Artsy Magazine 2017 Issue 2

LASALLE COLLEGE

Eunchae Heo (CHLOE) Shinyeong Park (ANNE)

ISSUE 2

RTSY

Design Elements

Doan Anh Bui (LILY) Sara Basakah (SARA)

Current Art News

Colours -What is Colour?

-Pantone 2017(Greenery)

York University & Sustainable theatre Illustrator

Student Works

Contemporary Designers

Photography Branding Design

Illustrator Graphic Designer

2017

CONTENT

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GRAPHIC DESIGN ELEMENTS

COMTEMPORARY DESIGNERS

- 5 TYPOGRAPHY DESIGN ELEMENTS

BY. EUNCHAE HEO (CHLOE)

- ILLUSTRATOR - GRAPHIC DESIGNER

BY. SARA BASAKAH (SARA)

Sr

INSTRUCTOR

Daryl Askey 12

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CURRENT ART NEWS

STUDENT WORKS

- YORK UNIVERSITY & SUBSTAINABLE THEATRE - ILLUSTRATOR

- PHOTOGRAPHY - BRANDING DESIGN

BY. SHINYEONG PARK (ANNE) BY. DOAN ANH, BUI (LILY)

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ONE OF THE GRAPHIC DESIGN ELEMENTS : Color is one of the most obvious elements of design, for both the user and the designer. It can stand alone, as a background, or be applied to other elements, like lines, shapes, textures or typography. Color creates a mood within the piece and tells a story about the brand.

Every color says something different, and combinations can alter that impression further.

Color is the aspect of things that is caused by differing qualities of light being reflected or emitted by them. To see color, you have to have light. When light shines on an object some colors bounce off the object and others are absorbed by it.

Color Color has three properties. The first is hue, which is the name of the colors. The primary hues are yellow, red, and blue. Secondary colors are made by mixing two primaries. Intermediate colors are mixtures of a primary and adjacent secondary color. The second property of color 4 DECEMBER 2017

COLOUR is value, which refers to the lightness or darkness of hue. The third property of color is intensity, which refers to the purity of the hue (also called “chroma�).

*What is the PANTONE

Color of the Year?

A symbolic color selection; a color snapshot of what we see taking place in our global culture that serves as an expression of a mood and an attitude.

GRAPHIC DESIGN ELEMENTS 5

PANTONE COLOR OF THE YEAR 2017 GREENERY Greenery is symbolic of new beginnings.

Greenery is a fresh and zesty yellow green shade that evokes the first days of spring when nature’s greens revive, restore and renew. Illustrative of flourishing foliage and the

PANTONE

15-0343 Greenery 6 DECEMBER 2017

lushness of the great outdoors, the fortifying attributes of Greenery signals consumers to take a deep breath, oxygenate and reinvigorate.

Greenery is nature’s neutral. The more submerged people are in modern life, the greater their innate craving to immerse themselves in the physical

beauty and inherent unity of the natural world. This shift is reflected by the proliferation of all things expressive of Greenery in daily lives through urban planning, architecture, lifestyle and design choices globally. A constant on the periphery, Greenery is now being pulled to the forefront, it is an omnipresent hue around the world.

A life-affirming shade, Greenery is also emblematic of the pursuit of personal passions and vitality.

COLOUR 7

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DECEMBER 2017

CONTEMPORARY DESIGNERS

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Jessica

Wal ing, art in been provo istic fl look “ ing.�W ents in Colab The Je Aldric Conn orated an ex Museu month happin sculpt

Walsh

Jessica Walsh (born October 30, 1986)is an American graphic designer, art director and illustrator, and a partner at creative agency Sagmeister & Walsh.

After earning her BFA from RISD in 2008, Walsh moved to New York City to intern at design firm Pentagram for nearly a year.She then worked as an associate art director at Print magazineand had design work and illustrations featured in various books, magazines and newspapers, including the New York Times and New York Times Magazine.

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In 2010, Walsh met Stefan Sagmeister. He looked through her portfolio and offered her a job at his design studio, Sagmeister Inc.[3][4] In June 2012, after two years at the firm, Walsh was made partner, at age 25.[8][9] In homage to a nude self-portrait Sagmeister had sent out to announce the formation of his own firm 19 years prior, the new partners released a photo of themselves naked in their office to announce the renaming of the firm to Sagmeister & Walsh. she is known for her Blending handcraft, photography and painting with digital design.

In 20 secon perim eyes, a two d their teachi sons o long w New Y help, t

er. He ffered eister ars at at age ortrait ce the prior, hemounce eister nding g with

Walsh works primarily on branding, typography, website design and art installations.Her signature style has been described as “bold, emotional and provocative”with the occasional surrealistic flourish,and her art has been said to look “hand-made and at times quite daring.”Walsh has worked on projects for clients including Levi’s, Aizone, Adobe and Colab Eyewear,and rebranding efforts for The Jewish Museum of New York and the Aldrich Contemporary Art Museum in Connecticut.Walsh and Sagmeister collaborated on Six Things: Sagmeister & Walsh, an exhibition that opened atthe Jewish Museum in March 2013, and ran for five months. For the exhibit, an exploration of happiness, they created a sound-activated sculpture and five short films.

those who receive the most negative feedback, such as telemarketers and homeless, Walsh and Goodman’s experiment has received astounding feedback.

In 2016, Walsh and Goodman began a second project together, “A 12-step experiment designed to open [their] hearts, eyes, and minds”.Throughout 12 steps, the two designers contributed to society with their kindness and recorded the results, teaching themselves and their readers lessons of how a little contribution can go a long way. From going around the city of New York, asking strangers if they need help, to placing themselves into the shoes CONTEMPORARY DESIGNERS 11

York University School of the Arts, Media, Performance & Design puts sustainable theatre in spotlight

York University associate theatre professor Ian Garrett designed the set and energy-capture system for vox:lumen, a dance show that was performed entirely off-grid at Harbourfront Centre Theatre.

Sustainability is often associated with healthy ecosystems and ethical consumerism. But at York University in Toronto, this concept is also being applied to theatre production in ways that might surprise the most ardent environmentalist.

There’s even an associate professor of ecological design for performance, Ian Garrett. His professional credits include conceiving of the set and energy-capture system for vox:lumen, a groundbreaking dance show performed at night in the Harbourfront Centre 12 DECEMBER 2017

Theatre in the winter of 2015. It was powered entirely by off-grid renewable energy.

“Even though we were in a perfectly good theatre, we opted out of using its electrical system and instead we designed a solar-capture system that was outside the theatre to charge batteries—essentially, marine batteries and inverters inside the theatre—and designed all of our systems around only using energy we could capture,”

York University is the lead educational partner in Climate Change Theatre Action, which has been launched to coincide with the 150th anniversary of Confederation.

Garrett said this project commissioned 50 playwrights to write five-minute plays on a wide range of environmental topics, including water issues, tarsands, and the existential dread around climate change.

They have been and are being read over a six-week period, until November 18, at 200 sites around the world.

“It’s bringing the arts into the centre of conversation as a way to help people—for lack of a better way—to cope with one of the largest issues of our time,” Garrett explained.

These are just some of the ways in which York’s School of the Arts, Media, Performance & Design is challenging conventional wisdom about what theatre can be in the 21st century.

Garrett said the goal is to teach undergraduates in the performance-creation-and-research program how they can impact the field in the future rather than focusing only on what’s happening currently or has occurred in the past.

“The type of student we’re interested in is a hungry theatre animal—somebody interested in finding different ways of exploring,” he said. “We’ve been recently evolving a lot of graduate programs with that same sort of core ethic.”

York University theatre graduates include Thea FitzJames, a creative dynamo who conceived Naked Ladies, which addresses how the female body has been portrayed in popular culture and throughout the ages.

She’s currently studying for her PhD in performance creation and research from York; according to Garrett, her work is heavily informed by her scholarship.

Other theatre alumni from York include Vancouver lighting designer Brad Trenaman, who is focused on energy efficiency, and socially conscious clown artists Morro and Jasp, a.k.a. Amy Lee and Heather Marie Annis. They have turned what was once seen as children’s entertainment into a powerful platform.

Garrett said that York has a solid foothold across various artistic disciplines and first-year theatre students share a common touchstone—collaborative practice—that informs their approach. And he emphasized that research serves as the “spine of all of the programs”.

While professors take delight when students push the boundaries of theatre as performance, the academics also keenly interested in ensuring that students understand how that is experienced.

“One of the strengths of the department is its comprehensiveness,” Garrett said.

There’s another advantage that comes with studying theatre at York: Toronto's thriving theatre scene.

“It’s the third-largest English-speaking theatre community in the world, behind London, England, and New York,” Garrett noted.

York University’s Ian Garrett specializes in the ecological design of performances.

CURRENT ART NEWS 13

FER N thou ANDES: t the ir cu It goes b cally but a ltural p ack to t he er lso th e rem formanc colonia lh e oval up in of cu gestures. istory, th E a s ltura t Th e phys l trac eir fun idea tha ically Africa a ction e. t think nd livi has b the Fren ng in ing a ch een t bout t aken came an the m he Weste away d rn asqu and colonize erad world, w t d an er, p h ey’ve d hysic hen I fi j u r s ally t s t bec removed hink t came, t ome ing a h part things fr bout ere was of a al colle om their the p ction p erfor ways this of pr laces of o man i d e a ce, th imiti t vism e lab hat I wa s exo , our, all th tic. W e act ions e always that go in see these to th o e obj bje ects.

BRENDAN BRENDAN FERNANDES’ FERNANDES’ HYBRID HYBRID GHOSTS GHOSTS The Kenyan-born artist re-animates lost worlds

LIZZY HILL: I was really intrigued by your choice to juxtapose imagery from French classical ballet with West African masquerade objects, given France’s colonial history in the regions that the objects you feature are produced in. What kind of a discourse are you hoping to create between these two worlds?

BRENDAN FERNANDES: It goes back to the colonial history, the idea that the French came and colonized and removed things from their places of origin. All of these objects come with utilitarian, ceremonial trajectories, dances, but we take the objects and we just exotify them. They’ve been placed in museums without their cultural performance gestures. Their function has been taken away and they’ve just become part of a collection of primitivism, which then you know went on to influence artists like Picasso, but the cultural liveliness is removed. I’m considering that colonial history of removal—the removal physically but also the removal of cultural trace.

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For me growing up in East Africa and living in the Western world, when I first came, there was always this idea that I was exotic. We always see these objects being exotified and being “African” and pushed into a category of becoming a monolith. So I’m trying to break that down and bring back the identity of these objects, physically thinking about the masquerader, physically thinking about the performance, the labour, all the actions that go into the objects.

“African masqueraders are almost seen as ‘the Other’ because they danced freely.

They danced without rules, without a trainedness.”

I’m looking in a post-colonial direction through movement and dance. Ballet is a French court dance that was started in the court of Louis 14th as a way to bow to the King. It became eventually a dance form that represented the ‘civilized’, trained body. So the juxtaposition of the ballet body is almost like an ode of apology, an ode of giving back a body, creating a new kind of body—a hybrid body, but it’s also a ‘civilized’, a trained body—whereas West. African masqueraders are almost seen as “the Other” because they danced freely. They danced without rules, without a trained-ness. So I’m sort of making a juxtaposition with the improvised, free body, which also raises questions such as “What is freedom if it’s also viewed as being untamed and being wild?”

LH: You were a ballet dancer for many years and had to leave dance following an injury—How does that experience inspire your own work?

BF: As a former dancer, I don’t dance on stage anymore but I found a way to interweave my love for dance—and my hate for dance—and my complexities with it in a way that I can be critical, I question it, and I can also be reflective. It’s given me a process of moving forward, of moving on. Also, as a dancer of colour in the ballet world, there’s a question of “Can a person of colour be a principal dancer? Can they take the role of Romeo?”

My injury came because my body type was just not the right body for ballet. Also, I’ve done some work for a piece called Dancing a Leg and also Masquerade Form which looked at ballet foot structures, devices that you attach to your feet to form them into these perfect arches, because foot arches and foot fetish in ballet are very specific and particular. I’ve never had those arches—and what does that mean? In this work I’m giving myself agency as a former dancer who was injured and had to leave because of that, but also finding ways to make dance a part of my work and have it have social and political power within it.

origi n. whic All of the h the s n yo e objects u kn ow w come w ith u ent o tili n to ects i nflue tarian, c bein er nce a g exo rtists emonial tified traje like P and cto bein i c a s s g “Af o, bu ries, dan rican t the c ” and cultu es, but w push e ral li velin take the ed in ess is to a o categ remo bjects an ory o d v ed. I f b ec ’m co we just e omin x nsid gam ering otify the onol m. Th that ith. S c o l o o I’m nial ey’ve histo tryin ry g to brea k tha t dow n an d bri ng b

“I think all my work deals with the dynamics of power and hegemony.”

CURRENT ART NEWS 15

16 DECEMBER 2017

Life Style Yun-Hsin Lu

Photography/ Portrait

What is your criteria taking photo?

-Mood/ Feeling.

Where is your favorite place to shoot?

-Anywhere...

When do you feel taking photo?

-Melancholy/ Depressed.

What did you most enjoy taking photo?

-Just that moment/ Taking photo itself.

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18 DECEMBER 2017

Fall-ing Shinyeong Park

Photography/ Packaging design

What do you usually take?

-I usually take what I usually see...For example, trees, lights, street...etc.

It doesn’t have to be special things to be taken... I also enjoy taking landscape.

What inspires you the most?

-Nature.

When you design, how do you pick the colours?

-I usually take photos first and refer to them when I design.

What did you most enjoy during this work?

-I enjoyed planning the design after taking the pictures, it’s actually most difficult part, too.

STUDENT WORKS

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Lasalle College Vancouver 2665 Renfrew St Vancouver BC V5M 0A7 Canada