Word and Image. Polish Medieval and Renaissance Religious Writings in the European Context

The article presents the Polish religious writing of the Middle Ages and Renaissance as an expression of correspondence between the word and image. It also demonstrates the impact of European graphics, including Albrecht Dürer’s woodcuts, upon Polish religious works of the period (such as the works by Pseudo-Bonaventura in his rendering of Baltazar Opec’s Żywot Pana Jezu Krysta and Jan Sandecki’s Historie biblijne or Rozmyślania dominikańskie. The article also emphasizes that it was Dürer who paved the way for the book illustration, thus turning woodcuts into an art form in their own right. The fifteenth century was a watershed in book culture. As new illustration techniques at the turn of the fifteenth and sixteenth centuries encouraged the growth of illustrated printed books, the codex became obsolete.

Peddling for Profit

Chapter 5 moves to the United States at the turn of the twentieth century, where the entrepreneurial spirit and penchant for spectacle led to some of the most significant and idiosyncratic recuperations of Doré’s work and the most compelling evidence for the critical place biblical imagery has maintained in modern life. A combination of practical factors (the lack of international copyright laws, for instance, and the highly successful tour of works from the Doré Gallery) led to widespread appropriation of Doré’s imagery in a plethora of contexts, including traditional media such as stained glass and book illustration, as well as more recent developments such as the magic lantern. In the United States, the proliferation of Christian denominations and capitalist culture alike are uniquely bound up with the circulation of Doré’s images.

The Light of the Word

Chapter 1 introduces the context in which Doré’s biblical imagery emerged by focusing on the status of the Bible in the visual culture of nineteenth-century France, with particular emphasis on book illustration. Relying on photographic documentation of Doré’s original drawings, this chapter begins the process of articulating Doré’s visual language and its relationship to preceding attempts at comprehensive Bible illustration projects. The distinction between “biblical” and “religious” imagery is significant in setting the stage for the Doré Bible, as it was initially produced for French Catholic audiences, a contingent for whom direct engagement with the Bible was historically discouraged or even forbidden. Yet, as this chapter demonstrates, biblical illustration in the first half of the nineteenth century reveals the continued centrality of the Bible to artistic and public life in the wake of religious and intellectual upheavals.

Abstract depiction of human figures in impressionist art and children's picture books

© 2019 The Author The human figure is important in art. I discuss examples of the abstract depiction of the human figure, from both impressionist painting and children's book illustration, and the challenge faced in algorithmically mimicking what human artists can achieve. I demonstrate that there are excellent examples in both genres that provide insight into what a human artist sees as important in providing abstraction at different levels of detail. The challenge lies in the human brain having enormous knowledge about the world and an ability to make fine distinctions about other humans from posture, clothing and expression. This allows a human to make assumptions about human figures from a tiny amount of data, and allows a human artist to take advantage of this when creating art. The question for the computer graphics community is whether and how we could algorithmically mimic what a human artist can do. I provide evidence from both genres to suggest possible ways forward.

Abstract depiction of human figures in impressionist art and children's picture books

© 2019 The Author The human figure is important in art. I discuss examples of the abstract depiction of the human figure, from both impressionist painting and children's book illustration, and the challenge faced in algorithmically mimicking what human artists can achieve. I demonstrate that there are excellent examples in both genres that provide insight into what a human artist sees as important in providing abstraction at different levels of detail. The challenge lies in the human brain having enormous knowledge about the world and an ability to make fine distinctions about other humans from posture, clothing and expression. This allows a human to make assumptions about human figures from a tiny amount of data, and allows a human artist to take advantage of this when creating art. The question for the computer graphics community is whether and how we could algorithmically mimic what a human artist can do. I provide evidence from both genres to suggest possible ways forward.

PERANCANGAN BUKU “KOMUNIKASI DALAM ISYARAT” SEBAGAI MEDIA PENGENALAN HURUF HIJAIYAH UNTUK ANAK TUNARUNGU BERBASIS ILUSTRASI

Deaf childrens are children with hearing limitation that can be fully or partial hearing function problems. Deaf childrens can communicate using movement pattern combinations (sign language), accompanied by face expression dan lips reading that can be studied using eyesight. For moslem deaf children, they have limitation on understanding and memorizing hijaiyah alphabets. One of the factors that make it hard to learn is the learning media limitation on Al-Quran for deaf childrens. Media that usually use to learn hijaiyah alphabets is Iqro books, the weak side of this book is there’s no procedure on how to pronounce Al-quran from letters of alphabets or in hijaiyah sign. Start from this limitation on deaf childrens and iqro book’s weaknesses, the idea to designing illustration book of hijaiyah alphabet introduction for deaf children was emerge. The media for the design is a book titled “Komunikasi dalam Isyarat” (“Communicate in sign”) in 20 x 20 cm size with 53 pages and soft covered, the content pages will be in HVS 100g paper. This book will contain hijaiyah alphabets, hijaiyah sign, exercises, evaluation test, and puzzle pieces that will be included in puzzle container.Keywords: book, illustration deaf, sign, hijaiyah.AbstrakAnak tunarungu merupakan anak dengan keterbatasan pendengaran yang kurang berfungsi dengan baik maupun tidak sama sekali. Anak tunarungu berkomunikasi dengan cara menggunakan kombinasi pola gerakan tertentu, juga disertai dengan ekspresi wajah dan gerak mulut yang bisa dibaca secara visual melalui indera penglihatan. Bagi anak tunarungu muslim, keterbatasan lainnya yaitu sulit memahani dan menghafal huruf huruf hijaiyah. Salah satu faktor penyebab sulit memahami huruf hijaiyah adalah keterbatasan media belajar Al-Qur’an khusus untuk anak tunarungu. Media yang selama ini digunakan untuk belajar huruf hijaiyah adalah buku Iqro’, kelemahan pada buku ini karena di dalamnya tidak ada cara membaca Al-Qur’an melalui huruf abjad maupun isyarat hijaiyah. Berawal dari keterbatasan anak tunarungu dan kelemahan pada buku Iqro’, muncullah ide merancang buku ilustrasi pengenalan huruf hijaiyah untuk anak tunarungu. Media yang dirancang merupakan buku berjudul “Komunikasi dalam Isyarat” berukuran 20 cm x 20 dan memiliki 53 halaman, cover buku menggunakan soft cover, dan lembaran halaman menggunakan bahan kertas HVS 100g . Buku ini berisi tentang materi huruf hijaiyah, isyarat hijaiyah, latihan soal, soal evaluasi, dan potongan puzzle yang diletakkan ke dalam puzzle container.Kata Kunci: buku, ilustrasi, tunarungu, isyarat, hijaiyah. Authors: Mahendra Wibawa : Sekolah Tinggi Informatika dan Komputer Indonesia MalangAnita Wulan Suci : Sekolah Tinggi Informatika dan Komputer Indonesia Malang References:38 Lineart. (2019). 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