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Where you add opportunities you have researched for future study or work.

This will be companies or galleries identified from talks and lectures, notes resulting from BA talks and independent further research into careers and BA programmes.

This research should
also be annotated with your own observations and comments.

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Way before we were presented to this project and thus this “progression opportunities” column, my first thought after finishing watching Rodrigo Araujo’s presentation on the Protest project regarding the “agency” Bijari (when asked what Bijari was about, he explained that this was a rought topic to convey, as they feel very close to this activist, publicitary and agency concepts, they don’t mind not labelling themselves), was that I definitely wanted to work with them, or at least attempting an participate in their routine as perhaps an internship student.

Above, one of their “Silent Protests” project, the Green Car.

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Follow my journey around town and so on some cool discoveries :)

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26/09

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Iriving Penn’s usually creates an imesureable percussion on the spectators upon his creations, but this portrait in particular is very interesting for me, as the story behind this image is very unusual.

When Penn arrived at Picasso’s house in the south of France, the artist pretended not to be home. But after Penn’s assistant climbed over the locked gate, Picasso granted the photographer ten minutes. Covering his sweat-shirt with a Spanish cape, Picasso tried to playfully deflect him. Variants of this image show how Penn patiently worked the pose, allowing the artist his costume play while progressively boring in to isolate the riveting gaze of his left eye.

Now I understand why exposing your work in many manners is very important, as it creates the perfect balance of the aesthetic approach, as for the emotional depth (the story behind).

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This images recalls my attention by it’s “mistakes”, as the proportions are very unique.

The artist didn’t care about reproducing a realistic face, following a human standard - createung then her own.

I also enjoy her expressiom, as it seems a bit off, as she was in the middle of a thinking process.

I’d like to create further work like this, very free and not retraining myself into perfections.

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This artwork retrieves to me a very broad idea of concept.

I am not sure I truly enjoyed the piece itself, but it enlightened me about creating something with mixed materials, as this statue was built.

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There’s no specific approach to this image specially, but I really enjoyed this typeface.

Very organised, clean and simple, it delivers the message - as it should.

I also enjoy this word very much - philanthropie.

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I don’t really understand what is this thing, but I really like these messy geometry and understanding of curves.

I’d like to explore as well other materials like this, such as lines, fabrics, etc, geometric shapes.

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This work called for my attention, as for the amount of pieces involved in this whole, as for the materials itself - very undisguisable, even looking very closely.

I can’t imagine myself working with this type of media, but I enjoy the idea of creating something that is somewhat hazy and creates this kind of confusion and curiosity.

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This installation felt really interesting for me as the objects in essence were very compelling, but what really caught my attention was the way everything was displayed, from the pieces itself to where everything has been set to stay (sand) and chosen colours to illuminate the ambient.

I really want to try someday to work with ambient colours, as on my own work.

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27/09

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Artist and writer Tomi Ungerer created numerous posters protesting the war in Vietnam, each one more brutal and jarring than the next.

In this first example below, the white arm of America is shown shoving the Statue of Liberty down the throat of a Vietnamese citizen.

Ungerer work implies for me a very direct thus simple aesthetic, which for me comes from his minimal use of figures and a mono lettering, simple and bold - perfectly delivering his message.

Images from:
https://www.tomiungerer.com

Poster “Eat,” 1967

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Kiss for Peace, 1960

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White Power, Black Power - 1967

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Choice Not Chance - 1967

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Tommie Smith and John Carlos, gold and bronze medalists in the 200-meter run at the 1968 Olympic Games, engage in a victory stand protest against unfair treatment of blacks in the United States. With heads lowered and black-gloved fists raised in the black power salute, they refuse to recognise the American flag and national anthem.

I feel this protest was very powerful, as it took place in a space that had all people reunited in one place (black and white - but mainly white audience), and also had broadcasting TV,  which they were obligated to record the whole process live.

Racism is not something you can heal quickly in our society, but slowly, with actions (as for example this one) can and are changing the mould of our society.

Never stop, never forget.

Image from:
https://en.wikipedia.org/wiki/1968_Olympics_Black_Power_salute

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On the 20 of June of 2015, local pastors held hands outside the Emanuel Church in Charleston, South Carolina.

Residents of South Carolina, still shaken by the unthinkable murder of nine African Americans, planned protests across the state Saturday, giving voice to their grief, anger and demands for change.

Protesters were to gather in the capital city of Columbia for a rally against the Confederate battle flag, a potent symbol of racism for many there.

All the information, plus the photographs - especially this one, made me get chills by reading and observing the situation. I can't describe how much I am touched..
Racism sucks. A lot. I just wish this was over.

Image from:
https://www.nytimes.com/2015/06/19/us/charleston-church-shooting.html

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Martin Luther King on March to Montgomery

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Martin Luther King on March to Montgomery

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In this first image Dr. Martin Luther King leads an estimated 10,00 or more civil rights marchers out on the last leg of their Selma to Montgomery march on 1965, protest well know as "The Bloody Sunday". - it's reasons to have this event named like this pretty obvious.

They were protesting to aim their Black Voting Rights, a very brave historic achievement of the black movement of the 1960's.

I can't stop thinking on how this whole thing is absurd. I mean, voting rights?
The most absurd is that 1965 isn't this far away, at all. I mean, 53 years! Wow.
Is crazy to think we're not that far. I'm so glad they've achieved what they were aiming!
I wonder how much progress were going to achieve in these next few years.

Images from:

https://en.wikipedia.org/wiki/Selma_to_Montgomery_marches

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1. Visual Reference (source and information about image)

2. Context (explain what the image is about)

3. What caught your attention

4. How you connect source to you

Source: Carlos

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György Kepes was a painter, photographer, designer, educator and art theorist from Hungary.

After emigrating from the USA in the 1930;s, he taught in the New Bauhaus movement in Chicago.

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When I think of Mr. Gyorgy Kepes's work, my first thought is that my aesthetic senses are being very satisfied, which, when I try to combine elements to understand the reasons for this contentment, I get caught up thinking about the reasons for it.

Before I proceed, I'll explain how Kepes stepped in my life.

In my art references, the Bauhaus movement is positioned in a very important step in my art understanding, thus speaking very loud.

So when researching on this act, I came across his name, which soon stood out from many other references - of which I appreciate a lot too, but Kepes maintains its stand as primordial in my taste, because he also acts as a strong determination in my formations when I ponder about my aesthetic concepts - even because the admiration I have for the Bauhaus movement is more about its impact and pioneering in the history of art than in its aesthetics outcomes. I don't think this movement fits into the classic "beautiful", or even "pleasant" (which in my eyes, it is not at all and thing, but if follow my own taste I’ll have to say that the Bauhaus furniture really gets under my skin, it’s beauty is certainly
undeniable and also genius at it’s peak.

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Changes are not necessarily a synonym for pleasant - as sooner we realise this, sooner we start life letting ourself be moulded in our true self - thus becoming (we hope) our own references.

Note: As discovered during the "Moveable Type" project, I found out that Gyorgy Kepes at some point had acted as teacher at the the Art Students League college, and among his students was the graphic designer and future movie-title innovator Saul Bass.. The evocative title sequences Bass designed for Alfred Hitchcock’s “Vertigo” and Stanley Kubrick’s “Spartacus”, (among many other pieces of art) were experienced by millions of moviegoers, I believe being the great reflection on Kepes’s radical influence.

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So returning to Mr. Kepes, I greatly appreciate his work, being this closeness that I feel with his art very intrinsic in my general taste - as stated above, I believe it descends from the Bauhaus movement, although its art form diverge and escape much of the way Bauhaus (somewhat square and "straight"), and even connecting with another artist that I appreciate very much, Laszlo Moholy Nagy - especially in his work and exploration of photography and the effect of the negative on it, which I also believe to be because both used to be great friends, and consequently experimented a lot together.

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For my collection I've chosen to work with origami paper, being the main folding chosen object the tsuru, the paper folded representation crane.

The Japanese word, "origami" is a combination of two words in Japanese: "ori" which means "to fold" and "kami" which means "paper".

Originally origami has a long history and was primitively not for children at all, as it is believed that Japanese origami began in the 6th century, and because of the high costs of paper, origami was only used for religious ceremonial purposes.

The earliest records of origami in Japan date to the Heian Period (794-1185).

It was during this period that Japan's nobility had its golden age and it was a time of great artistic and cultural advances.

Paper was still a rare enough comodity that origami was a pastime for the elite, as paper was folded into set shapes for ceremonial occasions such as weddings.

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Serrated strips of white paper were used to mark sacred objects, a custom which can still be seen in every shrine to this day.

But then, as it fell in the popular taste, people started to develop cheaper paper and consequently in became a strong and fortified tradition on the Japanese culture. I can hardly think of a western person who didn't, as a child, make a paper airplane using folded newspaper or a sheet from a notebook.

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The more adventurous might have made a hat or, if they were lucky, might have been introduced to the almost limitless possibilities that origami and a creative mind can conjour up.

These days, while some people consider it a real art form that is very Zen-like in its simplicity and depth, origami is regarded mainly as an activity for children, who are taught just a few standard designs.

Even in Japan, the most complicated design that most people master is the tsum, which has developed into a worldwide symbol of children's desire for peace.

In the mid-1950s, 11-year old Sasaki Sadako developed leukemia as a result of her exposure to radiation as a baby during the atomic bombing of Hiroshima in 1945.

Tradition held that if you made a senbazuru (a thousand paper cranes - Tsuru) and made a wish after completing each one, your wish would come true.

Sadako set about making the tsuru, wishing for her own recovery.
As she continued, she began to wish instead for world peace.

One version of the story says that she died when she had made only 644 and her school friends completed the full number and dedicated them to her at her funeral, but, perhaps a more reliable version, says she completed the 1,000 and went on the fold several hundred more before passing away to the cancer at the age of 12.

Regardless of the details, the story helped inspire the Children's Peace Memorial in Hiroshima and a statue of Sadako in Seattle.

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Each year on Peace Day (August 6th), tens of thousands oforigami tsuru are sent to Hiroshima by chidren all over the world.

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History of Photographic and Cinematic Devices

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History of Photographic and Cinematic Devices

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Origami is one such facet that lends itself to the visual medium. Designs can be explained in line diagrams or photos, as we can observe below, and, with practice, can be mastered by anyone.

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Camera obscura (plural camera obscura or camera obscuras; from Latin, meaning "dark room": camera "(vaulted) chamber or room," and obscura "darkened, dark"), also referred to as pinhole image, is the natural optical phenomenon that occurs when an image of a scene at the other side of a screen (or for instance a wall) is projected through a small hole in that screen as a reversed and inverted image (left to right and upside down) on a surface opposite to the opening. The surroundings of the projected image have to be relatively dark for the image to be clear, so many historical camera obscura experiments were performed in dark rooms.

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The Daguerreotype process, or daguerreotypy, was the first publicly available photographic process, and for nearly twenty years it was the one most commonly used.

Invented by Louis-Jacques-Mandé Daguerre and introduced worldwide in 1839.

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Photographic plates preceded photographic film as a capture medium in photography. The light-sensitive emulsion of silver saltswas coated on a glass plate, typically thinner than common window glass, instead of a clear plastic film.

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Dry plate, also known as gelatin process, is an improved type of photographic plate. It was invented by Dr. Richard L. Maddoxin 1871, and by 1879 it was so well introduced that the first dry plate factory had been established. With much of the complex chemistry work centralized into a factory, the new process simplified the work of photographers, allowing them to expand their business.

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The Eastman Kodak Company (referred to simply as Kodak) is an American technology company that produces imaging products with its historic basis on photography. The company is headquartered in Rochester, New York, and is incorporated in New Jersey. Kodak provides packaging, functional printing, graphic communications and professional services for businesses around the world. Its main business segments are Print Systems, Enterprise Inkjet Systems, Micro 3D Printing and Packaging, Software and Solutions, and Consumer and Film. It is best known for photographic film products.

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The Model 95 is the first of Edwin Land's instant picture cameras. Starting in 1948 the Polaroid Corporation in Rochester made at least 1.5 million of the Model 95 folding viewfinder camera for his instant roll film, including the variants, Model 95A (1954) and 95B (1957).[1]The first of these is recognizable having a spring sighting pin as part of the viewfinder, while the later model 95A and 95B have a wire frame. The 95B also uses EV numbers for the exposure scale. The model name is written on the face plate of the camera.

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A single-lens reflex camera (SLR) is a camera that typically uses a mirror and prism system (hence "reflex" from the mirror's reflection) that permits the photographer to view through the lens and see exactly what will be captured.

With twin lens reflex and rangefinder cameras, the viewed image could be significantly different from the final image. When the shutter button is pressed on a mechanical SLR, the mirror flips out of the light path, allowing light to pass through to the light receptor and the image to be captured.

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A smart camera is a self-contained, standalone vision system with built-in image sensor in the housing of an industrial video camera. It contains all necessary communication interfaces, e.g. Ethernet, as well as industry-proof 24V I/O lines for connection to a PLC, actuators, relays or pneumatic valves. It is not necessarily larger than an industrial or surveillance camera.

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A digital single-lens reflex camera is a digital camera that combines the optics and the mechanisms of a single-lens reflex camera with a digital imaging sensor.

The reflex design scheme is the primary difference between a DSLR and other digital cameras.

In the reflex design, light travels through the lens, then to a mirror that alternates to send the image to either the viewfinder or the image sensor.

The traditional alternative would be to have a viewfinder with its own lens, hence the term "single lens" for this design.

By using only one lens, the viewfinder of a DSLR presents an image that will not differ substantially from what is captured by the camera's sensor.

A DSLR differs from non-reflex single-lens digital cameras in that the viewfinder presents a direct optical view through the lens, rather than being captured by the camera's image sensor and displayed by a digital screen.

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The magic lantern, also known by its Latin name lanterna magica, is an early type of image projector employing pictures painted, printed or produced photographically on transparent plates (usually made of glass), one or more lenses, and a light source. It was mostly developed in the 17th century and commonly used for entertainment purposes. It was increasingly applied to educational purposes during the 19th century. Since the late 19th century smaller versions were also mass-produced as a toy for children. The magic lantern was in wide use from the 18th century until the mid-20th century, when it was superseded by a compact version that could hold many 35 mm photographic slides: the slide projector.

The magic lantern used a concave mirror in back of a light source to direct as much of the light as possible through a small rectangular sheet of glass—a "lantern slide"—on which was the image to be projected, and onward into a lens at the front of the apparatus. The lens was adjusted to optimally focus the plane of the slide at the distance of the projection screen, which could be simply a white wall, and it therefore formed an enlarged image of the slide on the screen.[1] Some lanterns, including those of Christiaan Huygens and Jan van Musschenbroek, used 3 lenses.

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The zoetrope consists of a cylinder with cuts vertically in the sides. On the inner surface of the cylinder is a band with images from a set of sequenced pictures. As the cylinder spins, the user looks through the slits at the pictures across. The scanning of the slits keeps the pictures from simply blurring together, and the user sees a rapid succession of images, producing the illusion of motion. From the late 19th century, devices working on similar principles have been developed, named analogously as linear zoetropes and 3D zoetropes, with traditional zoetropes referred to as "cylindrical zoetropes" if distinction is needed.

The zoetrope works on the same principle as its predecessor, the phenakistoscope, but is more convenient and allows the animation to be viewed by several people at the same time. Instead of being radially arrayed on a disc, the sequence of pictures depicting phases of motion is on a paper strip. For viewing, this is placed against the inner surface of the lower part of an open-topped metal drum, the upper part of which is provided with a vertical viewing slit across from each picture. The drum, on a spindle base, is spun. The faster the drum is spun, the smoother the animation appears.

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The zoetrope consists of a cylinder with cuts vertically in the sides. On the inner surface of the cylinder is a band with images from a set of sequenced pictures.

As the cylinder spins, the user looks through the slits at the pictures across. The scanning of the slits keeps the pictures from simply blurring together, and the user sees a rapid succession of images, producing the illusion of motion.

The zoetrope works on the same principle as its predecessor, the phenakistoscope, but is more convenient and allows the animation to be viewed by several people at the same time.

Instead of being radially arrayed on a disc, the sequence of pictures depicting phases of motion is on a paper strip. For viewing, this is placed against the inner surface of the lower part of an open-topped metal drum, the upper part of which is provided with a vertical viewing slit across from each picture.

The drum, on a spindle base, is spun. The faster the drum is spun, the smoother the animation appears.

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The Praxinoscope was invented in 1877 by Charles Reynaud who was the first  to overcome the picture distortion caused by viewing through moving slots, it quickly replaced the zoetrope’s popularity.

Praxinoscope has mirrors in the middle with frames at the side that’s been placed inside a shallow outer cylinder, to see the movement of the animation you have to spin it and look at the mirrors. The number of mirrors are actually equal to the number of pictures so the images of pictures are viewed in the mirrors.

The reflected pictures gives an illusion of moving pictures, when the outer cylinder rotates, this is how the mirror is placed.

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Saul Bass: The Man Who Changed Graphic Design

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Saul Bass: The Man Who Changed Graphic Design

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Saul Bass might be the single most accomplished graphic designer in history. Working in the mid 20th century, when the importance of graphic design was just on the upswing, Bass branded a staggering array of major corporations with his iconic, minimal designs.

Bell, Kleenex, AT&T? All Bass. For about 50 years, if you were looking for a clean, thoughtful design that was made to last, this was the man you called.

Below: Bass’ designs for Bell (1969), Kleenex (1980s) and AT&T (1986)

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Logo design is not all Bass is known for. In fact, logos form the lesser part of Bass’ artistic legacy. Read on for a look at one of the most illustrious graphic design careers to date.

Getting his start

Bass was born in 1920 in New York City, to Jewish immigrants. A creative child, he drew constantly. For college, he attended night classes at the Art Students League.

Graphic design in film

In the 1940s, Bass left New York for California. He worked mostly for advertising until his first major break: a poster for the 1954 film, Carmen Jones. The filmmakers were so impressed by his poster work, they invited him to design the title credits as well. This turned out to be a game changing decision.

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Bass stepped up the sophistication of movie posters with his distinctive minimal style and he completely revolutionized the role of title credits in films. Traditionally, credits were static and drab. They were considered so unimportant, they would actually be projected onto the closed curtains which would only open for the first official scene of the movie.

Bass, however, was committed to injecting life into these graphics, making them as much a part of the cinematic experience as anything else. Introducing his signature “kinetic type,” Bass’ letters dashed and moved across the screen and frequently incorporated images other than text.

Titles became a spectacle to be seen. Film reels with Bass credits were delivered to movie theaters along with a note: “projectionist – pull curtain before titles.”

Below: Bass’ famed title credits for North By Northwest (1959)

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North by Northwest is a comic thriller by Alfred Hitchcock produced at MGM in 1959. The central theme is that of theater and play-acting, wherein everyone is playing a part, no one is who they seem, and identity is in flux. http://hellosiesta.blogspot.com/

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Bass went on to create dozens of iconic film posters and title credits. His final projects before his death in 1996 were credits for four Martin Scorsese films: Goodfellas (1990), Cape Fear (1991), The Age of Innocence (1993) and Casino(1995).

Below: Bass’ title credits for Goodfellas (1990)

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Logos made to last

The average lifespan of a Saul Bass logo is a whopping 34 years. Some of his work have yet to be replaced, like the absolutely brilliant designs for Kosé Cosmetics (1959), Kibun (1964), Warner Communications (1972), Girl Scouts (1978, with a slight modification made in 2010) and Geffen Records (1980). With designs as solid, thoughtful and timeless as these, they might never have to be.

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(from left) Bass’ designs for Kosé Cosmetics (1959), Kibun (1964) and Warner Communications (1972)

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Saul Bass’ original 1978 Girl Scouts logo (left) and the 2010 variation (right), redesigned by OCD Agency.

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Bass’ logo for Geffen Records (1980)

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Logo designer William Haig recalls working with Bass on the Continental Airlines logo — the first of what Haig calls “credibility based logo design”:

I came back with 1500 slides. Saul and I were in a late night meeting discussing what the Continental look meant and what inference we could make for a new Continental logo design as the beginning of a new image program. I remember Saul saying something like, “If this were Western Airlines, we would just make a ‘western’ looking logo complete with an ‘out west look’ reminiscent of cowboy gear.” But this was Continental, an airline known at the time for its high service image.

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Saul Bass’ famed “jetstream” logo for Continental Airlines (1968)

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This particular logo was ultimately replaced in 1991 but, as with all of Bass’ creations, the distinctive look of the original will live on in graphic design history.

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A serif is a graphic design component of text characters that dates back to early Roman times. It is described as a short line or appendage joined to individual letters in text.

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The term sans serif in IT is used for different types of text fonts and layouts. It refers to letters and characters that lack a developed set of accent lines at the ends of the broader pen strokes that create the character’s shape.

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Two or more letters combined into one character make a ligature. In typography some ligatures represent specific sounds or words such as the AE or æ diphthong ligature.

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The fully closed, rounded part of a letter.

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The upward vertical stem on some lowercase letters, such as h and b, that extends above the x-height is the ascender.

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Kerning refers to the use of white space in text, where letters may be able to overlap each other, both to save space and to look more natural on the page.

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The next step, as with any art form, is to find a topic or field that appeals and develop your own style.

In the words of Yoshizawa Akira, the acknowledged grandmaster of origami, the father of modern creative origami:

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The distance between two baselines of lines of type.

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The distance between the baseline of a line of type and tops of the main body of lower case letters

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The cap height is the distance from the baseline to the top of uppercase letters like "H" and "J."

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A pica is a hair less than 1/6 inch, and contains 12 points. Picas are typically used to represent fixed horizontal measurements, most often column width. They are commonly used when designing newspapers, magazines, newsletters, and ads. Picas are designated with the letter p, such as 16p.

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Points are the measurement most commonly used in print to indicate the size of type.

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Em dash: The em dash is perhaps the most versatile punctuation mark. Depending on the context, the em dash can take the place of commas, parentheses, or colons—in each case to slightly different effect.

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"You can fold a simple quadrilateral paper into any shape as you want. I wished to fold the laws of nature, the dignity of life, and the expression of affection into my work...Foldinglife is difficult, because life is a shape or an appearance caught in a moment, and we need to feel the whole of natural life to fold one moment." — Joseph Wu's Origami Page.

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Reminiscing master Yoshizawa words, he applied and dedicated most part of his life into developing such shapes, life, out of his creations, which inspires me into exploring art as it's unfolds upon my sigh.

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As the Tsuru has been very present in this ancient past story mentioned before, he also did in my present life.

A long-time childhood friend from school is currently suffering from cancer, which he recently discovered a few months ago, at the age of 18 - his name is Tobias.

Along with his parents and some friends, we're in the process of making 1000 Tsurus, in hope for creating a healing energy for him.

So, as the tsuru itself is so intrinsically connected with my own history, I felt like I should pay an homenage for him, turning the Tsuru my object for this starting course - as I wish a new life will be starting for him as soon as possible.

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I've chosen to portray the Japanese artist Yayoi Kusama in this project because I believe she embodies exactly what I am looking for to represent my artist choice in this project.

First of all, Mrs. Kusama is known for bearing mental health complications, which was her initial trigger to start producing art.

Also is well acknowledged that Kusama's endeavour works as an alternative for medicine, as she has stated plenty of times.

"Art is the best doctor you'll attend, so don't forget to miss an appointment." -- Kusama, Yayoi - 2008

Her aesthetics, despite being very very beautiful (my weak point is colour heheh), transpasses its beauty and transforming the way we visualize her practices, fulfilling us with deeper understanding and perhaps meaning of what we perceive.

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All images from Kusama’s exhibit In Infinity, 2017

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MoMA’s subtle act of protest against Trump is a quiet but powerful show of resistance

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MoMA’s subtle act of protest against Trump is a quiet but powerful show of resistance

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In 2017 MOMA started a protest against Trump, which actually was very quiet but a powerful show of resistance.

What they did was quietly taken down iconic permanent Western works by artists like Matisse and Picasso, in favor of pieces from those like British-Iraqi painter Zaha Hadid and Sudanese artist Ibrahim el-Salahi — in other words, artists from the countries included under President Trump’s attempts to crack down on immigration.

So if, for instance you walked through the halls of New York City’s Museum of Modern Art, you might not have immediately claimed it as a site of fiery protest.

But thanks to some pointed tweaks to the museum’s most iconic exhibit — the 1880s–1950s collection — that’s exactly what the museum had became.

This was a perfect example of how a museum’s adjustments transformed popular exhibit impossible to ignore the people behind the pieces.

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Images taken from:
https://www.vox.com/culture/2017/2/10/14565440/moma-trump-immigration-ban-artists

“The Peak Project, Hong Kong, China,” Zaha Hadid, 1991 - from Saudí Arabia

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“Untitled” (1963), Marcos Grigorian - from Armenia

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Lucia Moholy, Negative Print -Gelatin Silver Print

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“Hand, ca." Negative Photogram

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Kepes was truly a master in the art of light and movement, paying much attention to abstract and surreal works.

By choosing mundane subjects like scraps of newspaper and engine parts as well as stones, leaves, bread and body parts, Kepes focused attention on the unusual effects produced by manipulating the photographic process to create nuances of light, shadow and translucence.

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What also fascinates me about him is that he had the opportunity to work as an experimental teacher in conjunction with other scientists at MIT, participating then on creation of the series of books "Vision + Value", which he edited in the mid-1960s, being this about portraying how artists, scientists and intellectuals visualized the future.

I am amazed how he, as an artist, managed to connect and work with different people, souls, priorities, visions, all of them different from his own - and not in any way disrupting his way of interacting and acting in his life.

I believe that our lack of surprise today when observing artists interacting at work with mathematicians, physicists, designers, and these taking part in the same debates, can be very well as a result to the present of Kepes, who presented us with the courage to go beyond the fear of gathering knowledge.

And as for myself, when I think of applying his practices and learning something from him, I am very keen towards experimenting further with analog camera, and also negative prospects.

Perhaps somewhat closer I’ll be developing my own photo style, and of course he’ll be always remembered as a great influence.

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Should contain research from the bibliography on the project brief and a broad range of other research that you find yourself.

Images and text references from books, websites, films, visits, technical workshops, exhibitions and any other sources can be included.

Research should be annotated with your own observations and comments.

What caught my attention?

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I really enjoy this image, since the main appeal of this image is based on this illusion created by the distortion of the bottle of wine - as for the own reflection of the photographer on the wine on the bottle, as for the glass itself, juxtaposing the image upon itself.

I’d really love to experiment further with different materials, especially when they create this illusion of distortion and sometimes confusion.

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This whole conjunction of the imagery itself transmits feelings of a simplistic and very warm, somehow. Feels nice.

What I really enjoy and even want to perhaps think about my own work, is this sense of the obvious/not obvious at all.

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For me this image retrieves different sensations than his other work, that is from what I believe is because this piece has very classic geometric elements arranged distinctively (broadly speaking, you can perceive he enjoys putting the subject in a central framework) turning this figure something that is not very often portrayed in his practices.

I find very interesting when the artist is willing to display himself in different positions - he confronts himself in a quiet war, with his opponent being the facet that defines what is supposed to characterise him as an artist: his "style".

Image found on:
http://www.artnet.fr/artistes/gyorgy-kepes/2

Balance, 1980

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In this image, despite his characterising abstract way of portraying his work, the main element in this picture is very clear: the eye.

In other reproductions I find very difficult to identify how the process of creating the image took place - as sometimes its constitution and form doesn't even looks real - but in this case I would risk to say that this was created by displaying the illustration of this eye among many mirrors, which created this very interesting multiple reflection aesthetic.

Image from:
http://www.artnet.fr/artistes/gyorgy-kepes/untitled-VP-OYiAFC3nvP0aK_pm7Rw2

Untitled, 1940

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Today I went to see his exhibition along Penn’s at IMS Paulista, which was
called "Millôr: Obra Gráfica".

Millor was a brazilian cartunist that became famous by appropriating a strong and sharp humor in his comics, represented from newspapers to magazines.

In his works I observed that he used to rely on expedients such as irony and satire to criticize the power and the dominant forces, and when getting acquainted by his further history, being consequently confronted by censorship.

Owner of a style considered singular, was seen as a pioneering figure in the Brazilian cultural panorama.

Remembering that next week we’ll have a Protest Project, Millor used plenty of humor to create his protest voice, which I enjoyed very much.

Very visual, but also keen.
Hits on the right spots.
I wonder, if he were alive, what he would portrait about our current times..

Observing his broad composition of creations, I observe that this kind of intelligence and wit work is something i’d like to keep in mind when develop an artwork.

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Untitled, 05/09/1961

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IstoÉ, 15/08/1990

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Veja, 15/02/1978

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Autor muito Citado

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Veja, 04/04/1973

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Conduta Irrepreensível

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Jornal do Brasil, 24/01/1992