ROMAN ART

Pietro Cavallini was an Italian painter and mosaic designer working during the late Middle Ages, the Roman Art era. Little is known about his biography, though it is known he was from Rome, since he signed pictor romanus. His first notable work were the fresco cycles for the Basilica di San Paolo fuori le Mura, with stories from the New and Old Testament in year 1277 to the year 1285. However, they were destroyed by the fire of 1823. His Last Judgment in the Church of Santa Cecilia in Rome, painted c. 1293 and considered Cavallini’s masterwork, demonstrates an artistic style known as Roman naturalism.

Type of style that has been used in Roman art is Realism. Like the Romans themselves, early Roman art (c. 510 BCE to 27 BCE) tended to be realistic and direct. Portraits, both two-dimensional and three-dimensional were typically detailed and unidealized, although later during the age of Hellenistic-Roman art (c.27 BCE to 200 CE). The romans became aware of the propaganda value of busts and statuary. Painting styles in ancient Rome were bright and colourful with the techniques which the colours were applied are quite complex.

The base of the paintings clearly had to be perfectly clean and smooth. This was to obtained through repeated layering of plastering and fine sand which can be polished with a fine layer of marbles dust that is rendered compact and hard. The surface would then be dampened before the colors could be applied. The color would be absorbed into smoother compact but porous. The finished painting then would be polished to a shiny finish probably through the application of oils and final wax seal. A rough drawing could be scratched on top of the plaster for the more difficult figures and forms before applying the paint.

Romans art grows out of Etruscan art and has a close resemblance to Greek art. During the Roman Republic (500 BC), Roman statues are made to be realistic, a total opposite of Greek statues which has an idealistic approach. About 200 BC, Roman art style changes when they begin conquering Greece. The Roman soldiers bring home a lot of Greek art during their conquest, either by buying or stealing it. Greek sculptors are usually brought to Rome as slaves, serving under the Roman Republic by creating more art for them. Roman art continues to get influenced by Greek elements, and art often used as propaganda by the emperors. Examples are the Arch of Titus and Trajan’s Column. 

The Roman Empire was one of the greatest and most influential civilizations in the world history. It began in the city of Rome in 753 BC and lasted for well over 1000 years. During that time, Rome grew to rule much of Europe, Western Asia, and Northern Africa.

1. Honisya

2. Marina

3. Megan

4. Alice

5. Hanim

Artist in Digital Media (Asian)

Artist in Digital Media (Asian)

     

Satoshi Tajiri (Japanese: 田尻 智 Hepburn: Tajiri Satoshi^?, born August 28, 1965) is a Japanese video game designer best known as the creator of Pokémon and the founder of video game developer Game Freak, Inc. An avid fan of arcade games, Tajiri wrote for and edited his own video gaming fanzine Game Freak with Ken Sugimori, before evolving it into a development company of the same name. Tajiri claims that the joining of twoGame Boys via a link cable inspired him to create a game which embodied the collection and companionship of his childhood hobby, insect collecting. The game, which became Pokémon Red and Pokémon Green, took six years to complete and went on to spark a multi-billion dollar franchise which reinvigorated Nintendo's handheld gaming. Tajiri continued to work as director for the Pokémon series until the development of Pokémon Ruby and Sapphire, when he changed his role to simply executive producer.

Tajiri has also worked for other projects including Mario spin-offs and the Legend of Zelda. His work has earned him numerous accolades from his peers.

Tajiri was born on August 28, 1965, in Tokyo to a Nissan car salesman and a housewife. Tajiri grew up in Machida, Tokyo, which at the time still maintained a rural atmosphere. As a child, Tajiri enjoyed insect collecting as a hobby, which would be an inspiration for his later video game work. Other children called him "Dr. Bug", and he wanted to become an entomologist.  As the urban areas of Japan spread and more land was paved over, habitats for hunting bugs were lost. Tajiri wanted his games to allow children to have the feeling of catching and collecting creatures as he had. The character of Ash Ketchum (named Satoshi in Japan), is largely a version of Tajiri as a child.

He became fascinated with arcade games as a teenager, though his parents thought him a delinquent for this pastime. He particularly enjoyed playing Taito'sSpace Invaders, which drew him into other video games. His interest eventually evolved into attempting to plan his own games. He took his Famicom apart to see how it worked, and won a contest for a video game idea sponsored by Sega.

 Because of his fascination with video games, Tajiri frequently cut classes and nearly did not graduate high school. This confused and upset his parents, who felt that he was discarding his own future. His father attempted to get him a job at The Tokyo Electric Power Company, but Tajiri declined to take the position. He took make-up classes and eventually earned his high school diploma.  Tajiri did not attend college but instead attended a two-year technical degree program at the Tokyo National College of Technology, where he majored in electronics and computer science.

Professional Career

At age 17, Tajiri began writing and editing a fanzine called Game Freak from 1981 to 1986, focusing on the arcade game scene. Game Freak was handwritten and stapled together. Nonetheless, Ken Sugimori, who later illustrated the first 151 Pokémon, saw the magazine at a dōjinshi shop, and became involved. As more contributors came to Game Freak, Tajiri began to realize that most games were lacking in quality, and he and Sugimori decided the solution was to make their own games. Tajiri studied the Family BASIC game programming package, to better grasp the concepts of Famicom game design. He then purchased the requisite hardware for game development. Tajiri and Sugimori evolved the magazine into the video game development companyGame Freak in 1989. Soon after, the two pitched their first game, an arcade-style game called Quinty, to Namco, who published the game. Tajiri also wrote as a freelance writer for the magazine Famicom Hisshoubon, later called Hippon, and previewed video games during his guest appearances in the VHS series Famimaga Video.

Tajiri first conceived the idea of Pokémon in 1990. The idea came together after he saw a Game Boy and the ability to communicate between Game Boys,and Tajiri decided Pokémon made the most sense on the handheld console. Tajiri pioneered the idea of connectivity between handheld game consoles, by suggesting that Game Boys could use their link cables in order to have friends do more than simply play against each other.

Due to Tajiri's reputation in having worked on The Legend of Zelda, Nintendo was willing to consider his new game idea. When he first pitched the idea ofPokémon to Nintendo, they could not quite grasp the concept, but were impressed enough with Tajiri's game design reputation that they decided to explore the concept. Shigeru Miyamoto began to mentor Tajiri, guiding him during the creation process. Pokémon Red and Green took six years to produce, and nearly bankrupted Game Freak in the process; often, there was barely enough money to pay the employees. Five employees quit, and Tajiri did not take a salary, instead living off of his father's income. Investment from Creatures Inc. allowed Game Freak to complete the games, and in return, Creatures received one-third of the franchise rights.

Between the approval and completion stages of the project, Tajiri assisted in the design of two Mario spin-off games for Nintendo: Yoshi and the Japanese-only release Mario & Wario. He also worked on 1994's Pulseman.

Once the games were completed, very few media outlets gave it attention, believing the Game Boy was a dead console; a general lack of interest of merchandising convinced Tajiri that Nintendo would reject the games. The Pokémon games were not expected to do well, but sales steadily increased until the series found itself among Nintendo's top franchises. Rumors of a hidden Pokémon creature named Mew, which could only be obtained by exploiting programming errors, increased interest in the game. Tajiri had included Mew in the game in order to promote trading and interaction between players, but Nintendo was not aware of the creature upon release. The franchise helped Nintendo's waning sales. Tajiri deliberately toned down violence in his games. In this vein, he designed Pokémon creatures to faint rather than die upon their defeat, as he believed it was unhealthy for children to equate the concept of death with losing a game.^[3] After the completion and release of Red and Green in Japan, Tajiri later worked on 1997's Bushi Seiryūden: Futari no Yūsha. Tajiri continues to be involved in the more modern Pokémon titles as well. In the most recent incarnations, he supervised the process from start to finish and approved all the text. While developing games, Tajiri works irregular hours, often laboring 24 hours at a time and resting 12 hours.

Tajiri cites Shigeru Miyamoto as a major influence, thinking of him as a sort of mentor. For this reason, his developmental style closely matches that of Miyamoto. In the Pokémon anime, the main character is named Satoshi, and his rival is Shigeru. Tajiri claims that Western audiences understand his work better; instead of focusing exclusively on prominent characters like Pikachu, he believes they understand that the games are about partnership and identification with one's team.

Tajiri drew much of his inspiration from old Japanese shows and anime, including Godzilla and Ultraman. He has stated that if he did not design video games, he would most likely be in the anime field.

Awards and recognition[edit]

IGN named Tajiri one of the top 100 game creators of all time, mainly for his ability to have built Pokémon into a "worldwide phenomenon". Electronic Gaming Monthly credited Tajiri as one of the 10 most influential people who made the modern video game market. Video game magazine Edge placed Tajiri on their list of the "Hot 100 Game Developers of 2008".

Art Nouveau Interior Design

It has been said often that Art Nouveau interior design is in fact the original modern style of the 20th century, as it was the first style to stop looking back in time for inspiration.

Art Nouveau was influenced by ideas of the natural world and what designers experienced around them, borrowing ideas from nature and reflecting them in magnificent fabrics and wall paper.

From 1880 to 1910, art nouveau interior design was the height of originality and design excellence. The concept was first on show in Paris, France and then London, UK. It caused a huge fuss as people instantly loved it or loathed it.

The two distinct looks that were commonly used by nouveau artist are rational, linear lines and curves that take on organic shapes.

Take a look at the wonderful work created by the architect/designer Charles Rennie MacKintosh and his wife and fellow artist, Margaret MacDonald. I am very proud to be from the same city, Glasgow in bonnie Scotland.

What is Graphic Deisgn?

Graphic design, also known as communication design, is the art and practice of planning and projecting ideas and experiences with visual and textual content. The form of the communication can be physical or virtual, and may include images, words, or graphic forms. The experience can take place in an instant or over a long period of time. The work can happen at any scale, from the design of a single postage stamp to a national postal signage system, or from a company’s digital avatar to the sprawling and interlinked digital and physical content of an international newspaper. It can also be for any purpose, whether commercial, educational, cultural, or political.

Elements of Graphic Design

Graphic design can use image-based designs involving photos, illustrations, logos and symbols, type-based designs, or a combination of both techniques. These designs can include various combinations of the following elements.

Lines: Straight, curved, wavy, thick, thin - when it comes to lines, the possibilities are limitless. Lines allow designers to divide a space or separate content in a layout. They can also be used to guide the eyes of the viewer, or make other elements follow a strategic path for added findability, to get the viewer easily from point A to point B.

Shapes: Shapes offer a variety of ways to fill spaces creatively, to support text and other forms of content, and to balance a design. Shapes can be created out of nothing, using white space to give a design structure and clarity.

Colour: Colour, or the absence of colour, is an important element of any design. With a solid understanding of colour theory, designers can amazingly influence a design and a brand, seamlessly integrating colour boldly or with brilliant subtlety.

Type: Type can transform a message from mere text to a work of art. Different fonts, combined with customized alignments, spacing, size, and colour, can add power to the point you are communicating to the world.

Texture: Even a smooth and glossy advertisement can seem tangible with texture. It gives a sense of a tactile surface through its visual appearance and adds a sense of depth, enhanced by selection of appropriate paper and material.

Tools of Graphic Design

Professional designers possess a creative mind with an artistic inclination, and so much more. Keen observation skills and analytical thinking are essential tools for graphic design, before they dig into their physical tool kit and touch pen to paper or stylus to tablet. Designers employ a variety of methods to combine art and technology to communicate a particular message and create an impressive visual.

Art Nouveau in Fashion

The Art Nouveau movement overlapped with late Arts and Crafts in the 1890s and early modernism in the 1910s, combining the exquisite workmanship and natural forms of the former with the innovative materials, forms and practices associated with the latter. Art Nouveau Fashion provides a fascinating introduction to the style, defining it and placing it in design history by focusing on a number of important designers - Worth, Lucile, Paquin, Poiret - and key topics, such as clients and artists, jewellery and accessories and advertising.

Art Nouveau fashion questioned conventional gender norms with daring flamboyance, presenting women in suits, influenced by tailored menswear, for the street and overtly seductive lingerie for the boudoir. Fashionable corsets manipulated female bodies into increasingly artificial forms, while advertising seduced consumers with images of scantily clad women. The movement's radicalism and openness to diverse design influences directly influenced the counter-culture of the late 1960s, inspiring boutiques in London's fashionable Carnaby Street and San Francisco's Haight-Ashbury. Art Nouveau fashion continues to resonate today - and this book presents it with a wealth of unseen images and historic sources.

Neo Classicism Artist & Artwork

Neoclassicism (from Greek νέος nèos and κλασσικός klassikòs classicus) is the name given to Western movementsin the decorative and visual arts, literature, theatre, music, and architecture that draw inspiration from the "classical" art and culture of Ancient Greece or Ancient Rome. The main Neoclassical movement coincided with the 18th century Age of Enlightenment, and continued into the early 19th century, latterly competing with Romanticism. In architecture, the style continued throughout the 19th, 20th and up to the 21st century.

Francois Gerard's paintings are outstanding examples of the French Neoclassical style in the nineteenth century. His favorite subjects were classical mythology and  historically important scenes of the French Revolution and historical portraiture. His style is distinguished by expert draftsmanship, gracious sophistication and a polished style. He believed that unity and simplicity are the two true sources of beauty

19th Century Graphic Design (Week 3)

The objects of his inspection are, for the most part, at the intersection of technology, commerce and culture. More than 300 years after the invention of printing, the 19th century was an era of design enlightenment. The commercial art and craft of graphic and typographic activity was

prodigiously practiced by trained artisans who drew their inspiration from many of the same sources. Printers and type foundries published scores of elaborate sample books — some so ornate they resembled family Bibles, others stuffed like scrapbooks with samples hot off the presses.

Contemporary artists and designers sometimes think this material is merely quaint, or else they turn up their noses altogether at this decorative stuff, but a simple scan of Jury’s reproductions shows that the men (and the few women) who worked in this field knew exactly what they were doing. This is not naïve art. What they knew how to do was decidedly more difficult than using layout, font and drawing programs on today’s computers. The high level of sophistication can be seen in specimens like an excessively decorated ad for a 12-color press (“Golding’s Chromatic Jobber,” circa 1886) that demanded a lot of patience as well as aptitude to achieve the final result. And the eccentric typography on the cover of a specimen book by Thomas Hailing elegantly employs a quirky ornate typeface that prefigures everything from psyche­deliato today’s comics.

Pictographs (Week 1)

    

      A pictogram, also called a pictogramme, pictograph, or simply picto, and also an 'icon', is an ideogram that conveys its meaning through its pictorial resemblance to a physical object. Pictographs are often used in writing and graphic systems in which the characters are to a considerable extent pictorial in appearance.

          Pictography is a form of writing which uses representational, pictorial drawings, similarly to cuneiform and, to some extent,hieroglyphic writing, which also uses drawings as phonetic letters or determinative rhymes. In certain modern use, pictograms participants to a formal language (e.g. Hazards pictograms).

Icon (Week 1)

          An icon (from Greek εἰκών eikōn "image") is generally a flat panel painting depicting Jesus, Mary, saints and angels, which is venerated among Eastern Orthodox, Oriental Orthodox, and in certain Eastern Catholic Churches.

          Icons may also be cast in metal, carved in stone, embroidered on cloth, painted on wood, done in mosaic or fresco work, printed on paper or metal, etc. Icons are often illuminated with a candle or jar of oil with a wick. (Beeswax for candles and olive oil for oil lamps are preferred because they burn very cleanly, although other materials are sometimes used.) The illumination of religious images with lamps or candles is an ancient practice pre-dating Christianity.

          Although common in translated works from Greek or Russian, in English iconography does not mean icon painting, and "iconographer" does not mean an artist of icons, which are painted or carved, not "written", as they are in those languages.

          Comparable images from Western Christianity are generally not described as "icons", although "iconic" may be used to describe a static style of devotional image.

Symbols (Week 1)

         
 A symbol is an object that represents, stands for, or suggests an idea, visual image, belief, action, or material entity. Symbols take the form of words, sounds, gestures, or visual images and are used to convey ideas and beliefs. For example, a red octagon may be a symbol for "STOP". 

          On a map, a picture of a tent might represent a campsite.Numeralsnumbers. Alphabetic letters are symbols for sounds. Personal names are symbols representing individuals. A red rose symbolizes love and compassion.

 are symbols for 

Hieroglyph

          A hieroglyph (Greek for "sacred writing") is a character of the ancient Egyptian writing system. Logographic scripts that are pictographic in form in a way reminiscent of ancient Egyptian are also sometimes called "hieroglyphs". 

          

          In Neoplatonism, especially during the Renaissance, a "hieroglyph" was an artistic 

representation of an esoteric idea, which Neoplatonists believed actual Egyptian hieroglyphs to be. The word hieroglyphics may refer to a hieroglyphic script.