#n.d. | bio.

[claraphotoblog-ardn632]

Christopher Relander

Christoffer Relander is a self-taught surreal photographer from Finland. He is known for using multiple images to create images that “challenge our perceptions of nature and reality” (“Bio / CV,” n.d.). He combines nature and childhood in his series We Are Nature. In his series, he creates his photographs by taking multiple images of landscapes, leaves, children’s portraits, and sometimes animals and superimposes them onto each other(Ebert 2024).  The results are beautiful and complex images. I have never seen photographs using this technique. Since my project is about the joys of childhood and nature, Relander’s work is very relevant and inspiring to me. I have not had great success superimposing images on each other but I like the idea as a way to bring nature right into the image. For my concept, I want to show “joy” as the emotional theme so I want to have facial expressions more as the focus than Relander has for his series. Since Relander’s theme is that we are literally nature, I think using nature to create the person is a perfect and very imaginative technique. I have included three images below that are taken from the website (Ebert 2024)that inspire me the most. 

This image has a sideways position that I plan to consider for my photoshoot. The ponytail is an interesting and surprising focus point, that to me, is a symbol of childhood. The almost hidden cat in the photo makes the picture more interesting and complicated because the theme of humans as nature pushes us to consider that this includes animals. I like the use of black and white for this image because a lot is going on and I think color would have distracted from the detail and the overall image.

This image inspires me because I love how he captures the movement of the girl. Again, I am drawn to the detail of her hair being very childlike and want to explore this with my pictures. In this image, the use of color is a perfect blend that highlights the messy hair and its movement and then is more subtle in her body. You can barely see a facial expression, but the slight smile indicates happiness. Using a subtle expression for my subjects in my project is something that I have been exploring and have liked how it helps to create the mood.

This image is interesting to me because of the use of color to define the picture. The combination of the orange leaves and the branches which can barely be seen gives the viewer something they can spend hours looking at. There are slightly darker leaveson the left giving the illusion of an eye, and branches shaping a mouth. The amount of detail in this picture is Impressive. I don't think I currently have enough skill to create an image with this kind of detail however I am inspired to think about how to use color in shaping the focus for the pictures in my project.

1. “Bio / CV.” n.d. Christoffer Relander. https://www.christofferrelander.com/bio-cv.

2. Ebert, Grace. 2024. “Made in Camera, Christoffer Relander’s Portraits Entwine Nature and Childhood.” Colossal. September 16, 2024. https://www.thisiscolossal.com/2024/09/christoffer-relander-we-are-nature/.

[camie-spatialartblog]

Post-workshop activity_Week 2

Richard Serra, Fulcrum (1987)

Richard Serra was an American artist best known for his large-scale abstract sculptures designed for specific landscape, urban, and architectural environments. Serra, dubbed "one of his era's greatest sculptors," rose to prominence by emphasising the material features of his works and exploring the link between the observer, the piece, and the setting.

Fulcrum was commissioned for the west entrance of Liverpool Street station in the Broadgate complex. It is constructed from five gigantic steel plates leaning against each other, relying solely on their weight and precise positioning to maintain balance. This creates a balance in the literal sense, where the gravitational forces acting on each plate counteract each other, allowing the sculpture to stand upright without additional support. The work achieves visual balance through the steel planes' asymmetric yet harmonious arrangement.

Francken, M.R. (n.d). Fulcrum [Photo]. Art UK. https://artuk.org/discover/artworks/fulcrum-312145

Gagosian. (n.d). Richard Serra. https://gagosian.com/artists/richard-serra/

Keith Haring, Untitled (Two Dancing Figures), 1989

Keith Haring artworks are characterised by their bold, vibrant colours, and dynamic, cartoon-like figures that embody movement and energy. The works often feature simplified, iconic shapes of forms, such as human figures, animals, and symbols, which are easily recognisable and accessible.

The artwork above features two simplified human figures leaning against each other, creating a sense of harmony and balance. The use of flat surfaces highlights the two-dimensional nature of shapes.

Calingasan, N. Y. (2013). Keith Haring, Untitled (Two Figures Dancing) 1985, Lower Manhattan [Photo]. Flickr. https://www.flickr.com/photos/nyclovesnyc/9065568141/in/photostream/

The Keith Haring Foundation. (n.d). Bio. https://www.haring.com/!/about-haring/bio

[michaelbragakaijufilms]

Ishiro Honda: The God of the Kaiju

In Japanese Kaiju Cinema, whether speaking within the 1950s-1960s era or any point beyond, it is extremely difficult to think of a more relevant and impactful force than the direction of Ishirō Honda. Born on May 7th, 1911, he joined Toho Studios after spending nearly a decade in the Japanese military where he would create his most iconic pieces of work. Because of his experiences in war, more specifically the horrors of being a prisoner of war, it made sense that that horrific scenes of his films would reflect important messages on the effects of war on society.

With that being said, the “Father of Godzilla” would go on to create much more than that with Toho Studios before retirement including The Mysterians (1957), Rodan (1956), Battle in Outer Space (1959) and, most notably, Mothra (1961). For lack of a better word, this man built an empire of science fiction and fantasy films that could not be ignored, becoming so successful that the Japanese monster movie became its own genre altogether. After passing away in 1993, it is truly a crime that he was unable to see the longstanding cultural impacts that his movies had all around the world, even to the current day. This goes especially for modern filmmaking, as some of the most successful directors, writers, editors, and cinematographers of today take great influence from their appreciation of Honda’s feats. Being a revolutionary of the modern disaster film, names like John Carpenter, Martin Scorsese, Tim Burton, and Guillermo Del Toro have all openly expressed their admiration for his films.

Del Toro in particular spoke widely about his admiration for Godzilla when he first saw it as a child, but not just for the massive spectacle of it all. In an interview (the full one will be attached in a separate post for those interested), he described how what affected him most about the film was its gloominess from a human perspective and its “cumulative effect” of “oppression and war” and “a sense of dismay and hopelessness” (Del Toro 00:00:30). The importance of this observation is not simply acknowledging the strong effect that the movie had on him as a viewer, but also as a filmmaker. The gloomy and dark themes discussed in his admiration of Godzilla are very similar to the ones portrayed in many of his most successful works such as Nightmare Alley (2021) and The Shape of Water (2017) which touch on feelings of hopelessness and oppression like Godzilla had on the city of Tokyo. That being said, the many shared tones aimed for each of their respective audiences illustrate how the influence of Honda can be seen and appreciated further through the fans of Del Toro.

More so, Quentin Tarantino shared a similar appreciation for Honda’s work extending through his entire cinematic history. He described the work as “seamless” in combining “science fiction world-building expertise” with the “greatest special effects of their day” done by those “who know how to do it,” emphasizing that the “charm” and wonder of it all “cannot be denied” (Tarantino 00:09:06). Widely considered as one of the greatest filmmakers and directors of all time, this is extremely high praise. Further, to understand that Tarantino had such a strong admiration for not just the style of film that Honda created, but also the process of which he took to create something so large helps to depict the impact that he had on Tarantino’s films. To name a few, Pulp Fiction (1994), Reservoir Dogs (1992), and Django Unchained (2012) as well as a majority of Tarantino’s films contain such a great charm to them among their violent and extreme images, much akin to his takeaways of Honda’s works.

Works Cited

criterioncollection. (2013, July 11). Guillermo del Toro on Godzilla [Video]. YouTube. Retrieved April 22, 2024, from https://www.youtube.com/watch?v=I0npWmWUFyo

IMDb. (n.d.). Ishirô Honda. IMDb. Retrieved April 22, 2024, from https://www.imdb.com/name/nm0393094/bio/?ref_=nm_ov_bio_sm

James Whale Bake Sale. (2023, May 25). Quentin Tarantino on ishiro Honda [Video]. YouTube. Retrieved April 22, 2024, from https://www.youtube.com/watch?v=9j29UXqllj4

Ryfle, S. (2019, October 24). Godzilla’s Conscience: The monstrous humanism of Ishiro Honda. The Criterion Collection. Retrieved April 22, 2024, from https://www.criterion.com/current/posts/6648-godzilla-s-conscience-the-monstrous-humanism-of-ishiro-honda#:~:text=Honda%E2%80%99s%20influence%20is%20undeniable%3A%20as%20one%20of%20the,del%20Toro%E2%80%94have%20expressed%20their%20admiration%20for%20his%20work.

[daisyskeates1]

ESSAY PLAN 1

FINAL PLAN:

ESSAY:

Bibliography

Brown, N. (2021). Library Guides: Design Fundamentals: Elements & Principles. [online] guides.lib.berkeley.edu. Available from: https://guides.lib.berkeley.edu/design.

bmaits19 (2021). Visual Analysis- Avengers Movie Poster. [online] wucomsvisualliteracy. Available from: https://wucomsvisualliteracy.wordpress.com/2021/03/19/visual-analysis-avengers-movie-poster/ [Accessed 1 Apr. 2024].

Cambridge Dictionary (2024). Poster. [online] www.dictionary.cambridge.org. Available from: https://dictionary.cambridge.org/dictionary/english/poster.

Dave (2021). The History of Movie Posters - Central Casting. [online] www.centralcasting.com. Available from: https://www.centralcasting.com/history-of-movie-posters/#:~:text=Early%20Hollywood%20movie%20posters%20were.

Devarazz (2023). The Evolution of Movie Marketing: How Films are Promoted Today | [online] www.medium.com.

Available from: https://medium.com/@devaraz/the-evolution-of-movie-marketing-how-films-are-promoted-today-8e5055e2b888

Disney (2020). Disney - Leadership, History, Corporate Social Responsibility. [online] The Walt Disney Company. Available from: https://thewaltdisneycompany.com/about/#:~:text=The%20mission%20of%20The%20Walt.

Empire. (Nugent, J and Dyer, J.). The 50 Best Movie Posters Ever. [online] Available from: https://www.empireonline.com/movies/features/best-posters/.

Famous Graphic Designers (2018). Saul Bass | Biography, Designs and Facts. [online] Famous Graphic Designers. Available from: https://www.famousgraphicdesigners.org/saul-bass.

Farah, J. (2023). A deep dive into movie poster design | Webflow Blog. [online] Webflow. Available from: https://webflow.com/blog/movie-poster-design.

Farah, J. (2023). A deep dive into movie poster design | Webflow Blog. [online] Webflow. Available from: https://webflow.com/blog/movie-poster-design.

IMDb. (n.d.). Advanced search. [online] Available from: https://www.imdb.com/search/title/?year=1996&title_type=feature [Accessed 1 Apr. 2024].

IMDb. (n.d.). Top 1000 Highest-Grossing Movies of All Time. [online] Available from: https://www.imdb.com/list/ls098063263/.

IMDb (2009). Avatar. [online] IMDb. Available from: https://www.imdb.com/title/tt0499549/.

IMDb. (n.d.). Titanic. [online] Available from: https://www.imdb.com/title/tt0120338/.

Krizanovich, K. (2021). On Paper, The Future of Movie Posters Is Digital | [online] www.celluloidjunkie.com. https://celluloidjunkie.com/2021/05/04/on-paper-the-future-of-movie-posters-is-digital/

Milton Glaser quote from The One Club for Creativity, Creative Hall of Fame, SAUL BASS (1920-1996) https://www.oneclub.org/hall-of-fame/-bio/saul-bass

MovieWeb. (n.d.). 1996 Movies. [online] Available from: https://movieweb.com/movies/1996/ [Accessed 1 Apr. 2024].

Pegram-Mills, B (2022). The History of Social Media Marketing | [online] www.bluetrain.co.uk. Available from: https://www.bluetrain.co.uk/blog/history-of-social-media-marketing#:~:text=It's%20an%20ever%2Dchanging%20landscape,its%20network%20back%20in%202006

Bamsey, A (2022). The story behind the iconic Jaws movie poster. [online] Creative Blog. Available from: https://www.creativebloq.com/news/jaws-poster.

Statista. (n.d.). Number of films produced in the UK 1994-2019. [online] Available from: https://www.statista.com/statistics/296454/volume-of-film-production-uk/.

Stewart, J. (2020). Graphic Designer Creates Over 1,200 Minimalist Movie Posters. [online] My Modern Met. Available from: https://mymodernmet.com/chungkong-minimalist-movie-posters/.

Warner Bros. Entertainment Inc. (2018). WarnerBros.com | Company Overview. [online] Warnerbros.com. Available from: https://www.warnerbros.com/studio/about/company-overview.

www.linkedin.com. (n.d.). Cultural Kaleidoscope: How film posters vary across the world. [online] Available from: https://www.linkedin.com/pulse/cultural-kaleidoscope-how-film-posters-vary-across-world-blakemore/ [Accessed 1 Apr. 2024].

www.disneyplus.com. (n.d.). Search movies and shows | Disney+. [online] Available from: https://www.disneyplus.com/en-gb/search.

Bass, J. and Kirkham, P. (2011). Saul Bass : a life in film & design. London: Laurence King.

BAXTER, J. (2023). Story Of Disney 100 Years Of Wonder. [S.l.]: DISNEY EDITIONS.

Bergan, R. (2011). The film book : a complete guide to the world of film. New York: Dk Pub.

Dacre, R. (2020). Movie Posters : the history of cinema from the origins to the present. Milan, Italy: White Star Publishers.

King, E. (2006). Movie poster. London: Mitchell Beazley.

Robert Gillam Scott (1980). Design Fundamentals.

List of figures

Figure 3: L'arroseur arrosé (1895). [online image]. Available from: https://www.cinematerial.com/movies/larroseur-arrose-i14/p/p5wb1zbz

Figure 4: Jaws by Rofer Kastel (1975). [online image]. Available from: https://www.ebay.co.uk/itm/201386608124

Figure 3: Vertigo by Saul Bass (1958). [online image]. Available from: https://artofthemovies.co.uk/products/vertigo-1958-italian-os-os-01

Figure 4: Types of posters pie chart By Daisy Skeates (2024)

Figure 5: Marvel: Avengers Endgame by Chris Skinner (2019). [online image]. Available from: https://www.homewallmurals.co.uk/avengers-endgame-61x915cm-movie-poster-37807-p.asp

Figure 6: Poland Film Posters. [online image]. Available from: https://www.linkedin.com/pulse/cultural-kaleidoscope-how-film-posters-vary-across-world-blakemore/

Figure 7: Advertisement pie chart By Daisy Skeates (2024)

Figure 8: Avatar By BLT & Associates (2009) [Online image]. Available from: https://cinemalightboxes.com/products/avatar-movie-poster

Figure 9: Photos taken by Daisy Skeates (2024)

Figure 10: Joker poster evolution By Luke Butland (2019). [online image]. Available from: https://cinematicslant.com/2019/10/02/joker-marketing-recap/

[aieaiemeimei]

Parmi les habitants du rivage, le chiton. Le chiton se plait sur les sols durs, et est un habitué des rivages rocheux de Peng Chau (et de Hong Kong). Créature étrange au premier regard : on ne sait si elle est fossile, pierre, ou être vivant. Vue à sec, elle semble littéralement pétrifiée, totalement immobile, dans l’attente. Sous l’eau, une goutte de souplesse semble s’immiscer sous cette armature en aragonite. Pour qui aime à se promener sur les rochers de l’île, le chiton est un normal, mystère quotidien. On se penche, on l’observe, on distingue 8 plaques articulées, aux couleurs sombres (dans les tons gris-marron-noirs) et aux motifs simili-taillés. On tente de gratter autour, mais le chiton semble ancré, vissé au sol, inamovible. Le chiton possède un pouvoir de succion qui le maintient attaché aux rochers sur lesquels il vit et le rend inattaquable—des humains et de leurs outils mécaniques. Le chiton, ou polyplacophore (liolophura japonica), nous explique Tommy Hui (Lingnan University), est un mollusque brouteur qui racle des algues microscopiques tapissant les rochers grâce à ses dents enduites de magnétites qui les rendent plus dures que de l’acier. Le chiton, nous explique Tommy (1), nous revient du Cambrien inférieur. 500 millions d’années de vie et d’évolution, qui ont conservé la carapace (alors que la pieuvre l’a perdue), mais segmenté en 8 plaques articulées, magnifiquement décorées à ce moment donné, lors de notre rencontre —qui sait comment il évoluera au cours des prochains X millions d’années— , d’yeux d’aragonite (2) face à nos yeux d’enfants. Cette expérience de mise en face à face avec un être venu du temps profond (Baptiste Morizot) nous force à l’humilité. Que sommes-nous, sinon un embryon d’être (si on se rapporte à cette échelle de temps) ? Quelle est notre forme vivante en tant qu’être humain ? La mise en contact avec une autre échelle de temps, nous aide à sortir de nos préoccupations anxieuses du capitalocène. Comme le dit Baptiste Morizot, “beaucoup des problèmes qui nous obnubilent aujourd’hui et qui nous aveuglent se dénouent quand on accepte que le monde est très vieux et que la vie sur terre est très ancienne et que nous héritons d’une diversification, d’une richesse qui devient intelligible à la lumière du temps profond.” (3). Le chiton qui, quand il se sent attaqué, se roule en boule —grâce à ces 8 plaques articulées— dans un mouvement, lent, très lent, nous dit Tommy; et cette lenteur nous projette à l’échelle de temps long sur laquelle il vit—contraste à notre vie à toute vitesse. Que nous apprend le chiton, sinon d’apprendre à vivre tranquillement, de cultiver notre petit jardin, apprendre à brouter l’herbe qui nous entoure et ne pas déranger les autres ? Bien ancré dans le dur, capable de respirer sous l’eau, de bio-synthétiser des éléments ferreux, ou de survivre à des événements climatiques extrêmes; tout cela ne s’acquiert pas en 2 millions d’années—et surtout pas en détruisant tout ce qui nous entoure.

(1) Visite de site sur Peng Chau avec Tommy Hui, chercheur à Lingnan University, dans le cadre de l’Inter-Island Festival 2023. (2) Yong, Ed. ‘Chitons See with Eyes Made of Rock’. National Geographic, 14 April 2011. https://www.nationalgeographic.com/science/article/chitons-see-with-eyes-made-of-rock (3) Adler, Laure. ‘Baptiste Morizot : “L’inexploré”’. L’heure Bleue, n.d. https://www.radiofrance.fr/franceinter/podcasts/l-heure-bleue/l-heure-bleue-du-mardi-09-mai-2023-7124867

[milliedoesdenim]

pangaia

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www.instagram.com. (n.d.). Instagram. [online] Available at: https://www.instagram.com/p/Cw4l0qGtj4o/ [Accessed 7 Nov. 2023].

‌At PANCAIA they have a strong sustainability and ethical values. They believe in a regenerative society where sustainability runs through the entirety of the business, from the suppliers all the way to the customers. Their Supplier Code of Conduct (SCoS) ensures the company only partner with suppliers having achieved a high environmental and social standard.

ENVIRONMENTAL STANDARDS

must be transparent

have taken climate action

have eco-friendly production process

PANGAIA. (n.d.). Supplier Code of Conduct. [online] Available at: https://pangaia.com/pages/supplier-code-of-conduct.

Few brands have captured the zeitgeist of the sustainable fashion movement quite like Pangaia. Its comfy-cool aesthetic makes a splash on social media, and an innovative take on environmental issues places it as one of the front-runners when it comes to challenging industry norms.

Elevated loungewear is the brand's hallmark, with Pangaia tracksuits and oversized hoodies being a firm favourite among followers. Colour-blocking is a key element; from primary hues through to soft pastels, you can pick a palette to suit your mood. For a final touch, the brand's signature slogan, an environmental manifesto of sorts, is emblazoned on garments to call to mind its ethical credentials. Each design is comfortable, colourful and well-considered (a winning combination in our eyes).

Invention is core to Pangaia's philosophy. With a team of scientists, technologists and designers, the brand is working to answer some of the fashion industry's biggest sticking points. Water pollution? It's planted 400,000 ocean-cleaning mangrove trees as part of its commitment. Biodiversity? Pangaia has launched two initiatives to protect diverse species. Synthetic materials? Its patented FLWRDWN and C-FIBER fabrics are bio-based, making them fully biodegradable. What's more, the brand prioritises eco-friendly treatments throughout the production process, further reducing the impact that its clothing has on the planet

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A post shared by PANGAIA (@pangaia)

[alexxwhitte]

De Stijl and Bauhaus | The Art of Functionality

I've already talked about De Stijl and what it is but is important to also understand its impact and why it has become such a statement in the acceptance of modern art. 

The straight lines and simple colours of De Stijl opened an avenue for many other similar art styles around the same time. These being decorative, furniture and typography art; one of note being Bauhaus using the colours, lines and tones represented by Piet Mondrian and contributing them to their own architectural designs. Bauhaus as a school focused heavily on bringing absolute simplicity to products. Bringing them merely to just their functional necessities and culling anything unneeded. 

Both these art styles follow the words of Louis Sullivan. He had a major focus on the difference between form and function, even coining the phrase 'Form follows Function'. Stating that before anything unneeded or 'aesthetic' is added everything in design must first be made to follow its function. He was known for creating designs following merely form whilst allowing the function to act as an aesthetic, pushing for a simplistic take on the architecture at the time. Paving the way for current skyscraper designs and the modern day architecture we are so familiar with. His philosophy of 'Form follows Function' is still being used today, but was the forward factor in the creation and iterations of De Stijl and Bauhaus as modern art movements. 

In researching and talking about these two art movements it is clear to see that not only are these two art forms the reason for modern architecture, art and design. It is also proven history of the effect that the wars had on people and how the regression of aesthetics and the rise of functionalism allowed for the world to continue forward and find new ways to represent themselves and the evolving world before them.

This was a set research task for myself. I wanted to take a deeper dive into what these art styles actually represent when comparing them to my 'anti-art' works. These works both represent and don’t represent these styles. They prove the notion of forward thinking and the need for change in the art world. However fundamentally and historically they were not intended perform as exposure therapy (as mine), but rather to represent escapism from the horrors of the world and create a new beginning. 

Bauhaus & De Stijl Art. ARTe. (n.d.). https://www.arteforeverybody.com/bauhaus-de-stijl-art 

Cramer, Dr. C., & Grant, Dr. K. (n.d.). De Stijl and Bauhaus. History of Modern Art. https://pressbooks.pub/art104/chapter/de-stijl-and-bauhaus/ 

Louis Sullivan paintings, Bio, ideas. The Art Story. (n.d.). https://www.theartstory.org/artist/sullivan-louis/#:~:text=Louis%20Sullivan%27s%20central%20tenet%2C%20%22form,in%20the%20development%20of%20ornament. 

LUMEN, T. (n.d.). From Arts and Crafts via De Stijl to Bauhau. TECNOLUMEN. https://tecnolumen.com/magazine/from-arts-and-crafts-via-de-stijl-to-bauhaus 

Masterclass. (2021, August 13). De Stijl art guide: The history and influence of De Stijl - 2023. MasterClass. https://www.masterclass.com/articles/de-stijl-art-guide# 

[ac1546]

Readerly 3

Readerly Explorations

Week 9

Readerly Habit: Read texts deeply in order to interpret, critique, and analyze the various layers of meaning a text might offer a reader.

Task: Learn something about the Author of the assigned reading and use that to draw conclusions about the motivation behind the reading or the credibility/quality of the writing. 

Findings: I was able to find out that Glenda L. Bissex is a research assistant professor of English in the Vermont Writing Program. This helps me understand the motivation behind researching how children go about learning how to write and the ways that it is taught. I believe this finding also allowed me to see a lot more credibility in the article itself. 

BIG TAKEAWAY: Children will ultimately use their combined knowledge of speech sounds, the alphabet, and information from adults around them to construct their initial rules/trials and errors for spelling. 

NUGGET: I find it so interesting that there is a double standard in learning when it comes to verbal processing of words vs. writing. I never realized it but it is more accepting when a child says “wa wa”, even considered cute. However, when their writing produces something incorrect, the first instinct is to correct them. 

NUGGET: It shocked me to see that the nasal (n) sound was not something felt within the mouth. I had to test it out a couple of times, I was fascinated. 

Bissex, G. L. (n.d.). Gnys at WRK. - Glenda L. Bissex | Harvard University Press. https://www.hup.harvard.edu/catalog.php?isbn=9780674354906&content=bios 

Bissex, G. L. Watching young writers. Norwich UniversityBIssex__Young_Writers.pdf

[inflammatory]

My Repin propaganda:

It’s actually a nice detail that this matchup was posted today considering it’s Ukraine’s independence day; [1] for context (that I regrettably didn’t add when I submitted), the Cossacks composed the “reply” in question to the Sultan Mehmed IV’s demand that they surrender, despite the fact that the Cossacks had just wiped out the entirety of one of the Sultan’s Janissary forces. [2]

So, in high spirits from victory, the leaders of the Cossacks got together and co-wrote a vulgar letter to tell him to sod off, which is the subject that Repin chose to paint. The detail is enough to keep you absorbed for ages:

The dog in the lower left corner disgruntled at all the noise, the Cossack in a white coat turned away to assess newcomers, from the main version alone. The blue of the distant horizon is so beautiful it wounds me. It’s in harmony with the smoke from their pipes and cigars (and a vessel that I can’t really identify).

If you read the Wikipedia page, there’s a very charming compilation of all the models with their bios. For example, the man penning the letter is Dmytro Yavornytsky, the historian and archaeologist who helped Repin depict the scene with historical accuracy. There’s a man he chanced upon at Alexandrovsk pier and captured studies of, and Kuznetsov the battle painter, and Glinka’s nephew, and the man with a “makitra” bowl cut, beside the serious man in yellow — who Repin never saw in real life. He was a student who had to leave the Academy of Arts because of his illness. They took a gypsum mask of his face and Repin referred to it. While they were taking the mask the young man smiled, and left a smile in the gypsum, a smile that carried all the way to Repin’s Reply. [3]

He also made several versions apart from the main one above, which I think should be accounted for; Repin’s process itself is the masterwork to me. Many drafts stand as whole works on their own, as they’re all complete with stunning grounding detail:

From a preliminary sketch [4] that is just as lovely. Repin is incredible at capturing fine human emotions (as evinced in the sublime horror of Ivan the Terrible and his Son Ivan), and he is just so good at laughter. You can almost feel the laughter from all the way deep in the man’s chest, or feel it wrack the second man until he’s wheezing.

From [2]: “That Zaporozhian legacy is very much alive today. Modern Ukrainians accord their Zaporozhian forebears pride of place in the nation’s history and culture. It’s a heritage which helps to explain how - right now, in the face of overwhelming odds - Ukrainian people up and down the country are displaying an almost inconceivable bravery on the battlefield.”

Dewar’s piece on the painting details virtually all the historical background you could want, with the gore and tragedy that you might not get from Repin’s painting. But despite the distance between now and the 1600s, the message of independence is very relevant:

A reenactment by Ukrainian soldiers. [5] Vote Repin!! Happy Ukrainian Independence!!!

[1] Åslund, A. (2009). How Ukraine Became a Market Economy and Democracy, Peterson Institute for International Economics, ISBN 978-0-88132-427-3 (page 185)

[2] Dewar, A. (2022). Ukraine’s Zaporozhian Cossacks.

[3] Wikipedia. (n.d.). Reply of the Zaporozhian Cossacks, Models. Accessed 24 August 2023.

[4] Repin, I. (1880-1890). Sketch for Reply of the Zaporozhian Cossacks. Place: Tretyakov Gallery.

[5] u/thewyspa (2022). Reply of the Zaporozhian Cossacks. In r/ukraine. Can’t find a more original source so Reddit will have to do. Accessed 24 August 2023.

SET FOURTEEN - ROUND ONE - MATCH SEVEN

"Reply of the Zaporozhian Cossacks" (1880–1891 - Ilya Repin) / "Garden of Earthly Delights" (1490-1510 - Hieronymus Bosch)

REPLY OF THE ZAPOROZHIAN COSSACKS: Uuuuuuooo I’m pretty sure somebody has submitted the world famous Repin with the fella holding his dead son, and yeah that one is truly harrowing and I think it should be in the final bracket cause it would sweep but Repin has such a range and it’s all very deeply felt and sensitive stuff. For this one he did a couple of versions - you could pick either because they’re both rich in a really immediate sense of humanity. Again on the technical side this is a truly bonkers piece of work because he stitched its elements together from countless studies of people he knew and the result is still somehow a Realist masterpiece rather than the patchwork amalgamation you’d expect.

And each figure isn’t just irresistibly human - he gives all of them so much tangible warmth (the riotous laughter! The attention paid to detail in their clothes! The irritated dog in the bottom left corner) and the fact that theyre all his friends and colleagues is really charming. Dunno if its like “molten lava” kind of evocation of emotion but it certainly makes me feel something. ( @idiotpalespiral )

GARDEN OF EARTHLY DELIGHTS: think it's one of the greatest odes to human imagination and it's insane that it was painted around 1500. it's hard to overstate how innovate and unique bosch's art is. besides, he probably hadn't even ever taken acid in his life, so i don't know how he did that (@cuties-in-codices)

(The "Reply of the Zaporozhian Cossacks" is an oil on canvas painting by Ukranian born Russian artist Ilya Repin. A large number of the "Cossacks" are modelled after either friends of Repin or people he saw around him, including the bald head belonging to the Grand Chamberlain of the court of the Russian Emperor who declined to be added and Repin painted in anyway. This painting measures 203 cm × 358 cm (80 in × 141 in) and is located at the State Russian Museum in Saint Petersburg. The submitter originally submitted the preliminary version of the piece.

"The Garden of Earthly Delights" is a triptych oil painting by Hieronymus Bosch. It measures 205.5 cm × 384.9 cm (81 in × 152 in) and is located in the Museo del Prado, Madrid.)

[grad604kaede]

Sara Hughes

Sara Hughes is a New Zealand artist who exhibited in public galleries throughout New Zealand and private and public collections in Australasian collections. Her work explores light and time and how days are defined by cyclical rhythms. In 2001, she completed an MFA in painting at the Elam School of Fine Arts and won the Wallace Art Award and the Norsewear Art Award (Hughes, n.d.).

Reference:

Hughes, S. (n.d.). Bio. Sara Hughes Artist. http://www.sarahughes.co.nz/about

[eperezart]

Bibliography

Art of the Picture Book. (n.d.). An Interview with Jon Klassen. [online] Available at: https://www.artofthepicturebook.com/-check-in-with/2014/10/15/interview-with-jon-klassen.

Jon Klassen. (n.d.). Home. [online] Available at: https://www.imjonklassen.com/?pgid=kpy5zu5u1-f8066a1a-cd1f-46b1-8db5-2f9394e45fc0 [Accessed 19 May 2023].

Jon Klassen. (n.d.). Home. [online] Available at: https://www.imjonklassen.com/?pgid=kpy5zu5u1-83c0101c-ef81-4962-85b1-28f4ada41f71 [Accessed 19 May 2023].

‌Jon Klassen. (n.d.). Home. [online] Available at: https://www.imjonklassen.com/?pgid=kpy5zu5u1-1f6e595f-6148-4baf-a1e4-9d40c1abbba2 [Accessed 19 May 2023].

‌Jon Klassen. (n.d.). Home. [online] Available at: https://www.imjonklassen.com/?pgid=kpy5yu25-c763e8be-f558-4faf-ba83-739550f8fb4e [Accessed 19 May 2023].

Owendavey.com. (2015). Bio - Owen Davey Illustration. [online] Available at: https://www.owendavey.com/Bio.

‌www.owendavey.com. (n.d.). Prehistomania - Owen Davey Illustration. [online] Available at: https://www.owendavey.com/Prehistomania.

‌www.owendavey.com. (n.d.). Lord of the Halflings - Owen Davey Illustration. [online] Available at: https://www.owendavey.com/Lord-of-the-Halflings [Accessed 22 May 2023].

‌www.owendavey.com. (n.d.). Winter Wildlife Walks - Owen Davey Illustration. [online] Available at: https://www.owendavey.com/Winter-Wildlife-Walks [Accessed 22 May 2023].

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‌Klassen, J. (2021). The Rock from the Sky. Walker Books Ltd.

‌Bond, M. (2022). How to Be Loved Like Paddington. HarperCollins Children’s Books.

‌DK and Hogtun, S. (2022). The Station Cat. Penguin.

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‌

[fashinistagirlunit4]

size diversity

Size diversity means including, respecting, and valuing a wide range of body sizes, especially plus-sizes. Many people find plus sized clothing hard to find and difficult to accentuate their beauty, Plus sized clothing on the market rarely gave women the opportunity to feel sexy or glamorous. Although as years have progressed with many new plus size models and social media helping to constantly amplify the conversation models such as Ashley Graham, Paulina Elsesser, Precious Lee and Tess Holliday have secured campaigns and & catwalk appearances with high brands such as Versace, Fendi and Alexander McQueen. Precious Lee made headlines as becoming the first curve model to be front of a Versace campaign as one of the brands ‘Medusas’ for its SS21 collection Dontella Versace said “They should think of themselves as women with rich goals in life. Size doesn’t mean, really, anything. You can carry your size with pride and dress in a way that you like.”

Precious Lee for Versace SS21

For way too long, mainstream fashion has left out those who are a UK size 16 (the UK average) and upwards, with many designers and even high-street stores going no further than a size 14. Thankfully, things are slowly changing, and big and small brands alike are either extending their size ranges, or opening bespoke lines. 

Recently, luxury brand Erdem made headlines for extending their size range up to a UK 22, letting more women invest in quality designer pieces, while Khloé Kardashian and Emma Grede's Good American size inclusivity was a core tenet of their company, launching in UK sizes 2-28.

Good American Website - https://www.goodamerican.com/?utm_source=google-brand-uk&utm_medium=cpc&utm_campaign=Prospecting_Search_B_General_UK&utm_content=good+american&gclid=EAIaIQobChMIrbiy3_WY_wIVW4BQBh3X4Q_MEAAYASAAEgJJcvD_BwE

Adidas' own sizing currently goes up to 2X while the collection with Universal Standard goes up to 4XL, the collaboration celebrates all bodies and is embedded in Universal Standard's "ALL OF US, AS WE ARE" initiative embracing "fashion freedom." Previously, Universal Standard launched its own fitness collection, GAME by Universal Standard, in 2018 with sizing up to 4XL.

COURTESY OF UNIVERSAL STANDARD

“In London, Fashion East’s new designer, Karoline Vitto, showcased her clingy, curve-focused spring/summer 2023 collection – which is available from UK sizes 8 to 28 – on an incredible cast of size-inclusive women. Cast by Madeleine Østlie of Aamo Casting, the line-up included Alva Claire, Emma Breschi and Monët-Lauren Gordon. The latter’s Instagram bio reads: “Proud to have a body that jiggles.” She also walked for Dilara Findikoglu, Poster Girl and SS Daley. “Being represented is the most important thing in the world, for every sort of person, because it has such a profound impact on people’s mental health when they don’t see themselves represented,”

Harvard referencing:

Celletti, E.N. (2019). Adidas Launched Its First Size-Inclusive Collection With Universal Standard. [online] Teen Vogue. Available at: https://www.teenvogue.com/story/adidas-universal-standard-plus-size-collaboration.‌

Azozie, C. (2021). Precious Lee: The Plus-Sized Model Everyone is Buzzing About. [online] Fashions Finest Africa. Available at: https://fashionsfinestafrica.com/precious-lee-the-plus-sized-model-everyone-is-buzzing-about/ [Accessed 28 May 2023].‌

GOOD AMERICAN. (n.d.). GOOD AMERICAN | REPRESENTING BODY POSITIVITY. [online] Available at: https://www.goodamerican.com/?utm_source=google-brand-uk&utm_medium=cpc&utm_campaign=Prospecting_Search_B_General_UK&utm_content=good+american&gclid=EAIaIQobChMI5vvvgfWY_wIVkO3tCh2VqwVOEAAYASAAEgI7qPD_BwE [Accessed 28 May 2023].‌

[myvisualthoughts]

Words Mean Things: Barbara Kruger

Blog Post #1

Barbara Kruger is a highly acclaimed contemporary artist who explores controversial themes related to feminism, consumerism, and identity. Her works prominently feature bold and provocative statements, serving as a powerful means of communication to address societal issues that are still prevalent today. Her popularity surged in the late 1980s when she established her distinctive artistic style, characterized by the juxtaposition of bold statements in white-on-red Helvetica and Futura fonts, combined with captivating imagery.

Barbara Kruger’s “Untitled (We Don’t Need Another Hero)" (1987). Courtesy of the artist and Sprüth Magers

In an interview with Kruger, Emily Dinsale summarized that "She used the conventions of advertising and mass-communication but, rather than selling a product, she used these techniques to promote a kind of questioning, encouraging the viewer to interrogate ideas that might have previously seemed self-evident."

“Untitled (I shop therefore I am)” Courtesy of the artist and Mary Boone Gallery

As seen in this iconic untitled piece, Barbara Kruger's approach to art diverged from traditional advertising practices. Instead of using it to promote products, she skillfully utilized the tools of advertising and mass communication to spark introspection and provoke thought. Through her art, Kruger aimed to challenge viewers to question assumptions and commonly held beliefs that often go unquestioned. By encouraging critical thinking, she sought to disrupt complacency and inspire individuals to engage in an intellectual exploration of their own beliefs. Kruger's unique artistic language prompted viewers to reevaluate the unquestioned ideologies ingrained in society, fostering a space for reflection and encouraging a deeper examination of prevailing ideas.

Deborah Roberts, courtesy of the artist and Stephen Friedman Gallery, Londo

From consumerism and feminism to power dynamics and identity, her art addresses multifaceted aspects of the world we live in.

Having grown up in a working-class, poor, Black neighborhood in Newark, New Jersey, Kruger was intimately familiar with the challenges faced by others in terms of power dynamics, control, hierarchy, and marginalization. These early experiences played a pivotal role in shaping her perspectives on these societal issues. They served as a foundation for her ideas and fueled her artistic exploration of these themes throughout her career. Kruger's personal encounters with these challenges provided her with a deep understanding and empathy, motivating her to create thought-provoking artwork that confronted and questioned the prevailing structures and systems that perpetuated inequality and oppression.

It is fascinating to observe how her early childhood experiences played a significant role in shaping her outlook and cultivating a strong sense of empathy. Her art continues to serve as a platform for raising awareness, challenging norms, and inspiring critical engagement.

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Sources:

Barbara Kruger Art, Bio, Ideas. (n.d.). The Art Story. https://www.theartstory.org/artist/kruger-barbara/

Dinsdale, E. (2020b). The power of Barbara Kruger’s art, in her own words. Dazed. https://www.dazeddigital.com/art-photography/article/48055/1/the-power-of-barbara-krugers-art-in-her-own-words

O’Grady, M. (2020, November 2). Barbara Kruger Offers a Dark Mirror for Our Meme-Driven Age. The New York Times. https://www.nytimes.com/interactive/2020/10/19/t-magazine/barbara-kruger.html

[hollyoxleylevel6]

Ruth Bowman

Ruth Bowman is a multimedia illustrator who is a part of the Island Illustrators Society (Bowman, 2021). I decided to look a Bowman's work because I like how she uses pastel colours which makes her work look softer. Furthermore, I found it interesting how she had used market to create the fluid water texture and bumpy feathers on the swans.

I like how she has used fine lines to show the movement of the water. The fine line also adds details to the swans and seals which makes them look simple but realistic.

This style will be good for my work because it will make the island illustration look simple. The colours will stop it from overwhelming the typography, making it a secondary element on the design.

Unlike Davis's marker illustrations, Bowman's illustrations look refined and similar to a painting. At first glance I do not notice the marker lines but the texture these lines create. This creates a fine art style illustration that looks realistic. Furthermore, Bowman uses a more realistic style of drawing whereas Davis uses a more cartooney and quickly drawn style.

This will help to create my illustrations, because I wish to use a material that is readily available from my target audience so that they have a chance to explore their own conversations if they want to. Markers are relatively cheap when compared to some other art mediums and can be used to draw a quick but detailed illustration.

This also fits with the style I used to create when I was in college, which I would like to begin exploring again. This will bring a more personal feel into my project, emphasising that the conversation is personal to me.

Bowman, R. (2021). Bio. [Online]. Available from: https://www.ruthbowman.ca/biohttps://www.ruthbowman.ca/bio. [Accessed 25 November 2023]

Island Illustrators. (n.d.). Artist Ruth Bowman. [Online]. Available from: https://www.islandillustrators.org/bowman-ruth. [Accessed 25 November 2023]

[pradhibsarennn]

Influencers on Slow Fashion Movements

Slow fashion is a movement or an awareness and an approach to produce clothing which considers all aspects of the supply chain and aims to respect people, the environment and animals (Marquis, 2021). It is a reaction to the fast fashion sector, which is known for producing clothing of poor quality and at a low cost that is intended to be worn just a few times before being thrown away. The slow fashion movement encourages consumers to purchase fewer, better-made clothes that are made to last. Additionally, it highlights the significance of ethical and sustainable production methods, such as employing eco-friendly materials, giving workers a fair wage, and limiting waste.

Influencers, bloggers, and online groups support slow fashion by emphasising the importance of consumption moderation and publicising environmentally friendly solutions. Influencers from all around the world are starting to share their personal stories about ethical and sustainable fashion, as well as advice on how to make more responsible and thoughtful purchases. These influencers make use of their social media platforms to showcase the sustainable clothing they choose to wear, offer suggestions for shopping more sustainably, and support companies and brands who share their values.

One influencer on Instagram who showed and support slow fashion movement is Dr Anita Vandyke (@rocket_science). According to her bio on Instagram (n.d), Dr Anita has her careers as a doctor, rocket scientist, and an author for a bestselling book 'A Zero Waste Life'. Besides that, she is an environmental activist and slow fashion influencer. She is well-known for her zero-waste lifestyle and environmentally conscious clothing selections. Dr Anita promotes slow fashion by encouraging people to buy high-quality, timeless items rather than rapid fashion. She also promotes eco-friendly and ethical fashion labels, as well as antique and secondhand goods. Within posting her contents, she gives advice on how to develop a sustainable wardrobe and organises seminars and events to teach people about slow fashion and zero-waste living.

References

Marquis C 2021, What Does Slow Fashion ‘Actually’ Mean?, Forbes, viewed 12 May 2023 <https://www.forbes.com/sites/christophermarquis/2021/05/14/what-does-slow-fashion-actually-mean/amp/>

Dr Anita Vandyke [@rocket_science], Instagram, viewed 12 May 2023 <https://instagram.com/rocket_science?igshid=NTc4MTIwNjQ2YQ==>

[myyrrrhhhh]

Architectural Philosophy & Sense of Aesthetics

There have been many different definitions of architecture throughout history. It includes many different subjects, including engineering, design, usability, and sustainability. Instead, it has been claimed that architecture is the science and art of conceiving of shape, size, and space to create usable structures within our surroundings.

The appearance of a structure is one of the key aspects considered in architecture. A building's aesthetic appeal is influenced by its form, scale, texture, color, unity, movement, emphasis, contrast, symmetry, proportion, space, alignment, pattern, decoration, culture, and context. Due to their unique properties and inherent beauty, wood and other bio-based materials are highly sought after for a number of applications, including interior design, facades, and building. The design of a building should meet requirements for safety, usability, durability, and beauty while also delivering optimal structural performance for the duration of its service life.

Since I was a young child, architecture has piqued my curiosity. I found it to be quite fascinating to view several residences of various sizes and shapes. I occasionally feel so surprised by the architecture when I'm out and about. It engages all of our senses due to its diverse shapes, forms, textures, colors, and volumes. Think of order, chaos, symmetry, or any combination of these. We spend 90% of our time in artificial settings. More than any other form of art, architecture has an impact on people's health and welfare.

(Lieder, C. (2022, May 21). Architecture and play. Meer. https://www.meer.com/en/68669-architecture-and-play)

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After completing this course, I've learned a lot about aesthetics and why it's important, especially in interior design.

When I was younger, I had no care of beauty or aesthetics, but as I grew older and developed more, I discovered beauty and came to appreciate it in all of its manifestations, from a small dot in the sky to the mountains and the ocean. I never really cared for art, but since it's so important in my course of study and this subject has exposed me to a variety of types of it, I've started to take interested in it. From my perspective, this makes artistic sense. Additionally, I think that each person has a unique perspective on what is beautiful.

We can think about the ideas and forms that reinforce artistic creations by studying aesthetics. It helps us comprehend how art affects our feelings and modifies the way we see the world. As a result of the production, adulation, and study of artistic works, we produce aesthetic knowledge that we replicate and apply in many parts of life.

By creating a vision and an understanding for how the space should function, an interior designer should be able to translate the client's desired style into reality. Research about the client's culture, age, educational background, and acceptable standards is crucial.

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References: Aesthetics. (n.d.). Encyclopedia Britannica. https://www.britannica.com/topic/aesthetics

Ganatra, S. (2022, January 24). What is the relation between philosophy and architecture? RTF | Rethinking The Future. https://www.re-thinkingthefuture.com/2021/01/21/a2965-what-is-the-relation-between-philosophy-and-architecture/

Madanmohan, M. (2022, January 24). 10 architects with innovative and ingenious design philosophies. RTF | Rethinking The Future. https://www.re-thinkingthefuture.com/2020/05/27/a898-10-architects-with-innovative-and-ingenious-design-philosophies

Philosophy of architecture (Stanford encyclopedia of philosophy). (n.d.). Stanford Encyclopedia of Philosophy. https://plato.stanford.edu/entries/architecture/