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post #1 of 8 (permalink) Old May 3rd, 2008, 02:12 Thread Starter
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Worthy of a Thousand Words

A thread to celebrate the illustrator

I shall start with a quiet man from Taiwan.

Jimmy Liao (幾米) was born in Taipei, Taiwan and received a degree in design from the Chinese Culture University. He is the author and illustrator of over fifteen hugely popular books that have been translated into English, French, German, Greek, Japanese, Korean, and Thai.

After an illness in 1998, Jimmy ended his 12-year-career as an illustrator at an advertising firm and began his own creative works.


He said he gets inspiration from the simple life he leads with his wife, 5-year-old daughter and two cats in a 13th floor apartment on the outskirts of Taipei.

"I let my imagination run wild to create a freewheeling world," he said. "I draw with an instinct, not from keen observations," he added, noting he does not stroll in the street or mix with people a lot.


When creating his Turning Left, Turning Right book, Jimmy said he got the story idea when pondering about his next door neighbor, whom he had never met.


Here's a review of The Sound of Colors:

In The Sound of ColorsJimmy Liao offers a meditation on blindness that will stay with readers long after they have closed the paper-over-board book. As the narrator, who has lost her sight, threads her way through a city's crowded subways, she considers her circumstances. Sometimes, she worries: "I don't remember what/ this station looks like./ What will be around me/ when I step outside?" But Liao always keeps her safe (and eagle-eye readers will note a scruffy pup that appears on most spreads, as if looking out for her). With tenderness, the artist paints the new world she inhabits, a multilayered mix of what she senses taking place around her, what she remembers of the world when she could see, and her imagination.


Exuberant spreads show subway platforms inhabited by elephants in bathing suits, and station stops surrounded by the sea ("I dream that I know/ the language of dolphins") or suspended in the sky. "In my mind I still/ watch the clouds change shape," the girl says. She also offers sage advice, as when she tries to make her way through a maze of streets, which Liao represents as a topiary labyrinth with high, leafy walls. On the next page, a clearly defined hole in the hedge (precisely her size) shows how she's overcome this obstacle: "If you look hard enough,/ there's always a way out." This quietly determined heroine sets a powerful example.

I shall end this post with Jimmy Liao award-winning anime, Fish with a Smile. Enjoy!


.

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post #2 of 8 (permalink) Old May 4th, 2008, 02:23 Thread Starter
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Now we shall step back a couple of hundred years to find a Frenchman named Jean-Ignace-Isidore Gerard, better known in his circle as J. J. Grandville.


According to wikipedia and other sources, Jean Ignace Isidore Gérard (1803-1847) was a French caricaturist, known under the pseudonym of J. J. Grandville. Born in Nancy, he took his penname from his grandparents, who had both been actors. He moved to Paris at the age of 21 and published a series of lithographs under the titles 'Les Tribulations de la Petite Proprieté', 'Les Plaisirs de toutdge' and 'La Sibylle des salons'.


Grandville is the illustrator who left his mark by his inventiveness and his talent as a cartoonist on the Romantic movement, both literary and artistic, of the first half of the nineteenth century. Through hybrid characters, men by body and animals by the facial appearance, Grandville teased the ridiculous and pretentious of his time, and made fun of the July Monarchy.


One of his best known works is 'Les Métamorphoses du jour', a series of pictures with antropomorphic animals. Grandville was a contributor to a variety of magazines, such as Le Sihouette, L'Artiste, La Caricature, and Le Charivari. By 1835, Grandville focused on book illustration. He has illustrated classics like 'Robinson Crusoe', 'Gulliver's Travels' and the fables of La Fontaine.


J.-J. Grandville,""Une promenade dans le ciel", Le Magasin Pittoresque (1847)

From 1835 Grandville illustrated books (Fables of La Fontaine, Gulliver's Travels, Robinson Crusoe, Fables of Florian, Don Quixote, etc) but he was is never happy with his work and spent an incredible amount of time on each drawing. He continued his exploration of zoomorphic beings with Scènes de la vie privée et publiques de Animaux (1842) and was also interested in dreams and visions. When The fantasy of Another World (1844), Fleurs Animées (1947) and Etoiles (1849) were published, they were scorned by the public.

J.-.J. Grandville had shown throughout his career an amazing ability to transform everyday life in a fantasy world. His prodigious imagination appoints him as a precursor of surrealism.


J.-J. Grandville, Adventure of Robinson Crusoe

In the final years of his life, Grandville suffered from depression brought on by the tragic loss of his child. He was interned in an Asylum for the Insane.

Grandville died in Vanves in 1847 at the age of forty-four. On his headstone, the epitaph reads: "Here lies Grandville, he loved everything, made everything live, speak and walk; alone, he did not know how to find his way. "

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post #3 of 8 (permalink) Old May 9th, 2008, 02:08 Thread Starter
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Of course we must talk about Argie illustrators.

Many moons ago I posted the following in the Argie Forum.

...

Lately I have been reading about Mafalda cartoons and her creator Joaquin Salvador Lavado (Quino).



Fangio, can you tell us more about graphic artists in Argentina?

Then, from Fang

Quote:
Fangio, can you tell us more about graphic artists in Argentina?
Apart from Quino, not only argies, but people like Pratt (tano), Breccia (charrua) (father, his son is argie), Hermenegildo Sabat (another awesome charrua) and the third charrua Jorge Lucas; who made some or almost all their work here...

check out...

Fontanarrosa...

http://www.negrofontanarrosa.com/main.htm


Ciruelo...

http://www.dac-editions.com/

Breccia, Alberto...

http://images.google.com/images?hl=e...-8&sa=N&tab=wi

http://lambiek.net/artists/b/breccia.htm

Pratt, Hugo...

http://ch999.blogspot.com/2007/10/hugo-pratt-tango.html

Hermenegildo Sabat

http://www.hermenegildosabat.com.ar/cast/index.htm


Jose Muņoz...

http://lambiek.net/artists/m/munoz.htm

http://es.wikipedia.org/wiki/Jos%C3%A9_Mu%C3%B1oz


Enrique Breccia...

http://breccia.redsectorart.com/

Mordillo...(faumous, not that I like him that much)

http://es.wikipedia.org/wiki/Guillermo_Mordillo

http://images.google.com/images?q=mo...mages&ct=title


Juan Saenz Valiente...

http://www.vinetasconaltura.com/saenz.htm


http://images.google.com/images?hl=e...-8&sa=N&tab=wi


Enrique Alcatena

http://alcatena.redsectorart.com/


Walter Taborda

http://www.walthertaborda.com.ar/home.htm

Marcelo Frusin

http://www.splashpageart.com/GalleryDetail.asp?GCat=18

Ariel Olivetti

http://www.splashpageart.com/GalleryDetail.asp?GCat=37

Eduardo Risso

http://es.wikipedia.org/wiki/Eduardo_Risso

Jorge Lucas

http://www.splashpageart.com/GalleryDetail.asp?GCat=38

Leonardo Manco

http://www.leonardomanco.com/

Juan Bobillo

http://www.forodeilustradores.com.ar...sp?juanbobillo

Carlos Meglia

http://lambiek.net/artists/m/meglia_c.htm


A web dedicated to argie comic (awuful web design BTW), and alcking some fellas, but fine anyway...

http://www.historieteca.com.ar/historieteca.htm


The argie graphic artits association (well is more the: asociacion de dibujantes argentinos)


http://www.a-d-a.com.ar/



and the always reliable wilki...

http://en.wikipedia.org/wiki/Argentine_comics


For sure you will have material to entertain yourself Bonita, is a random, bizarre list the one I made here, with old, new comic artists, among them is the venerable Alberto Breccia, Uruguayan Maestre...a true genius...you can see his seed spread like Borges on every new argie comic artist...is like the shadow of Borges, Piazzolla, Fangio, Monzon and Maradona...but a gentle, brilliant shadow

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post #4 of 8 (permalink) Old May 21st, 2008, 02:25 Thread Starter
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Next comes my favourite 18th century illustrator ... otherwise known as Goya.

The eighty etchings that make up Goya’s most important series of prints, Los Caprichos (1799), have long been recognized as one of the supreme monuments of European art. Goya, royal painter to the kings of Spain during the late eighteenth-early nineteenth centuries, eventually died in exile, both of his major print series having been "donated" to the crown to protect him from the Inquisition. A believer in the potential power of reason, his works show what happens when reason is trampled underfoot by individual human follies and corrupt social customs. In these works Goya looks at his country and memorializes it as a monument to desperation, folly, arrogance, incompetence, and the need that some of his subjects have to try to control the uncontrollable.



Franncisco Goya y Lucientes (Spanish, 1746-1828),
The Sleep of Reason Produces Monsters, c.1798,
original etching and aquatint.


In the Foreword to his edition of Goya's Complete Etchings, Aldous Huxley wrote:"These creatures who haunt Goya's Later Works are inexpressibly horrible, with the horror of mindlessness and animality and spiritual darkness ... The moral of it all is summed up in the central plate of the Caprichos [originally plate 1], in which we see Goya himself, his head on his arms, sprawled across his desk and fitfully sleeping, while the air above is peopled with bats and owls of necromancy and just behind his chair lies an enormous witch's cat, malevolent as only Goya's cats can be, staring at the sleeper with baleful eyes. On the side of the desk are traced the words, 'The dream [or 'sleep'] of reason produces monsters.'"

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post #5 of 8 (permalink) Old June 3rd, 2008, 02:08 Thread Starter
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And of course! Marjane Satrapi



* Bio
* Interview













I have tested the smoke alarms in all the hotels. None of them go off.
- Marjane Satrapi
.

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post #6 of 8 (permalink) Old July 11th, 2008, 02:35 Thread Starter
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and a thread on illustrators is not complete without mentioning the other Murakami.

Takashi Murakami


(I was going to post a photographic portrait of him but changed my mind.
Afterall, this IS a portrait of Takashi Murakami.)

Tokyo, 1963 -
Since emerging onto the contemporary art scene, Takashi Murakami's work has done so much to challenge all that is held as sacred and sacrosanct within the domain of high art. The viewer is confronted by a forty two year old artist who has a grown progressively in stature since an initial spate of small scale exhibitions in his native Japan in 1995. Since then, Murakami has progressed as an artist to a level where his name can be heard in the same breath as Warhol, Pollock and De Koonig, mooted as someone that can join the upper echelons of the artistic hierarchy in the twenty-first century.


Mushroom cloud

Originally based and working from a studio in Asaka City, Japan, Takashi Murakami quickly established a large scale studio of assistants, taking influence from the work habits of Andy Warhol. Indeed, the Warholian similarities do not end there, for his work draws heavily from the fields of consumer culture, for so long an area deeply imbued in Warhol's art.


Smiling Flowers

Murakami paints in the self titled style of superflat, a method whereby everything within the image is portrayed in two dimensions only, and one that he used extensively during his commissioned work as a designer in 2003 for Louis Vuitton. But the superflat technique finds its origins in far less contemporary surroundings than couture fashion, since it draws upon traditional Japanese techniques pioneered by the panel and screen painters of the sixteenth century. This superflat technique can be seen as a common link between every piece in this exhibition, from his signature DOB characters, through the Pollock-esque TanTanBo, and onto his latest prints, LV Monogram Superflat.


Museum of Contemporary Art, Los Angeles


Skulls Rock


Daruma #1


Daruma #2

When CBS Sunday Morning did their part to overanalyze Murakami’s art and asked the artist himself what he wanted people to take away from the show, he simply replied the he wanted them to think, “Wow, that’s big!"

.

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post #7 of 8 (permalink) Old July 20th, 2010, 16:35 Thread Starter
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Sitting in my workplace and reading about how my workplace should Be.

Thank you Hayao Miyazaki



This is the Kind of Museum I Want to Make!

A museum that is interesting and which relaxes the soul
A museum where much can be discovered
A museum based on a clear and consistent philosophy
A museum where those seeking enjoyment can enjoy, those seeking to ponder can ponder, and those seeking to feel can feel
A museum that makes you feel more enriched when you leave than when you entered!

To make such a museum, the building must be...
Put together as if it were a film
Not arrogant, magnificent, flamboyant, or suffocating
Quality space where people can feel at home, especially when it's not crowded
A building that has a warm feel and touch
A building where the breeze and sunlight can freely flow through

The museum must be run in such a way so that...
Small children are treated as if they were grown-ups
The handicapped are accommodated as much as possible
The staff can be confident and proud of their work
Visitors are not controlled with predetermined courses and fixed directions
It is suffused with ideas and new challenges so that the exhibits do not get dusty or old, and that investments are made to realize that goal

The displays will be...
Not only for the benefit of people who are already fans of Studio Ghibli
Not a procession of artwork from past Ghibli films as if it were "a museum of the past"
A place where visitors can enjoy by just looking, can understand the artists' spirits, and can gain new insights into animation
Original works and pictures will be made to be exhibited at the museum
A project room and an exhibit room will be made, showing movement and life (Original short films will be produced to released in the museum!)
Ghibli's past films will be probed for understanding at a deeper level

The cafe will be...
An important place for relaxation and enjoyment
A place that doesn't underestimate the difficulties of running a museum cafe
A good cafe with a style all its own where running a cafe is taken seriously and done right

The museum shop will be...
Well-prepared and well-presented for the sake of the visitors and running the museum
Not a bargain shop that attaches importance only to the amount of sales
A shop that continues to strive to be a better shop
Where original items made only for the museum are found

The museum's relation to the park is...
Not just about caring for the plants and surrounding greenery but also planning for how things can improve ten years into the future
Seeking a way of being and running the museum so that the surrounding park will become even lusher and better, which will in turn make the museum better as well!

This is the kind of museum I don't want to make!
A pretentious museum
An arrogant museum
A museum that treats its contents as if they were more important than people
A museum that displays uninteresting works as if they were significant

This is what I expect the museum to be, and therefore I will find a way to do it

Hayao Miyazaki

Executive Director
Ghibli Museum, Mitaka

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post #8 of 8 (permalink) Old November 19th, 2010, 03:16 Thread Starter
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Then, there's Beardsley


Isolde (1895) by Aubrey Beardsley (1872 – 1898)

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