Final:Artist in Digital Art(Asian)
Christopher Haines, and I am a 20 year old designer / graphic artist
Christopher is a young digital artist from Perth, Australia. He loves designing complex shapes in 3D and then mixing them in photoshop to achieve an amazing digital master pieces. He starts by sketching his thoughts and then transferring them into his computer through different softwares like Poser, Photoshop and 3D max. He gets his inspiration from ancient civilization designs and traditional graphic designers. Chris's signature style of mixing 3D with Photography, and more.He got started pretty much like everyone he think,he loved drawing pictures as a kid, and just never stopped. He studied photography in my first year of high school and discovered Photoshop. This opened up a whole new area for him and was his introduction to the world of design. After finding the art site Deviantart his skills grew.Chris’s mind blowing digital designs and surly visit his website neondreams.com.au to view more.
Interview with Digital Illustrator Chris Haines
1. A lot of your art seems to be based around these human like 3D characters, tell us how you make them and why you like using them so much in your art?
I like using humans in my images because I am fascinated by how we think and live. By taking something familiar that we interact with every day, and building abstract elements around these structures, I hope to bring another world to the viewer that is both human and alien.
2.HOW WAS YOUR PATH FROM BEING A COMPLETE NEWBIE ON PHOTOSHOP TO BEING SUCH A GOOD ILLUSTRATOR THAT YOU ARE TODAY?
I’m glad you think I am a good illustrator! I would say the greatest thing aside from lots of hard work and late nights over the years would be the various communities I have been a part of. Nothing beats being able to show other artists your work and get feedback. I have mentioned DeviantArt before, which I joined in 2004. I joined Oxygenetic, a now closed art group. From here I was able to connect with other artists and just experiment. I joined the depthCORE collective soon after, and I can’t thank these guys enough for helping me get where I am today
3. Who would you say are your "design hero's," meaning artists that you look up to; and also tell us why you feel this way about them, what makes them special?
In terms of illustration, my "hero’s" would be Craig Mullins and Stephan Martiniere. I love the worlds they create and the detail they put into their images. I also feel Craig Mullins treated Photoshop as simply a tool to create images with the richness of the old masters.
4. What was one of the biggest challenges you had to overcome in terms of designing? How did you end up overcoming it?
The biggest challenge I had to overcome as a designer was finding the balance between design and life in general. Sometimes your drive to become a better designer can be so focused, you neglect other areas of your life like hanging out with friends and family. It is easy to get burned out so you have to learn when to push yourself and when to relax.
5.WHERE DO YOU FIND INSPIRATION TO CREATE YOUR PIECES?
I draw my inspiration from many different sources that form in a melting pot to be what I guess you could call my style. I try to look outside the usual hunting ground of blogs and magazines. These include the traditional artists, older designers, concept designers etc. I am also currently falling in love with the designs of ancient civilizations. I find it fascinating to see the “graphic designers” of many centuries past. Of course keeping active and social can be a great inspiration as well.
6.SO HOW DO YOU TURN THESE INSPIRATIONS INTO YOUR WORK, WHAT IS YOUR USUAL WORKING PROCESS?
When starting a new image i have a fairly set process. If it is a commercial image and the deadline is tight, I start by creating a mood board of images for reference and to get a general feel of what direction i want the image to go in. From here some quick sketches on paper help map out the concept and basic starting composition. The mood board is never too far from my view, helping push along certain elements in the image. This sort of starting process can be great for moving passed the “staring at a blank canvas” stage all artists face.
7.WHAT ARE THE TOOLS YOU USE TO CREATE YOUR WORK?
I have three main software packages i use for almost all my work. Adobe Photoshop, Maxon Cinema 4d and Poser. A lot of the figures in my work are created in Poser, creating custom poses and body types to match sketches i have drawn in the concept stage. From here i export the mesh into Cinema 4d and begin manipulating the figure by removing polygons, as well as modelling parts to add on to it. Using various photos and hand painted masks created in Photoshop, i create a texture for the image, which is then lit and rendered out. This render is brought into Photoshop and the real work begins. I correct the lighting use a mix of photos and matte painting techniques to create a world around the figure, and add detail. I often spend 50 hours plus on an image.
8.DO YOU THINK IT'S IMPORTANT FOR A DESIGNER TO NOT BE RESTRICT IN USING ONLY PHOTOSHOP AND MOVE ON TO 3D AS WELL?
I have found it more effective to use a mix of 3d, photos and painting to achieve the level of detail I strive for in my images, but this is just my personal way of working. Some people can create fantastic images with photoshop only, and that’s just the way they work. That said, learning 3d can open up whole new worlds in your artwork. I can really give you the flexibility to create anything you dream up. I started with a program called Bryce, and this gave me the basic stepping stone into 3d. Cinema 4d is my preferred 3d package simply for its intuitive design and ease of use. Someday i would love to learn Zbrush to take my artwork to the next level.
9.DO YOU THINK IT'S IMPORTANT FOR A DESIGNER TO NOT BE RESTRICT IN USING ONLY PHOTOSHOP AND MOVE ON TO 3D AS WELL?
I have found it more effective to use a mix of 3d, photos and painting to achieve the level of detail I strive for in my images, but this is just my personal way of working. Some people can create fantastic images with photoshop only, and that’s just the way they work. That said, learning 3d can open up whole new worlds in your artwork. I can really give you the flexibility to create anything you dream up. I started with a program called Bryce, and this gave me the basic stepping stone into 3d. Cinema 4d is my preferred 3d package simply for its intuitive design and ease of use. Someday i would love to learn Zbrush to take my artwork to the next level.
10.WHAT ADVICE WOULD YOU GIVE TO THE READERS THAT ARE JUST STARTING TO GET THEIR WORK OUT THERE?
For those who are just starting I would say the most important thing is to constantly push yourself to become a better artist. It is tempting to sit in one place with your style but constantly trying new things will help you expand your skill set. I also would recommend doing some research into marketing and branding. When you are posting your art hoping to get work, you are essentially marketing your business to the world. This means having a consistent brand across all of your media and a marketing strategy to generate leads and bring in the work. I wish that when i had first started i knew the importance of this, as that big break probably isn’t going to just fall in your lap. You have to work to get yourself seen.
Artwork of Christopher Haines
Rise
Artagatis
Nexus
Typeface
Kiss Kiss
Electro
Luke Lucas
Luke Lucas
Focus:Typography,Illustration,Design
Luke Lucas is a freelance creative with a self-made career spanning two decades. His contemporary work focuses on conceptual illustrative typography, custom lettering and type design attracting briefs from agencies, publishers and brands across the globe. He has received awards from D&AD, MADC and AWARD and his regular clients include Nike, Target USA, Esquire, The New York Times and The Washington Post.
View, Follow and Share
HomePage: http://www.lukelucas.com
Behance: http://www.behance.net/Luke_Lucas
Twitter: @_LukeLucas
Luke Lucas is an Art Director and Illustrator based in Melbourne, Australia. He is best know for his Illustrations and Typographic works.He is a freelance creative, art director, illustrator, designer and typographer living on the northern beaches of Sydney, Australia.He love that the same word, passage or even letter can be treated in bunch of different ways and embody entirely different meanings. That and through subtleties like a slight shift in line weight, the elongation of a tail or the arc you use, a letter can go from contemporary to traditional or happy to sad in a single stroke.
Abouts
1.Are you just a type guy?
The short answer is no.It’s not the only thing that I do but it’s the type of work that I enjoy the most.
2.What have you been up to?
1996-1999 Co-founder/Co-Creator Fourinarow Magazine
Together with buddy and all around rad guy Jamie Driver,half way through the first year of art school we started publishing an inline skating magazine called Fourinarow.At the time we had very little knowledge about the publishing industry,our design and our business skills were super basic but our drive and passion for creating something that represented a culture that meant something to us was unstoppable.
Over the following 3 years,we pretty much didn’t sleep and published 8 editions of Fourinarow which we distributed to 14 countries around the world.We soon crossed paths with some other fellows which lead onto next little venture…Lifelounge.
1999-2011 Co Founder/Creative Director of Lifelounge
Lifelouge has taken on many forms over the last 12 years but the fundamental values that we were bound by during my time there was the genuine desire to create and represent the kinds of things that people like ourselves can be entertained or inspired by.Among other things,through Lifelounge we created one of the longest serving online creative portals website,14 editions of the contemporary culture print magazine Lifelounge(2005-2011)and a multi-award winning creative agency.The time recently came for myself and Jamie Driver to move on which has lead to.
Artwork Of Luke Lucas
The Washington Post-Q4 Cover 2013
He was commissioned to create an illustration using Q4 as part of the quarterly investment outlook cover for the business section of The Washington Post.The brief was to create an eery interpretation of a fiscal cliff to support the theme of the edition.
Nike-Why Buy A Copy
These designs were for a brief from Nike(Portland,OR) to create a stylized type 3D script treatment of a advertising slogan that was used in an old print campaign.The original line was obviously aimed at encouraging people to purchase genuine Nike apparel over the sea of counterfeit products that were available.
Nike-Destroy Fear
This was a lettering commission by Nike (US) for an apparel print for their SS14 athletic range.The brief was to create a shattered type treatment of the words Destroy Fear.
These series of type treatment were part of a safe sex community service campaign for MTV targeted at people cheating on their partners.The lines are typical excuses given by cheaters.
The core message:More than half of women with HIV are infected by their cheating husbands.Whatever you do.Do it with a condom.
Mendola Artists 2015 Calendar Cover
Cover art for the 2015 promotional calendar for Mendola Artists.
Getting’Loose
His submission for Some Type Of Wonderful 2009 for the month of December.
Find under Typography,Poster,Exhibition,Lettering.
Falls The Shadow
He was commissioned by Simon & Schuster(NY) to create the cover art for a teen sci-fi/ fantasy novel by Stefanie Gaither.The story revolves around a future where parents can opt to have their child cloned at birth(as a a back up should anything go wrong with the original).The technology is so advanced that even the memories of the original can be uploaded into the clone.The perfect replacement…or is it?
Doritos-Tag Team Your Tongue
These type treatments were brief to be used on point of sale material in Canada for a new Corn Chip by Doritos that combines multiple flavors at the same time.The campaign line of Tag Team Your Tongue was treated like a salivating tongue.The line was also translated and illustrated in French with the identical treatment.
Boston Home Magazine
I was commissioned by US based interior design magazine Boston Home to create an opening spread illustration for a section called The Best Of Boston Home 2012.The brief was to create something slick and architectural combining timber and metallic finishes.
Psycho Killer
This was my response to the 2009 Lyrics & Type exhibition held at Gorker Gallery in Melbourne.Each of the artists involved were asked to represent through typography and illustration some lyrics to a song of choice.I chose the 70s Talking Heads classic Psycho Killer with the lyrics Psycho Killer.Que’est-ce hue c’est?
Roman Art
Roman
Roman art refers to the visual arts made in Ancient Rome and in the territories of the Roman Empire. Roman art includes architecture, painting, sculpture and mosaic work. Luxury objects in metal-work, gem engraving, ivory carvings, and glass, are sometimes considered in modern terms to be minor forms of Roman art,[1] although this would not necessarily have been the case for contemporaries. Sculpture was perhaps considered as the highest form of art by Romans, but figure painting was also very highly regarded. The two forms have had very contrasting rates of survival, with a very large body of sculpture surviving from about the 1st century BC onwards, though very little from before, but very little painting at all remains, and probably nothing that a contemporary would have considered to be of the highest quality. Ancient Roman pottery was not a luxury product, but a vast production of "fine wares" in terra sigillata were decorated with reliefs that reflected the latest taste, and provided a large group in society with stylish objects at what was evidently an affordable price. Roman coins were an important means of propaganda, and have survived in enormous numbers. Other perishable forms of art have not survived at all.
Artist of Roman
While the traditional view of the ancient Roman artists is that they often borrowed from, and copied Greek precedents (much of the Greek sculpture known today is in the form of Roman marble copies), more recent analysis has indicated that Roman art is a highly creative pastiche relying heavily on Greek models but also encompassing Etruscan, native Italic, and even Egyptian visual culture. Stylistic eclecticism and practical application are the hallmarks of much Roman art.
Pliny, Ancient Rome’s most important historian concerning the arts, recorded that nearly all the forms of art – sculpture, landscape, portrait painting, even genre painting – were advanced in Greek times, and in some cases, more advanced than in Rome. Though very little remains of Greek wall art and portraiture, certainly Greek sculpture and vase painting bears this out. These forms were not likely surpassed by Roman artists in fineness of design or execution. As another example of the lost "Golden Age", he singled out Peiraikos, "whose artistry is surpassed by only a very few ... He painted barbershops and shoemakers’ stalls, donkeys, vegetables, and such, and for that reason came to be called the 'painter of vulgar subjects'; yet these works are altogether delightful, and they were sold at higher prices than the greatest [paintings] of many other artists. The adjective "vulgar" is used here in its original meaning, which means "common".
The Greek antecedents of Roman art were legendary. In the mid-5th century BC, the most famous Greek artists were Polygnotos, noted for his wall murals, and Apollodoros, the originator of chiaroscuro. The development of realistic technique is credited to Zeuxis and Parrhasius, who according to ancient Greek legend, are said to have once competed in a bravura display of their talents, history’s earliest descriptions of trompe l’oeil painting. In sculpture, Skopas, Praxiteles, Phidias, and Lysippos were the foremost sculptors. It appears that Roman artists had much Ancient Greek art to copy from, as trade in art was brisk throughout the empire, and much of the Greek artistic heritage found its way into Roman art through books and teaching. Ancient Greek treatises on the arts are known to have existed in Roman times though are now lost.] Many Roman artists came from Greek colonies and provinces.
Type of style
The best known and most important pocket is the wall paintings from Pompeii, Herculaneum and other sites nearby, which show how residents of a wealthy seaside resort decorated their walls in the century or so before the fatal eruption of Mount Vesuvius in 79 AD. A succession of dated styles have been defined and analysed by modern art historians beginning with August Mau, showing increasing elaboration and sophistication.
Starting in the 3rd century AD and finishing by about 400 we have a large body of paintings from the Catacombs of Rome, by no means all Christian, showing the later continuation of the domestic decorative tradition in a version adapted - probably not greatly adapted - for use in burial chambers, in what was probably a rather humbler social milieu than the largest houses in Pompeii. Much of Nero's palace in Rome, the Domus Aurea, survived as grottos and gives us examples which we can be sure represent the very finest quality of wall-painting in its style, and which may well have represented significant innovation in style. There are a number of other parts of painted rooms surviving from Rome and elsewhere, which somewhat help to fill in the gaps of our knowledge of wall-painting. From Roman Egypt there are a large number of what are known as Fayum mummy portraits, bust portraits on wood added to the outside of mummies by a Romanized middle-class; despite their very distinct local character they are probably broadly representative of Roman style in painted portraits, which are otherwise entirely lost.
Nothing remains of the Greek paintings imported to Rome during the 4th and 5th centuries, or of the painting on wood done in Italy during that period.[4] In sum, the range of samples is confined to only about 200 years out of the about 900 years of Roman history,[12] and of provincial and decorative painting. Most of this wall painting was done using the secco (“dry”) method, but some fresco paintings also existed in Roman times. There is evidence from mosaics and a few inscriptions that some Roman paintings were adaptations or copies of earlier Greek works.[12] However, adding to the confusion is the fact that inscriptions may be recording the names of immigrant Greek artists from Roman times, not from Ancient Greek originals that were copied.[8] The Romans entirely lacked a tradition of figurative vase-painting comparable to that of the Ancient Greeks, which the Etruscans had emulated.
- Landscape and vistas
- Still life
- Gold glass
- Triumphal paintings
Roman Plaster
Styles and colour used
Red Colours
Yellow red was obtained from the naturally occurring arsenic compound Realgar. For bright red, artists used a material known as "Dragons Blood". Described by Roman historians as the blood collected after the fighting of dragons and elephants, this was a common colourant until the modern era. It came from a gum resin obtained from a tree in South East Asia. But the most highly prized red pigment of the time, ten times more expensive than red ochre, was Vermilion. Known to the Romans as Minium, this orange-red hue was produced from a mineral ore called Cinnabar (Mercuric Sulfide) and appeared in the Mediterranean area about 1500 BCE. Probably mined in central or southern Europe, it was later superceded (8th century CE) by a much superior version from China.
Purple Colours
For purples and similar hues, Greek and Roman colour palette featured pigments like Indigo, obtained from the Indigofera plant family, and Madder from Madder plants. Woad (from the dyerswoad herb) might also have been used. Although principally employed as textile dyes, by Classical Antiquity these ink-type colourants had been developed for use in painting, especially glazing. The most popular of the purples was Tyrian purple, a hue produced from shell fish by the Phoenicians and made famous as the colour worn by Roman Caesars. It was also used by artists in Antiquity as a glazing pigment. Tyrian purple was available in tones of violet, true purple, and a very deep crimson. However, use was limited by its huge production costs.
Blue Colours
For their blue palette, Classical painters relied on the same pigments as the Egyptians: notably Azurite and Egyptian Blue. Azurite was a greenish blue pigment whose name stemmed from the Persian word "lazhward" meaning "blue". It was chemically related to the green pigment malachite. Egyptian Blue (Frit) was a dark blue pigment used throughout antiquity for use on a range of mediums such as stone, wood, plaster, papyrus, and canvas. It was later superceded in the 6th century CE by Ultramarine, the most fabulous blue in the history of art. An inferior version of Ultramarine (Lazuline Blue) was actually in use in both Greece and Rome, but it wasn't until the 500s that the Persians developed the key process for the conversion of Lapis Lazuli into Ultramarine.
Yellow Colours
For their yellows, Greek and Roman painters used Massicot and Naples Yellow, as well as the traditional Orpiment. Massicot came from lead oxide, while Naples Yellow - a warm yellow pigment - derived from Lead Antimoniate and appeared at the same time as Vermilion. Naples Yellow (also called Giallorino) was reportedly obtained from Mount Vesuvius above the Bay of Naples. Orpiment was a rich lemon hue known to colour-makers since 3100 Yellow Colours
For their yellows, Greek and Roman painters used Massicot and Naples Yellow, as well as the traditional Orpiment. Massicot came from lead oxide, while Naples Yellow - a warm yellow pigment - derived from Lead Antimoniate and appeared at the same time as Vermilion. Naples Yellow (also called Giallorino) was reportedly obtained from Mount Vesuvius above the Bay of Naples. Orpiment was a rich lemon hue known to colour-makers since 3100 BCE.
Brown Colours
As a rule, brown hues were obtained from burnt and raw forms of clay pigments such as Sienna and Umber. In its raw state, Sienna, which contains iron and manganese, resembles a yellow-brown ochre: roasted or burnt it turns it a reddish brown. Similarly, Umber, a clay pigment used since Paleolithic times, is naturally a dark yellowish brown. Roasted or burnt Umber is coloured dark brown. These two pigments were the most stable colours on the Classical painter's palette.
White Colours
A major addition to the Classical colour palette was Lead White. Very fast drying, with the warmest masstone of all the white colourants and a heavy consistency, it remained one of the key white pigments until the 19th century. Other white colourants used included Gypsum, and Chalk.
Black Colours
For their black hues, Greco-Roman painters relied on Lamp Black and Carbon Black (charcoal) and a new Ivory Black, obtained from burning bones or ivory.
Brown Colours
As a rule, brown hues were obtained from burnt and raw forms of clay pigments such as Sienna and Umber. In its raw state, Sienna, which contains iron and manganese, resembles a yellow-brown ochre: roasted or burnt it turns it a reddish brown. Similarly, Umber, a clay pigment used since Paleolithic times, is naturally a dark yellowish brown. Roasted or burnt Umber is coloured dark brown. These two pigments were the most stable colours on the Classical painter's palette.
White Colours
A major addition to the Classical colour palette was Lead White. Very fast drying, with the warmest masstone of all the white colourants and a heavy consistency, it remained one of the key white pigments until the 19th century. Other white colourants used included Gypsum, and Chalk.
Black Colours
For their black hues, Greco-Roman painters relied on Lamp Black and Carbon Black (charcoal) and a new Ivory Black, obtained from burning bones or ivory.
Material used
Roman mosaics were a common feature of private homes and public buildings across the empire from Africa to Antioch. Not only are mosaics beautiful works of art in themselves but they are also an invaluable record of such everyday items as clothes, food, tools, weapons, flora and fauna. They also reveal much about Roman activities like gladiator contests, sports, agriculture, hunting and sometimes they even capture the Romans themselves in detailed and realistic portraits.
Roman Mosaic
Mosaics, otherwise known as opus tesellatum, were made with small black, white and coloured squares typically measuring between 0.5 and 1.5 cm but fine details were often rendered using even smaller pieces as little as 1mm in size. These squares (tesserae or tessellae) were cut from materials such as marble, tile, glass, smalto (glass paste),pottery, stone and even shells. A base was first prepared with fresh mortar and the tesserae positioned as close together as possible with any gaps then filled with liquid mortar in a process known as grouting. The whole was then cleaned and polished.
Alexander the Great
Roman Mosaic
Roman Geometric Mosaic
Place and Area
Ancient Rome was an Italic civilization that began on the Italian Peninsula as early as the 8th century BC. Located along the Mediterranean Sea and centered on the city of Rome, it expanded to become one of thelargest empires in the ancient world[1] with an estimated 50 to 90 million inhabitants (roughly 20% of the world's population[2][3][4]) and covering 6.5 million square kilometers (2.5 million sq mi) during its height between the first and second centuries AD.[5][6][7]
In its approximately 12 centuries of existence, Roman civilization shifted from a monarchy to a classical republic and then to an increasingly autocratic empire. Through conquest and assimilation, it came to dominateSouthern and Western Europe, Asia Minor, North Africa, and parts of Northern and Eastern Europe. Rome was preponderant throughout the Mediterranean region and was one of the most powerful entities of the ancient world. It is often grouped into classical antiquity together with ancient Greece, and their similar cultures and societies are known as the Greco-Roman world.
Ancient Roman society has contributed to modern government, law, politics, engineering, art, literature, architecture, technology, warfare, religion, language and society. A civilization highly developed for its time, Rome professionalized and expanded its military and created a system of government called res publica, the inspiration for modern republics[8][9][10] such as the United States and France. It achieved impressive technologicaland architectural feats, such as the construction of an extensive system of aqueducts and roads, as well as large monuments, palaces, and public facilities.
By the end of the Republic, Rome had conquered the lands around the Mediterranean and beyond: its domain extended from the Atlantic to Arabia and from the mouth of the Rhine to North Africa. The Roman Empireemerged under the leadership of Augustus Caesar. 721 years of Roman-Persian Wars started in 92 BC with their first war against Parthia. It would become the longest conflict in human history, and have major lasting effects and consequences for both empires. Under Trajan, the Empire reached its territorial peak. Republican mores and traditions started to decline during the imperial period, with civil wars becoming a common ritual for a new emperor's rise.[11][12][13] States, such as Palmyra, temporarily divided the Empire in a 3rd-century crisis. Soldier emperors reunified it, by dividing the empire between Western and Eastern halves.
Plagued by internal instability and attacked by various migrating peoples, the western part of the empire broke up into independent kingdoms in the 5th century. This splintering is a landmark historians use to divide theancient period of universal history from the pre-mediaeval "Dark Ages" of Europe.
Art Nouveau in Interior
It has been said often that Art Nouveau interior design is in fact the original modern style of the 20th century, as it was the first style to stop looking back in time for inspiration.
It has been said often that Art Nouveau interior design is in fact the original modern style of the 20th century, as it was the first style to stop looking back in time for inspiration.
From 1880 to 1910, art nouveau interior design was the height of originality and design excellence. The concept was first on show in Paris, France and then London, UK. It caused a huge fuss as people instantly loved it or loathed it.
Take a look at the wonderful work created by the architect/designer Charles Rennie MacKintosh and his wife and fellow artist, Margaret MacDonald. I am very proud to be from the same city, Glasgow in bonnie Scotland.
Colors: soft, muted colors were often used so select from a palette assortment of sage and olive green, mustard yellows and brown. Pair those up with beautiful shades of lilac, violet and purple. Peacock blue is stunning against a white backdrop so do not be afraid to paint your walls in brilliant white or in an off-white shade.
Walls: you could select a magnificent wallpaper like that seen in the image above or in the below left bedroom, to act as a feature wall. There are incredible ranges to suit art nouveau interior design or why not just keep your walls white and elegant looking.White or off white tiles interspersed with a patterned one would certainly add to the authenticity of your look.
Decor: wasn't always simple, it was however decadent and ornamental. Take a look at the ensemble below. Here we see a collection of necessary storage, developed into on piece. It has simple touches of design and staying true to this period it is warm in color
Lighting: no art nouveau interior design would be complete without a Tiffany lamp like the one shown below. Constructed from a bronze base the Tiffany lamps have an umbrella shaped shade, made from spectacularly, interesting stained glass.
Neo Classicism Artist & ArtworkNeo Classicism IntoductionThe term Neoclassicism refers to the classical revival in European art, architecture, and interior design that lasted from the mid-eighteenth to the early nineteenth century.
This period gave rebirth to the art of ancient Rome and Greece and the Renaissance as an opposition to the ostentatious Baroque and Rococo art that preceded the movement.
The movement was inspired by the discovery of ancient Italian artifacts at the ruins of Herculaneum and Pompeii. Also influential in the development was the cultural studies of German art historian Johann J.
Chronological Listing of Neoclassical Artists
Jean-Francois de Troy
1679-1752
French Painter
1691-1765
Italian Painter
1692-1768
French Painter
1727-1785
Italian Painter
1728-1792
Scottish Architect/Designer
1738-1828
French Painter
1738-1820
American Painter
1739-1811
Spanish Architect
1739-1821
French Painter
1740-1814
German/Swedish Sculptor
1741-1828
French Sculptor
1741-1807
Swiss Painter
1743-1809
Danish Painter
1691-1765
|
Italian Painter
|
1692-1768
|
French Painter
|
1727-1785
|
Italian Painter
|
1728-1792
|
Scottish Architect/Designer
|
1738-1828
|
French Painter
|
1738-1820
|
American Painter
|
1739-1811
|
Spanish Architect
|
1739-1821
|
French Painter
|
1740-1814
|
German/Swedish Sculptor
|
1741-1828
|
French Sculptor
|
1741-1807
|
Swiss Painter
|
1743-1809
|
Danish Painter
|
Art Nouveau in Fashion
The Art Nouveau movement overlapped with late Arts and Crafts in the 1890s and early modernism in the 1910s, combining the exquisite workmanship and natural forms of the former with the innovative materials.
Art Nouveau Fashion provides a fascinating introduction to the style, defining it and placing it in design history by focusing on a number of important designers - Worth, Lucile, Paquin, Poiret - and key topics, such as clients and artists, jewellery and accessories and advertising.
Fashionable corsets manipulated female bodies into increasingly artificial forms, while advertising seduced consumers with images of scantily clad women.
The movement's radicalism and openness to diverse design influences directly influenced the counter-culture of the late 1960s, inspiring boutiques in London's fashionable Carnaby Street and San Francisco's Haight-Ashbury.
What is Graphic Design?
Graphic design is the process of visual communication, and problem-solving through the use of type, space and image. The field is considered a subset of visual communication and communication design, but sometimes the term "graphic design" is used interchangeably with these due to overlapping skills involved. Graphic designers use various methods to create and combine words, symbols, and images to create a visual representation of ideas and messages. A graphic designer may use a combination of typography, visual arts and page layout techniques to produce a final result. Graphic design often refers to both the process (designing) by which the communication is created and the products (designs) which are generated.
Common uses of graphic design include identity (logos and branding), publications (magazines, newspapers and books), print advertisements, posters, billboards, website graphics and elements, signs and product packaging. For example, a product package might include a logo or other artwork, organized text and pure design elements such as images, shapes and color which unify the piece. Composition is one of the most important features of graphic design, especially when using pre-existing materials or diverse elements.
Applications
From road signs to technical schematics, from interoffice memorandums to reference manuals, graphic design enhances transfer of knowledge and visual messages. Readability and legibility is enhanced by improving the visual presentation and layout of text.
Design can also aid in selling a product or idea through effective visual communication. It is applied to products and elements of company identity like logos, colors, packaging, and text. Together these are defined as branding (see also advertising). Branding has increasingly become important in the range of services offered by many graphic designers, alongside corporate identity. Whilst the terms are often used interchangeably, branding is more strictly related to the identifying mark or trade name for a product or service, whereas corporate identity can have a broader meaning relating to the structure and ethos of a company, as well as to the company's external image. Graphic designers will often form part of a team working on corporate identity and branding projects. Other members of that team can include marketing professionals, communications consultants and commercial writers.
Tools
The mind is an important graphic design tool. Aside from technology, graphic design requires judgment and creativity. Critical, observational, quantitative and analytic thinking are required for design layouts and rendering. If the executor is merely following a solution (e.g. sketch, script or instructions) provided by another designer (such as an art director), then the executor is not usually considered the designer.
The method of presentation (e.g. arrangement, style, medium) may be equally important to the design. The appropriate development and presentation tools can substantially change how an audience perceives a project. The image or layout is produced using external traditional media and guides, or digital image editing tools on computers. Tools in computer graphics often take on traditional names such as "scissors" or "pen." Some graphic design tools such as a grid are used in both traditional and digital form.
In the mid-1980s, the arrival of desktop publishing and graphic art software applications introduced a generation of designers to computer image manipulation and creation that had previously been manually executed. Computer graphic design enabled designers to instantly see the effects of layout or typographic changes, and to simulate the effects of traditional media without requiring a lot of space. However, traditional tools such as pencils or markers are useful even when computers are used for finalization; a designer or art director may hand sketch numerous concepts as part of the creative process. Some of these sketches may even be shown to a client for early stage approval, before the designer develops the idea further using a computer and graphic design software tools.
Computers are considered an indispensable tool in the graphic design industry. Computers and software applications are generally seen by creative professionals as more effective production tools than traditional methods. However, some designers continue to use manual and traditional tools for production, such as Milton Glaser.
New ideas can come by way of experimenting with tools and methods. Some designers explore ideas using pencil and paper.[14] Others use many different mark-making tools and resources from computers to sculpture as a means of inspiring creativity. One of the key features of graphic design is that it makes a tool out of appropriate image selection in order to possibly convey meaning.
1) New technology, such as electrotyping, the pantograph and router, introduced in the middle of the nineteenth century, combined with the expansion of commerce as America moved westward, created a great outpouring of exuberantly ornamented typefaces.
2) His work was serialized in The Inland Printer over the next three years and included biographies, photographs of the artists, and lists of the type they had designed or cut, which Loy had painstakingly compiled through correspondence with the type founders and other craftsmen.
3 ) Here, written by a man who knew many of the designers and engravers, is the behind-the-scenes story: biographies of men - artists, sportsmen, blacksmiths, soldiers, even a game warden - who were the creators of these innovative types.
4) Now, a century later, typographical historians Alastair Johnston and Stephen Saxe have realized Loy's vision, fully illustrated and annotated. This is one of the first reference books on nineteenth-century American type design
5) William E. Loy (1847-1906) grew up in the Midwest and moved to California in 1874. He worked as a newspaperman, printer and printing equipment salesman. He was associated with Nelson Crocker Hawks at the Pacific Type Foundry in San Francisco.
6 ) Stephen O. Saxe is the author of American Iron Hand Presses (Oak Knoll & The British Library, 1995); he annotated the revised edition of Annenberg's Typefoundries of America and their Catalogs (Oak Knoll & The British Library, 2000).
Pictographs
A pictogram, also called a pictogramme, pictograph, or simply picto, and also an 'icon'[, is an ideogram that conveys its meaning through its pictorial resemblance to a physical object. Pictographs are often used in writing and graphic systems in which the characters are to a considerable extent pictorial in appearance.
Early written symbols were based on pictographs (pictures which resemble what they signify) and ideograms (symbols which represent ideas). Ancient Sumerian, Egyptian, .
Chinese civilizations began to use such symbols over, developing them into logographic writing systems. Pictographs are still in use as the main medium of written communication in some non-literate cultures in Africa, the Americas, and Oceania.
Pictographs are often used as simple, pictorial, representational symbols by most contemporary cultures.
Pictographs can be considered an art form, or can be considered a written language and are designated as such in Pre-Columbian art, Native American art, Ancient Mesopotamia and Painting in the Americas before Colonization.
One example of many is the Rock art of the Chumash people, part of the Native American history of California. In 2011, UNESCO World Heritage adds to its list a new site "Petroglyph Complexes of the Mongolian Altai, Mongoliato celebrate the importance of the pictograms engraved in rocks.
. Mario Christian Meyer, are studying the symbolic meaning of indigenous pictograms and petroglyphs, aiming to create new ways of communication between native people and modern scientists to safeguard and valorize their cultural diversity.
ICONS
An icon (from GreekThe earliest written records of Christian images treated like icons in a pagan or Gnostic context are offered by the 4th-century Christian Aelius Lampridius in the Life of Alexander Severus (xxix) that was part of the Augustan History.
During this period the church began to discourage all non-religious human images - the Emperor and donor figures counting as religious. This became largely effective, so that most of the population would only ever see religious images and those of the ruling class.
According to Lampridius, the emperor Alexander Severus (222–235), who was not a Christian, had kept a domestic chapel for the veneration of images of deified emperors, of portraits of his ancestors, and of Christ, Apollonius,
Orpheus and Abraham. Irenaeus, (c. 130–202) in his Against Heresies (1:25;6) says scornfully of the Gnostic Carpocratians, "They also possess images, some of them painted.
is generally a flat panel painting depicting Jesus, Mary, saints and angels, which is venerated among Eastern Orthodox, Oriental Orthodox, and in certain Eastern Catholic Churches.
Icons may also be cast in metal, carved in stone, embroidered on cloth, painted on wood, done in mosaic or fresco work, printed on paper or metal, etc.
Icons are often illuminated with a candle or jar of oil with a wick. (Beeswax for candles and olive oil for oil lamps are preferred because they burn very cleanly, although other materials are sometimes used.)
SYMBOLS
symbol is an object that represents, stands for, or suggests an idea, visual image, belief, action, or material entity. Symbols take the form of words, sounds, gestures, or visual images and are used to convey ideas and beliefs.
For example, a red octagon may be a symbol for "STOP". On a map, a picture of a tent might represent a campsite. Numerals are symbols for numbers. Alphabetic letters are symbols for sounds. Personal names are symbols representing individuals. A red rose symbolizes love and compassion.
The word derives from the Greek symbolon meaning token or watchword. It is an amalgam of syn- "together" + bole "a throwing, a casting, the stroke of a missile, bolt, beam."
The sense evolution in Greek is from "throwing things together" to "contrasting" to "comparing" to "token used in comparisons to determine if something is genuine.
" Hence, "outward sign" of something. The meaning "something which stands for something else" was first recorded in 1590, in Edmund Spenser's Faerie Queene.
The ineffable, the absolutely unknowable, can be only sensed. It is the province of art which is not 'expression' merely, or even primarily, but a quest for, and formulation of, experience evoking, energy-waking images: yielding what Sir Herbert Read has aptly termed a 'sensuous apprehension of being'.
Heinrich Zimmer gives a concise overview of the nature, and perennial relevance, of symbols
HIEROGLYPHS
A hieroglyph (Greek for "sacred writing") is a character of the ancient Egyptian writing system.Logographic scripts that are pictographic in form in a way reminiscent of ancient Egyptian are also sometimes called "hieroglyphs". ]
In Neoplatonism, especially during the Renaissance, a "hieroglyph" was an artistic representation of an esoteric idea, which Neoplatonists believed actual Egyptian hieroglyphs to be. The wordhieroglyphics (τὰ ἱερογλυφικά [γράμματα]) may refer to a hieroglyphic script.
"hieroglyph" was an artistic representation of an esoteric idea, which Neoplatonists believed actual Egyptian hieroglyphs to be. The word hieroglyphics (τὰ ἱερογλυφικά [γράμματα]) may refer to a hieroglyphic script.
In Neoplatonism, especially during the Renaissance, a "hieroglyph" was an artistic representation of an esoteric idea, which Neoplatonists believed actual Egyptian hieroglyphs to be. The wordhieroglyphics (τὰ ἱερογλυφικά [γράμματα]) may refer to a hieroglyphic script.
"hieroglyph" was an artistic representation of an esoteric idea, which Neoplatonists believed actual Egyptian hieroglyphs to be. The word hieroglyphics (τὰ ἱερογλυφικά [γράμματα]) may refer to a hieroglyphic script.
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