Furthermore, other versions of camera obscura were built followed by an interior angled-mirror which aided to reflect light and project the image right way up. However, it projected in the wrong way round because of the inversion caused by the lens. The person would have to trace the final image in reverse. "Images drawn with the camera obscura often show a distortion of the outlines to create an exact perspective that does not necessarily correspond to what we normally see." It was only in the 17th century that sufficiently quality lenses were available to create more flexible lens-mediate cameras with larger apertures allowing much more light in to create brighter images. In art history, there is plenty of evidence that many master painters made use of the camera obscura (e.g. Canaletto and Rembrandt). Also, it was a useful accessory in the 18th and 19th centuries 'Grand Tour' artists for making drawings of Italian landscapes or classical ruins.

Before the beginning of the 19th century, the camera obscura was able only to reflect the light and not capturing it. Moreover, the camera was combined with a material that would alter when exposed to the light, thus preserving the image. The Frenchman Joseph Nicéphore Niépce was known by his earliest known photograph,  Point de Vue du Gras (View from the Window at Le Gras). For taking this picture, he used a camera obscura and a chemically-coated plate, a very light-sensitive plate. Consequently, the image could be capture by the light and not only reflected anymore. 

The zoetrope was an early form of motion picture device consisting of a drum and axis containing a set of still images. They were turned into a circular fashion order creating the illusion of movement, so to speak. It can be turned at a variable rate creating slow-motion or speeded-up effects. By many, the zoetrope is considered to be the clearest device explanation of what animation at its core actually is.

Nowadays, its visual effects are still used for creating animated GIFs and video display technologies (e. g. streaming video).

The Praxinoscope was a typical optical toy which became a great commercial success and won recognition at the great exhibitions of the period.

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. It was a better improved version of the zoetrope, because it offered a clearer and less distorted result than the zoetrope. 

The magic lantern' sources of light were changing accordingly to technology development. The more the source was developed, the more it would attract the audience, consequently producing larger shows. In the 17th century, the time that the magic lantern was invented, it was illuminated by candles; in the 18th century, by oils lamps; in the 19th century, by lime and kerosene lamps; in the 20th century, by electric illumination.

Lye was a pioneer in film experimentation starting up with stop-motioning film-making, as we can see in The Peanut Vendor (1933). Later, he started animating his films in a more abstract way mixing Māori, Aboriginal, Samoan influences, which his works are best known. "Rather than use a camera, he would paint and scratch directly onto the film. Lye felt that the resulting animations conveyed a ‘body energy’, underlined by their jazz soundtracks."

Among many time capsule boxes there is one, the time capsule 21 that is more special in particular, because "it contains a phenomenal amount of Warhol's art from the 1950s and 1960s, as well as common documents that have turned out to reveal facts about Warhol's life and work". The website warhol.org shows us more than 50 objects from this time capsule, where we can explore by themes including Andy Warhol's artworks and other pieces related to his childhood, photographs, personal correspondences, newspaper clippings.  

It is interesting to see how everything is connected to Andy Warhol's life and work. Everything was sort of unity. The way he produced his works is the same as he consumed everything that was reachable to him. Even mummified feet! And how committed and serious (in his sarcastic way) he was to this consumption idea. Not only this but storing everything.

Every new research about Andy Warhol is a surprise at the same time that it gets me more and more interest in his life. Since the way he saw money and carried it on his wallet until his time capsules. For me, Warhol overreacts everything. He is extra. And he shows to me that I can collect anything that I want since I consider and legitimate it. Because he put some importance into things that he considered that so, even when it happened unconsciously, and his determination or his obsession towards something is pretty incredible. 

Typography conveys a message, therefore different typographies convey different messages. According to her, to make a spectacular usage of it, it must have a combination of emotion and logic, of sensibility, spirit, and meaning. She also highlights the importance of understanding the object you are working on (i.e. its characteristics, its history, and the feelings generated in thinking and looking at it), and understanding the clients and taking human behaviour into account. 

It was very impressive to see her ability to synthesise a lot of pieces of information and come to a conclusion as we can see in her paintings, mainly her maps. Consequently, it impacts her career. And it was also quite interesting when she decided to use more serif typographies, which was something completely opposite because she was used to working with sans-serif typefaces. The reason why she decided to do that was completely reasonable and courageous somehow since she has established a more modern aesthetic.  

I quite enjoyed seeing this lecture, because it is an important documentation project for (re)discovering the letters, signs that surrounded us that most of the time we do not pay attention to, and for observing the passage of time since D'Elboux also showed us some buildings in activity, but nowadays they are closed or do not exist anymore. Remaining only (or even less) the façade of them.

After this lecture, I suddenly remembered about the beginning of Medianeras. Obviously, the film has an approach more strictly to architecture and the consequences of urbanization towards it, such as the differences in the buildings' aesthetics. However, this observation could trespass a lit bit, if we extend it to lettering and typography as well, such as the buildings keeping the art-déco lettering but using other elements from other aesthetics when had been added later that João Roberto documented. 

Helvetica is everywhere: in the subway signs, in the advertisement, in the brands, in the notices, in the posters and elsewhere. It shows us that the typography turned extremely popular, or according to some democratic, by that, there is an oversaturation of the font or ubiquity for the human eye. However, the documentary "invites us to take a second look at the thousands of words we see every day". Many post-modernist designers speak more about it, and the solutions they have been creating: design their typography. As long as the use of Helvetica brought this lack of subjectivity which is something they are trying to search for. 

Helvetica brings and emphasizes this discussion about "the way type affects our lives", and how we do not even notice it. It was really interesting to see many designers point of view of form and content, and how it shapes their work. 

I screenshot some letters that I found interesting. Actually, all of them is quite interesting, however, I think some caught more my attention than the others because probably they are connected and related to my artistic process right now.

I was researching more information about ágar-ágar and I found out that its consistency is higher than "normal jelly" or the jelly that we know most. I decided to test with ágar-ágar because I could find at my house easily and if it wouldn't work, I would probably end up using "normal jelly". But I guess it was not the case. 

The proportion for making this jelly is 1L (of water, juice or any liquid) to 10g of ágar-ágar. So, for testing it, I decided to use 50mL, reducing the quantity of ágar-ágar proportionally. However, I also decided to make another test using the same quantity of the liquid (I chose water and milk, the latter giving this tint tone) and increasing 2 times the quantity of ágar-ágar. 

​

"The installation Collection of Titles from the Collection is an organization by theme of all work titles within the museum. Forming a classified vocabulary of titles, proposed categories were Landscape, People, Religious, Feminine, Numeric, Geometric, etc. These grouped words in lists not necessarily corresponding to the images depicted in the art works themselves."

 

"The collection is exhibited in glass cases and made available for public consultation in a library or archive environment. The content is mapped in a structure or thematic list that serves as visual guide for the overall files. Visitors are encouraged to handle folders and contribute clippings to the collection, thus causing the character to be interpreted by different people, depending on the work’s circulation. Usually, while the collection is on display in libraries, someone in charge of the newspaper / journal section takes over as collector. Since the acquisition of O Colecionador by Pinacoteca do Estado de São Paulo in 2014, the character has been kept “alive” by the museum staff that continues to build up the collection."

In this episode we talk about why the way we talk about the real estate business matters and how the white civilizing mission never went away. With guest Aaron Cantú."

The video clip of "Genius of Love" is an amazing animation, as well as the song. But I would like to draw some attention to the minutes 1:02-1:10, which illustrates some abstract drawings that follow the rhythm of the song.

Every time I watch this video clip, I feel quite amazed by it. The way the animation delivers its visual part is amazing! It seems it was made on a normal sheet of paper, maybe because of the greyish-white background, making it look handmade. However, it is very well done, how the transitions happen to one animation to others. For example, the woman's lips turn into hearts after she stops speaking. 

The colours and the graphic aesthetic of the animation also make me feel pretty happy and excited every time I come back to see them. The human figures somehow remind me of Maria Auxiliadora's works. They both have this "childish" appearance or this non-academic/classical form of the representation of the figures themselves. Honestly, I do like it very much, even when it comes to animation. 

Tom Tom Club embraces their funny songs with a sort of funny graphic score making it look amazing. The time I read the project brief, I instantly think about them. And, I do hope working in this kind of mood during this project. 

Among many time capsule boxes there is one, the time capsule 21 that is more special in particular, because "it contains a phenomenal amount of Warhol's art from the 1950s and 1960s, as well as common documents that have turned out to reveal facts about Warhol's life and work". The website warhol.org shows us more than 50 objects from this time capsule, where we can explore by themes including Andy Warhol's artworks and other pieces related to his childhood, photographs, personal correspondences, newspaper clippings.  

It is interesting to see how everything is connected to Andy Warhol's life and work. Everything was sort of unity. The way he produced his works is the same as he consumed everything that was reachable to him. Even mummified feet! And how committed and serious (in his sarcastic way) he was to this consumption idea. Not only this but storing everything.

Every new research about Andy Warhol is a surprise at the same time that it gets me more and more interest in his life. Since the way he saw money and carried it on his wallet until his time capsules. For me, Warhol overreacts everything. He is extra. And he shows to me that I can collect anything that I want since I consider and legitimate it. Because he put some importance into things that he considered that so, even when it happened unconsciously, and his determination or his obsession towards something is pretty incredible. 

Furthermore, other versions of camera obscura were built followed by an interior angled-mirror which aided to reflect light and project the image right way up. However, it projected in the wrong way round because of the inversion caused by the lens. The person would have to trace the final image in reverse. "Images drawn with the camera obscura often show a distortion of the outlines to create an exact perspective that does not necessarily correspond to what we normally see." It was only in the 17th century that sufficiently quality lenses were available to create more flexible lens-mediate cameras with larger apertures allowing much more light in to create brighter images. In art history, there is plenty of evidence that many master painters made use of the camera obscura (e.g. Canaletto and Rembrandt). Also, it was a useful accessory in the 18th and 19th centuries 'Grand Tour' artists for making drawings of Italian landscapes or classical ruins.

Before the beginning of the 19th century, the camera obscura was able only to reflect the light and not capturing it. Moreover, the camera was combined with a material that would alter when exposed to the light, thus preserving the image. The Frenchman Joseph Nicéphore Niépce was known by his earliest known photograph,  Point de Vue du Gras (View from the Window at Le Gras). For taking this picture, he used a camera obscura and a chemically-coated plate, a very light-sensitive plate. Consequently, the image could be capture by the light and not only reflected anymore. 

The video clip of "Genius of Love" is an amazing animation, as well as the song. But I would like to draw some attention to the minutes 1:02-1:10, which illustrates some abstract drawings that follow the rhythm of the song.

Every time I watch this video clip, I feel quite amazed by it. The way the animation delivers its visual part is amazing! It seems it was made on a normal sheet of paper, maybe because of the greyish-white background, making it look handmade. However, it is very well done, how the transitions happen to one animation to others. For example, the woman's lips turn into hearts after she stops speaking. 

The colours and the graphic aesthetic of the animation also make me feel pretty happy and excited every time I come back to see them. The human figures somehow remind me of Maria Auxiliadora's works. They both have this "childish" appearance or this non-academic/classical form of the representation of the figures themselves. Honestly, I do like it very much, even when it comes to animation. 

Tom Tom Club embraces their funny songs with a sort of funny graphic score making it look amazing. The time I read the project brief, I instantly think about them. And, I do hope working in this kind of mood during this project. 

The zoetrope was an early form of motion picture device consisting of a drum and axis containing a set of still images. They were turned into a circular fashion order creating the illusion of movement, so to speak. It can be turned at a variable rate creating slow-motion or speeded-up effects. By many, the zoetrope is considered to be the clearest device explanation of what animation at its core actually is.

Nowadays, its visual effects are still used for creating animated GIFs and video display technologies (e. g. streaming video).

The Praxinoscope was a typical optical toy which became a great commercial success and won recognition at the great exhibitions of the period.

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. It was a better improved version of the zoetrope, because it offered a clearer and less distorted result than the zoetrope. 

The magic lantern' sources of light were changing accordingly to technology development. The more the source was developed, the more it would attract the audience, consequently producing larger shows. In the 17th century, the time that the magic lantern was invented, it was illuminated by candles; in the 18th century, by oils lamps; in the 19th century, by lime and kerosene lamps; in the 20th century, by electric illumination.

Lye was a pioneer in film experimentation starting up with stop-motioning film-making, as we can see in The Peanut Vendor (1933). Later, he started animating his films in a more abstract way mixing Māori, Aboriginal, Samoan influences, which his works are best known. "Rather than use a camera, he would paint and scratch directly onto the film. Lye felt that the resulting animations conveyed a ‘body energy’, underlined by their jazz soundtracks."

In this episode we talk about why the way we talk about the real estate business matters and how the white civilizing mission never went away. With guest Aaron Cantú."