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1
Webb, Keith R. „A new approach to illustration curriculum design : using Bloom's taxonomy as the framework for cognitive and psychomotor illustration studio objectives /“. Read thesis online, 2007. http://library.uco.edu/UCOthesis/WebbKR2007.pdf.
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Davila, Victor. „THE ILLUSION OF ART: MY AMALGAMATION OF ILLUSTRATION AND CONTEMPORARY ART“. Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3753.
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Drawing on archetypical aspects of human characteristics and personalities, I create images that illustrate our connection to memory, media, and culture. My work is informed by pop culture, including television, movies, cartoons and comic books as it relates to characters in our own physical world and society. The grid is used to represent both childhood games and the frames of a comic strip, where each panel equals an exact moment of time.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Jones, Andrew Stuart. „Kay Nielsen orientalism in illustration during the Belle Époque /“. Birmingham, Ala. : University of Alabama at Birmingham, 2009. https://www.mhsl.uab.edu/dt/2009m/jonesa.pdf.
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Thesis (M.A.)--University of Alabama at Birmingham, 2009.Title from PDF title page (viewed Jan. 21, 2010). Additional advisors: Cathleen Cummings, Heather McPherson, Mindy Nancarrow. Includes bibliographical references (p. 66-71).
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Akard, Carrie Meitzner. „Southern Genre Painting and Illustration from 1830 to 1890“. Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277611/.
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The purpose of this thesis is to give a concise view of stylistic, iconographical, and iconological trends in Southern genre paintings and illustrations between 1830 and 1890 by native Southern artists and artists who lived at least ten years in the South. Exploration of artworks was accomplished by compiling as many artworks as possible per decade, separating each decade by dominant trends in subject matter, and researching to determine political and/or social implications associated with and affecting each image. Historical documents and the findings of other scholars revealed that many artworks carried political overtones reflecting the dominant thought of the white ruling class during the period while the significance and interpretation of other artworks was achieved by studying dominant personal beliefs and social practices.
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Valley, Madeleine. „Gentle Wolves: Re-Contextualizing Fairy Tale Illustration“. Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1367427355.
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Tremblay, Denys. „La sculpture environnementale : point de vue historique, articulation conceptuelle et illustration“. Paris 8, 1987. http://www.theses.fr/1987PA080197.
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La mutation envirionnementale de la sculpture s'effectue lorsque des artistes impliquent les contextes de presentation dans de nouvelles relations esthetiques et existentielles avec l'oeuvre. Avec le litchrequisit, moholy-nagy s'empare arbitrairement du contexte quotidien de presentation en projetant sur lui un spectacle d'ombres et de lumieres. Avec fountain, duchamp qualifie arbitrairement d'artistique un objet quotidien en voulant l'exposer dans un contexte artistique de presentation. Dans ces deux exemples, les artistes realisent des sculptures dependantes du contexte environnant et tributaires de l'evenement qu'elles y produisent. Ces oeuvres manifestent un art en interaction avec la vie et expriment une dominance esthetique ou existentielle selon que l'objet sculptural est decrete arbitrairement quotidien ou que l'objet quotidien est decrete arbitrairement artistique. En suivant le cheminement de smithson, de christo et de l'illustre inconnu, nous realisons que certains artistes contemporains developpent et approfondissent davantage les processus existentiels et esthetiques impliques par leurs oeuvres. En effet, ces artistes proposent et negocient des projets artistiques qui s'enracinent davantage dans le substrat culturel et social d'une localite. De plus, ils inaugurent une mutation "regionaliste" de la sculpture environnementale en permettant de transcender le temps et le lieu meme de la localite concernee. Le resultat sculptural prend alors la forme d'un really-made, c'est-a-dire un acte d'art introduit dans le champ de la vie et assume a la fois comme art et comme vie par des responsables locaux devenus des partenaires a part entiere. La deuxieme partie de la these relate les experimentations pratiques de l'auteurartiste. Ce dernier opere des rituels protocolaires dans diverses localites a titre d'illustre inconnu de l'impouvoir-peripherique. Il procede a l'inhumation de l'histoire de l'art metropolitaine recuperee au centre pompidou a paris. Plus tard, il negocie un protocole d'entente unique en son genre pour la sauvegarde de sculptures contemporaines a chicoutimi. De plus, il elabore les plans d'un pavillon thematique et universitaire tout a fait revolutionnaire. Veritable contrat contemporain et local entre l'art et la vie, la these devient elle-meme un really-made lorsqu'elle invite le lecteur a l'accepter comme "unite volumetrique" de base de l'auteur.
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Kroeter, Chloe Melinda. „Art and activism : promoting change through British periodical illustration, 1893-1914“. Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648341.
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Schütz, Marine. „Entre les lignes : dessin, illustration et pratiques graphiques dans le Pop art (1950-1975)“. Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3104.
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Dès l’apparition du Pop art autour de 1962, l’iconographie de l’illustration et de la publicité indique l’émergence d’une véritable esthétique graphique. La rencontre du Pop art et du dessin se révèle particulièrement intéressante car suivre les productions réalisées dans cette discipline éminemment manuelle permet de réexaminer les différentes positions des artistes vis-à-vis de la culture de masse et d’aborder des questions tant matérielles qu’iconographiques. Partant du constat que les formations artistiques sont à l’origine du va-et-vient entre options manuelles et mécaniques dans l’économie du Pop art, le propos débute par l’examen des conditions d’émergence du dessin. L’examen des relations entre dessin et culture de masse ne saurait être complet sans évoquer la réponse d’artistes qui s’engagent dans la recherche d’un dialogue avec un public croissant (par des stratégies de classe, l’iconographie de logos de produits, la prise en compte des possibilités de l’estampe etc.). Non seulement l’œuvre naît du parcours de la main, mais le dessin pop dépasse le seul processus créateur pour exister dans un corpus d’œuvres autonomes, qui s’écarte de tout schéma finaliste. Cette présence souligne ce que peuvent avoir de critique l’image et l’action du corps. De même que Claes Oldenburg et David Hockney opposent une tension manuelle aux expressions mécanisées dans la société – et là réside le double sens de la notion d’engagement autant physique que politique dans le dessin pop –, le réinvestissement du corps sous la forme du portrait et du nu affirme sa solidarité avec les combats pour la libération sexuelle à l’aube des années soixante-dixBy 1962 with the beginning of Pop art, the iconography of illustration and advertising points the development of an art founded on graphics. Interestingly, the relations between Pop art and drawing allow to follow how the handmade practices reassess the artists’ positions towards mass culture and deal with material issues (such as manual involvement) and the meaning of iconography (counter-culture, return of the figure). Starting from the point that artistic pop economy of art owes its back and forth mouvement between manual and mechanical options to its protagonists’ artistic education, this dissertation opens with the study of drawing’s emergence in a pedagogical context. The study of the relations between drawing and mass culture wouldn’t be fully led without assessing the answer of the artists who involve in the claim for a bigger audience (with a class strategy, an iconography full of mass products and the possibilities of prints). Moreover, not only the graphic works stem from the hand, but pop drawing overwhelms the solely issue of creation processes to exist in an autonomous corpus of works, which doesn’t fall into the finalist schema. This presence points how critical may be the body, through drawing, as an image and as an action. Similary to Claes Oldenburg and David Hockney who oppose a manual tension to the social mechanized expressions – and there lay the double sense of the very notion of involvement which is to be understood in Pop art in the same time on a physical and a political level – the reinvolvement of the body by way of portrait or nude shows its solidarity with the fights in the wake of the sixties, fight for sexual liberation, or women rights
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Connerty, Michael. „Secret identity : reassessing Jack B. Yeats as a comic strip artist“. Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13452/.
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The focus of this research is the critically neglected comic strip work produced by the Irish painter Jack B. Yeats for a number of British publications between c. 1893 and 1917. The thesis seeks to identify and analyse the corpus of his previously unexamined work, positioning it in relation to contemporaneous media, entertainment and popular culture, as well as to the early development of the British comic. This thesis seeks to establish the key role that Yeats played in the early development of the form, during a key phase in its evolution. The claims that the thesis makes for Yeats as an important comic strip artist are based on extensive archival research, focused on comics such as Comic Cuts, The Big Budget and The Halfpenny Comic published in London by Alfred Harmsworth, Arthur Pearson and George Newnes respectively. He went through a number of identifiable phases in terms of his graphic style, producing a very substantial volume of work over the course of his career, largely in the form of series of strips featuring recurring characters, a number of which became very popular with the reading public. Yeats has almost exclusively been discussed in terms of his fame as a fine artist, despite the fact that his comics work was widely disseminated during his lifetime. Given that the work was once well known, as part of a novel and widely circulated mass medium, it is necessary to interrogate the absence of this material from art-historical accounts of his work and reassess Yeats as a comic strip artist. In Ireland there has been a tendency to articulate Yeats in terms of national identity, and thus avoid recognition of his engagement with, and contribution to, British popular culture. Issues regarding the mutual exclusivity of the ‘high’ and ‘low’ cultural registers in which he operated has likewise resulted in the valorization of a particular area of his creative activity and the exclusion of the material acknowledged, discussed, and celebrated here. The repositioning of Yeats in relation to comic strip art has profound implications for the study of twentieth century Irish art generally, and for Yeats connoisseurship specifically, and proposes significant challenges to both, as well as making a contribution to British comics history.
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Osborne, Carol Margot. „Pierre Didot the Elder and French book illustration, 1789-1822“. New York : Garland Pub, 1985. http://catalog.hathitrust.org/api/volumes/oclc/12050279.html.
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Bill, Brian Channing. „Pinball illustration : the artists and their careers /“. Related Electronic Resource: Web site of the Internet Pinball Database:, 2001. http://www.ipdb.org/.
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Thesis (M.A.)--Syracuse University, 2001."Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Illustration in the Graduate School of Syracuse University." Includes bibliographical references.
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Steenberg, Ryan. „The Transverse Musculocutaneous Gracilis Flap for Breast Reconstruction Educational Illustration Series“. Thesis, Rochester Institute of Technology, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10195219.
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Advancements in medicine have allowed surgeons a menu of options in post-mastectomy breast reconstruction. A conundrum exists, however, in flap selection when faced with varying patient body types. In the case of the athletic patient who does not have the appropriate amount of donor site tissue to warrant a Transverse Rectus Abdominus Musculocutaneuos Flap (TRAM) the Transverse Musculocutaneous Gracilis Flap (TMG) is an appropriate alternative due to its functional and aesthetic benefits. An intricate and timely process, the TMG procedure can be difficult to understand for the layperson. Therefore, a need for a condensed and standardized description exists. By breaking the process down and illustrating the procedure one can effectively deliver the information for use across all realms of publication and education.
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Thammavong, Bounnak M. „Binary tales“. Thesis, University of Iowa, 2009. https://ir.uiowa.edu/etd/444.
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INTENT OF BINARY TALES EXHIBITION
"Binary Tales", my MFA exhibition offers an alternative point of view of diversity and immigration to provoke thought in the audience. I'm gifted with the ability to express myself through the visual arts in the medium of metal. I also have the experiences to carry a message of hope and exploration through the tale of my immigration and assimilation in the great American culture. Using my abilities and experience, I seized the opportunity of excitement and hope generated by the President's leadership to further breakdown cultural barriers. "Binary Tales" guided the viewer in a vicarious journey through my life story as an immigrant trying to fit into American society and provide chances to understand and consider issues of culture; with particular attention to the effects of war and immigration. Perhaps the audience can then take that understanding and apply it to current issues of war and immigration.
INTENT OF BINARY TALES THESIS
This thesis paper is intended to supplement Binary Tales the Exhibition in two ways. First, by way of Chapter I and II, this thesis shall serve as a conceptual guide and contextual supplement to the artworks in the exhibition. Second, the rest of this thesis will supplement the exhibition by further detailing the philosophy that produced the work from the philosophy's development, to its current definition, and to its application.
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Du, Toit Victoria. „Mastering myths and wandering wallflowers : botanical illustrations, gardens and the "mastery of nature"“. Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2990.
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Thesis (MPhil (Visual Arts. Illustration))--University of Stellenbosch, 2009 .This thesis investigates the historical roots of botanical illustration. It argues that far from being simply scientific representations of plants and flowers, empty of artistic comment and only accompaniments to a scientific text, botanical illustrations assisted in presenting plants brought to Europe from the colonies, in ways that influenced the easy assimilation and appropriation of these plants into European culture. The "mastery of nature", which implies an attitude of dominance by humans over nature, is discussed as symptomatic of the European colonial period. European acts and attitudes of dominance are manifest in scientific approaches toward botany, botanical illustrations and gardens. This thesis proposes that attitudes of dominance have resulted in humans being spiritually and physically separated from nature. This thesis proposes that associations of botany, flowers and botanical illustrations with the feminine have assisted in human domination over nature. In much the same way as female is dominated by male, in a human sense, so plants and flowers were pictured as feminine − replete with feminine associations of subservience, weakness and vulnerability − making a human domination of the plant world possible. The artworks produced in conjunction with this thesis, for the degree Master of Philosophy (Illustration), aim to promote a sense of human attachment to and identification with the plants painted, in opposition to the separateness from nature that is promoted by the "mastery of nature". While traditional botanical illustration, in service to modern science, promoted the supremacy of vision as a way of knowing nature, the artworks draw attention to the unseen issues around plants and the human spiritual connections with them. This thesis proposes that, in a contemporary context characterized by an environmental crisis, there is a new role to be played by botanical illustration: it is felt that botanical illustrations should emphasize human connections with the plant world, thus alerting humans to the necessity of nature for our physical, as well as spiritual, survival.
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Lindahl, Felix. „Varelsedesign : en metod“. Thesis, Högskolan på Gotland, Institutionen för speldesign, teknik och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1886.
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My aim in this case study has been to create a method for creature design to test this method in a production and evaluate the results. To achieve this I studied and analyzed the methods of three concept artists and illustrators named James Gurney, Neville Page and Iain McCaig. From the analysis of these artist´s methods, combined with my own personal experience, a new method was formed. To test this method a creature was designed based on directives given by a game design group in the process of creating a table top role playing game in a fictitious world. These directives where given for the creature´s role and its living conditions. When the production was completed I received feedback from the game design group and conducted an analysis of the method, based on their feedback and my own conclusions, to further improve upon this method.
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Lilienthal, Anneliese M. „The art of Biology : exploring and illustrating the hind limb morphology of the marine toad, Bufo marinus /“. Connect to online version, 2005. http://ada.mtholyoke.edu/setr/websrc/pdfs/mhc/2005/98.pdf.
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Halse, Joanne. „Framing the text : an investigation of collage in postmodern narrative illustration“. Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/50609.
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Thesis (MA)--Stellenbosch University, 2006.ENGLISH ABSTRACT: Collage, as a verbal and visual medium, epitomises the heterogeneity, indeterminacy and fragmentation of the postmodern moment. In this thesis I argue that visual collage - in the context of book illustration - presents an ideal form with which to illustrate the state of contemporary (postmodern) narrative. Postmodernism, as a term or concept, evades any form of absolute or definitive account. Hence, in my discussion of the postmodern condition I move towards an understanding of this complex theoretical and cultural phenomenon. Postmodern cultural artifacts reflect the state of a modernised, Western-orientated, globalised consciousness, which resists arborescent structures in past and contemporary texts. In both postmodern narratives and in literary fictional narratives the condition of artifice is amplified. Thus, this thesis explores various characteristics evident in postmodern fiction in order to understand and demonstrate the changes manifest in contemporary narratives in general. Many of the stylistic and figurative devices employed in the postmodern novel foreground the excessive appropriation and self-reflexive textualism of contemporary texts - these literary devices often reflect particular collage-like tendencies or characteristics. Contemporary literary theory, in addition, provides many useful terms and concepts with which to describe visual texts and, for the purposes of this discussion, narrative illustration. This thesis is centred primarily on an analysis of the practical component completed as part of the Master of Arts degree in Fine Arts. The discussion of the practical work is embedded in the wider fields of book art - particularly the postmodern artist's book (livre detourne) - and in contentious debates around the role of visual narrative illustration. In both the thesis and the illustrated book objects, I challenge the secondary and supplementary position traditionally held by illustration in the context of the book. I argue for a form of visual narrative that is not required to function as a mere translation of the primary verbal text. Instead - working within the context of the artist's book and through the utilisation of collage as a visual (and verbal) medium - I demonstrate that illustration may complement, supplement or subvert the written text. Furthermore, I show that illustration may assume the role of the primary text in the context of the codex. Finally, this study creates a space for a creative and participatory reader who, through the intertextual processes made evident in the book objects, becomes an active 'reader-writer' of the visual and verbal narratives under discussion.
AFRIKAANSE OPSOMMING: Collage, as beide 'n verbale en visuele medium, verpersoonlik die onbesliste, gefragmenteerde, heterogene moment van postmodemisme. In hierdie tesis voer ek aan dat visuele collage, binne die konteks van boekillustrasie, 'n ideale vorm van uitbeelding hied om die toestand van kontemporere (postmodeme) narratief te illustreer. Postmodemisme, as 'n term of konsep, ontwyk enige volslae of beslissende betekenis. Gevolglik poog ek in my bespreking van die postmodeme toestand om nader aan 'n begrip van hierdie komplekse teoretiese en kulturele , fenoneem te beweeg. Postmodeme kulturele artefakte reflekteer die toestand van 'n gemodemiseerde, Westers-georienteerde, geglobaliseerde bewustheid wat liniere strukture in tekste uit die verlede en die hede weerstaan. In beide postmodeme narratiewe en fiktiewe literere narratiewe word die gesteldheid van kunsskepping toegelig. Dus ondersoek hierdie tesis verskeie opvallende eienskappe van postmodeme fiksie ten einde die veranderinge wat in die algemeen in kontemporere narratiewe manifesteer te verstaan en te demonstreer. Vele van die stilistiese en figuratiewe tegnieke van die postmodemistiese roman plaas die oormatige toe-eining en selfrefleksiewe tekstualisme van konteporere tekste op die voorgrond; die literere gebruikswyses reflekteer dikwels bepaalde collage-agtige tendense of eienskappe. Hierbenewens, bied kontemporere literereteorie vele nuttige terme en konsepte waarmee visuele tekste sowel as, vir die doe] van hierdie ondersoek, visuele narratiewe, beskryf kan word. Hierdie tesis is hoofsaaklik gevestig op 'n analise van die praktiese werk wat dee) van die Magister Artuim-graad in Beeldende Kunste uitmaak. Die bespreking van die praktiese werk is veranker in die wyer terreine van boekkuns - spesifiek die postmodeme kunstenaarsboek (livre detourne) - en in kontensieuse debatte oor die rol van visuelenarratief-illustrasie. In beide die tesis en die gelllustreerde boekobjekte bevraagteken ek die tradisionele siening dat illustrasie binne boekkontekse 'n sekondere of aanvullende posisie inneem. Ek argumenteer ten gunste van 'n vorm van visuele narratief waarvan daar nie bloot verwagword om as 'n beskrywing van die primere verbale teks te funksioneer nie. In plaas daarvan, deur binne die konteks van die kunstenaarsboek te werk en deur collage as 'n visuele (en verbale) medium te benut, demonstreer ek dat illustrasie die geskrewe teks kan aanvul, daartoe kan toevoeg of dit kan ondergrawe. Verder toon ek dat illustrasie die rol van die primere teks in die konteks van die kodeks kan inneem. Laastens skep hierdie studie die geleentheid vir 'n kreatiewe en bydraende leser - vanwee 'n intertekstuele proses wat in die boekobjekte aan die Jig kom - om as 'n aktiewe 'leser-skrywer' van die visuele en verbale tekste onder bespreking op te tree.
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Carroll, Rachel Art College of Fine Arts UNSW. „What kind of relationship with nature does art provide?“ Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43308.
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The relationship with nature through art has been explored as a two fold bond. The first considers a relationship with nature via art and science, where the history and contemporary application of scientific illustration in art is explored; while the second explores past and present connections with nature via art and the landscape, particularly the panoramic tradition. Historically these relationships have predominately been about dominating nature, mans dominion over the land. Science was seen as the only authority, while our relationships with the land in art, positioned the viewer at a commanding distance above and over the land, as seen in the post colonial panoramic tradition. In contrast, -The Coorong Series- explores a lived history with nature rather than the historical role of dominance. -The Coorong Series" explores a relationship of knowledge, understanding, and the experience of nature; through two parts. The first combines art and science in -The Coorong Specimen Series', to explore the facts and knowledge that science has provided about certain plants, birds and marine life from the Coorong. Inspiration has been derived from 19thC scientific illustrations and the lyrical prints of the Coorong by Australian Artist John Olsen. Part two explores the immersive experience of the iconic landscape in ???The Coorong Landscape Series" providing a relationship that seeks to understand the functionality of the location and to celebrate the unique beauty of this diverse region. Inspiration has been gained from the landscapes by l8th and 19th C artists John Constable and Claude Monet, along with landscapes by contemporary artists, John Walker and Mandy Martin. Through aesthetic notions such as scientific illustration, panoramic landscape, immersive scale, the collection of work, an expressionistic use of paint, and labeling of each piece like a museum display. -The Coorong landscape series" provides an exploration of a region that immerses the viewer in an experience of the location. The series portrays a relationship with nature through art that educates the viewer about The Coorong region. Connections are made between the land, birds, plants, fish, and human interaction; which results in an ecological consideration of the Coorong. Ultimately it is the educational experience that art provides allowing the viewer to explore a plethora of relationships within nature, and to explore how these relationships have changed or continue to exist within this era.
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Karle, Ryan. „Leveraging Sound, Space and Visual Art in an Installation“. Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1460.
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Because of my distrust for self-expression through verbal language, my pursuit thus far in art has been to discover a satisfactory means of self-expression. In study of the work I’ve created across all mediums, through poetry, music and visual art, this desire for a satisfactory outlet of self-expression has resulted in a drive to create meaning through combining mediums. Throughout this semester, my interest in mixed mediums has resulted largely in experimentation with the combination of music and visual art, as well as exploring the standalone merit of each. This also entails a study of their overlaps, cooperative influence, and the effectiveness in establishing comprehensible and replicable patterns with which artists can make themselves understood. The installation Hyper Vigilant leverages the three-wall space provided, the graffiti-like, cartoonish imagery, and the soundscape (which combines chatter and music) to create an environment in which the feelings I experience in an episode of panic, or in a bout of anxiety are fully represented. This paper will discuss the use of a combination of sound, visual art and space in an installation, through an exploration of the art theory, and a discussion of precedents. It will ultimately culminate in an examination of the installation at hand.
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Heenes, Volker. „Antike in Bildern : Illustrationen in antiquarischen Werken des 16. und 17. Jahrhunderts /“. Stendal : Winckelmann-Gesellschaft, 2003. http://catalogue.bnf.fr/ark:/12148/cb39984126r.
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White, Kayla A. Ms. „Comics and Illustration from the Written; The Conversion of a Story from Prose to Graphic Depiction“. Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/210.
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This is a thesis that details the process of writing a short 30 page novel, and then converting the subsequent story into a graphic format via illustrations and into a comic book layout. The story itself deals in reworking our learned assumptions of good and evil, specifically in the supernatural and human possibility for both. The comic book format is an exploration of my reader’s different responses to the written and the graphic.
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Gire, Nicolas. „L' Apocalypse comme illustration heuristique d'un siècle traumatisé“. Saint-Etienne, 2004. http://www.theses.fr/2004STET2082.
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L'Apocalypse, temps de la fin, temps de l'enfin, fin des temps, feinte des temps, fait et défait le temps. Inlassablement retranscrite, réitérée, elle nous ancre dans l'imminence, semble parfois dénier la finitude de nos existences, parfois en symboliser le déclin. En prenant appui sur les préceptes institués par la mythanalyse, nous soulignons l'effectivité d'une redondance symbolique et iconographique, afin de montrer combien ce texte endosse un rôle d'intercession entre l'homme et le monde. Source inépuisable d'interprétations, il se présente comme un catalyseur des angoisses d'une humanité mortelle, angoisses considérablement amplifiée au XXe siècleThe Apocalypse is : when time stops still; the time we have all been waiting for; the end of time; when time's bluff is called; and when time is made and unmade. Re-described and repeated for ever, the Apocalypse forces us to accept the imminent. Sometimes it seems to deny us the finite nature of our being, and at other times its signals our fall. Using the currently accepted principles used in the analysis of myths, this study underlines the inherent strength of repeating symbols and icons, and shows thereby how the story can assume the role of intermediary between man and his world. The Apocalypse provides a never ending supply of interpretations, and is a catalyst for the anguish of us mortals; an anguish which the 20th century has magnified hugely
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Morris, Hannah. „Tall enough? : an illustrator’s visual inquiry into the production and consumption of isiXhosa picture books in South Africa“. Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/2151.
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Thesis (Mphil (Visual Arts. Illustration))--University of Stellenbosch, 2007.This thesis is a visual, sociolinguistic and cultural inquiry into the role of isiXhosa picture books in contemporary South Africa. From the standpoint of an illustrator, I examine several of these works arising out of a history that alienated many isiXhosa readers and writers from their language. I examine factors that influence the design, content and very notions of reading itself through the multiple languages offered by the picture book format. I argue that these books occupy a problematic space where production and consumption are affixed to paradigms of economics, language and literacy incongruent with the lives of many isiXhosa-speaking readers. My overall conclusion is that literacy and visual literacy are essential to developing an authentic 'reading culture'. Fostering a meaningful relationship with printed words and images is critical to both the emerging reader and the emerging illustrator. In producing illustrations for an isiXhosa narrative, I consider the shape of my own visual literacy through mediations with drawing and writing, relating my activities to those of a child learning to distinguish between pictures and words. The cross-over space where image/text distinctions blur potentially invites new narrative expressions. The picture book is a suitable format for expanding notions of vision and literacy, 'subverting' paradigms and revealing the richness of contemporary African tales. I rest my fundamental premise on an insistence for an increase of accessible, quality picture books in African languages that stimulate the artistic and intellectual development of all readers.
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Walker, Caitlin J. „The Art of the Silent Story“. Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/353.
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I created a one minute 2D, hand-drawn, frame-by-frame animation with an original music score utilizing Toon Boom to demonstrate my ability to convey an interesting story without the use of any dialogue.I relied instead on pantomime, expressions, and context clues to communicate the story to the viewer.
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Molony, Mary Carolyn. „Confessions: A BFA Exhibition“. Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/154.
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The artist discusses her Bachelor of Fine Arts Exhibition, Confessions, held at the Tipton Gallery, from November 14th to November 25th. The exhibit portrays how the artist responds to issues such as organized religion, war, and politics. Being drawn to art from the Renaissance to Baroque era, the work encorporates an "old world" aesthetic, also with an emphasis on Gothic architecture.
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Vanderlinden, Cedric. „Going beyond illustration of the Lovecraft novel at the mountains of madness“. Thesis, Nelson Mandela Metropolitan University, 2013. http://hdl.handle.net/10948/d1020950.
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The research examines the relationship between the Sublime, the written works of H. P. Lovecraft, and the researcher’s production in the studio arts. It analyses how the Sublime is approached as a subject matter and principal objective within philosophical and artistic discourses, historically and within a contemporary paradigm. It also investigates the applicability of the Sublime to selected themes uncovered in H. P. Lovecraft’s work in general, and At the Mountains of Madness in particular. This is undertaken through an investigation of primary and secondary sources whose explorations and contextualization informs and supports the researcher’s practical visual studies. A reflective and critical analysis of this studio work is performed and included in the main body of the dissertation, from which a conclusion is drawn about the effectiveness of this approach. Specifically, the research explores the relevance of the Sublime both as a critical component of contemporary fine arts and as a fundamental element of the work of H. P. Lovecraft, At the Mountains of Madness in particular. In addition, the research’s practical component consists of a visual exploration of the intersection between the two. Furthermore, it represents an evaluation of this overlap in its effective translation across modes of expression, as interpreted through the medium of the researcher’s creative process.
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Johnson, Shelley. „This little chicken went to Africa : a historical survey into the development of narrative structures within relief printmaking in community centres in South Africa and a formal analysis of the relevance of the medium in contemporary children's picture book illustration“. Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1725.
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Thesis (MPhil (Visual Arts. Illustration))--University of Stellenbosch, 2009.When dealing with emergent literacy in South Africa, the didactic aspects of picture books are often privileged over their aesthetic quality and the idea of reading for pleasure. The themes of the books are not always locally relevant and for economic reasons, they often fail to reach the communities that need them the most. By looking at the history of relief printing within a community environment, I hope to highlight how communities themselves may be able to develop locally relevant children’s picture books, instituting a ‘grassroots’ approach rather than the paternalistic ‘top down’ approach of the past. I will also be looking at the narrative and stylistic elements of relief printing that are complimentary to the picture book genre and how these can be utilised for a pleasurable rather than didactic approach to the narratives.
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De, Smet Elsa. „Voir pour Savoir. La visualisation technique et scientifique de l’aventure spatiale dans le monde occidental entre 1840 et 1969“. Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040160.
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Entre la première photographie jamais prise de la Lune en 1840 par J.W. Draper et la première photographie prise depuis le sol de notre satellite en 1969 par la mission Apollo 11, l’aventure spatiale occidentale a donné lieu à une vaste production d’images. Toutes ont cherché à comprendre, capturer et communiquer au plus grand nombre l’aspect du cosmos. Absorbé comme une évidence par la culture collective, ce corpus hétérogène, protéiforme et aux délimitations complexes, relève d’une histoire culturelle qui reste difficile à classer, entre histoire des sciences et histoire des images. Les visualisations qui en résultent, marquées par les traditions de l’histoire de la représentation et fabriquées en parallèle des évolutions technologiques de l’astronomie et de ses moyens d’observation, ont tout autant façonné le regard de l’astronomie physique et la culture visuelle de ses observateurs néophytes. L’analyse de la formation et de l’épanouissement de l’Art spatial au XXe siècle nous ouvre ainsi les yeux sur un corpus visuel où la coalescence entre science et style est une condition nécessaire à son existence. A l’épreuve de l’histoire de l’histoire de l’art et des études visuelles, ce dernier trouve également toute sa place dans une analyse qui vise à dévoiler la puissance et la qualité performative des images. Qu’il s’agisse d’une imagerie vulgarisant le savoir savant à des fins didactiques, d’une volonté de saisir l’image du cosmos pour le découvrir ou d’une dissémination culturelle au cœur des grands mythes du siècle, l’exploration spatiale fut aussi une entreprise du regard qu’il nous incombe d’observerBetween the first photograph taken from the moon in 1840 by J.W. Draper and the first photograph taken from our satellite’s ground in 1969 by Apollo 11’s mission, western space odyssey led to a wide range of images. They all had the common goal of understanding, apprehending and sharing the aspect of cosmos with as many people as possible. Evidently absorbed by a collective culture, this heterogeneous and multifaceted corpus with many complex boundaries is based on a cultural history, which remains hard to classify, between science history and images history. The resulting visualizations, heavily influenced by the traditions of the history of representation and made in parallel of the technical evolutions of astronomy and its means of observation, have equally shaped the look of physical astronomy and of the visual culture of its neophyte observers. The analysis of the creation and the fulfilment of Space Art in the twentieth century make us open our eyes on a visual corpus where the coalescence between science and style is a necessary condition to its really existence. Confronted to History of Arts and to visual studies, this corpus finds its place within an analysis, which pursues to disclose the power and the performative quality of images. Whether it be an imagery popularizing the deepest knowledge for teaching purposes, a will of grabbing the image of cosmos in order to discover it or a cultural dissemination at the heart of the most important myths of the century, spatial exploration was also an experience of the look we need to observe
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Buckley, Signe A. „Integrating literature and illustration in seventh and eighth grade language arts curriculum“. CSUSB ScholarWorks, 1992. https://scholarworks.lib.csusb.edu/etd-project/615.
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Gattringer, Christa. „17th-Century Antwerp artists' studio practice : Rubens and his circle : an interdisciplinary approach in technical art history“. Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5135/.
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Early 17th-century Antwerp, despite political and religious troubles, was a thriving European art centre and home of such renowned artists as Peter Paul Rubens and other painters of his circle, like Jan Brueghel I, Frans Snyders, Anthony van Dyck and Hendrick van Balen. This interdisciplinary thesis in Technical Art History, after a general introduction to this specific art scene, looks at how specific aspects of their studio practice, such as collaborations within and outside their studios or the many copies and versions of their paintings, found manifestation in their works but also in their theoretical concepts. For this an in-depth study and examination of c.20 paintings from mainly Scottish collections (National Galleries of Scotland Edinburgh, Glasgow Museums, Hunterian Art Gallery of the University of Glasgow, Talbot Rice Gallery of the University of Edinburgh, Hopetoun House South Queensferry) was conducted, using detailed photography, multispectral imaging, tracings, dendrochronology, polarised light microscopy and SEM- EDX-analysis of paint samples in cross-sections. The technical examination and analysis, informed by art historical research, significantly aided the answering of questions regarding these paintings’ materials and techniques, as well as they helped to authenticate sometimes contested authorship and date. Four main chapters discuss Frans Snyders’ studio practice focussing on reappearing motifs, Rubens’ tronies, Jan Brueghel’s minute staffage figures in collaborative works, as well as Rubens’ and Brueghel’s painting Nature Adorned by the Graces. An own chapter critically discusses the test results of the application of Stable Lead Isotope Analysis on paint samples, which were carried out at the Scottish Universities Environmental Research Centre (SUERC).
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Grew, Rachael. „The evolution of the alchemical androgyne in symbolist and surrealist art“. Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/1858/.
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The relationship between Symbolism and Surrealism is well known yet scarcely documented in detail. This thesis aims to address this oversight by exploring the connections between these two movements, specifically through investigating their shared motif of the androgyne. The androgyne embodies the professed aim of each of these groups: the transcendence of the physical in favour of the ephemeral for the Symbolists, and the unification of opposites for the Surrealists. Equally, both movements have an interest in the occult, and the androgyne is a key image within the occult tradition symbolising spiritual unity, dovetailing with the Symbolists’ and the Surrealists’ goals. The androgyne will be analysed firstly within the context of alchemy, surveying the way in which it is portrayed in primary sources, and how this has changed in Symbolist and Surrealist art. It will also be analysed in the contexts of psychoanalysis and gender identity, observing how male and female artists portray the androgyne differently and why. The aim of this thesis is therefore two-fold: firstly, a comparative study of the iconography employed by these connected movements, to original alchemical sources, and also between the male and female artists of these movements. Secondly, it aims to create a more secure basis for the notion of alchemical influence on Symbolism and Surrealism.
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Reisberg, Mira. „An A/r/tographic study of multicultural children's book artists : developing a place-based pedagogy of pleasure“. Online access for everyone, 2006. http://www.dissertations.wsu.edu/Dissertations/Summer2006/m%5Freisberg%5F062206.pdf.
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Graczyk, Annette. „Das literarische Tableau zwischen Kunst und Wissenschaft /“. München : W. Fink, 2004. http://catalogue.bnf.fr/ark:/12148/cb391352276.
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Golding, Caroline. „3 Lives, Prescribed“. Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1993.
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This triptych consists of three pointillist-style portraits of myself, a close friend and my mother, each assembled out of the specific pills we take. While we each appear “healthy” at first glance, a closer examination raises questions about society’s collective dependence on prescription drugs – a microcosm of the much larger tragedy of opioid abuse that is destroying many American families. In addition to the portraits is an animation, “Oxycodone Lungs,” comprised of individual Oxy pills, reflecting my personal experience with this wildly addictive opiate during an emergency room visit to relieve extreme chest pain from pericarditis.
Creating each portrait required me to inventory the specific medicines taken by the subject, capture high-resolution images of each pill, then transfer the images to Adobe Illustrator to be used as individual design elements. In total, these three digital portraits required the use of over 10,000 elements. Beyond the rendering of each “pill face” I added critical context in the background, listing the pill name and a quote from each subject as to why she is taking it. I also added a subtle, almost transparent, layer of pill bottles to provide more texture to each portrait. For the “Oxycodone Lungs,” I created and duplicated two 2-D pills in Adobe Illustrator to form the trachea, lobes and bronchioles. To capture a realistic rendering, I added animation so that the lungs appear to be breathing.
Three artists have provided valuable inspiration for my thesis project. Vik Muniz is a Brazilian multimedia artist who uses unusual everyday items to create art that is accessible and meaningful to all viewers. Yayoi Kusama’s work with polka dots creates a sense of movement and depth through scale and repetition. Lastly, I was inspired by Yung Jake’s innovative, accurate images that he creates solely out of emojis.
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Dorfling, Aletta. „Betekenis in narratiewe illustrasie : 'n dissonante samewerking tussen woord en beeld /“. Link to the Internet, 2009. http://hdl.handle.net/10019/2703.
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Gauche, Catherine. „Reading the distance : decoding the autobio(graphic) novel, Portrait in pieces“. Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1980.
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Thesis (MPhil (Visual Arts. Illustration))--University of Stellenbosch, 2009.The aim of this thesis is to decode my autobiographic graphic novel, Portrait in Pieces (a narrative of a mother / daughter relationship), utilising a genealogical mode of analysis. This takes place, firstly, through a discussion of the themes of photography, memory and repetition which occur in the graphic novel; secondly, through a consideration of the role of language and difference within a specific mother / daughter relationship; and thirdly, through the study of autobiography and the self as performative entities. In this thesis I interrogate the autobiographic genre in a manner that questions internalised notions of femininity and (patriarchal) cultural constructs, which precede and influence the performance of our ‘life scripts’. I posit Portrait in Pieces as a transitional object between my mother and myself, and language as a medium which can both Otherise and close the distance between us. Translation is the medium by which one reads this distance, turning miscommunication into communication, and misunderstanding into understanding. The illustrations and text constituting the graphic novel have been produced through creative play, representing the ‘post talking’ required for the process of healing, empathising, and taking ownership of one’s ‘life script’.
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Schott, Matthew R. „The Flow of Art: A Study on the Human Experience and Nature“. Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/468.
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Through all of human history, artists and other creators have been able to access the extraordinary state of flow to achieve amazing feats. Whether it be for a divine purpose, or simply making someone’s day a little better, art has been used to lift the spirits and nourish humanity. In our attempt to cope with the world in which we live, we have found this great mental resource, that has allowed for achievements that not one person could not attain on their own. In my observation, I have seen this euphoric cycle of flow change the lives of so many and provide the tools necessary to reach one’s full potential. Through my experience and research I created a visual representation of how I perceive the concept of flow using dance, animation, and the four elements as my inspiration.
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Phillips, Catherine Victoria. „Art and politics in the Austrian Netherlands : Count Charles Cobenzl (1712-70) and his collection of drawings“. Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4049/.
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The Cabinet of Count Charles Cobenzl lies at the heart of the Hermitage Museum, forming the core of the collection of Old Master Drawings. Yet despite perpetual references to him as ‘grand collectionneur’, no study of Cobenzl’s collecting has ever been undertaken. Nor, in the absence of prosopographical studies of art production or collecting in the Austrian Netherlands in the middle of the eighteenth century, or indeed of other individual collectors, has it been possible to set him in a ‘collecting context’. Bringing together the works of art themselves and Cobenzl’s abundant correspondence, this thesis assesses what he owned, how and why he acquired it, the political and intellectual framework for his collecting and how he perceived the objects in his possession. Looking at Cobenzl’s roles as public figure and private collector, it shows how the latter fits into the context of the former, his collecting rooted firmly in his ambition to revive the economy and the arts of the Austrian Netherlands, in his own ambiguous status and his conflicts with the Governor, Charles de Lorraine. The battle for both real and perceived superiority was played out in many different parts of Cobenzl’s professional and private life, and he used display – the adornment of his home and his person and his collecting – as part of a play for social prestige. Cobenzl used objects as a discrete assertion of both intellectual and aesthetic superiority. This thesis proposes that Cobenzl’s transformation into a collector of drawings was an example of his perspicacious identification of emerging trends that could be turned to advantage, economic or prestigious, public or personal. He was drawn by the status of drawings, perceived as accessible only to those of greater refinement and understanding, as something elite, less accessible than the collecting of paintings. The direct and specific stimulus for his emergence as a collector of drawings lay in the provenance of two large groups of works he was offered, which permitted him to assert a very specific link to the past. It suggests that Cobenzl adopted not only the drawings, but also their histories, to negotiate social position and identity, within the context of his pragmatic utilitarianism. This egocentric study also provides the foundation for a preliminary attempt to create a context for Cobenzl’s collecting of drawings, within his circle, in the Austrian Netherlands overall, and, through analysis of his collecting practices, in the wider European context.
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Waxstein, Christine Michele. „Digital Illustration: The Costume Designer’s Process For East Tennessee State University’s Spring Dance Concert 2012“. Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etd/1504.
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This paper's objective is to document the research and developmental processes of creating East Tennessee State University's Spring Dance Concert 2012 costume designs and renderings. This thesis describes design creation from research stage to idea formulation to the conception of costumes using inspirational images, illustrations, and performance photos and videos. The show was a challenging undertaking because it involved the collaboration of many in a compressed timeframe: 1 artistic director, 9 choreographers, 20 dances, 46 performers, 10 lighting designers, 1 costume designer, and 3 weeks to put it all together. Incorporating digital technology into the rendering process saved time, expenses, and helped clarify the designer's choices. This paper reflects the 2-year study of incorporating digital technology into the rendering process, culminating in the costume design for the Spring Dance Concert 2012.
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Durand, Delphine. „André des Gachons, peintre symboliste, 1871-1951 : la création d'une "épiphanie fin de siécle"“. Toulouse 2, 2010. http://www.theses.fr/2010TOU20070.
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L’œuvre d’André des Gachons (1871-1951) s’enracine dans les images oniriques et fantastiques qui constituent souvent le corpus symboliste, l’anti-naturalisme, l’aura poétique y tiennent une place importante face à un monde empli d’angoisse. L’artiste a joué un rôle à ce moment décisif de l’Histoire de l’art et s’est exprimé de manière originale dans différentes disciplines, que ce soit la peinture, les arts graphiques, les arts décoratifs. La décennie (1889-1899) qui couvre son activité artistique à Paris témoigne d’une intense fermentation littéraire et artistique. Si l’on veut témoigner du rôle de l’artiste dans le symbolisme, il suffit de se pencher sur sa collaboration aux « petites Revues » qui tentent d’unir l’esthétique et l’esprit fin-de-siècle. Mais c’est l’illustration de livres qui définit son identité d’artiste, c’est une révélation de son identité personnelle, objet réel de la quête et sa place dans un mouvement très complexeAndré des Gachons’s work is rooted in dreamlike and fantastic images which are often typical of the symbolist corpus. The prevailing elements are anti-naturalism, a poetic aura in contrast with a world full of anxiety. At this turning point in art history the artist played a major role and expressed himself in an original way in various fields such as painting, graphic or decorative arts. The decade during which he was most active testifies to an intense literary and artistic fermentation. If one wants to give evidence of the artist’s importance in Symbolism one only needs to go over his contribution to the little “ Revues” which attempted to unite aesthetics and the “fin de siècle “ spirit. Yet his identity as an artist is best defined through the illustration of books which reveal the object of his quest as well as the role he played in this complex movement
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Rambaud, David. „L'insecte comme métaphore de l'assemblage : une recherche entomologique et historique sur les conditions d'apparition de l'objet manufacturé dans l'art“. Paris 8, 2009. http://octaviana.fr/document/150986920#?c=0&m=0&s=0&cv=0.
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Plusieurs thèmes traversent les aspects en apparence si différents de cette recherche : l'insecte d'abord, qui est à l'origine de la démarche plastique et devient l'agent et le guide de notre déambulation dans l'histoire. De petites fabrications dérisoires faites de résidus récoltés au cours d’itinéraires dans Paris, sont à l'origine de multiples questionnements sur l'assemblage. L'institution de quelques règles de fabrication permet, à leur image, de parler essentiellement d'assemblages figuratifs réalisés par récupération d'objets manufacturés. L'entomologie, à la méthodologie si rigoureuse, servira aussi à valider certains principes de classification pour étudier les processus cognitifs et les ressorts associatifs qui président à la création artistique. Toute fabrication, intellectuelle ou tangible, est surdéterminée par les matériaux qui la constitue. Le préalable de ce travail consistera donc à désenchevêtrer le réseau sémantique des notions qui en bâtissent les grandes lignes, comme celles de collection, de classement, de combinaison, ou encore de ressemblance, pour établir qu'il existe un faisceau de relations entre la possibilité même de l'apparition de l'assemblage comme genre référencé et la prise de conscience par la peinture de ses propres enjeux dans une sorte de retour auto-réflexif. La mouche peinte en sera l'annonciatrice emblématiqueSeveral themes cross the seemingly so different aspects of this study : first the insect, which is the origin of this artistic research and then becomes the agent and the guide of our wandering through history. Tiny and trivial making made of junks picked up during walks in Paris are the reason for many questionings on the notion of assemblage. The institution of a few making rules allows us, in their image, to talk essentially about figurative assemblages made by the recycling of manufactured objects. Entomology, with its meticulous methodology, will also be used as a tool to validate some classification principles in order to study the cognitive process and the associative resorts which govern artistic creation. Every making, intellectual or tangible, is overdetermined by the materials it is made of. The precondition to this work consists in disentangling the semantic web of notions from which derive the main lines such as collection, classification, combination, or even similarity, to establish that there is a bundle of relation between the very possibility of the emergence of assemblage as a referenced genre and the realization by painting of its own issues, in a sort of self-reflexive turning back. The painted fly will become its emblematic forewarning
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Santamaria, Sylvia S. „Darwin or Frankenstein?“ ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2639.
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Through sculpture and drawing, I create my own versions of natural specimens primarily based upon the visual unity of disparate organisms. Invented specimens are composed using a variety of processes employing a mixture of atypical materials following the (20th, 21st century) Postmodern shift away from formalist and traditional uses of any singular medium. As well as a variety of art materials, the specimens are hybrids of organic and biomorphic elements, blurring boundaries between botanical, animal, fungal, metal, and mineral. Is my approach perhaps like Charles Darwin, observant and studious naturalist, or am I more like Dr. Frankenstein, science fiction maker of monstrosities?
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Hughes, Steven E. „Painting heroes: Using illustration to improve the standing of baseball in the inner city“. Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1279586046.
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Carthew, Rich. „Anatomics visual anatomic representation: an exploration into how complex visual information can be mediated using an interplay of artistic and scientific approaches in the investigation and creation of human anatomic representations : a thesis [exegesis] submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Art and Design (MA&D), 2007“. Click here to access this resource online, 2007. http://repositoryaut.lconz.ac.nz/theses/1375/.
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Exegesis (MA--Art and Design) -- AUT University, 2007.Primary supervisor: Laurent Antonczak. Includes bibliographical references. Also held in print (67 leaves : col. ill. ; 30 cm. + DVD) in City Campus Collection (T 743.49 CAR)
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Wightman, Shaun. „PITIFUL CREATURES“. Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4188.
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By focusing on character, humor, and loose narrative, I create a world full of quirky, pitiful creatures that blur the lines between illustration and "Fine Art". Inspired by golden age cartoons, Pop-Surrealism, and late 50's commercial art, I make work that speaks of the awkwardness of human emotion while keeping a "tongue in cheek" attitude about everyday life. This work is expressed through illustration, animation, sculpture, and a lot of sarcasm.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Ellis, Olivia Gabrielle. „Racial Peeves: The Exploitation of Microaggressions“. Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/469.
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Racial Peeves: The Exploitation of Microaggressions documents my personal experience of dealing with microaggressions throughout my life, as well as the history of these racial issues. This thesis also documents the creation of my Senior BFA Exhibition of the same title inspired by 1970s Blaxploitation posters.
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Quinlan, Andrea Elizabeth. „A cross channel comparison of the illustration of the capital cities in Augustus Charles Pugin's Paris and its Environs and Gustave Doré's London: A Pilgrimage“. Thesis, University of Canterbury. Fine Arts, 2008. http://hdl.handle.net/10092/1037.
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This thesis presents a close comparison of Augustus Charles Pugin's illustrations for Paris and its Environs and Gustave Doré's illustrations for London: A Pilgrimage. This comparison will reveal what is distinctive about each publication. To achieve this, the thesis begins with a consideration of how these illustrated books fit into the oeuvres of the artists and writers involved, and how the works were subsequently received. The thesis then seeks to discover the ways the books adhere to the picturesque and Realist aesthetic modes. A comparison of the representation of social and political issues within the publications reveals how the city is either celebrated or critiqued in them. This is extended by a comparison with other English views of Paris and French views of London. The thesis concludes with the suggestion that the works under consideration are akin to illustrated guidebooks and novels. The illustrations themselves form the primary evidence for this comparison, supplemented by the accompanying written texts and other sources - including contemporary periodicals and biographical material. Paris and its Environs is a significant work within Pugin's oeuvre and shows how he created a view of Paris which would appeal to the tastes and aspirations of his readers. With London: A Pilgrimage, Doré created a view of London which would entertain his English audience but challenge them at the same time.
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Andreani, Nicola. „Bande dessinée et séquentialité : les formes de la narration par images“. Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040215.
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Cette thèse porte sur le principe même de séquentialité d’images fixes, pour comprendre la différence entre la Bande Dessinée et les différentes formes de narration par images fixes, même les autres arts. Cela nous aide à comprendre pourquoi la Bande Dessinée est devenue un art autonome, pourquoi la Bande Dessinée s’est plus developpée que d'autres formes de narration par images, et quelles sont plus précisément les origines de la Bande Dessinée.Analyser la naissance de la Bande Dessinée signifie donc tracer un parcours à travers des oeuvres, des auteurs ou des mouvements fondamentaux, et considérer les thèmes, les poétiques, les technologies qui l'ont définie à telle ou telle époque. Ce travail vise donc à identifier les oeuvres qui forment une ligne de partage entre le Moyen Âge et l'Âge Moderne. Une analyse historique, mais également paradigmatique, aidera à mieux comprendre comment la Bande Dessinée a évolué, quelles influences ont eu les autres formes d'art (comme la peinture, la littérature, la caricature ou le théâtre) mais surtout, quelles techniques et stratégies ont été mises en place et ont fait évoluer la Bande Dessinée vers un système narratif à base iconiqueThis thesis focuses to question the very principle of sequentiality of still images, that is to understand how in Sequential Art this dynamic takes different forms, but at the same time, how Sequential Art can be differentiated from other Arts. This help us to understand why it became an autonomous art, why it has developed more than any other sequential art, how and when the Comic was actually created.Analyze the rise of the Comics means tracing a path through the works, authors and the basic movements, considering the new poetics, themes, techonologies, that have defined this. This work aims to identify works which form a connection between the Middle Ages and the Modern Age. A historical analysis, but also paradigmatic one, will help to better understand how Comics evolved, what influences have had other forms of art (such as painting, literature, theater or caricature) but, above all, which techniques and strategies have been implemented and have changed Comics toward a narrative system based on images
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Worley, Cassie. „Many are the deceivers /“. Online version of the thesis, 2006. https://ritdml.rit.edu/dspace/handle/1850/3334.
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Welander, Malin. „PIN IT UP! : En studie av Pin-Up-bildens visuella utveckling under 1900-talet“. Thesis, Växjö University, School of Education, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1164.
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ABSTRACT
INSTITUTION:
Institutionen för pedagogik, avdelningen för bild musik och kulturpedagogik, Växjö Universitet.
ADRESS:
Växjö universitet, 351 95 Växjö
TELEFON:
0470-70 80 00
HANDLEDARE:
Hans T Sternudd
TITEL:
PIN IT UP! – en studie av Pin-Up-bildens visuella utveckling under
1900-talet
ENGELSK TITEL:
PIN IT UP! – a study of the visual development in the Pin-Up-genre
during the 20th century
FÖRFATTARE:
Malin Welander
ADRESS:
Stallvägen 48:305, 35256 Växjö
TYP AV UPPSATS:
C-uppsats, 60 poäng
VENTILERINGSTERMIN:
Ht 2006
I uppsatsen undersöks Pin-up-bildens visuella och statusmässiga utveckling under 1900-talet.
Teorier som används behandlar modernism och postmodernism, institutionell konstteori samt begreppen kitsch och camp.
I uppsatsen undersöks hur Pin-Up-bilden utvecklas visuellt under perioden 1920-1970. Detta visualiseras med hjälp av semiotiska bildanalyser. Man undersöker även Pin-Up-genrens status och följer den utveckling och omvärdering av bilderna som sker i och med postmodernismens uppvärdering av populärkulturella och kommersiella uttryck.
I den avslutande analysen ges en möjlig förklaring till varför dessa Pin-Up-bilder har kvar sin popularitet ännu i dag, genom att man knyter dessa till Susan Sontags teorier om camp.
Keywords: Pinuppor, Pin-Up, postmodernism, modernism, popkonst, camp, kitsch, illustration