Summary
The main task assigned to us for Unit 175 (1st semester of the Bachelor of Multimedia Design course) was to read "Understanding Comics, The Invisible Art" by Scott McCloud and to "Relate what is said in this chapter to a work/artist/designer you have seen in lectures/anywhere else. Image, brief description, link to a source of information on the web" on a weekly basis.
I really enjoyed reading the above-mentioned book and was enlightened about many different theories and concepts that I had just Not thought to "think about" before I read this book! All the lectures I attended for this unit were entertaining and very informative. They always linked back to one of the chapters in the book by either portraying examples of a theory McCloud might have mentioned or by introducing completely different ideas that would relate back to the book in some manner.
Some of the main aspects about this assignment would be the way I "see" media these days! I find myself analyzing movies of all kinds from animated, cartoons and feature films ( to non-animated, action movies (Die Hard and James Bond!) I have also been made aware of the ability to branch out into other cultures and watch movies made in Japan and China! For Example: "Princess Mononoke" and "Dragon Ball Z" in week 4. This helped me understand theories McCloud discussed in his book, such as audience identifying with characters, closure, relationship between form and content, the language of icons and symbols, etc. It was really helpful to be able to have actual exmaple of the information in McClouds book in class everyday for me to see and understand, and be able to investigate further.
Multimedia Design 175: Theory and Practice has allowed me to look at the mediums of communication in a new light! Film, radio, television, comic books....all of these shall never be the same again. I also learnt about interactivity, literacy and the design of above-mentioned communications and their individual advantages and disadvantages.
I found this unit to be entirely enjoyable, and owe a big thank you to Andrew Hutchison for being such a kind and fun lecturer. Thanks for everything!!! :c)
Sunday, June 1, 2008
Saturday, May 31, 2008
Chapter 9 ~ Putting It All Together
"Understanding Comics, The Invisible Art" by Scott McCloud
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
This is the final installation to the wonderful comic book/book by Scott McCloud! In this chapter, McCloud reflects on the reason why the medium of comics is so important, and why we should try so hard to better understand this wonderful and flexible medium.
Hallmarks of Felinity by Brooke McEldowney
[Ref: http://www.ramblestrip.com/catphysics.jpg ]
"Today, comics is one of the very few forms of mass communication in which individual voices still have a chance to be heard" [p.g.197]
McCloud states that comics could be seen as a means of communication because we all have something to say to the world, and most of us love to be entertained and read a good story!
Comics is a medium based on communication; the message or story the artist is trying to convey to an audience, and understanding; the ideas and perceptions that an audience will take away with them after reading the comic. It is purely sight-based and includes a full range of pictorial styles ranging from realistic representations to simplified lines and shapes, as well as an entire world of symbols, language and icons!
"Throughout its history, comics has harnessed the power of cartons to command viewer involvement and identification, and realism to capture the beauty and complexity of the visible world" [p.g.204]
Calvin & Hobbes by Bill Waterson
[Ref: http://img.villagephotos.com/p/2004-7/785459/calvin.jpg ]
Another important point covered time and again in all our lectures is audience/reader/viewer involvement and participation. This is done by several interesting methods including "Closure" and "Simplification" (which leads to a more universal recognition) Space and time is also explored in this book.
McCloud expounds on the idea that all languages must evolve, including the language of comics! He also states, and I completely agree with this, that the possibilities for comics are endless.
"...all that's needed is the desire to be heard, the will to learn, and the ability to see" [p.g.213]
[Ref: http://blog.karlribas.com/images/dilbert-cartoons.gif ]
Dilbert by Scott Adams
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
This is the final installation to the wonderful comic book/book by Scott McCloud! In this chapter, McCloud reflects on the reason why the medium of comics is so important, and why we should try so hard to better understand this wonderful and flexible medium.
Hallmarks of Felinity by Brooke McEldowney
[Ref: http://www.ramblestrip.com/catphysics.jpg ]
"Today, comics is one of the very few forms of mass communication in which individual voices still have a chance to be heard" [p.g.197]
McCloud states that comics could be seen as a means of communication because we all have something to say to the world, and most of us love to be entertained and read a good story!
Comics is a medium based on communication; the message or story the artist is trying to convey to an audience, and understanding; the ideas and perceptions that an audience will take away with them after reading the comic. It is purely sight-based and includes a full range of pictorial styles ranging from realistic representations to simplified lines and shapes, as well as an entire world of symbols, language and icons!
"Throughout its history, comics has harnessed the power of cartons to command viewer involvement and identification, and realism to capture the beauty and complexity of the visible world" [p.g.204]
Calvin & Hobbes by Bill Waterson
[Ref: http://img.villagephotos.com/p/2004-7/785459/calvin.jpg ]
Another important point covered time and again in all our lectures is audience/reader/viewer involvement and participation. This is done by several interesting methods including "Closure" and "Simplification" (which leads to a more universal recognition) Space and time is also explored in this book.
McCloud expounds on the idea that all languages must evolve, including the language of comics! He also states, and I completely agree with this, that the possibilities for comics are endless.
"...all that's needed is the desire to be heard, the will to learn, and the ability to see" [p.g.213]
[Ref: http://blog.karlribas.com/images/dilbert-cartoons.gif ]
Dilbert by Scott Adams
Saturday, May 24, 2008
Chapter 8 ~ A Word about Color
"Understanding Comics, The Invisible Art" by Scott McCloud
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
This chapter is pre-dominantly about colour and the use of it in comics over time with the main influences being commerce and technology.
McCloud also discusses the different ideas of "Additive" and "Subtractive" primaries, the main gist of which is illustrated in the picture below:
[Ref: http://www.diycalculator.com/imgs/console-09.gif ]
The first use of color in comics would be in newspaper comics, where sales rocketed, which called for more streamlined and cost-effective processes to be implemented. The fact that this cost-awareness indirectly produced the "look" and "Feel" of comics in America is amazing! In order to produce more cost-effective newspapers, the standard "Four Color" process was used, which: "...restricted the intensity of the three primaries to 100%, 50% and 20% using black ink for the line work" [p.g.187]. This resulted in a distinctive "look": the comics were printed on cheap newsprint, with bold black outlines and simplified colours. To remedy this "dulling down" effect and to make the comics stand out more; "...heros were clad in bright, primary colours and "fought in a bright, primary world!" [p.g.188]
Comic colors could be said to be an icon in themselves. By using the same colors repeatedly for a super-hero, a comic artist can render the hero unforgettable, especially in a child's mind!
Some famous super-heros!
[Ref: http://comicsmedia.ign.com/comics/image/article/674/674213/dc-superheroes-get-licked-20051207021349520-000.jpg ]
Colour is used in comics in various ways, a few examples are noted below:
-flat colours ("Tintin" by Herge)
[Ref: http://www.bunchofmonkeys.com/words/wp-content/uploads/2006/07/Tintin.jpg ]
-intense, subjective colours (Claveloux, Caza & Moebius)
-colour as a sensation, or as an environment!
McCloud also touches on a very important point: the differences between black-and-white and colour. I believe that this is one of the most important points as they make a huge difference in what the audience sees and perceives. I personally love Frank Miller's graphic novels; they make use of bold, contrasting black and white shapes, and manage to look absolutely stunning even without all the added complexities and emotions colour brings to a comic.
A page from a graphic novel by Frank Miller
[Ref: http://images.rottentomatoes.com/images/movie/gallery/1143969/photo_21.jpg]
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
This chapter is pre-dominantly about colour and the use of it in comics over time with the main influences being commerce and technology.
McCloud also discusses the different ideas of "Additive" and "Subtractive" primaries, the main gist of which is illustrated in the picture below:
[Ref: http://www.diycalculator.com/imgs/console-09.gif ]
The first use of color in comics would be in newspaper comics, where sales rocketed, which called for more streamlined and cost-effective processes to be implemented. The fact that this cost-awareness indirectly produced the "look" and "Feel" of comics in America is amazing! In order to produce more cost-effective newspapers, the standard "Four Color" process was used, which: "...restricted the intensity of the three primaries to 100%, 50% and 20% using black ink for the line work" [p.g.187]. This resulted in a distinctive "look": the comics were printed on cheap newsprint, with bold black outlines and simplified colours. To remedy this "dulling down" effect and to make the comics stand out more; "...heros were clad in bright, primary colours and "fought in a bright, primary world!" [p.g.188]
Comic colors could be said to be an icon in themselves. By using the same colors repeatedly for a super-hero, a comic artist can render the hero unforgettable, especially in a child's mind!
Some famous super-heros!
[Ref: http://comicsmedia.ign.com/comics/image/article/674/674213/dc-superheroes-get-licked-20051207021349520-000.jpg ]
Colour is used in comics in various ways, a few examples are noted below:
-flat colours ("Tintin" by Herge)
[Ref: http://www.bunchofmonkeys.com/words/wp-content/uploads/2006/07/Tintin.jpg ]
-intense, subjective colours (Claveloux, Caza & Moebius)
-colour as a sensation, or as an environment!
McCloud also touches on a very important point: the differences between black-and-white and colour. I believe that this is one of the most important points as they make a huge difference in what the audience sees and perceives. I personally love Frank Miller's graphic novels; they make use of bold, contrasting black and white shapes, and manage to look absolutely stunning even without all the added complexities and emotions colour brings to a comic.
A page from a graphic novel by Frank Miller
[Ref: http://images.rottentomatoes.com/images/movie/gallery/1143969/photo_21.jpg]
Chapter 7 ~ The Six Steps
"Understanding Comics, The Invisible Art" by Scott McCloud
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
In this chapter, McCloud examies the concept of art in relation to "Comics". He firmly states that comics can be art and defines art as:
"....art is the way we assert out identities as individuals and break out of the narrow roles nature cast us in." [p.g.166]
McCloud believes that in almost everything we do has some element of "art" in it: from singing in the shower, to our hairstyles, to the way we sign our names. He also maintains that art is a form of self-expression and that all forms of occupation involve some form of self-expression or another.
Another interesting theory McCloud puts forward is the fact that all art; "Any work in any medium", will always follow a defined path. The path consists of six steps:
1. Idea/ Purpose
2. Form
3. Idiom
4. Structure
5. Craft
6. Surface
Comics can be considered form of Art because they follow the above-mentioned cycle from beginning/creation to finish.
"Creators who take this path are often pioneers and revolutionaries-- artists who want to shake things up, change the way people think, question the fundamental laws that govern their chosen art." [p.g.179]
[Ref: http://en.wikipedia.org/wiki/Image:Incal_Moebius.jpg ]
[Ref: http://www.stwallskull.com/blog/ ]
[Ref: http://capitalfax.blogspot.com/2006/02/ron-picasso-and-budweiser.html ]
Everyone perceives "art" differently, as every person is unique with his/her own experiences shaping the way they think and react. An interesting example of this came up in the Week 3 lecture where we watched "Southpark". This series has a range of different views about it, from "hate it, its horrible"(Nour!) to "love it, its awesome" (Me!) I believe there will always be a difference of opinion about what is art and what is not, especially when comics address crass, maybe even just colloquial, subject matter.
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
In this chapter, McCloud examies the concept of art in relation to "Comics". He firmly states that comics can be art and defines art as:
"....art is the way we assert out identities as individuals and break out of the narrow roles nature cast us in." [p.g.166]
McCloud believes that in almost everything we do has some element of "art" in it: from singing in the shower, to our hairstyles, to the way we sign our names. He also maintains that art is a form of self-expression and that all forms of occupation involve some form of self-expression or another.
Another interesting theory McCloud puts forward is the fact that all art; "Any work in any medium", will always follow a defined path. The path consists of six steps:
1. Idea/ Purpose
2. Form
3. Idiom
4. Structure
5. Craft
6. Surface
Comics can be considered form of Art because they follow the above-mentioned cycle from beginning/creation to finish.
"Creators who take this path are often pioneers and revolutionaries-- artists who want to shake things up, change the way people think, question the fundamental laws that govern their chosen art." [p.g.179]
[Ref: http://en.wikipedia.org/wiki/Image:Incal_Moebius.jpg ]
[Ref: http://www.stwallskull.com/blog/ ]
[Ref: http://capitalfax.blogspot.com/2006/02/ron-picasso-and-budweiser.html ]
Everyone perceives "art" differently, as every person is unique with his/her own experiences shaping the way they think and react. An interesting example of this came up in the Week 3 lecture where we watched "Southpark". This series has a range of different views about it, from "hate it, its horrible"(Nour!) to "love it, its awesome" (Me!) I believe there will always be a difference of opinion about what is art and what is not, especially when comics address crass, maybe even just colloquial, subject matter.
Saturday, May 10, 2008
Chapter 6 ~ Show and Tell
"Understanding Comics, The Invisible Art" by Scott McCloud
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
"The mixing of words and pictures is more alchemy than science" [p.g. 161]
This chapter explores the beginnings as well as the interaction of words and pictures. The origins of sequential art begin with prehistoric man almost 20 thousand years ago: from cave paintings to Egyption heiroglyphs to modern day comic books filled with Super-heros.
Early cave painting of auroches (''Bos primigenius primigenius'') in Lascaux, France.
[Ref: http://en.wikipedia.org/wiki/Cave_painting ]
McCloud states that pictures predate the written word by a large margin as the very first marks made by humans were drawings and etchings on cave walls. He also says that the earliest words were actually "stylized pictures" in that they looked very much like pictures, but were more symbolic of what they represented.
Ancient writing then started becoming more abstract, until the modern written languages used these days lose all resemblance to the 'pictorial' or "visible" world and starts representing 'sound' instead.
The use of words and pictures, together and separately, have been varied throughout the years. At first, even when words and pictures Were combined, they were kept rigidly apart and had their own space [For example: German comic from the 1400's on p.g. 144]. Western art and writing drifted apart and developed into highly specialized fields of their own: art/pictures became less abstract and symbolic and grew to become more representational and specific. The written word also became more abstract and specialized, as well as more elaborate and complex.
"By the early 1800'ss, western art and writing had drifted about as far apart possible as was possible. One was obsessed with resemblance, light and color, all things Visible... ...the other rich in invisible treasures, senses, emotions, spirituality, philosophy..." [p.g.145]
McCloud illustrates how pictures and words were once used together (e.g. egyptian hieroglyphics) but drifted apart again during the 1800's. There was then a period of time where art/pictures developed at a rapid rate and artists strove to show more "meaning" in their work. In contrast, the written word started moving away from being elusive and abstract and started heading towards a more direct, informal approach.
"In prose, language was becoming even more direct, conveying meaning simply and quickly, more like pictures" [p.g.147]
To summarize, the primary functions of words and pictures became interchangeable and in modern day comics, are used in separately, or in combination. There are a few distinct categories into which words and pictures can be combined in comics, which include:
1. Word specific: Pictures illustrate but dont significantly add to a mostly complete text.
2. Picture specific: Words usually act as a soundtrack to a visually told sequence.
3. Duo-specific: Words and pictures send the same message.
4. Additive: Words amplify and elaborate an image or vice versa.
5. Parallel: Words and pictures follow very different routes without seeming to intersect at any point.
6. Montage: words are treated as intrinsic parts of the picture.
7. Inter-dependent: Words and pictures go hand-in-hand to convey an idea that neither could convey on its own.
Example of a "Montage"
[Ref: www.art.com ]
I found this chapter really interesting and thought provoking as it informed me about concepts and ideas I had never really thought about! For example, the use of words and pictures, and how they are separate entities but at the same time, how I have used them time and again and taken them for granted. It was really interesting learning about the history of words and pictures, and their interaction, and this chapter helped shed light on a different way of looking at the history of comics.
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
"The mixing of words and pictures is more alchemy than science" [p.g. 161]
This chapter explores the beginnings as well as the interaction of words and pictures. The origins of sequential art begin with prehistoric man almost 20 thousand years ago: from cave paintings to Egyption heiroglyphs to modern day comic books filled with Super-heros.
Early cave painting of auroches (''Bos primigenius primigenius'') in Lascaux, France.
[Ref: http://en.wikipedia.org/wiki/Cave_painting ]
McCloud states that pictures predate the written word by a large margin as the very first marks made by humans were drawings and etchings on cave walls. He also says that the earliest words were actually "stylized pictures" in that they looked very much like pictures, but were more symbolic of what they represented.
Ancient writing then started becoming more abstract, until the modern written languages used these days lose all resemblance to the 'pictorial' or "visible" world and starts representing 'sound' instead.
The use of words and pictures, together and separately, have been varied throughout the years. At first, even when words and pictures Were combined, they were kept rigidly apart and had their own space [For example: German comic from the 1400's on p.g. 144]. Western art and writing drifted apart and developed into highly specialized fields of their own: art/pictures became less abstract and symbolic and grew to become more representational and specific. The written word also became more abstract and specialized, as well as more elaborate and complex.
"By the early 1800'ss, western art and writing had drifted about as far apart possible as was possible. One was obsessed with resemblance, light and color, all things Visible... ...the other rich in invisible treasures, senses, emotions, spirituality, philosophy..." [p.g.145]
McCloud illustrates how pictures and words were once used together (e.g. egyptian hieroglyphics) but drifted apart again during the 1800's. There was then a period of time where art/pictures developed at a rapid rate and artists strove to show more "meaning" in their work. In contrast, the written word started moving away from being elusive and abstract and started heading towards a more direct, informal approach.
"In prose, language was becoming even more direct, conveying meaning simply and quickly, more like pictures" [p.g.147]
To summarize, the primary functions of words and pictures became interchangeable and in modern day comics, are used in separately, or in combination. There are a few distinct categories into which words and pictures can be combined in comics, which include:
1. Word specific: Pictures illustrate but dont significantly add to a mostly complete text.
2. Picture specific: Words usually act as a soundtrack to a visually told sequence.
3. Duo-specific: Words and pictures send the same message.
4. Additive: Words amplify and elaborate an image or vice versa.
5. Parallel: Words and pictures follow very different routes without seeming to intersect at any point.
6. Montage: words are treated as intrinsic parts of the picture.
7. Inter-dependent: Words and pictures go hand-in-hand to convey an idea that neither could convey on its own.
Example of a "Montage"
[Ref: www.art.com ]
I found this chapter really interesting and thought provoking as it informed me about concepts and ideas I had never really thought about! For example, the use of words and pictures, and how they are separate entities but at the same time, how I have used them time and again and taken them for granted. It was really interesting learning about the history of words and pictures, and their interaction, and this chapter helped shed light on a different way of looking at the history of comics.
Chapter 5 ~ Living in Line
"Understanding Comics, The Invisible Art" by Scott McCloud
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
In this chapter McCloud explores the idea of a picture invoking an emotional or sensual response in the viewer: ""...the power of line, shape and color to suggest the inner state of the artist and to provoke the five senses" [p.g.123]
He futher goes on to explore the idea called "Synaesthetics":
"Kandinsky and his peers were searching for an art that might somehow unite the senses, and in doing so, unite the different art-forms which appealed to those different senses. We call this idea Synaesthetics." [p.g.123]
I believe the idea that elements of a picture such as line, shape and colour could be manipulated in order to make the viewer respond in a pre-ordained manner, or feel emotions or have a response that is somehow planned by the artist, is a very possible and exciting concept!
This idea could be said to have had its birth in the works of Vincent Van Gogh and Edvard Munch, both of whom were artists belonging to the "Expressionist" period of art history. Expressionism could be described as "a style of painting, music, or drama in which the artist or writer seeks to express emotional experience rather than impressions of the external world."[Ref: New Oxford American Dictionary"]
These artists produced works that were an honest expression of the inner turmoil they were going through. For example:
[Ref: http://www.vangoghgallery.com/ ]
"The Skull" by Vincent Van Gogh
[Ref: http://www.alibaba.com/catalog/11100639/Rep_Edvard_Munch_The_Scream_Oil_Painting_Art_Prints.html ]
"The Scream" by Edvard Munch
In the week 8 lecture, we explored the ideas of Synaesthesia in various media, mainly focusing on the means of making images and sounds more "graphic". A quote from class is as follows:
"A picture is only “graphic” if it is exaggerated, explicit, or otherwise carefully contrived to have particular impact. Abstraction, composition, exaggeration are important elements of making “graphic” material. Graphic images show us things in a way that are not normal"
The above idea could be said to link to "Expressionism" as they are ideas that are not represented as is; they are images and pictures and sounds that try to get a response from a viewer; they try to invoke certain thoughts and feelings in the audience.
In class we viewed contemporary T.V. commercials where the main idea was obscure and incomplete, however the images and sounds and other aspects of the commercials all combined to form a sort of complete "Picture" that was perceived differently by everyone in the audience.
"Levis Engineered Jeans in Odyssey" Advertisement (as viewed in class)
[Ref: http://www.duncans.tv/2005/levis-engineered-jeans-odyssey ]
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
In this chapter McCloud explores the idea of a picture invoking an emotional or sensual response in the viewer: ""...the power of line, shape and color to suggest the inner state of the artist and to provoke the five senses" [p.g.123]
He futher goes on to explore the idea called "Synaesthetics":
"Kandinsky and his peers were searching for an art that might somehow unite the senses, and in doing so, unite the different art-forms which appealed to those different senses. We call this idea Synaesthetics." [p.g.123]
I believe the idea that elements of a picture such as line, shape and colour could be manipulated in order to make the viewer respond in a pre-ordained manner, or feel emotions or have a response that is somehow planned by the artist, is a very possible and exciting concept!
This idea could be said to have had its birth in the works of Vincent Van Gogh and Edvard Munch, both of whom were artists belonging to the "Expressionist" period of art history. Expressionism could be described as "a style of painting, music, or drama in which the artist or writer seeks to express emotional experience rather than impressions of the external world."[Ref: New Oxford American Dictionary"]
These artists produced works that were an honest expression of the inner turmoil they were going through. For example:
[Ref: http://www.vangoghgallery.com/ ]
"The Skull" by Vincent Van Gogh
[Ref: http://www.alibaba.com/catalog/11100639/Rep_Edvard_Munch_The_Scream_Oil_Painting_Art_Prints.html ]
"The Scream" by Edvard Munch
In the week 8 lecture, we explored the ideas of Synaesthesia in various media, mainly focusing on the means of making images and sounds more "graphic". A quote from class is as follows:
"A picture is only “graphic” if it is exaggerated, explicit, or otherwise carefully contrived to have particular impact. Abstraction, composition, exaggeration are important elements of making “graphic” material. Graphic images show us things in a way that are not normal"
The above idea could be said to link to "Expressionism" as they are ideas that are not represented as is; they are images and pictures and sounds that try to get a response from a viewer; they try to invoke certain thoughts and feelings in the audience.
In class we viewed contemporary T.V. commercials where the main idea was obscure and incomplete, however the images and sounds and other aspects of the commercials all combined to form a sort of complete "Picture" that was perceived differently by everyone in the audience.
"Levis Engineered Jeans in Odyssey" Advertisement (as viewed in class)
[Ref: http://www.duncans.tv/2005/levis-engineered-jeans-odyssey ]
Sunday, April 20, 2008
Chapter 4 ~ Time Frames
"Understanding Comics, The Invisible Art" by Scott McCloud
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
In this chapter, McCloud explores the concept of time in comics.
"...words introduce time by representing that which can only exist in time--sound" [p.g.95]
[Ref: http://www.comics.com/creators/bc/archive/bc-20080517.html ]
McCloud introduces the importance of the "Panel" itself as the most important icon in the vocabulary of comics.
"The panels acts as a sort of general indicator that time and space is being divided" [p.g.99]
[Ref: http://kotaku.com/gaming/metroid/metroid-flash-manga-163315.php ]
Another important point made is how the manner in which time is 'depicted' in comics is related to the way time is 'perceived' by a reader. The length of the panel could be made to feel like time is "stretching" (if the panel were more elongated than the rest!), alternately by using single frame panels that take up half a page; this could give the panel a feeling of timelessness or a "frozen in time" feel to the story.
An interesting way to look at the way time is made use of during the creation of a project was discussed in class during the week 2 lecture. The lecturer showed us a video of a popular song called "Come into my world" featuring Kylie Minogue. In this video, Kylie is walking around an intersection while in the background people are engaged in their daily activities. However, once Kylie circles the square (pun intended!) and returns back to her original starting point, she multiplies! To further complicate matters, the people in the background all multiply too! So the first circle of the video continues playing while Kylie takes a second walk around and the second set of people in the background start doing things slightly differently to the first set!
[Ref: http://ezivideoklip.blogspot.com/2008/04/kylie-minogue-videography.html ]
[Ref: http://www.director-file.com/gondry/kylie.html ]
This video conveys a sense of time overlapping, and although I found it slightly boring, it was a very impressive and elaborate effort that definitely has my admiration!
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
In this chapter, McCloud explores the concept of time in comics.
"...words introduce time by representing that which can only exist in time--sound" [p.g.95]
[Ref: http://www.comics.com/creators/bc/archive/bc-20080517.html ]
McCloud introduces the importance of the "Panel" itself as the most important icon in the vocabulary of comics.
"The panels acts as a sort of general indicator that time and space is being divided" [p.g.99]
[Ref: http://kotaku.com/gaming/metroid/metroid-flash-manga-163315.php ]
Another important point made is how the manner in which time is 'depicted' in comics is related to the way time is 'perceived' by a reader. The length of the panel could be made to feel like time is "stretching" (if the panel were more elongated than the rest!), alternately by using single frame panels that take up half a page; this could give the panel a feeling of timelessness or a "frozen in time" feel to the story.
An interesting way to look at the way time is made use of during the creation of a project was discussed in class during the week 2 lecture. The lecturer showed us a video of a popular song called "Come into my world" featuring Kylie Minogue. In this video, Kylie is walking around an intersection while in the background people are engaged in their daily activities. However, once Kylie circles the square (pun intended!) and returns back to her original starting point, she multiplies! To further complicate matters, the people in the background all multiply too! So the first circle of the video continues playing while Kylie takes a second walk around and the second set of people in the background start doing things slightly differently to the first set!
[Ref: http://ezivideoklip.blogspot.com/2008/04/kylie-minogue-videography.html ]
[Ref: http://www.director-file.com/gondry/kylie.html ]
This video conveys a sense of time overlapping, and although I found it slightly boring, it was a very impressive and elaborate effort that definitely has my admiration!
Saturday, April 19, 2008
Chapter 3 ~ Blood in The Gutter
"Understanding Comics, The Invisible Art" by Scott McCloud
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
In this chapter, McCloud explores the idea that the world as we know it is only what our five senses report it to be.
"All of us perceive the world as a whole through the experience of our senses. Yet our senses can only revel a world that is fragmented and incomplete." [p.g.62]
Putting this into the context of a comic, for every gap between panels of a comic, and for every part of the story that is not draw out; the parts that are left up to the imagination of the viewer/reader, we commit a phenomenon called "Closure".
McCloud has defined 'Closure' as "..observing the parts but perceiving the whole"[p.g. 63]
[Ref: http://www.student.ipfw.edu/~osbodr01/hallmarks/hallmark00.html ]
The 'gutter' of a comic is the space that exists between panels of a comic. McCloud makes a very interesting and true statement about it: "Here in the limbo of the gutter, human imagination takes two separate images and transforms them into a single idea" [p.g.66]
In the lecture we had in week 4, the concept of the Japanese influence on western art was discussed. One of the main and most interesting and controversial issue discussed in class was the similarity between an animated series called "Kimba, the white lion" made by a Japanese artist called "Osamu Tezuka" and the animation feature film "The Lion King" by Walt Disney Films. In class we were shown multiple images of frames captured from both the animated series and the american animation movie, and there were striking and unmistakable resemblances between the two! For example:
[Ref: http://en.wikipedia.org/wiki/The_Lion_King#Controversies ]
There are many ways in which Japanese art (comic books are also know as "Manga") has influenced Western art. Some key ideas were the importance of the journey, rather than the destination, when it came to portraying plots in comics, as well as the minimal use of elements to convey relationships between different aspects of the picture.
"Traditional western art and literature don't wander much. on the whole, we're a pretty goal-oriented culture. But in the East, there's a rich tradition of cyclical and labyrinthine works of art" [p.g.81]
This promoted a strong awareness in the western culture of comics/art about the importance of fragmentation and time frames as well as the use of intervals to build on the visual impact on the viewer. There was a new awareness of the picture plane as another dimension rather than as a flat surface to be 'marked'.
[Ref: http://www.artcyclopedia.com/artists/held_al.html]
"The Big A" by Al Held
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
In this chapter, McCloud explores the idea that the world as we know it is only what our five senses report it to be.
"All of us perceive the world as a whole through the experience of our senses. Yet our senses can only revel a world that is fragmented and incomplete." [p.g.62]
Putting this into the context of a comic, for every gap between panels of a comic, and for every part of the story that is not draw out; the parts that are left up to the imagination of the viewer/reader, we commit a phenomenon called "Closure".
McCloud has defined 'Closure' as "..observing the parts but perceiving the whole"[p.g. 63]
[Ref: http://www.student.ipfw.edu/~osbodr01/hallmarks/hallmark00.html ]
The 'gutter' of a comic is the space that exists between panels of a comic. McCloud makes a very interesting and true statement about it: "Here in the limbo of the gutter, human imagination takes two separate images and transforms them into a single idea" [p.g.66]
In the lecture we had in week 4, the concept of the Japanese influence on western art was discussed. One of the main and most interesting and controversial issue discussed in class was the similarity between an animated series called "Kimba, the white lion" made by a Japanese artist called "Osamu Tezuka" and the animation feature film "The Lion King" by Walt Disney Films. In class we were shown multiple images of frames captured from both the animated series and the american animation movie, and there were striking and unmistakable resemblances between the two! For example:
[Ref: http://en.wikipedia.org/wiki/The_Lion_King#Controversies ]
There are many ways in which Japanese art (comic books are also know as "Manga") has influenced Western art. Some key ideas were the importance of the journey, rather than the destination, when it came to portraying plots in comics, as well as the minimal use of elements to convey relationships between different aspects of the picture.
"Traditional western art and literature don't wander much. on the whole, we're a pretty goal-oriented culture. But in the East, there's a rich tradition of cyclical and labyrinthine works of art" [p.g.81]
This promoted a strong awareness in the western culture of comics/art about the importance of fragmentation and time frames as well as the use of intervals to build on the visual impact on the viewer. There was a new awareness of the picture plane as another dimension rather than as a flat surface to be 'marked'.
[Ref: http://www.artcyclopedia.com/artists/held_al.html]
"The Big A" by Al Held
Saturday, March 29, 2008
Chapter 2 ~ The Vocabulary of Comics
"Understanding Comics, The Invisible Art" by Scott McCloud
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
In this chapter, McCloud explores the realm of the 'Icon', which he describes as "...any image used to represent a person, place, thing or idea."
He goes on to divide icons into "Non pictorial" and "Pictorial", which consists of categories of icons including symbols, icons of the practical realm, words, pictures and cartoons. Icons can range from simple, black and white, flat images to complex shapes that could even look 3-D or animated.
[Ref: http://www.forrestwalter.com/icons/graphics/icons_vol6_white.jpg]
Rather complex pictorial icons.
[Ref: http://www.kombine.net/images/icons_pro.png]
Icons usually used on computers.
[Ref: http://www.mohawksign.com/images/img-symbols.jpg]
Icons used as pictorials elements to communicate ideas easily to people.
[Ref: http://www.ucc.ie/en/hr/HealthWelfare/MentalHealth/Religion/imgcol,32904,en.png]
Religious symbols recognized all over the world.
McCloud also examines "Cartooning as a form of amplification through simplification [pg.30]'. What he means by this is that by abstracting and simplifying an image, the cartoonist is not eliminating details; rather he is making the viewer focus on specific details.
"By stripping down an image to its essential "meaning" an artist can amplify that meaning in a way realistic art cannot" [pg. 30"]
[Ref: http://neatorama.cachefly.net/images/2007-01/smiley-face.jpg ]
The main components of the smiley icon above consists of 2 dots and a curved line. However, due to continuos use of this icon, as well as the exposure all of us have had to this particular icon since we were children, it is recognized as a smiling face, and personifies a human's face with regards to emotion. For example:
[Ref: http://www.icons-land.com/images/products/VistaEmoticonsPreview.jpg ]
"Universality of cartoon imagery...The more cartoony a face is...the more people it could be said to describe" [pg.31]
Another concept McCloud explores in this chapter is the fact that we "humans are a self-centered race. We see ourselves in everything" I find this very true; in fact in one of our classes we had to explore our surroundings and find 100 faces in objects all around us! In a way, the previous idea of stripping down all the details to make the viewer focus on specific details ties into this point, where we are able to see a human face personified in anything that consists of two dots and a line.
"Icons demand our participation to make them work. There is no life here except that which you give to it" [pg.59]
This explain the basic concepts of comics and hence cartoons, as most cartoons are simplified to represent realistic, and abstract, concepts. So in order for the comic to make sense, it really all depends on the readers point of view.
Most form of cartoons could be said to be simplified versions of realistic images. Cartoons range from being really simplistic (for e.g. "Southpark") to being relatively realistic (for e.g."Family Guy) These cartoons were shown to us during the week 3 class and the form and content of these cartoon were explored. Icons and simplification make up a large part of today's comics and cartoons, and simplification brings a certain universality, in that more people understand the ideas and concepts the cartoonist is trying to portray.
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
In this chapter, McCloud explores the realm of the 'Icon', which he describes as "...any image used to represent a person, place, thing or idea."
He goes on to divide icons into "Non pictorial" and "Pictorial", which consists of categories of icons including symbols, icons of the practical realm, words, pictures and cartoons. Icons can range from simple, black and white, flat images to complex shapes that could even look 3-D or animated.
[Ref: http://www.forrestwalter.com/icons/graphics/icons_vol6_white.jpg]
Rather complex pictorial icons.
[Ref: http://www.kombine.net/images/icons_pro.png]
Icons usually used on computers.
[Ref: http://www.mohawksign.com/images/img-symbols.jpg]
Icons used as pictorials elements to communicate ideas easily to people.
[Ref: http://www.ucc.ie/en/hr/HealthWelfare/MentalHealth/Religion/imgcol,32904,en.png]
Religious symbols recognized all over the world.
McCloud also examines "Cartooning as a form of amplification through simplification [pg.30]'. What he means by this is that by abstracting and simplifying an image, the cartoonist is not eliminating details; rather he is making the viewer focus on specific details.
"By stripping down an image to its essential "meaning" an artist can amplify that meaning in a way realistic art cannot" [pg. 30"]
[Ref: http://neatorama.cachefly.net/images/2007-01/smiley-face.jpg ]
The main components of the smiley icon above consists of 2 dots and a curved line. However, due to continuos use of this icon, as well as the exposure all of us have had to this particular icon since we were children, it is recognized as a smiling face, and personifies a human's face with regards to emotion. For example:
[Ref: http://www.icons-land.com/images/products/VistaEmoticonsPreview.jpg ]
"Universality of cartoon imagery...The more cartoony a face is...the more people it could be said to describe" [pg.31]
Another concept McCloud explores in this chapter is the fact that we "humans are a self-centered race. We see ourselves in everything" I find this very true; in fact in one of our classes we had to explore our surroundings and find 100 faces in objects all around us! In a way, the previous idea of stripping down all the details to make the viewer focus on specific details ties into this point, where we are able to see a human face personified in anything that consists of two dots and a line.
"Icons demand our participation to make them work. There is no life here except that which you give to it" [pg.59]
This explain the basic concepts of comics and hence cartoons, as most cartoons are simplified to represent realistic, and abstract, concepts. So in order for the comic to make sense, it really all depends on the readers point of view.
Most form of cartoons could be said to be simplified versions of realistic images. Cartoons range from being really simplistic (for e.g. "Southpark") to being relatively realistic (for e.g."Family Guy) These cartoons were shown to us during the week 3 class and the form and content of these cartoon were explored. Icons and simplification make up a large part of today's comics and cartoons, and simplification brings a certain universality, in that more people understand the ideas and concepts the cartoonist is trying to portray.
Monday, March 17, 2008
Chapter 1 ~ Setting the record straight
"Understanding Comics, The Invisible Art" by Scott McCloud
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
Scott McCloud has made many interesting points in the first chapter of his book "Understanding Comics: the invisible art". He has described comics as a medium rather than as a specific object/art form.
Some thought-provoking quotes from the 1st chapter include:
"...comics is the word worth defining as it refers to the medium itself, not a specific object as comic book or comic strip"[pg.4]
[Ref: http://www.thehumorarchives.com/attachment/803/problemsolving.jpg]
"..each frame of comics must occupy a different space. Space does for comics what time does for film" [pg.7]
[Ref: http://www.denialinfo.com/geeks.jpg]
"...juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer"[pg.9]
[Ref: http://www.yirmumah.net/]
I personally really liked the way Scott illustrated the potential of comics as unlimited and infinitely exciting. He did this by describing all the common terms used in the "Arts" fields and how they were applicable in the "comics" field in that there are absolutely no restrictions in using any one of them in comics!
I.e., '...no genres are listed, no type of subject matter, no styles of poetry or prose, no particular materials are used, no particular style of painting/ drawing (black ink and flat shapes), no call for exaggerated anatomy or representational art, no schools of art, no philosophies, no movements...no ways of seeing are out of bounds!'
This reminded me of the week 2 lecture where we were shown slides of Van Gogh's work. Van Gogh was an expressionist and his work had a very distinct style; his paintings are alive with colour. Another artist we encountered was Salvador Dali who was a surrealist. Both the above-mentioned painters have their own particular style of painting, and I think what Scott McCloud is trying to say is that the art in "Comics" cannot be classified into surrealism and expressionism; they can portray both or any such concept- the possibilities are endless!
Relate what is said in this chapter to a work/artist/designer you have seen in lectures. Image, brief description, link to a source of information on the web.
Scott McCloud has made many interesting points in the first chapter of his book "Understanding Comics: the invisible art". He has described comics as a medium rather than as a specific object/art form.
Some thought-provoking quotes from the 1st chapter include:
"...comics is the word worth defining as it refers to the medium itself, not a specific object as comic book or comic strip"[pg.4]
[Ref: http://www.thehumorarchives.com/attachment/803/problemsolving.jpg]
"..each frame of comics must occupy a different space. Space does for comics what time does for film" [pg.7]
[Ref: http://www.denialinfo.com/geeks.jpg]
"...juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer"[pg.9]
[Ref: http://www.yirmumah.net/]
I personally really liked the way Scott illustrated the potential of comics as unlimited and infinitely exciting. He did this by describing all the common terms used in the "Arts" fields and how they were applicable in the "comics" field in that there are absolutely no restrictions in using any one of them in comics!
I.e., '...no genres are listed, no type of subject matter, no styles of poetry or prose, no particular materials are used, no particular style of painting/ drawing (black ink and flat shapes), no call for exaggerated anatomy or representational art, no schools of art, no philosophies, no movements...no ways of seeing are out of bounds!'
This reminded me of the week 2 lecture where we were shown slides of Van Gogh's work. Van Gogh was an expressionist and his work had a very distinct style; his paintings are alive with colour. Another artist we encountered was Salvador Dali who was a surrealist. Both the above-mentioned painters have their own particular style of painting, and I think what Scott McCloud is trying to say is that the art in "Comics" cannot be classified into surrealism and expressionism; they can portray both or any such concept- the possibilities are endless!
Sunday, March 16, 2008
Week 2 ~ We are all ever-growing in body, mind and spirit
29. Think with your mind. Forget technology. Creativity is not device-dependent.
I think this idea definitely has its merits. In this day and age we, both as designers and as people, are hugely dependent on technology to get us through life. We check our email (communication), bank online, shop online and even order food online!
As to the design aspect of this strategy, as a designer I don't start with technology; I begin with a paper and a pencil and ideas. Technology, or to be more specific, software programs, should be used as tools to express our original ideas, not as idea producing machines with a mind of their own!
I love brainstorming and always try to fill out as many sheets as possible before I even think about putting any work onto the computer. I mke use of technology to help sharpen, clean and polish up my original ideas.
33. Take field trips. The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment.
There is an enormous, unexplored world right outside your door. I think it is important to notice the small details of life as well as the environment all around you. Week 1's exercise served to show me that even stepping out of my house in a different direction can take me to places I have never been before.
This quote reminds me of another; "Take the next taxi to the airport and buy a ticket to anywhere" (unreferenced, from memory- its definitely Not mine so don't sue me!)
I think field trips, exploring your surroundings, discovering new places- all of these serve to broaden the horizons of your mind and make you more malleable and flexible with your ideas.
41. Laugh. People visiting the studio often comment on how much we laugh. Since I've become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.
This is probably the best advice you can ever hear. I wholeheartedly believe in laughing at everything (yes, even babies and old people!) as its easier to get through life with a big, goofy grin on your face.
I laugh All, the, time. For no reason at all. Yes, it IS a very scary sight indeed!
Since we as designers and as students work under tight deadlines with something due every other minute, I think it is important for our health and well-being to laugh now and again so as to not get over-stressed and do something crazy.
Another factor where a good sense of humor plays in, is in advertising of any kind. As a consumer myself, I find advertisements, and/or designs stick in my mind if the concept behind the idea is humorous- it feels good to laugh! :c)
[Reference: "Incomplete Manifesto for Growth" by Bruce Mau Design]
I think this idea definitely has its merits. In this day and age we, both as designers and as people, are hugely dependent on technology to get us through life. We check our email (communication), bank online, shop online and even order food online!
As to the design aspect of this strategy, as a designer I don't start with technology; I begin with a paper and a pencil and ideas. Technology, or to be more specific, software programs, should be used as tools to express our original ideas, not as idea producing machines with a mind of their own!
I love brainstorming and always try to fill out as many sheets as possible before I even think about putting any work onto the computer. I mke use of technology to help sharpen, clean and polish up my original ideas.
33. Take field trips. The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment.
There is an enormous, unexplored world right outside your door. I think it is important to notice the small details of life as well as the environment all around you. Week 1's exercise served to show me that even stepping out of my house in a different direction can take me to places I have never been before.
This quote reminds me of another; "Take the next taxi to the airport and buy a ticket to anywhere" (unreferenced, from memory- its definitely Not mine so don't sue me!)
I think field trips, exploring your surroundings, discovering new places- all of these serve to broaden the horizons of your mind and make you more malleable and flexible with your ideas.
41. Laugh. People visiting the studio often comment on how much we laugh. Since I've become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.
This is probably the best advice you can ever hear. I wholeheartedly believe in laughing at everything (yes, even babies and old people!) as its easier to get through life with a big, goofy grin on your face.
I laugh All, the, time. For no reason at all. Yes, it IS a very scary sight indeed!
Since we as designers and as students work under tight deadlines with something due every other minute, I think it is important for our health and well-being to laugh now and again so as to not get over-stressed and do something crazy.
Another factor where a good sense of humor plays in, is in advertising of any kind. As a consumer myself, I find advertisements, and/or designs stick in my mind if the concept behind the idea is humorous- it feels good to laugh! :c)
[Reference: "Incomplete Manifesto for Growth" by Bruce Mau Design]
Sunday, March 9, 2008
Week 1 ~ Taking time to be a flaneur
Whenever I look out of the large 4 pane glass windows that line my lounge, I feel like taking a walk around the seemingly vast space spread out in front of me; the Southern Oval of Curtin University. So one day...I did.
I believe trees are one of the main reasons that we are alive, in that they provide the oxygen we require in order to breathe. Perhaps that is the subconcious reason for the feeling of immense respect I have for everything green (and alive!) Yet do not mistake me for someone who would rather chain themselves to a tree about to be cut down than attend the 175 Multimedia Lecture- Theory & Practise, on Thursday mornings!
Another idea to explore is how we, as humans, try to see, percieve or concieve of patterns in everything we look at. I took a leisurely walk around the Southern Oval located right outside my flat, and as is usually the case I ended up taking photos of trees, and leaves, and bark! Now, I might be barking up the wrong tree, but I believe this assignment's main purpose was to urge students to become "flaneur's"; to stop for an hour or two and take a leisurely stroll around in order to let your mind wander and make connections between ideas, images, sounds and sights.
"...he walks for pleasure, he observes but does not interfere, he is not in a hurry..."["How to be Idle- Tom Hodgkinson"]
"Tree"
"Human as tree"
I took pictures of the tree above ("Tree") as the branches spreading out were intertwined in such a intricate manner, I couldnt help but want to take a photo of it and trace over it in Adobe Illustrator! That got me thinking into shapes and forms, and how we were all organic and pretty much made from the same material, since we eat vegetables...and what are those but the fruits of trees!
I took the other picture of my flatmate in the Oval ("Human as tree") as I was experimenting with shape- human body shape, and what better model than someone who can do "Parkour"! The sun setting over the horizon also gave me a great chance to check out the settings on my new digital camera. I also took advantage of the light as it gave me a good, strong horizon line where the green grass meets the bright sky- a study of contrasts.
After putting all the photographs on my computer I kept feeling like I was missing something. I finally noticed the similarity in shapes between the tree and the body!
I love how the form of my flatmate seems to echo the length, line and simplicity- the FLOW of the line of the trunk from the bottom of the picture frame all the way to the top where it spreads out. The green of the grass is somewhat reminiscent of the green leaves on a tree- remember those big blobs of green paint that symbolised trees during art class- when we were all in Kindergarten?
This experimenting also produced the following two photographs:
"Tree 2"
"Human as Tree 2"
Again, the tree's shape is echoed by the shape of the body. Its a very rough comparison (as rough as the bark, perhaps) but the strong triangular shapes in the lower part of both pictures form a strong sense of connection between the tree and the human body.
Another interesting point is perspective- rotating the photograph around until up is down and down is....you got it! I shall definitely explore that in future posts. Now for one final tree photograph I took after the sun went over to the Other Side.
I believe trees are one of the main reasons that we are alive, in that they provide the oxygen we require in order to breathe. Perhaps that is the subconcious reason for the feeling of immense respect I have for everything green (and alive!) Yet do not mistake me for someone who would rather chain themselves to a tree about to be cut down than attend the 175 Multimedia Lecture- Theory & Practise, on Thursday mornings!
Another idea to explore is how we, as humans, try to see, percieve or concieve of patterns in everything we look at. I took a leisurely walk around the Southern Oval located right outside my flat, and as is usually the case I ended up taking photos of trees, and leaves, and bark! Now, I might be barking up the wrong tree, but I believe this assignment's main purpose was to urge students to become "flaneur's"; to stop for an hour or two and take a leisurely stroll around in order to let your mind wander and make connections between ideas, images, sounds and sights.
"...he walks for pleasure, he observes but does not interfere, he is not in a hurry..."["How to be Idle- Tom Hodgkinson"]
"Human as tree"
I took pictures of the tree above ("Tree") as the branches spreading out were intertwined in such a intricate manner, I couldnt help but want to take a photo of it and trace over it in Adobe Illustrator! That got me thinking into shapes and forms, and how we were all organic and pretty much made from the same material, since we eat vegetables...and what are those but the fruits of trees!
I took the other picture of my flatmate in the Oval ("Human as tree") as I was experimenting with shape- human body shape, and what better model than someone who can do "Parkour"! The sun setting over the horizon also gave me a great chance to check out the settings on my new digital camera. I also took advantage of the light as it gave me a good, strong horizon line where the green grass meets the bright sky- a study of contrasts.
After putting all the photographs on my computer I kept feeling like I was missing something. I finally noticed the similarity in shapes between the tree and the body!
I love how the form of my flatmate seems to echo the length, line and simplicity- the FLOW of the line of the trunk from the bottom of the picture frame all the way to the top where it spreads out. The green of the grass is somewhat reminiscent of the green leaves on a tree- remember those big blobs of green paint that symbolised trees during art class- when we were all in Kindergarten?
This experimenting also produced the following two photographs:
"Tree 2"
"Human as Tree 2"
Again, the tree's shape is echoed by the shape of the body. Its a very rough comparison (as rough as the bark, perhaps) but the strong triangular shapes in the lower part of both pictures form a strong sense of connection between the tree and the human body.
Another interesting point is perspective- rotating the photograph around until up is down and down is....you got it! I shall definitely explore that in future posts. Now for one final tree photograph I took after the sun went over to the Other Side.
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