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El cine de DENIS VILLENEUVE director de DUNE y BLADE RUNNER 2049

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Guionista y director de cine canadiense. Fue nominado a un premio Óscar en la categoría de mejor dirección por su película La llegada (2016), y ha ganado tres premios Genie como mejor director por sus largometrajes Maelström (2000), Polytechnique (2009) e Incendies (2010). La película Incendies fue nominada además a un Óscar en la categoría de mejor película de habla no inglesa. Internacionalmente, es conocido por haber dirigido las cintas Prisoners, Sicario, La llegada, Blade Runner 2049 y Dune.

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Doce naves alienígenas de más de 450 metros de altura han llegado a la Tierra, situándose en diversos puntos del planeta. La reputada experta en lingüística Louis Banks (Amy Adams) es entonces contratada por el Gobierno de los EE.UU, con el fin de descifrar y traducir el mensaje que los extraterrestres intentan transmitir a la humanidad.

Louise viajará hasta Montana, Estados Unidos, junto al científico Ian Donnelly (Jeremy Renner), para intentar establecer una comunicación con los “visitantes”. Juntos intentarán encontrar respuestas a este sorprendente suceso. ¿Por qué los alienígenas han venido? ¿Quieren invadir el planeta? ¿Cuáles son realmente sus intenciones? Ante la amenaza de una posible guerra mundial, los líderes de los grandes países deben llegar a un acuerdo para que la situación no se complique aún más y, así, evitar un conflicto cuyas consecuencias podrían ser catastróficas.

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Denis Villeneuve (Prisioneros, Sicario) es el responsable de realizar esta adaptación cinematográfica de la novela corta A Story of Your Life del escritor Ted Chiang, que también participa como guionista. La película cuenta con Amy Adams (Batman v Superman: El amanecer de la justicia) y Jeremy Renner (Capitán América: Civil War) como protagonistas. Completan el reparto los actores Forest Whitaker (Rogue One: Una historia de Star Wars), Michael Stuhlbarg (Steve Jobs), Mark O'Brien (Halt and Catch Fire), Tzi Ma (El chico del millón de dólares), Russell Yuen (Dark Matter) y Joe Cobden (X-Men: Apocalipsis), entre otros.

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Final Explicado La Llegada (Arrival - 2016)

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En 2016 se estrenó en cines 'La llegada', una magnífica película de ciencia ficción que devolvió el género al sitio que se merecía. Un estupendo guión, grandes interpretaciones, sobre todo de Amy Adams, y una dirección que haría a Dennis Villeneuve ganarse los proyectos de 'Blade Runner 2049' y ' Dune'. Si aún no la habéis visto, aquí os dejamos la crítica que le hicimos cuando se estrenó.

Sin embargo, se trata de una trama compleja, y cargada de detalles que se pueden escapar en un primer visionado. Por eso hemos decidido hacer un análisis en el que poder contar, con todo tipo de detalles y spoilers, el significado que encierra esta película.

[su_quote] Descubre nuestros PODCAST y entérate de lo último en cine y series[/su_quote]

El lenguaje de los heptápodos

La teoría lingüística de Sapir-Whorf dice que, al sumergirnos de lleno en un idioma extranjero, nuestro cerebro se reconfigura para adaptarse a dicho idioma. 'La llegada' lleva esta teoría al extremo y nos presenta a la doctora Louise que, al aprender el lenguaje de los heptápodos, cambia su forma de percibir el tiempo. En este caso, al tratarse de un lenguaje no lineal, comenzará a percibir el tiempo de forma no lineal.

Esto es una idea bastante compleja pero, a grandes rasgos, significa que en lugar de vivir su vida de principio a fin, ella vive simultáneamente momentos de su pasado, su presente y su futuro. A efectos prácticos, sería como si la vida de Louise hubiese pasado de ser un VHS a ser un DVD. Y, en lugar de vivirla de forma continua, fuese saltando entre capítulos; viviendo un momento de su futuro, volviendo luego al presente y saltando al futuro otra vez.

Eso explica las escenas con su hija, que en un primer momento asumimos que son recuerdos de su pasado, cuando en realidad son momentos de su futuro. Por eso, cuando una de estas escenas aparece en pantalla, vemos a Amy Adams con cara de confusión. Ella está empezando a vivir su futuro, pero aún no entiende que es lo que le está ocurriendo.

Las ventajas de conocer tu futuro

Cuando por fin comprende lo que le pasa, vemos como empieza a utilizar esta nueva habilidad para arreglar la situación actual. Los países han comenzado a desconfiar unos de otros, y un conflicto internacional parece inevitable. Vemos entonces como Louise, en el futuro, consigue hablar con el general del ejército chino. Una conversación que será vital para arreglar la situación.

Se trata de un futuro en el cual el mundo ha alcanzado la paz gracias a la intervención de Louise, que llamó al general del ejército chino a su número personal para convencerle de que no atacase. Para ello, le repite las últimas palabras de su difunta esposa, palabras que solo él conocía. Tras esto, la doctora se hace famosa, y escribe un libro en el que explica cómo funciona el lenguaje de los heptápodos, cómo cambió su forma de percibir el tiempo, y cómo le ayudó esto a arreglar el conflicto internacional.

El general comprende que aquella llamada fue lo que produjo la paz mundial y, por tanto, se asegura de que pueda producirse. Por esta razón, durante la ceremonia, decide mantener una conversación con Louise en la que le dice cuál era su número personal, y cuáles fueron las últimas palabras de su esposa. A sabiendas de que, al saber esto la Louise del futuro, su versión en el pasado también conocerá estos datos, y podrá usarlos para realizar la llamada que arreglará el conflicto.

Si pudieras cambiar algo de tu vida, ¿lo harías?

Pero, en el fondo, todo esto solo sirve de preludio. De presentación para la gran cuestión que nos plantea 'La llegada'. Tener que elegir si quiere tener a su hija, pese a saber que morirá a una edad muy temprana.

La doctora Louise decide tenerla igualmente. Alegando que, pese a lo triste de su final, el camino recorrido junto a su hija tenía demasiado momentos bonitos para renunciar a todo ello. Una reflexión muy interesante, pues nos plantea que lo importante no es cómo acabará algo, sino cuanto lo disfrutamos mientras dura.

Por todo esto, 'La llegada ' se ha convertido por derecho propio en una de las mejores, si no la mejor, películas de ciencia ficción de los últimos años. No solo tiene una historia genial y una producción espectacular, sino que además encierra una reflexión final tan interesante como bien desarrollada. Si Louise pudo disfrutar cada día junto a su hija pese a saber que tendría el final más doloroso posible, nada nos impide a nosotros disfrutar cada día de nuestra vida y preocuparnos menos por lo que vendrá.

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Análisis de 'La llegada' [Explicación del final con spoilers] - La Claqueta Metálica

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En 2016 se estrenó en cines 'La llegada', una magnífica película de ciencia ficción que devolvió el género al sitio que se merecía. Un estupendo guión, grandes interpretaciones, sobre todo de Amy Adams, y una dirección que haría a Dennis Villeneuve ganarse los proyectos de 'Blade Runner 2049' y ' Dune'.

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Villeneuve nació en Trois-Rivières, Quebec, y estudió cine en la Universidad de Quebec en Montreal. Inició su carrera a comienzos de los años 1990, trabajando para Radio-Canada en el programa de televisión La course destination monde. Su próximo trabajo, el cortometraje REW-FFWD (1994), obtuvo un premio del jurado en el Festival Internacional de Cine de Locarno.

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Unas declaraciones de Martin Scorsese sobre el cine de superhéroes levantaron la polémica hace un par de años. En ellas, el director de 'El irlandés' defendía que esas películas no eran cine, sino " parques de atracciones". Ahora ha sido Denis Villeneuve quien ha dejado claro que no es un gran seguidor de las aventuras de Marvel.

"Nos han convertido un poco en zombis"

En una entrevista concedida a El Mundo con motivo de la campaña promocional de 'Dune', Villeneuve ha señalado que la mayoría de películas de Marvel se parecen demasiado entre sí:

Quizá el problema es que estamos delante de demasiadas películas Marvel que no son más que un "corta y pega" de otras. Tal vez este tipo de películas nos han convertido un poco en zombis... Pero película grandes y caras de mucho valor hay muchísimas actualmente.

Y es que el propio director de 'La llegada' también defiende en la entrevista que " nunca he sentido como una pérdida o un impedimento el contar con un presupuesto generoso para hacer lo que quería hacer". Está claro que se refiere tanto a su último trabajo como a 'Blade Runner 2049', pero no tiene problemas en señalar a Christopher Nolan y Alfonso Cuarón cuando destaca a cineastas capaces de hacer una película " con un gran presupuesto" que sean " al mismo tiempo relevante artísticamente".

Sospecho que las palabras de Villeneuve están condenadas a resultar polémicas, ya que el Universo Marvel cuenta con millones de seguidores, siendo la franquicia cinematográfica más popular a día de hoy. Por mi parte, lo que de algunas se parecen quizá demasiado entre sí lo veo una afirmación bastante certera. A fin de cuentas, cualquier estudio preferirá apostar sobre seguro cuando sabe que algo funciona, y muy bien, en taquilla.

'Dune' se estrena este viernes 17 de septiembre en España.

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"Demasiadas películas de Marvel no son más que un corta y pega de otras". Denis Villeneuve

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Unas declaraciones de Martin Scorsese sobre el cine de superhéroes levantaron la polémica hace un par de años. En ellas, el director de 'El irlandés' defendía que esas películas no eran cine, sino " parques de atracciones". Ahora ha sido Denis Villeneuve quien ha dejado claro que no es un gran seguidor de las aventuras de Marvel.

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‘La llegada’, la mirada de Denis Villeneuve

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Crítica de la película 'La llegada' ('Arrival'), dirigida por Denis Villeneuve, e interpretada por Amy Adams, Jeremy Renner y Forest Whitaker

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Es probable que durante la lectura de esta reseña se revelen algunas notas argumentales importantes, las más significativas irán precedidas de un SPOILER indicativo, pero buena parte de la discusión de detalles de la película es más comprensible habiéndola visto. Dicho esto, las opiniones vertidas sobre las ideas y temas implícitos en la película no poseen ánimo de tratar de mermar las virtudes de uno de los filmes del año.

Si hay algo de lo que no se le puede acusar a ' La llegada' ('Arrival', 2016) es que no sea una película plenamente coherente con la obra de su autor. Diríase incluso que hay más Villeneuve en esta que en ' Sicario' (2015), tanto en estructura como en tics de realización como ese fatalismo subyacente, el montaje críptico o detalles como la escena del sueño, que recuerda a alguna de las imágenes de ' Enemy ' (2014), su película más hipnótica.

Y de aquella se puede rescatar esas apariciones fantasmales de arañas gigantes, que crean un patrón reconocible al alinearse con los alienígenas de esta. Un diseño, por cierto, bastante cthulhiano, que añade leña a los referentes literarios de los que bebe. Aunque no vamos a entrar en las múltiples influencias de cine de ciencia ficción que posee, es imposible no mencionar la obra de Carl Sagan, episodios de las serie ' La dimensión desconocida' y ' The Outer Limits' o las reinterpretaciones modernas de Arthur C. Clarke de Richard Kelly.

Celebración del lenguaje como salvación

Lo más sorprendente y adulto de ' La Llegada' es su capacidad para reestablecer la escala del un blockbuster de ciencia ficción a un solo emplazamiento, a través de un conflicto basado, mayormente, en el proceso de comunicación con los alienígenas. Este detalle, todo sea dicho, genera un momento involuntariamente cómico cuando para reclutar a la traductora interpretada por Amy Adams, el ejército le pide si puede traducir, así a pelo, el gruñido de un alienígena grabado en audio. Glorioso.

Implausibilidades a parte, el desarrollo del grueso de la trama es un apasionante estudio del lenguaje de símbolos extraterrestres que estos les dibujan con su tinta de calamar del espacio exterior. Un detalle que no exime a los amigables visitantes de estar rodados de forma casi inquietante; aplausos al realizador por su fotografía ceniza y uso minimalista de la música en todas sus escenas. Se podría decir que su estilo es la antítesis de otras invasiones como ' Independence Day: Contraataque ' (Independance Day: Resurgence, 2016)

El uso del juego de codificaciones y decodificaciones tiene un reconocimiento simbólico muy importante en la coda del film, una fascinante oda a la comunicación como llave del entendimiento global. Un análisis inteligente sobre la transparencia y la importancia de la concordia, a través de algo tan sencillo como las palabras, para desenmarañar el significado entero de otras culturas que nos resultan alienígenas.

El ambiguo mensaje provida
SPOILERS
Llegado el momento de las explicaciones, la película entra en su fase más ' Interstellar' (2014) uniendo sus elementos de ciencia ficción extraterrestre con postulados de viajes en el tiempo para, además, relacionarlos con una i ntensa experiencia emocional paternofilial. Es aquí dónde el guión revela sus cartas relacionando el doloroso prólogo de la muerte de la hija de la protagonista con el futuro y no con el pasado. Un golpe de efecto que deja el problema de la misión alienígena a un lado para centrarse en Louise.

El conflicto planteado, resumiendo, es que la recién obtenida clarividencia de Louise le permite adivinar que tendrá una hija y que esta sufrirá una muerte agónica a causa de un cáncer. Y, aún sabiéndolo, decide seguir adelante casándose con Ian (Jeremy Renner) y concibiendo a su hija condenada. Una decisión consciente que implica una vida corta para la niña, pero una vida plena, como se nos muestra con una bella escena de flashforward de estampas idílicas y una triste partitura. El conflicto moral de si su elección es o no errónea queda en el aire.

Por una parte, celebra el hecho de la vida en sí misma, en experimentarla el tiempo que dure, en disfrutar sin culpas ni miedos de su futilidad. Por otra, se alinea con argumentos clásicos de los grupos pro-vida, no cuestionando el aborto en sí mismo pero transmitiendo que la vida hay que dejarla salir, aunque acabe pronto y mal. La excusa fantástica enmascara la ambigüedad del mensaje, pero aún sin caer en lo que critica ' Camino' (2010), el montaje de imágenes podría hacerse pasar por propaganda muy cara de foro de la familia.

Quizá su personaje no tenga más opción, pues no queda absolutamente claro su papel final en el devenir de la misión alienígena y hay preguntas en el aire, como si la decisión sobre su maternidad viene impuesta por la imposibilidad de romper la cadena de acontecimientos conocidos (quizá de ahí el símbolo del pájaro enjaulado). El debate filosófico sobre la maternidad, sobre las decisiones, está servido, pero no se debe reducir su complejo dilema metafísico y moral a un ejercicio de burda complacencia ideológica.

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'La Llegada', ¿oda a la comunicación o humanismo reaccionario?

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Es probable que durante la lectura de esta reseña se revelen algunas notas argumentales importantes, las más significativas irán precedidas de un SPOILER indicativo, pero buena parte de la discusión de detalles de la película es más comprensible habiéndola visto.

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Ciencia-ficción del siglo XXI: elegante, inteligente y con una propuesta visual única y refrescante.

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MOODBOARD_andrade_viaña_Mesa de trabajo 1_Mesa de trabajo 1

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Quizá no entiendan la diferencia entre un arma y una herramienta. Nuestra lengua y cultura son confusas, y a veces son lo mismo. Quizá estén pidiendo que les ofrezcamos algo y no al revés. Como el inicio de un trueque.

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"El lenguaje es el cimiento de la civilización, lo que une a un pueblo. Es la primera arma usada en un conflicto".

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Antes creía que este era el comienzo de tu historia. La memoria es una cosa rara. No funciona como yo creía. Estamos ligados por el tiempo. Por su orden.

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Ahora no estoy segura si creo en principios y finales. Hay días que definen tu historia más allá de tu vida. Como el día en que llegaron.

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- "Muchos se vuelven uno" puede significar: "Hay que ensamblarlo". ¿Por qué dárnoslo en pedazos? ¿Por qué no dar todo?
- Nos obliga a trabajar juntos.
- Aun si te creyera, ¿cómo vas a hacer que otros cooperen y nos digan lo que saben?
- Compartiendo lo que sabemos.
- ¿Sí?
- ¿Un intercambio?
- Es un juego que no suma cero.
- No suma cero.
- Eso es. Sí, gracias.

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- Estaba leyendo un poco sobre la idea de que si te sumerges en un idioma extranjero puedes modificar tu cerebro.
- Sí, la Hipótesis de Sapir-Whorf. La teoría de que el lenguaje que hablas determina cómo piensas y...
- Sí. Afecta cómo ves todo. Tengo curiosidad. ¿Estás soñando en su lenguaje?

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“He pasado toda mi vida boca arriba mirando las estrellas.”

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“¿Qué harías si supieses que es lo que va a pasar en cada instante de tu vida?”

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https://www.printmag.com/designer-interviews/what-matters-marian-bantjes-on-dogs-sushi-and-the-joys-of-fleeting-confidence/

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Debbie Millman has an ongoing project at PRINT titled "What Matters." This is an effort to understand the interior life of artists, designers, and creative thinkers. This facet of the project is a request of each invited respondent to answer ten identical questions and submit a nonprofessional photograph.
Marian Bantjes is a Canadian artist, designer, letterer, and writer. Her books, I Wonder and Pretty Pictures, are published by Thames & Hudson. She is a member of Alliance Graphique Internationale (AGI). @bantjes
What is the thing you like doing most in the world?
Going to sleep nose-to-nose with my dog, Moser; my arm draped over his soft, warm body.
What is the first memory you have of being creative?
Drawing on walls with a crayon. I was probably three. I got in trouble for it, but not because my mother was anti-art, just because it was a rented house and she was poor.
What is your biggest regret?
Leaving my husband when I was 26. It's a long and complicated story, and maybe it would have happened eventually, but that's impossible to know. It caused incredible pain to us both that lasted for many years-even, in some ways, continuing into the future.
How have you gotten over heartbreak?
Well, see above: a) I haven't.

But by b) getting a dog, which was a different time and from a different kind of heartbreak. But I don't know how I will get over Moser when he dies. I don't think I will.
What makes you cry?
I'm crying now because of thinking about Moser dying. The weird thing is how often my mind probes that area; how often I think about his death, what it will be like, the ways it can happen, how I will feel. Then as my chest tightens and the tears well up, my mind backs off and says, "It's OK, he's here, he's right beside me, alive and warm and breathing." I don't know why I do this. Must dab my eyes.
How long does the pride and joy of accomplishing something last for you?
At first, not long. It is usually rapidly replaced by self-criticism and then the dismissive, "yes, but that was months/years ago! Now I am shit."

But something in me changed in the past few years. I have come to a kind of strange peace with being no longer in the design scene. I'm not retired, but I'm also not particularly active. And when I look back on my work, I'm surprised and proud. I feel like, "That's alright. I made my little mark, and it's a good mark."
Do you believe in an afterlife, and if so, what does that look like to you?
I don't believe in an afterlife, but I don't not believe in an afterlife. I think that God(s) and Heaven are provably false-ludicrous ideas-but while it seems that we will most likely return to the nothingness from which we came (remember existence before birth? Yeah, me neither), it's always possible there's some unimaginable consciousness after death.
What do you hate most about yourself?
My insecurity. My feelings of being small, backwards, unworthy, timidity, lack of confidence, and the feeling that big and important things are not for me.

I have had times of confidence-arrogance, even-and it felt GREAT. But they were fleeting moments and often followed by a self admonishment of "Who do you think you are?" (Even immediately following the involuntary thought of "Do you know who I AM?"). Of course, without my insecurity, I would become insufferable, but... I wouldn't know it! What bliss that would be!
What do you love most about yourself?
I genuinely think I'm really talented. I love the way I think-the analytical and the surprising leaps. It gives me great pleasure.
What is your absolute favorite meal?
That would be high-quality sushi: ocean-caught Sockeye Salmon sushi (no wasabi), a California roll with real crab, maybe a chop-chop roll (scallops chopped up with roe); preceded by an excellent shrimp Sunomono (the only time I eat the filthy shrimp animal); with a Coke; followed by a white, homemade Angel Food Cake with Royal Icing (as much as I want, which would be 2 or 3 large pieces). OK, you can hang me now.

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What Matters: Marian Bantjes On Dogs, Sushi, and the Joys of Fleeting Confidence

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Debbie Millman has an ongoing project at PRINT titled "What Matters." This is an effort to understand the interior life of artists, designers, and creative thinkers. This facet of the project is a request of each invited respondent to answer ten identical questions and submit a nonprofessional photograph.

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https://loisgordon.github.io/design-essay/design-essay.html

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Marian Bantjes is a designer, typographer, writer and illustrator. She started out as an art student at Emily Carr College of Art, but Marian dropped out of art school early and decided to train as a typesetter in Canada. It was here that Marian learnt a lot about typography which lead to her career in design. Marian Banjtes work is illustrative which makes it so unique. Her most famous works include 'Speak-Up' t-shirt design and the book 'I wonder'. Marian's career has three main stages, firstly from 1984-1994 she worked as a book typesetter. In later years Marian worked in and founded a graphic design company from 1994-2003 called Digitopolis. Bantjes has worked by herself as a designer, artist and letterer and it is this latter work for which she has become internationally known.

Life and Career

Marian started out her design career at Emily Carr College of Art, which she dropped out of after her foundation year. Soon after leaving art college, Bantjes was hired to do photocopying and filing at Hartly & Marks/Typeworks, but this soon turned into being trained in layout and paste-up, which led to her being trained as a book typesetter and continued this job for ten years. This job did not involve any design work although Marian learnt a lot about typography during this time, she became very good at it and this shows throughout her design work.

Marian's job as a typesetter ended badly, with a fight with her boss. It was after this that Banjtes started up her own design company, even though she did not know much about image, layout and colour. Bantjes started her company with her friend Sue and they initially named it 'Communications by Design', which they changed five years later to 'Digitopolis'. In the beginning, they got lucky with a couple of big clients. Marian was the main designer in the company and was thrown in the deep end in terms of a learning curve. For the first few years Marian's journey was mostly learning as she went along, although the company was made up of people who were untrained and unprofessional, it led to great success.

In the last few years of her work as a design company, she began to hate it - she did not enjoy designing for people's marketing services. Marian wanted to create stuff that would be important or memorable or influential. In 2003 Marian became interested in the blog 'Speak-up'. This blog was a community of lively designers in which Bantjes was very inspired by and she frequently wrote comments on the blog which enabled her to find her love for design again. Marian started to explore pattern again in 2003 and did this with the medium of printmaking.

During 2003 and 2004, Banjtes spent most of her time making things, drawing and experimenting. She continued to write for Speak-up. During this time Marian also joined the society of graphic designers and took a position at a local board as Communications Chair. This position gave her the control over the design and production of print materials for the local chapter. Marian entered the 'Speak-up' t-shirt competition and won with her design, it was the first piece of work which she became known for by the design community. Due to this Bantjes made contacts with a number of different designers including Stefan Sagmeister and Michael Bierut. Marian also made friends with the 'Speak-up' blog crew and soon after became an author for the blog. It was with this success that Marian began to get in touch with some more important people of the design community - the speak-up blog was the first design blog and thus why it was so popular.

With the success of speak-up, and the design competition which Bantjes won, she began to get lots of paid work and important clients. After Marian had been working for a while, she got contacted by a University with and offer to teach typography. Marian continued to teach for several years and she really enjoyed it due to seeing the major progress of her students. Since leaving her teaching job, Marian has been working on design, typography and many different projects. During this time Marian was accepted into the prestigious international design organisation, Alliance Graphique International, in 2008.

Work

During Marian's time of designing, in 2005 she began her first project with Stefan Sagmeister. The project was for a box of postcards by the artist Douglas Gordon, titled 'The Vanity of Allegory'. Stefan had designed a box for the postcards in which Marian designed the type around. The box is designed to be symmetrical and includes tilling in a pixellated style; the box was printed silver on black. Later in 2005, Marian designed a Halloween greeting containing a small story reflecting part of her childhood. The design creates an ominous tangle with flowing strokes in black ink. Similar project to this one was Marian's Valentines greetings, which reflect a similar style of illustration. The idea for this design was from when she was sitting on a plane and thought to herself "Everything I do, I do for love", so she designed the greeting for relatives and close friends. In the summer of 2006, Bantjes took a class with Milton Glaser at the school of visual arts in New York. It was from this class that the project for Marian's 'Influences Map' came. She was inspired by events throughout her life, including people, places and life events. This project is one of Marian's best known. Later in 2006 Bantjes completed 'The Church of the Non-Believers' project. This was an assignment for the magazine Wired. Marian wanted the project to look 'churchy' so she focussed on a typographic style that reflects that - her initial designs where rejected by the magazine.

Michael Bierut hired Bantjes to work with him on his 41st poster for the Yale Architecture lecture series. He asked for the word seduction, and she produced a variety of different sketches. This piece is the one the got me interested in Marian Bantjes work - it's monchrome, minimal in a sense but has an illustrative style which is what makes it so unique.

In early 2007, Marian began another project with Michael Beirut at pentagram. The project was to create a new fashion campaign around the words 'Want it'. Bantjes started with several sketches which showed different styles of flourishes, the client wanted more and more so Marian continued to produce more sketches, each showing an increase in loops and curls. The designs were complicated and contained lots of different loops and curls. After the initial sketch, the next part of the project was for the eighteen trend items identified by the client for that season. Bantjes decided to make a set of letter forms especially for this campaign, she used the letterforms as a basis for each of the eighteen trend items for example, a cape. She produced an illustration around each word to represent what it was for example the illustration around the word cape is draped around the letter forms. Marian was invited to the launch of the campaign and her first view of it was in the window displays which were outside of the store. She comments in her book that this was her 'favourite part'.

When Marian was asked to design the material for Typecon, she wanted to take the opportunity as something that would be a break away from her usual design work. Bantjes developed a visual construction around the idea of 'letterspace' where things would be in isometric space. It was a complicated project and Marian decided to use many different 3D typefaces. She came up with a beautiful 3D design which she build on illustrator using three different isometric versions. Bantjes refers to the resulting poster as "like a mountain of concrete and steel: beautiful and ugly.".

Marian's book 'I wonder' was produced in 2009. The book is an exploration of ideas, mostly patterns. The book focusses around the ideas of wonder, memory, honour, writing and ornament were they join together in unexpected ways. The book is filled with custom fonts and a variety of types of paper. In one of the chapters, Bantjes explored pattern with the use of macaroni and pasta of all kinds, after she used the pasta for designing she ate it for dinner. She photographed the designs using a camera and tripod in her kitchen. The cover of the book is made from black satin with gold and silver foil.

My thoughts

Marian Bantjes shows a variety of colour, texture, materials and imaginative ideas throughout her works. I love her typography and illustration and think that is what draws people to her work. She explains in her book that "there is no formula to success: no way to say first you do this, the that, then this.". To have started out an art college drop-out, Bantjes has produced many well known designs and illustration and worked with some of the best known designers of today.

References

1)Bantjes, M., Poynor, R. and Bantjes, M. (n.d.). Marian Bantjes. 1st ed. 2)Bantjes, M. (n.d.). I wonder. 1st ed. 3)https://www.ted.com/talks/marian_bantjes_intricate_beauty_by_design. (n.d.). [video]. 4)Marian Bantjes. (2017). About - Marian Bantjes. [online] Available at: http://bantjes.com/about/ [Accessed 21 Dec. 2016]. 5)Marian Bantjes. (2017). Church of the Non-Believers - Marian Bantjes. [online] Available at: http://bantjes.com/work/church-of-the-non-believers/ [Accessed 22 Dec. 2016]. 6)Marian Bantjes. (2017). Halloween '05 - -7)Marian Bantjes. [online] Available at: http://bantjes.com/work/halloween-05/[Accessed 21 Dec. 2016]. 8)Marian Bantjes. (2017). I Wonder - Marian -Bantjes. [hard-copy] [online] Available at: http://bantjes.com/work/i-wonder/ [Accessed 21 Dec. 2016]. 9)Marian Bantjes. (2017). Influences Map - -10)Marian Bantjes. [online] Available at: http://bantjes.com/work/influences-map/[Accessed 21 Dec. 2016]. 11)Marian Bantjes. (2017). Pretty Pictures - 13)Marian Bantjes. [hard-copy] Available at: http://bantjes.com/work/pretty-pictures/ [Accessed 18 Dec. 2016]. 14)Marian Bantjes. (2017). Saks Want It! - Marian Bantjes. [online] Available at: http://bantjes.com/work/saks-want-it/ [Accessed 21 Dec. 2016]. 14)Marian Bantjes. (2017). Seduction - Marian Bantjes. [online] Available at: http://bantjes.com/work/seduction/ [Accessed 7 Jan. 2017]. 15)Marian Bantjes. (2017). Speak Up T-Shirt - 16)Marian Bantjes. [online] Available at: http://bantjes.com/work/speak-up-t-shirt/ [Accessed 7 Jan. 2017]. 17)Marian Bantjes. (2017). The Vanity of Allegory - Marian Bantjes. [online] Available at: http://bantjes.com/work/the-vanity-of-allegory/ [Accessed 7 Jan. 2017]. 18)Marian Bantjes. (2017). Valentines 2005 - Marian Bantjes. [online] Available at: http://bantjes.com/work/valentines-2005/ [Accessed 7 Jan. 2017].

# data[].attributes.attachment_link.description
Marian Bantjes is a designer, typographer, writer and illustrator. She started out as an art student at Emily Carr College of Art, but Marian dropped out of art school early and decided to train as a typesetter in Canada. It was here that Marian learnt a lot about typography which lead to her career in design.

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https://openlab.citytech.cuny.edu/mgoodwin-eportfolio/comd3503/reflection-3-marian-bantjes-ted-talk/

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In my last class in topics of Graphic Design, I had the privilege to watch Intricate Beauty By Design, a TED Talk presentation by Marian Bantjes. Marian Bantjes is a graphic designer and also a hands on inventive and creative soul. She uses anything she can get her hands on and turns it into a masterpiece. From sugar, to Christmas cards, she uses anything to visually tell a story.

While watching this TED Talk, I realize that I can go just about anywhere with what I do. From my first reflection to this one, I am certain that I'm headed in the right direction. I do what whatever is artistically necessary to get where I need and want to be. Sure, I still and always will have more to learn and craft, and that's fine, but I like where I am right now and am still trying anything to see what fits me. From there I will work on my future.

I love artists and designers who can make anything out of... well... anything. I aspire to be like that. I remember for a project that I did when I first started, I made words out of medicine and all things sickly; Tissue box, used napkins, tablets, band aids,etc. I spelled "SICK" with it, obviously. I also managed to make another word out of rocks and strings. It took 2 hours to finish "DEEP", but it was SO worth it. I think I still have the rocks I used for that somewhere.

I believe that in the world of art and design, the world is yours canvas. ALL OF IT. for example, Marian Bantjes used sugar to make her intricate typography. She used dried flowers, old Christmas cards, a penny, collage- I wouldn't be surprised if she's used water and food coloring... I kind of what to try that.

Looking at everything so far and what I've been shown in my class, I have to allow myself to try everything, never take "no" for an answer when brainstorming to come to a solution that could "inspire a playwright, or a novelist, or a scientist, and that in turn may be the seed that inspires a doctor, a philanthropist, or a babysitter." I want to be that person who can add to the inspiration. I want to make a change with what I love to do, visually problem solve.

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In my last class in topics of Graphic Design, I had the privilege to watch Intricate Beauty By Design, a TED Talk presentation by Marian Bantjes. Marian Bantjes is a graphic designer and also a hands on inventive and creative soul. She uses anything she can get her hands on and turns it into a masterpiece.

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https://bantjes.com/work/category/portfolio/

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This is a selection of my recent and best work from the past. All of my work from 2003-2013 is documented in my monograph, Pretty Pictures.

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https://bantjes.com/about/

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Marian Bantjes is a designer, typographer, writer and illustrator working internationally from her base on a small island off the west coast of Canada, near Vancouver. She is a member of Alliance Graphique Internationale (AGI), and regularly speaks about her work and thoughts at conferences and events worldwide.

Her career spans 3 stages: she worked as a book typesetter from 1984-1994: she co-founded and ran a graphic design studio, Digitopolis, from 1994-2003; and since 2003 she has worked on her own as a designer/artist/letterer. It is this latter work for which she has become internationally known.

Marian's art and design crosses boundaries of time, style and technology. She is known for her detailed and lovingly precise vector art, her obsessive hand work, her patterning and ornament. Marian's work has an underlying structure and formality that frames its organic, fluid nature. It is these combinations and juxtapositions that draw the interest of such a wide variety of designers and typographers, from experienced formalists to young students.

Her 2010 book I Wonder (published by Thames & Hudson, 2010) is an exploration of the marriage of word and image, written and illuminated by herself throughout, it is alternately mysterious, thoughtful, personal and funny. It was shortlisted for the British Design of the Year award in 2011, and along with several other pieces or her work, is included in the permanent collection of the Cooper-Hewitt National Design Museum in New York.

Much of Marian's work has been published in well over 100 books and magazines around the world, including IDEA (Japan), Eye (UK), Wallpaper, Creative Review (UK), Azure (Canada), Communication Arts (USA), Print (USA), DPI (Taiwan), Concept (Indonesia), +81 (Japan), 2+3D (Poland), Form (Germany), D2B (Brazil), Design Indaba (South Africa) and étapes (Paris).

She does not enter awards, but she has judged for many of them, including D&AD (UK), TDC (NY) and ADC (NY). She has had several solo exhibitions of her work and has had work included in many other exhibits of design. She has lectured on her work at many conferences and events worldwide since 2006. In 2010 she spoke at the renowned TED Conference in Long Beach, California. In 2008, she was accepted as a member of the prestigious international design organization, Alliance Graphique Internationale (AGI), and in 2010 she was awarded an Honorary Doctorate of Letters from Emily Carr University in Vancouver, Canada.

An extensive monograph of her work, Pretty Pictures was published by Thames & Hudson in the fall of 2013, to critical acclaim, and was named one of the best 20 art books in the past 20 years by BookForum.

Photo by Mark Mushet © 2017

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Marian Bantjes is a designer, typographer, writer and illustrator working internationally from her base on a small island off the west coast of Canada, near Vancouver. She is a member of Alliance Graphique Internationale (AGI), and regularly speaks about her work and thoughts at conferences and events worldwide.

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http://www.dximagazine.com/2014/08/29/carte-blanche-marian-bantjes/

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El Mudac (Lausanne, Suiza) tiene a bien facilitar sus espacios a diversos diseñadores de arte contemporáneo durante varios meses. Esta carte blanche es ya la 13ª otorgada, esta vez Marian Bantjes, ...

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https://bantjes.com/work/i-wonder/

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https://www.underconsideration.com/speakup/

https://bantjes.com/work/speak-up-t-shirt/

Sobre Speak Up: https://medium.com/visualmente/visualmente-en-speak-up-9a63dc680708

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Diseño gráfico II: Retórica de la imagen\nSistema gráfico. PDF to flipbook converted using heyzine.com