POINT OF SIMPLICITY ISSUE#3 LINES

Page 1

lines


COVER IMAGE BY DR.ULRICH BEDNARZ “BLACK ANGEL'S EYES”

POINT OF SIMPLCITY Teya Saveleva, editor in chief

Proof-reading team: Al McDermid Jade Leamcharaskul



4 POINT OF SIMPLICITY| EDITORIAL

LINES POINT OF SIMPLICITY #3

I am pleased to present the third issue of “Point of Simplicity”, a free pdf-based monthly digest devoted to fine art photography.

graphic pillars of movement, and rhythm. I’ll take the liberty of quoting the “Line and Form” manuscript, a theoretical corner stone of visual arts written by Walter

Before proceeding to the current

Crane in 1914: “Line is the beginning and

theme, I would like to express gratitude to

the end of art”. Horizontal or vertical,

everyone from DeviantArt, the Ode-to-

straight or curved, thin or thick, it defines,

simplicity group and the online photo-

directs and orchestrates the image in a

graphic community who have been sup-

very powerful, controlling manner.

porting our project by helping our team to produce the magazine and by spreading the word about us all over the world, even to its most unexpected corners that have Internet connection. We are slowly gathering our readership, and hope to deliver interesting reading and inspirational imagery in upcoming issues. The project is set to run for one year, but we may reconsider it if things go well. This issue is all about lines, photo-

This issue will guide you through the very different and even unexpected use of lines in various genres of photography, such as landscapes, artistic nudes, plant photography and many more. Rolling waves of spacious rustic landscapes by Jure Karavanja (Slovenia), laconic and plastic human sculpture by Eric Marrian (France), and moving close-ups of plants by Joanna Kossak (Poland) followed by the usual assortment of stunning imagery by selected photographers.


5 POINT OF SIMPLICITY| EDITORIAL

Dear readers, I hope you that this issue of “Point of Simplicity� magazine opens pathways in yet unexplored directions!

Teya Saveleva July 2011

Acknowledgements I take immense pleasure in thanking Ode to Simplicity group, my Co-Founders Yana Kotina and Pia Gustafsson, groups administration and members for their kind support and everyday inspiration. You are the people who make this magazine happen! I wish to express my deep sense of gratitude to Sravanthi Kollu, Ian Carter and Benita for their remarks and suggestions, which helped me in completing this issue. I offer my sincerest gratitude to Jure Kravanja, Eric Marrian and his wonderful agent Nathalie, Joanna Kossak, Dr. Ulrich Bednarz and every author featured in this issue for agreeing to participate and granting me with the honour to publish your work here. Finally, I would like to express my heartfelt thanks to my better half and friends for their support and wishes for the successful completion of a yet another issue of Point Of Simplicity magazine.


6 MAITRE OF PHOTOGRAPHY | JURE KRAVANJA

http://www.photographer-jure-kravanja.com/


7 MAITRE OF PHOTOGRAPHY | JURE KRAVANJA

Jure Kravanja is from Celje, Slovenia. Originally an expert in sociology and pedagogics, became interested in photography after turning forty. The hobby quickly progressed into a passion and a way of life. Jure normally creates abstract or architectural photography. His work has been published in many renowned magazines such as Black & White Magazine and FotoVideo. An established member of Onexposure and other leading online galleries, Jure has also exhibited at the New York Photo Festival, and garnered several FIAP awards. Performing research at the Clinical Psychiatric Center Ljubljana, his chief interest now lies in photography as a means of diagnostic and therapeutic treatment.


8 MAITRE OF PHOTOGRAPHY | JURE KRAVANJA


9 MAITRE OF PHOTOGRAPHY | JURE KRAVANJA


10 MAITRE OF PHOTOGRAPHY | JURE KRAVANJA


11 MAITRE OF PHOTOGRAPHY | JURE KRAVANJA


12 MAITRE OF PHOTOGRAPHY | JURE KRAVANJA


13 MAITRE OF PHOTOGRAPHY | JURE KRAVANJA


14 MAITRE OF PHOTOGRAPHY | JURE KRAVANJA


15 MAITRE OF PHOTOGRAPHY | JURE KRAVANJA


16 MAITRE OF PHOTOGRAPHY | JURE KRAVANJA


17 MAITRE OF PHOTOGRAPHY | JURE KRAVANJA


18 MAITRE OF PHOTOGRAPHY | JURE KRAVANJA


19 MAITRE OF PHOTOGRAPHY | JURE KRAVANJA


20 MAITRE OF PHOTOGRAPHY | JURE KRAVANJA


21 MAITRE OF PHOTOGRAPHY | JURE KRAVANJA


Beauty of style and harmony depend on


y and grace and good rhythm n simplicity. Plato


24 GUEST FEATURE | ERIC MARRIAN

www.marrian.fr

NSFW


25 GUEST FEATURE | ERIC MARRIAN

After graduating from a school of architecture Eric Marrian had given up photography over his job as an architect, but returned to it in 2003. The prolonged period of absence from his photographic passion has been fruitful, allowing a clean slate; Eric held numerous remarkable exhibitions and gathered honourable awards. His photographs can be seen in private collections in France and abroad, and have been published in such photographic magazines such as Le Figaro Magazine, Digital Camera and others. Building on his architectural background, Eric has a unique style of creating numb and cold human sculpture using nothing but natural human lines and plastic forms.


26 GUEST FEATURE | ERIC MARRIAN


27 GUEST FEATURE | ERIC MARRIAN


28 GUEST FEATURE | ERIC MARRIAN


29 GUEST FEATURE | ERIC MARRIAN


30 GUEST FEATURE | ERIC MARRIAN


31 GUEST FEATURE | ERIC MARRIAN


32 GUEST FEATURE | ERIC MARRIAN


33 GUEST FEATURE | ERIC MARRIAN


34 GUEST FEATURE | ERIC MARRIAN


35 GUEST FEATURE | ERIC MARRIAN


36 GUEST FEATURE | ERIC MARRIAN


37 GUEST FEATURE | ERIC MARRIAN


38 GUEST FEATURE | ERIC MARRIAN


39 GUEST FEATURE | ERIC MARRIAN


40 GUEST FEATURE | ERIC MARRIAN


41 GUEST FEATURE | ERIC MARRIAN

PointOfSimplicity (PS): Eric, thank you very much for joining us. We are honoured to feature you.

partially from the artist’s analysis of the self; it takes us a while to understand what we are doing artistically.

Eric Marrian (EM): Hello. But please, don’t say “honour” – don’t go that far. Humility is essential, but it is unfortunately a quality that one can easily lose if not careful.

PS: Eric, in your opinion, what is the one thing that photography has that architecture does not?

PS: Eric, although you have a degree in you say that photography is your first love. What was the turning point that led you to plunge into photography in 2000? EM: It was actually in 2003, when I saw the rendering of a scanned negative. At the end of my studies, I was spending time in the darkroom, but then, with the start of career and the birth of my children, photography became impossible and so I had to put it on hold for a while. Oddly, I stopped completely, and I didn't even maintain a "common" practice of photography. Seeing what a negative scanner and a good digital processing could do, I concluded that I could easily return to photography, and this is what I did. PS: Eric, has being an architect contributed to your creative work as a photographer? EM: The answer is yes of course (though, I wonder if it wasn’t rather my interest in geometry that attracted me to the architecture?). However, it took me sometime before I could move my photographic style clear of my architectural viewpoint. In my opinion, creation comes

EM: It's undeniable that these two activities have some affinities, however, they aren't comparable. They have different influences and do not operate in the same dimensions. Some rules are obviously applicable to both, but that's where similarities end. PS: Are there names in photography or art that you look up to? EM: Once I step in here, I fear that I won’t stop. Starting with the obvious (Harry Callahan, Eiko Hosoe, Man Ray, Kenna, etc...) to the classical (from Demachy or Kühn to Sieff, Cartier-Bresson, Frank, Avedon, Sarah Moon or Diane Arbus), and up to the contemporaries (Mapplethorpe, Masao Yamamoto, Michel Vanden Eeckhoudt, Pentti Sammalhatti) and not forgetting the friends (Guy Le Querrec, Vee Speers, etc...). The last but not the least - the influence of painting (including abstract) and, of course, sculpture (from Michelangelo to Henry Moore). That’s my short list. I warned you. PS: Eric, after spending a lot of time browsing through different galleries and series in your portfolio, I noticed that both your nudes and those photos taken on the


42 GUEST FEATURE | ERIC MARRIAN

street have a rhythm drawn with lines. What is it about lines that fascinate you? EM: “Carre Blanc” ("White Square") is the series that led me realize this trend myself. This confirms what I said earlier, that artists often have very little ability to analyse their own work. I hate talking about my work in these terms, because I always turn to a very critical approach. Thank God, I have agents who are really much better at this. PS: What inspired you to embark on a journey of making the “Carre Blanc” series? EM: It was accidental as it always is. It all started with a test session done with a 4x5 camera that a photographer friend, Gilles de Beauchene, offered me to try out. That day a small detail from one of my photographs, a fragment that very clearly captured a combination of lines and skin texture, caught my eye. I became attached to this combination, seeking with this series a representation of the nude that is graphic, surreal, and completely asexual at the same time. Though the latter can sometimes be reversed in many curious ways . . . Ironically, it's only after I had seriously advanced into this series that I started to meticulously study the works of Callahan, Hosoe and many others. (I still make new discoveries along the way). PS: What is a human body for you? Is it flexible clay? Or a capricious idol?

EM: The human body is not soft. I think it is imposing. If I were to refer to a substance, I would choose the marble rather than clay. Nude photography is more than a physical or intellectual struggle with the model; it is the quest for perfection that interests me, and the fact that finite perfection has nothing to do with our era's actual beauty canons or anything else . . . PS: Some say that your nude works have more in common with still lifes or sculpture than with conventional portraiture or artistic nudes. Do you think this can be said of your work? EM: Without a doubt, but it's also a real motivation. Again, with this series I wanted to deviate from any purely erotic undertones, and consider the nude as a pure subject of plasticity. Now, and as always, this work has evident origins and a lot of more or less renowned artists have already taken similar paths. Once we are interested in a particular photographic domain, there are very few subjects and renderings that haven't been visited and revisited many times. That's why I'm not really interested in pictures but mostly in the entire work, the whole series. I don't talk about what I do in this case, but about what I like to see. PS: Eric, what are your best three tips you can give for working with models? EM: We gather to take pictures and nothing else. The rest should be simple. On another level, a model, paid or not,


43 GUEST FEATURE | ERIC MARRIAN

offers their time and attitude, so the least we can do is to treat them as we should, be attentive and specific, and to trust each other. As a final point, be clear about your creative intentions and convey this in advance - remember that you owe them the image. PS: Eric, thank you very much for your time. Do you have any advice or final words of encouragement for our readers? EM: Visit exhibitions, and if you can, do not hesitate to invest in a beautiful library, and even original works. Learning how to see is not limited to taking pictures.

Š All rights for the artistic work presented on pages 24-41 belong to Eric Marrian. www.marrian.fr


Manifest p Embrace s Reduce se Have few


plainness. simplicity. elfishness. w desires. Lao Tzu


46 PROJECT FEATURE | JOANNA KOSSAK

http://joannakossak.deviantart.com/


47 PROJECT FEATURE | JOANNA KOSSAK

Joanna Kossak is a plant photographer from Warsaw, Poland. Joanna’s way to what may now be called her personal style was long-winded: a graduate with a degree in Advertising she started out as a theatrical photographer. Years later, in 2003, she made her first steps in photographing plants for national garden magazines, then spent some time shooting stock. It was not until she came across tropical plants like Agaves and Cactuses that she embraced her fascination with their bold colours and simplistic forms. Joanna is currently a photographic editor for Polish magazine “Weranda”.


48 PROJECT FEATURE | JOANNA KOSSAK

When I first had a deeper look into

step is editing. I try to add the right col-

plant photography, I started paying atten-

our and contrast to the picture to make it

tion to the simple lines. Delicate lines of

look more intense, deeper.

creepers and grass remain my inspiration. In the beginning I felt drawn to compelling colours and the unusual organic shapes which are dynamic yet difficult to fit into a frame.

But, frankly speaking, the hardest part about photography is opening your mind to discover fascinating shapes in routine outlines, the same outlines you do not even pay attention to in everyday

The series presented on these pages

life. For me, photography is very much

of this issue is about my favourite plants

like slowing down, stopping and walking

of choice: Cactus and Agava. Very plastic

into a different world - the world of

yet beautiful plants. As you can see, the

plants.

key thing about my plant series is the cold tone. I have been fascinated by Northern countries for a while now and

Joanna Kossak

using a cold palette reminiscent of twi-

July 2011

light or midnight tones is my way of paying homage to my passion for the North. I like taking photographs using natural light. In my opinion, delicate and soft photographs with low contrast are especially beautiful. Technically the hardest part for me is adjusting camera settings in order to place the depth of field in the best way, so that the crisp sharpness of the lines felt right and did not destroy the fragile dynamics of the picture. The next difficult

Š All rights for the artistic work presented on pages 43-53 belong to Joanna Kossak.


49 PROJECT FEATURE | JOANNA KOSSAK


50 PROJECT FEATURE | JOANNA KOSSAK


51 PROJECT FEATURE | JOANNA KOSSAK


52 PROJECT FEATURE | JOANNA KOSSAK


53 PROJECT FEATURE | JOANNA KOSSAK


54 PROJECT FEATURE | JOANNA KOSSAK


55 PROJECT FEATURE | JOANNA KOSSAK


56 PROJECT FEATURE | JOANNA KOSSAK


57 PROJECT FEATURE | JOANNA KOSSAK


Simplicity is the gl


lory of expression. Walt Whitman


60 WANT TO BE FEATURED? | SUBMIT YOUR WORK!

ISSUE#4.CITY SUBMIT YOUR WORK UNTIL AUGUST 25 2011 & GET PUBLISHED!


61 WANT TO BE FEATURED? | SUBMIT YOUR WORK!

HOW TO SUBMIT? 1.

Follow us on Facebook or Twitter and share links to your galleries or shots by replying to our posts.

2.

Follow Ode-to-simplicity on DeviantArt and suggest your photos as Favourites to the specially designated folder.

We are glad to discover and publish photographers with a fresh, untarnished view of the world. We are looking for beauty, novelty, depth, transience, special touch, and, well, simplicity. You may not be very famous, but you should have something special to show ♼ By submitting your work you give us the right to publish it on the pages of this magazine and you agree to your work being distributed digitally via issuu.com media plugin, which can be pasted virtually anywhere on the Internet (see Terms and Conditions). We do not publish every work submitted. We select the shots which we think are a better fit to current theme and general aesthetics of the issue. The choice is subjective and cannot be discussed. Once your work is selected for publishing we will contact you to verify your basic contact information such as your name or nickname, title of the featured work and link to your gallery. This information will be published alongside your work. If you have any questions, please send us an e-mail to simplicity.pdf@gmail.com.


62 LINES CONTEST WINNER | FEATURED ON THE COVER OF THIS ISSUE


63 LINES CONTEST WINNER | FEATURED ON THE COVER OF THIS ISSUE

Dr. Ulrich Bednarz http://eintoern.deviantart.com/

“BLACK ANGEL’S EYES”

WINNER OF LINES CONTEST AT #ODE-TO-SIMPLICITY JULY 2011


64 LINES CONTEST | HONOURABLE FEATURE

MEBILIA “REFLECTION”


65 LINES CONTEST | HONOURABLE FEATURE

KEVIN SAINT GREY “NEXUS”


66 LINES CONTEST | HONOURABLE FEATURE

ALEXANDER KRAFT “THE MUSHROOM”


67 LINES CONTEST | HONOURABLE FEATURE

FLORIAN SCHMIDT “SCORE”


68 LINES CONTEST | HONOURABLE FEATURE

MARIO POLZIN “EXPERIENCE - BY NIGHT ”


69 LINES CONTEST | HONOURABLE FEATURE

ALIOPIS MATTHAIOS “LINES”


70 LINES CONTEST | HONOURABLE FEATURE

WEICHUAN LIU “SAD NOTE”


71 LINES CONTEST | HONOURABLE FEATURE

MANUEL JESÚS MESA GARCÍA “TRES SON MULTITUD ”


This recognition, in real life lines, and values is for me th composition should be a con ing a simultaneous coalition visual ele


e, of a rhythm of surfaces, he essence of photography; nstant of preoccupation, be– an organic coordination of ements . Henri Cartier-Bresson


74 ASSORTED FEATURE | INSPIRING SHOTS


75 ASSORTED FEATURE | INSPIRING SHOTS


76 ASSORTED FEATURE | INSPIRING SHOTS

CHRISTOS LAMPRIANIDIS “WALK ALONE”


77 ASSORTED FEATURE | INSPIRING SHOTS


78 ASSORTED FEATURE | INSPIRING SHOTS

IGOR KAWECKI “STUDY OF THE SHADOWS ”


79 ASSORTED FEATURE | INSPIRING SHOTS

VINCENT TEULIÈRE “M ZEBRA”


80 ASSORTED FEATURE | INSPIRING SHOTS

POLINA NEFIDOVA “LINES”


81 ASSORTED FEATURE | INSPIRING SHOTS


82 ASSORTED FEATURE | INSPIRING SHOTS

IDA BAGUS JAYANTARA “FARM”


83 ASSORTED FEATURE | INSPIRING SHOTS

SERGEY KHARLAMOV “__”


84 ASSORTED FEATURE | INSPIRING SHOTS

ALIN CIORTEA “***”


85 ASSORTED FEATURE | INSPIRING SHOTS

ANDREEA CHIRU “YOUR BATTLEFIELD”


86 ASSORTED FEATURE | INSPIRING SHOTS

SAMUEL LAU “WAVES”


87 ASSORTED FEATURE | INSPIRING SHOTS


88 ASSORTED FEATURE | INSPIRING SHOTS

JESSICA SCHROER-SMALLEY “BREATHE EASY”


89 ASSORTED FEATURE | INSPIRING SHOTS

ANDREW PONOMARENKO “INTO THE MULTIVERSE”


90 ASSORTED FEATURE | INSPIRING SHOTS

Ş. CELIL ADVAN “COMPACT DREAMS”


91 ASSORTED FEATURE | INSPIRING SHOTS

DAVID WACHMANN “LINES”


92 ASSORTED FEATURE | INSPIRING SHOTS

ALEX JOSKE “NIGHT TRAIN”


93 ASSORTED FEATURE | INSPIRING SHOTS

KRIEGSMASCHINE “CM201107234”


94 ASSORTED FEATURE | INSPIRING SHOTS

ESZTER VALY “GOLDEN HAIR”


95 ASSORTED FEATURE | INSPIRING SHOTS


96 ASSORTED FEATURE | INSPIRING SHOTS

PAIGE HORNSBY “FRIVOLOUS THING”


97 ASSORTED FEATURE | INSPIRING SHOTS

LUKE JOHNSON “PAINT”


River Ribbon Roa Dunes Trees Crossr Rain Line Ropes Horizon Mountain Grass Fence Skyline Streets Passa Outline Line Staircase Wave Body Leaf Film Rhythm Stripes Web C

LIN

click the tag words t


ads roads s Pipes

Hills Curved lines Bars Cage Border Strings Bubbles Surreal Bench ages Ripples Trace es Zebra Flowing water m Sand Highway Curtain Water line

NES

to see more images


There is only you The limitations in your phot what we see is


and your camera. tography are in yourself, for s what we are. Ernst Haas


102 FEATURED LINKS | DON’T FORGET TO CHECK THESE OUT!

Abstract Macro by Alexandre Lopes Alexendre is a master of captivating colour transitions, intimate floral close-ups and very shallow depth of field. He uses the latter to dissolve the image into a sugary fairy tale, a theatrical backdrop, a vibrating feast of colourful threads interwoven together into an intricate shot. The macro shots created in this manner are the most appealing, but the trip through the rest of the Alexandre’s gallery is definitely an interesting adventure as well.♥

Paper Thin by Charles Viard As you browse through Charles’s gallery you will notice that he has a keen eye for lines: floral, everyday forms … and paper. The creative experiment Charles has undertaken to research paper’s plasticity is remarkable. If you like minimalistic designs and thin dramatic outlines, you should see the result for yourself. ♥


103 FEATURED LINKS | DON’T FORGET TO CHECK THESE OUT!

Stairway to Heaven by Giedrius Varnas As far as we know Giedrius does not shoot stairs or staircases (not yet), but the majority of his dim photos have something either going up or something inviting the viewer to step into the shot and go far, far away into the black and white worlds of the author. Giedrius has a very classic, solid style. As you browse from one shot to another you can clearly admire the detail, the ideas and the uniqueness of each one of them. They are intricately united by the same viewpoint, the same low contrast palette and the same inviting directions. A must see! ♥

Natural Zen by Stuart Williams Stuart has a talent to extract the fragments of silence and dignified solitude from any chunk of reality he happens to experience. Either a marsh or a seashore, desert or industrial backstreets, Stuart will find clean and an untarnished spot – click! – and we have yet another one icon of zen. Stuart’s gallery is simple, laconic and very silent – something hiding in it to come out at you any moment when you least expect it. I noticed that there is something about the number 4 in his photos, but I could just be imagining things. ♥


104 INSIGHT | LINE AND FORM

EXTRACT FROM “LINE AND FORM” by Walter Crane OUTLINE, one might say, is the Al-

becomes the main object in early

pha and Omega of Art. It is the earliest

attempts at artistic expression. The atten-

mode of expression among primitive peo-

tion is caught by the edges—the shape of

ples, as it is with the individual child, and

the silhouette which remains the para-

it has been cultivated for its power of

mount means of distinction of form when

characterization and expression, and as an

details and secondary characteristics are

ultimate test of draughtsmanship, by the

lost; as the outlines of mountains remain,

most accomplished artists of all time.

or are even more clearly seen, when dis-

The old fanciful story of its origin in

tance subdues the details of their struc-

the work of a lover who traced in charcoal

ture, and evening mists throw them into

the boundary of the shadow of the head

flat planes one behind the other, and

of his sweetheart as cast upon the wall by

leave nothing but the delicate lines of

the sun, and thus obtained the first profile

their edges to tell their character. We feel

portrait, is probably more true in sub-

the beauty and simplicity of such effects

stance than in fact, but it certainly illus-

in nature. We feel that the mind, through

trates the function of outline as the defi-

the eye resting upon these quiet planes

nition of the boundaries of form.

and delicate lines, receives a sense of re-

As children we probably perceive

pose and poetic suggestion which is lost

forms in nature defined as flat shapes of

in the bright noontide, with all its wealth

colour relieved upon other colours, or flat

of glittering detail, sharp cut in light and

fields of light on dark, as a white horse is

shade. There is no doubt that this typical

defined upon the green grass of a field, or

power of outline and the value of simplici-

a black figure upon a background of snow.

ty of mass were perceived by the an-

To define the boundaries of such forms

cients, notably the Ancient Egyptians and


105 INSIGHT | LINE AND FORM

the Greeks, who both, in their own ways,

<…>

in their art show a wonderful power of

Another important attribute of line

characterization by means of line and

is its power of expressing or suggesting,

mass, and a delicate sense of the orna-

movement. By a law of inseparable asso-

mental value and quality of line.

ciation, undulating lines approaching the

<...>

horizontal, or leading down to it, are con-

When we come to unformulated

nected with the sense of repose ; whereas

nature—to the vast world of complex

broken curves and rectangular lines al-

forms, ever changing their aspect, fullof

ways suggest action and unrest, or the re-

life and movement, trees, flowers, woods

sistance to force of some kind.

and waters, birds, beasts, fishes, the hu-

The recurrence of a series of lines

man form—the problem how to represent

in the same direction in a kind of crescen-

any of these forms, to express and charac-

do or wave-like movement suggests con-

terize them by means of so abstract a

tinuous pressure of force in the same di-

method as line-drawing, seems at first

rection, as in this series of instantaneous

difficult enough.

actions of a man bowling, where the line

But since the growth of perception,

drawn through or touching the highest

like the power of graphic representation,

points in the line of the curve of a wave.

is gradual and partial, though progressive,

The wave-line, indeed, may be said not

the eye and the mind are generally first

only to suggest movement, but also to de-

impressed with the salient features and

scribe its direction and force. It is, in fact,

leading characteristics of natural forms,

the line of movement.

just as the child's first idea of a human

The principle may be seen in a sim-

form is that of a body with four straight

pler way, as Hogarth points out in his

limbs, with a preponderating head. That is

“Analysis of Beauty”, by observing the line

the first impression, and it is unhesitating-

described along a wall by the head of a

ly recorded in infantine outline.

man walking along the street. Or, as we

The first aim, then, in drawing any-

may see sometimes near the coast, trees

thing in line is to grasp the general truths

exposed to the constant pressure of the

of form in character, and expression.

wind illustrate this recurrence of lines in


106 INSIGHT | LINE AND FORM

the same direction governing their gen-

tremes at either end: the horizontal and

eral shape ; and as each tree is forced to

the vertical, with every degree and modu-

spread in the direction away from the

lation between them; the undulating

wind, the effect is that of their being al-

curve giving way to the springing ener-

ways struggling against its pressure even

getic spiral, the meandering, flowing line

in the calmest weather; and this is entire-

sinking to the horizontal; or the sharp op-

ly due to our association of wind-

position and thrust of rectangular, the

movement with this peculiar linear ex-

nervous resistance of broken curves, the

pression.

flame-like, triumphant, ascending verti-

Flowing water, again, is expressed

cals. Truly the designer may find a great

by certain recurring wave-lines, which re-

range of expression within the dominion

mind us of the ancient linear symbols of

of pure line. Line is, indeed, as I have be-

the zigzag and meander used from the

fore termed it a language, a most sensi-

earliest times to express water. In the

tive and vigorous speech of many dialects;

streams that channel the sands of the sea

which can adapt itself to all purposes, and

-shore when the tide recedes we may see

is, indeed, indispensable to all the prov-

beautiful flowing lines, sometimes cross-

inces of design in line. Line may be re-

ing like a network, and sometimes run-

garded simply as a means of record, a

ning into a series of shell-like waves; while

method of registering the facts of nature,

the sands themselves are ribbed and

of graphically portraying the characteris-

channelled and modelled by the recurring

tics of plants and animals, or the features

movement of the waves, which leave up-

of humanity; the smooth features of

on them the impress and the expression

youth, the rugged lines of age. It is capa-

of their motion (much as in a more deli-

ble of this, and more also, since it can ap-

cate medium the air-currents impress the

peal to our emotions and evoke our pas-

fields of cloud, and give them their char-

sionate and poetic sympathies with both

acteristic forms).

the life of humanity and wild nature, as in

<‌>

the hands of the great masters it lifts us to

We seem here to discover a kind of

the heavens or bows us down to earth :

scale of linear expression—the two ex-

we may stand on the sea-shore and see


107 INSIGHT | LINE AND FORM

the movement of the falling waves, the

deceives us; perchance a divining rod,

fierce energy of the storm and its rolling

which may ultimately reveal to us that

armament of clouds, glittering with the

Beauty and Truth are one—as they cer-

sudden zigzag of the lightning; or we may

tainly are, or ought to be, in the world of

sink into the profound calm of a summer

art.

day, when the mountains, defined only by their edges, wrapped in soft planes of

“LINE AND FORM”

mist, seem to recline upon the level

by WALTER CRANE, 1914

meadows like Titans and dream of the golden age. <...> We see, therefore, that line possesses a constructive and controlling function, in addition to its power of graphic expression and decorative definition. It is the beginning and the end of art. By means of its help we guide our first tottering steps in the wide world of design; and, as we gain facility of hand and travel further afield, we discover that we have a key to unlock the wonders of art and nature, a method of conjuring up all forms at will; a sensitive language capable of recording and revealing impressions and beauties of form and structure hidden from the careless eye: a delicate instrument which may catch and perpetuate in imperishable notation unheard harmonies; a staff to lean upon through the journey of life; a candid friend who never

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I like photographs wh to the ima


hich leave something agination . Fay Godwin


110 THE END | THANK YOU! INDEX OF PHOTOGRAPHIC MATERIAL USED IN THE ISSUE (IN ORDER OF APPEARANCE)

JURE KRAVAJNA ERIC MARRIAN JOANNA KOSSAK ULRICH BEDNARZ MEBILIA KEVIN SAINT GREY ALEXANDER KRAFT FLORIAN SCHMIDT MARIO POLZIN ALIOPIS MATTHAIOS WEICHUAN LIU MANUEL JESÚS MESA GARCÍA CHRISTOS LAMPRIANIDIS IGOR KAWECKI VINCENT TEULIÈRE POLINA NEFIDOVA IDA BAGUS JAYANTARA SERGEY KHARLAMOV ALIN CIORTEA ANDREEA CHIRU SAMUEL LAU


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JESSICA SCHROER-SMALLEY ANDREW PONOMARENKO Ş. CELIL ADVAN DAVID WACHMANN ALEX JOSKE KRIEGSMASCHINE ESZTER VALY PAIGE HORNSBY LUKE JOHNSON


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COMING SOON! POINT OF SIMPLICITY, #4 CITY AUGUST 2011

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