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Category Archives: illustration

Alex Hohlov is a Philadelphia-based graphic designer/illustrator/motion reel designer, aka. veaone. Several of his graphic design work are non-commercial yet abstract artistic pieces. Geometrically constructed compositions of him give me the feeling of the explosion of the beginning of something, that something could be an action like birth or like flying, a feeling of a greath height or dilemma. The images have the futuristic motion, a supremacy of feelings which makes is graphics extremely attractive.

 

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Zaha Hadid was born in Iraq, studied at the Architectural Association School of Architecture in London in which later she started teaching as an Instructor, in architecture. Later was she became an honorary member of the American Society of Architects. A great story of success she experience in the arena of architecture, she recieved a lot of prices until she came to a state of being referred as a modernist architecture through her references from futuristic paintings and painters in her architectural works. Her architectural drawings are counted as artworks or paintings to be more clear, by many, rather than being technical drawings.

Two competing sides of modernism in architecture can be called as the Bauhaus and the avant-garde De Stijl in Russia, which Hadid’s framework is more referring to. De Stijl, compared to the industrial-based Bauhaus, is more aiming for creating new radical forms for and of a society. Malevich, being a headliner in this arena, is one of the biggest influences on Hadid’s early drawings.

Malevich's Arkitekton,1923

Malevich is the creator of the Suprematist movement in painting. His abstraction was in a higly mode of “change”, a spiritual change we are mostly talking about. Hadid was strongly amused by this suprematism, about which she has written her thesis, as a beginning point, choosing her territory as London, where she educated herself.  “Placing it along and across the Thames in central London, she left no doubt—to the cognoscenti, at least—as to her ideological position: she was reviving a neglected, almost stillborn modernist ideal and inserting it into the contemporary world.”

Hadid- Malevich's Tektonik London Project,1977

Zaha Hadid, Office Building, Berlin, 1986
Zaha Hadid, Vitra Firestation design stidy, 1990

 

“The change in Zaha Hadid’s drawings—fragmentation giving way to fluid form—was already evident in her drawings analyzing the farming landscape around the Vitra factory site for the Firestation project. These impart a linear dynamic that comes together in the powerful thrust of the little building. The vision here is no longer about breaking up and scattering. Rather, it is about gathering together and directing. It is also about the making of unified, and unifying, forms. As with other questions about which she has given no explanation or insight, we are left to puzzle out the reasons for this change in her drawings and the designs they describe.”

— Lebbeus Woods

“My name is Victor Timofeev, and these are some of my drawings. I started drawing when I got injured three years ago. Alone with a lot of newfound free time, I picked up a pen and pencil and started sketching. The images evoked were always on the dark side, only because my soul was full of negative energy I needed to release. The process of creation became therapeutic, as well as a daily necessity. Looking back, I am almost glad I got hurt and discovered this new life. Everything happens for a reason, right?”

— Viktor Timofeev

august 27th 2007. Section of a house revealing the form within .9.5 x 13.ink and graphite on Ingres paper.

 

Art happens. It happens by chance, by mistake, by wish, by sorrow, by extreme anger. Victor Timofeev‘s art happened to be by this last one. Not long ago, Timofeev found himself drawing after a dreadful skateboard accident. He subjected the event and its after effects in his art, reflecting all his inside frustrations and thrust. He had his red-black period, yet in time he got to incorporate architectural geometry patterns with sprayful, illustrative illusions. They sum up to create a an obsessive poetry on paper. Likewise, in his early works he used text repeatedly, as obsessive, to create a background pattern. He has his times for his colors.


august 7th 2007. Abstract forms derived from the study of the plans for the Museo della citta contemporanea di Venezia .9.5 x 13.ink and graphite on Ingres paper.

 

A pictogram or pictograph is a symbol representing a concept, object, activity, place or event by illustration. Pictography is a form of writing whereby ideas are transmitted through drawing.”

 

Today, the concept of several media we use for creating images have gone and still are going through a significant transformation. That is, that illustration is not performed only with its classical means anymore, yet artists are changing their tools for illustration day by day. The first painting I’ve seen with edible material was of a friend of mine; a still life vase with flowers inside made out of meat, jam and several other leftovers, which really amazed me at first. Then I’ve seen several others benefiting from the different physical appearances and habits of nutrition.

One guy I’ve met a few months ago is a Swedish illustrator, Carl Kleiner, making assemblage of nutrition on a blissful bacground color and take their photo to finalize his illustration. His IKEA / STYLING… project is visually so graphic that it reminded me of the pictographs, meaning again illustrations that resembles to the object it is signifying. Yet what we have here is the photographed image of the object itself; perhaps too realistic to be a pictogram but the used material is usually so smooth and lack of detail that makes it close to the idea of a pictogram.

 

 

 

He mostly performs still life photography and seemingly his stylized aesthetics was appealing enough for IKEA’s “styled ingredients cookbook”: “Hembakat är Bäst” (Homemade is Best). Above are actual recipes for bakeries all broken down to their fresh ingredients.

The way he placed the ingredients have a subtle logic that gives an idea about the habit and usage of the material. That is almost what a pictogram ends up doing; as Strauss talks about the signifier and the signified in his semiotic discourse which are basic codes for deciphering linguistic signs -the color code here for instance in the case of the egg- as soon as the eye sees yellow and white near another that connotes for the egg. It clearly denotes for two yellow and white circles, whereas the translation process of the sign leads us to the idea of an egg. In the case of nutella, it’s way of being coated on a surface denotes the idea of the whole nutella jar we see in the rack. Rather then using more abstracted signs, Kleiner uses the very essence of the material he wants to place on his canvas, whether or not that is his aim.