PARK
The aim of my project was to create a short story, which combines the textual elements of fiction, plus illustrations ranging from digital photographs to illustrations. My goal was to be experimental and to satisfy a need that has not been done before. I was frustrated by the fact that there are hardly any fictional works that combine both text and picture and illustrations aimed at the adult audience. Currently, the majority of books that incorporate pictures are made for and marketed to children. The major influences on this project include works by filmmakers Quentin Tarantino and Chris Marker, comic book authors Alan Moore, Steve Niles, Elman Brown, Drew Hayes, Neil Gaiman and Dave Keanes.
The Park is a narrated story told through text and graphic images. The viewpoint of the story is told as if the reader were an invisible observer in the world of the two characters. When reading the story, the reader gets the feeling that they are intended to be part of this world but are not a factor in it. The Park, opens and ends in a park with both characters undergoing a spiritual transformation in the middle.
Introduction to Pictorial Storytelling (I think that best describes your project)
The human imagination has given been given the unique gift of communicating abstract concepts and ideas to each other through story telling. All forms of story telling, written, illustrated or spoken, have given the narrator or author the power to enter people's minds with their ideas. One major form of story telling throughout history has been through the use of pictures. The early uses of pictorial story telling were applied though the cave drawings
Drawing uses a kind of universal language. It is easy to understand that drawing is perhaps the most fundamental of the visual arts and is closely related to all the others. Writing itself is simply the drawing of letters, which are symbols for sounds. Although drawings differ in quality, they have a common purpose -- to give visible form to an idea and the artist's feeling about it. As an art form, drawing is the translation of the idea and the emotion into a form that can be seen and felt by others.
One example of this personal feeling is clearly seen Giovanni Battista Tiepolo's brown-wash drawing "The Rest on the Flight into Egypt." This drawing shows the artist's light-hearted approach to the serious subject of religion. In contrast is the wash drawing 'Interior', by Fernand Leger, a French artist of the 20th century. Leger created drawings with technical precision and was a follower of the cubist school. Leger used his style to break down objects and reassemble them in his own way to get the effect he wanted.
The different types of drawing significant to my research and inspiration are line drawing, form drawing, animation and cartoon/comic book drawing and graphic art. Line drawing is the simplest technical approach to drawing. As indicated by the name, line drawing is usually expressed by line only. There is no attempt to distinguish and contrast between light and dark. Line drawing was mostly used in Asian, Egyptian, and early Greek art, and its influence can be traced through Byzantine and medieval work, particularly where the Asian influence was strong.
Form drawing can be shown in a drawing with a series of lines or crossing lines in many different directions. Such lines, together with sharply accented highlights, have been used by artists such as Rembrandt. It is important to note however that most artists have used combinations of line and form techniques. Comic strips and political drawings in newspapers are called cartoons. One application of a cartoon is a caricature, this form exaggerates a situation or a person's characteristics, usually for purposes of satire. This form has been used as powerful weapon in the political arena. There are many famous caricaturists, such as Sir John Tenniel and Thomas Nast, who have embraced this genre.
The oldest drawings of which there is any record are those on the walls of caves.
Ancient Egyptian writing developed from drawings that represented objects and events. Each picture symbol, which included birds, fruit, and flower forms, was drawn in outline, and in sharp contrast to the realistic drawings of the cave dwellers. These early storytellers told of great encounters they had with animals and other tribes. The early artists tried to tell their stories by...
Instead, success can only be determined by the artist. This does not mean that all art can be considered good art; I think that most real artists can admit that there are times when they are less successful at reaching their goals and fulfilling their visions than others. I also think that one of the measures of an amateur artists -- one who will never really be "good" --
The nineteenth- (and early twentieth- ) century author and critic Henry James had a very different approach to understanding and explaining fiction as it was to be understood in both a scholarly and an artistic sense. Fiction and its authors have to take themselves with a certain sense of seriousness of purpose, in James' view, but with this cam a certain detachment (James 1884). True fiction, or at least good
Fiction's Come a Long Way, Baby The development of fiction from its nascent stages until today's contemporary works is a storied one. Many features mark contemporary fiction and differentiate it from the classics of the 17th, 18th and 19th centuries: For one, modern writers use different perspectives to narrate: In some works, the narrator switches from third-person omniscient to first person, and in some contemporary works, even the challenging second-person. Experimentation
French Romantic painter, Eugene Delacroix, is well-known from this period. Delacroix often took his subjects from literature but added much more by using color to create an effect of pure energy and emotion that he compared to music. He also showed that paintings can be done about present-day historical events, not just those in the past (Wood, 217). He was at home with styles such as pen, watercolor, pastel, and
The medium with which the artist works is also unique in that they are outfits that can and should be worn. The sound suits are designed to be wearable, imparting a grounded character to the exhibit. Instead of taking the suits too seriously, the viewer can imagine them as costumes in which the serious self is left behind in favor of the inner child. Like a mascot at a
Art History The transition from the Baroque to the Rococo style in sculpture and painting was attended by a concurrent shift in European power relations, as the cultural and political hegemony of the Roman Catholic Church gave way to secular institutions of power. Comparing a work produced during the height of either style demonstrates this shift implicitly, because the Rococo style contains a playfulness in both theme and visual content hinting
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