Derivative Designs
The flags of Bosnia & Herzegovina (top) and Kosovo (bottom) have references to the European flagThe design of the European flag has been used in a variation, such as that of the Council of Europe mentioned above, and also to a greater extent such as the flag of the Western European Union (WEU), which uses the same colours and the stars but has a number of stars based on membership and in a semicircle rather than a circle. It is also defaced with the initials of the Western European Union in two languages.
The flag of Bosnia and Herzegovina does not have such a strong connection as the WEU flag, but was partly inspired by the European involvement in, and aspirations of, Bosnia and Herzegovina. It uses the same blue and yellow colours and the stars, although of a different number and colour, are a direct reference to those of the European flag.
Likewise, the Republic of Kosovo uses blue, yellow and stars in its flag in reference to the European flag, symbolising its European ambitions (membership of the European Union). Kosovo has, like Bosnia and Herzegovina, seen heavy European involvement in its affairs, with the European Union assuming a supervisory role after its declared independence in 2008.
Other labels take reference to the European flag such as the EU organic food label that uses the twelve stars but reorders them into the shape of a leaf on a green background. The original logo of the European Broadcasting Union used the twelve stars on a blue background adding ray beams to connect the countries.
Read more about this topic: Flag Of Europe
Famous quotes containing the words derivative and/or designs:
“When we say “science” we can either mean any manipulation of the inventive and organizing power of the human intellect: or we can mean such an extremely different thing as the religion of science the vulgarized derivative from this pure activity manipulated by a sort of priestcraft into a great religious and political weapon.”
—Wyndham Lewis (1882–1957)
“He began therefore to invest the fortress of my heart by a circumvallation of distant bows and respectful looks; he then entrenched his forces in the deep caution of never uttering an unguarded word or syllable. His designs being yet covered, he played off from several quarters a large battery of compliments. But here he found a repulse from the enemy by an absolute rejection of such fulsome praise, and this forced him back again close into his former trenches.”
—Sarah Fielding (1710–1768)