Gotta say, this is purrty well done. More like this over at Bombi(llo).
Category: art and illustration (Page 2 of 12)
I was thinking the other day about how my color preferences have changed over time, and that got me looking at a few pop psychology websites about color preferences.
The basic problem with these sites is that there are particular hues and then there are their concepts. So if a site asks you to rank your preferences by clicking on color swatches, you might say, “I like red, but I don’t like that red. Whereas if you are asked to quickly name your favorite color without thinking about it and you name red, you are most likely thinking of the concept of redness rather than of a particular hue.
Of course the notion of a favorite color is ultimately absurd. Red would be meaningless without all of the other colors to juxtapose with it. From the designer’s point of view, colors take meaning from how they are used in relation to other elements.
But as a sort of amusing parlor game it can be interesting to wonder about why one’s preferences change. As a child if you asked my favorite color I would have said blue — that’s the color I usually picked when choosing board game tokens, for example. As a young adult I would probably have given you a lecture about color philosophy and how existence precedes essence and why that is relevant to de Saussurian linguistics, but if (quite justifiably) hit over the head and forced to pick I would have said yellow. Now I find myself increasingly drawn to green, and when I go clothes shopping I often wish there were more greens offered (there are few).
I noticed that there is a great deal of disagreement on the various sites about what your color preferences “mean.” According to one representative site, a preference for blue reflects a conservative, reliable, sincere, trusting, and trustworthy personality; a preference for yellow a cheerful, fun, creative, and analytical bent; and a predilection for green a practical, down-to-earth, stable, balanced, compassionate, and calm nature. Sure.
A few years ago I read a couple of erudite books on color in art by John Gage, former head of the Department of History of Art at Cambridge University. Gage looked at color from a variety of different disciplines. I found his surveys interesting, but I find I have retained little of what I read in his books. It’s probably because I favor the wrong colors.
North American Turkey, ca. 1612, by Mansur. Victoria and Albert Museum, IM 135-1921.
In honor of Thanksgiving, here’s a painting of an American turkeycock by the great Mughal painter Mansur (from my forthcoming book 1616: The World in Motion). Mansur was the greatest Mughal painter of natural history subjects.
It was an area in which the Mughal emperor, Jahangir, was deeply interested. A world in motion brought to his court many strange and curious creatures, which he invariably directed his painters to document. In 1612, when a large number of birds and animals were brought to his court from Goa, he wrote, “As these animals appeared to me to be very strange, I … ordered that painters should draw them in the Jahangirnama [his reign journal], so that the amazement that arose from hearing of them might be increased.”
Among the birds brought from Goa was this American turkey painted by Mansur. Like Abul Hasan (who painted the cover image of my book), Mansur ranked high in Jahangir’s esteem, and the ruler gave him the title of Nadir-ul-asr, “Unique of the Age.” “In the art of drawing,” he said, Mansur “is unique in his generation.” He ranked him together with Abul Hasan, saying, “In the time of my father’s reign and my own, these two had no third.”
Jahangir was proud of such creatures in his menagerie as flying mice, tailless monkeys, zebras, yaks, cheetahs, West Asian goats, Himalayan pheasants, dodos, ducks, and partridges. He had many of the foreign animals bred in captivity. When he received a strange animal he typically would record a verbal description of it before having its likeness painted. In 1616 he was presented with an Abyssinian elephant, noting that “Its ears are larger than the elephants of this place, and its trunk and tail are longer.” His concern for accuracy and completeness of documentation led to a naturalistic approach to paintings of natural history, of which Mansur was the foremost proponent.
Help! For the book I’m working on I’m trying to identify the painters of these frescos in the Quirinale (the Italian equivalent of the White House). They depict foreign ambassadors to the Vatican, and I’d also like to identify the ambassadors — but first things first.
I’ve consulted several books in both English and Italian but remain uncertain about the attributions. My best guess at this point is that the top two are mainly by Carlo Saraceni, the third one by Agostino Tassi, and the last one perhaps by Giovanni Lanfranco.
Among the ambassadors are Robert Sherley, Aliqoli Beg (not entirely sure who that is), Emanuele Ne Vunda, Hasekura Tsunenaga, and Luis Sotelo (the last a Franciscan missionary and not an ambassador per se). Can the Turkish and Persian ambassadors be distinguished by their styles of turbans?
Even if you don’t know the answers to these questions, if anyone can point me in the direction of an obliging Italian painting specialist I could be in touch with about this it would be a great help. Thanks!
This image is by the great Mughal painter Abul Hasan (I devote a few pages to him in the book I’m currently working on). Usually called “Squirrels in a Plane Tree,” it was painted by the artist when he was about seventeen. The solid flat background and stylized elements reflect the Persian painting tradition. Later Hasan would move more toward Western-style naturalism.
When I showed this image to Ellen she said, “Oh, the reason you like it is because it looks just like Caps for Sale.” “You’re right!” I said. I hadn’t thought of that comparison, but when our girls were little we used to enjoy that book by Esphyr Slobodkina. It was about a cap peddlar who carried his caps stacked on top of his head. One day he went to sleep under a tree (the cover inverts this, with the peddlar in the tree and monkeys on the ground).
While he was sleeping his caps were stolen. Looking up, he saw many monkeys in the tree, each wearing one of his caps. “You monkeys you!” he demanded. “You give me back my caps!” (Eventually he gets them back.)
Stylistically the Caps illustrations and the Hasan painting are not as close as memory made them seem. One of the most obvious differences is that the trunks and branches of the Caps tree are nothing but white space, an interesting strategy. By contrast, in Hasan’s painting the trunk and branches of the tree are one of the most volumetrically shaped elements in the painting.
Despite the differences they do share something of a similar spirit. And both are wonderful.
My author questionnaire and author photo for 1616: The World in Motion are due this week to Counterpoint Press. My daughter Ellen, who is a brilliant photographer, among other things, took this photo from the roof of her apartment overlooking Lake Merritt in Oakland. It was raining lightly at the time, and later that day ice would fall from the sky.
In Tom’s Glossary of Book Publishing Terms the author photo is defined as “Pictorial fiction. Authors always choose photos that emphasize that quality in which they feel most deficient.” So what does this say about me? I dunno — but I will say, as a guy who has been cutting his own hair for years, that I don’t think the hair looks too bad.
It’s unmemorable because it’s set in Georgia. Or at least that doesn’t help, according to Eightface, who cites a study that purports to show that students remember material better when it is set in something like Comic Sans Italic or Haettenschweiler than in some unassuming face. The idea, apparently, is to slow down reading speed. Of course, if you want to slow down reading
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While we’re in Verona, here’s a picture from the courtyard of the Castel Vecchio, which is a handsome museum indeed. I don’t know for sure, but I suspect they slyly chose the planting to coordinate with the banner for the Maria Morganti show.
This photo amuses me because the gondolier reminds me of the Eric Blore role in the Astaire/Rogers film Top Hat.
Please bear with me while I post a few photos from my recent trip to the Veneto and Upper Adige.
I travel with a little (maybe 12-inch) tripod, but for photos at dusk like this one I usually just set my camera on something steady, like a trash bin or fire hydrant, in order to get a longer exposure. Usually I’m able to hold the camera steady for quite a long time in such situations.
Project Thirty-Three aims to connect the dots:
The seemingly infinite number of vintage record jackets that convey their message with simple shapes like the dot never ceases to amaze and amuse me. Project Thirty-Three is my personal collection and shrine to these expressive dots along with their slightly less jovial but equally effective cousins; squares, rectangles and triangles, and the designers that make them come to life on album covers.
via Swiss Miss
Google has quietly introduced an API (application programming interface) for web fonts. This could potentially result in better — and also worse — web typography — depending on the skill and knowledge of the people who implement it. Unfortunately only a small minority of font users these day take the time to educate themselves about the print tradition.
Google’s font system involves referencing fonts stored at fonts.googleapis.com. The open source license fonts are then served up by the Google servers and should appear on your web pages without your needing to upload or embed them. There are instructions here.
Only a small number of fonts are available at present but no doubt the list will grow. I wonder what the type designer community will think about this.
For the 100-meter-long photo of which the detail above is a part Simon Hoegsberg shot one-hundred seventy-eight people, “in the course of twenty days from the same spot on a railroad bridge on Warschauer Strasses in Berlin in the summer of 2007.” Impeccably stitched together into one enormous photo, the images create something like one of the great narrative scrolls of the East Asian tradition. Check out the full image here.
Tara at Graphic Design Blog lists seven mistakes beginning designers make. It’s a pretty good list — I see the first item a lot.
- Producing two or more design concepts that are very similar
- Adding things in rather than taking them away
- Concentrating on features rather than benefits
- Not targeting the right audience or having enough gravitas
- Not presenting the finished design in the best way possible.
- Not sketching first
- Underselling your design work
Read more at Graphic Design Blog.
Craig Mod makes an interesting case for celebrating the (supposed) demise of “disposable books” — he elaborates at some length a simple distinction between books where the content and form are integral and those where they are independent — and welcoming the IPad as a reading platform. Here’s a sample:
We’re losing the dregs of the publishing world: disposable books. The book printed without consideration of form or sustainability or longevity. The book produced to be consumed once and then tossed. The book you bin when you’re moving and you need to clean out the closet.
These are the first books to go. And I say it again, good riddance.
Once we dump this weight we can prune our increasingly obsolete network of distribution. As physicality disappears, so too does the need to fly dead trees around the world.
You already know the potential gains: edgier, riskier books in digital form, born from a lower barrier-to-entry to publish. New modes of storytelling. Less environmental impact. A rise in importance of editors. And, yes — paradoxically — a marked increase in the quality of things that do get printed.
Wouldn’t it be wonderful if everything in that last paragraph were true! Unfortunately, part of this is fiction writing. Check out the NYT bestseller list and see if you can observe “a marked increase in the quality of things that do get printed.”
To me the most interesting part of Mod’s argument is his vision for booklike content that disposes of the metaphor of the page, as shown in the image above (the image is Mod’s). In this vision the content metaphor is not the bound book but the East Asian handscroll, on which stories were rolled out continuously from one end to the other rather than proceeding page by page.
The book is a perfected technology, but why should the electronic platform inherit the binding metaphor?
Who or what are Trilby, Allumi, Calluna, Giorgio, Leksa, and Catacumba?
a. Captains of vessels in the fleet of the early seventeenth-century Dutch adventurer Joris van Spilbergen.
b. Winning dogs in the hunting dog category at the Westminster Kennel Club dog show.
c. Characters in a new Star Trek television series to be released next fall.
. . .
. . .
. . .
The answer, of course, is “other” — these are some of the best typefaces of 2009, in the opinion of I Love Typography. Another favorite from this set is the amazingly extensive (and expensive) Trilogy, shown below. An interesting selection, worth checking out (the type sample is clickable).
These are preliminary design pages for a new book about the art of Bali. The font is Garamond Premier Pro. The image is a cool piece by I Ketut Ngendon (1903–1948) called Goodbye and Good Luck to Margaret Mead and Gregory Bateson, 1938 (Batuan, Bali. Ink on paper. Mary Catherine Bateson).
The pages are the same, except that in one spread the main text block is ragged and in the other it is justified. I’m curious which version people prefer.