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Results 19 resources
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A new web infographic by a pair of Danish designers has everything you never knew you wanted to know about the world’s flags.
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NAVA’s Flag Design Forum remains the premier gathering for flag design enthusiasts and vexillographers to connect with flag efforts underway and discuss improvements. Now entering its 6th year, the forum has played a key role in many flags in the U.S. and beyond.
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This article describes in detail the history, design, and selection process for the flag of Reno, Nevada, USA adoped on May 9, 2018.
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This note calls for discourse on how NAVA should define vexillology and its scope as an organization, particularly as it relates to participating in flag design efforts. It also previews upcoming voting on NAVA bylaws, a process which began at NAVA 51, the most recent annual meeting.
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This piece summarizes Javier Yep's motivation and design process for creating the Flag of Unity in Diversity, a flag meant to represent the diversity human cultures with a collective symbol. Yep reviews his methodology and describes outcomes of the flag development process.
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This article highlights the new flag of Burlington, Vermont, USA. It covers the flag design contest, the timeline of design implementation, and the symbolism on the new flag.
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This article highlights the new flag of Liberty Lake, Washington, USA. It covers the flag design contest, the timeline of design implementation, and the symbolism on the new flag.
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Quarterman shares anecdotal history of the Mississippi state flag and Confedarate symbols. He describes the movement towards flag change in Mississippi as he has experienced it and his design process to systematically create 150+ mock-ups of a new Mississippi state flag. He reports on the current state of flag change legislation.
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Chart that shows flags that can be flipped in different ways, but still look the same. Categories include flags that can be flipped horizontally or vertically; those that are identical when flipped horizontally; flags that are identical when flipped vertically; and flags that can't be flipped.
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The proportions of a flag are an integral part of a flag’s design. In some cases, the proportions are the only way to distinguish between otherwise identical flags, such as Monaco (16:21) and Indonesia (2:3). This flag investigates the variations in flag proportions, including the influence of colonial flags on the flags of modern independent nations.
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Among the most common motifs in U.S. state flag design is the placement of a state seal or achievement of arms on an undivided field. Vexillographically speaking, however, sigillary flags fail the tests of distinctiveness and visibility. As an exercise in flag design that may prove both vexillologically and heraldically sound, as well as more politically palatable than a de novo design, we present the designs for armorial banners of U.S. states – both in square form and in the 2:3 ratio likely to be used if a state were to adopt an armorial banner as its state flag.
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Sentell summarizes his teaching of a vexillology unit in grade 7-12 classes in Georgia, USA. He lists test questions he asks the students and shares some flag designs that students came up with for their final projects, including explanations of symbolism.
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The world of vexillology has seen two important debates in recent years. The first debate concerns the proper scope of vexillology, in particular whether it should be defined essentially as the “scientific” or “scholarly” study of flags. The second debate concerns the usefulness or desirability of efforts such as Ted Kaye’s criteria for “good flags” and “bad flags” as the primary guides to proper flag design. This paper considers and connects both questions. It argues that most vexillological work is not “scholarly” in the sense that term has come to be understood, but that this is just fine. Nevertheless, to the extent that vexillology does aspire to be a serious scholarly enterprise, the most promising scholarly model for that enterprise is not history or sociology (though a good deal of important historical and sociological work about flags has been done and remains to be done), but aesthetic criticism—art, architecture, literature, music, and the like. But if that’s true, then we need to welcome a rich set of aesthetic, critical, conversations. And that conversation must go way beyond the limits of a single pamphlet.
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Over 300 American cities and towns are known to have adopted new or redesigned flags to represent their communities between 2015 and 2022. In late 2022, NAVA conducted an online survey asking respondents to rate those flags’ designs on a 0–10 scale. The 2,852 respondents (308 NAVA members and 2,544 public participants) selfreported from 90 countries (71% from the U.S.); their ages distributed widely. Afterwards, NAVA blanketed the country—especially the cities with flags in the survey—with press releases yielding wide media coverage. With average ratings converted to a letter grade, over 30% of the flags got an A or a B, but over 60% of the flags got a D or an F. Analysis of the results not only showed a range of design quality, but also provided insights into how perception of the designs varied across respondent ages, locations, and NAVA membership.
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Flag designers often need to decide how to convey the idea of facing or moving “forward”. An effective solution depends on the representational traditions and the psychology of flag perception. These are surprisingly complex matters, however, as people may bring multiple ways of projecting the idea of “forward” onto a flag, ways which can reinforce or contradict one another. This paper lays out five different ways people may impose a sense of horizontal directionality to a flag.
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