Yellow Submarine

I chose this clip for a couple reasons. First is the background, the play with its effect of vibration on the viewer's eyes. The extreme contrast flares on your eyes, and if I remember right from the movie, it creates a weird distortion with space and perception. The characters also come in and out of the black wholes, treating the blackness as a tunnel. I like how the designers played with so many possibilities from simply black and white. 

Another reason I chose this clip is because of the creepy "Mr. Nowhere." I think he's ugly and has such a collaboration of non-cohesive attributes. This style of "unattractive" is a preferred taste to some point of views and sub-cultures.

 

Classic Hand Art. When I saw this in the film I thought of how children make mouth/faces out of their folded pointer-finger and thumb. You see hand expression from painted hands to mime hands to gang signs to music videos to sign language or to the modern "bird." It represents a common and again-classic form of voice without any sound.

I was really trying to find a clip of when all five of the main characters were time traveling and had "miracle grown" beards. This was the closest I could come to finding what I intended. When their beards were growing rapidly I again had a flashback to childhood; I thought of those toys that grew once they were in water. I also thought of when movies fast forward to show change (i.e. if you have ever seen starfish fast forwarded). The part from the movie stuck out to me, and made related references come to mind. 

functional object

camouflage

image relevance

Hiroshige

http://renbian.blogspot.com/2011/02/hiroshige.html

Gaudi

http://www.123rf.com/photo_6859133_casa-batllo-bay-window-barcelona-catalonia-spain.html

Gaudi

http://www.kitchenandresidentialdesign.com/2009/04/dont-do-this.html

Mucha

http://everafterlv.com/investigative-alfons-mucha-obecn-dum/

Mucha

http://emsvlitblog.wordpress.com/2009/10/16/art-nouveau-to-modern-advertising/

Sandra Juto

http://pzrservices.typepad.com/advertisingisgoodforyou/2009/01/krets-film-festival-poster-by-sandra-juto.html

Eric Carle

http://thefunapp.com/2010/07/02/the-very-hungry-caterpillar-author-eric-carle/

Moser

http://www.barewalls.com/pv-413269_Secession-Moser.html

Moser

http://www.booksofwonder.com/prodinfo.asp?number=PSTA002

Heinrich Brandt/Dusseldorf-Benrath

http://chowkaideng.tumblr.com/page/3

Stella

http://www.sunipix.com/paintings/paintings08.htm

Mr. Bing documentary notes

• Art Nouveau is really the beginning idea of what we think of as Graphic Design today
• Mr. Bing was a famous art dealer, and firm defender of Art Nouveau in France
• died on Sept. 6, 1905
• Bing's gallery gave name and attention to A.N. movement
• first came to Paris to work for his father; production and manufacturing of ceramics
• received a Gold Metal from France that symbolized Bing's success in manufacturing and ability to work with artists
• "...breath new life into our applied arts." - Bing
• 1876 Mr. Bing had his first auction sale of Japanese art
• 1878 Bing openned 1st shop displaying Japanese art
• 1880 Bing went to Japan 
• "Le Japan Artisique" - for anyone with an interest of future of applied art
• Bing admired Japanese belief that Nature was the ultimate and only master
• 1890 exhibition - largest collection of Japanese prints of the time
• "pictures of the floating world"
• strictly relating to the real world
• Van Gogh became very interested with Mr. Bing and his fascination with Japanese art
• Van Gogh used Japanese prints in his own paintings through his imagination 
• said that once you study and have an eye for Japanese art, your perspective (i.e. with color) changes
• 1894 Bing goes to U.S. to sell Japanese art and to learn about America's achievements in the work of applied arts
• Lautrec learns to stain glass
• "...work of applied art is only of interest if it has the whole heart of the artist."
• 1899 first production of newest ideas of A.N. = "whiplash" design
• never seen in porcelain before
• Bing searches and struggles to "find the natural artists"
• 1900 World Fair
• documentary continues to describe Bing's house in extreme detail
• dishes, paintings, furniture
• 1904 Bing declares bankruptcy
• Mr. Bing
• known to bring together art and simplicity
• Far East mixed with the great traditions of the West

Art Nouveau; Part Two

a production designer's perspective:

Carroll Moore's Toulouse-Lautrec and Monmarte was more of a narrative, historical recall of Lautrec and his work.  Catherine Martin's production design of Moulin Rouge however, surrounded the audience in the atmosphere of an elaborate, and at times over-the-top, story line.  Details as simple as animation between characters create a large contrast between the two films.  Pictures and common facts from the Moore documentation are in black and white, and are told in a "recalling" manner; Martin's production is full of color, noise, excitement, and life.  Both films elaborated on the time's "forbidden pleasures" that were so enticing to Lautrec.  From the two films it was also easy to understand the activities that took place at the Moulin Rouge.  Again, while Martin's production was more flamboyant, Moore's documentation still gave its watchers the just of the nighttime attitudes without giving a live reenactment. 

(poster)

(painting)

At the Moulin Rouge

Toulouse-Lautrec's paintings, for me, are more alive.  They breath through Lautrec's use of color and his figure's expressions.  In the above painting the viewer can almost smell the booze on Lautrec's models, and ponder over only a few possibilities of what conversations are going on in the club.  The posters create more of an advertising response, obviously what was intended.  His posters stay true to the Japanese Prints influence: embracing using flat color, decorative appeal, and linear elements.  

I chose the two above images because they relay a strong idea of the traditions of the Moulin Rouge.  Starting with the poster, and the figures that are performing the CAN-CAN.  In Martin's production, the first impression of the night was the CAN-CAN.  Women everywhere were flipping their dresses up, reflecting back to the poster.  While the women in Lautrec's poster are caught in action, Martin puts these idealistic figures into action.  While their deeds don't seem family oriented, Martin through his film made the dancing seem to perfectly fit the norm. 

What better way to understand how the Moulin Rouge was than to study Lautrec's At the Mounlin Rouge?  The effects of alcohol, nightly table conversations, women of the night discussions, and even the glowing lights from the dance floor are all present in Lautrec's painting.  The painting offers more detailed information than the posted poster in the figurative emotion, perspective, and composition. 

Art Nouveau; Part One

Bruce Mau

With the credit of being one of the most well-known "Citizen Designer," Mau has found a way to make commercial and the necessary efficient with elements of design; being both attractive and functional. Mau also has focused on the society, and his personal belief that no matter where a person might be status wise, they still have an influence on social reform, or change. According to our textbook, " 'designs' by citizen designers are in fact better understood as engineering, activism, or even administration." Meaning Mau's idea is to not make pretty painting, but rather to create abstract, postmodern, and useful design. His free spirit focuses on the positive, and has "elegance of some of the best instances of informational design" according to our text.

Blue Spots Coming to Santa Monica

Bruce Mau

Scheduled to take place Dec. 2010

http://www.bustler.net/index.php/article/the_blue_spots_coming_to_santa_monica/

A perfect example of functional design. Mau's in depth design of recreating bus shelters shows his versatility, and a commitment to improving the environment. Obviously playing to more of the engineering label, Mau creates possibilities beyond the drawing room. One element that was so intriguing in this design was the attention to the shade possibilities and solar energy alternatives. The entire website describes the plan in depth with photos, graphs, and prototypes. 

Three Moving Projects

Bruce Mau Design

1991 – 2002

“STRESS”

The Power Plant Contemporary Art Gallery

http://www.arcspace.com/exhibitions/Mau/

I liked this installment because of its attention to daily life; those facts or situations that cause stress. Again, Mau is creating an experience rather than just an image. I appreciate the design and Mau's efforts to allow his audience to be a part of his art. While stress itself is not necessarily seen as a positive, I think that Mau means it to be: (quote from the website) "According to Bruce Mau, a culture that pushes the limits of social, ecological, biological, intellectual, emotional, and psychological capacity in almost every endeavor is a culture of stress."

Sustainable Living. Community Resilience. Creativity and Innovation.

Bruce Mau

2010

http://ecologicalurbanliving.blogspot.com/2010/06/bruce-mau-designing-future.html

Keeping his mindset and thought process open to the public, Mau invites society to "Begin Anywhere." He goes on to list insight that he believes will allow society to grow. This entire project invites innovation, and from what I got out of it, inspires people to question and solve problems. Beyond design, Mau draws attention to thinking and planning towards the future.

Art Nouveau; Part One

Adrian Allinson

With a very simple, and modern abstract style, Allinson focuses more on the decorative, rather than the substance of his paintings. While highly involved in commercial messaging, Allinson is able to keep to Art Deco idealistic features. Sleek, elegant lines mixed with simple geometric shapes build upon each other in Allinson's paintings to created an Utopian feeling, even if the subject is raging with conflict. (i.e. the posters displayed in the textbook.) Because of the focus of geometric form and cleanliness, Allinson's creates balanced compositions that are easy for the viewer to move throughout.

Jersey: The Sunny Channel Island

Adrian Allinson

1947

http://www.ssplprints.com/image/80725/allinson-jersey-the-sunny-channel-island-sr-gwr-poster-1947

This painting has sense of perfect that I think is very obvious to the viewer. The light pastel colors, the calmness throughout the painting, the simple shapes, and the post-card-view all appeal to the again, Utopian idea. Most striking I think is the softness that the clouds and trees reflect to each other. Allinson has created a scene to be pretty, but also have a commercial message.

Isle of Wright

Adrian Allinson

1946

http://collectionsonline.nmsi.ac.uk/detail.php?type=related&kv=228589&t=objects

Very similar to Jersey: The Sunny Channel Island, the Isle of Wright painting is a commercial painting that creates a sense of perfection; an unrealistic point of view that is desirable only in this glimpse. While this poster has deeper hues, it still shares the softness, very easily navigational composition, and post-card-view as Jersey. Specifically to this poster, I wanted to call attention to the way in which Allinson abstracts the hills; they seem to flow from one side to the other, bleeding into each other without interruption. 

Cellar Stores

Adrian Allinson

(date unknown)

http://www.artvalue.com/auctionresult--allinson-adrian-paul-1890-1959-cellar-stores-2900145.htm

I chose this painting because it was so different in subject matter compared to the two above. In this painting Allinson captures a more realistic scene, while still keeping the forms elegant and decorative. I also like that there is not commercial feel. The rafters shown on the ceiling creates a clean line and point of view. The sacks in the foreground remind me of the clouds and trees in the previous paintings; reflecting and mimicking each other. Again, as a viewer, it is easy to wonder between the different points of interest throughout this painting. 

Art Nouveau; Part One

Egon Schiele

As an Austrian Expressionist, Schiele wanted to show his viewers how the world felt, rather than how it looked through his paintings. Schiele's inner struggle with personal feelings came through in the way he distorted form, color, and space. The raw emotions and chaotic scenes reflected Schiele's torture with the sexual and psychological mind. Unnaturally long and disjointed figures were very popular for Schiele, making him most famous for his portraits-specifically of himself.

Portrait of Friederike Maria Beer

1914

Egon Schiele

http://www.paintingmania.com/portrait-friederike-maria-beer-120_6258.html

This portrait is an example of Schiele's application of distortion. The hands and awkward position of the figure's head gives the viewer an idea of Schiele's expression of inner conflict; a struggle to be calm, logical and clear-minded. This painting also allows only a few ideas of space; the figure's feet heavy with shadow, but no floor. A darker outline surrounds the figure, but no information to a natural scene. Finally, even though this is not a self-portrait, this painting was relevant because even through a representation of another man, Schiele included famous feathers in which are present in the paintings he composed of himself.

Moderne Galerie Theatiner-Maffeistr

Max Oppenheimer (Exhibition Poster)

1911

Egon Schiele

http://www.moma.org/explore/collection/ge/styles/austrian_expressionism#

Again, in this poster we see Schiele distort his figure by elongating the man's torso. The viewer gathers a sense of depression, personal pain, and undesirable feelings. In the text we were shown examples of posters by Schiele, and I wanted to find one not featured to compare. This poster exposes agony, similar to Schiele's Galerie Arnot poster. Both posters share the minimal use of color; also adding to the depression of the figure. The composition of the posters are in addition relative to each other with a central figure framed by information. 

The Embrace is known for its sexual imagery of love. Even though the figures are still distorted to some degree, they are not to the extreme of some of Schiele's earlier paintings. Schiele expresses an abstraction through the colors, sheets, and even the hair of the figures. This abstraction however, is not one of torture, conflict, or chaos. 

The Embrace

Egon Schiele

1917

http://www.art.com/gallery/id--a879/egon-schiele-posters.htm