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Over the centuries flags have, and are, being used to show unity. This can take the form of unity between peoples, countries, alliances, and organisations. The purpose of this paper is to give a general review of the design development of these “flags of unity”. From their origins in heraldic royal banners, then national flags, born of unification, and on to flags of alliances, liberation, and more recently international co-operation, flags with unity as their central design theme are as varied as the peoples, countries, and groups they represent.
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The creative process and principles informing the design of some special purpose and other flags lead to conclusions for flag design in general. The dynamics of metaphor and shapeshifting are considered. The scope for greater pageantry and innovation in flag design is explored. Current national flags of complex or awkward design present a challenge. Possible remedies are suggested. To paraphrase a famous utterance, the known delivers the unknown, and as at least one national flag of recent vintage demonstrates, the unknown can lead to an unforeseen, but serendipitous result. Among the many instances of how not to design a flag, how to is more worthwhile. Vexillologists have higher standards.
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Over one hundred municipal flags have been recorded from the four Atlantic provinces of eastern Canada. Recognising that not all communities in the Atlantic Provinces “face the sea”, an analysis was undertaken to determine the significance of the major categories of local enterprise, and from that the effect of these enterprises in the design of the flags. The analysis included elements from the arms or municipal seal commonly displayed on the flags. The analysis of these flags and the communities they represent reveals that the flags reflect the industries that dominate the economy of the municipalities, especially those that are coastal communities, chief among which are maritime enterprises.
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