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SURREALJST METAPHOR IN FASHON GESTAIJPSYCOLOGY PHOTOSHOP EXPERIMENTING VINTAGE CAR OUTFIT VISUAL RHETORIC CQ\AMUNIICATION OF VISUAL MESSAGES HOW RUSSIANS USED POSTERS DURING REVOLUTION
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CRITICALVISUALANALYSIS
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WARDRa3E PHOTOGRAPHY
PHOTO SHOP EXPERIMENTING
PHOTOSHOP EXPERIMENTING
STILLLJFE PHOTOGRPAHY
ILLUSTARTED GRAPHICS
ANDY WARHOLPOP ART PORTRAITS
FASHION ART PRACTIONERS
MARY KATRANTZOU A/W 2018
ANDYWARHOLINSPIRED OUTCOME
PHOTO REALJSM- STEFANIA FERSINI
ILLUSTRATED POSTER
CONDUCTING VISUAL ANALYSIS fvONIQUE BAUMANN COLLAGES CONTRAST AND HOW IRVING PENN USEDIT
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STILLPHOTOGRAPHY- CHRIS RHODES
MEET THE GUCCI GHOST
R.I.P TYPEFACES
SERGEBLOCH
LOEWE INSIGNIA BY MM PARIS
FASHION Efv1JOIS FOR CHINA STEVEN MIESELS EfvOTICON INSPIRED PORTRAITS
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HORST P. HORST Fashion photograph, 1930s Horst's photograph of shattered glass reflecting a young girl is a counterpart of the fractured glass mirroring beauty in thejackets of Schiaparelli and Saint Laurent.
SERGE LUTENS Advertsiment for Les Rhythmiques, by Chisrtian Dior, 1979 Sheet music. the graphic repre sentation of the ineffable sound sof music. becomes the physical of clothing.
source:Book- Fashion and Surrealism 10
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This image is an artistic piece by Henry Koerner and the painting, like many of Henry Koerner's paintings, reveals the artist's preoccupation with his experiences during the Second World War. Born in Vienna to Jewish parents, Koerner escaped Austria following Hitler's 1938 invasion, fleeing first to Italy and subsequently to America. Soon after, he was drafted by the United States military and stationed in Europe, where he was assigned to sketch the proceedings of the Nuremberg trials. Koerner returned to Vienna only to learn that his parents, who had stayed in Austria, had died in concentration camps during the war. Mirror of Life
emerges from this context of conflict and loss. Disorienting juxtapositions- night and day, biblical events and present day-life , ordinary pastimes and bizarre phenome足 non- present a chaotic and disjunctive re足 flection of reality. The shirtless man leaning out of his window seems to be a stand-in for the artist. Home, for him, is not only the place where one resides but also a vantage point from which to witness all that has been lost. Hence, the audience for this paint足 ing would be the people who could in足 terpret the painting and resonates with them. It's meant to be understood by a more artistic strata of the society.
Visual rhetoric is pervasive, in part, because it is powerful. Visual messages are volatile, eliciting positive and negative responses simultaneously. The familiar expressions 'seeing is believing' and 'a picture is worth a thousand words' capture their high ethos appeal.
source: Whitney Museum ARTISTA
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in late 1962 he found out how to transfer a picture photo graphically onto a silkscreen and immediately switched to this technique, eliminating all traces of the artist's touch and producing a more me chanically detached picture.
The repetition lends the images an anonymous, impassive ap pearance while specific fea tures in each imperfectly fab ricated unit manage to assert themselves, creating an awkward dissonance between the me chanical facade and the sense of the individual buried within it.
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arhol demanded wealth and fame, and h e considered anybody who had them fascinating that turned into a series of well-known portraits into his work of pop art.
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source: whitney museum
source: art + commerce
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source: louis k. miesel gallery, soho
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. edrd1 M.berry. Gu::d &:n:ta l.oLE \A.itbn TreRow. W fVcQ.. 76
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source:AnOther magazine ARTISTA
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H erbert Bayer was the school's . first master of typography. H is a . ticipation in the movement el � ;o his invention of a Bauhau_s s le font, called Universal. The s1�piicity of the font supported the i_deals of . l of serifs, so d1f the Bauhaus · It's ack ferent from the common German Fraktur typeface, was perfect. , . . ly 1n line w1·th 'form over function.
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Joost Schmidt's poster fo an exhibition at the Bau � haus 1n . 1923 shows many of the graphic forms that the school is known for.
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source: books on bauhaus ARTISTA
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For it's Autumn/Winter 1994-95 col lection, Martin Margiela launched a T-shirt that was one of the fashion world's first charity initiavtives on be half of the fight against HIV/AIDS, So phie Pay and Axel Keller wrote in En glish: "There is more action to be done to fight AIDS than to wear this T-shirt but it' s a good start." MArtin Margei la decided to have the screen-printing done with the T-shirt folded, such that the sentence would be illegible when worn, and thus a topic on conversation.
source: palais galeries exhibition, paris 138
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