Sunday, November 26, 2006

The Raven

Once upon a midnight dreary, while I pondered, weak and weary
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“‘Tis some visitor,” I muttered, “tapping at my chamber door—
Only this, and nothing more.'

Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.

And the silken sad uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating,
“‘Tis some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
This it is, and nothing more.'
...

Above is an excerpt from 'The raven' which is one of my favourite poems written by the American writer and poet Edgar Allan Poe. Many say he is a master of horror genre in Literature. Like the other works by this talented writer, the poem is dark, mystic, covering with supernatural atmosphere and inner thoughts. Its underlying musicality is built on the mastery stylized languague. The poem tells of the strage midnight visit of a talking raven to a desperate lover, pulling him down into madness. The raven seems to come from Hell, "from the night's plutonian shore" (Pluto, in Roman Mythology is the Underworld God), and carries with it the unceasingly haunting message "Nevermore". According to Poe, the concept of self-destroying anguish over the death of a lover is the most poetic topic and he is successful in framing it throughout the poem. I'm impressed by his idea that "Guilt" is the inner desire of destroying oneself, not the thing to be judged by moral standard that the person's living in.

Sunday, November 19, 2006

April Greiman - A notable contemporary artist

Today, I'd like to introduce you April Greiman. She is a very influential designer who is well-known for her early venture to a brand new aesthetic in design by using computer technology as a design tool, which she refered to as “hybrid imagery”. I've done research on herself and her works some months ago. This is the brief extracted from my research paper.
Biography :
She was born in 1948, in the city of New York. Later, she studied art at Basel School of Design in Switzerland as a student of Armin Hoffman and Wolfgang Weingart. As a result, Greiman was influenced by the International Style, especially Wolfgang Weingart ‘s style later known as New Wave which is related to replacing modern objectivity with a post-modern subjectivity to receive viewer response. After completing studies, she moved back first to New York and then to Los Angeles. It is here that she founded her design company, April Greiman Incorporated. In 1985, she produced the grand project for Design Quarterly. The magazine unfolded into a single page with the measurement of two feet by six feet. On the page were both traditional photographic images and cutting-edge digital images arranged in time by a timetable, including the center life-sized nude self-portrait of herself. Later on, this has become the unique layout for the magazine, and it’s also Greiman who was in charge of the design. During the time, she explored, and strarted experiencing digital design using a Mac.
After that, she has worked for many other companies including Time-Warner, Esprit, Benetton, and Sears. She also became a lecturer at the Southern California Institute of Architecture.
Together with early coorperative photographer Jamie Odgers, Greiman is credited for laying the foundation for the New Wave design style in the United States in the late 70s and early 80s .

Her works :
These are my three favourite works made by April.












From left to right :
Objects in Space, 1999 - Selby Gallery
(Source : http://www.madeinspaceshop.com/posters/posimselby2.jpg)

Sci-Arc, Changing Concepts of Space in Architecture and Art
1986 Southern California Institute of Architecture (Sci-Arc)
(Source : http://www.madeinspaceshop.com/posters/posimchan2.jpg)

Shaping the Future of Healthcare
1987 CareMark Symposium U.C. Irvine
(Source: http://www.madeinspaceshop.com/posters/posimshap2.jpg
)
As you can see, through the three examples, April has displayed her style of building complex collages of digital images, typography and symbols by “layering” (April Greiman, Hybrid imagery). The electronic media has clearly inspired her through the mysterious multi-layer effects and blending ability. In all three works, we can see that she has tried experiencing, playing and arranging graphic elements to help messages be filtered through layers. Moreover, the three-dimensional quality and visual depth generated by the layers within the works fill them with highly refreshing vitality.
Inspired by her style, I 've tried creating a picture from the photograph of my hand, "layering" it with various effects and colors and got the following result. I really like it.

Sunday, November 12, 2006

Paint digitally

I'm just getting used to the brush tool in Photoshop and found that it's really nice and dedicated tool for painter. We need to know just several simple things to paint the simplest painting to the most sophisticate one. It must be mentioned that the other requirements are patience and experience though. These are several screenshots of my work at different time of the last few weeks and some tips I acquired during the time. It's not finished yet.













Here are some useful information from the help tool :
Color dynamics determine how the color of paint changes over the course of a stroke.
Opacity Jitter and Control Specifies how the opacity of paint varies in a brush stroke, up to (but not exceeding) the opacity value specified in the options bar. To specify a percentage by which the opacity of the paint can vary, type a number or use the slider to enter a value. To specify how you want to control the opacity variance of brush marks, choose an option from the Control pop‑up menu:Off Specifies no control over the opacity variance of brush marks.
Flow Jitter and Control Specifies how the flow of paint varies in a brush stroke, up to (but not exceeding) the flow value specified in the options bar.To specify a percentage by which the flow of the paint can vary, type a number or use the slider to enter a value. To specify how you want to control the flow variance of brush marks, choose an option from the Control pop‑up menu.

And here are MY tips
_When using brush tool, you can use the "[" and "]" key to change brush size
_Press Ctrl U to open color pallette quickly
_Press spacebar and drag to move around your picture
_Using the more layers the better
_Following master's steps. Personally, I really like Nene Thomas, the digital painter/artist.

Mandala - a psychological inspiration

Mandala has Hindu origin and is used in Dharmic religions such as Buddism and Hinduism to refer to tangible objects ranging from the metaphysical or symbological cosmos to the microcosm of the world . In the West, mandala is also used to imply individual world, which includes one's inner interests and outer activities. The center of a mandala is always an object for focusing attention and used in meditation practice. According to Carl Jung, exploring mandala enables us to contact the unconscious self, figure out the disorders and reach personal wholeness.

(image source : http://www.netreach.net/~nhojem/mandala.htm)
"I had to abandon the idea of the superordinate position of the ego. ... I saw that everything, all paths I had been following, all steps I had taken, were leading back to a single point -- namely, to the mid-point. It became increasingly plain to me that the mandala is the centre. It is the exponent of all paths. It is the path to the centre, to individuation. ... I knew that in finding the mandala as an expression of the self I had attained what was for me the ultimate" - C. G. Jung. Memories, Dreams, Reflections.



(image source : http://www.netreach.net/~nhojem/mandala.htm)

As we look into a mandala, it seems that the general symmetrical geometric shapes possessing it tends to draw the attention to its deep center - the midpoint. And the mandala is somewhat a procession of rhytmn following the clockwise or anti clockwise helical direction. We experience a sort of gradual growth or gradual disintegration hierachicaly, which means there's no misplacement, no single object does not follows others or impressively valuable than others. In mandalas, there seem to be always perfect balance, diagonal, upright, or helical .


The above mandala is my favourite mandala, it seems to absorb in it the general hamony among the extreme conflicts of the cosmos - the oposite but complementary. We can see part of the basic yin-yang at the periphery, and we can also see that there is an element of yang within yin and an element of yin within yang (the white part in black and black in white)