#So it's only natural that contemporaries were unsure about the specific details

[wonder-worker]

"Mancini, an Italian visitor to England, was concerned for (Edward V and Richard of Shrewsbury's) fate as early as mid July. Well before he left England in that month, the princes, he later wrote, 'were withdrawn into the inner apartments of the Tower and were seen more and more rarely behind the bars and windows, till at length they ceased to appear at all'. Rumours of the princes' deaths were already circulating by the year's end. George Cely reported that he had heard that Edward V might be dead not long after 13 June, and certainly before his uncle claimed the throne. The Crowland chronicler, writing in about 1486, recalled how the rumour arose in September 1483 that 'the princes, by some unknown manner of destruction, had met their fate'. Some early reports went further, stating quite categorically that the princes were no longer alive. Robert Ricart, recorder of Bristol, entered in his Kalendar under the year ending 15 September 1483 that 'in this year the two sons of King Edward were put to silence in the Tower of London'. Shortly after 1485 the anonymous compiler of a genealogy of English kings concluded his work by accusing Richard, with his accomplice Buckingham, of murdering the princes. A London citizen, in some historical notes written before the end of 1488, noted that 'they were put to death in the Tower of London' in the mayoral year ending November 1483. John Rous, writing in 1489, reported that Richard killed the princes within three months of welcoming Edward V at Stony Stratford on 30 April; Richard, he wrote, 'received his lord king Edward V blandly with embraces and kisses, and within three months or a little more he killed him with his brother'. Rumours to similar effect reached France. In a speech to the estates general in 1484 the chancellor of France, Guillaume de Rochefort, reminded his audience how Edward IV s sons had been murdered and the crown seized by the murderer."

-Nigel Saul, "The Three Richards: Richard I, Richard II and Richard III"

*Just to add, Casper Weinrich of Danzig's chronicle at the end of 1483 also states that, "Richard, the King's brother, has put himself in power and crowned in England and he had his brother's children killed" and then in 1485 "King Richard of England, who had had his brother Edward’s children killed, was killed about St. Lawrence Day"

[wordsnstuff]

Guide To Writing Historical Fiction

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Know The Period Well

When writing a story that takes place during a time you have no primary experience with, it’s important to do your research and not only be able to recall facts but be able to apply historical context to the plot. It’s especially important to consider diversity in period pieces and avoid whitewashing your cast, even if your story is set in a historically white place. The most obvious offender of this is England, but there were many people of color in premodern England that are completely underrepresented in modern fiction about the time.

Balance Drama and Accuracy

Realistically, you’re not writing a school report. There are corners you can cut in order to prioritize the plot and characterization over textbook accuracy. However, if you’re going to misrepresent something, be elegant and intentional about it. Make sure that the moment is worth it and that it serves you to do so. Convenience is not a reason to not do your due diligence.

Readers Will Find Errors, No Matter What

Accept that some readers will not understand that the nature of fiction is not to teach them about non-fictional things. There will be nitpickers, history buffs, “intellectuals”, and internet warriors who take it upon themselves to find and scrutinize every inaccuracy. You cannot avoid it, no matter how careful you are. Remember that your job is to entertain and provoke thought. Leave textbook writing to those who get paid for it.

Be Specific With Time and Place

Being vague about where and when your story is taking place may relieve you of heavy research about specifics, but it will take away from the reader’s experience, and that should always be your priority. People have prior knowledge about time periods and locations, so use that to your advantage. The more specific you are, the less work you have to do in order to create a world in which your characters can exist. Of course, you have to paint the picture, but at least this way you won’t have to design it.

Time and Place Shapes Your Character

Do not place contemporary people in a different time and location, put them in a corset and expect your reader to be immersed in that historical setting. Most of your work in characterizing for this genre will be contemplating what context and circumstances will shape your characters and how that will manifest in the way they think, feel, and behave. Place emphasis on this part of the process, because no matter how well you paint the background, it will be ruined if you have stick figures all over it.

It’s Gonna Take A While

Think about how long it takes to research a history paper versus how long it takes to draft. It’s the same with historical fiction. You will spend about 30% more time in the planning stage than you will in the writing stage. If you don’t have a passion or at least an interest in history, this genre is not for you. There’s no shortcut and there’s no way around it.

Common Struggles

Believable dialogue… Your writing style is your business, and the density of your writing style should usually go hand in hand with the intensity of the dialogue. If you’re writing a historical fiction in a modern voice, don’t break that up with extremely dense dialogue with vocabulary that the reader will have to pick apart. A happy medium, no matter the density of your narration, is usually a safe bet, where it evokes a time period but doesn’t directly copy it. This makes it clearly understandable by the reader but doesn’t destroy their suspension of disbelief amongst denser or lighter narration.

Little details… Guess and check. This is what editing is for. Well, that and nailing the historical voice, but that’s another issue for another time. If you’re on a roll on your first or second draft, don’t open google and agonize over one detail. Have someone more knowledgeable look over it later or do more research in the interim between writing and editing and then check yourself during the next stage.

Vocabulary… This is, again, a guess and check sort of thing. Finish the draft in a way that is clear above accurate and then highlight the words and phrases you’re unsure of before going through and checking each one. Again, you’ll spend more time editing than writing with this genre for this very reason.

Historical Norms… My best advice for getting a feel of what life was and wasn’t like during a certain time period and in a specific area is to read other texts that are reliably accurate and set/about the same time and place. It’s an easy way to get accustomed to the setting as the writer and eventually visualize that place when you’re writing it.

Retelling versus implementing… It’s really easy to lose sight of that line between setting your plot amongst a historical event and making that historical event the plot. I’d say a good way to make sure you’re not writing a narrative textbook is make a timeline of each scene in your draft and if more than 40% of your story centers around a historical event and the ins-and-outs of it rather than the fictional events within the plot, then you’re probably going a little heavy on the history.

Medicine/Technology… I’m not necessarily well-versed in historical medicine or technology but I do know that @inky-duchess can offer quite a few resources on medicine and that regarding technology throughout history, just write your first draft and then go back and fact check. Highlight technological inventions that are mentioned in the text and check that they were already in use at that time.

Other Resources

Resources For Writing Period Pieces: High Middle Ages & Renaissance

Resources For Writing Period Pieces: 1600s

Resources For Writing Period Pieces: 1700s

Resources For Writing Period Pieces: 1800s

Resources For Writing Period Pieces: 1900-1939

Resources For Writing Period Pieces: 1940-1969

Resources For Writing Period Pieces: 1970-1999

Things To Listen To When You’re Working 

Useful Writing Resources

Useful Writing Resources II

Resources For Worldbuilding

Resources For Plot Development

Writing About Another Era

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[dweemeister]

The Big City (1963, India)

By the mid-1960s, Satyajit Ray had proven himself to be one of India’s best filmmakers. He had earned the acclaim of audiences, critics, and filmmakers for the Apu trilogy (1955-1959), The Music Room (1958), and Devi (1960). But no matter the filmmakers or where they come from, a succession of films that do not connect can leave one scrapping for work. This is where Ray found himself in the early 1960s after a handful of works that could not match the lofty standard of his first films. So Ray turned, for the first time, to his native Calcutta (located in West Bengal, where Bengali is the official language; some of Ray’s previous films were partially set in Calcutta) and contemporary times for inspiration and incorporated his interest in featuring women as the center of his films. The result was The Big City – also known by its original Bengali title, Mahanagar – which reinvigorated Ray’s creative output.

Like many of Ray’s films, The Big City paints how individuals reckon with the constant cultural changes that come to their doorsteps or workplaces. But unlike the aging zamindar walled away from the world in The Music Room, The Big City depicts a modern struggle for gender equality that persists in India and the world over – a situation defying time and place. Ray’s achievement here signaled to viewers that he has more to say outside the impending march of modernity and dehumanizing urban demands on those from rural areas.

Housewife Arati (Madhabi Mukherjee) is concerned about the financial situation of her family. Living in a cramped apartment, her husband Subrata (Anil Chatterjee) and only son Pintu (Prasenjit Sarkar) are facilely supportive when she states her intentions to find a job; citing tradition, father- and mother-in-law Priyogopal (Haren Chatterjee; no relation to Anil) and Sarojini (Sefalika Devi) voice their opposition. Despite these gaggle of voices under one roof, Arati nevertheless finds and excels as a door-to-door saleswoman. In her early days of employment, Subrata is resentful of his wife, but he swallows his pride when he is laid off from his job at the bank after a bank run. With Arati now the sole worker, she will soon contend with workplace drama between her new Anglo-Indian friend and coworker Edith (Vicky Redwood) and her boss, Himangshu (Haradhan Banerjee) – the later of whom promises to help Subrata find a job.

What a simple story this is, with Ray’s screenplay adapted from Narendranath Mitra’s short story “Abataranika”. I write that not in disparagement, but awe. Few filmmakers can take such a grounded and domestic story and wrest torrents of sympathy, disappointment, and admiration for the characters within. Ray is one of those gifted few, extracting solid performances from his acting ensemble. Mukherjee, who would turn in an even more accomplished performance in Ray’s Charulata (1964), gives Arati poise, intelligence, and the moral righteousness that make it unthinkable to root against her. To play Arati as overly meek would undermine The Big City’s themes; to play Arati as an upending-the-patriarchy-and-taking-names feminist commando would rob the film of any dramatic interest (in addition to being improbable, given the circumstances). Mukherjee strikes this balance in ways that suit her character, with her best work ahead of her. Arati’s sense of justice is steadfast at the film’s climax, rendering her unsure whether her principled actions have been worth the consequences. That the film provides an uncertain, incomplete answer – despite Subrata’s counsel and attempt and reassurance – is to its credit.

Her friendship with her Anglo-Indian friend Edith marks the first instance of a Ray film commenting on racism. Anglo-Indians are those of mixed Indian and British descent. Many Anglo-Indians, if they could, attempted to pass as British so they could have more secure professional and political privileges. In The Big City, English-speaking Edith (her Bengali is limited to a few words and phrases, though it appears that Edith mostly understands Bengali) certainly could “pass” as British, but she is neither accepted in Anglo nor Indian circles. The tension between Edith and Himangshu in his racist beliefs about her character. How this situation develops is a testament to Ray’s attention to how out-group minorities in India can be treated (even if Edith, as a character, is never developed beyond the fact she is Arati’s friend), as films with clearly defined mixed-race characters are rarities across cinema. This was groundbreaking for Indian cinema in its ethnic-linguistic entirety (not just Bengali-language filmmaking, which Ray was the paragon of), especially in Ray’s intersecting of race and gender.

As one sees through Edith and Arati’s friendship, Britain’s colonial legacy was never far from the surface during the first decade of Satyajit Ray’s films. The train that entrances Apu and his sister, Durga, as they frolic among the kans grass in Pather Panchali (1955) foreshadows the Westernization of India’s urban life that Apu will encounter and struggle with as a teenager and a young adult. Actors Anil and Haren Chatterjee must contend with their characters who uphold the incompatible values of traditional gendered roles (in the sense that women should only be homemakers) and the stressors of a capitalist society. For Haren Chatterjee, as father-in-law and former schoolteacher Priyogopal, we see an elderly man not only dependent on his adult son and daughter-in-law but also his former students. He is helpless without them, but too proud to fully retract his denouncement of Arati’s professional plans. Ray and Haren Chatterjee portray Priyogopal with understanding – this old man’s guarded humiliation, no matter his opposition to his daughter-in-law’s work, is not to be celebrated. The displacement he and, to a lesser extent, his son feel reflects how, in a capitalist society, those not engaging in production are automatically excluded. Woven into the patriarchal society that Priyogopal and Subrata have been raised in and have live all their lives, these disruptive times expose their masculine insecurities – given purpose and form in earlier times, but now altered to something neither recognizes.

With no countryside to juxtapose with the urban, streetcar wire-filled landscape, what does Ray say about the promises of the big city? Often in contemporary Western cinema, the city is a vibrant, cosmopolitan place that, though potentially engendering an individual’s loneliness, is welcoming and conducive to ambition regardless of gender or race. Those promises of upward social mobility and civic harmony are not devastated by The Big City, but the film states that the transition from obsolete traditions to the cosmopolitan ideal is difficult, and unrealized in the case of Arati and her fellow female coworkers. The variant of capitalism here, to Ray, remains tied to traditional views of gendered roles at home and in the workplace, satisfying the needs of few. Ray is open to capitalism’s prescriptions and its supposed egalitarian goal, but it is a distant dream in The Big City.

With a trained eye for detail, Ray can make scenes susceptible to feeling staged feel as natural as can be. Scenes about family dinners, socializing among coworkers, and a trip to the doctor’s office contain dialogue that believably would be said in those settings, behavioral tics appropriate for certain situations, and production design that never calls attention to itself as production design. For Ray and longtime collaborator, cinematographer Subrata Mitra, the patient framework and unhurried approach to the film enliven Arati’s journey and Subrata’s and Priyogopal’s inner turmoil. Inspiration might also have emerged from Ray’s childhood – Ray never knew his father, and was raised and educated by his mother, who balanced a sizable professional workload alongside household duties. As his mother’s only son, Ray could see how difficult it could be for a widower with children in India. Those memories influenced how Apu’s mother in Aparajito (1956) was portrayed and certainly lends to Arati’s moving characterization for The Big City.

After a successful international film festival run abroad, The Big City’s first South Asian debut outside of India occurred at a Dhaka film festival (then East Pakistan, now Bangladesh) in 1964. So anticipated was the film that thousands of women lined up for tickets, which sold out quickly. A riot and police violence ensued, forcing the festival organizers to schedule ten consecutive screenings of The Big City (that’s roughly seven minutes in between showtimes). Needless to say, The Big City rejuvenated Ray’s directorial career, catapulted Madhabi Mukherjee to stardom, and praised among Bengali audiences and those, like Edith, might have trouble speaking the language.

The Big City is a film where the dramatic resolution acknowledges the limitations of the systems in which it was created and the setting of its original release. Yet in its cultural specificity, it contains universal themes of gender equality, the difficulty of appealing to human decency, and the unbelonging of mixed-race individuals. Greater examples of Ray’s auteurism exist, but The Big City demonstrates his signature artistic and humanistic daring.

My rating: 8/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found here.

For more of my reviews tagged “My Movie Odyssey”, click here.

[jollycrusadedream]

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[annasdesignblog-blog]

Week 3 - The Industry

This week was all about researching the industry: careers, my options, awards, companies, etc. 

I have first used the Prospects website, a site for all things job and career related (https://www.prospects.ac.uk/) to research the exact career within the creative industry that suits me best. After some reading, I am certain the role of Graphic Designer is what would suit me best. The other job options that were recommended for me as they directly applied to my degree were Animator, Production Designer and VFX Artist. However, I am not very interested in those. The reason I think that a Graphic Designer role is the most appropriate for me is because I fit all the qualities needed, have a lot of experience of the typical responsibilities described and are very interested in what the work involves. The full job profile can be viewed here, but I will highlight the key points I have found: https://www.prospects.ac.uk/job-profiles/graphic-designer.

“A graphic designer works on a variety of products and activities, such as websites, advertising, books, magazines, posters, computer games, product packaging, exhibitions and displays, corporate communications and corporate identity, i.e. giving organisations a visual brand. You'll work to a brief agreed with the client, creative director or account manager, and will develop appropriate creative ideas and concepts for the client's objectives. The work demands creative flair, up-to-date knowledge of industry software and a professional approach to time, costs and deadlines.”

Your typical responsibilities as a graphic designer include:

Meeting clients or account managers to discuss the business objectives and requirements of the job

Estimating the time required to complete a job and providing quotes for clients

Developing design briefs that suit the client's purpose

Thinking creatively to produce new ideas and concepts and developing interactive design

Using innovation to redefine a design brief within time and cost constraints

Presenting finalised ideas and concepts to clients or account managers

Working with a range of media, including computer-aided design (CAD), and keeping up to date with emerging technologies

Proofreading to produce accurate and high-quality work

Commissioning illustrators and photographers

Working as part of a team with printers, copywriters, photographers, stylists, illustrators, other designers, account executives, web developers and marketing specialists.”

I think I have proven to have be able to handle most of these responsibilities:

Developing design briefs - I have developed my own creative brief in a project last semester at university, where I created my own Japanese style restaurant and takeaway located in small villages and towns, enabling a variety of choice for a takeaway as it’s not just common Indian or Chinese restaurants and takeaways most know and are familiar with. 

Thinking creatively – I always explore many options and alternative ideas before deciding on the final, and try to come up with concepts that haven’t been created previously.

Presenting finalised ideas and concepts – at the end of a project at university, a presentation is always involved, but this is also featured throughout the course and not just on final deadlines, so I have presented multiple times. Having a job currently that’s customer service based also means I have the confidence to present, as my job is based on talking to people.

Working with a range of media – I am comfortable using Adobe software, such as Photoshop, Illustrator and InDesign as well as Microsoft Office, but I’m also very comfortable with sketching, painting, printmaking and collage. 

Proofreading to produce accurate and high-quality work – my work almost never contains typographic mistakes, colour errors, etc. as I have a keen eye for detail. I can also work with a large quantity of text as seen in my university theory work such as the essays, and the lack of mistakes in them. 

Working as part of a team – I have started working in groups on a brief for the first time last semester at university, and I’d say that this was successful as everyone participated, and I especially took care of meet ups to ensure everyone knew what they had to do and was up to date.

However, there are a couple of points stated that I have not had experience with yet, such as commissioning illustrators and photographers, estimating the time required to complete a job, providing quotes for clients, using innovation to redefine a design brief within time and cost constraints and meeting clients. I am not sure if I will have a chance to do these during my time at university as they are things done when working in a professional environment, however I’ll try to keep those in the back of my mind so I can be on the look-out and see if the opportunity to complete some of those appear.

I have next researched into more specific and detailed jobs related to a Graphic Designer using this blog, https://blog.printsome.com/graphic-design-jobs/, which explains all different branches a Graphic Designer could get into. The ones appealing to me the most are:

Marketing Graphic Design:

Marketing Exec – creating promotional materials, e.g. coupons or ads that show shoppers what the latest sales are

Branding designer – for a lot of really well-known companies, their branding is so strong that you can recognise one of their products instantly with a small piece of information (e.g. a specific colour)

Logo design – though it’s a niche, there are plenty of people whose entire job consists of creating logos. This is perfect for designers who love to spend a good time on the drawing board

Editorial Graphic Design:

Editorial design – coming up for designs for things like newspapers and magazines to get the perfect balance between images and text

Book editorial design – you can specialise even further and just focus on book cover design. These designers also work on supplementary materials to promote those titles

Layout artist – this is another niche of editorial design, meaning you only focus on layouts of print publications

I am unsure currently which out of these two I would prefer to take up as a career; if I were to apply for a job involving one of these roles with my portfolio as it currently is, I wouldn’t be able to apply for the editorial role as I don’t have many examples of editorial work – perhaps this is something I can work on.

Mentioning applying for jobs, I have used Design Jobs Board, a site dedicated for creative job adverts to view current roles being advertised. This website can be found here: https://www.designjobsboard.com/. This particular advert caught my attention the most:

This advert is for a Graphic Design Internship based in London; it is likely the type of roles I will be applying for after graduating. From the description, I think that this role would be ideal for me as it matches my skills and desires: eagerness to learn, humbleness, experience with Photoshop, Illustrator and InDesign, understanding of design, passionate, organised and sociable. The location of London relates back to my blog post from last week, with Keith advising that if you really want to be successful, moving to somewhere like London could be extremely beneficial due to the amount of creative jobs that are found there.

In addition, I came across this book at the library when researching various roles within the graphic design are; it’s all about how to become a graphic designer. The book is simply titled “Becoming a Graphic Designer: A Guide to Careers in Design”, and it’s written by Steven Heller & Teresa Fernandes. The book explains the different areas of graphic design and tells the reader what to expect from them and how to get the role you want by what is expected in your portfolio; this information is supported by interviews from famous designers such as Milton Glaser and Chip Kidd as well as contemporary ones. Here’s a small preview of what the book contained:

In the industry, it is common for designers to recognised for their work by receiving awards. The most significant award in the graphic design industry is the D&AD Award (https://www.dandad.org/en/d-ad-awards/), which comes in the iconic pencil shape. As the website describes, “The D&AD Awards have been around for 57 years. They stimulate and celebrate creative excellence in commercial creativity, annually inviting 250 of the world’s greatest creative practitioners to judge the year’s finest work. The award is the symbolic D&AD Pencil, and for those who achieve one, it is career defining. The D&AD Professional Awards are recognised globally as the ultimate creative honour, entered and attended by the best from around the world.” The D&AD Award doesn’t only focus on graphic design, but design in general by including other disciplines such as architecture and fashion. Designers applying for the competition know they’re being judged by experts and the best people in the industry. 

As the competition hasn’t happened this year yet, I have looked at last year’s winners, focusing on the area of Branding - all of the winners and runner ups can be viewed here: https://www.dandad.org/profiles/jury/733267/branding-2018/. These are two of my favourites:

1. Agency: Jones Knowles Ritchie, Client: Ugly Drinks - https://www.dandad.org/awards/professional/2018/branding/26723/the-ugly-truth/

“Ugly was the first 100% natural, fruit-infused sparkling water to market. To take its message to the masses, it adopted an approach that was every bit as bold and uncompromising as the product. The result? The Ugly Truth campaign that is both provocative and playful in tone.”

What I really like about this is the playful and lively atmosphere – a lot of drink companies attempt to do this, but I don’t think any manage to come across as bold and stand out as much as this one. I also like the contrast between the blue, a colour associated with peace and calm, and the exciting, energetic imagery. I also like the cartoon style. 

2. Agency: Interbrand Australia, Client: Cotton On Group - https://www.dandad.org/awards/professional/2018/branding/26746/g-ay-mate/

“G’day mate. The most famous of Aussie phrases. So, when the debate on legalising gay marriage turned sour, Cotton On Group decided to embrace the term as part of the collective fight back. G'AY MATE is a reminder of what it means to be Australian: friendliness, being laid back, and to always give everyone a fair go.”

The play on words used is so clever, which helps the audience to understand the message instantly. The reason why the message is so smart because the designer uses the famous Australian saying, and relates that to gay rights by taking out a letter, creating a missing element. The plain design and bold text helps the message to come across also, as there’s nothing else to take away attention.

I personally haven’t ever entered a design competition, however I think it could be a good experience - at the end of sixth form, I was awarded “Outstanding Student” in graphic design as my work achieved full marks and was always consistent in quality and I was so pleased to receive this, so to be recognised by professionals in the industry and win something meaningful could be great. 

Library Visit:

From the library visit, I have decided to look at journals that focus on Graphic Design specifically. I came across Communication Arts, which is the largest international trade journal of visual communications, founded in 1959. The issue I looked at was published November/December 2018; it’s the annual advertising journal, where designers submit their best advertising work from the past year. This particular issue was of my interest as advertising is part of the branding area, which is what I want to get into.

The issue doesn’t only show a number of images of various advertisements; it also discusses how advertising differs nowadays in comparison what it was thought to be a decade ago. Crimi-Lamanna, one of the judges who decided on the images that were put in the magazine, stated that adverts are more common online and on social media nowadays, rather than on television and magazines where they traditionally would be found. She noted that this isn’t a negative thing, as social media advertising allows an opportunity to move from just story-telling and content creation on different platforms to more ‘story doing’, where costumers are invited to participate in a variety of brand actions that prove that brand’s values in unexpected ways. I agree with this, as you can’t interact with an advert seen on television or a magazine, as much as social media which does allow for a new concept. Crimi-Lamanna expands, and mentions all the tools available now that enable brands to get closer to customers; the intimacy created allows a greater connectivity to brands. Additionally, customers have a larger role in advertising now, rather than just being buyers of products – they can question how do we help serve?, and how do we raise awareness of the issues that need attention? Customers are realising that they are the masters of shifting public thinking, and those powers should be used for good. Again, this is something I strongly agree with it, and I think social media is to thank for this, as it’s very easy to create content to advertise and promote yourself if there is something one feels isn’t receiving as much attention as it should – customers are in the same position as advertising companies by doing this.

Moving on, these are some of my favourite adverts I saw in the magazine.

The social media influence is very strong in many of those adverts, in particular the first two. The first one is based on texting, however with a twist as it’s an interaction between a human and a body part of theirs - their liver, which is a really smart way to raise awareness of safe drinking I personally think - it’s fun, but very informative at the same time. The second one is different, as it’s the Coca-Cola company engaging with their customers by creating unique bottles with names on. The other two are beauty based - I really like the collage technique used in the first one, and the mixture of faces as no face on that advert is simply one face. There’s a sense of mistaken identity, which of course matches with what is being advertised as the question of “who” is being asked. The last one I particularly enjoy and especially its use of texture as a way to connect with the audience - common textures are used that most people have come across previously, and the posters don’t ask “does your skin feel like this?” - it’s more firm and assertive, telling the audience to visit this place if they relate.

Action Plan:

As I mentioned earlier, I would like to possibly get into the editorial industry in the future, however, at the moment I don’t have any work to put into my portfolio that is editorial. By the end of the module, I would like to re-create an already existing magazine article and cover, which can be later used in my portfolio as an example of my own editorial work.

Additionally, after researching job advertisements, I want to book an appointment with the Careers & Employment service at the university, so I can discuss about what is needed to write a good graphic design based CV, what to put in a portfolio, how to get experience etc.   

[pinksfuckers]

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Right now there are a few fundamentals that will can help boost the technique, but SEO, or seo, will be hardly ever considered. While employing the services of a great SEO agency can get a person good marketing copy for the particular website and an effective make use of of the related keywords, getting a brilliantly designed website may help a lot when this comes to attracting people plus even the search engines in order to your website. You are able to get into important SEO-related data like the particular page title, description, and key phrases for every page or a person can have the system immediately populate this data depending upon a document name or some other fields. SEO has become broadly adopted as an online advertising strategy due to the effectiveness. Creating high-quality content along with SEO in your mind through the beginning boosts search presence. In contrast, dark hat SEO is about attempting to take shortcuts and sport search engines. You may also use Google Analytics in order to find SEO keywords for content material optimization. Keyword research is the particular process SEOs value to discover what search queries consumers get into into a search engine regarding a given topic. Within today's rapidly shifting world, SEARCH ENGINE OPTIMIZATION techniques can change on the dime—and the worst part is usually that you might not actually know it. Hacks that can have won you a front-page result as recently as 2016 are not only obsolete right now, but they may even harm your website's rankings. On this web page you'll find a list associated with 21 SEO insanely tactical methods that you can use in order to boost your engine rankings. 26% of respondents state email is the digital marketing and advertising channel using the greatest positive effect on revenue; SEO is 2nd (17%), followed by paid lookup (15%), social media (5%), plus online display advertising (5%). Along with an increased focus on consumer experience, Google has challenged the particular SEO community to pay even more attention to the entire encounter of a website and just how the content interacts with customers, rather than just the simple elements that most optimize towards. While that will certainly not get solved in 2018, we want integrate the SEO group alongside other marketing, both compensated and owned initiatives. For example, a few businesses miss the mark along with SEO and images, and nevertheless rank well. Thankfully, you can find your very own broken links on site using the particular myriad of Tools available. Ask any SEO services company and they will tell a person that whenever a page is usually searched, the major search motors spiders search it through hyperlinks. Effective SEO aims to improve lookup engine position, user visits, come back visits, and to improve transformation rates, which reflect the quantities of visitors who take preferred actions on the site. Wise SEARCH ENGINE OPTIMIZATION activities increase your rankings in the particular search engine results page (SERP). This is the best goal for ecommerce SEO, plus the traffic those links may bring through will convert from a very high rate.

Every advertising SEO blog is definitely talking about online video marketing and advertising and every third company professional you talk to is about to shift marketing dollars to a good online video campaign. ” Simply by 2019, video is expected in order to account for 80 percent associated with all web traffic. Don't set it and overlook it. Take time to review your SEO keyword strategy every single few months to make certain it's still relevant and attaining the outcomes you want. Stories are a easy method to do marketing, you simply need to include some custom made images or text in purchase to let people know they will could swipe to click plus see where you can obtain a skirt, grill, buy SEARCH ENGINE OPTIMIZATION, or anything else you're attempting to pitch to the world. Jana Granko, PR (public relations) head in SEMrush - one of the particular top marketing tools of the particular world - believe that within 2019 AI (artificial intelligence) might change the way people lookup for keywords. In fact, SEARCH ENGINE OPTIMIZATION is simply one part associated with every successful digital marketing technique, but possibly the most essential part. These are called SEO positioning factors. SEARCH ENGINE OPTIMIZATION is the art and technology of driving the most certified visitors to your website simply by attaining high search engine outcomes. From Digital SEO Land, Rintu Biswas a professional SEO expert within Kolkata will assist you in order to build quality backlinks aimed at your website. This ‘what is SEO‘ guide (and this whole website) is not about churn and burn type of Search engines SEO (called webspam to Google) as that is too dangerous to deploy on a true business website in 2018. Several search engines have also supplied to the SEO industry, plus are frequent sponsors and visitors at SEO conferences, webchats, plus seminars. If a person have a website that a person want to become easily discovered by a search engine, you have to increase your site rank via SEO as well. Some SEARCH ENGINE OPTIMIZATION companies focus on link building” and increasing the authority associated with their clients' websites. Through an SEO perspective, we had been introduced to RankBrain nearly 2 years ago, a machine-learning synthetic intelligence that Google's been making use of to process an extremely huge proportion of search results. Specifically, you'll notice exactly how to make use of advanced on-page SEO strategies (like Bucket Brigades”) to get higher Google search positions and more organic traffic. Search engines has introduced (at least) the ‘percieved' risk to publishing a lot of lower-quality pages on your own site to in order in order to curb production of old-style SEARCH ENGINE OPTIMIZATION friendly content based on manipulating early search engine algorithms. Grey hat SEARCH ENGINE OPTIMIZATION is entirely centered on enhancing search engine rankings. There are several aspects to SEARCH ENGINE OPTIMIZATION, from the words on your own page to the way various other sites link to you upon the web. So, rather than viewing SEARCH ENGINE MARKETING as an umbrella term covering SEO, it's more accurate in order to view SEM (paid search) plus SEO (organic search) as individual entities to use as section of your Search Marketing arsenal.

[latestnews2018-blog]

The 7 Best Netflix Original Shows Of 2018 So Far

New Post has been published on https://latestnews2018.com/the-7-best-netflix-original-shows-of-2018-so-far/

The 7 Best Netflix Original Shows Of 2018 So Far

Netflix releases so many shows. Keeping up with each one has become impossible; you’d stream your life away if you tried. But a few Netflix Original shows in 2018 have risen above the others and are well worth your time.

The collection below includes scripted shows, a reality show, a documentary series and a talk show with fantastic sketches. Netflix has really diversified the types of content it offers in 2018, and these standout shows reflect that.

A few weeks ago, Streamline rounded up the most underrated Netflix Originals of the year so far. That list included great shows that somehow have remained niche in terms of audience, had cancellation scares or didn’t earn Emmy consideration. Those shows ― “One Day at a Time,” “Collateral,” “Aggretsuko,” “Dear White People” and “Ugly Delicious” ― are not featured in this article but may ultimately make the Best of 2018 list later this year.

Read about the highlights of 2018 thus far below.

And if you want to stay informed about what’s joining Netflix on a weekly basis, be sure to subscribe to the Streamline newsletter. 

Netflix

“The End of the F***ing World” stood out on Netflix earlier this year.

Ji Sub Jeong/HP

Streamline makes recommendations for streaming shows and movies. Every Saturday, Streamline highlights the best shows to watch online, with a focus on Netflix.

  “Queer Eye”

Netflix

“Queer Eye” on Netflix.

Premise: Five gay men transform lives across Georgia. Although the routine has some variance, this team typically gives the full-life makeover to a straight, male schlub. The “Queer Eye” guys specialize in five separate fields: home design, beauty, fashion, culture and food.

Value: A tear-jerker through and through.

Netflix released not one but two seasons of “Queer Eye” in the first half of 2018 (although each season only had a few episodes). The new cast definitely established the reboot as a worthy successor to the show that originally debuted in 2003.

The show does a good job balancing the formulaic nature of the makeovers with moments of authentic emotion unique to each episode. The transformations basically just make the targets look like rich people, but the journey to get there repeatedly delights.

Trailer:

  “The End of the F***ing World”

Netflix

“The End of the F***ing World” on Netflix.

Premise: Two teens decide to run away from home together and quickly get into misadventures. Instead of falling into quirky love story tropes, the couple has to deal with traumatizing problems of great magnitude. All the while, they each have emotional baggage to sort through and try to mature beyond.

Value: This show came out of nowhere both narratively and marketing-wise.

“It was astounding how popular it was for us,” Netflix Chief Content Officer Ted Sarandos said to New York Magazine for a profile on the company released earlier this year. Internal forecasting for the show predicted the show’s audience would be far more niche. “On one level, it was a massive failure that we didn’t see that coming.”

The trailer alone has garnered over 10 million views, much more than most Netflix shows. The absurdity and dark humor of this story must feel refreshing amid an ocean of shows playing things safe these days. The show takes real risks that could have riled up protesters or at least caused people to turn this off, but strong performances ultimately won over viewers. 

Trailer:

  “Wild Wild Country”

Netflix

“Wild Wild Country” on Netflix.

Premise: A documentary series about the rise of the Rajneesh movement in Oregon. The first couple of episodes focus on the radically contemporary teachings of the leader as he preaches peace and harmony. Then the story takes a turn and focuses on political intrigue within the group.

Value: The rare documentary that features a subject so compelling and has such incredibly high stakes that you think the filmmakers must have made everything up.

The Rajneesh story ― a fringe community attempts to establish an American home ― is full of fascinating details. The group only wore shades of red and white. Certain members had ambitions to conquer the world and were willing to do anything to accomplish that. The leader encouraged the followers to have sex and they did … a lot.

By the end, you become unsure whether you should condemn the group or join it. Although this community never took off as planned, the series inherently recontextualizes the other religions that dominate American life and therefore forces a re-examination of life itself.

Trailer:

  “Unbreakable Kimmy Schmidt”

Eric Liebowitz/Netflix

“Unbreakable Kimmy Schmidt” on Netflix.

Premise: Now adjusted to the basics of life outside the bunker, Kimmy Schmidt must learn how to thrive in a traditional work setting. Titus Andromedon tries to become a star, while Jacqueline Voorhes manages him. Schmidt’s original captor garners sympathy through a true-crime documentary that advocates for setting him free.

Value: This fourth season finally settles onto firm and fertile ground.

Earlier seasons of this show focused on Kimmy’s naiveté about the world around her. She rose from a life trapped in a bunker into a life defined by constant mishaps and mistakes. The show gleaned humor from this, but this bumbling role often became tiresome. Crazy jokes in a crazy world fell flat.

But in these new episodes, Kimmy (both the show and character) graduated to competence and sanity. As the world in the show starts making more sense, the jokes shine through as moments of absurdity. If you gave up on the first few seasons, consider returning for these new episodes.

Trailer: 

Erica Parise/Netflix

“Glow” on Netflix.

Premise: The “Glow” team tries to achieve television success. Sexism and harassment become major hurdles. The low pay and tough work weigh on the wrestlers, and everyone must decide whether this adventure remains worthwhile.

Value: A period piece that can heavily lean into camp and cheap thrills, while also offering nuanced portrayals of struggle.

Professional wrestling already has a ridiculous premise, what with the fake fights, the costumes and the melodrama. “Glow” uses that backdrop and then makes the “behind the scenes” the, well, scenes.

“Glow” highlights the pain that goes into the fun. This balance makes the show both an enjoyable watch and a show that can gut-punch you at any moment.

Trailer:

Suzanne Hanover/Netflix

“Love” on Netflix.

Premise: Mickey Dobbs and Gus Cruikshank enter a new phase of their relationship. Both have matured considerably, and they become ready to make longer-term commitments. They must decide if they found “the one” in each other.

Value: The third and final season finally calibrated the characters to be both realistic and entertaining.

Seasons one and two of “Love” had potential but hardly rose above mediocrity. The characters acted nonsensically and jokes often didn’t land. The show had winning qualities ― such as the chemistry between Mickey and Gus, the detailed careers each character pursued and the wonderful roommate character, Bertie ― but that didn’t add up to enough. Season 3 finally became more than the sum of its parts.

In this season, the show veered into the ensemble comedy realm and gleaned better, funnier jokes from the wacky characters surrounding Gus and Mickey. But the show also took a half-step back to focus on the underlying desires and fears of each character, taking time to establish clear motivations. As plot points culminate, you finally cheer for the characters rather than feel indifferent.

Trailer:

  “The Break with Michelle Wolf”

Cara Howe/Netflix

“The Break with Michelle Wolf” on Netflix.

Premise: A talk show with standup and sketches. Michelle Wolf and her cast satirize the news, modern issues and other talk shows. Netflix releases a new episode every Sunday.

Value: A Netflix talk show finally feels relevant and a part of the zeitgeist.

Wolf started the promotion cycle for this show by performing at the White House Correspondents’ Association dinner. As you may remember, conservatives attacked her, claiming Wolf viciously criticized the physical appearance of White House press secretary Sarah Huckabee Sanders when she simply didn’t do that. In any case, the media coverage surrounding the controversy helped Wolf get the word out about her new talk show.

The show quickly earned this attention. The sketches, in particular, have shined, rivaling the best of “Saturday Night Live,” “Inside Amy Schumer” and other shows that focus on cultural commentary. Wolf clearly has a unique and incisive take on the world, which makes the show worth watching every week. 

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[caveartfair]

Trump Signs Budget Boosting NEA Funding by $3 Million—and the 9 Other Biggest News Stories This Week

01  U.S. President Donald Trump signed a 2018 budget bill that includes a $3 million funding increase for the National Endowment for the Arts.

(via CNN and the Washington Post)

The National Endowment for the Arts (NEA) will see its budget rise to $152.8 million from $149.8 million under a federal budget passed by the U.S. Congress early Friday morning. The funding boost is a major victory for arts groups, especially given that the Trump administration initially sought to eliminate the NEA in a proposed budget. Under the newly signed budget, the National Gallery of Art will see a $1.04 million increase, while the National Endowment for the Humanities (NEH) also saw a $3 million bump. President Trump initially was expected to sign the $1.3 trillion budget after it passed with bipartisan support through Congress, but in a tweet Friday morning, he indicated he might veto the legislation because it doesn’t include a fully funded border wall or resolve uncertainty around the DACA program. But in a press conference later in the day, the President reversed course again, saying he signed the omnibus budget bill, though he called it a “ridiculous situation” and said he had reservations about the package. The bill will fund the federal government for the remainder of the 2018 fiscal year, which runs until September.

02  One of the curators of the Shenzhen Biennale has been removed because of misconduct allegations.

(via ArtAsiaPacific and The Art Newspaper)

The decision to fire Gary Xu Gang, one of three curators of the biennale, came after a professor at Wesleyan University claimed on social media that Xu has been sexually assaulting women going back 20 years, including when he was an associate professor in the Department of East Asian Languages and Cultures at the University of Illinois, Urbana-Champaign (UIUC). The accusation was posted on a Chinese online forum, and although that post was later deleted, it prompted a woman to offer what she said was photo evidence of the misconduct—she posted pictures of bruises on her face she claimed came from Xu, suffered while they were in a relationship during his tenure at UIUC. She also shared her emergency request for protection that was filed with local authorities. Xu has denied all allegations, but after an internal investigation, the biennale decided to fire him. “Given that the center’s attitude and mission is to spread positive energy of art, we, after deliberate consideration, decided to terminate our cooperation with Xu Gang for the 2018 Shenzhen Biennale,” the statement read. Speaking with the Art Newspaper, Xu again the denied the allegations. “The nature of the online mob under the name of sexual harassment is terrible,” he said. But several individuals contacted by the paper who made allegations against Xu stood by their accounts, though remained anonymous, with one saying she was “still frightened” but willing to testify against the curator, according to the report.

03  Philadelphia’s Institute of Contemporary Art announced this week that it is the first museum to be certified by W.A.G.E.

(via ARTnews)

Working Artists and the Greater Economy (W.A.G.E.) is a New York-based group that advocates fair compensation for artists from institutions showing their work. W.A.G.E. has developed a set of guidelines to compensate artists for their participation: flat fees for nonprofit organizations with smaller annual budgets of $500,000 or less, and a tool for larger institutions that calculates a fair fee as a percentage of an organization’s annual operating expenses. The ICA in Philadelphia has an operating budget of $4.8 million and joins over 50 other W.A.G.E.-certified institutions, including “Artists Space, the Swiss Institute, Participant Inc., and Open Space, the San Francisco Museum of Modern Art’s online platform for writings by curators, artists, and critics,” according to ARTnews. “We’re proud to be the first museum to join this diverse group of arts and culture institutions across the U.S. who are certified,” the ICA’s director, Amy Sadao, said in a statement, “and hope that it will encourage other museums to do the same.”

04  A University of Wisconsin campus proposed eliminating 13 majors, including art, causing widespread controversy.

(via the Washington Post)

Several hundred students from the University of Wisconsin at Stevens Point (UWSP) gathered on Wednesday to protest a proposal from the school’s administration that would scrap 13 liberal arts and humanities majors while bolstering support for majors that emphasis technical skill, the Washington Post reported. Among the majors on the chopping block is art, , though a major in graphic design would survive the cuts. Wisconsin’s education system has seen significant funding reductions under its Republican governor, Scott Walker, who cut $250 million from university funding in the state in 2015, and who has attempted to shift the mission of state universities toward job growth. UWSP itself is facing a $4.5 million deficit over two years. Members of the Save Our Majors campaign, which is battling the proposal at UWSP, charged that elected officials “perpetuated the belief that education is only valuable when it leads to specific career paths.”

05  The ACLU has sued New Orleans, alleging the city’s onerous process for getting approval for murals violates the right to free expression.

(via The Art Newspaper)

New Orleans may be known as the “big easy,” but the American Civil Liberties Union (ACLU) is arguing that securing a permit to paint a mural there is anything but easy. The advocacy organization sued the city on March 13th, calling the permitting process a “multipronged assault on the First and Fourteenth Amendments” in court filings, because it requires artists to seek government approval for their work. According to The Art Newspaper, the ACLU charged in court papers that the application comes with a $500 base fee and requires the review of “multiple government officials and committees,” whose rationale is often vague or opaque. Additionally, the regulations are selectively enforced, the organization claimed. The ACLU is suing on behalf of resident Neal Morris, who could face jail time for a mural on his property created by the artist Cashy-D, with permission. The mural features a quote from U.S. President Donald Trump’s infamous remarks about grabbing women by the genitals without permission. “I knew that there would be controversy over the Trump part—which I thought was welcome,” Morris told The Art Newspaper. But, he noted, he “didn’t anticipate conflict with the city.”

06  Two ancient mosaics were unearthed from under the lawn of the Museum of Fine Arts, St. Petersburg.

(via the Tampa Bay Times)

Soon after the MFA opened its waterfront location in St. Petersburg in 1965, it acquired five mosaics from an excavation of the ancient city of Antioch, a site located between modern-day Turkey and Syria. Three of the mosaics are placed throughout the museum––one is in a water fountain, another is stored under a stage, and one is on view in a membership garden, where current executive director Kristen Shepherd used to do homework as a high schooler. Shepherd became director in 2017 and initiated a search project for the two missing artworks, which she entitled “Antioch Reclaimed,” and found the mosaics buried under the museum’s lawn last year. The mosaics, extricated earlier this month, are undergoing a major conservation process inside of an outdoor lab, where museum visitors can watch the project unfold. While the museum is unsure of why the 2,000-year-old works were buried underground, they are planning for a permanent installation of them, following a travelling exhibition set for 2020.

07  Belgian police officers raided homes across the country as they investigate an exhibition in Ghent that was allegedly full of fakes.

(via The Guardian)

An exhibition of 26 Russian avant-garde artworks loaned to the Museum of Fine Arts in Ghent by Igor Toporovski was closed at the end of January after experts raised questions over the authenticity of the pieces. Catherine de Zegher, the museum’s director, defended the show, claiming two art historians verified the authenticity of the works, but she was suspended earlier this month after the two experts cast doubt on her assertion. On Monday, prosecutors and police carried out searches in homes across the eastern side of Flanders after receiving a complaint from several art dealers and a descendent of one of the artists whose work was allegedly forged. But so far, prosecutors are remaining tight-lipped about the target of the raids, though they “sealed computers, requested documents and interviewed De Zegher,” The Guardian reported, citing Dutch newspaper De Standaard.

08  The art world is bracing for a new European privacy regulation that will allow E.U. citizens to see personal data held by businesses.

(via the Financial Times)

The General Data Protection Regulation (GDPR), which comes into effect on May 25th, allows any E.U. citizen to know if a company is holding their personal data, see that data, and then request to have it deleted. The law will apply to any business that holds information on an E.U. citizen, regardless of where it is located. Any kind of information recorded by a gallery or art world business—from the personal tastes of a collector, to the events they’ve attended, to their dietary restrictions—would be subject to the rule, the Financial Times reported. While certain information, like who owned a work as part of its provenance, can be kept indefinitely, other personal data will have to be deleted in a timely manner, as there are stiff fines for noncompliance. But the regulation doesn’t govern intangible details of the intricate personal relationships that define the art world—that is, so long as the most gossipy tidbits, such as who is blacklisted from buying a work, aren’t written in a spreadsheet.

09  Michelle Obama portraitist Amy Sherald is now represented by Hauser & Wirth.

(via Hauser & Wirth)

The mega-gallery announced that it would represent the artist worldwide and present shows of her work across its multiple outposts, starting with an exhibition in New York in 2019. Sherald became something of a household name earlier this year when the National Portrait Gallery unveiled her official portrait of former First Lady Michelle Obama, alongside Kehinde Wiley’s portrait of Michelle’s husband, Barack. “Drawing loosely upon the American Realist tradition, Sherald subverts the medium of portraiture to tease out unexpected narratives, welcoming viewers into a more complex debate about accepted notions of race and representation, and situating black heritage centrally in the story of American art,” Hauser & Wirth said in a statement. The artist has been represented by Chicago’s Monique Meloche Gallery, and while Hauser & Wirth is now planning to represent Sherald globally and exclusively, a correction to a story in ARTnews indicated that Monique Meloche will still work with the artist on some level.

10  A London arts and textiles teacher won a $1 million prize after being named the best teacher in the world.

(via The Guardian)

Andria Zafirakou, who teaches at a northwest London community school (the U.K. equivalent of a public school) in one of the poorest areas in the country, is the first British winner of the annual Global Teacher Prize, presented by the Varkey Foundation. Zafirakou made forging a better school environment and relationships with her students a top priority. She learned basic phrases in languages such as Gujarati, Hindi, and Tamil in order to better communicate with pupils. After visiting the homes of some students, where she found noise and overcrowding, Zafirakou added additional lessons during the day and on the weekend to give kids quiet places they could study and work. She also overhauled the curriculum “to make it relevant to pupils,” The Guardian reported. She has yet to say what she’ll do with the prize money, which will be paid out in installments, but in her speech after receiving the award in Dubai, she highlighted the importance of the arts. “I have seen how the arts help students to communicate. The arts help to give so much confidence and really create incredible young people,” she said.

from Artsy News

[graphic-witchfinders]

An Ocular-Centrist’s Representation of the Seventeenth Century

The overall visual style of my graphic novel is intended to be reminiscent of the woodcuts of the seventeenth century. However, my initial inspiration for the style of drawing that I used in my graphic novel came when our witchcraft seminar visited the Prints and Drawings Room of the National Gallery of Canada to view woodcuts and engravings by Albrecht Dürer. Even though Dürer's woodcuts are very much situated in sixteenth-century Germany, I found myself more naturally able to replicate some of the techniques he uses to create intricately detailed monochromatic prints. I also found that the illustrations collected by Ernst and Johanna Lehner in Devils, Demons, and Witchcraft was another valuable resource that helped me to create a style with an underlying tone that could easily shift from light to dark. It was important that the visual component of my graphic novel added to the historical tone and atmosphere of the narrative. However, because the majority of the narrative is understood through the visuals, I wanted the style to have some foundation within the visual culture of the time period. I address the evolution of the visual style of my graphic novel further in my project blog, but ultimately my intention was to emulate the style of visual art that would have been most accessible in the popular culture of that time period. In the following section, I will address the decision-making and creative process for the components that encapsulate the graphic narrative of this project; character design, mise en scene, dramaturgy and panel layout and the dialogue.

The success of my graphic novel is strongly tied to the representation of the historical actors within the narrative. I was initially intrigued by the idea of taking a more artistic and stylized approach to the character designs -- exaggerated and expressive features, somewhat removed from the more realistic designs which I ultimately settled. However, because the reader is dropped directly into a character-driven narrative I needed to be able to quickly establish who each character was and their role in the narrative. Audiences are more easily able to establish connections to characters that are expressive and have realistic proportions; the more realistic and human a character appears the more relatable they become. I go into a fair amount of detail about the fundamentals of drawing characters and how using basic shapes as the foundation of character design can be used to determine a character’s role within a narrative on my blog. However, I am now going to further touch on the nuances and details of character design, which I incorporated into my narrative to address the archetypes of heroes and villains.

On the surface, Matthew Hopkins and John Stearne are both classic heroic characters with youthful and handsome faces that are drawn to attract the reader and appear trustworthy. I had the fortune of being able to refer to a period woodcut print of Matthew Hopkins to identify key features that I would be able to incorporate into his design. I started out drawing both Hopkins and Stearne with body types that were typical of male heroes, muscular and trim, but I quickly changed this so that there was more diversity within the characters’ appearances making them more easy to differentiate and identify. Initially, this was only reflective in their hair colour and styles; because Hopkins is depicted with dark hair and a Van Dyke beard, therefore, I drew Stearne with blonde hair and because I knew he was most likely older than Hopkins, I gave him a full beard and few wrinkles around the eyes. Since the first version of their designs, Stearne has changed very little in appearance, I would hazard a guess that this is because I felt the most confident in my portrayal of him. Whereas Hopkins has gone through many changes. The first iteration of Hopkins that I drew depicted him without facial hair, as I was unsure whether this would significantly age his appearance, but he was so reminiscent of a Disney prince that I immediately began to practice drawing facial hair. Eventually, I decided to incorporate some hint of the illness which eventually killed Hopkins, tuberculosis, because I felt it added a sense of desperation to his actions - that perhaps from 1645 to 1647 he was attempting to give aid to those he could before dying. To hint at this illness without making him appear too sickly or unattractive, I gave him a more slender figure and sharper cheekbones. The advantage of giving both men sharp features; Hopkin’s jawline and cheekbones and Stearne’s nose and brow ridge, was that at times their appearance could walk the line between hero and villain. Unlike Gaule, whose weathered face, protruding nose and chin, and small narrow eyes are all intended to signal to the audience that he villainous character. Gaule and Hopkins are intentionally designed so that even their appearance is in opposition with one another, while still holding some minute similarities. Where Hopkins’s hair is dark, sleek and straight, Gaule’s is lighter, frizzy and curled; where Hopkins has a youthful face and delicately shaped nose, Gaule’s face is heavy with wrinkles and he has a bulbous nose; where Hopkins is clad in lighter, tailored clothing, Gaule wears long dark robes. Both figures have strong chins and defined jawlines and smaller frames compared to John Stearne or Benjamin Wyne. Margaret Moore’s character design has similar nuances built into it to suggest and elicit certain responses. I did not want to draw a buxom beauty or a haggard crone, I wanted Moore to appear very plain and almost remarkable. I wanted her to appear to be middle-aged and to appear as though she had lived a hard and tiring life. To suggest this I decided that she needed to have a small, delicately built frame. Despite being intent on Moore having a plain appearance, I eventually decided that I wanted there to be some suggestion that when she was young she had been quite beautiful. I did this by angling and widening her eyes, as well as giving her a fuller lip. However, because everything was in black and white very subtle changes to her facial features resulted in a very different character. In giving Margaret Moore full lips, I was treading into the territory of glamour that I wanted to avoid and so Moore’s mouth became thin and less remarkable.

As I’ve mentioned before, the purpose of these portrayals is for the reader to feel conflicted about their interpretation of the characters via their appearance when confronted with their actions later in the narrative. Each character in the narrative has moments where their role as hero or villain is suddenly reversed. I included subtle indicators into the character designs to highlight this duality or to help emphasize specific moments. For example, Matthew Hopkins is the only character in the graphic novel seen wearing a cape, a symbol firmly rooted in heroism. Another example would be Margaret Moore’s nose and wart, which are intended to echo those of the Wicked Witch of West. The hopes I had doing this was to indicate to the reader the range of ways actors can be represented and to unsettle the very “black and white” contemporary attitude towards anything.

I had anticipated that I would delve into a great deal of research on animation, and a little bit of psychology as well, when I was working on the character design stage of my project. However, I did not anticipate how much additional historical research I would need to create mise-en-scène that contributed to my narrative as well as being historically accurate. Constructing the historical setting within each panel required research on the architecture of the sixteenth and seventeenth century, as well as research on decorative arts, interiors of tavern and inns, horse bridles, and horse anatomy. As is the case when attempting to find references for the life of the lower classes, I turned to Dutch paintings of working life, specifically those by Adriaen van Ostade such as: Peasants in an Interior, 1661; An Alchemist, 1661; The Peasant Settling His Debt, 1644. The work of Dutch painters in the seventeenth century was invaluable to helping me create historically appropriate settings and costumes for this graphic novel. However, I also drew inspiration from set designs and costuming in historical dramas such as BBC’s The Musketeers and Channel 4’s The Devil’s Whore, both of which are set in the sixteenth century.

[mikebrackett]

The Difference Between Modern and Contemporary Home Architecture

While writing a guide to understanding the different types of homes that home buyers are likely to encounter on their home search, I noticed how often the terms “modern” and “contemporary” were used to describe a home’s architecture. That wasn’t unusual in and of itself. The odd thing, though, was how often real estate agents and homeowners used them interchangeably, when, in fact, these words mean two very different things.

Here’s the 50,000-foot view: The term “modern” typically refers to a very distinctive architectural style of home that was built from the early 1900s to the 1950s. It’s a defined style and doesn’t change. It will always be modern. Contemporary architecture and design means “the style of the moment.” It’s a lot harder to define because it’s always changing and is influenced by and borrows from the styles that came before.

But what does that really mean? Let me break down the differences between modern and contemporary design even further for you.

Modern Home Design

Modern design was born in response to the overly ornate, cluttered and fancy architecture of the late 19th century. The modernist architects of the time wanted to break the rules and go against what was deemed traditional design for the time, which included styles like eclecticism, Victorian and Edwardian and, in the 1920s, the Art Deco period.

Modernist architects chose to create homes that showed a distinct lack of ornament and flair, in contrast to what was seen in the popular home designs of the time. They designed homes that featured a strong horizontal composition with large open floor plans, intentional asymmetry, and large expanses of glass windows or glass walls. The focus here was to create a simplified home with an emphasis on function – removing unnecessary details and frills.

These architects chose to use their designs as a tool to respond to how quickly things were changing in their world. The early 20th century was quickly turning into a technology-driven, mass-market industrialist society. Many of these architects and designers felt as if people in their society were accomplishing more but were emotionally stunted and less spiritually or creatively fulfilled. So many of the homes they designed at the time were built not only to acknowledge the changing times but also to give homeowners a chance to feel more connected with nature.

As a result, many of these homes were designed to blur the boundaries between the indoors and outdoors. They used the surrounding area to enhance the features of the home, using the lines of the roof or cantilevers to continue the lines of the landscape around the home. As modernist architect Ludwig Mies van der Rohe stated: “Nature, too, shall live its own life. We must be aware not to disrupt it with the color of our houses and interior fittings. Yet we should attempt to bring nature, houses and human beings together into a higher unity.”

While many of these homes on first glance can seem as if they’re cold or stark because of the sharp lines and lack of flair, many modern homes are actually very warm and inviting once you enter the home. This can be attributed largely to the materials used in the construction as well as the interior design of the home – many use things like dark, rich woods and marble with warm accents of color.

Mid-century modern style is an offshoot of traditional modernism using many of the same key features that modernist architects developed, but it’s typically reserved for interior design styles. Some key qualities associated with this style are square homes with flat roofs, a monochromatic color palette, and low-key furnishings with a simple and distinct attention to minimalism while avoiding a stark, cold feeling.

Notable modern designers include:

Ludwig Mies van der Rohe

Image: The Farnsworth House

The Farnsworth House, designed by Mies van der Rohe, is located in Plano, Illinois, and is a National Historic Landmark.

Philip Johnson

Image: The Glass House

The Glass House, designed by Johnson, is located in New Canaan, Connecticut. It was inspired by the Farnsworth House and is also a National Historic Landmark.

Charles Eames

Image: The Eames House

The Eames House, designed by Eames, is located in the Pacific Palisades neighborhood of Los Angeles, California, and is a National Historic Landmark.

Contemporary Home Design

In contrast, contemporary architecture is rooted in the “now.” This means that these types of homes are typically innovative and forward-looking. However, the design of these homes are distinctly more complex than their modern counterparts. Their design is more free-form and artistic, taking cues from all types of design rather than as a response to the times. Even though these home designs didn’t really gain traction until the 1970s, it’s important to remember that the architecture doesn’t stem from a specific movement and doesn’t refer to a specific time period. It’s fluid and always changing to match whatever is popular right now.

Because contemporary homes can have modern architectural features, it can be difficult to initially discern the differences between the two home designs. The most distinguishing fact is that contemporary home architecture is influenced by the styles that came before it. For example, a contemporary home today draws heavily on the exterior architecture of a craftsman-style home but prefers the large, spacious open floor plans that are seen in modern homes. With contemporary homes, no single style is dominant over another. Instead, contemporary architects can create a home that fits the needs of their client or whatever is in style at the time without having to adhere to a particular movement or design constraint.

One feature that makes many recently built contemporary homes stand out is that they often are built for sustainability, are generally eco-friendly and energy-efficient, and use materials that are often repurposed from their intended use (like a home made out of a shipping container, for example). Another stand-out feature is that they’re often built to act as a mixed-use space. A great example of a contemporary home is the Skyline Residence designed by Belzberg Architects. The materials used in the construction of the home were all locally sourced and are eco-friendly. The architects incorporated solar cells to help with heating and cooling and included a variety of high-end green features to make the home more energy efficient. In addition, they designed a garden area to be built around an exterior portion of the home that they use as an outdoor movie theater. The mixed-use space, a garden that doubles as a movie theater, is a feature that is prominent in many recent contemporary homes.

Modern and mid-century modern styles are currently very popular, so that’s what’s inspiring many architects and interior designers at the moment.

Notable contemporary designers include:

Frank Gehry

Image: The Gehry Residence

The Gehry Residence was designed by Gehry and built around an existing Dutch colonial house. It’s located in Santa Monica, California.

Peter Pennoyer

Image: The Pennoyer residence

The Pennoyer residence, designed by Pennoyer, was built in the Greek Revival style using Tuscan and modernist elements, and it’s located in Millbrook, New York.

Rick Joy

Image: The Tubac House

The Tubac House, designed by Joy, is a celebrated example of contemporary architecture that uses modernist elements along with energy-efficient design components and locally sourced rustic materials.

Aside from the visual differences between these architectural styles, Realtor.com notes one of the biggest differences about contemporary over modern homes is that when they’re listed on the market, homes that are described as “modern” are usually sold much faster than their contemporary counterparts, even though homes described in this way are usually much more expensive than the listings that are described as contemporary.

One of the reasons why this could be is that many people may think “contemporary” means dated. If you think about the definition – “contemporary” means what’s popular right now – then at one point, shag carpeting and macramé were considered contemporary. Many homeowners associate it with the past. Most of the time, homeowners say they’re looking for something modern when, really, they’re just looking for something that’s contemporary with modern influences.

If you’re in the market for a home and are unsure of what style you’re looking for, think of it this way: Remember that the term modern means that a home was built in a specific period of time and that contemporary refers to “whatever is popular right now,” and it’ll be easier when you’re on the home buying hunt. Don’t forget to check out our mortgage calculator to find out how much home you can afford before you get started!

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