east Chinese symbols all the way to the Celtic, thousands of people throughout history have been looking at this planet and rendering it in different ways. Whether it's a five-pointed or eight-pointed star, there's something kind of beautiful about everyone drawing inspiration from the same thing.

Another thing is how symbols change over time. We tend to think about meaning being fixed, but certain figures like the pentagram have changed meaning roughly every 1000 years - from the morning and evening star in Palestine to the contemporary Wiccan symbol for the elements and spirit.

Lastly, the pace of the project is a challenge of its own. It needs to go out every single day whether it's perfect or not, which forces me to be brave about decision making. Sometimes, that means bringing something to life through simplicity. For instance, the North African Berber tribe symbol for "bird" is built out five simple squares, but through the use of animation, it suddenly looks like it's in flight.

What lessons can you apply to your design practice and the work we do for brands?

People have been trying to communicate the same ideas for 40,000 years. At its heart, symbols display concepts - and that's what we do as a brand studio. We get the core concept of a company, distill it down to a simple form - the simpler the better - and we bridge the gap between a visual symbol and a series of beliefs, values, or products. As Senior Designer Beth Abrahamson said, "Symbols and their histories are inherently tied to branding, as most logos are variations of symbols that have been around for centuries and have been reinterpreted many times. Symbols are part of our vocabulary as designers and it's super important to know where the primary forms come from and what they mean."

Oftentimes, a company's symbol has grown so strong that it creates a life of its own and can be simplified down to a basic geometric shape. Look at Google: the open circle form makes this shape accepting, something that has an inward motion that is exaggerated with the horizontal rule created to the right. Regardless of color, scale, or representation, it communicates the friendly nature that Google has come to embody.

Whenever I'm starting a new identity or branding project, I always try to see if there's anything that communicates the message through the symbol itself. Sometimes, I'll bring a symbol into Illustrator and start taking it down to its components. It's critical to do that kind of research, because you don't want to pick a symbol that's highly offensive in a certain culture, or references something that's counter to a company's mission. Designers have a responsibility to know their history, produce great work, and keep these symbols alive.

Emotive Brand is a brand strategy and design agency in Oakland, California.

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For over 40,000 years, humans have used logographic symbols to communicate complex ideas. Whether it's the manifestation of a god, or a unified graphic language to communicate cultural values, the symbol has always been driven by concept. This is no different today.

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A hands on activity with involved folding techniques (symmetry, geometry) that creates a device for students to use to communicate their feelings via 4 different emojis. It also could serve as a fidget device. Students will have the option to choose the 4 emojis that would best sum up their range of emotions (self-reflection, self regulation).

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An endless card template for students to create and use to communicate how they are feeling.

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A concise guide to the different types of symbols: Pictogram, Ideogram, Icon, Rebus, Phonogram, Typogram and Logo.  Provides a clear definition about the purpose of each as well as recognizable visual examples.

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pictogram

ideogram

icon

rebus

phonogram

typogram

logo (trade mark)

Pictograms are public symbols,they are used to convey information through their resemblance to a physical object or place.

There is no connection between the spoken word and the object pictured. A pictogram recalls the object or concept itself to mind, not its name.

That's what makes pictograms international.

Pictograms represent objects and places

Ideogram is a simplified picture that is selected by agreement or custom to become fixed pictorial symbols of an object, idea, or concept.

The name of the object (or its action) is closely identified (associated) with the picture.

Ideograms represent actions, ideas, or concepts.

Icons represent objects and their functions.

The name of a function (computer program, app) is substituted with a symbol that is recognizable and logical.

The most common use of icons in on digital devices.

Icons represent objects and/or their functions.

Rebus is a symbol that represent spoken sound, word or a part of a word.

Pictures that represent that sound or word have a completely unrelated meaning than the sound they represent in a rebus. For example: "B", "Bee", "be" sound the same and can be used in a rebus to substitute one another.

Most rebuses function only in one language and do not translate into another.
Some exceptions apply though - there are few international symbols that can be used in a rebus.
Rebus uses pictures to represent sounds, words, or parts of words.

Phonogram is a symbol that represents a spoken sound.

Every letter in Latin or Cyrillic alphabet is a phonogram.

Phonogram represents a spoken sound.

Logo is a type of symbol used to represent a brand and to promote products and services.

Logo's job is to quickly identify and tell the story about a company, a service, a product, an idea, or an individual.

is a unique symbol that identifies a company.

Wordmark consists only of text, often stylized using a unique font.

Text-only logo styles are an excellent choice for smaller companies who are just starting their business and need to have their name out.

Lettermark is an abbreviation of a company name.

Initials will help you simplify your logo design, especially if the name is a long one..

Brandmark is a pictorial symbol of a company.

Combination marks ( also known as iconic logotypes) - is a combination of an icon (brandmark) and the company name.

Icon and text are positioned next to each other and can be used separately.

Emblems hold text inside of a symbol so that the two are practically inseparable. Text is a part of the symbol.

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pictogram ideogram icon rebus phonogram typogram logo (trade mark) Pictograms are public symbols,they are used to convey information through their resemblance to a physical object or place. There is no connection between the spoken word and the object pictured. A pictogram recalls the object or concept itself to mind, not its name.