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Playground is a graphic design studio in Paris and Amsterdam which provides visual solution services in motion, print, illustrations, and design.

The studio always strives to bring the fun factor when working on every project, even when it comes to serious projects.

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Playground - Graphic Design Studio in Paris

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We are Playground Paris, a colorful-fun-messy-crazy graphic design studio working on motion, illustrations, print design and stuff.

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Foxcub Studio is an illustration and graphic design studio run by Elly Jahnz – an artist who is not afraid to take on projects of all sizes and shapes.

Although she doesn’t have a portfolio, she posts about her work on Foxcub Studio’s blog and social media accounts.

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Foxcub Studio | Illustration & Graphic Design

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Elly Jahnz is an illustrator and designer who creates beautiful images for books & brands. She specialises in editorial, publishing and fashion - including packaging design, on garment branding and surface pattern design.

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Valistika is based in Madrid but working internationally.

The visual identity studio is specialized in services like custom illustration, print and editorial, web and graphic design, typography and lettering, apparel design, animation design and more.

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valistika studio is a design and illustration studio based in Madrid.

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Valistika studio, typography, illustration, art direction, design, barcelona, studio, creative, NIKE, CONVERSE,

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Founded by Dan Kuhlken and Nathan Goldman, DKNG is a graphic design and illustration studio which offers visual solutions mainly for the entertainment industry.
The studio provides services such as identity development, print and poster design, custom illustration, packaging, apparel, web design and more.

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Established in 2005, DKNG is a design studio based in Los Angeles, California with a focus on the music and entertainment industries.

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Truly Design Studio is an art and illustration design studio which offers graffiti artwork, workplace decorations, mural art, custom design and illustrations and more.

This studio works for some of the most famous brands in the world. Although based in Torino, Truly Design Studio works on international markets.

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Truly Design | Studio - 3D Graffiti, Anamorphic Art & Office Graffiti

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Unconventional design & communication studio specialized in 3D Graffiti, Anamorphic Art, Office Graffiti, Mural Art and Branding. Based in Torino, Italy.

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Design Garden is a graphic design and illustration studio that offers various creative solutions to the businesses.

The studio provides custom illustrations, illustrated portraits, web design, artistic logos, business card design and more services related to illustration and visual creativity.

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Design and illustration studio based in London, UK.

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I came across this illustrator during a trip to Buenos Aires, Argentina. I found her book about nature and animals and I feel in love with her style. She uses so many colors and details with the line art.

She also draws animals with big eyes and I really enjoy that because I tend to draw people with big eyes.

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Our wall coverings are printed in the UK using the highest quality inks and paper. The paper we use is non woven and uncoated. The measurement of our wallpaper varies, so please look carefully at the sizing of the style you are interested in.

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I loved the colors he used in this illustraItion. It has a contrast of bright and dark and i think this is why it is so interesting to me.

It also looks spooky and scary.

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The way Henri Campeã is simple, yet very complete, with textures , animations and characterisation of unanimated objects.

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I like the fact that Morag doesn't like to be defined as only one thing, illustrator or design.She is everything as an artist.I found this video very interesting because it shows a little bit of her working space.

I get inspired with the way she uses such bold and strong colours into her work. I am used to not use much colour and I usually stick to my black and whit line art. It makes me wonder about pairing to things that a I love, illustration and lettering. I was very used to make letterings for my school works.

Morag's work makes me want to try it again.

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I particularly like this studio the most, it has many design approaches and a very big range of artistic solutions, not only using digital to create, but you can see more research and concept into their works.

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Fundado em 2003 pelos sócios Marcelo Roncatti, Fábio Couto, Vanessa Queiroz e David Bergamasco, o Colletivo é um estúdio multidisciplinar que atua nos mais diversos segmentos do design e tem atendido clientes como Nike, Pepi Co., MTV, Nickelodeon, Almap BBDO, Microsoft Zune, Hello Kitty, Converse, Adidas, F/NAZCA, entre muitos outros.

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designboom | architecture & design magazine

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morag myerscough is a london-based artist whose work is characterized by an engaging boldness, creating specific, local responses to each distinct audience that will see and experience the work, using it to create community and build identity. morag makes places from spaces that people like to be in, that stimulate and often make you smile.

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The Memphis group comprised of Italian designers and architects who created a series of highly influential products in the 1980's.

They disagreed with the conformist approach at the time and challenged the idea that products had to follow conventional shapes, colours, textures and patterns.In contrast the Memphis Group offered bright, colourful, shocking pieces.

The colours they used contrasted the dark blacks and browns of European furniture.

As a form of contrast nowadays the elements are used to create visual patterns of spaces with colourful shapes and tridimensional geometric forms to be done into a new dynamic for the space.

Thinking of the characteristics, such as Pop Art relation, Minimalist vibe, all of these concepts are important when thinking of a visual language and this movement is a clear perception of it.

To my project this will be a clear influence of aesthetic while context and concept proposal.

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Hello pattern lovers! Today I am really excited to tell you about a graphic movement that I absolutely love. Memphis Group was the name of an 80's italian group of designers and arquitects whose works inspired hundreds of hundreds of designers that came after them, until today (their visual style is quite seen in the present). If you do not know them, let me introduce them to you!

Memphis Design was founded in 1981 in Milan, by Ettore Sotsass. The group had several active members: Andrea Branzi, Marco Zanini, Matheo Thun, Natalie du Pasquier, Michael Graves, Alessandro Mendini, Luciano Paccagnella, Michelle de Lucci , just to name a few. They created furniture, fabrics, ceramics, glass and metal objects from 1981 to 1987, and they even published the book "Memphis, The New International Style" where the group showed their works and philosophy.

These designers took their inspiration from futuristic themes, 1950's Kitsch, Pop Art and Art Deco. They wanted to find a new creative approach to design, maybe a much less comfortable one. According to the group's vision, in the 70's, objects were produced without personality or individualism and with very dull uniform colors. Memphis Group's creations, in contrast, looked pretty ground breaking at that time, thanks to the unconventional use of geometric shapes, bold colors, eccentric textures and patterns. Their furniture has been described as "bizarre", "misunderstood", "loathed", and "a shotgun wedding between Bauhaus and Fisher Price".

Unfortunately, Sotsass dismantled the group in 1988 (he died later in 2007). The group may no longer exist, but it has certainly influenced graphic design, restaurant design, fabrics and furnishing. To show you an example of their influence, take a look at Pinterest! It's clear that it's more popular today than some years ago. Wikipedia says that Memphis designs served as inspiration for the Fall/Winter 2011-2012 Christian Dior Haute Couture collection fashion show, and for the Winter 2015 Missoni collection. The Group's graphic works have been having several revivals since the 80's because their style is a timeless style. So we'll be having Memphis for a long, long while in the future!.

I personally love to use some of their doodles and mix them with my own motifs, even if they do not look alike. I enjoy the nonsense they make! I find them modern, attractive and cool.

There's a member of the Memphis group, Natalie Du Pasquier, that is still working for very interesting proyects: one of them was to develop a collection including womenswear, menswear and accessories in minimalistic colorful shapes and graphic prints, for American Apparel, in 2014. Du Pasquier's colorful patterns have been used in cushions and accesories, launched in 2014 as part of the Wrong for Hay partnership between British designer Sebastian Wrong and Danish company Hay. You can see her interesting work here and here.

Well, I hope you liked this group's influence and works. You'll surely see them everywhere now or at least you will know where some of your doodles come from! 😉

IMAGES:
1. Design Magazine cover on Memphis Group.
2. From the book "Memphis: Research, Experiences, Failures and Successes of New Design", by Barbara Radice.
3. Camille Walala. London Design Festival, 2015.

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An artistic design movement that you really should know: Memphis Group

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Hello pattern lovers! Today I am really excited to tell you about a graphic movement that I absolutely love. Memphis Group was the name of an 80's italian group of designers and arquitects whose works inspired hundreds of hundreds of designers that came after them, until today (their visual style is quite seen in the present).

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While searching for artists and designers that use Memphis Design nowadays, I came upon her, and this is the perfect reference of how to apply a certain element into a pattern into wall art and furniture setting. The colour choices and the geometric design also relates to the shapes, she uses for the outside area. When thinking of the purpose of it, the kids, it is also clear that the furniture is almost an amplified version of the wall, since the lines are followed within the geometrics shapes she used. This can be a good sense of unity to think for the project, how they related together and work on the same environment, also thinking of how this is a representation of the style we want to use but with the artist character.

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This study is good to be able to understand how people behave on colours, their brightness and their meanings to the process of brain on different ages.

Children up to age three tend to prefer bright, primary colors over pastels, and favor bright luminous
colors such as red, orange, pink and yellow. Color is preferred over black. Red is preferred during
early preschool years. Interest in cooler colors increases as children grow older and preferences for
high intensity decreases.

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Here we see how the artists used their references and styles to create the compositions for the space, and the way they arranged it, either by mixed media or something more abstract, this is good to see how they got inspired and translated their work into a physical piece.

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Dominique Pétrin is a visual artist living and working in Montreal, Canada. There are many works of her that uses bright colours and focus on the ambientation of the space with silkscreen posters, and they go beyond the wall into the floor. This creates a sensation of expand space, it shows off a good display of space and it relates more into a happiness spread since the colours contrast and the shapes are also a very good way of enhancing the sensations. It almost feels like something made on the computer, but they are real. The colours vibrance and the fact that this spreading concept seems to be very good visually is something to be aware of.

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The Living Room & other displays - www.dominiquepetrin.com

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Here on this video, the main point to be aware is how the kids are interacting with the environment and how the walls and the placements are a unity, so it passes a sensation of happiness and community. It is important to be understood that even if you create something beautiful, it has purpose and it should be a way of expressing the sentiment you want to that space asa a complement of the architectural project.

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Art Block Opening: The Club Under My House

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This is a website known for selling artistic outcomes and illustrations, I like their curatorial process and how it is an amazing place to seek for art.

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A multidisciplinary team with roots in graffiti art. Their motto is transform the street and to create bonds between people. Their work shows off huge grafitti on facades of stores or houses that have text but also create a visual pleasing pattern of colours. It is good to see that since they are huge, if you pass through you won't really notice the text, but since the patterns and colours are pleasing you are still captivated. This kind of concept is important to think when you are aiming to bigger surfaces.

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Boamistura, un equipo multidisciplinar con raíces en el graffiti nacido a finales de 2001 en Madrid

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When thinking of design, its main goal is to approach and communicate people.

This is the main goal of this design studio in Portugal.

They have many pieces that use public environments and where there are flux of people walking down, so the pieces need to be effective and blend also with where they are positioned.

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R2 is an award-winning studio specialised in graphic identity, editorial and environmental design, with a strong focus on theatre, contemporary art and architecture.

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This video is a good representation of how the impact of art can be within people how may just look at it.

It is good to have in mind that art has power over anyone that is willing to look at it.

Also, art can be at any format, such as music, paintings, performance or anything else.

This way is the open possibility that art creates for you to touch people.

A phrase that is important to be remainded is that: art has no obligation to have social impact, but you have to be aware that it has an impact anyways.

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With colour and some fun that would be warm and welcoming, this work made by many artists at the make the hospital not feel like a hospital.

This is essential to understand the purpose of a creation inside a space and how the visual communication of the art will be connected to where it is placed.

The typography and the contrast with painting the walls and making 3D figures also creates a sense of out of site: this is a hospital but you get the feeling when you are inside out of the dull and tense environment that it is.

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designboom | architecture & design magazine

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designers and artists liven up the royal london hospital

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vital arts commissioned an array of artists and designers to liven up the wards at the royal london children's hospital.

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This fence was created to separate the park a pharmacy area.

Many attempts were made to make it look appealing rather than forbidding.

This is a good concept and making to keep in mind, the characters complement the landscape behind it, it looks more of a interactive way to call for children.

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The research and development area of the pharmaceutical company, Novartis, shares a border with a public park in Basel. This fence was designed to separate the two in a secure but friendly fashion. The client required that the barrier be strong enough to withstand the impact of a ten-tonne truck, the largest vehicle available for hire in Switzerland, driven at speed.

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Inkjet or small scale prints.

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Letterpress place in São Paulo, many types of machines that you can use for your own experiencing projects.

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They can use this technique to develop your photographs.

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Non-silver technologies used to create photographic images. It uses the negative of the image, good with images with lots of contrast.

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A guide to the cyanotype process - one of the first non-silver technologies used to create photographic images.

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With the exception of FM (stochastic screening), all screens consist of dots arranged in a regular pattern or matrix. The vertical and horizontal distance between successive dot centers is constant and is a function of the screen frequency. When the screen is aligned parallel to the paper edges, the screen angle is said to be 0° or 90°. The rotation angle away from the vertical axis is known as the screen angle. The screen can only be rotated up to 90° before it repeats itself. For example, a screen rotated 15° is at the same angle as 105°, 195°, and 285°.
A black and white halftone image consists of a single screen. The screen pattern is very noticeable when positioned at 0° and is least visible when rotated 45° as illustrated below. For that reason, black and white halftones are usually printed with 45° angled screens - particularly with coarser screens.

When two (or more) screens are printed on top of each another, a visually objectionable pattern known as moiré may occur. The most serious moiré patterns occur at very small angles between screens. Below are two overlaid halftone grids angled at 5 degrees and 10 degrees apart with the resulting moiré pattern:
The best angle between two screens that is least likely to cause moiré, and is most forgiving to small degrees of error, is 45°. However, in four color process printing, four different screens must be superimposed and all four screens must be angled within the 90° limitation.

A set of standard screen angles has been established that is based on a combination of theory and experience. First the least visible color, yellow, is placed at the most visible angle 0° (90°). Then the most visible color, black, is placed at 45°. The cyan and magenta are then placed between these two. Cyan at 15° (105°) and magenta at 75°. These angles represent a best all around compromise for most pictures and represent the standard, most commonly used screen angles. They also form the least objectionable moiré - the rosette pattern ( more on rosettes here).
Because the Yellow printer is only 15° from the Cyan printer it produces moiré. The visibility of the moiré can be exacerbated if the Yellow becomes contaminated by ink traveling into it from previous press units. To help reduce the visibility of the Y/C moiré, most screening systems run the Yellow at a slightly higher frequency (lpi) - typically 108% of the frequency of the C, M, and K printers. Left: Yellow at the same frequency as Cyan. Right: Yellow at a higher frequency to help reduce visible moiré.

These standard screen angles are based on analog photomechanical screens and do not work best with electronic screens. At angles other than 0° and 45° a type of moiré patterning within one screen "single channel moiré" may occur. To avoid this problem, some vendors utilize shifted angles of 7.5° to introduce "noise" around the edges of the dots in order to break up and eliminate the visibility of single channel moiré.

Most printers will have a standard screen angle set that is used for all their jobs. However, if certain jobs have images where two of the process colors predominate and where those two colors are less than 30 degrees apart, then that screen set should be avoided and a different one used instead.

The following screen angle sets are all valid and are in common use. The sequence for the screen sets listed below is C, M, Y, K (i.e. the first screen set on the list is: 15C, 45M, 0Y, 75K). Remember that screen angles have quadratic symmetry so 0 degrees is the same as 90, 180, and 270 degrees.

Standard 4/C U.S. screen angle set:
15, 75, 0, 45 (possible moiré in greens since C and Y are only 15º apart)

Standard 4/C European screen angle set:
15, 45, 0, 75 (possible moiré in greens since C and Y are only 15º apart)

Other usable screen angle sets: Keep in mind that when two colors are less than 30º apart there is a risk of moiré
15, 45, 0, 75
15, 75, 0, 45
15, 45, 30, 45
45, 15, 0, 75
45, 75, 0, 15
75, 15, 0, 45
75, 45, 0, 15
75, 15, 60, 45

For 2/C jobs (e.g. duotones): Other angles can be used, however, the guiding principle is that the angles should be 30º or 45º apart and that the darkest color should be at 45º to reduce its visibility and lessen "sawtoothing" (see below)
Dark color at 45
Light color at 75

For 3/C jobs (e.g. tritones):
Darkest color at 45
Medium color at 75
Lightest color at 15

For 5, 6, or 7/C jobs (e.g. Hi-Fi color):
Use the angle of the unused color
Violet/Blue uses Yellow or Black angle
Green uses Magenta angle
Red/Orange uses the Cyan angle
Note that, depending on the original CMYK separation, the Black screen angle may be available to be used for one of the extra colors - V/B, G, or R/O.

Dealing with the Yellow printer moiré issue
Interscreen moiré becomes more visible when the angles of any two screens are less than 30 degrees apart. Yellow is usually allowed to be less than 30 degrees because it is such a light color that the moiré is usually not visible. Also, the frequency of the yellow printer is usually made higher than the other three colors (typically around 108% higher) to further minimize the visibility of the moiré. However, the moiré can become more visible if the yellow printer becomes contaminated/dirtied by the preceding process colors, or if its density is too high.

So, when skin color predominates:
15, 45, 0, 75 (avoids M/Y conflict/moiré but introduces C/Y conflict)

Or when light greens predominate:
45, 75, 0, 15 (avoids C/Y conflict/moiré but introduces M/K conflict)

Some printers use a coarse FM screen instead of a conventional AM screen for the yellow printer. This eliminates the moiré issue completely since FM screens do not have a fixed frequency or angle. For a 175-200 lpi AM screen an FM screen of about 35 microns would be used since that dot size will have a dot gain similar to the AM screened colors.

Other screen angle considerations
In certain circumstances, depending on the size of the graphic and the frequency of the halftone, the selected screen angle can distort the accurate rendering of images.

In the below graphic, the halftone screen angle is the same (45º) but the angle of the gray lines have been changed. Note how the screen has affected the rendering of the gray lines at different angles. The artifact at 1, 2, 3, and 4 is referred to as "ribboning" and is fairly common in automobile images.

In the below graphic, the halftone screen angles have been changed to the standard 4/C process angles (K 45º, C 15º, M 75º, Y 0º) but the angle of the three gray lines have been kept the same (0º). Ribboning has appeared in the Cyan and Magenta angles while the Black and Yellow angles have caused the appearance of different dotted line effects.

In the below graphic, the halftone screen angle is the same (45º) but the angle of the gray box has been changed in 10º increments. Note how the smoothness of the edges of the box changes as its angle relative to the halftone screen angle changes. The ragged appearance of edge of the last box is referred to as "sawtoothing."

Screen angles for more than four color - i.e. "Hi-Fi" printing (5, 6, or 7 colors)

Four color CMYK process printing is a good compromise that achieves a wide enough color gamut for most applications while using the minimum number of inks to achieve it. However, sometimes the printer needs to go beyond 4/C in order to achieve a satisfactory rendition of the image. Typically the gamut deficiency will be in the overprint colors - Red/Orange, Blue/Violet, Green.

Here is an original RGB image: And here is the CMYK version of it: To restore some of the original color impact, the printer may choose to use "bump" or "touch" plates to boost color back into areas where it was lost. However, adding extra colors causes problems since all possible screen angles have already been used by the C, M, Y, and K printers.
In this example, these are the four channels that make up the image: Note that there is virtually no Cyan in the Red/Orange areas, or Yellow in the Blue/Violet areas, or Magenta in the Green areas. Therefore, those screen angles become available for the extra bump inks. So the trick is to use the screen angles of these unused colors.
In this example Violet, Green, and Red: In short, the Violet ink would take the unused Yellow angle, the Green ink would take the unused Magenta angle, and the Red ink would take the unused Cyan angle. Note also that, depending on the original CMYK separation, the Black screen angle may be available to be used for one of the extra colors - V, G, or R.

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With the exception of FM (stochastic screening), all screens consist of dots arranged in a regular pattern or matrix. The vertical and horizontal distance between successive dot centers is constant and is a function of the screen frequency. When the screen is aligned parallel to the paper edges, the screen angle is said to be 0° or 90°.

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Estudio Pilha - SP
RisoTropical - SP
RisoTrip - RJ

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A Risotrip é um estúdio carioca de design e impressão em risograph, fundado em 2015 por dois exploradores inveterados e designers nas horas vagas. Tudo que você encontra aqui foi impresso por nós em risograph ou serigrafia, o que torna cada peça única. Bem vindo! risotrip@gmail.com

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Illinois Art UNI tutorial of how to print using Risograph, it shows a lot on how it works for the University but also shows a bit of how it is the process of creating the file. Also shows the meanings of Trapping and Overprinting and Knockout.

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His work called Wound is the important key for this project idea, while thinking about what was influencing me this work is minimalist and also shows off the concept very well, with a visual answer to the concept that works very well. This is what made me think about the concept idea at first, thinking about wounds and human scars and that made me realize that this is pathway full of possibilities to be visually expressed.

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While loking for book object visuals, I came upon this Spanish artist that creates diaries and unique books with the antique aspect using old papers, photographs, and texts that simulate and old not well preserved book. This kind of aesthetic will be what I inspire myself on thinking about the materials that combine with the whole piece that also resembles the rustic and vintage style.

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Mother Shipton is England's most famous prophetess. She foretold the fates of several rulers within and just after her lifetime, as well as the invention of iron ships, the Great Fire of London in 1666, the defeat of the Spanish Armada... and even the End of the World.

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Letterpress place in São Paulo, many types of machines that you can use for your own experiencing projects.

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We are creating the visual communication of our vodka company. Inspired by Mother Shipton's folk law, Ursula's Booze is a russian version of the witch that used to predict things in the past on England.

"With Madam Ursula you lose one consciousness and gain another" is our slogan.

We are creating the Label for the bottle, the box and the character design for advertisements and posters.

The collars- red, petrolleum green and black- were inspired by URSS and Russian Graphic Designs.

We selected some russian fonts for the label too and we already have ideas of different papers for the printing of the box and the label.

We created all this visual communication with the focus on what Mother Shipton used to dopredict things.

Vodka came perfectly because when peaple get drunk they usually start seeing and imagine thinks that doesnt exist, that s why the slogan and the Eye of the label, that remember intuition/third eye.

The spiral on the back of the eye to remember hallucination.

All the details of the communication are meticulously thought to match perfectly with the initial theme EBAC gave us.

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Here we have a different aspect of the book being translated into a 3D model. This artist shows off nature combined with a flip book that relates to sound and movement of the animals (butterflies and humming bird).

This is a good example of how you can relate all of the choices of the materials into the concept of you project, to create it as a whole and make sure it stands out.

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The Perpetual Flip Books of Juan Fontanive - Design Milk

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Brooklyn artist Juan Fontanive creates self-flipping flip books of butterflies and hummingbirds... and it's even more amazing than you think.

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Another visual reference (as well as contextual) about how the book can be used as the object but not be seen as a whole, here she cuts the book and places them into the wall looking like unlikely barcodes, but the reference of the texts and the books makes it look like it if you see it well.

Here is a clear example of how the material can create a new meaning for it with a simple solution.

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Código desconhecido (Chácara Lane)
Marilá Dardot, 2016
Políptico - 101 peças feitas de fragmentos de livros colados em mdf, fixadas na parede com Velcro
Dimensões variáveis

Lombadas de livros organizadas por tamanho em blocos que se assemelham a códigos de barras ilegíveis. Apagadas as narrativas, resta-nos a sua estrutura, o que costumava colocar as páginas em conjunto na ordem correta.

Unknown code (Chácara Lane)
Polyptych - 101 pieces made of fragments of books glued to mdf, fixed to the wall with Velcro
Variable dimensions

Book spines organized by size into blocks that are similar to illegible bar codes. Once the narratives are vanished, we are left with their structure, which used to put the gathered pages in the correct order.

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Código desconhecido (Chácara Lane)Unknown code (Chácara Lane)

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Código desconhecido (Chácara Lane) Marilá Dardot, 2016 Políptico - 101 peças feitas de fragmentos de livros colados em mdf, fixadas na parede com Velcro Dimensões variáveis Lombadas de livros organizadas por tamanho em blocos que se assemelham a códigos de barras ilegíveis.

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Visual artist from Rio, one of her pieces, called Empilhamentos, is a visual reference for me to understand that form and physical purpose can be managed into something not literal, so, this artist uses photographs stacked one above the other but they just seem like blocks, you can't see the content of the photos or any colour of it.

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Artista visual carioca. Em suas obras utiliza fotografias, imagens de cinema e vídeo, criando narrativas através de usos não convencionais [...]

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"Book Show" is an exhibition of artworks, objects and structures that address the physical form of the book.
Here we see that there are many ways to address the subject of physical object book rather then it's content, this is another visual example that I can be aware of when I see and think of my own project.

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SHOW

'Book Show' is an exhibition of artworks, objects and structures that address the physical form of the book. The starting point for the exhibition are the provocative theories of Ulises Carrión's found in 'The New Art of Making Books' (1975). Carrión's text establishes the specific conditions of the book as a display device:

A book is a sequence of spaces.
Each of these spaces is perceived at a different moment-a book is also a sequence of moments.
A book is not a case of words, nor a bag of words, nor a bearer of words.
A writer, contrary to the popular opinion, does not write books.
A writer writes texts.

Carrión's perspective on the form of the book de-emphasises any inherent union between the material form of the book and its printed contents, and implies that each body of material to be made into a book must somehow be addressed to the display conditions that the book offers.

BOOK

'Book', functions as a mobile extension to the exhibition. Including a facsimile reprint of Ulises Carrión's 'The New Art of Making Books' as it originally appeared in the journal Kontexts; an illustrated text by James Langdon and additional works, both existing and newly commissioned.

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SHOW 'Book Show' is an exhibition of artworks, objects and structures that address the physical form of the book. The starting point for the exhibition are the provocative theories of Ulises Carrión's found in 'The New Art of Making Books' (1975).

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This Canadian artist creates series of interferences onto books that no longer will be existing as books itself, with their texts and images.

He creates new narratives and purposes to them. On this particular piece, he has cut the books onto bowls and made a table to be placed into a living room, and it is called Reading Table, which creates a visual and conceptual conflict about the books not having any text to be read and how they are displayed as furniture.

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This video is an excellent example of how a book can be put into situations that are not about the book with it's content (narrative, image, etc) it is about the usage of it as an object.

This is the best example of how the concept of the project can be organized.

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THE THING THE BOOK Promo video, featuring suggested uses for all books.  
Published by Chronicle Books, 2014

TO BUY VISIT:  www.thethingquarterly.com/projects/thebook.html

Video Produced by THE OTHER THING & AVOCADOS & COCONUTS
Producers: Dalia Brude, Jonn Herschend, Sarah Simon  
Director:  Brandon Loper
DP:  Brandon Loper
Gaffer: Matt Rome 
Post Production Producer: Ana Orrach
Editor:  Cooper Kenward: 
Sound Design: Jeremiah Moore

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The choice of object is itself a creative act. Secondly, that by cancelling the ‘useful’ function of an object it becomes art. Thirdly, that the presentation and addition of a title to the object have given it ‘a new thought’, a new meaning.

The concept of readymade can be applied when thinking about the beginning of the creative process: find the material, take out it's use and give it a new meaning.

This can be a way of visualizing the start of the project and how I can use the materials.

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This project is the concept of the project itself, the book not being a book itself, but more as the object it is insert on, and having many other aspects incorporate into the object.
This can be a way of understanding that an object if more represented by the way it looks visually and the way you use it.

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Writers aren't the only ones who turn to paper pages as a creative canvas-George Maciunas' Fluxus Editions, Tom Phillip's Humument's "A Humument," and Tauba Auerbach's "RGB Colorspace Atlas" are all examples of artists who have explored the infinite potential of the book form. The Thing Quarterly's interpretation of an "art book" or even "book as object" is unlike anything you've ever let collect dust on your coffee table-and has a good dose of saucy humor, too. The object-based periodical's founders Jonn Herschend and Will Rogan convinced some major names in the contemporary art and design worlds to each contribute a little something, resulting in a part-anthology and part-found-object called " The Thing The Book "-literally leaving no part of the book untouched, from the endpapers to the ribbon bookmarks to the index.

Parts of bookmaking that have become forgotten-an epigraph by conceptual artist John Baldessari, a bookplate from the aforementioned Ed Ruscha himself, a colophon by Guinness World Records-obsessed documentary filmmaker Sam Green-are supported by essays, photographs, drawings and even a flip-book and reading guide. It's as if Herschend and Rogan have invited a diverse group of more than 30 people over for a potluck dinner, at which guests-inspired by one another-entertain and inform for a memorable night. In her essay "The Artist as Bookmaker," professor of art history Gwen Allen sums up the The Thing's endeavor well: "...we can't be satisfied with fetishizing books as collectors' items or antiquated curios; we need to think about how the activities of editors, designers, artists, writers, and-not least-readers create meaningful and worthwhile experiences, whether on or off the page or screen."

"We think of The Thing as a publication. We publish objects and the book is an object, so it just seemed like a natural progression," co-founder Herschend tells CH. (The Thing Quarterly isn't taking even a short break from its conceptual subscription service; the super top secret Issue 24, created by fashion designer duo Rodarte with some help from Todd Cole and No Age, will be released this Thursday). "It's also important to note that both Will and I come from a background where books played an essential role. He was a librarian at SFAI for five years, and I taught high school English Lit in SF for five years. We see The Thing as a physical conversation with literature and art, and the book for us is the ultimate delivery vehicle for both. We also like the fact that the physical book carries history with it. I have a bookshelf at home that sometimes feels like the way a tree is supposed to work when you count its rings. It's a physical history of my life in books."

This book is very conscious of the fact that it's more than just reading material, and takes up physical space in the real world. A humorous video highlights its multiple different functions: cheese plate, beer coaster, even an eye mask to block out the light. Whether you start reading from the back or use a page as some kindling to start a fire, there's no right or wrong way to read THE BOOK.

I don't know how the author of the original text feels about the "swelling clit" stuffed between pages 44 and 45, I'm sure I'll meet him at some point and we'll discuss it.

Two recognizable contributors are Miranda July and writer Jonathan Lethem, who embraced their specific assignments and took advantage of their physical (and theoretical) limitations. "I had a kind of deferred, but embarrassed excitement about footnotes. I'd always wanted to do something with them, but they just belonged too completely to Baker and Wallace. So I needed an assignment to free me," Lethem tells us. "I just liked the idea of an erratum-meant to correct a mistake-that was itself a mistake," July says. "And then it was fun to think of what the most egregious correction might be-perhaps an erratum that insisted that perfectly tame text was meant to be pornographic. I don't know how the author of the original text feels about the 'swelling clit' stuffed between pages 44 and 45, I'm sure I'll meet him at some point and we'll discuss it."

I've always responded to books as prosthetic extensions of my body, and my sense of wanting to spend so much time around them-and to create them-is intensely physical.

We spoke further with Lethem as he was in the midst of unpacking his office after nine months of sabbatical and travel-trying to fit his newly acquired books onto his already-bursting shelves and deciding which others to rearrange or purge. "I've always responded to books as prosthetic extensions of my body, and my sense of wanting to spend so much time around them-and to create them-is intensely physical," he muses to CH. "This might be rooted in my life as a painter's son and as an art student, before I began writing: culture as object-oriented. Thinking about a book I want to write often has a lot to do with an intuition about proportion: how much do I want it to weigh? Should it be a short- or a tall-trim volume? The short disquisitions on 'Fear of Music' and 'They Live' were also absolutely grounded in their tiny proportion and their fate as paperback originals. Back-pocket objects."

"My unpacking work today also reminds me that I think the overlooked conversation, when people talk about the change in the physical reality of books, is less the paper-and-cloth object versus the reading device than it is the room full of books versus the room that lacks them. At 50, I still feel the weight of my parents' bookshelves looming over me, with their power of mystery and implication. And I've spent my entire life in a charged relationship to these environments-libraries, bookstores, great private collections-and, for me, especially, used bookstores-which seem like collective brains, energizing chambers I compulsively seek out. And then there are the thousands of hours I've spent tending my own accumulations, an activity more like meditation, and masturbation, than it is ever given credit for. Rooms of books are the larger prosthetic, the exoskeleton-the internet of intertext."

"The Thing The Book" is available today, 23 September 2014, for $40 from the website as well as Amazon. Cool Hunting is happy to invite readers to the book's official NYC launch party (we're a proud co-sponsor) on 26 September 2014 at Story, 144 10th Ave New York, NY. The Thing will also have a booth (F03) at the NY Art Book Fair at MoMA PS1 that weekend; a massive signing party will take place at 1:00 PM on 27 September, featuring Starlee Kine, Rick Moody, Laurel Nakadate, Matthew Higgs, Andrew Hultkrans, Gwen Allen and more.
First two and last images courtesy of The Thing, all others by Cool Hunting

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The Thing The Book: A Monument to the Book as Object - COOL HUNTING

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Writers aren't the only ones who turn to paper pages as a creative canvas-George Maciunas' Fluxus Editions, Tom Phillip's Humument's "A Humument," and Tauba Auerbach's "RGB Colorspace Atlas" are all examples of artists who have explored the infinite potential of the book form. The Thing Quarterly's interpretation of an "art book" or even "book as...

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This is one way to start thinking about which materials we can use and how does it affect the way we program our process, finding objects can be a fun way to list materials to start brainstorming.

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Tate glossary definition for found object: A natural or man-made object (or fragment of an object) found (or sometimes bought) by an artist and kept because of some intrinsic interest the artist sees in it

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The story of Mother Shipton (Ursula Southeil)

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The story of Mother Shipton (Ursula Southeil)

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FOLKLAW

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Susan's Hiller, Painting Blocks, 1970–84, are recycled from earlier paintings that Hiller cut up and sewed together to form sculptural blocks.

The dimensions and dates of the original are printed on the front surface.

Her work from the 1970s employed the visual language of conceptual and minimal art, but retained a strong materiality.

The frayed canvas edges are a reminder of their previous status as paintings.

Here she created a new artwork with it's context and intention upon a previous work that lost its meaning by itself, and now is entangled with the new piece.

Source:
https://www.tate.org.uk/whats-on/tate-britain/exhibition/susan-hiller/susan-hiller-room-guide/susan-hiller-recycled-works

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Dots that connect themselves.
I enjoy the idea of having simple things that somehow connect themselves, thus immersing something wonderful about it.

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To own a broader look on board games, I went after the market of board games in Brazil, to see as an overall how it works and what are the main games nowadays.

I found out the main companies below, that aim more at strategy games with a fiction approach.

Kids games are now often forgotten, seeing that toy stores don't sell much anymore.

I also found that any historical game that is more popular has nothing to do with Brazilian history, they have games such as Istambul or any ancient Europe history more appealing.

Galápagos: Brazilian toy company

Grow: more aimed at games with strategy, but they also have many children aimed games.

Estrela: much more kids games than anything else.

PBKids: toy store, one of the biggest.

RiHappy: toy store, the biggest one probably, they don't have much online selling.

AceStudio: brazilian toy company with a very big range of board games approach

RedBox: brazilian toy company with a very big range of board games approach

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Some graphics that point out key factors when thinking about games, how skills should be presented and how challenges are made to create tension on the game.

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The massive and mind blowing Game Developer's Conference is almost here, and in the spirit of all things gamey and delicious (like lamb and portobellos) let me tell you about a few super awesome concepts from the world of game design.

This is MY list. If you don't like it, make your own! If I missed one, add it in the responses!

1. The Magic Circle

The Magic Circle is very simple but very big idea inspired by Dutch philosopher Johan Huizinga, who wrote Homo Ludens (the man who plays,) and further developed by Katie Salen and Eric Zimmerman:

"In a very basic sense, the magic circle of a game is where the game takes place. To play a game means entering into a magic circle, or perhaps creating one as a game begins. The magic circle of a game might have a physical component, like the board of a board game or the playing field of an athletic contest. But many games have no physical boundaries - arm wrestling, for example, doesn't require much in the way of special spaces or material. The game simply begins when one or more players decide to play."
― Katie Salen & Eric Zimmerman, Rules of Play: Game Design Fundamentals"

Why is this important? It says when we cross the boundaries of the "real world" into the game world, we live by completely different rules.

"Bernard Suits discusses the game of Golf: 'Suppose I make it my purpose to get a small round object into a hole in the ground as efficiently as possible. Placing it in the hole with my hand would be a natural means to adopt. But surely I would not take a stick with a piece of metal on one end of it, walk three or four hundred yards away from the hole, and then attempt to propel the ball into the hole with the stick. That would not be technically intelligent. But such an undertaking is an extremely popular game, and the foregoing way of describing it evidently shows how games differ from technical activities.'"

Key reading:
Rules of Play
Jerked Around by the Magic Circle - Clearing the Air Ten Years Later

2. The Play Taxonomy

Or why toys aren't games.

From Chris Crawford. Read more http://www.erasmatazz.com/library/the-journal-of-computer/jcgd-volume-4/my-definition-of-game.html

This has led to endless debates about whether Minecraft is a toy or a game. Good times!

3. Bartle's Player Types

Richard Bartle studied massively multiplayer game spaces, and discovered that different players enjoyed the games for different reasons. This model has been used and misused by gamification experts and game designers alike. Both the axis and the types are contextual to the game. To translate it to other contexts, it's critical to consider how those contexts are different. For example, Amy Jo Kim does an excellent job recontextualizing it to social games in the Social Action Matrix.

The original HEARTS, CLUBS, DIAMONDS, SPADES: PLAYERS WHO SUIT MUDS should be read before the many, many, many dance remixes.

4. Core Loops

This approach came into prominence with the rise to Free to Play games. F2P relies on getting players to return to the game again and again; deepening in the commitment in order to convert the engagement into revenue. The core loop is designed to keep people playing. It has obvious applications in other contexts such as websites and mobile apps (which have notorious low second-time open rates.)

My favorite article about Loops (and arcs, which is the other common game structure) is from Daniel Cook's Lost Garden.

5. Flow

I wrote an article on Flow, Mastery and Ease of Use, so I'll just point you at that. If it's too long, there is always Wikipedia.

tl;dr for fun to happen things can't be too hard or too easy.

6. The Player's Journey

This idea suggests that over time, players wish to assume different roles and partake in different activities.

Amy Jo Kim first talked about it in her book, Community Building on the Web and continues to blog about its power.

7. Formal Elements of Game Design

From Tracy Fullerton's Game Design Workshop. (and there is SO MUCH in this book you should go buy it now.)

The formal elements have proven over and over to be a useful game design and analysis tool. The elements are to game designer what anatomy is to doctors.

Of particular usefulness are Players and Outcomes.

7a. Player Configurations.
Think beyond the obvious.

7b. Outcomes.
An aspect of the formal elements that ends up neatly defining game genres.

8. MDA

The MDA framework was documented in the paper MDA: A Formal Approach to Game Design and Game Research. MDA stands for Mechanics, Dynamics and Aesthetics. It postulates that when you combine game Mechanics (rules and other game atoms), that interaction creates Dynamics (arguably, a "game") which results in Aesthetics (experience). Designers consider Mechanics and how they create dynamics, but the player experiences and thus owns the Aesthetic. The emergent nature of this theory is often overlooked/misunderstood.

My BIG takeaway from this theory is that games are essentially unknowable until they are played. And that playtesting is vital to know what the heck you just made and if it is actually "fun."

The theory also brings with it a taxonomy of kinds of fun. Man, game designers LOVE taxonomies.

Sensation
Game as sense-pleasure (For example, skiing or driving the 92 way too fast. Any ios game that leverages the accelerometer. Arguably Monument Valley.)

Fantasy
Game as make-believe (I am a hobbit! or a fashion designer!)

Narrative
Game as unfolding story (What will happen next???)

Challenge
Game as obstacle course (This game is so hard - said while grinning maniacally)

Fellowship
Game as social framework (playing with others. Apples to Apples, and most board games.)

Discovery
Game as uncharted territory (What is over that mountain? Bastion.)

Expression
Game as soap box (Making stuff- Minecraft, Farmville.)

Submission
Game as mindless pastime (or Abnegation. Games that let you tune out. Solitaire. Candy Crush.)

9. 4 Kinds of Fun

Nicole Lazarro's model brought "fiero" into common parlance. It's a useful model to remind us that there is more than one way to have a good time.

Lazarro describers four subsets of fun:
1. Hard Fun: Fiero - in the moment personal triumph over adversity
2. Easy Fun: Curiosity
3. Serious Fun: Relaxation and excitement
4. People Fun: Amusement

10. Fun as Learning

Raph Koster first introduced this idea at The Austin Games Conference in 2003.

Which because his bestselling book

Which became a second edition, and he revisited it 10 years later.
http://www.gamasutra.com/view/news/179928/Video_Raph_Koster_revisits_his_Theory_of_Fun_10_years_later.php

Here is the big idea:

But there is so much more... http://www.raphkoster.com/games/presentations/a-theory-of-fun-10-years-later/

11. Stages of Play

"...a framework for play devised by Scott Eberle, an intellectual historian of play and vice president for interpretation at the Strong National Museum of Play in Rochester, New York. Eberle feels that most people go through a six-step process as they play. While neither he nor I believe that every player goes through exactly these steps in this order, I think it's useful to think of play in this way. Eberle says that play involves: Anticipation, waiting with expectation, wondering what will happen, curiosity, a little anxiety, perhaps because there is a slight uncertainty or risk involved (can we hit the baseball and get safely on base?), although the risk cannot be so great that it overwhelms the fun. This leads to . . . Surprise, the unexpected, a discovery, a new sensation or idea, or shifting perspective. This produces . . . Pleasure, a good feeling, like the pleasure we feel at the unexpected twist in the punch line of a good joke. Next we have . . . Understanding, the acquisition of new knowledge, a synthesizing of distinct and separate concepts, an incorporation of ideas that were previously foreign, leading to . . . Strength, the mastery that comes from constructive experience and understanding, the empowerment of coming through a scary experience unscathed, of knowing more about how the world works. Ultimately, this results in . . . Poise, grace, contentment, composure, and a sense of balance in life. Eberle diagrams this as a wheel. Once we reach poise, we are ready to go to a new source of anticipation, starting the ride all over again."
― Stuart Brown, Play: How It Shapes the Brain, Opens the Imagination, and Invigorates the Soul

12. Sophia

Eberle's framework resembles Erin Hoffman-John's recent insightful model of fun as a learning process (building out from a variety of folks from Piaget to Koster) that transforms fear into happiness.

Watch the entire talk (probably multiple times! It's fast and dense.)

I'll admit sophia's not as widespread yet as MDA or fiero, but is appears poised to be. And it's fun to end the list with something new...

Enjoy!

Now you are ready to drop all the cool jargon at GDC. Or at least understand the references in the talks.
Postscript:
I just realized - a full 24 hours after writing this - that despite the game industry's notable poor representation of women, at least half of these BIG IDEAs have a woman author or coauthor. Katie Salens, Robin Hunicke, Amy Jo Kim, Tracy Fullerton, Nicole Lazarro and Erin Hoffman-John. Perhaps that's one more reason for women to be in game design. Game Design needs them.

Must watch: http://www.gdcvault.com/play/1018080/
Post-postscript: Found another
The Four Freedoms of Play
1. Freedom to Experiment
The player's motivations are entirely intrinsic and personal. The process is open-ended.
2. Freedom to Fail
Losing is part of the process.
3. Freedom to Try on Different Identities
Players aren't necessarily limited by their bodies or surrounding physical context.
4. Freedom of Effort
As described in Peter and Iona Opie's classic ethnography of playground culture, children may scramble around in a game of tag, avoiding being caught for twenty minutes, and then suddenly stop and allow themselves to be tagged once they have reached a certain degree of effort or perhaps want to move on to another activity.

Scot Osterweil (MIT Comparative Media Studies, Education Arcade Project)

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12 BIG IDEAS from Game Design You Should Know - Serious Games: 377G - Medium

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The massive and mind blowing Game Developer's Conference is almost here, and in the spirit of all things gamey and delicious (like lamb and portobellos) let me tell you about a few super awesome concepts from the world of game design. This is MY list. If you don't like it, make your own!

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As stated by MJ Delaney, director of the viral Remake of Spice Girls worldwide popular "Wannabe", she wanted to approach and keep the spirit of the original video, so Spice Girls fans would be able to recognise it, without it being an exact remake.

“I wanted it to be a bit more aggressive and demanding, and a bit less cutesy,” MJ says. “I wanted to feel the power of these women, and their performance to be one of, we’ve had enough and this is what we want now.”

Her reenactment was very fun to watch it unfold throughout the video, however also transmitted its strong yet very powerful message.

The video is a clear evidence of how the remake has a meaning behind.

Whole point of the remake was to create a sort of nostalgic and a friendly approach to the viewer so they would get the message in a better way.

Source:
https://www.itsnicethat.com/news/spice-girls-wannabe-remake-global-goals-060716

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Spice Girls : Un remake de "Wannabe" pour les droits des femmes

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Modern Photos, Taken the Old-Fashioned Ways

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Modern Photos, Taken the Old-Fashioned Ways

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There's no evidence of secrecy when thinking about modern photography, for the majority of us, it directly draws a line to Instagram, among many others instant social media gatherings.

The meaning of a photograph has changed. But humans haven't.

I refuse to believe that this so called magic, that we can revive when reading about past experiences regarding the discovery and use of cameras, films, then even the magic of revealing the picture itself, it all led to this craving of registering, being this the way it happens, or happened.

Fo us fella artists it is extremely important to consider and revisit our own past, and thus, mankind history, being an important reminder of our own individual capacity, and how we are as much capable of creating wonderful things, as so our ancestors did.

However it is true that an image nowadays could inherit many identities, even disconnecting itself from its own image, being only a source of quick message, to a blurred image.

It is also true how much we can discover by only playing and adventuring ourselves into discovering past materials and equipment, and how the past can turn into a precious learning for the future.

Source:
http://www.bu.edu/today/2013/modern-photos-taken-the-old-fashioned-ways/

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Modern Photos, Taken the Old-Fashioned Way(s)

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On the start of this journalistic interview, artist Marc Camille Chaimowicz diligently asked: "Who would want to revisit all of their earlier work?".

Sparkling an interesting matter, she did highlight one of the most polemical subjects that we could possibly put our hands on: our past.

At some point, we're all somewhat afraid of our past actions, wonderings, even meetings, etc.

As someone who is starting this path that is to build up a career, theres nothing pretty much appalling or even so consistent at this point at my so called "career", but I bet when we are standing at a situation that seems so far away from where we hypothetically are, there should exist a solid intimacy and yet coldness when revisiting and analysing our past work, as these could very possible be ready to throw some salt at a wound that you hasn't even noticed that was opened, or even further, to revive all the feelings you were up to at the time.

As much I believe this could possibly be a very harsh and exhausting activity, it doesn't at all removes their huge important role when thinking about rethinking our past, being thus not only in our work, on our whole life.

Remaking an artwork creates a new meaning for your piece, whether it is about time placement or just contextual elements that are assembled now. There has to be a filter for a remake, and that is what this text is about.

Source:
https://mapmagazine.co.uk/report-the-artist-remake

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"History repeats itself, first as tragedy, second as farce. "

— Karl Marx, 1852

Analysing his polemic phrase, I can do nothing but agree with him.

"How come?" you may ask.

First it's a tragedy because it shouldn't have happened.

Then it's a farce (joke) because we didn't learn from our mistakes the first time around.

The definition of a tragedy is somewhere along the lines of a terrible, unexpected, and unpreventable occurrence.

If something has happened before, then we should be able to learn from the experience and prevent it from happening again.

This is Marx's version of dark humor, which seems to be always timelessly brilliant.

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accomplish

achieve

act

close

complete

conclude

create

determine

end

execute

finish

make

move

operate

perform

prepare

produce

succeed

undertake

work

arrange

cause

cook

discharge

effect

fix

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mutate

transmute

age

alter

change

develop

diverge

mature

remake

remodel

reshape

ripen

transfigure

translate

transmogrify

transubstantiate

# data[].attributes.body
loosen

unlock

unravel

disentangle

free

loose

release

unblock

unfasten

unloosen

untie

unwrap

unclose

unfix

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Substitute:
Replace with another

What can I replace?

What other process can I use instead?

What happens when I replace a part of the project with something different?

What if I change what the project communicates?

Can I use a simpler/more complex process/color/typeface/ technic/material?

Combine:
Merging more than one element

Can I merge two different processes/materials?

Can I combine two or more ideas to solve a problem?

Can I mix two or more things?

Can I combine anything at all?

Adapt

What / how can I change color size weight etc?

How can I improve an existing process?

How can I adjust the existing work by slight modification?

How can I enhance the existing work by using a more complex process/different material?

Modify:
Minify or Magnify

How will the audience engage with the work if it much smaller?

How would I change the size aspect of the work to address a different audience/ context?

Put another use:
Find another purpose

What if I had a different audience?

Are there ways of communicationg different message?

Are there other practical uses for the work?

Can I use the work in a different context?

Eliminate or Elaborate:
Take away completely or Amplify

What would happen if I removed or added something?

Can I achieve a similar outcome without a specific element?

Do I need specific element at all?

Can I simplify or take away completely?

What would we do if I had to work with half the number of elements?

What if I multiply some of the elements?

Reverse:
Go backwards, back to front, upside down, inside out, opposite, invert

What Would happen if I look at things in mirror image?

Can I rearrange the current elements in the opposite way?

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Presentations of Design, Illustration and Moving Image BA’s by Jay and Kevin

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Presentations of Design, Illustration and Moving Image BA’s by Jay and Kevin

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Although the presentations we experienced this afternoon were very helpful, I was kinda expecting that it would somehow help us on creating at least an idea about our expectations and ideals of what we want to achieve in the future, it certainly created even more doubts about the path I may follow.

Since I know myself, I was 100% sure that I wanted to follow the Illustration trail, but now I am familiarises with Kevins classes, I am not sure anymore.

I've chosen the Communication pathway but I really don't know what's gonna happen to me and which decisions to make.

According to my work, communication is the best way to start.

On my creations I enjoy embracing such questions as subtle protests for the daring eye, among other themes and non-themes subjects.

Art as a form of activism is something very appealing to me.

I also enjoy speaking trough photographs and I think I've got a different eye to everything, my own way of viewing things.

I've been improving my drawing techniques and since then I've been loving to draw and illustrate.

But still, I feel like I've got a place in my heart that wants to work with photography and art direction, maybe I can find a way out to practice both.

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Be careful, read the information about your BA of choice

Be proud of your work so it becomes better for you to explain your work

It must be something professional and authentic, that represents what you want and who you are

Research and Writting is a MUST

Cultural diversity

Relevant work

Strong ending, strong beginning

Clear Imagery

Include workbooks

Variety of techniques

Show was ugly because error is a way of learning.

What I’ve learned from the video:

Variety of techniques

Cultural imagery

Show even what’s not “pretty”

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Italian movies from the early 70’s

Lots of drama and colors, dramatic takes

Light use

Think about theatrical lights in my projects. Don’t think about what you are doing to much , just gader references and start working

Geography Process  (program)

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Parque Ibirapuera, 26/10

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I really enjoyed his exposition, as for me his exhibit was the most expected one, Ai WeiWei shows that his work is not for everyone.

You get struck by all of the huge artworks and impressive outcomes that he creates.

There is always something behind it, as a form of protest and meaning and context to it - it is not art for art.

He is an activist, and this exhibition shows that this commissioned work is his reflection.

Huge tree forms that you wonder how did he get that inside the building; porcelain seeds that weigh 4 tons; a full body sculpture of himself.

There is a lot to look at, analyse, and think of the relations he made with the material itself and the context of the creation itself, including videos illustrating the process.

All images bellow were created by me during it’s exposition.

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I really enjoyed this huge artwork, from the details (everything was created by using huge amouths of toothpicks and paper from kites) as from the whole itslef, as it possess a remarkable silhouette.

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I am very fan towards Thompson’s work, especially his 672 pages multiple-prize-winning novel, Habibi.

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His game was to create something to interact with, so he wouldn't be as lonely as he were.
He ended up creating this machine, that also had the ability to draw.

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Research about colour palette.

Yellow: Fire
(or red)

Green: Earth

Turmalina: Air
(alternative: yellow or purple)

Blue: Water

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The Woman of the Apocalypse or Woman clothed in the Sun, is a figure described in Chapter 12 of the Book of Revelation (written c. AD 95).

The woman gives birth to a male child who is threatened by a dragon, identified as the Deviland Satan, who intends to devour the child as soon as he is born.

When the child is taken to heaven, the woman flees into the wilderness leading to a "War in Heaven" in which the angels cast out the dragon.

The dragon attacks the woman, who is given wings to escape, and then attacks her again with a flood of water from his mouth, which is subsequently swallowed by the earth.

Frustrated, the dragon initiates war on "the remnant of her seed", identified as the righteous followers of Christ.

The Woman of the Apocalypse is widely identified as the Virgin Mary.

This interpretation is held by the ancient Church as well as in the medieval and modern Roman Catholic Church.

This view does not negate the alternative interpretation of the Woman representing the Church, as in modern Catholic dogma, Mary is herself considered both the Mother of God and the Mother of the Church.

Some Catholic commentaries, such as Thomas Haydock's Catholic Bible Commentary (1859), allow for the interpretation of the woman as either the Church or Mary.

The commentary of the New American Bible (the official Roman Catholic Bible for America) states that "The woman adorned with the sun, the moon, and the stars (images taken from Genesis 37:9–10) symbolizes God’s people in the Old and the New Testament.

The Israel of old gave birth to the Messiah (Rev 12:5) and then became the new Israel, the church, which suffers persecution by the dragon (Rev 12:6, 13–17); cf. Is 50:1; 66:7; Jer 50:12."[2]

In Reformed theology and traditions which are averse to Marian veneration, the interpretation of the Woman represents the church

"a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars" (12:1). The woman is pregnant and about to give birth, "travailing in birth, and pained to be delivered" (12:2).

Then there is "a great red dragon, having seven heads and ten horns, and seven crowns upon his heads" (12:3) who is about to "devour her child as soon as it was born" (12:4). But her child is "caught up unto God" (12:5), and the woman herself is "fled into the wilderness, where she hath a place prepared of God, that they should feed her there a thousand two hundred and threescore days." (12:6)

Then there is a description of "War in Heaven" of the angels against the dragon, and "the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him." (12:9)

The woman is again mentioned in 12:13, as she is persecuted by the dragon, and "two wings of a great eagle" are given to her to escape (12:14). The dragon attacks her by "water as a flood" emerging from his mouth (12:15), but the flood is swallowed up by the earth (12:16), so the dragon went "to make war with the remnant of her seed, which keep the commandments of God, and have the testimony of Jesus Christ" (12:17).

Unknown author, found on the NY Daily News website.

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Woman of the Apocalypse (Hortus
deliciarum)

12 th century (Wikipedia)

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Bukidnon (Mindanao)

A long time ago there was a very big crab which crawled into the sea. And when he went in, he crowded the water out, so that it ran all over the earth and covered all the land.

Now about one moon before this happened, a wise man had told the people that they must build a large raft.

116 They did as he commanded and cut many large trees, until they had enough to make three layers.

These they bound tightly together, and when it was done they fastened the raft with a long rattan cord to a big pole in the earth.

Soon after this the floods came.

White water poured out of the hills, and the sea rose and covered even the highest mountains. The people and animals on the raft were safe, but all the others drowned.

When the waters went down and the raft was again on the ground, it was near their old home, for the rattan cord had held.

But these were the only people left on the whole earth.

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Research about perspective of crab in 3D model.

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Representation of the sea.

Image from Pixabat website.

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Alternative representation of sea.

Image found on Pixabay website.

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Traditional philippine illustration style.

Image found on google search tool.

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Chinese Buddhists have some beliefs about a messianic figure, Prince Moonlight. In this case, however, some historical texts believed he will be reincarnated as a woman. This belief was used to support the claim during the Tang dynasty that the Empress Wu Zetian (624-710) was this figure, as a way to legimitise her rule. It was a way to justify her taking over as a female ruler in a patriarchal system (much like the Egyptian Hapshepsut, who declared herself Pharoah instead of her stepson).

Chinese Buddhist eschatology is cyclical and bears some similarities to Ancient Greek and biblical stories. East Asian Buddhists believe that Dharma (universal law) will gradually decline and disappear. People’s lifespans will range from immense (80 thousand years) to minimal (10 years), depending on their virtue, which will be determined by where the world is in the cycle. At the shortest point, humans will live only a “sword-interval” and murder each other indiscriminately. A few will hide in the wilderness until the slaughter ends, then reemerge to populate the world in a more virtuous way.

The favorite concubine of the Chinese emperor has just given birth to a baby girl. Instead of seeing her child, she sees an opportunity.

Hoping to dethrone the current Empress Wang and take her place, Wu Zetian takes her baby into her arms for the last time and strangles the infant. She proceeds to blame the death on Wang, which isn’t hard to do since the emperor believes everything Wu — described by critics as “hated by gods and men alike” — says.

Wang then languishes in a solitary jail cell deep within the palace, leaving Wu to claim her place as empress. And when Wu’s new husband thinks he might forgive his former wife? Now-empress Wu doesn’t hesitate to have her brutally murdered. Wu Zetian, perhaps one of history’s worst moms, goes on to do the unthinkable: She becomes China’s sole female ruler.

Empress Wu (Wu Zetian), from 18 th century - Unkwnon Author.

Image taken from An 18th century album of portraits of 86 emperors of China, with Chinese historical notes.

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Wu Zetian in her throne.

Found on Wikipedia.

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The sun goddess goes into hiding.

She has been offended by her brother the storm god, an unruly, malicious spirit who damages his sister’s rice fields and fouls the hall where she has been celebrating the festival of first fruits.

Outraged, the sun goddess withdraws into a cave. If that’s the way the world is, she will decline to shine on it. The “eighty myriads of gods” take counsel.

How can they lure her out? They decided to position a mirror and also, one of them, the “Dread Female of Heaven,” Marsha-Ten, lights a fire and dances a lewd dance, at which there is such hearty divine laughter that the sun goddess can’t resist a peek outside to see what’s going on.

Seeing her radiance reflected in the mirror that had been set up outside the entrance, she was amazed at her brilliance which she had never seen before.

She returned to the world and life was renewed. The snake, draped on her arm, holds her brother's sword which she broke into 3 pieces that became Goddesses.

She is the central figure in the Shinto pantheon and the Japanese Imperial family claims descent from her. She is the eldest daughter of Izanagi. She was so bright and radiant that her parents sent her up the Celestial Ladder to heaven, where she has ruled ever since.

Below: Amaterasu and her brother, the Storm God Susanoo.

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Ame no Uzume no mikoto, a Shinto divinity (the goddess of dawn and revelry) attempting to lure Amaterasu Omikami, the Shinto sun-goddess, from her cave, by dancing and playing a flute.

Yoshitoshi, 1879 (Japanese Print Gallery)

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The dance.

Image found using Google search tool.

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An image of the Japanese Sun Goddess Amaterasu emerging from a cave.

Shunsai Toshimasa, 1887 (Wikipedia)

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Gashadokuro In Japanese mythology, the Gashadokuro (or Gasha-dokuro) is a spectrum of titanic proportions that manifests itself as a gigantic skeleton that roams the countryside during the darkest nights.

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Japanese Sun goddess Amaterasu emerging from a Cave