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Japanese painting and printing techniques on wood cuts

References from own photographs took before

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I thought of writing excuses we give to people why we procrastinate on the background and a sticky note with the honest reason

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A different structure for personal texts

The texts are handwritten and structured on a very interesting and ambiguous way

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Typography

Leopoldo (name) collection

Worked in a fabric and embroidery factory

Worked in different agencies as a graphic design (Gad’ Branding, Futurebrand, Interbrand, Gad’ Lippincott, Alexandria/Pharus, Landor)

Cut himself in the finger and fell down on the bathroom on his first day at his first work in an agency

Participated in a Leão campaign

Participated in GRU AIRPORT rebranding of the visual identity

Did you have any pedagogical support on your children’s game you made?
Yes, my tutor didn’t know enough to help me but she knew some people and recommended me a bunch of books to read and also my parents were teachers so they gave me a lot of support too.

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Graphic design & illustration

Graphic Design
Can it be defined?
It can change tomorrow. Definition should be based on the present.
Is it static?
No.
Is it to do with media?
All of them.
Is it to do with media or something else?
With communication with everyone — connections. How information travels to one another.

Illustration
Can it be off the page?
Does it always involve drawing?
No.
Or is it something else?
The artist defines what illustration means in their work.

Labels matter sometimes!

Helps to relate

Pin things down

Organise

Year 1

Introduction to methods

Research tools

Practical techniques and skills

Design education: more space for independent learning and guiding

Design thinking: strategies to develop ideas

Workshops

Analysis: to whom we create and what we create for. In design our audience tells what is right or wrong. How people engage with your work.

Year 2

Consolidation of year 1 skills, techniques and methods

Prototypes: finding ways to articulate ideas

Concept: materialize ideas, fix problems

Type

Animation: storyboards

Graphics: printing processess

Illustration

Experimential

Year 3

Experience of working on live briefs alongside external partners and international students competitions

Develop a professional portfolio

Advanced technical skills: printing, binding, embossing, layouts,

ISTD

D&AD

Chaumont International Poster Design Competition

Final Major Project

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Book binding

Screenprint

Stamps

Photocopy

Vintage stuff collector

Illustrated weekly for Folha de São Paulo with collages for texts

Collage illustrations for cards

Lots of texts and ambiguous playful ones

Sericleta: screenprint in public on a bike

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Love
Digital print zine
Saddle-stitch bound

Love the way the artist illustrated how falling in love is nowadays with the Internet and how she uses literal illustrative forms to represent the situations.

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Hate Mail
I think it was a very clever idea to use postcards as the platform to present the hate mails. They are all things people wanna tell each other but they dont have the urge to do that, obviously because they’re very rude. But the artist managed to illustrate that in a funny sarcastic way.

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People I’ve Never Met & Conversations I’ve Never Had
It’s a book that has really messy but nice looking illustrations of strangers and conversations the ajthor never had before. This is really interesting because it promotes not verbal interaction with other people, only imagining interactions.

Train Drawings
I love how this book is so personal and all of Nick’s works as well. For the “mistakes” of writing being there and corrected but not eliminated from the design almost as if it was on purpose and how the all these illustrations seems like sketches and real.

Nick White’s way of non verbal interaction between him and strangers was a great source for many different ideas that I developed in the 30 Ideas in 30 Minutes task.

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Essay by Ellen Lupton, published in The Education of a Graphic Designe, ed. Steven Heller (New York: Allworth Press, 1998), 159-62.

"Designer as author” < “designer as producer”;

Walter Benjamin (1910s, 20s) said that the authorship for the writer includes the texts and not the physical life of the work such as the platform it will be read, the manufacturing, pictures and illustrations;

"... “production” is linked t the preparation of “artwork” for mechanical reproduction, rather than to the intellectual realm of “design”;

(Mid-80s — desktop revolution) “... “designer” suggests the cerebral workings of the mind and production privileges the activity of the body. Production is rooted in the material world. It values things over ideas, making over imagining, practice over theory.”;

Designers should become masters of the technology and take advantage of the wide range of information they can get and develop by that;

In order for the artist to become a “producer”, they need to bring a broad range of skills such as writing, directing, acting, cinematography, editing, illustrating, photography and so on, then the authorship is shared. Every step for the creative process of a work includes those various skills and is demanded to have great outcomes.

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Stream of consciousness music video for Larz Randa that favours playfulness and variety over refinement.

Screened at:

CutOut Fest [Animation Festival] Querétaro, Mexico; November 2015

The Vision Feast [Music Video Festival] Auckland, New Zealand; December 2015

Clipped [Music Video Festival] - Sydney, Australia; June 2016

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CutOut Fest [Animation Festival] Querétaro, Mexico; November 2015The Vision Feast [Music Video Festival] Auckland, New Zealand; December 2015Clipped [Music Video Festival] - Sydney, Australia; June 2016

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Parallel Teeth
So far my favourite artist from the brief references. I love psychedelic inspired animations especially if they are gifs. And I could see that in some of his animated videos (maybe gifs sequences) in which he incorporates his 2D illustrated animations on the real images as if it was another reality inserted in ours. I checked his Instagram and website and I just loved his style.

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Tyger
I loved how the story was developed along the video. What I think was the most interesting was the scenario, there were times when I couldn’t distinguish whether it was real or a maquete. And I also enjoyed seeing lots of different medias and techniques being used to tell the story, like the tiger that was played by people wearing all black and the 2D animations inserted on the “real life” scenarios.

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Simon’s Cat
This is a really cute short animation. I love the illsutration and how it’s not coloured, I think it gives a sense of newspaper comic stripes and it’s not very long either. Also I like the way he exaggerates the simple attitudes the cat has, like eating (the cat has food all over his face and around him)

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Animator vs. Animation IV
At first I was really interested and I wanted to know what would be next and everytime something happened I was surprised. But then in the middle of it I lost focus and I think it was because of the lenght of this animation. Besides that, it was really fun to watch how the artist combined something from his life and brought life to the situation.

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Freelance animator

Lazy Pillow - Animation
I like the way he uses humor to represent daily life situations in an ironic way which is something I’d like to look forward to use in my work. Also the fact that he do all the characters’ voice over.

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Chinese shadow theatre figures

Shadow play, also known as shadow puppetry, is an ancient form of storytelling and entertainment which uses flat articulated cut-out figures (shadow puppets) which are held between a source of light and a translucent screen or scrim. The cut-out shapes of the puppets sometimes include translucent color or other types of detailing. Various effects can be achieved by moving both the puppets and the light source. A talented puppeteer can make the figures appear to walk, dance, fight, nod and laugh.

Shadow play is popular in various cultures, among both children and adults in many countries around the world. More than 20 countries are known to have shadow show troupes. Shadow play is an old tradition and it has a long history in Southeast Asia, especially in Indonesia, Malaysia, Thailand and Cambodia. It has been an ancient art and a living folk tradition in China, India and Nepal. It is also known in Egypt, Turkey, Greece, Germany, France and the United States.

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From the Society publication "Servants of Light":

A Mahogany and Brass Magic Lantern

A Russian Iron Magic Lnatern

The description and illustration of parts are adapted from Optical Lanterns and Accessories: How to Make and Manage Them, Including Instructions on Making Slides etc. ed. Paul N Hasluck (Cassell & Co., London/Funk and Wagnalls, New York, c.1901).

The Lantern

The optical lantern, probably more popularly known as "the magic lantern", is an appliance by means of which transaprencies are projected by artificial light upon a screen with the projected image having a diameter generally from thirty to eighty times greater than that of the transparency or slide, whilst the area of the image may be from one thousand to six thousand times as great.

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What Is A Magic Lantern : The Magic Lantern Society

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The site contains a History of the Lantern, membership details, society publications, lantern events, ABC of the Lantern, animations, links and lots of lantern images

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Charles-Emile Reynaud (1844 – 1918) was a Frenchman, who developed a technical understanding of visual science as photographer’s apprentice.

In 1877, he developed the praxinoscope – the successor to the zoetrope. It used a strip of pictures placed around the inner surface of a spinning cylinder. The praxinoscope improved on the zoetrope by replacing its narrow viewing slits with an inner circle of mirrors, placed so that the reflections of the pictures appeared more or less stationary in position as the wheel turned. Someone looking in the mirrors would therefore see a rapid succession of images producing the illusion of motion, with a brighter and less distorted picture than the zoetrope offered, as with the zoetrop one would have to peep through the spinning slits.

Praxinoscope

In 1888, Reynaud demonstrated the device he called Theatre Optique to a small audience, by showing his own, hand painted film called ‘Un bon bock (A good beer). Operating the Optique was considered a complex task, which in turn dissuaded potential buyers. In 1982, Reynaud settled on a contract with the Grevin Wax Museum in Paris, which would see him perform daily screenings, produce regular new films and give away the exclusive rights for his new machine. In 1900, he closed his Theatre Optique, and sunk into depression due to the advancement in  technology at the time (Lumiere Brothers). He destroyed his machines, and threw his hand painted shorts into the river Seine, He died in poverty in 1918.

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Charles-Emile Reynaud (1844 - 1918) was a Frenchman, who developed a technical understanding of visual science as photographer's apprentice.

In 1877, he developed the praxinoscope - the successor to the zoetrope. It used a strip of pictures placed around the inner surface of a spinning cylinder. The praxinoscope improved on the zoetrope by replacing its narrow viewing slits with an inner circle of mirrors, placed so that the reflections of the pictures appeared more or less stationary in position as the wheel turned. Someone looking in the mirrors would therefore see a rapid succession of images producing the illusion of motion, with a brighter and less distorted picture than the zoetrope offered, as with the zoetrop one would have to peep through the spinning slits.

In 1888, Reynaud demonstrated the device he called Theatre Optique to a small audience, by showing his own, hand painted film called 'Un bon bock (A good beer). Operating the Optique was considered a complex task, which in turn dissuaded potential buyers. In 1982, Reynaud settled on a contract with the Grevin Wax Museum in Paris, which would see him perform daily screenings, produce regular new films and give away the exclusive rights for his new machine. In 1900, he closed his Theatre Optique, and sunk into depression due to the advancement in technology at the time (Lumiere Brothers). He destroyed his machines, and threw his hand painted shorts into the river Seine, He died in poverty in 1918.

Here's Pauvre Pierrot (1892) - one of the first animated shorts ever made.

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Charles-Emile Reynaud (1844 - 1918) was a Frenchman, who developed a technical understanding of visual science as photographer's apprentice. In 1877, he developed the praxinoscope - the successor to the zoetrope. It used a strip of pictures placed around the inner surface of a spinning cylinder.

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The Praxinoscope is a typical optical toy from the 19th century. It consists of a cylinder and a strip of paper showing twelve frames for animation. As the cylinder rotates, stationary mirrors in the centre reveal a ‘single image’ in motion.
The Praxinoscope was invented in 1876 by Charles-Émile Reynaud (1844-1918), a Paris science teacher, who marked all his examples ‘E.R.’. The toy became a great commercial success and won recognition at the great exhibitions of the period.

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PraxinoscopeThe Praxinoscope is a typical optical toy from the 19th century. It consists of a cylinder and a strip of paper showing twelve frames for animation. As the cylinder rotates, stationary mirrors in the centre reveal a 'single image' in motion.
The Praxinoscope was invented in 1876 by Charles-Émile Reynaud (1844-1918), a Paris science teacher, who marked all his examples 'E.R.'. The toy became a great commercial success and won recognition at the great exhibitions of the period.

What's in a name?
Like so many of its competitors, the Praxinoscope had a fancy classical name. It was formed from the ancient Greek πρᾶξις [praxis], meaning 'action', plus σκοπεῖν [scopein], meaning 'to look at'.

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Praxinoscope - Museum of the History of Science

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Introduction | Phenakistiscope | Thaumatrope | Zoetrope | Choreutoscope| Praxinoscope | Flip Books | Videos PraxinoscopeThe Praxinoscope is a typical optical toy from the 19th century. It consists of a cylinder and a strip of paper showing twelve frames for animation. As the cylinder rotates, stationary mirrors in the centre reveal a 'single image' in...

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The zoetrope is an optical toy that produces an illusion of motion from a rapid succession of static images.

The zoetrope was invented in the early 19th century.  Pierre Desvignes, a French inventor, brought the concept to France and gave the device its name – formed from the Greek words “zoe,” meaning life, and “tropos,” meaning turning.  The word zoetrope therefore can be taken to mean “wheel of life” or “living wheel.”

The traditional zoetrope consists of a cylinder with slits cut vertically in its sides and a series of sequenced images on its inner surface.  As the cylinder is spun, the viewer looks through the slits to the opposite side of the interior. When viewed in this way,  the images are seen by the eye in such rapid succession that they produce the illusion of motion.

This illusion is created by an optical phenomenon called “persistence of vision” and something called “beta movement.”

“Persistence of vision” refers to the fraction of a second that the eye’s retina retains an image after it has disappeared from view.  The retina perceives a flash of light for a full tenth of a second after it has ended, so if a light flashes every tenth of a second or less, the retina will perceive the light as shining continuously.

“Persistence of vision” is a stroboscopic effect meaning the images you are viewing must be separated by moments of darkness.  The slits function in this manner, simulating flashes of light and creating a kind of strobe effect.  In fact, modern zoetropes often use strobe lights to create the same illusion.

But because the eye is not identical to a camera, and vision is not as simple as light passing through a lens, the brain needs more than “persistence of vision” to be convinced that the images are in motion.

Beta movement, one of the phi phenomena, is the extra piece of the puzzle.  Beta movement is a perceptual illusion in which the brain creates a relationship between two or more still images viewed in succession.  The brain makes the assumption that they are one image which has changed positions, rather than the truth, which is that they are completely separate images.  Beta movement is the result of our brain’s desire to see relationships between consecutive images, regardless of their differences, and make sense of the data provided by the eye in order to construct a coherent understanding of reality.

The concept of the zoetrope is related to other optical devices like the flip book, the thaumatrope, the praxinoscope, the phenakistoscope, and the electrotachyscope, amongst others.

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The zoetrope is an optical toy that produces an illusion of motion from a rapid succession of static images.

The zoetrope was invented in the early 19th century. Pierre Desvignes, a French inventor, brought the concept to France and gave the device its name - formed from the Greek words "zoe," meaning life, and "tropos," meaning turning. The word zoetrope therefore can be taken to mean "wheel of life" or "living wheel."

The traditional zoetrope consists of a cylinder with slits cut vertically in its sides and a series of sequenced images on its inner surface. As the cylinder is spun, the viewer looks through the slits to the opposite side of the interior. When viewed in this way, the images are seen by the eye in such rapid succession that they produce the illusion of motion.

This illusion is created by an optical phenomenon called "persistence of vision" and something called "beta movement."

"Persistence of vision" refers to the fraction of a second that the eye's retina retains an image after it has disappeared from view. The retina perceives a flash of light for a full tenth of a second after it has ended, so if a light flashes every tenth of a second or less, the retina will perceive the light as shining continuously.

"Persistence of vision" is a stroboscopic effect meaning the images you are viewing must be separated by moments of darkness. The slits function in this manner, simulating flashes of light and creating a kind of strobe effect. In fact, modern zoetropes often use strobe lights to create the same illusion.

But because the eye is not identical to a camera, and vision is not as simple as light passing through a lens, the brain needs more than "persistence of vision" to be convinced that the images are in motion.

Beta movement, one of the phi phenomena, is the extra piece of the puzzle. Beta movement is a perceptual illusion in which the brain creates a relationship between two or more still images viewed in succession. The brain makes the assumption that they are one image which has changed positions, rather than the truth, which is that they are completely separate images. Beta movement is the result of our brain's desire to see relationships between consecutive images, regardless of their differences, and make sense of the data provided by the eye in order to construct a coherent understanding of reality.

The concept of the zoetrope is related to other optical devices like the flip book, the thaumatrope, the praxinoscope, the phenakistoscope, and the electrotachyscope, amongst others.

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The zoetrope is an optical toy that produces an illusion of motion from a rapid succession of static images. The zoetrope was invented in the early 19th century. Pierre Desvignes, a French inventor, brought the concept to France and gave the device its name - formed from the Greek words "zoe," meaning life, and "tropos,"...

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Camera obscura, ancestor of the photographic camera The Latin name means “dark chamber,” and the earliest versions, dating to antiquity, consisted of small darkened rooms with light admitted through a single tiny hole. The result was that an inverted image of the outside scene was cast on the opposite wall, which was usually whitened. For centuries the technique was used for viewing eclipses of the Sun without endangering the eyes and, by the 16th century, as an aid to drawing; the subject was posed outside and the image reflected on a piece of drawing paper for the artist to trace. Portable versions were built, followed by smaller and even pocket models; the interior of the box was painted black and the image reflected by an angled mirror so that it could be viewed right side up. The introduction of a light-sensitive plate by J.-N. Niepce created photography.

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Table of Contents

This article was most recently revised and updated by

camera obscura, ancestor of the photographic camera. The Latin name means "dark chamber," and the earliest versions, dating to antiquity, consisted of small darkened rooms with light admitted through a single tiny hole. The result was that an inverted image of the outside scene was cast on the opposite wall, which was usually whitened. For centuries the technique was used for viewing eclipses of the Sun without endangering the eyes and, by the 16th century, as an aid to drawing; the subject was posed outside and the image reflected on a piece of drawing paper for the artist to trace. Portable versions were built, followed by smaller and even pocket models; the interior of the box was painted black and the image reflected by an angled mirror so that it could be viewed right side up. The introduction of a light-sensitive plate by J.-N. Niepce created photography.

The Editors of Encyclopaedia Britannica Adam Augustyn.

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camera obscura, ancestor of the photographic camera. The Latin name means "dark chamber," and the earliest versions, dating to antiquity, consisted of small darkened rooms with light admitted through a single tiny hole. The result was that an inverted image of the outside scene was cast on the opposite wall, which was usually whitened.

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Inspirations and references