The Studioblr Archives
Created By Creatives.
Volume One
The Studioblr Archives
DIREC TOR’S NOTE a let ter from the editorial direc tor
i | September 2017
Volume One
Dear Lovely Readers, I’m Allyson Arrogante, a Graphic Design major at the University of the Incarnate Word, currently entering my senior year of my BFA. So far, I’ve loved the college experience and I’m proud to say that I’m finally embarking on something that is not only in my field, but something I’m enthusiastic about! As a designer, I’ve always wanted to try to make my own magazine considering the typographic, layout, and illustration choices that could be made in such a versatile medium. Therefore, the idea to introduce this project into the Studioblr Collective was born. I’d like to take a moment to thank the Academic, the previous team I was on before I started this series. I was Art Director in that publication for 6 issues — a year and a half — and the experience I gained through working with them helped this dream become a reality. I had been the founder of the Studioblr Collective before I was Art Director for the Academic, but I never attempted a magazine of my own until now. With the directing experience I gained from the Academic it helped me gain confidence in how to organize and direct this project. Next, I’d like to thank the team that worked on this issue. These wonderful team members continued to commit their time and effort into this project even as school was starting and that made my heart soar. They were kind, communicative, receptive to feedback, and willing to work hard to make this happen. Without them I’d truly be a mess. I’m so thankful that this team was who I recruited because they are a beautiful set of people that really made a dream possible. As a bit of background, the process of this publication was something that I was afraid to try, but also excited to see the results of. I decided to let the designers mostly do what they want and not restrict them to a certain aesthetic or color scheme. It was so interesting to see how the designers took on the content and really made it their own. For the writers, we fixed older written content and worked collaboratively to create new content by having team chats that stayed lively and full of feedback. A lot of friendships were made during this process as we all bonded, grew, and learned from each other. The exchanging of ideas and expertise really showed the amazing experience of working in such a diverse team from many different backgrounds. I am so proud of us to publish this after a month and a half of production and I hope you enjoy the first ever volume of the Studioblr Archives. If you’d like to suggest or comment on anything please feel free to email studioblrcollective@gmail.com with your recommendations and we’d love to hear from our readers any feedback they’re willing to give. Watch out on the @studioblrcollective blog on Tumblr for updates, and you can send us asks on there as well! Once again, to my team and to the readers, thank you for being a part of this experience. With Much Love, Allyson Arrogante Editorial Director
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Volume One
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MEET the TEAM designed by amelia | @studyarts illustrations by hara | @7070-mailbox
EDITORIAL DIRECTOR Allyson (@allydsgn) 21 · Texas, USA · University Senior · Graphic Design Likes: Video Games, learning, and Indie Pop music Dislikes: Bad Typography, Dishonesty, and Coconut Cake Filling
CONTENT CREATORS
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Jace (@berninisdavid)
Hara (@7070-mailbox)
19 · Ohio, USA · College Sophomore · Drawing, Printmaking Likes: Paul Rudd, ice cream, stickers Dislikes: Comic book elitists, bugs, jean skirts
24 · Atlanta, GA · College Senior · Sequential Art, Business Management Likes: Southern sweet tea, cute things, electro swing music Dislikes: muscle pain, misogyny, oatmeal raisin cookies
Volume One
EDITORS Mahnur (@unframing-art)
Tina (@doctoringdreams)
21 · Pakistan · College Junior · Computer Science Likes: Tea, learning new things, music Dislikes: Right handed desks, gardening, anything that’s too sweet
22 · Trinidad · College Senior · Healthcare Management Likes: Swimming, reading, playing with babies Dislikes: Olives, disloyal friends, balloons that burst
Edye (@academla)
Alyx (@universitaires)
20 · Boston, MA · College Sophomore · Psychology Likes: Parks and Rec, writing, friends Dislikes: Drama, vegetables, history
17 · New Jersey, USA · HS Senior · Intended: Journalism + International Relations Likes: Music, writing, Disney Dislikes: Math, pretentious people, homophobia
DESIGNERS Rik (@rikstudies)
Amelia (@studyarts)
20 · England · Uni, 2nd year · Visual Communication Likes: Minimalism, cats, psychology Dislikes: Too much sunshine, disrespectful people, Insects
22 · Boston, MA · College Senior · Digital Art and Interactive Media Likes: Cats, music, ice cream Dislikes: Bugs, wet socks, condescending people
Julie (@designstudy)
Yumi (@mayuluh)
18 · Norway · High School · Media and Communication Likes: Mango, stickers, photography Dislikes: Sand, hot days, wasting time
19 · Texas, USA · College Junior · Graphic Design, Multimedia Likes: Coffee, cartoons, chaptered fanfics (XD) Dislikes: Overpriced textbooks, rude dudes, itchy feeling DX
Vee (@0ompa-loompa)
Rory (@rorystudies)
17 · Jakarta, Indonesia · High School · Intended: Architecture Likes: Stickers, cute socks, black coffee Dislikes: Laziness, Go Set a Watchman, roaches
19 · Australia · TAFE - 2nd year · Graphic Design Likes: Bands, Kpop, anime Dislikes: Being unorganised, sour food, insects
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Director’s Note
How to Give a Critique
vii | September 2017
About the Collective
The Team
Visual Process Diaries: The Do’s and Don’ts
Volume One
File Formats
How to Take Care of your Body as an Artist
Studio Safety and Tips
Time Capsule: Alphonse Mucha
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Pinterest Recommended by Yumi- @mayuluh Cost: Free Pinterest is one of the most diverse and creatively-filled places to look for inspiration. I’m a big believer in using references, and I look for inspiration when making projects. I use this app a lot to make personal mood boards, search for aesthetically pleasing color palettes, or to just look at sketches and final artworks (traditional and digital) to get me in a creative mood. (Sidenote: if you search for ‘funny tumblr’ pins, you’ll find screenshots of clever/ classic/quirky/sassy tumblr posts that will surely make your day!)
P
CamScanner Recommended by Allyson - @allydsgn Cost: Free (Premium is $4.99 a month or $49.99 a year) CamScanner is an app that’s available on Android, iPhone, iPad, and Windows Phone 8 that scans documents by simply taking a photo of it. This is a super helpful app that you can use to document sketches and process, send files through your phone, and make copies of forms to print later on. The photos or scans can be saved as a PDF or a JPEG and the program also has OCR capabilities to read words on the document you’ve scanned. Also, once you’ve scanned the document, there are filters and adjustments you can apply like brightness, contrast, and rotation.
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Ink Pens Recommended by Yumi- @mayuluh Cost: Sakura Pigma Micron pens, 6-pcs $20 Faber Castell Pitt Artist Pens, $10
Sharpie Markers / Pens Recommended by Allyson - @allydsgn Cost: Varies, but usually on the cheaper end
e rpi sha
sharp
sharpie
ie
When you just need to get some concepts down for black and white logos, want to practice something, or need a dark ink that’ll scan through, you can always count on Sharpies! They’re cheap, sold literally everywhere, and are reliable. This isn’t exactly for quality, but more for something reliable that you won’t feel bad using up when trying to redraw a logo concept over and over again.
Sometimes you want to jot down sketches or ideas quickly on the road or just doodle while waiting for your coffee at the local cafe. For instances like these, I recommend the above. I find using pens challenges you to make permanent marks on the paper. With different tip sizes, you can make sloppy large designs and sometimes get happy accidents along the way. Or, you can also make super detailed works (especially when the nibs can go to as small as 0.05mm). Fair warning, though! The smaller tips tend to be less resistant to pressure, so you have to write/sketch lightly with those.
PRISMACOLOR
Prismacolor Premier Soft Grade Graphite Pencils (12-pack) Recommended by Jace - @berninisdavid Cost: $12.95 on Amazon Any artist should have a variety of pencil weights in their toolkit, and this set of 12, ranges all the way from 9B to H. I believe that this is the perfect range for artists who are just getting used to using something other than a #2 Ticonderoga. Prismacolor also has packs of pencils in medium and hard grades, although I as a fine artist, prefer to work with the softer and darker materials. Artists with a focus in Design, however, may prefer to work with pencils in H or higher for lighter and sharper lines.
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HOW TO GIVE A
CRITIQUE
Written and Revised by Allyson | @allydsgn Edited by Tina | @iamadoctortobe Designed by Rik | @rikstudies
3 | September 2017
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In most art fields, there is a cycle of feedback, correcting, presenting, and further feedback until you feel that the piece you’re working on is “finished”. A crucial part of this process is the feedback given to help the artist grow and improve their work. There are multiple ways to deliver a critique, but outlined below is a general layout with tips that will help you make this important step even more impactful on your peers!
Throughout the Whole Critique: i. Keep it fairly positive and do not attack the artist. Keep in mind that they have worked on a piece and requested feedback or constructive criticism, which does not include personal insults or offensive comments. ii. Feelings could get hurt because the artist has worked on something and although no one wants to be told that they’re “wrong”, it happens. The artist should know that nothing is perfect, but if you sound like you’re attacking them, “just nit-picking”, or acting very negatively, the critique could take a very awkward and negative tone. Please be aware of how you say things and always try to stay positive! They’ll appreciate the feedback more if it’s more heartfelt advice and less of you just saying “you’re wrong”. iii. Of course, stay honest! Don’t say something just because the professor expects you to do so. The artist will most likely take your concerns seriously, so if you lie then they’ll worry unnecessarily and it may end up being detrimental to their project. iv. Allow them to defend themselves and show you understand their points and respond accordingly. This is intended to be a productive discussion about their work, so if they believe your feedback isn’t applicable and explain this to you, then you can address their concerns, explaining how you disagree. Alternatively, you may agree that it’s not applicable anymore and retract your statement. Either or both of you may be wrong, and that’s okay. Just be sure to thoroughly discuss all points to reach the best solution.
v. Always remember that in the end it’s up to the artist to implement or disregard your feedback. If they choose to ignore it, that’s their decision and it should be respected.
Always Know the Specifications! i. Subject: If the project is specifically about a topic that the class wants to address, then make sure it’s being read correctly. If the subject was misunderstood, you need to tell them as soon as possible so that they can make big changes. If you don’t understand what the connection is, you can also ask them to elaborate and see if it needs a cleaner concept. ii. Medium: If it’s a poster, keep in mind that it will be seen from a distance rather than up close like an editorial piece or book. This can determine the size elements of the piece and if it’s acceptable that there is less legibility at a distance. iii. Size: If it’s small, keep that in mind when considering whether or not you can read it. Consider whether it will help or hurt the message, and if it’s fine if it’s hard to read or see. Always support the concept, and then the aesthetic. Ideally, you should be able to reach both. iv. Etc: Be able to point out anything that doesn’t match the specifications that may be applied (mostly applies to school projects) such as color limitations, missing content, and other rules.
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Step One: State Your First Impressions The critique has begun, it’s now time to say what’s on your mind as soon as you see it. What’s something you notice right away? (“wow, this element is HUGE”). These comments can be taken negatively or positively, so make sure you’re clear. These first impressions will be the same for most people, so it is vital to the project’s success whether it needs to grab immediate attention or if it’s going to be shown as a portfolio piece. This is also a great time to mention if any of the specifications are wrong so that the rest of the group is aware that big changes could be made to the piece between then and the next critique. If you mention a specification flaw then keep it in mind when giving feedback, because if it’s something that will be affected by the specification then just briefly mention it. Positive things that are initially noticed should be used to help create a positive vibe for the feedback session. If you start off accusatory or too negatively, then it may be difficult for the artist to be open-minded or accepting about the rest of your feedback.
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Step Two: Describe the Piece Objectively i. What do you see? Does a pattern make it seem more “contemporary”? If so, is that a good thing? ii. Can Color Theory be applied? If there’s atmospheric perspective, is it used correctly and is it effective? iii. Composition? What has the most focus, and is that good for the concept? Should the text or the image be seen first? Movie posters need to show off their titles, while also being attractive imagery-wise. iv. How is their typography? Are there widows, hyphos, a bad rag, whispering headlines, or anything else that you could point out? Make sure to list them out, but don’t go too far because once you mention a few, the artist or designer should be able to find the rest on their own. v. Basically, this is when you mention the technicalities and the bug-fixes. This is matterof-fact information that the artist should be jotting down to fix. Usually this kind of feedback can’t be argued, but if they have a reason for the technicality then make sure it’s helping the message.
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Step Three: Describe the Piece Subjectively This is when you use the objective and interpret them to the subjective. If you mentioned the composition before and how it’s focusing on something, now it’s time to explain why that is or isn’t an issue. i. How does it make you feel? Is the overall mood sad, happy, positive, or negative? You can start with general feedback and gradually move towards specifics throughout the discussion. ii. Does it connote what it’s supposed to connote? If abstract shapes are being used to represent elements that you should be able to recognize, are they easily recognizable? iii. Are you able to “read” it like the artist wanted you to? If the artist is aiming to communicate something, are you receiving that message or does it need further explanation? Is it okay if it needs outside explanation, or should it be able to stand alone without any context?
Finally, Give your Overall Statement
iii. For Example: Overall, I like the calm feeling of the analogous colors, the geometric pattern, and overall composition, but I’d probably work on that hand because I didn’t know it was a hand… and so on.
The Overall Discussion The overall discussion can move as quickly or as slow as needed, depending on the professor, peers, or colleagues that are involved in the discussion. If it’s a class discussion, then it may be better to focus on the big picture instead of smaller errors, as people will want to move on and may begin to get impatient during the class session. One-on-one or small-group discussions are better forums for being more detailed oriented and finding the bugs that need to be fixed. Regardless of the type of discussion, make sure to remember the general steps that need to be addressed. Now that you have been schooled in the general process of giving in-depth and useful feedback, take every opportunity to assist your fellow artists, always remembering to keep it applicable and positive!
i. Positive remarks are good to add here at the end as well, after some discussion. ii. An overall statement is good for recapturing the essence of the conversation so that the artist can remember what was said.
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The Do’s and Don’ts
Visual Process Diaries:
The Studioblr Archives
7 | September 2017
Disclaimer: Please remember to follow the guidelines that your institution has given you!
What are Visual Diaries?
Volume One
Paper vs Digital
Essentially, your visual diary should be
composed of the following things:
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Do Do
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Don’t
Now that I have a great diary, what’s next?
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FILE FORMATS Originally written by Allyson | @allydsgn Revised by Cara | @aimhigh-studyhard Edited by Alyx | @universitaires Designed by Rory | @rorydsgns
Don’t know what to save your image as? This list is a brief overview of each file type so that you can decide for yourself which format may be best for your work. There are different techniques, uses, and warnings from other artists as well, so think of this as a starting point for figuring out how to save your file.
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JPEG (Joint Photographic Experts Group) Type: Rasterized Real-World Uses: Websites (small sizes help load time) Photographs: Captures colors pretty well in continuous tones (pixels adjacent to each other have similar colors) Attributes and Warnings: • Usually captures varying colors better because of pixels • Compresses images to pretty small sizes, but lossy (it will lower image quality to decrease the file size) • Does not support a transparent background
PNG (Portable Network Graphics) Type: Rasterized Real-World Uses: Graphics (logos and illustrations) Higher quality images in general (but the size increases) Attributes and Warnings: • Sort of combines qualities of JPEG and GIF • Produces higher quality images than JPEG • Which means the sizes escalate pretty quickly • Transparency capable • Not usually used for photographs on websites because of the increased load time due to increased size • Works best with few colors, large areas of the same color, or flat colors (basically no gradients) • Good for saving artwork to be layered on a web page or other artwork without disruptive borders
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GIF (Graphics Interchange Format) Type: Rasterized Real-World Uses: Websites (for the animated memes or banners) Whenever small animations are needed Attributes and Warnings: • Has the option for animation • Can get pretty low in size since you can select the number of colors it picks out, but the more colors the higher the size, of course. • Don’t do photographs unless it has to be animated for some reason. • Like a PNG • Few colors • Large areas of the same color • Transparency capable
SVG (Scalable Vector Graphics) Type: Vector Real-World Uses: Websites (small file that can be scaled to any size without pixelation for better loading times) Logos (scalable for different uses among different collateral items and files) Attributes and Warnings: • Used to define vector-based graphics for the web • Does NOT lose quality when zoomed or resized • Every element and every attribute in SVG files can be animated • Can be created and edited with any text editor • Good for smartphones and tablets, as it does not look blurred on devices with high pixel density
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TIFF (Tag Image File Format) Type: Rasterized Real-World Uses: Commercial printing Attributes and Warnings: • A high quality file used for transferring between applications (such as from a scanner into photoshop or almost all other applications) • Recommended if you are sending it to an editorial, editor, publishing or prints. • Not recommended for daily or web use due to how heavy it can be • Although the file format supports transparency, some applications may not support TIFF transparency correctly • At too low of a quality can be very pixelated to an even more noticeable degree versus JPEGs
BMP (Bitmap) Type: Rasterized Real-World Uses: Scanning in drawings, handwriting, and illustration to be modified in Illustrator. Attributes and Warnings: • At too low of a quality can be very pixelated • Scanning at a high resolution (or higher ppi) will result in a higher quality image that’s smaller than what would have been produced as a JPEG file • One of the heaviest file types • Does not see much use because of it’s size
PDF (Portable Document Format) Type: Other Real-World Uses: Printing editorials, posters, or really any content. Attributes and Warnings: • You don’t have to package fonts or worry about linked files not showing! • It usually keeps the smoothness of your images • Probably the safest way to do a print job so that things don’t randomly look different
.psd, .ai, .indd, .sai, etc…
Type: Raw Or Native Files Real-World Uses: Sometimes printing (see below) Attributes and Warnings: • Sometimes, you can send native files to printers that you trust to make corrections or changes for you! It really depends and usually it’s to get a pantone color or make last minute fixes. • If it’s a tiny error that needs to get fixed or, for example, the pages got laid out weird in a booklet, then they can make that change for you (probably at a fee though).
Hopefully this has given you a better understanding of standard file types and which would be most appropriate for your projects. Now, go forth and save your files!
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HOW TO
TAKE CARE OF YOUR BODY AS AN ARTIST Content by Hara / @7070-mailbox & Cara / @aimhigh-studyhard Edited by Tina / @doctoringdreams Designed by Julie / @designstudy
DISCLAIMER: THESE ARE ONLY TIPS ON HOW TO KEEP YOURSELF GENERALLY IN GOOD SHAPE: HOWEVER, EVERYBODY IS DIFFERENT, SO IF YOU’RE IN PAIN AND ABOUT TO REALLY PASS OUT, PLEASE SEEK HELP. 15 | September 2017
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Hydration: Make a habit of always having a bottle of water near you.Take a few sips whenever you take a break, which should be at least once an hour. You might crave coffee, soda, or tea, but these drinks are not hydrating. In fact, they’ll dehydrate you even further and may even cause a sugar rush, headache, or stomach ache. If you have the urge to use the bathroom: use it. Holding your bladder will cause you to lose concentration and may even cause some health concerns. Food and Snacks: Don’t forget to eat! Keep some snacks near you. Things like nuts, seeds, and raw veggies are great choices. Snacking on refreshments with protein will keep your energy up and keep you alert. If you are actually hungry, don’t just snack! Make sure to feed yourself a proper meal. Stretch: When stretching, start with the tips of your fingers, then slowly work your way down to your wrists, elbows, shoulders, neck, torso, legs, knees, ankles and feet. Roll your neck and stretch your arms and fingers every 20 minutes or so. This should keep the blood circulating and prevent your muscles from stiffening up.
Your joints are all connected, so try to also do some light warm-up stretches with your legs and back! Small Exercises At Your Desk: Place your index fingers on either side of your nose in the spot between the bridge of your nose and your tear duct, close your eyes and move your fingers in a circular motion clockwise for 10 rounds. This should ease your eyes from straining for a little bit. Place the palms of your hands next to your ears.. :Lightly massage your ears from the back, behind the earlobes, in a circular motion for 5-10 rounds. This should increase blood flow and keep you awake for some time, as your ears are especially sensitive. Another area that you can massage is the spot on your forehead about 1 inch/ 3 cm above your eyebrows. Using your index finger, move it in a circular motion for 10 rounds. This area is where most of your blood vessels are concentrated so this massage will help you to relax, especially when feeling tired and stressed.
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Breaks and Resting Aim to take a break every 20-30 minutes to reduce the strain on your hands and eyes. Taking a walk during breaks will help your blood to circulate and will keep your joints loose. Try meditating or closing your eyes for approximately two (2) minutes.. If you need to take a nap, set your alarm and keep the light on to prevent you from entering Rapid Eyes Movement (REM) sleep or deep sleep.
“Remember that everyone has ups and downs. Not every piece you create will be a masterpiece, but every once in awhile you’ll make something truly beautiful!”
Mental Health Tips: In case of an onset of anxiety, always keep some sort of assurance by your desk or within reach, such as anxiety pills, gums, a fidget toy, your favorite stuffed animal or a stress ball. Having a support community through skype, discord, or chats can keep you in check if you’re feeling down and lonely. Being an artist is a very lonely career choice and having someone there for you is extremely important. Remember that everyone has ups and downs. Not every piece you create will be a masterpiece, but every once in awhile you’ll make something truly beautiful! Keeping a piece of drafting paper to doodle or write on, whenever you run into a creativity block will help you to release your frustration and find a different way to look at the problem. In case your work gets overwhelming, remember that there’s no shame in taking a rest - go for a walk outside and take a breather when you’re on the clock. Sometimes being in a confined place with a low oxygen level, high tension and a lot of unintentional breath-holding will lead your body into panic mode.
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All-Nighter Tips Splashing/Spraying cold water on the back of your neck, or on your face, feet and ankles are some nice ways to shake off your drowsiness. Don’t only splash cold water, but drink it, too! Drinking water helps keep you awake by not only hydrating you and avoiding headaches, but also by making you get up to use the restroom. Power naps are great for this. A power nap is only 10-30 minutes, but it can do wonders. If done properly, it will boost your creativity, memory and energy. Just make sure to actually get up when the alarm goes off! Remember: your work is important, but health always comes first. Don’t put your health at risk for a project!
Volume One
“remember : your work is important, but health always comes first� September 2017 | 18
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Volume One
STUDIO SAFETY AND TIPS
Written and Revised by Hara | @7070-mailbox Edited by Edye | @academla Designed by Rik | @rikstudies
CHEMICALS D O Disclaimer: Equipments, materials, and locations can vary but these are some general guidelines for studio safety. While there may be more warnings and tips out there, these are some of the ones we’ve received so far.
i. Use adhesive and sprays in a spraying booth, empty parking area, or anywhere well-ventilated and free of people. ii. Wash your hands regularly. iii. When handling wires, wear protective goggles and gardening gloves. iv. Sit in a ventilated area when working with markers and paints with strong odors
D O N ’ T i. Spray adhesive or any sort of spray paint in a closed window or windowless classroom. They are toxic and you risk poisoning yourself and others in the room. ii. Try to smell Indian/Chinese/calligraphy ink. They are heavily concentrated and can knock you out. iii. Eat after handling wires without washing your hands. Their coating contains lead and might seem harmless in contact to skin, but this is not the case with your mouth. iv. Light anything on fire. Especially indoors. v. Leave open cups or drinking mugs around your painting area. You might end up dipping brushes and paint in your drinks.
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MACHINERY & TECHNICALS
TIPS
D O
D O
i. Test or ask what thickness the swing arm/sliding cutter can cut through. ii. Cut things on a cutting mat. Cutting directly onto the table can damage the blade of x-actos and box cutters, and can also cut the table. iii. When cutting using the blade, try keeping your fingers away from the path of the blade or next to it as you cut. iv. Wear closed toes shoes in the production room.
i. Put a piece of paper under your drawing while working to avoid blending and ink bleeding through. This also makes it easier to put the marks down. ii. Avoid handling x-actos and dangerous tools when you’re feeling unwell or lacking sleep. You’ll risk stabbing yourself. iii. Have paper towels and tissues around in case of mistakes.
v. Keep a cap on x-acto blades when not in use or turn the blade upside down into the handle.
iv. If you are bleeding heavily, please call emergency services or go to the nearest infirmary. Please don’t kill yourself over a project.
vi. Wear goggles and sound mufflers while working with heavy power tools such as the sawing machine.
v. Take a short break every hour or so. Many of us are guilty for not doing this, but your arm and hand will thank you for the break.
D O N ’ T i. Cut things on the light table. ii. Cut/draw/trace on the scanner glass surface. iii. Try to overload or force the cutter to cut something it can’t. iv. Attempt to reload or “fix” specific machineries without support. A lot of the time people will think they can fix the machines, only to make the problem worse. Ask the tech or the management. v. Walk barefoot in a production/class room. You risk stepping on loose x-acto blades, splinters, or even push pins.
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Once again, this list is far from complete and suggestions are welcome. These are the basic rules and tips on how to stay safe while working on studio work, whether it be in your garage or your school’s studio. Good luck and stay safe!
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the one name most commonly and singularly attributed to the Art Nouveau style is Alphonse Mucha. September 2017 | 22
The Studioblr Archives
Time Capsule:
ALPHONSE MUCHA Content by Jace / @berninisdavid Edited by Manhur / @unframing-art Designed by Allyson / @allydsgn
W
hile the nineteenth century produced dozens of different art movements, currently, one of the most popular is Europe’s Art Nouveau. The French name “Art Nouveau” translates to “New Art” in English; a thoroughly appropriate name for the motivation behind the movement. Art Nouveau focuses on shapes and forms found in nature, and it was intended to combat or react to the academic art that came before it. The movement became so popular at the time, that it not only dominated the canvas, but also extended beyond the page. Today, Art Nouveau can be found in architecture, furniture, interior design, and even jewelry and metalwork. Monuments conforming to the Art Nouveau style can be found across the globe, from Tiffany Chapel in Florida, United States, to Casa Batllo in Barcelona, Spain. Some prominent names from the era include Gustav Klimt, Louis Comfort Tiffany, Leon Bakst, and Théophile Steinlen. However, the one name most commonly and singularly attributed to the Art Nouveau style is Alphonse Mucha. Alphonse Mucha was a Czech artist whose early works most commonly depicted graceful-looking women in gossamer clothes, oft surrounded by elements found in nature such as flowers or vines. He was also an activist who made a poster for raising awareness about starvation in Russia and even worked with the Nation State of Czechoslovakia to design their first set of postage stamps and banknotes. Mucha’s illustrations of women were often parts of a series of work, usually following themes of nature, including the four seasons, types of flowers, precious gemstones, and even the time of day. With soft pastel palettes and contrasting black outlines, Mucha’s style set the stage for designers down the line to use a style that was not only impactful, but also feminine. His influence reached as far as the United States, where he taught classes at the New York School of Applied Design for Women.
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Mucha’s far reaching influence can be seen in the works of many illustrators and designers of more recent times, including Canadian illustrator Bob Masse, and American illustrator Stanley “Mouse” Miller. Although Mucha died in 1939, his legacy lives on today, particularly through the Mucha Foundation, founded by Mucha’s daughter-in-law, Geraldine, and grandson, John, in 1992. The Mucha Foundation is committed to preserving and promoting Alphonse Mucha’s work, and it opened a museum dedicated solely to Mucha’s work in 1998. Since visiting the Mucha Museum might not be possible for many of our readers, we’ve included here some key pieces from Mucha’s collection to highlight Mucha’s diverse talents and described how each made an impact in the world of art and design.
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?Gismonda@ Mucha’s rise to fame has often been credited to his 1894 poster Gismonda where he promoted renowned French actress Sarah Bernhardt with her image as the main focus. Mucha’s posters for Gismonda, once completed, became so popular that they were stolen in the night for collectors to admire. Bernhardt loved Mucha’s work to such an extent that she signed a six-year contract with Mucha, making him responsible for not only promotional posters, but also set designs and props for her live performances.
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The Studioblr Archives
?Job Cigarette Posters@ Another piece attributed to Mucha’s popularity is the poster for Job Cigarette Papers, which features a glamorous woman smoking a Job cigarette. At the time it was printed, smoking was considered only a masculine activity which made the poster not only greatly popular, but left an even greater impression on the then societal norms. Mucha’s poster emitted an airy, feminine feeling to the act of smoking which was unheard of in the cigarette industry. This encouraged more women of the time to smoke, making it a successful advertising campaign for Job cigarettes.
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Volume One
? The Seasons @ This series was originally a set of decorative panels commissioned by Imprimerie Champenois, one of the most significant printing companies in France of the time. Mucha then went on to create two more series following the theme of the four seasons, but 1896’s Seasons was, and remains till now, the most popular. Other series include Stars and The Arts, however these also remain eclipsed by Seasons which continues to be regularly referenced in media, stationery, and fan art.
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The Studioblr Archives
The Slav Epic The series of paintings known as The Slav Epic may be stylistically different from Mucha’s lithography work, but the artist’s hand is still apparent through the softened color choices and the emphasis on natural shapes. The two paintings selected and shown here are the first and the final pieces in this sequence of work which shares the history of the Slavic people. In the first painting, titled as The Slavs in Their Original Homeland, Mucha starts his retelling by portraying villagers of an early Slavic tribe crouching, in the lower left corner of the composition, out of fear as they escape their burning village. These characters are then seen again (or perhaps simply paralleled), in the lower right hand corner of the twentieth and the last painting in the series: The Apotheosis of the Slavs, a celebration of Slavic independence. •
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Volume One
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Volume One
Contact.
@studioblrcollective
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