JEUNESSE
FOREVER ISSUE 2022 NOV. 28
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Can Using Artistic References Spell Trouble?
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Now Showcasing Famous Artist, Hirohiko Araki!
22 11 28 Pg. 13 Blast from the Past, Jugend!
Pg. 15 An Interview with Hirohiko Araki
AD HATS OFF
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Table of Contents CONTENTS CONTENTS CONTENTS CONTENTS CONTENTS CONTENTS CONTENTS CONTENTS CONTENTS Pg.5
FEATURED ARTICLE
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FROM THE PAST
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SHOWCASING, HIROHIKO ARAKI!
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ARAKI IN LE LOUVRE
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NEXT ISSUE TEASER
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AN INTERVIEW WITH...
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ART OF THE ISSUE
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AD EAU de MOI A Fragrance For You
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REFERENCES
Writer: Case Wu | 2022 November 28
Does life imitate art, or does art imitate life? Both. The usage of references can be controversial. For some, it could present too much of a crutch for one’s taste. Some even fear it could present legal considerations, with the fear that an artist could face legal repercussions as well. Does any of this hold water? Should one truly exercise caution in their artistic pursuits? Definitely not. We’d like to dispel such beliefs. References are, by definition, not something you directly copy or claim to use on your own. You utilize references in order to discover new information to be incorporated into our work. References are a great resource when studying to improve. Find photos of the themes and subjects you are trying to learn, study them with quick sketches or try and memorize them in your mind’s eye. Then put them away and try to recreate what you have observed from memory. When you run into a wall and can not go any further, repeat the process. This is a very powerful way to develop your visual library and sense of design.
Can you recognize who is on this piece of art? When used correctly, reference bridges the gap between the limits of our memory and the believability we want to capture in our art. Even if the intent is to create something very stylized or “unrealistic” there is still a valuable place for references. A photo or a real-world object will give you information that you use to inform your art, Even if you are being very selective about what information you choose to include, having more options is better than having less. So have no fear!
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“Magazine editions From the Past: FROM THE PAS were meant to be collectable, featuring FROM THE PAS artists not necessarily known in FROM THE PAS the art sphere, yet.” FROM THE PAS FROM THE PAS FROM THE PAS FROM THE PAS “famed for its shockingly brilliant covers and PAS radical FROM THE editorial tone and for its avant-garde FROM THE PAS influence. ” Jugend (German: “Youth”) (1896–1940) was an influential German arts magazine. Founded in Munich by Georg Hirth who edited it until his passing in 1916, the weekly was originally intended to showcase German Arts and Crafts, but became famous for showcasing the German version of Art Nouveau instead. It was also famed for its “shockingly brilliant covers and radical editorial tone” and for its avant-garde influence on German arts and culture for decades, ultimately launching the eponymous Jugendstil (“Youth Style”) movement in Munich, Weimar and Germany’s Darmstadt Artists’ Colony. The magazine, along with several others that launched
Jugend’s art continues to inspire and offer striking imagery
more or less concurrently, including Pan, Simplicissimus, Dekorative Kunst (“Decorative Art”) and Deutsche Kunst und Dekoration (“German Art and Decoration”) collectively roused interest among wealthy industrialists and the artistocracy, which further spread interest in Jugendstil from 2D art (graphic design) to 3D art (architecture), as well as more applied art. Germany’s gesamtkunstwerk (“synthesized artwork”) tradition eventually merged and evolved those interests into the Bauhaus movement. George Hirth founded the journal in 1896 to launch a new cultural renaissance in Munich. From the start, he intended the magazines to be collectible, and therefore distinct.[3] In the first seven volumes, he featured more than 250 artists, the vast majority unknown.[3] After the First World War, the magazine went out of style with 6 young artists.
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“Associations betw Lebensreform enco “natural” life
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ween Jugendstil and ouraged return to a e-style, grew.”
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The journal also covered satirical and critical topics in culture, such as the increasing influence of the churches (especially Catholicism), and the political right in the Centre Party. The Yale Literary Magazine critic summarized the editoral attitude by noting that “Jugend’s political and social platform [was] one opposition—opposition to everything.” For all that, Jugend’s contribution to the literature of the early modern period remained modest, especially compared to Albert Langen’s competing journal Simplicissimus, which was also founded in 1896. Jugend’s editorial identity originally focused on national and Bavarian regional issues.
“‘Jugend’s political and social platform [was] one opposition—opposition to everything.’ For all that, Jugend’s contributin to the literature of the early modern period remained modest.” That changed in the mid-1920s, when it began catering to, and then entered into dialogue with groups of young artists breaking with traditional approaches to art in the late 19th and early 20th centuries in the Jungendstil in multiple German cities, as well as a series of so-called secessions in Paris, Vienna, Munich, Berlin, Dresden and elsewhere.
Otto Eckmann’s work with the Jugend magazine is what brought him the majority of his fame, so, naturally, one of his personally designed magazine covers would be important to explain. This was one of the earliest editions of the magazine that reeled in a popular market. In Germany, there were around 20,000 readers each week and about 30,000 copies printed. Inside the magazine, every page, front-to-back, was filled with art. Both Eckmann and Peter Behrens became the two most known artists for the magazine, using their skill to print on wood block similar to Japanese and later-adapted French styles. It is evident in this cover in particular that Eckmann enjoyed creating floral designs, that was popular in the German “Lilienstil.” Most importantly, Otto Eckmann was able to promote his font, Eckmann’s script, here on the page. It was a pretty monumental font for the Art Nouveau movement- and especially the German Jugendstil movement. Eckmann’s ideal was to mix Japanese Calligraphy with Medieval font design, which he perfected and used in these magazines. The title of the magazine “Jugend” is written with a brush in his script font, which is notable in itself due to the fact 1 that most fonts were wrote with pen at the time. 1
Artist SHOWCASE Showcase: Hirohiko Araki SHOWCASE 荒木 飛呂彦 SHOWCASE SHOWCASE SHOWCASE SHOWCASE “I put more emphasis SHOWCASE on giving readers different feelings and SHOWCASE impressions through different color SHOWCASE combinations.” November 2022
You may know him from his work on Baoh, or on Outlaw Man, or from a little known manga/show, Jojo’s Bizarre Adventure (ジョジョの奇妙な冒険). That’s right, Hirohiko Araki is our highlighted artist for this week’s edition!
Araki is one of the most recognizable names in the mangaka/anime world. With famously avant-garde, or initially shocking sense of fashion and character design. He blends the reality and fantasy of his works almost seamlessly. When asked about how he creates such a unique look for all of his characters, especially in Jojo’s Bizarre Adventure:
“I prefer using women’s fashion magazines as a reference when drawing. The models in men’s fashion just stand around, while the models in women’s fashion are always doing interesting poses, like twisting their hips or bending their necks.” –Hirohiko Araki 荒木 飛呂彦, SPUR, 2018
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Araki’s art was presented at Le Louvre in France! Utilising the French flag’s colors, Red, White, Blue. With a wavy pattern for a Japanese touch.
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NEXT ARTIST
艾未未 艾未未 艾未 “Expressing oneself is a part of being human. To be deprived of a voice is to be told you are not a participant in society; ultimately it is a 未 艾未未 艾未未 denial of humanity. “ 艾未未 艾未未 艾未
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INTERVIEW W/ INTERVIEW W/ INTERVIEW W/ 未INTERVIEW W/ INTERVIEW W/ 未INTERVIEW W/ INTERVIEW W/ INTERVIEW W/ INTERVIEW W/ An Interview With: HIROHIKO ARAKI 荒木 飛呂彦
QUESTION: What is your goal when creating your works? You switched from a weekly to a monthly schedule.
ANSWER: I want to draw art powerful enough to captivate the whole room. For example, Picasso’s paintings have an overwhelming presence about them. Manga like Dragon Ball and Slam Dunk also have this same kind of energy that makes them instantly recognizable. QUESTION: What made you interested in becoming a Manga artist?
ANSWER: I made my first manga when I was in the 4th grade of elementary school. I was so happy when a childhood friend came and told me how good it was. Looking back at it, all the things that made me want to become a manga artist originated from my neighborhood.” QUESTION: When you began, your art was quite muscular because Arnold Schwarzeneggar was famous. How is it different now?
ANSWER: I put a conscious effort into creating distinguishable protagonists who don’t have similar silhouettes and appearances. I also have the protagonists function to symbolize the “world” that each part takes place in, so the story influences them as well. Of course, I also don’t want to hinder the evolution of the art itself. I’m always exploring art styles. QUESTION: The Winter months are here! Do you enjoy the weather hot or cold? ANSWER: I was born in Northern Japan, so the colder the weather gets the better. Winter is definitely my season! [Though] Autumn is my favorite season.
Thank you, for taking the time to answer our questions! *INTERVIEWER: John Abble* Jeunesse Writer and self-proclaimed Jojophile
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Edition Cover Artist: Ng Gaa Lohk 吳家樂
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