Me magazine

july

this is a high quality art magazine, start to list and find out what`s going on with Me...

www.me.me

#1

this is not a black magazine but you must remember C 70 M 70 Y 70 K 100

The whole idea of Me magazine is to represent young artists through their work and stuff they like as music, books ect. I came to this idea because I wanted to see how two artists can work and share together but still stay different, trying to feel someones elses energy but leave some of my traces. That`s how I`m making the whole design of this magazine trying to get close to artists sensibility. But this time I`m trying to get to my senibilty.

So I called this magazine ME because, lately, I have been thinking a lot about myself and I really wanted to find out what is going on.

When I say this, I do not think of me as a person but only as an artist. With this work I wanted to totally express myself and to do everything that I learned or did not learn until now. The previous pages are about drawing and some of the drawings I did this year. Because I am a very emotional person, tears have always inspired me especially when once I cryed for two days allmost without stoping and that`s how I searched about different types of crying and did some photos... Lately I started working in Adobe illustrator more than other programs. I am very interested in 2D illustrations so I started to combine digital drawings with hand drawings, but I also did some only in Adobe illustrator like ``Through my vains`` which I am very proud of.

There are some t-shirt designs too and I hope that one day I am going to realize them. I really like wearing t-shirts and I think that you never make a mistake if you combine a crazy t-shirt with anything else. About a year ago for the theme ``Spaces`` I did a video work... It was a very great experience... I`m also very opsessed with toys, so I have a little collection of Kidrobot toys (but only pictures of toys): and I wanted to share that because I think that this is one of the greatest ways to do art.

As I said in the beginning the next issue will present another artist, I still dont know who I`m gonna pick and I can`t wait to found out.

What I do and what I like other people do.

B.A

Crazy, I’m crazy for feelin’ so lonely, I’m crazy, crazy for feelin’ so blue......

I knew, you’d love me as long as you wanted, And then someday, you’d leave me for somebody new.

Worry, why do I let myself worry?

Wonderin’, what in the world did I do?

Oh, crazy, for thinkin’ that my love could hold you.....2x I’m crazy for tryin’ and crazy for cryin And I’m crazy for lovin’ you.

Crazy, for thinkin’ that my love could hold you, I’m crazy for tryin, and crazy for cryin And I’m crazy for lovin’ you.....

Patsy Cline Crazy album: Patsy Cine Showcase 1961

The term drawing suggests a process and intent that is distinct from the traditional act of painting. While there are drawings that are finished artworks, drawing is often exploratory, with considerable emphasis on observation, problem solving and composition, often as a means of preparation for a painting. In contrast, traditional painting is often a means of execution or finishing an artwork. It is fair to note that modern painters often incorporate methods of drawing in their painting.

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According to a study of over 300 adults, on average men cry once every month; women cry at least five times per month, especially before and during the menstrual cycle when crying can increase up to 5 times the normal rate, often without obvious reasons (such as depression orsadness). In many cultures, it is more socially acceptable for women and children to cry, and less socially acceptable for men to cry.

Tears produced during emotional crying have a chemical composition which differs from other types of tears. They contain significantly greater quantities of hormones prolactin, adrenocorticotropic hormone, Leu-enkephali and the elements potassium and manganese.

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Several contemporary artists use T-shirt as a canvas for their work. Art T-shirts can also be mass-produced with screen printing. Famous artists to have released T-shirts are Keith Haring, Takashi Murakami, Damien Hirst and KAWS. 26/27

Contents

An illustration is a visualization such as a drawing, painting, photograph or other work of art that is created (usually in the form of a work made for hire) to elucidate or decorate textual information (such as a story, poem or newspaper article) by providing a visual represention.

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Is often said to have begun when Nam June Paik used his new Sony Portapak to shoot footage of Pope Paul VI’s procession through New York City in the autumn of 1965. That same day, across town in a Greenwich Village cafe, Paik played the tapes and video art was born. The french artist Fred Forest has also used a Sony Portapak since 1967. This fact is sometimes disputed, however, because the first Sony Portapak, the Videorover did not become commercially available.

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Founded in 2002 by designer Paul Budnitz, Kidrobot is the world’s premier creator of limited edition art toys and apparel. Kidrobot creates toys, apparel, accessories, and other products in collaboration with many of the world’s most talented artists and designers.

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Why am I doing

this

aking art can become dishearteningly difficult.

These “difficulties” can often paralyze artists or send them into a downward spiral of un-creativity or inactivity with no foreseeable end.

So how do we overcome this? How does art get done in the first place?

I ask myself these questions often because I’ll find myself not “finishing” pieces or series. I’ve got a hard drive with terabytes of images that need second and third looks. I’ve got folders and “albums” in my image editing library that should be done with test prints made and uploaded to my online gallery.

As a visual and thinking type, I often find that the images, or artwork, that I haven’t quite completed may better than what I do have finished, even if it’s all just in my head.

While this may be a case of being “my own worst critic” it’s certainly possible that I struggle with a different set of difficulties that prevent me from completing my works.

This isn’t about distractions. I’m increasingly becoming better at avoiding those. Perhaps it’s because I struggle with that common fear that almost all artists struggle with: No one cares!

Okay…that’s putting it very simply. But there’s truth behind those thoughts.

Consider that today, working as an artist, means living in a world filled with doubt and contradiction. It means doing something that no one really cares whether you do it or not. It means creating work that may or may not have an audience and may or may not have any reward.

So I set aside, inasmuch as I can, these doubts so that I can see, not only what I’ve done, but that the path that I’m headed has some sort of fruit bear. It means I have to find, however hard it may be, the self nourishment and fulfillment within the work itself.

Sometimes…this is a cat and mouse game. I’m just not sure if I’m supposed to be the cat or the mouse.

B.A

B.A “These boots are made for me�

2009

collage

13

B.A “ Empty”

2009

collage

B.A, series of drawings, combine tehnique

SMTH ABOUT

Drawing is a form of visual expression and is one of the major forms within the visual arts.

There are a number of subcategories of drawing, including cartooning. Certain drawing methods or approaches, such as “doodling” and other informal kinds of drawing such as drawing on a foggy mirror caused by the steam from a shower, or the surrealist method of “entoptic graphomania”, in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots, may or may not be considered as part of “drawing” as a “fine art.”

The word ‘drawing’ is used as both a verb and a noun: Drawing (verb) is the act of making marks on a surface so as to create an image, form or shape. The produced image is also called a drawing (noun). A quick, unrefined drawing may be defined as a sketch. In simplistic terms, drawing is distinct from painting, perhaps more so in the Western view; East Asian art, which generally only uses brushes, has historically made less distinction between the two. Critics may praise a painter’s ability to draw well, meaning that the shapes, especially of the human body, are well-articulated, or a drawing may be considered painterly.

Adding confusion, similar tools and media may be used in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support. Drawing is generally concerned with the marking of lines and areas of tone onto paper, but watercolor painting uses a paper support. Traditional drawings were monochrome, or at least had little colour,[1] while modern coloured-pencil drawings may approach or cross the boundary (if there is one) between drawing and painting. The term drawing suggests a process and intent that is distinct from the traditional act of painting. While there are drawings that are finished artworks, drawing is often exploratory, with considerable emphasis on observation, problem solving and composition, often as a means of preparation for a painting. In contrast, traditional painting is often a means of execution or finishing an artwork. It is fair to note that modern painters often incorporate methods of drawing in their painting process, particularly in the early stages of a painting.

People have made rock and cave drawings since prehistoric times. By the 12th-13th centuries AD, monks were preparing illuminated manuscripts on vellum or parchment in monasteries throughout Europe were using lead styli to draw lines for their writings and for the outlines for their illuminations. Soon artists generally were using silver to make drawings and underdrawings. Initially they used and re-used wooden tablets with prepared ground for these drawings. When paper became generally available from the 14th century onwards, artists’ drawings, both preparatory studies and finished works, became increasingly common. Since the 14th century, each century has produced artists who have created great drawings. In the 18th century, great drawings were produced by Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau. Masters of drawing during the 19th century included Paul Cézanne, Jacques Louis David, Pierre-Paul Prud’hon, Edgar Degas, Théodore Géricault,Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.

Great drawings in the 1900s have been created by Käthe Kollwitz, Max Beckmann, Jean Dubuffet, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.

The medium is the means by which ink, pigment, or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or water-based (marker, pen and ink).[2] Watercolor pencils can be used dry like ordinary pencil, then moistened with a wet brush to get various painterly effects. Very rarely,

18/19 Sometimes the artist will want to leave a section of the image blank while filling in the remainder of the picture. A frisket can be used for this purpose. The shape of the area to be preserved is cut out of the frisket, and the resulting shape is then applied to the drawing surface. This will protect the surface from receiving any stray marks before it is ready to be filled in.

Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This will hold loose material more firmly to the sheet and prevent it from smearing. However the fixative spray typically uses chemicals that can negatively affect the respiratory system, so it should be employed in a well-ventilated area such as outdoors.

Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets. Papers can vary in texture, hue, acidity, and strength when wet.

Smooth paper is good for rendering fine detail, but a more “toothy� paper will hold the drawing material better. Thus a coarser material is useful for producing deeper contrast.

Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very Typically a drawing will be filled in based on which hand the artist favors. A right-handed artist will want to draw from left to right in order to avoid smearing the image. fine detail.

Coldpressed watercolor paper may be favored for ink drawing due to its texture.

Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which will turn yellow and become brittle much sooner.

The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.

The stroke of the drawing implement can be used to control the appearance of the image. Ink drawings typically use hatching, which consists of groups of parallel lines.

Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, is used to form lighter tones, and by controlling the density of the breaks a graduation of tone can be achieved. Stippling, uses dots to produce tone. Typically a drawing will be filled in based on which hand the artist favors. A right-handed artist will want to draw from left to right in order to avoid smearing the image, fine detail. Coldpressed watercolor paper may be favored for ink drawing due to I` ts to texture.

Metalpoint drawing usually employs either of two metals: silver or lead. More rarely used are gold, platinum, copper, brass, bronze and tinpoint.

Almost all draughtsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.

Prior to working on an image, the artist will likely want to gain an understanding of how the various media will work. The different drawing implements can be tried on practice sheets in order to determine value and texture, and how to apply the implement in order to produce various effects.

B.A

“Electricity� collage

2010

types of

To cry is to shed tears as a response to an emotional state in humans. The act of crying has been defined as “a complex secretomotorphenomenon characterized by the shedding of tears from the lacrimal apparatus, without any irritation of the ocular structures”. The medical term for this is to lacrimate, which also refers to non-emotional shedding of “tears”.

A neuronal connection between the lacrimal gland (tear duct) and the areas of the human brain involved with emotion was established. No otheranimals are thought to produce tears in response to emotional states, although this is disputed by some scientists.

According to a study of over 300 adults, on average men cry once every month; women cry at least five times per month,especially before and during the menstrual cycle when crying can increase up to 5 times the normal rate, often without obvious reasons (such as depression orsadness). In many cultures, it is more socially acceptable for women and children to cry, and less socially acceptable for men to cry.

Tears produced during emotional crying have a chemical composition which differs from other types of tears. They contain significantly greater quantities of hormones prolactin, adrenocorticotropic hormone, Leu-enkephalin and the elements potassium and manganese.

The question of the function or origin of emotional tears remains open. Theories range from the simple, such as response to inflicted pain, to the more complex, including nonverbal communication in order to elicit “helping” behaviour from others.

In Hippocratic and medieval medicine, tears were associated with the bodily humours, and crying was seen as purgation of excess humours from the brain. William James thought of emotions as reflexes prior to rational thought, believing that the physiological response, as if to stress or irritation, is a precondition to cognitively becoming aware of emotions such as fear or anger.

William H. Frey II, a biochemist at the University of Minnesota, proposed that people feel “better” after crying, due to the elimination of hormones associated with stress, specifically adrenocorticotropic hormone. This, paired with increased mucosal secretion during crying, could lead to a theory that crying is a mechanism developed in humans to dispose of this stress hormone when levels grow too high.

Recent psychological theories of crying emphasize the relationship of crying to the experience of perceived helplessness.From this perspective, an underlying experience of helplessness can usually explain why people cry. For example, a person may cry after receiving surprisingly happy news, ostensibly because the person feels powerless or unable to influence what is happening.

Emotional tears have also been put into an evolutionary context. One study proposes that crying, by blurring vision, can handicap aggressive or defensive actions, and may function as a reliable signal of appeasement, need, or attachment.

Although crying is an infant’s only way of communication, it is not limited to one monotone sound. There are three different types of cries apparent in infants. The first of these three is abasic cry, which is a systematic cry with a pattern of crying and silence.

The basic cry starts with a cry coupled with a briefer silence, which is followed by a short high-pitched inspiratory whistle. Then, there is a brief silence followed by another cry. Hunger is a main stimulant of the basic cry. An anger cry is much like the basic cry; however, in this cry, more excess air is forced through the vocal cords, making it a louder, more abrupt cry. The third cry is the pain cry, which, unlike the other two, has no preliminary moaning. The pain cry is one loud cry, followed by a period of breath holding. It is important to note that most adults can determine whether an infant’s cries signify anger or pain (Zeskind, Klein & Marshall, 1992). Most parents also have a better ability to distinguish their own infant’s cries than those of a different child.

There has been some evidence that crying between cultures also has some differences. In western countries such as Canada, the United Kingdom, and the United States, babies cry more than infants in Eastern European countries. East Asian and Southeast Asian babies cry the most in the world, while African babies cry less than anywhere in the world. This is due to an intense amount of crying in the first three months after birth, with periods of crying peaking in the fifth week of age. It is unknown why this difference occurs culturally. A recent study has revealed that babies mimic their parents’ pitch contour.

French infants wail on a rising note while the Germans favor a falling melody.

Photografphy by B.A

koncept: cryin`

model: herself

10 jan. 2010

T - shirt Many people incorrectly use the term T-shirt to describe any short sleeved shirt or blouse; a polo shirt or other collared shirt is not a T-shirt. The sleeves of the T-shirt extend at least slightly over the shoulder but not completely over the elbow (in shortsleeve version). A shirt that is either longer or shorter than this ceases to be a T-shirt. T-shirts are typically made of cotton or polyester fibers (or a mix of the two), knitted together in a jersey stitch that gives a T-shirt its distinctive soft texture.

T-shirts can be decorated with text and/or pictures, and are sometimes used to advertise.

History The T-shirt evolved from undergarments used in the 19th century, through cutting the one-piece “union suit” underwear into separate top and bottom garments, with the top long enough to tuck under the waistband of the bottoms. T-shirts, with and without buttons, were adopted by miners and stevedores during the late 1800’s as a convenient covering for hot environments. T-shirts, as a slip on garment without buttons, originally became popular in the United States when they were issued by the U.S. Navy during or following the Spanish American War. These were a crew-necked, short-sleeved, white cotton undershirt to be worn under a uniform. It became common for sailors and Marines in work parties, the early submarines, and tropical climates to remove their uniform “jacket”, wearing (and soiling) only the undershirt. It is possible that the Navy uniform boards first discovered the T-shirt by watching dock.

Named the T-shirt due to the shape of the garment’s outline, they soon became popular as a bottom layer of clothing for workers in various industries, including agriculture. The T-shirt was easily fitted, easily cleaned, and inexpensive, and for this reason, it became the shirt of choice for young boys (perhaps more the choice of their mothers than of the boys themselves).

Boys’ shirts were made in various colors and patterns.

By the time of the Great Depression, the T-shirt was often the default garment to be worn when doing farm or ranch chores, as well as other times when modesty called for a torso covering but conditions called for lightweight fabrics.

Following World War II it became common to see veterans wearing their uniform trousers with their T-shirts as casual clothing, and they became even more popular after Marlon Brandowore one in A Streetcar Named Desire, finally achieving status as fashionable, stand-alone, outer-wear garments.

Several contemporary artists use T-shirt as a canvas for their work.

Art T-shirts can also be mass-produced with screen printing. Famous artists to have released T-shirts are Keith Haring, Takashi Murakami, Damien Hirst and KAWS.

A Course T-shirt is a printed Tshirt with a military unit’s insignia on it, printed up as a souvenir of attending and/or graduating a course of instruction.[4] Printed shirts bearing unit insignia (only) date back to at least the Second World War. Course t-shirts were in the news internationally after Israeli soldiers were discovered to be wearing t-shirts with anti-Palestinian cartoons on them. In particular, one version showed a pregnant woman in the sights of a sniper rifle, with the slogan “one shot, two kills.".The Israeli military confirmed that the shirts were used to “mark the end of basic training and other military courses." Another design depicted a Palestinian child.

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Trends T-shirts were originally worn as undershirts. Now T-shirts are worn frequently as the only piece of clothing on the top half of the body, other than possibly a bra or an undershirt (vest). T-shirts have also become a medium for self-expression and advertising, with any imaginable combination of words, art and even photographs on display.

A T-shirt typically extends to the waist. Variants of the T-shirt, like the tank top, A-shirt (with the nickname “wife beater"), muscle shirt, scoop neck, and the V-neck have been developed. Hip hop fashion calls for “tall-T" T-shirts which may extend down to the knees. A 1990s trend in women’s clothing involved tight-fitting “cropped" T-shirts that are short enough to reveal the midriff. Another popular trend is wearing a “long-sleeved T-shirt", then putting a short-sleeved Tshirt of a different color over the long-sleeved shirt; this is known as “layering".

A concert T-shirt is a T-shirt that is associated with a concert or a concert tour, usually rock or metal. Bands and musical groups often promote themselves by creating and selling or giving away T-shirts at their shows, tours, and events. A concert T-shirt typically contains silk screened graphics of the name, logo, or image of a musical performer. One popular graphic on the rear of the T-shirts is a listing of information about the band’s current tour, including tour cities (sometimes specifying venues) and corresponding dates.

One of the most popular colors for concert T-shirts is a flat black.

Fans purchase or obtain these shirts to wear to y to another band or type of music.

Decoration In the early 1950s several companies based in Miami, Florida, started to decorate T-shirts with different resort names and various characters. The first company was Tropix Togs, under founder Sam Kantor, in Miami. They were the original license for Walt Disney characters that included Mickey Mouse and Davy Crockett. Later other companies expanded into the T-shirt printing business that included Sherry Manufacturing Company also based in Miami. Sherry started in 1948 by its owner and founder Quinton Sandler as a screen print scarf business and evolved into one of the largest screen printed resort and licensed apparel companies in the United States.

In 1959, plastisol, a more durable and stretchable ink, was invented, allowing much more variety in T-shirt designs.

In the 1960s, the ringer T-shirt appeared and became a staple fashion for youth and rock-n-rollers.

The decade also saw the emergence oftie-dyeing and screen-printing on the basic T-shirt. Several contemporary artists use T-shirt as a canvas for their work. Art T-shirts can also be mass-produced with screen printing. Famous artists to have released T-shirts are Keith Haring, Takashi Murakam, Damien Hirst and KAWS.

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Expressive messages Since the 1980s, T-shirts have flourished as a form of personal expression. Screen printed T-shirts have been a standard form of marketing for major consumer products, such asCoca-cola and Mickey Mouse, since the 1970s. However, since the 1990s, it has become common practice for companies of all sizes to produce T-shirts with their corporate logos or messages as part of their overall advertising campaigns.

Since the late 1980s and especially the 1990s, T-shirts with prominent designer-name logos have become popular, especially with teenagers and young adults. These garments allow consumers to flaunt their taste for designer brands in an inexpensive way, in addition to being decorative. Examples of designer T-shirt branding include Calvin Klein, FUBU, Ralph Lauren and The Gap. These examples also include representations of rock bands, among other obscure pop-culture references. Licensed T-shirts are also extremely popular. Movie and TV T-shirts can have images of the actors, logos and funny quotes from the movie or TV show. Often, the most popular T-shirts are those that characters wore in the film itself (e.g., Bubba Gump from Forest Gump and Vote For Pedro from Napoleon Dynamite).

Designer Katharine Hamnett in the early 1980s pioneered outsize T-shirts with large-print slogans. The early 2000s saw the renewed popularity of T-shirts with slogans and designs with a strong inclination to the humorous and/or ironic. The trend has only increased later in this decade; embraced by celebrities, such as Britney Spears and Paris Hilton, and reflected back on them, too (‘Team Aniston’). The political and social statements that T-shirts often display have become, since the 2000s, one of the reasons that they have so deeply permeated different levels of culture and society. The statements also may be found to be offensive, shocking or pornographic to some. Many different organizations have caught on to the statement-making trend, including chain and independent stores, websites, and schools.

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through my vains

n illustration is a visualization such as a drawing, painting, photograph or other work of art that is created (usually in the form of a work made for hire) to elucidate or decorate textual information (such as a story, poem or newspaper article) by providing a visual representation.

Early history The earliest forms of illustration were prehistoric cave paintings. Before the invention of the printing press, books were hand-illustrated. Illustration has been used in China and Japan since the 8th century, traditionally by creating woodcuts to accompany writing. During the 15th century, books illustrated with woodcut illustrations became available. The main processes used for reproduction of illustrations during the 16th and 17th centuries wereengraving and etching. At the end of the 18th century, lithography allowed even better illustrations to be reproduced. The most notable illustrator of this epoch was William Blake who rendered his illustrations in the medium of relief etching. Notable figures of the early century were John Leech, George Cruikshank, Dickens’ illustrator Hablot Knight Browne and, in France, HonorÊ Daumier. The same illustrators would contribute to satirical and straight-fiction magazines, but in both cases the demand was for character-drawing which encapsulated or caricatured social types and classes.

The British humorous magazine Punch, which was founded in 1841 riding on the earlier success of Cruikshank’s Comic Almanac (1827-1840), employed an uninterrupted run of high-quality comic illustrators, including Sir John Tenniel, the Dalziel Brothers and Georges du Maurier, into the 20th century. It chronicles the gradual shift in popular illustration from reliance on caricature to sophisticated topical observations. These artists all trained as conventional fine-artists, but achieved their reputations primarily as illustrators. Punch and similar magazines such as the Parisian Le Voleur realised that good illustrations sold as many copies as written content.

Golden age of illustration The American “golden age of illustration” lasted from the 1880s until shortly after World War I (although the active career of several later “golden age” illustrators went on for another few decades). As in Europe a few decades earlier, newspapers, mass market magazines, and illustrated books had become the dominant media of public consumption. Improvements in printing technology freed illustrators to experiment with color and new rendering techniques. A small group of illustrators in this time became rich and famous. The imagery they created was a portrait of American aspirations of the time.

A prolific artist who linked the earlier and later 19th century in Europe was Gustave Doré. His sombre illustrations of London poverty in the 1860s were influential examples of social commentary in art. Edmund Dulac, Arthur Rackham, Walter Crane and Kay Nielsen were notable representatives of this style, which often carried an ethos of neo-mediævalism and took mythological and fairy-tale subjects. By contrast the English illustrator Beatrix Potter based her colored children’s illustrations on accurate naturalistic observation of animal-life. The opulence and harmony of the work of the “golden age” illustrators was counterpointed in the 1890s by artists like Aubrey Beardsley who reverted to a sparser blackand-white style influenced by woodcut and silhouette, anticipating Art Nouveau, and Les Nabis. American illustration of this period was anchored by the Brandywine Valley tradition, begun by Howard Pyle and carried on by his students, who includedN.C. Wyeth, Maxfield Parrish, Jesse Willcox Smith and Frank Schoonover.

A movement was started in Latin America by Santiago Martinez Delgado who worked in the 1930s for Esquire Magazine while an art student in Chicago, and later in his native Colombia with the Vida Magazine, Martinez a disciple of Frank Lloyd Wright worked in the Art Deco style. Also in the 1930s the influence of propaganda art and expressionism was felt in the work of the British freelance illustrator Arthur Wragg. His stylised monotone shapes suggested the block-printing techniques used for political posters, but by this time the technology of transferring artwork to printing plates by photographic means had advanced to the extent that Wragg could produce all his work in pen and ink.

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Illustration art Today, there is a growing interest in collecting and admiring original artwork that was used as illustrations in books, magazines, posters, etc. Various museum exhibitions, magazines and art galleries have devoted space to the illustrators of the past.

In the visual art world, illustrators have sometimes been considered less important in comparison with fine artists and graphic designers. But as the result of computer game and comic industry growth, illustrations are becoming valued as popular and profitable art works that can acquire a wider market than the other two, especially in Korea, Japan, Hong Kong and USA. An illustrator is a graphic artist who specializes in enhancing writing by providing a visual representation that corresponds to the content of the associated text.

The illustration may be intended to clarify complicated concepts or objects that are difficult to describe textually. Illustrations have been used in advertisements, greeting cards, posters, books, magazines and newspapers. A cartoon illustration can add humor to humorous essays.

Techniques Traditional illustration techniques include watercolor, pen and ink, airbrush art, oil painting, pastels, wood engraving and linoleum cuts. John Held, Jr. was an illustrator who worked in a variety of styles and media, including linoleum cuts, pen and ink drawings, magazine cover. paintings, cartoons, comic strips and set design, while also creating fine art with his animal sculptures and watercolor landscapes.

There are no formal qualifications needed to become an illustrator. However, many established illustrators attended an art school or college of some sort and were trained in different painting and drawing techniques.

Universities and art schools offer specific courses in illustration (for example in the UK, a BA (Hons)Degree) so this has become a new avenue into the profession.

Many illustrators are freelance, commissioned by publishers (of newspapers, books or magazines) or advertising agencies. Most of the scientific illustrations and technical illustrations are also known as information graphics. Among the information graphics specialists are medical illustrators who illustrate human anatomy, often requiring many years of artistic and medical training. A particularly popular medium with illustrators of the 1950s and 1960s was casein, as was egg tempera. The immediacy and durability of these media suited illustration’s demands well. The artwork in both types of paint withstood the rigors of travel to clients and printers without damage.

Digital art Computers dramatically changed the industry and today many cartoonists and illustrators create digital illustrations using computers, graphics tablets, and scanners. Computers dramatically changed the industry and today many cartoonists and illustrators create digital illustrations using computers, graphics tablets, and scanners.

Fashion Illustration Is the communication of fashion that originates with illustration, drawing and painting. It is usually commissioned for reproduction in fashion magazines as one part of an editorial feature or for the purpose of advertising and promoting fashion makers, fashion boutiques and department stores.

History Fashion Illustration has been around for nearly 500 years. Ever since clothes have been in existence and there was a need to translate an idea or image into a garment there has been a need for fashion illustration. Not only do fashion illustrations show a representation or design of a garment but also served as a form of art. Fashion illustration shows the presence of hand and is said to be a visual.

More recently, there has been a decline of fashion illustration in the late 1930s when Vogue began to replace its celebrated illustrated covers with photographic images. Laird Borrelli, author of Fashion Illustration Now states,”Fashion Illustration has gone from being one of the sole means of fashion communication to having a very minor role. The first photographic cover of Vogue was a watershed in the history of fashion illustration and a watershed mark of its decline. Photographs, no matter how altered or retouched, will a l w a y s have some association with reality and by association truth. I like to think of them (Fashion Illustrations) as prose poems and having more fictional narratives. They are more obviously filtered through an individual vision than photos. Illustration lives on, but in the position of a poor relative”

Past illustrators Andy Warhol (1928-1987), Cecil Beaton (19041980), Paul Iribe (1883 – 1935), Christian Bérard (1902 – 1949), Irwin Crosthwait (1914-1981), Lila De Nobili (1916-2002) and Rene Gruau (19092004), Kenneth Paul Block (1924-2009), Joel Resnicoff (1948-1986).

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Video art Is often said to have begun when Nam June Paik used his new Sony Portapak to shoot footage of Pope Paul VI’s procession through New York City in the autumn of 1965. That same day, across town in a Greenwich Village cafe, Paik played the tapes and video art was born. The french artist Fred Forest has also used a Sony Portapak since 1967. This fact is sometimes disputed, however, because the first Sony Portapak, the Videorover did not become commercially available until 1967 (Fred Forest does not contradict this, saying it was provided to him by the manufacturers) and that Andy Warhol is credited with showing underground video art mere weeks before Paik’s papal procession screening. Fred Forest does however stipulate on his website that in 1959 Wolf Vostell incorporated a television set into one of his works, “Deutscher Ausblick” 1959, which is part of the collection of the Museum Berlinische Galerie possibly the first work of art with television. In 1963 Vostell exhibited his art environment “6 TV de-coll/age” at the Smolin Gallery in New York. This work is part of theMuseo Reina Sofia collection in Madrid.

Prior to the introduction of the Sony Portapak, “moving image” technology was only available to the consumer (or the artist for that matter) by way of eight or sixteen millimeter film, but did not provide the instant playback that video tape technologies offered. Consequently, many artists found video more appealing than film, even more so when the greater accessibility was coupled with technologies which could edit or modify the video image.

The two examples mentioned above both made use of “low tech tricks” to produce seminal video art works. Peter Campus’ Double Vision combined the video signals from two Sony Portapaks through an electronic mixer, resulting in a distorted and radically dissonant image. Jonas’ Organic Honey’s Vertical Roll involved recording previously recorded material as it was played back on a television — with the vertical hold setting intentionally in error.

The first multi-channel video art (using several monitors or screens) was Wipe Cycle by Ira Schneider and Frank Gillette. An installation of nine television screens, Wipe Cycle for the first time combined live images of gallery visitors, found footage from commercial television, and shots from pre-recorded tapes.

The material was alternated from one monitor to the next in an elaborate choreography.

At the San Jose State TV studios in 1970, Willoughby Sharp began the “Videoviews” series of videotaped dialogues with artists. The “Videoviews” series consists of Sharps’ dialogues with Bruce Nauman (1970), Joseph Beuys (1972), Vito Acconci (1973), Chris Burden (1973), Lowell Darling (1974), and Dennis Oppenheim (1974). Also in 1970, Sharp curated “Body Works,” an exhibition of video works by Vito Acconci, Terry Fox, Richard Serra, Keith Sonnier, Dennis Oppenheim and William Wegman which was presented at Tom Marioni’s Museum of Conceptual Art, San Francisco, California.

Although it continues to be produced, it is represented by two varieties: single-channel and installation. Single-channel works are much closer to the conventional idea of television: a video is screened, projected or shown as a single image, Installation works involve either an environment, several distinct pieces of video presented separately, or any combination of video with traditional media such as sculpture. Installation video is the most common form of video art today. Sometimes it is combined with other media and is often subsumed by the greater whole of an installation or performance. Contemporary contributions are being produced at the crossroads of other disciplines such as installation, architecture, design, sculpture,electronic art, VJ (video performance artist) and digital art or other documentative aspects of artistic practice.

The digital video “revolution” of the 1990s has given wide access to sophisticated editing and control technology, allowing many artists to work with video and to create interactive installations based on video. Some examples of recent trends in video art include entirely digitally rendered environments created with no camera and video that responds to the movements of the viewer or other elements of the environment. The internet has also been used to allow control of video in installations from the world wide web or from remote locations.

Emerging in the 1970s, Bill Viola (USA) continues as one of the world’s most celebrated video artists.

Matthew Barney, the creator of the Cremaster Cycle, is another well-known American video artist. Other contemporary video artists of note include Gary Hill (USA), Arambilet (Dominican Republic – Spain), Fred Forest 1967 (France), Tony Oursler, Mary Lucier,Paul Pfeiffer, Sadie Benning, Paul Chan, Eve Sussman and Miranda July; Eija-Liisa Ahtila (Finland), Pipilotti Rist (Switzerland); Stefano Pasquini (Italy); Shaun Wilson (Australia); Stan Douglas (Canada); Douglas Gordon (Scotland); Olga Kisseleva (Russia); AnneMie van Kerckhoven (Belgium); Martin Arnold (Austria); Matthias Müller (Germany), Gillian Wearing (UK);Stefano Cagol (Italy); Helene Black (Cyprus); Shirin Neshat (Iran/USA); Aernout Mik (Netherlands), Buryan Oleg (Russia) and Walid Raad (Lebanon/USA).

Presentation of my video work

City of Danger

In the beginning of the video, we can see a space. It can be noticed by the sound which is different from the one in the cardboard city. The creature that scouts The City of Danger very carefully, falls into the town and still looks and searches very confused, and the fearless curiosity takes him to the building above which is a sign that says The House of Danger. There it finds a ninja, the only survivor in the City of Danger which is attackted by small pieces of paper and there the video ends.

This video is made for the task traversing spaces, meaning a real space combined with the space in Maya program. I used programs such as after effects,premier and maya. The space where ninja is, is made in maya and the ninja itself in photoshop, than I imported it in after effects and in that way I made the interaction. In the end I imported all in premier where I also made the sound.

I digitized with a simple sony camera. As it can be seen, it is very simple and it lasts 2:18 min.

The whole video and the space made of colored cardboards remindes of a childs play.

I fitted the funny story and the name of the city to this na誰ve way of filming.

I found very interesting the comments of my colleagues because everyone had a different imaginary story for the video and I liked how every sounded. I think that my work gives a option or opportunity because every viewer can make its own story.

B.A

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ABOUT KIDROBOT Founded in 2002 by designer Paul Budnitz, Kidrobot is the world’s premier creator of limited edition art toys and apparel. Kidrobot creates toys, apparel, accessories, and other products in collaboration with many of the world’s most talented artists and designers.

The products sold at Kidrobot are the centerpieces of a global movement that exemplifies the cutting edge of both pop art and mass culture. Many Kidrobot toys, such as Dunny, MUNNY, and Frank Kozik’s Labbits and Mongers, attract huge followings. Artists that work with Kidrobot have gained celebrity statusthese include USA artists Frank Kozik, Tim Biskup, Huck Gee, Joe Ledbetter, Tristan Eaton, Paul Budnitz, and Tara McPherson; the German design collective eBoy; Japan’s Devilrobots & Mad Barbarians; French street artists Tilt & Mist; the UK’s TADO and ilovedust; Australia’s Nathan Jurevicius; Argentina’s DOMA; and many, many others.

Kidrobot also regularly collaborates with many of the world’s top brands to create unique limited editions products. Past collaborations include Marc Jacobs, Visionaire Magazine, Barneys New York, The Standard Hotels, Playboy, Burton, Nike, Lacoste, Nooka, Matt Groening & more.

A blend of sculpture and popular art, many of Kidrobot’s exclusive toys are extremely rare and collectible. Artists often create a series of only a few hundred to a few thousand pieces, so once a toy is sold out, it’s sold out forever. Kidrobot toys retail anywhere from $5 to $25,000, and many appreciate in value over time.

The Museum of Modern Art in New York City (MoMA) acquired 13 Kidrobot toys in late 2007, adding these iconic pieces to the museum’s collection.

In 2006, Kidrobot launched its exclusive apparel line. Vibrant, distinctive, and produced in limited runs, Kidrobot apparel draws from the company’s unique pop art aesthetic.

Kidrobot stores are located in New York City, San Francisco, Los Angeles, Miami, and London, with temporary pop-up stores appearing from time to time in other cities worldwide. Our products can be found online at kidrobot.com and in select retailers worldwide.

ABOUT PAUL BUDNITZ Paul Budnitz is the president and founder of Kidrobot, the world’s premiere creator of art toys, fashion apparel and accessories.

The son of a nuclear physicist and a social worker, Paul Budnitz was professionally coding safety analysis software for nuclear power plants by the time he reached high school. He also created video games for the now-legendary Commodore 64 home computer. By the time he reached college he swore he’d “never touch another computer again.”Budnitz studied photography, sculpture and film at Yale University, earning honors and a degree in Art in 1990.His first two films, 93 Million Miles from the Sun and Ultraviolet won awards in Berlin and were distributed worldwide. Artforum magazine hailed 93 Million Miles as “one of the best films of 1997.”

As Budnitz’s energies became increasingly devoted to moving images he became aware of gaps in existing technology. “Since there weren’t any affordable ways to edit a film on a computer in 1995, I hacked my own hardware system to edit my films,” .

Design and editor : Brigita Antoni Artist: Herself Text is a combination of thoughts and wikipedia You can find this magazine in all libraries in Montenegro with a price of 55 eur (you can also pay in 6 months installments);