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
<â&#x20AC;Ś>
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 expressionâ&#x20AC;&#x201D;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
Download the book here >>>
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
111 THE END | THANK YOU!
JESSICA SCHROER-SMALLEY ANDREW PONOMARENKO Ş. CELIL ADVAN DAVID WACHMANN ALEX JOSKE KRIEGSMASCHINE ESZTER VALY PAIGE HORNSBY LUKE JOHNSON
112 THE END | THANK YOU!
Terms and Conditions* 1.
POINT OF SIMPLICITY is a free pdf-based magazine distributed online via is-
suu.com media plugin which can be embedded to any public domain, personal website or social media for non-profit use; 2.
By submitting their written or photographic work to POINT OF SIMPLICITY maga-
zine authors: a.
agree to the Terms and Condition of POINT OF SIMPLICITY magazine;
b.
guarantee that the material submitted is original, has created by and belongs to
the author; c.
grant POINT OF SIMPLICITY magazine the right to publish their work on the pag-
es of the magazine and share it online via issuu.com plugin; 3.
POINT OF SIMPLICITY magazine retains full rights to publish submitted photo-
graphs and written materials for the purpose of promotional activities of POINT OF SIMPLICITY magazine without requiring any additional approval of the author or remuneration; 4.
Photographic or written material once submitted to the magazine by the author
or approved for publication in the POINT OF SIMPLICITY magazine by the author cannot be removed, unless in violates the copyright (see 8); 5.
POINT OF SIMPLICITY magazine holds no responsibility in case of any kind of ma-
nipulation of the submitted material by the POINT OF SIMPLICITY magazine's readers or visitors of any website the POINT OF SIMPLICITY magazine has been shared on; 6.
All photographs in the POINT OF SIMPLICITY magazine are published upon prior
negotiation with the author of the photograph and getting their written consent to do so. Photographs are published alongside the contact information (full name of the author, their nickname , link to their gallery or portfolio) the author has provided; 7.
The POINT OF SIMPLICITY magazine respects the copyrights of all the written
113 THE END | THANK YOU!
and photographic material published. All material published in the POINT OF SIMPLICITY magazine or otherwise on the World Wide Web is material in which copyright is owned by POINT OF SIMPLICITY magazine and respective owners (authors). No part of such material may be copied, reproduced or edited in any way without prior permission of the copyright holder. Free online sharing via issuu.com plugin is allowed, but permission is restricted to making a link without any alteration of the magazine's contents. Permission is not granted to reproduce, frame or reformat the pages, images, information and materials of the POINT OF SIMPLICITY magazine in any way by a third party. The POINT OF SIMPLICITY magazine reserves the right to prevent linking by giving notice; 8.
No part of the published material may be duplicated or used by a third party for
any profit-driven enterprise; 9.
In case any of the copyrights are violated by a third party that submits written or
photographic material without the approval of the original author, POINT OF SIMPLICITY magazine will, upon request of the original author, immediately remove such material; 10.
The POINT OF SIMPLICITY magazine respects privacy of its authors. We do not
disclose data (such as direct contact information) to third parties. If the author doesnâ&#x20AC;&#x2122;t wish their full name to be disclosed, it is substituted by the nickname or pseudonym of the authorâ&#x20AC;&#x2122;s choice; 11.
POINT OF SIMPLICITY magazine is not responsible for the contents of any of site
pages or links referenced. Use of the information and data contained within the mentioned sites is at your sole risk. The presence of a hyper-link from a page does not imply any kind of endorsement of the content of these pages or links by POINT OF SIMPLICITY magazine; 12.
Every effort is made to ensure that the information published in the POINT OF
SIMPLICITY magazine is accurate. However, the POINT OF SIMPLICITY magazine does not warrant or assume any legal liability for the accuracy of any information disclosed and accepts no responsibility for any errors or omissions.
114 THE END | THANK YOU!
COMING SOON! POINT OF SIMPLICITY, #4 CITY AUGUST 2011
Copyright Š POINT OF SIMPLICITY 2011 This statement refers to all text, photos and other design elements in this magazine. All material published in the POINT OF SIMPLICITY magazine or otherwise on the World Wide Web is material in which copyright is owned by POINT OF SIMPLICITY magazine and other respective owners (authors). No part of such material may be copied, reproduced or edited in any way without prior permission of the copyright holder. Free online sharing via issuu.com plugin is allowed, but permission is restricted to making a link without any alteration of the magazine's contents. Permission is not granted to reproduce, frame or reformat the pages, images, information and materials of the POINT OF SIMPLICITY magazine in any way by a third party. This material may not be duplicated or used in any way for any profit-driven enterprise. If you would like to seek permission to copy, reproduce or publish in any manner any of the material from the POINT OF SIMPLICITY magazine which is available on the World Wide Web, or if otherwise you would like any general information about reproducing material published by the POINT OF SIMPLICITY magazine, please contact the POINT OF SIMPLICITY magazine via e-mail.
115 THE END | THANK YOU!