Using traditional illustration techniques in poster design

Global Journal on Humanities and Social Sciences ◽

10.18844/gjhss.v0i0.269 ◽

2016 ◽

Author(s):

Berna Özlem Özcan ◽

Ayhan Özer

Keyword(s):

Contemporary Art ◽

Graphic Design ◽

Equal Weight ◽

Two Dimensional ◽

Dimensional Approach ◽

The Public ◽

Technological Developments ◽

Painting Techniques

Literally posters is defined as a sign attached to the wall, printed or hand-written carried during the demonstration in order to expose the public notice. Posters to convey a message of equal weight or anxiety and are prepared graphic design and art products in order to promote a product. The purpose of this study is to determine the advantages of using illustration an painting techniques in designing traditional poster. The problems that lead the study to this aim are technological developments and that contemporary art poster designs formed with absolute photographic aesthetic are becoming monotonous. The findings of this study were tried to be obtained by two-dimensional approach. The first is literature scanning. In the second, works of artist in the determined sample were analyzed in terms of both illustrations and using of pictorial techniques. In this context, examples of the works of artists such as Henri Toulouse Lautrec, Jules Cheret, Alphonso Mucha, Alexandre Steınlen, İhap Hulusi, Pagowski Andrzej, and Leszek Zebrowski examined.Keywords: poster, picture, ıllustriation.

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Screening Statues

10.3366/edinburgh/9781474410892.001.0001 ◽

2017 ◽

Author(s):

Steven Jacobs ◽

Susan Felleman ◽

Vito Adriaensens ◽

Lisa Colpaert

Keyword(s):

Contemporary Art ◽

Three Dimensional ◽

Interdisciplinary Approach ◽

Film History ◽

Two Dimensional ◽

Artistic Practice ◽

Experimental Art ◽

Broad Scope ◽

Art Practices ◽

Extensive Reference

Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.

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Shifting perspectives: method, media and the complex image

History and Computing ◽

10.3366/hac.1998.10.1-3.100 ◽

1998 ◽

Vol 10 (1-3) ◽

pp. 100-108 ◽

Cited By ~ 1

Author(s):

Alicia Colson ◽

Ross Parry

Keyword(s):

Image Processing ◽

Three Dimensional ◽

Geographical Location ◽

Spatial Relationship ◽

Two Dimensional ◽

Dimensional Approach ◽

Complex Image ◽

Cultural Resonance

This article argues that the analysis of a threedimensional image demanded a three-dimensional approach. The authors realise that discussions of images and image processing inveterately conceptualise representation as being flat, static, and finite. The authors recognise the need for a fresh acuteness to three-dimensionality as a meaningful – although problematic – element of visual sources. Two dramatically different examples are used to expose the shortcomings of an ingrained two-dimensional approach and to facilitate a demonstration of how modern (digital) techniques could sanction new historical/anthropological perspectives on subjects that have become all too familiar. Each example could not be more different in their temporal and geographical location, their cultural resonance, and their historiography. However, in both these visual spectacles meaning is polysemic. It is dependent upon the viewer's spatial relationship to the artifice as well as the spirito-intellectual viewer within the community. The authors postulate that the multi- faceted and multi-layered arrangement of meaning in a complex image could be assessed by working beyond the limitations of the two-dimensional methodological paradigm and by using methods and media that accommodated this type of interconnectivity and representation.

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EXACT SOLUTION TO THE TWO-DIMENSIONAL APPROACH OF THE REWETTING BY A FALLING FILM

Proceeding of International Heat Transfer Conference 8 ◽

10.1615/ihtc8.1750 ◽

1986 ◽

Cited By ~ 1

Author(s):

Francesco Castiglia ◽

E. Oliveri ◽

S. Taibi ◽

G. Vella

Keyword(s):

Exact Solution ◽

Falling Film ◽

Two Dimensional ◽

Dimensional Approach

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PANEL FLUTTER OF PLATE UNDER SUBSONIC FLOW IN TWO-DIMENSIONAL APPROACH

TsAGI Science Journal ◽

10.1615/tsagiscij.2020034274 ◽

2020 ◽

Vol 51 (1) ◽

pp. 85-98

Author(s):

Vitalii Dmitrievich Chuban

Keyword(s):

Subsonic Flow ◽

Panel Flutter ◽

Two Dimensional ◽

Dimensional Approach

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‘Langen Katresnan’ Video Animasi dengan Tema Ramayana Episode Penculikan Shinta

REKAM Jurnal Fotografi Televisi dan Animasi ◽

10.24821/rekam.v0i0.548 ◽

2014 ◽

Author(s):

Ika Yulianti

Keyword(s):

Performing Arts ◽

New Work ◽

Two Dimensional ◽

The Public ◽

The Creation

Ramayana story has been widely known in Indonesian society since centuries ago. This story has been disseminated from generation to generation. The story is familiar to the public in the form of this kakawin often staged in the form of performing arts, dramatari, puppet performances, as well as in the form of puppet or sculpture. Ramayana story has a lot of episodes, but in the creation of this animated video work taking Shinta kidnapping episode. This animated video works explored the form of characters and stories, as well as collaborate with dance, heater and musical arts. Kidnapping of Shinta’s story became the basis of the principal narrative in the creation of animated video with the theme of Ramayana episode kidnapping Shinta ‘Langen Katresnan’ which then developed in accordance with the ideas and concepts. It also supports the creation of new work that promotes originality of the work. This animated video works using two-dimensional techniques. This is actually a reference to that puppet animation that was first recognized by earlier ancestors.Keywords: puppet, Ramayana, animation

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