Brosmind

Brosmind combination of humour and social awarenesses is something that I find to be extremely inspiring in illustration. Their advertisements for Saatchi & Saatchi, for example, blow me away with their extremely detailed images which contain, all these little scenarios which evolve around the word they are portraying (money, fame, beauty, vacation) it’s like a mind map of all these potential ideas and roads to take with each character. Along side the added humour of some of the situations and the juxtaposing hyper-awareness of others, it really show that these brothers know what they are doing and are incredibly gifted in what they do.

Sources:

Illustartion Now!3 Editor-Julius Wiedemann Publisher-TASCHEN page no.074-077

http://www.brosmind.com/?p=227

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Grayson Perry

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“The artist’s inspiration for the series was Hogarth’s A Rake’s Progress, the tale of a young man who squanders his inherited fortune and dies in a madhouse. The six tapestries chart the ‘class journey’ made by young Tim Rakewell and include many of the characters, incidents and objects Grayson Perry encountered on journeys through Sunderland, Tunbridge Wells and The Cotswolds for the television series ‘All in the Best Possible Taste with Grayson Perry’.

He said of the works: ‘The tapestries tell the story of class mobility, for I think nothing has as strong an influence on our aesthetic taste as the social class in which we grow up. I am interested in the politics of consumerism and the history of popular design, but for this project I focus on the emotional investment we make in the things we choose to live with, wear, eat, read or drive. Class and taste run deep in our character – we care. This emotional charge is what draws me to a subject.'”

“The Vanity of Small Differences is a series of six tapestries, measuring 2m x 4m each, by the Turner Prize-winning artist Grayson Perry. These tapestries tell the story of class mobility and the influence social class has on our aesthetic taste.

Inspired by William Hogarth’s A Rake’s Progress, the six tapestries chart the “class journey” made by young Tim Rakewell and include many of the characters, incidents and objects that Grayson Perry encountered on journeys through Sunderland, Tunbridge Wells and The Cotswolds for the television series ‘All in the Best Possible Taste with Grayson Perry’.

The television programmes were first aired on Channel 4 in June 2012. In the series Perry goes “on a safari amongst the taste tribes of Britain”, to gather inspiration for his artwork, literally weaving the characters he meets into a narrative, with an attention to the minutiae of contemporary taste every bit as acute as that in Hogarth’s 18th century paintings.

Manchester Art Gallery is only the second gallery outside London to be showing Grayson Perry’s The Vanity of Small Differences”

I’m intrigued of using embroidery as a media document the story of Okunoshima via a set of tapestries. It seems like an interesting format to try and display the drastic change in environment that has happened in the Islands history.

Sources:

embroidery -THE TEXTILE ART MAGAZINE. November/December 2013 Editor- Joanne Hall Publisher-The Embroiders’Guild

http://www.manchestergalleries.org/whats-on/exhibitions/index.php?itemID=109

http://www.artfund.org/what-to-see/exhibitions/2013/10/24/grayson-perry-the-vanity-of-small-differences-exhibition

Öyvind Fahlström

 

“Öyvind Fahlström was a Swedish artist who spent his childhood in Brazil, and died in the U.S.A. His World Map was painted in 1972, not long after Fuller imagined his utopia. Fahlström’s map recalls the Mercator projection: but the oceans have practically disappeared, the continents are crushed or swollen by the political pressures that the world-economy brings. Space overflows with clashes between the wealthy and the downtrodden, the CIA and the freedom-fighters, the capitalists, the communists, the revolutionaries. Fahlström was interested in resistance and excess: by which I mean politics plus overflowing subjectivity, figurative invention. For him, a map was a flat, rule-governed space for a strict social game; but it also was an open territory for imaginary play.”

Fahlström use of visual and contextual work within his maps really impresses m. Using present political context to imagine an alternative world via the use of maps and illustration is very interesting. However it is the text and image that integrated into the map that I would want to explore further on. Looking towards adding text for context to the images makes the image less interesting to children but more interesting to adults who like to know little facts about thing as a way of keeping stimulated. I would say that unlike Julie, this does not capture your attention due to the duller colour scheme and small text.

Sources:

http://www.spaceandculture.org/2006/02/10/oyvind-fahlstrom-resistance-and-excess/

Julie Mercier-World Maps

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Although the information she displays in the maps can feel overwhelming the amount of illustrative information is very good for children’s map. The amount of visual information can keep them stimulated and interested in the map because they find something different each time. The idea of filling up a map of Okunoshima with things related to it. Especially bunnies and the abandoned chemical weapons plants, seems like an interesting idea, and one that I would be interested in exploring.

Sources:

http://en.laffichemoderne.com/kids-wall-art/156-world-map-poster-mercier.html

http://creativeroots.org/2011/03/new-york-by-julie-mercier/

http://kiddley.com/2013/05/23/maps-for-kids/

Portrayal of Female Characters within Hayao Miyazaki’s Studio Ghibli Films Pt.2

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Howl’s Moving Castle 

  • A female protagonist, with self-confidence issues and who is not above average in attractiveness
  • Who is turned into an old woman. And abandons her family in the belief of finding the person to fix her
  • She is very self-sacrificing and throughout the film, especially at the beginning.  She also has this sense of just getting on with things as a contrast to the idea that she would be unable to do anything without someone else’s (particularly a males) assistance.
  • Like real life Sophie does not have the classic build up of self confidence and self worth but goes through a series of highs and lows which are subtly and sometimes more dramatically shown in her physical appearance.
  • There are moments where it feels that she relies on howl and begins the cliché of falling in love with a man she can help “fix”. There are moment’s towards the end that make it feel like the relationship has become a crutch for the film.
  • However in comparison to a Disney film, for example Beauty and the Beast, The Beast has to fall in love and make her love him to save himself, also Belle has to be beautiful to be seen as this angelic saviour and she must always sacrifice for the Beast and her prize at the end isn’t that she gains a sense of self worth and is seen and accepted for her flaws and all, Its that she gets to marry a prince because she is ‘kind’ and ‘beautiful’. Whereas In howl’s moving castle, yes he does need love to help break his curse but that’s not the plot of the film. The focus of their relationship is excepting each others faults and growing together both of them gain self-worth though building a relationship with one another. And that sense of equality makes Howl’s moving castle a positive portrayal of female character’s. Specifically Female characters within relationships.

Graham Annable

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Graham Annable’s work is a mixture of sweet illustrative tales about kings who shaves his beard so that his guards aren’t cold as well as some suspenseful animations that, although not as well crafted as other animations,are able to enrapture you into them.

Sources:
http://www.youtube.com/user/grickle
http://gricklethings.blogspot.co.uk/search?updated-max=2012-06-15T15:25:00-07:00
http://grickle.com/
http://www.flickr.com/photos/30473764@N05/

Sasha Vinogradova

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The use of looking at her own cultures folk pattern was really neat. I’m interested in folk patterns myself as they give you little glimpses into rural life within russian and the art they created. The use of painting these patterns onto skulls shows the integration of folk are into the citizens of theses areas.

Sources:

http://www.behance.net/gallery/Styles-of-russian-folk-painting/11972453

http://designcollector.net/styles-of-russian-folk-art/