#waysoflooking

#SUPPORTARTISTS from @chris_nqmanchester - CONSUMERS OF STORIES... CREATORS OF STORIES... HASHTAG STORIES... # • 'WHERE THE STREETS GAVE NO NAME" •• We are creators and consumers of stories, as images, as words, as sound, as environments. Every image posted on IG tells stories. How we interpret or understand them is led by our experiences, empathy, education, and relationship with the story teller. • • We often add the hashtags to add our own emphasis to the stories. A classification. A structure. A way of attracting visitors. •• # The taxonomy, structure, hierarchy of information, maps and patterns is a language given in the use of hashtags. How we think. How we link ideas, both logical and illogical. Expand and free the mind... • • #storytelling #stories #maps #memories #hashtag #graphic #graphicillustration #interpretation #typography #lettering #abstractgraphic #nomoresecondhandart #graphicdesign #pattern #geometry #visualliteracy #abstracttypography #waysofthinking #waysofseeing #waysoflooking #opportunities #lifelonglearning #branding #businessdevelopment #taxonomy #communicationdesign ©2018

-Petra Halkes, Catalog Essay for Amy Schissel: Systems Fever, Patrick Mikhail Publishing, Ottawa ON, 2012

http://criticaltheoryindex.org/assets/PoeticsofSpace-Miniature--Bachelard-Gaston.pdf

Screenshot from Introduction PII

“A Claude glass (or black mirror) is a small mirror, slightly convex in shape, with its surface tinted a dark colour. Bound up like a pocket-book or in a carrying case, Claude glasses were used by artists, travelers and connoisseurs of landscape and landscape painting. Claude glasses have the effect of reducing and simplifying the colour and tonal range of scenes and scenery to give them a painterly quality. The user would turn their back on the scene to observe the framed view through the tinted mirror—in a sort of pre-photographic lens—which added the picturesque aesthetic of a subtle gradation of tones.”

“His collection of miniatures has expanded since, and yet some of the first miniature models he utilized remain in his practice. After he arranges the miniature vignettes, he projects pictures of other everyday things—like the sun shining through the blinds or the silhouette of a person—onto the models. Then he photographs the whole new scene with a film camera, developing the photos himself in color, an arduous technique that also allows for Frances to obtain over or undersaturated shades. All of this is done in order to make a proof of an image for Frances to then carve out of wood and imprint onto paper. “The process is super clunky and kind of frustrating. For me the frustration and the gaps between what I’m trying to do and what the end result is—that gap is a super useful place. That’s where I find the surprising things. I’m a perfectionist, so I have to throw roadblocks in to prevent me from gaining perfection,” he says.Some of those roadblocks are developing the film photographs in color, carving the negative space of the image onto a piece of wood, and inking colors onto the wood in order to imprint it on paper. Before the final woodblock print is chosen by Frances, he might try dozens of different ones with slight variations of tone, saturation, and hue.”

Instagram Saves - What does the colour mean? Why do I care about colour?