The Legend of the Scarecrow

The Legend of the Scarecrow from Carlos Lascano on Vimeo.

In my recent travels through the world wide web, I came across The Legend of the Scarecrow.  It is a short animated film about the life of a lone scarecrow.  Although it is in a language that I cannot understand a single word of, it was because of this film that I was reminded that design need not be only in English.  In the overall scheme of things, design is a universal language.

Carlos Lascano, the creator of this short film, is a multi-faceted artist who has successfully combined several different forms of art and come out with his own techniques and styles that are amazing to view.  Through the combined use of animation, vivid facial expressions, music, and an expressive narrator, The Legend of the Scarecrow was born.  In my own personal experience, the narration remains a mystery to me, but the other elements of his film tell a great story.  The life of the scarecrow is shown in vivid detail.  It's despair at the obvious hostility and fear that the birds have for him serve as a great starting point for this story.  As the time passes, you begin to understand why the birds have such reservations for him.  Lascanos is able to portray this in the scene with the fallen bird.  Using images of a ferocious scarecrow, it is implicit that this is the view in which the birds have of him.  This feeling of negativity is furthered when the citizens of the town gather to destroy the demonic scarecrow.  Ultimately, the scarecrow is torn down, but his death is only a thorn in his side in comparison to the scarecrows own personal devastation.  His want to be wanted is agonizing and only in his death does it seem that he may be missed.

Lascano's ability to deliver such a heartfelt story in this finite amount of time is a great feat.  Through his images, I was able to comprehend the subtle changes in the scarecrow as time passed.  The narration was there, but it was not necessary.  It was a language in which I could see and understand.

To view more of Carlos Lascano's work, go to http://www.carloslascano.com/carloslascano/works.html

Compare and Contrast

In a world full of artists, the interpretation of a person's work varies from viewer to viewer.  To a certain degree, it generally depends on the preferences of the audience.  For example, the work of the graffiti artist is often disregarded as a true art form.  In most cases, it is looked upon as an act of vandalism; it is a destructive mode in which street artists mark a particular piece of public property.  In the images to the left, it is easy to understand why graffiti is associated with such negative connotations.  Although each individual signature of the artist appears stylized and unique, the method in which it was executed seems crude and uncultured.  There is seemingly no structure to the design.

Compared with this next image, the level of thought put into this piece can be discerned in a heartbeat.  While it is comprised of basic line structures, much like the signatures of the aforementioned graffiti art in images one and two, the actual establishment of a recognized structure serves to elevate this particular piece to a higher set of standards.  A single point perspective leading off into the right hand corner of the image gives the staircase a sense of depth. It is additionally tricky in that the actual surface of the piece changes from one wall to the floor at a 90 degree angle.  The artist would then have had to adjust his sight lines to accommodate this change in order to retain the optical illusion of a three dimensional staircase.  Sadly, this piece may still be considered a blemish upon the walls of the subway station, but it is understandably easier to overlook that fact and  enjoy the intriguing aesthetic qualities. It may simply be that the level of skill and thought processes displayed in the making of the piece correlates directly to its rise in opinion.  With the increase in technique, complimented with a well thought out design, graffiti art begins to take on an entirely different aspect of the genre.  Whilst the artwork still retains the qualities that exemplify graffiti art, it loses the negative connotations of the stereotypical baser works seen in abundance.  



In this last image, graffiti style art can be looked upon as great works of creative design.  As you can see, this particular piece envelops many basic concepts in art and design.  There is a thorough understanding of light and shadow; shape and form; and color theory.  With each curve of what appears to be a dragon, white highlights are visible gracing strategic areas in representation of a light source hitting the surface of the animal.  The form of the animal itself is highly stylized, but easily recognizable.  As for color, the usage of cool colors on the wide face of the building gives the image and appealing nature whilst joining the piece together.  While being a technical masterpiece, this work still retains the bold, edgy style found in all graffiti art.  That being said, graffiti can definitely be considered a higher form of art.  All that is needed to become a good graffiti artist is a combination of thought put into its creation, some technical skills, and personal style.  Style and skill greatly differs with each artist, but it is not entirely difficult to become a respectable practitioner of the art. 

With that said, I would like to leave you with this short film by Blu, an artist from Buenos Aires.  What is interesting is that he covers earlier works of graffiti with his own.  In this case, do you consider his works a similar desecration of the public wall, or an amazing sample of design genius?

Design as a conversation

Conversations can take place at any time, anywhere.  It can exist between two close friends or the most unlikely individuals possible.  It is a process in which information is shared or exchanged.   It is not limited to the verbal word. In this context, a simple design can serve as a conversation of epic proportions.  Something as simple as an advertisement, or as grand scale as a giant billboard has the ability to convey information in the space of seconds.  As you drive down the boulevard, the time allotted to viewing a billboard is often reduced to the span of mere seconds, resulting in short, to the point designs that are either highly effective, or not.

In 2009, I came across an advertising battle between the luxury brand car names Audi and BMW, that to this day has served as an inspiration to good design.  Located on the corner of Santa Monica Blvd and Beverly Glen Blvd, Audi directly challenged BMW with an advertisement for the new Audi A4.  This ad featured a black model of the A4, with the accompanying text, "Your move, BMW".  BMW immediately responded to this virtual chess match by featuring its own billboard, a classic white model of the BMW, with the singular phrase "Checkmate".  The campaign for this advertisement was positioned within the same sight line of those driving along the boulevard, making the communication between both pieces highly engaging, and extremely effective.  Few words were exchanged, but the message conveyed to the audience in this specific circumstance, that BMW was the leading luxury car is unmistakable.

The conversation of this particular design is one of the many examples of how effective design can be.  It can be seemingly simple, but communicate much more information than most will come to expect. Whether it is a simple grouping of text, or a singular image juxtaposed with another, design is a language that can be understood by many and it is everywhere.

Lampo Leong and the Calligraphy of Past

This past week, instead of the normal lecture and discussion section for my Arts of Asia class, I was lucky to find that renowned Chinese Calligrapher Lampo Leong was going to be a guest speaker.  I am not particularly knowledgeable in the art of Calligraphy but sitting through Mr. Leong's lecture was highly educating.  He explained that to understand the art of calligraphy, you first had to know a bit of its' history.  We were shown several slides of the earliest examples of Chinese calligraphy which can be seen in the image to the left.  These writings, or carvings on oracle bones date back to the Xia Dynasty ca 2000-1700 BCE.  As is typical of Chinese writing, it is written in a vertical pattern reading from top to bottom, left to right. 

From then on, Mr. Leong described the evolution of calligraphy from oracle bone carvings to that of the Seal Scripts.  He explained the technical aspects of this style of writing, and how it was classified as such.  Seal script eventually progressed into a new style known as Clerical script.  This style was a little looser with its brush strokes in terms of adhering to the strict grid like pattern of writing that was typical of the Seal script.  Clerical script gave way to Standard Script, the form of calligraphy used most often today.  There are two other forms of Chinese calligraphy based on extremely fluid brush strokes known as the Running Script and the Cursive Script.  The Standard, Running, and Cursive script forms are the most common forms of calligraphy still being practiced as an art form.

There are still many practitioners of Chinese Calligraphy, but the numbers have dwindled significantly.  In an attempt to save this beautiful art form, it is  now a standard in China for students to study calligraphy.  Seeing the images of past calligraphers and the distinct styles of writing that have come about through history was something I felt I needed to share with others.   To some people, Chinese calligraphy may just seem like another type of written word, but the energy and spirit flowing through each and every stroke of the brush tells me another story. Each stroke of the brush utilizes varying degrees of thickness and thin.  This has not always been the case, but recent calligraphy work has shown thus.  It is my opinion that theses varying degrees of thickness add to the overall aesthetic appeal of each and every character.  Chinese writings are a compilation of thin, thick, straight, and curving strokes.  There are many factors to writing in this language, and it isn't impossible to learn.  However, the true artist in terms of Chinese calligraphy takes all aspects of the character in mind, and somehow is able to give his text an elegant uniformity juxtaposed with an air of spontaneity. It is the work of a master calligrapher that can capture the spirit of the this art form.  As a master of the art, Mr. Leong has tried to explain the reasons why a good calligrapher has achieved epic status.  In a yet to be published book, titled "THE VISUAL FORCES OF “Ω CURVE”" these explanations will be accompanied by various illustrations and examples to back up his theories.  If you're interested, take the time to study his writings.  I will.

Creativity from Without

     Art is often described as a visual expression of one's innermost thoughts; a physical representation of one's soul delicately spread or haphazardly splattered upon a canvas of choice.  It is what the artist feels and has translated in a way that can be made public.  Essentially, art is the artist that produces it.  This may definitely be true in some cases.  During the artistic movement known as Expressionism, artists produced works depicting an utterly subjective perspective, often using violently distorted figures and images to transmit personal moods and ideas.  This is a prime example of creativity from within.  However, not everything an artist creates is inspired by himself.  In fact, many artists often come across any number of events and/or objects outside of themselves that motivates them into some form of artistic expression.

     This is creativity from without.  It is inspiration derived from the any given source outside of oneself.  In several works by contemporary artist, Kim Abeles, she pulls inspiration from normal, commonplace  situations and engineers pieces of great ingenuity.  Inspired by a green initiative within Harvard-Westlake School, Kim Abeles visited the location and created Paper Person, as shown in the image to your left.  This macabre figure is a persona comprised from one day of paper trash at Harvard-Westlake School.  It's size is symbolic of the amount of paper thrown away in one day.  Abeles saw the amount of waste occurring and used this as a basis for her design. 

     Although the design is simple, the significance behind Paper Person is profound.  Abeles had no need of pouring out her heart and soul.  She simply took stock of her surroundings, understood the detrimental situation of human waste and consumption, and put it all together forming a larger than life reminder of what we as a society can do to protect the earth.  I find this piece a powerful example of design.

Illuminated Fig Leaves - Kim Abeles

Stone Soup with a dash of Design

Several days ago, a few of my contemporaries and I came together in an attempt to appease our design hungry souls.  Inspired by Marcia Brown's classic children's novel, Stone Soup, in which three soldiers were able to make a fabulous stew out of random ingredients both readily available and offered, we followed this recipe of creation and were able to produce our very own Stone Soup.  Of course ours was flavored with a dash of design.To begin the day, we laid out the mishmash of materials that we had gathered and brought with us.  What we had was a variety of items ranging anywhere from empty bottles, acrylic paints, buttons, bottle caps, sheet music,  and silly string.   A couple of us began to brainstorm and pool our ideas into what could be done with said materials.  Simultaneously, a few other members of our team scoured the area for more supplies.  Rather than constructing something entirely new and alien to the area, we decided to incorporate what we had into nature itself. 

Despite our initial planning, the final outcome of our "soup" was beyond what any of us had imagined.  It was then that I realized that the key ingredients to our soup weren't the supplies that we had, It was the joint forces of our minds that provided the base for our grand recipe. With eight sources of brainpower contributing to the installation, creative ideas sprung from the ground and grew into a design of our making.  A framework of literal frames hung from the boughs of a large tree.  Music and fresh paintings decorated its trunk, and a bouquet of bottle caps, buttons and pipe cleaners dangled enticingly within a singular wooden frame.  In the end, much of our work was done spontaneously and without explanation.  There was no heartfelt discussion about the meaning behind the piece, nor was there intellectual conversation on the usage of space or color theory.  Much of what was done may have similarly been done by a child.  Working in such an unbound manner was thought provoking and inspiring.  This experience has brought back memories of artistic designs and dreams I had years past, many of which I have previously forgotten or abandoned over time.  If an unfettered process of design today could fabricate such an exceptional outcome, I will never again forsake the ideas of my past. 

"All children are artists.  The problem is how to remain an artist once he grows up." 

~ Pablo Picasso

Un jouet en papier

Titled "La" Paper Toy, you can already surmise that it is made of paper. There are no electronic parts, nor is it run off of solar energy. In this day and age, it is not surprising to say that most popular toys are made of plastic and run on some type of battery or electrical power. Although I am typically a fan of such popular toys and/or gadgets such as the PlayStation Portable, the DS, IPODs, or even the ever loved Lego set, I came across this image and I couldn't resist sharing it with you today.

The toy itself is simplistic in design. More or less, it is a spherical object with two protruding limbs of similar size attached to it. Although the two appendages are capable of movement, the variety in which it can do so is severely limited. What reason then, do I hold this toy in such high esteem? First would be the color. The fluorescent lime green of this fanciful toy catches the eye immediately. The fact that it has a set of its own eyes of a complimentary olive green simply adds to its appealing nature. By giving this toy eyes, the designer has enabled the object the ability to express emotion. This is further enhanced by the jauntily open mouth, displaying a tongue poised in a fit of elation. Having rendered such a delightful expression on the toy incites a similar reaction in its viewer, which at this exact moment, is myself. In returning to the aspect of color, the red tones of the tongue contrast extremely well with the lime green of the toy and help to enhance its seemingly amiable nature. This happy, spherical creature alone would earn my interest, but add to that its moving appendages and you now bear witness to a toy of amazing design.

"La" Paper Toy is colored wonderfully, has a unique but charming form, provides a limited but attention-grabbing motion, and stimulates an air of happiness. One viewing such an object can do nothing but enjoy the creation of this whimsical toy.

Inspiration... not immitation...

Disney debuts movie princess-inspired wedding gowns

After signing out of my yahoo mail, I came across an article about Disney Princess inspired wedding gowns. It is often that a designer will see one thing and be inspired to create something as homage to the original. My first thoughts were of fluffy white gowns, puffy sleeves and, shimmering fabrics. Many a time I have seen designers who have been inspired, but are unable to step away from the initial product and fashion something that is truly unique unto themselves, yet still embodies the essence of the original.

In this noteworthy attempt by Alfred Angelo, he places a particular concentration on the attributes of each individual princess and is able to produce stunningly beautiful gowns that are representational of the beloved characters. He understands that the essence of the product is what makes it successful. Whether she is dressed to the nines, or swathed in rags, Cinderella will always be Cinderella. It is her grace and charm, and the fantastical story of her life, her journey to the ball, and its' conclusion of the perfect fit that exemplifies all that she is. In observance of these qualities, the Cinderella-inspired gown is bedecked with sparkles symbolic of her celebrated glass slipper.

It is my opinion that Mr. Angelo was successful in his endeavors. How many other designers can claim to be so, I cannot say. It is not a crime to pay homage to something that arouses a passion within, but it is a heartrending time when a designer is unable to truly exercise his craft. Design by imitation is not design; it is merely an impression of something that was. Be inspired, but see past the initial piece and discover what about that work inspires you. It is through those discoveries that anything you create can truly praise the original design. Be inspired. Pay tribute. Most importantly, be yourself.

Colors of my life.

When I first entered the world of academia, I must admit that I was pretty nervous. I was being handed off to literal strangers, so it was no surprise that my four year old self succumbed to a bought of tears. To assuage said tears, I was led to a small table filled with a variety of school supplies and told to sit. After some soothing words, several calming breaths, and wiping down my face, I was given some paper and a small box of crayons. From then on, it was the start of a beautiful friendship.

I was enthralled. In my hand was a set of 8 waxy colors. At such a young age, I had no clue as to what primary colors were, or which colors complimented the other, but I was well on my way to discovering some of the answers myself. Red and green became the perfect pairing for Christmas scenes, and the orange or yellow suns shone bright over waves upon waves of blue oceans. I was subject to my own lessons in color theory. By mixing reds with whites, I learned that the color would lighten to shades of pink. More white, meant lighter, softer colors. Adding black to any color darkened the hues and with each subsequent addition, I would never be able to return to its original color.

Nowadays, I have studied my fair share of color wheels. I have read about color theory, and the usage of color to accentuate and highlight design. Primary, secondary, and tertiary colors paint murals in my mind. Color is all around us, blanketing every surface of our daily lives. It is ubiquitous but should not be forgotten. Color is that singular box of 8 waxy crayons.