Yellow Submarine

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Yellow Submarine is definitely heavy on art that doesn't follow any kind of rigid structure. In fact, it seems to break every standard rule for designs but it really works to it's advantage. The use of hues and values are all over the place but there is a method to the, seemingly, madness that appears on screen. It does remind me of the designs I have done, in that it's rather chaotic at times and seems to not follow any particular rule at first. But there is a sense of cohesion that does make it work somehow. I feel that every design should have a direction, even it's not bluntly put out there.

Functional Object: Cups!

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Camouflage

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Bitten by Japanese Mania

The Life of Mr. Bing

Siegfried Bing was a master of porcelains and ceramics. Born in Hamburg, he became the owner of the Bing family enterprise when his brother, Michael, passed away. He developed his own import-export business in the 70s which flourished, and had his first Japan Auction Sale in '76.

While he did exported with various other entities, he grew fascinated on Asian and Japanese arts and focused on importing and exporting with those countries. His interests grew so much that in 1880, he finally took a trip to Japan for a year and as in the documentary, he bought up whatever he came across during his trip.

In 1895, he opened up his famous gallery, Maison de l'Art Nouveau, which eventually would perpetuate the Art Nouveau style which would be incorporated by future artists. Bing's gallery featured entire rooms designed in the Art Nouveau style, believing that art should be incorporated even in the most mundane of items like chairs.

The gallery was successful from 1896 through 1902, with Bing showing up many works of artists such as Louis Tiffany. He dealt with major museums and helped to promote a global art market. Bing closed his gallery during 1904, an year before his death when the fashion for Art Nouveau was beginning to decrease.

Moulin Rogue! What do I make of it all?!

The 2002 Moulin Rouge can be viewed as a modern interpretation of the Moulin Rouge viewed through Henri de Toulouse-Lautrec's time. We can see they both employed heavy use of colors, giving this world vibrancy. The movie however uses a much darker tones of colors which gives it a very sleazy underground feel to the movie, as if only those of a 'dark' nature are welcome.

Looking at the third image on the bottom, dancing was also a heavy influence on the movie. In particular, the 'cancan', a dance that had the girls uplifting their dresses to reveal underwear or more. The image is more tame compared to the movie, where their routines are definitely much more exotic and sexualized.

Another theme that is carried through the movie and images, is there a sense of melancholy from them. As if, despite all the fun to be had, some people are still not satisfied truly and that they wish for more than just a cheap thrill.

Design Comparison 3: Alphonse Mucha

From the Top:
Flavors 1, Adolin of Light (Link to Image Here)
Stolen, Angevere (Link to Image Here)
The Undertaker, Jesskajuice (Link to Image Here)

Alphonse Mucha's design style was directly opposite of Theophile Steinlen. While Steinlen used a simplistic and bold approach, Mucha had intricate patterns in his designs, often very small and detailed. These decorative flat patterns often peppered even the backgrounds of 'empty' spaces. He also had a way of emphasizing his model Sarah Bernhardt sexuality and beauty, which appealed to the male crowd.

Starting from the top, we have Flavors 1, we see a buxom beauty posting in a provocative stance. She is holding her left breast with her right hand as if she was offering to the viewers. There is many small details and patterns strewn about in various colors but particularly red the most which is often associated with passion and love.

Next up, we have Stolen. Again, we can see the use of red again in the same context as Flavors 1. However, it is the ONLY color on this image, the rest is in monochromatic. There is many details in the image but the red helps pull the viewer back to the female in the center, being held by her 'mysterious' lover.

Coming up the last, we have The Undertaker. Again, red is the primary color used with a wide range of values across. Detail is very much apparent, which emphasizes the beauty that surrounds the female's face. The black silhouette of the flowers help to frame and contrast her light skin, helping to bringing it forward and very much the focus of the image.

Design Comparison 2: Theophile Steinlen

From the Top:
Christian Louboutin, Isabelita 2011 (Link to Image Here)
Fajr International Poster, Code Name 47 2008-2011 (Link to Image Here)
Posters Like This, SmashingPlanets 2009-2011 (Link to Image Here)

Theophile Steinlen's approach was simply bold and simple designs, a nod towards Japanese prints. Looking at Cabaret du Chat Noir, you can see it's complexity is rather simple. You have an image of a black cat, with a simplistic design behind it's head. After that, it's simply text for the rest of the poster. It probably made it easier for the average viewer to take in the poster without having to 'think' too hard about the elements of arts.

For the first image, Christian Louboutin, we have a rather simple female figure standing in a pose, as if leaning on an invisible object. We have text in another language and finally the name of the poster in the bottom right. In the background, we have some shadings of trees. Overall, the design stresses most of the focus on text and the female figure. The darker contrast of the background helps bring those two elements as the primary focus.

The Fajr International Poster follows the same idea of simplicty. Here we see creative use of some lines and circles, with some text at the bottom. Using just lines and circles, we can see a person 'crying' and as we follow the tears, it leads us to the important information to deliver the message. Here, it's a simple design but cleverly uses our willingness to follow the tears to the bottom to where the message is.

Posters Like This, images like these really drive home that sometimes keeping things simple in designs is the better choice. We see a use of simple shapes and lines of red, yellow, and green which are contrasted by the black background. The text, "Posters like this don't get old", really bring it home that even old school can get the job done than the modern designs of being 'sleek' and full of imagery overload.

Design Comparison 1: Leonetto Cappiello

From Top:
America Se Expresa Disenando: Julian Ardila, 2008 (Link to Image Here)
Demons: Yuran (Link to Image Here)
Scary Piranha: Superfly Teez August, 2008 (Link to Image Here)

Leonetto Cappiello was noted for his caricatures of famous people. Eventually drawn into advertisement, he became a designer of commercial posters. A perfect example of his caricature brought into his commercial poster is the one done for Absinthe. In it, we see a green devil creature in movement with a bottle of the notorious alcohol. One can see the message of how such a drink who used female faeries that would allure an individual, unbeknownst the 'devilish' hallucinations one is likely to experience when they imbibe in the liquor.

The three examples provided above I feel touch on the elements Leonetto uses. The first image, America Se Expresa Disenando, is a typical caricature of a person, often exaggerated proportions and usually done to emphasize what the artists sees in his subject physically or mentally. Perhaps the artist wanted to emphasize the man's slender nature and possibly the tattoo on around the left eye is a representation of the individual's interest in tattoo designs.

The second image, Demons, has a very similar idea concept much like Leonetto's Absinthe poster. We see two demons working together to pour alcohol into a cup. It reminds me of how people talk about how they only meant to have one drink, but yet somehow more keeps coming. Perhaps the little demons are to blame...

Finally, we have the third image, Scary Piranha. It's a simple one but I think the emphasize on the Piranha's rather oversized Jaw is an excellent, if blunt and simple, example that touches on some of Leonetto's approach in his designs.