See above clip for thoughts on education, artists' brains and the power of collaborative thinking.
Monday, November 14, 2011
education paradigms
See above clip for thoughts on education, artists' brains and the power of collaborative thinking.
Monday, November 7, 2011
Unorthodox Storytellers
Check out some more character builders. Below are links for artists who have built a cast of characters and/or alternate worlds that wander through their studio practice:
Ernesto Caivano "...it is very important to be able to resonate with other narratives. Other stories from the history, folktales, science…. It is kind of like a collage, traditional historic collage of all those different elements also the current collage. We cannot have folktale mythology but by looking at the pictures, we can tell that the contemporary cultures are connected, and in the end, looking at these images, you will essentially find the mythology and how those things are connected.
I am very interested how these images told in school, history and books are connected and resonated. For instance, some cultures have similar symbols but different meanings. I am interested in what kinds of meanings these objects can help bring to the culture and how these objects establish the culture. You make a story collecting these objects and the story becomes something real to us in the end. But in fact they are abstract, very abstract. I like that very much." (mildly edited for grammar)
Matthew Barney
Amy Cutler "Cautioning writers against merely reweaving the same old narrative threads when translating fairytales to contemporary settings, A. S. Byatt recently wrote: ‘We live in a world very far from woods, castles, and gibbets. We live in a world of urban myths – alligators in sewers, grandmothers on car roofs, and a burgeoning virtual world of gossip and storytelling, real and fantastic, on the Web.’ Similarly Cutler mines an especially productive vein when she draws on current events. The elaborate gouache titled Siege (2004), for example, was inspired by the hunt for Saddam Hussein: flurries of arrows descend like heat-seeking missiles on bewildered people, some of whom clutch geese like their only treasured possessions." Kristin M. Jones-- Frieze Magazine
William Kentridge
Matthew Ritchie
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| Ernesto Caivano |
Ernesto Caivano "...it is very important to be able to resonate with other narratives. Other stories from the history, folktales, science…. It is kind of like a collage, traditional historic collage of all those different elements also the current collage. We cannot have folktale mythology but by looking at the pictures, we can tell that the contemporary cultures are connected, and in the end, looking at these images, you will essentially find the mythology and how those things are connected.
I am very interested how these images told in school, history and books are connected and resonated. For instance, some cultures have similar symbols but different meanings. I am interested in what kinds of meanings these objects can help bring to the culture and how these objects establish the culture. You make a story collecting these objects and the story becomes something real to us in the end. But in fact they are abstract, very abstract. I like that very much." (mildly edited for grammar)
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| Amy Cutler "Siege" |
Amy Cutler "Cautioning writers against merely reweaving the same old narrative threads when translating fairytales to contemporary settings, A. S. Byatt recently wrote: ‘We live in a world very far from woods, castles, and gibbets. We live in a world of urban myths – alligators in sewers, grandmothers on car roofs, and a burgeoning virtual world of gossip and storytelling, real and fantastic, on the Web.’ Similarly Cutler mines an especially productive vein when she draws on current events. The elaborate gouache titled Siege (2004), for example, was inspired by the hunt for Saddam Hussein: flurries of arrows descend like heat-seeking missiles on bewildered people, some of whom clutch geese like their only treasured possessions." Kristin M. Jones-- Frieze Magazine
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| William Kentridge "World Walking" |
William Kentridge
Matthew Ritchie
Monday, October 31, 2011
character building
Chris Ware
"The characters which populate his imaginary worlds include the Mounds, half-animal, half-plant creatures, which are preyed upon by evil beings called vegans."
Wednesday, September 21, 2011
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| Craig Frazier Studio (Underwater) |
Hope you had a terrific summer and are ready to get some good work done! As many of you know, this is the blog designated as a resource for illustration at Seattle Pacific. This quarter is Digital Illustration, during which we dig into exactly what the boundaries are for communicating through and by the filter of ye olde computer. Straightforward approaches toward illustration will be wrangled, but we will also take experimental romps. Get ready get set!
In the meantime, check out this documentation of a design/illustration team working on an album cover for Son Lux:
The Made Shop's film documenting the creation of Son Lux's "We Are Rising" album artwork (CD and digital download available now, LP on 6/28).
www.music.sonluxmusic.com
"The plan is to do the entire record cover for the new Son Lux album in 28 hours, since he recorded the whole thing in 28 days. If all goes according to plan, we're going to shoot 28 smoke bombs going off in a parking lot behind some warehouses on top of a crane, and then cut out the Son Lux title out of the smoke."
Music: "Rising" by Son Lux
from We Are Rising
Anticon. Records
The Made Shop
www.themadeshop.com
Shot and edited by Michael Chiarelli (www.vimeo.com/michaelchiarelli)
Thursday, May 19, 2011
Tuesday, May 17, 2011
The Loose Edges of Storytelling
Acting, animating, drawing, singing, writing, filming and dancing. All of these methods and more have been used fluidly over centuries and centuries in order to satisfy our desire for a good story. One interesting form, a precursor to cinema and comics as we now know them, was a storytelling practice outlined in a recent book by Eric P. Nash, Manga Kamishibai. Storytellers on the streets of Japan would tell elaborate stories with the aid of a sequence of paintings. From the publisher's site:
During the height of kamishibai in the 1930s, storytellers would travel to villages and set up their butais (miniature wooden prosceniums), through which illustrated boards were shown. The storytellers acted as entertainers and reporters, narrating tales that ranged from action-packed westerns, period pieces, traditional folk tales, and melodramas, to nightly news reporting on World War II. More than just explaining the pictures, a good storyteller would act out the parts of each character with different voices and facial expressions.
Read some more excerpts and quotes from the author here.
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