Joseph Cornell – Hotel Eden September 18, 2008

http://www.ibiblio.org/wm/paint/auth/cornell/cornell.hotel-eden.jpg

Joseph Cornell lived a generally secluded life taking care of his invalid brother. He collected little bits and pieces of things almost obsessively, and took joy in making assemblages out of them. He doesn’t refashion these collected items, rather, he reconstructs the context in which they are in, making surreal, whimsical works of art that were originally meant as simple gifts to individuals. These beautifully assembled boxes were made to be examined, to interact with. I found this work by him in a book about Pop Art, in the section which talked of influences on the movement. The preoccupation with Art and Transformation of his collected items would play a part in Pop Art.

Its chief emblem is a caged parrot, the innocent resident of the Hotel Eden. One can argue that it represents freedom, that it represents the whimsical perfection of a child’s mind. However I think that in these works, the parrot is simply to be admired for its beauty, how it is the single inhabitant of Hotel Eden. Also, we can contemplate whether this “hotel” is truly a hotel, or a cage for the bird. Through the bird’s beak runs a piece of black string which is connected to a circular… thing. I can’t be sure if it’s a broadcasting system, or if it is something more symbolic. The string is held down by the bird almost as though it is a balloon. The other elements in the box are equally whimsical, decorative but thought provoking on the whole.

One thing noteworthy is that this was created in 1945, yet it has a certain timeless appeal to it.

Jim Lee & Jeph Loeb & Batman September 17, 2008

http://gelatometti2.blogspot.com/
(Only some posts by him)

Flipping through a collection of Batman covers, I was pleasantly surprised to find that one of my favourite pictures of Batman was done by Jim Lee. But it wasn’t really that much of a surprise, because after all, he is one of my favourite comic book artists. Typically I only pick up the newer comics on glossy pages with a less… saturated palette from the libraries, so I found a few of his works. Jim Lee is a Korean-American comic artist/creator/publisher that went from Marvel to Image (founder) and then to DC.

I love this illustration of Batman (let’s ignore the presence of Superman because he really sucks) because of the cape. Unlike Clark-I-Can-Disguise-Myself-with-Specs-Kent’s pathetic cape that is there only to be sucked into plane engines, Batman’s cape is an integral part of his character.It gives him the mystery and awe that he inspires as a vigilante. Instead of baring his chest and awesome pecs to the world like Clarkie to Metropolis, Batman prefers to operate alone in Gotham City, being more of a detective and antihero than a conventional underwear-on-the-outside-and-loving-it hero. I love how these two images are almost parallels of each other, but in that they show the difference between these two Greatest Comic Book Hero of All Time contenders. While Superman is a savior by swooping down from his perch into the modern Metropolis, Batman is perpetually brooding, looking out for where crime might hit.

I should really stop being so anti-Superman, but he is disgusting. Just look at that lock of hair. I hope Lois Lane dies and he will emo. Or like someone strap a lot of kryptonite to himself and run amok in Metropolis.

http://www.superherostuff.com/OtherItems/Images/batman_nightwing_poster.jpg
(Actual image here)

Another ALL-TIME MOST MOST FAVOURITE PICTURE from the Batman franchise because I really love Nightwing + Batman because Nightwing > Robin in every single way possible. The action in the picture is absolutely wonderful, and the detailed background tops the entire thing off. It’s monochrome blue, highlighting the gloominess of Gotham and the duo who blend so well into their situation. However this brings me to the next point. Comic books are done with a whole shitload of work delegation. To make sure they can chrun out a million issues of Superman, the work is divided into penciller, line-drawing sad shit and colorist. They do exactly what it sounds like. So sometimes it’s hard to point to something and go, HEY THAT’S FRANK MILLER ART! Or JLee in this matter, because there’s always other people working on it.

Recently, I picked up Batman: Hush. Volume 2 only because I couldn’t find Volume 1.

But the art really blew me away. The lines were beautiful and strong and every panel was extremely well done, leading on to the next to the next. And the colours were what topped the entire thing off. It’s really no wonder it’s a bestselling series because it’s really well done, although I wish it could have been longer with more time in between.

Speaking of the colours, they were done by Jeph Loeb, someone else worth checking out. Apart from Batman, he teamed with TIm Sale to do Daredevil: Yellow, which is the only book from DD that had me going whee because it was so amazing to read and so wonderful to look at.

Look, Jim Lee pencils and a Jim Lee cover. Ah, in love (L)

Feel like there is a lot more to say about Batman, about Joker and about how modern comics are so much more beautiful than the traditionally colourful, happy and corny Batman. And about more artwork from Jim Lee/Jeph Loeb

= DAMN PRO

AEP Block Test 2 September 1, 2008

Question 2.

Liu Kang, Seated Model (1953, Oil on Canvas)

Hendra Gunawan, Bandung as a Sea of Fire (1972, Oil on Canvas)

(a) Describe the subject matter of these paintings.

In ‘Seated Model’ by Liu Kang,a topless Balinese woman is depicted sitting sideways on a chair in what appears to be the garden of her home. The main focus of the painting seems to be the topless woman, who appears content with the world, calm and composed. In her right hand she holds a few white flowers which she has just plucked from a nearby bush. Her left arm leans across the back of the chair and rests on her right shoulder, making her look relaxed, enjoying the day as it goes by. Her hair is pinned up and combed back with a flower in it. Coupled with her clean and smooth skirt, she looks as though she takes good care of herself and her appearance. The chair she is sitting on faces away from the viewer, seemingly made of bamboo or rattan. The background is made of greenery and soil, giving the painting an earthly feel. The style is realistic, and the colours simple and natural.

In ‘Bandung as a Sea of Fire’ by Hendra Gunawan,the painting is full of violence and suffering. In the foreground, 2 men lay fatally wounded.  One of the men takes up most of the foreground, sprawled upon the ground. He is bleeding from the chest, clutching the wound. His body is laying skewed on the ground, and his face is contorted with the pain and horror. He appears to have been trampled, orintentionally wounded. Another man lies a short distance off, equally butchered and bloodied, under what seems to be wooden pillars. The blood and gore flows down the hill like a rive, towards the course of the fire. People can be seen running hurriedly up the hill away from the village set on fire, carrying belongings and children on their backs.  They are still alive, but clearely traumatised by the silhouetes waving weaponry nearer the background. The sky is filled with the smoke from the fire and the ruins, and the picture speaks of panic and despondency.

(b) Analyse and interpret the artists’ intentions.

In Liu’s painting,’Seated Model’,naturalistic, simple colours are used to depict the clam and serene local woman. The model holds flowers to herself, appreciating the simple things in life. This makes her personable and friendly, almost motherly. I think that Liu Kang was deeply moved by the way of life of the Balinese and wanted to share it with the rest of the world through this paints as a positive way of embracing life. By depicting the calm and serene woman, he shows us what a wonderfully simple life the Balinese are able to lead without care for material possessions. Instead, they vest their interest in the mudance quirks of life, which we can learn from and be inspired by.

‘Bandung as a Sea of Fire’ by Hendra Gunawan is intended to make a bold statement, speaking out against the cruelty of war and bloodshed and showing a scene of fraility of human spirit. He did so by depicting the deep sense of loss and horror that arises from a conflict. The vision of terrified villagers escaping from inevitable death from those who have invaded their homes is very impactful. Gunawan possibly wanted to use the sky, clouded with smoke and fire, to depict how slaughter is almost like a disease, a fire that consumed everything in its path. The two dying men are a grave reminder of the gore and bloodshed of war, sacrifices on the part of loved ones that we neglect while fearing for our own lives. As such, Gunawan wanted to depict the destructive nature of war, to warn and discourage its use in any way.

(c) Discuss the impact the two paintings have on you.

Will Murai August 17, 2008

http://www.willmurai.com/
http://whmurai.deviantart.com/

“Valentine” 2007

I first found Will Murai while Stumbling one day. One I landed on his website I have been very wowed by his work. He works digitally and his paintings are beautifully rendered, detailed and seamless on the whole. His works are realistic yet stylishly stylised and sometimes with an almost surreal air to them. He works with illustration and graphic design and COMICS!!!! (cannot hold in the joy) but I havent seen much of his work anywhere. Haha!

I really love “Valentine” for its effective composition, overall mood and how every element in the picture comes together to tell a story. A girl is standing in the forground slanting towards a window on which she draws a heart. A young man is opposite, obviously smitten. The girl is wearing leopard prints, seductive and flirtatious, and the hearts she draws are almost casual. One cannot tell if she truly loves the young man, or if she is just taking delight in knowing she can make him love her back.

The colours seem to indicate a very much modern apartment in which the girl is standing and a victorian building opposite. The textural details give the building age and a certain timeless kind of classy. The background is pale blue sky with fluffy white clouds drifting idlly by. I love the details on the girl’s skin, frekles that makes her all the more beautiful and realistic in the final piece of work. The use of complementary colours for toning is also something that I’ve been trying to work with in my own work.

“What’s Yo Flava?”

It’s so simple, so surreal and a little purposeless but it manages to capture the essence of the title, What’s Yo Flava? I particularly like the background and the light gradient. Another truly beautiful work.

In here Murai displays capability for digital design other than rendering. His oriental “Ninja Schoolgirl” captures the eastern roots he is trying to portray, the lotus flower, straight dark hair and numerous other elements that reflect the East appropriately. A point to note is that its placement on the shirt is far too small and does not show off the design to its utmost beauty, so that wasn’t well done. I’d rather have put it on the back in a larger size.

“Grand Piano”

“I wanted this piece to be the most elegant i have ever made. I could try some new stuff in this image, like using a 3d software to compose some objects.”

Out of all his works, this one is my favourite. It has a certain musical rhythm and classiness to it all, yet the woman is sexy while the pianist is in control. It has chemistry between the girl and the pianist/piano (almost as though they are one) Two windows at the left lets shafts of light through, bathing the grand piano and the two characters in a surreal light. It’s like a moment frozen in time, capturing the beauty of the instance.

Once again the details are impeccable, up to the scoresheet and the reflections on the floor. While the pianist wears sneakers, a striped shirt and some jeans, the woman’s hair is perfectly curled and she arches one high-heeled leg. Whether she is dancing, singing, modelling, waiting impatiently for the scruffy man, she’s an enigma, as well as the entire picture in itself.

Mike Mignola July 18, 2008

Mike Mignola wasn’t that keen on comics as a kid. However, he liked to draw, monsters, specifically. Later on he inked some comics at Marvel, drew for Batman and created the series that he would be most well known for. Hellboy was introduced to me by a friend who was mad over this lumpy red monster, and it is simply wonderful due to Mignola’s distinctive style, lush illustration and the fact that there is such cohesion in the entire series.

Let’s talk about his style. Mignola’s work is characterised by his block-like techniques of shading, particularly generous use of black, geometric lines and patterns made by stippling (see Mr Incredible) His use of colours are predominantly dull yet somehow vibrant due to colour blocking. When you see a Mignola, you know that it is definitely a Mignola. His comic book heroes aren’t with rippling muscles, but are somewhat lean and definitely mean. The elements in his illustration also lend a lot to his personal style. As quoted, “All I want to do is draw monsters.” And indeed, his monstrous creations are thought provoking and emotionally stimulating.

His illustrations are gritty, often utilising textures that add to the overall atmosphere. He makes good use of background and setting to convey a character’s inner emotions and character, such as the picture of Ra’s Al Ghul on the right. His facial emotion is blank, yet with a stone god peering at him, he seems a lot more brooding and dark.

“In 1993, he was due to attend a comic convention, and the organisers asked him for a drawing to feature in the convention book. “So rather than draw Batman or Wolverine or whatever the hell I was doing at the time, I just drew a monster,” he says. “There was a space on his belt, and I wrote ‘Hellboy’. I just thought it was funny and didn’t think any more about it.”
At least, not until a few years later, when he started to play with the idea of creating his own character and stories – a trend which had recently surfaced in the industry. “I knew my first impulse would have been to create a regular, normal, human guy who’s an occult detective; but I also knew I’d get bored drawing a regular person all the time.
“So I went back to that first monster drawing and thought, instead of a regular person, what if I do a guy that looks like the devil, as an occult detective? I spent a lot of time designing him so he’d be fun to draw, and the name Hellboy was literally the only one that I ever came up with.”

And thus, Hellboy was born. The very first thing that stuck me was the name, a very befitting title to an amazing character, odd in looks but every bit as humane as the others. Hellboy is righteous yet treading the line between doing good with good methods and the bad methods. I certainly recommend finding the graphic novels at libraries, very worth a read. The plots are imaginative and never cease to awe me.