Sunday, 31 October 2010
Thursday, 28 October 2010
Tuesday, 26 October 2010
I was looking around an art shop in New York when I visited in the summer, and I was introduced to the work of David Kracov. David Kracov is apparently one of the only people in the world allowed to officially produce artwork for Looney Tunes and Warner Bros.
Some of his "Shadow Boxes" feature characters like Bugs Bunny, Daffy Duck and many others in different scenarios and the titles of each piece of work is always a clever play on words, and it shows that in the little space that each character is given, there's a lot of humour behind it.
For example: Taz holding up the word "PRESSURE" - Under Pressure. Daffy looking from behind a corner - Peeking Duck.
Monday, 25 October 2010
Thursday, 14 October 2010
Spending most of her time outdoors, sketching animals, she managed to create a very organic feel within her illustrations using watercolours and ink. The soft wash of the watercolours creates a dreamy outdoors sunlight effect. The colours, dull and lacking in vibrancy, portray a gloomy, wintry, British day perfectly. She used harsh brush-strokes to paint in the grass blades and leaves of the trees.
You really become absorbed into her illustrations, almost as if you can smell the grass and feel the wind on your face.
Though there is a sort of unrealism about the illustrations too, as you don't usually find cute beady-eyed ducks waddling around the countryside dressed in a shawl and bonnet. Yet you get a sense of time and place as what Jemima Puddle-Duck is wearing is a typical Victorian outfit, a perfect depiction of the era.
- By Lucille Bond.
Wednesday, 13 October 2010
The artist I immediately thought of that portrays space in their work (in a very simple/obvious sense) in Lauren Child in her 'Charlie and Lola' work. In this image above Lola is very obviously at the beach :-)
Tuesday, 12 October 2010
In terms of space and place this image feels like it doesn't really belong to any particular space or place. It feels quite random, but when you actually begin to look at it closely, you notice words and a kind of sequence to it, almost like a piece of writing that you read left to right. It features drawings of little creatures, instruments, rainbows, trees and clouds. It feels like when your looking at it you could be following the artists train of thought through doodling, or maybe he or she was listening to a piece of music at the time and it represents different parts of the song, the instruments could be the instruments the artist was hearing, the expressions on the creatures faces could be the way the music sounds. It could be a timeline or a journey of walking through an area and the things that the artist has seen or heard have been jotted down. I don't know exactly what it represents, but i think instead of being a specific space/place, it sort of flows and its like your supposed to read the illustrations as they are set out, like a page in a book.(emily)
Girls who draw (present Menagarie)
This piece represents a space because it’s background is a cut down woodland area but it is also a non space as the woodland area is no longer there.
It could be fixed within our time as deforestation has only become a huge impact on animals recently.
This image is unreal as this scenario would never happen, it is the artists ideal conclusion to the story they are trying to convey through illustration.
This image feels unfamiliar as the woman is blue and the background is very vague but it also feels familiar because of the current wildlife crisis.
This is definitely a unnatural image as a bear wouldn’t fit in someone’s hair and the image is negative as the image is about the animals losing there homes due to deforestation.
From the little book called Girls who can draw Menagerie (male animal lingerie) comes this picture from Gemma Correll.
In relation to it being in our lecture on Space and Place, this illustration represents the illusion of a space within the background by the fact that it is empty. The concentration of the space is by the girl and the animals in her hair. There is no fixed time, but I think it is universal because of the message it brings forth. It has unrealistic approach to the concerns representing animal and forestry protection is also unfamiliar because of the colour of the girl, and the animals that are wearing make up and/or clothing; it is Gemma’s unrealistic and unnatural approach to a global and recognised problem. Though the colours are light, the message is not. This is because though pink is a represented colour that brings forth emotions of happiness, if one looks at the picture thoroughly, one could note that the skin of the girl contradicts her hair; she is blue, therefore melancholy, and her facial expression helps this. The animals do not look happy either, therefore, the dark satire of the fact that a bear cannot be placed in a girl’s hair is there, but this picture is dominated by the negative thinking of the animals being there, in her hair, for a reason. All in all, the sense of place and space is around the girl and the animals, but the sense of it all is empty because it has been stripped bare by the emptiness and by the colour. This makes the realistic idea unrealistic to get your attention.
The image feels unfamiliar to me, like it could be the result of the 'end of the world' or something disasterios as the space is deserted and bleak. Its unnatural and has a negative appeal, it could also be seen as a concentration camp as it has the element of control and the train track is segregating the area from the rest of the wasteland. The landscape is ridgid and random, its swallowing buildings and I think it looks like there was once water on this land and its at the bottem of the sea (which has gone) as the ship in the backround is perched on a raised area like its a sunken ship that got stuck.
Image from : BOTH By Tom Gauld and Simone Lia
The picture appears to be set in a warm space, quite a homely vibe is given off; the mans shoes are off, theres a cup of tea or coffee on the floor and a magazine opened and over turned carelessly on the floor, this shows he is relaxed and cosy, probably settling down for the evening.
the atmosphere of the image is very realistic but once you begin to read the text its becomes unrealistic (rabbits cant talk) the rabbit comes across as a child to the man because of the way he hugs it, and shows they have a natural bond which makes this quite an unnatural piece of work.
Beyond the unnatural/ unrealistic values its a very positive picture, there are no colours to show much bad feeling, the smooth running, bold outline gives a happy appearance to the artwork.
although visually the facial expressions are a small part of the image, when reading it they play a major roll. because of the lack of colour i relied mostly on the facial expressions and the text to tell the storey.
This is "London Fashion Week 2009" by Illustrator Rob Ryan. (It's not very clear from this picture but the image is actually a photograph of a very intricate, paper cut out design!)
Answering the set questions:
Does it represent a space or a non-space?
The image represents London- 'tower bridge' is a main part of the image and there are even tiny london underground logos around the border.
Is it fixed within a particular time?
It is advertising 'fashion week' in London in 2009.
Does it seem real or unreal?
There are definately 'real' aspects to it- it is obviously a person sitting on tower bridge but it's not a 'real' image- tower bridge is suspended in mid-air and the lady is giant! It is also lacking the colour of real life.
Does it feel familiar or unfamiliar?
The image of tower bridge and the underground logo are both fairly familiar.
Does it feel natural or unnatural?
Pretty unnatural- I don't know many giants....
Does it feel positive or negative?
Um... I don't think that if, in real life a giant woman did actually sit on top of tower bridge that it would be received in a particularly positive manner as the bridge would most probably be broken! However... in this context I think that it's fairly positive- especially if you like fashion... if you don't like fashion then perhaps it's not so positive. Taking the positive negative thing further- the whole image is in only 2 colours- black and white, the black here being positive. Also it is a cut out of which we can only see the positive here as the negative has been removed....
This is an illustration from Stephen Appleby's "Antmen Carry Away My Thoughts As Soon As I Think Them".
It's a really simple design but I believe that just in this simple sketch, there's actually quite a bit of meaning, and even humour, about isolation and empty space.
I don't think there's any real theme or event, but it seems slightly real like it could happen, you could end up feeling as isolated as the image represents.
It seems like it could naturally happen, but the picture had a bit of a neutral feeling to it, although the loneliness aspect has a negative feel to it. (patrick)
Me and Toby had this as our picture as we loved the way the illustrator has left the background entirely white, meaning that it is up to your imagination to put the children in a specific place... (Penny)
Cindy and I both felt that this was quite an innocent, if a little odd, image at first but the more you look the wierder it gets. The hand for example, one is a paper cut out the other some kind of inflatable, some of the fruit and veg is flat some 3D and after a while it makes you feel uncomfortable. The whole thing is confined within a box (not that clear on the photo) but the intense dark behind the figure gives it a real claustrophobic feel and it really does get stranger. You have to be impressed by someone who can elicit all those feelings with an image.
Monday, 11 October 2010
Thursday, 7 October 2010
IL DILETTANTE LEGATORE DI LIBRI, CON BREVI CENNI STORICI.
B/W drawings throughout text & 17 monochrome plates inc. 2 fold-out in colour.
G. Guido Giannini. Publisher Ulrico Hoepli, Editore Libraio Della Real Casa, Milano. First edition. 1908. 204 pages + 64 pages other Hoepli books. Cover is Vellum with 2 ribbons threaded around, with black & red lettering. Marbled end-papers. Approx. 11x15x2cms. Text in Italian.
Book Condition: Fair for age. The cover is undamaged but needs cleaning, the front edges wrap around, and the ribbons are broken. Page edges and margins (2cms) tanned. The binding is solid but 3 monochrome plates are detached.
A book for ‘amateur’ bookbinders with some historical background, illustrated instructions & plates of traditional styles – Aldino; Groliere; XVII century; Canevari; Padeloup; Derome; Impero etc.
There are several editions of this book - this one the first. The book block is rather boring but the cover is exceptional - I've never seen vellum before. It had become very grubby & was really easy to clean having an impermeable quality.
An internet bookseller hopes to get £600 for a similar copy - it sold for Oxfam on ebay for £120 to a bookbinder in San Francisco.
Friday, 1 October 2010
Another local artist (Totnes) David Greenaway put together this installation for Totnes Open Studios earlier this year using books bought from Oxfam Bookshop where I volunteer.
To be in the presence of so many books in such a solid mass was staggering; the hidden spines were challenging & the thought of how many words & how much information is contained in 10 cubic metres of books stayed with me for many days afterwards.
Logistically nearly impossible to reproduce in another gallery - each book has its place like a stone in a drystone wall. The most impossible aspect perhaps would be the artist's inability to resist changing the work in some way when re-assembling it elsewhere.