The Anatomy Museum

Visiting the University of Edinburgh’s Anatomy Museum was interesting if not a little unnerving for someone who doesn’t usually draw amongst brains and skeletons. I found the change refreshing and it gave me the opportunity to broaden my mind towards my anatomy project. Whilst in the presence of juvenile skeletons and partially decomposed heads, it was a stark reminder of mortality and what is to come. I found the reactions of myself and my classmates interesting, some weren’t phased whereas others like myself grimaced. It made me wonder why I found it disturbing. I have always had a phobia about death and all things related to it, which in essence involves the human body and how it works. I contradict myself however as I thrive off gory films and all things sinister, perhaps that’s where my anxiety has derived from. I used to suffer severely from panic attacks; anything from driving past my local Toys ‘R’ Us to watching Tarzan used to trigger them. As I have gotten older I have learnt to control my thoughts however sometimes it is inevitable. All these thoughts and reflections reminded me of the poet Emily Dickinson. It gave me the idea to incorporate her literature alongside my work as I am very fond of her and she can relate. I am looking forward to the next museum visit.

The Bauhaus

The Bauhaus

Famous for its relationship with modernism and mapping the creative output that we have today, the Bauhaus School of Design in Germany emerged at a time revolved around sheer social upheaval. “Between 1920 and 1930 Modernists throughout Europe argued violently through letters, articles and personal confrontations and by 1935 they had drifted apart in terms of their actual design work.” (Greenhalgh, 1990:6)

Founded in Weimar by Walter Gropious in 1919, the pioneer phase was c1919 – 1930. Greenhalgh had 12 terms of definition for the pioneer phase, one of which was ‘Internationalism’. They aimed to change society for the better, creating opportunity to change the structure of art and design education. With other masters such as Adolf Meyer (rationalism) and Johannes Itten (mysticism), the difference in views caused variation in ideology. “The Basic Course” emphasised practical formal teaching, the study of materials, observation and composition. The process of moving up each year whilst narrowing your specialism down, “If he is to work in wood, for example, he must know his materials thoroughly.” (Cited Naylor)

The Bauhaus Manifesto (1919) was a promotional campaign positioning their ideologies. The building reflected a new way of thinking and in itself was a big part of the experience. In 1925 they moved to Dessau, the most influential and well known building when people think of Bauhaus. It was created to fit into the new-found technology, new politics and new ethos. It focussed on light and function and was central to everything they did whilst they shifted from craft to industry.

Analytical drawing, Ida Kerkovius.
http://bauhaus-online.de/en/atlas/werke/linear-analysis-of-a-still-life

Early experimentation and the rise of collage were aesthetics of urbanism. (paul citroen the big city)(Werner Graeff composition 2) Experiments began to form using collaborative work between music, art and film students. Looking at this in present day as an illustration student, my first thought was, ‘Really…?’ However, this philosophy can relate to Oskar Schlemmar’s Triadic Ballet (1923); I can respect that this was where it all started. Another revolutionary discovery was Herbert Bayer’s Universal Type (1923.) His belief mirrored that of artists; that type should follow the technology. The need for thick and thin bars in lettering was no longer needed due to new mechanical printing technology i.e. Times New Roman. Bayer’s Universal type also represented the desire for a non-hierarchal society whilst the Bauhaus attempted to break away from class divisions (the idea that a glassmaker is better than a woodcutter.

Bayer's Universal Type
http://marcleacock1.wordpress.com/2011/10/21/
what-was-the-underlying-principle-behind-herbert-bayers-universal-alphabet/

The legacy of the Dessau years comes through furniture, domestic products and structural integrity. “From their experimentation will evolve standards for industrial production.” (Gropious 1923) Haus am Horn is significant in seeing the shift as well as Marcel Breuer’s club chair. Their inspiration came from the economy of materials and function, reducing the amount of materials, aimed for mass production. The kitchen design in Haus am Horn (1923) shows the new contemporary idea of rationalising how they use spaces. In present day we contradict the Bauhaus’s desires and intentions, they designed for the masses yet it costs £200+ for a reproduced design of a chair and X amount for an original Bauhaus piece. Mass production is not how it used to be not only is it a way to create cheap and low quality products, people no longer want what everyone else has. Up/recycling is the new craze. This links to the lack of desire to be caught in the mainstream of society today. Although this isn’t the only reason for the desire to purchase cheap second hand furniture, people look for quality pieces that can last years and years, unlike the MDF bookshelf from IKEA.

The value of Bauhaus has changed radically compared to how it used to be. Objects designed and made by them are now seen as a statement to have and people pay thousands. The contrast between designing for everyone and now it being a symbol of wealth represents how we have completely turned the Bauhaus’s desires upside down. We haven’t in respect to The Basic Course however if I was to buy a Bauhaus kettle I most certainly would never use it. 

John Fardell

http://twoheadedthingies.blogspot.co.uk/
2012/09/is-it-bad-nah-its-wicked.html
John Fardell Viz Magazine

Cartoonist and illustrator, John Fardell, visited today to talk to us about his work. He discussed past experiences and explained about how he had always wanted to be in this line of work. However, like the usual aspiring artists, he got informed to take a more ‘sensible’ route, which he didn’t. This lecture definitely enlightened me, I have ideas of my own and I feel a great deal more confident in how I am going to achieve my goals.

John Fardell eventually went down the route of creating cartoon takes on articles; cynical and witty comic strips for Viz Magazine and Liss Magazine. He created a connection between Charlie Chaplin and comic strip work - you can learn a lot from silent movies; narrating a story through pictures. The less need for words, the better. He doesn’t feel the need in telling a story twice though literature and imagery.

http://www.fantasybookreview.co.uk/
/The-Last-of-the-Sky-Pirates
2014

From the age of 13, he’d write to storybook publishers his ideas to get a polite and influential decline. Though after getting his name in a few magazines and illustrating a few of his Dad’s articles, he got his foot in the door of children’s books. Still they weren’t picture books, they were chapter books so he could design the front cover and create a number of black and white illustrations. His books reminded me so much like various Steampunk novels that have always influenced me such as The Last of the Sky Pirates illustrated by Chris Riddell. He got to create fictional vehicles and all things deemed fantastical however he struggled in figuring out the perspective of an object that doesn’t exist. This caused him to create his own 3D mini sculptures in order for him to successfully create the write depth and angle of his designs.

Fardell focussed mainly on his book “The Day Louis Got Eaten.” It put things into perspective on how much time it can take to create a picture book. His way of working is precise and slow with a lot of rough drafts before the final main image which contrasts massively to Quentin Blake who does a few quick solid sketches until he gets one he likes. It’s interesting how different people and how different the outcomes are yet both work just as well as the other. As we went through the book, the importance of page turners became apparent. The need to have a hint of something happening on the next page; enough to show something is there however not enough to give it away. Some hints you don’t even notice until you go back and read it again. He went through a lot of drafts and implications that the illustrations had, and he explained how he solved them. I felt like I could relate to all of this, it excited me how I could understand someone like a mathematician understands equations.

I learnt a great deal about techniques and various mediums. The direction in which a book’s pictures flow can sometimes be extremely effective and psychologically purposeful. The fact we read left to right means that the rule can also apply to illustrations and their characters. The same rule applies to film makers, if someone is battling the elements, they can be seen walking left across the screen, which we could relate to as quite a struggle. Louis’s sister was always travelling right across the book until the end when they turned left back towards home.

A problem I always had whilst painting has suddenly been solved as well. The fact I have only just found out about water colour ink due to Fardell’s recommendations makes me question myself as an illustration student. I have always painted first then applied pen after, I am so excited to purchase some waterproof ink and try it out using a dip pen which he also recommended to us. I have always questioned my ability when using technology too when enhancing/creating my work. I have avoided Photoshop like the plague however I have been shown how it can be an implicitly useful tool. He also referenced artist William Heath Robinson as an inspiration.

William Heath Robinson (1872 - 1944) 'The Nightingale'
http://literature.wikia.com/wiki/The_Nightingale

Overall, this lecture left me feeling elevated, educated and motivated. 

Revel Archive

Today we visited the research centre in the Main University Library to investigate a collection of ‘Revel’ party invitations from the archives. We also watched a short silent film on one recording of a Revel party. The Revel Christmas party has happened once a year for the Edinburgh College of Art since the 1920’s and each year students collaborate to create an invitation. This was extremely interesting as they were set out chronologically so you can see the change in designs clearly. The first few were traditional however it then progressed to more decorative and thought out designs. This was when the students were allowed to take over.

The short film was interesting although also disappointing. The much more naïve and playful behaviour displayed made me question what had changed. Whilst looking at our expressions, and my own, we were confused as to why they were doing the things they were doing for entertainment. Another thing that didn't help with this gutted feeling is that the invites now are simply slips of paper. Yes we still get the opportunity to design the flyer however the invitations had always been just as special. It’s like our society don’t get excited over singular events such as this anymore. There are bigger and better things to do and a party isn’t a party without sharing it with everyone online. Watching the film made me wonder where the magic had gone. Admittedly I love traditional things so perhaps that’s why I feel like this. It’s like when people have short hair, they want long hair, when people have long hair, and they want short hair. I have yet to attend a Revel party so maybe I’m being a bit hasty. 

Nonetheless the flyers and invites were all beautiful in their own rights, they were extremely interesting to look through. Also looking at the fashion from the photo's made me think about the lectures I had had previously.

Fashion Modernity

Society began to focus on new attitudes towards women. Fashion and the healthy body collaborated and reflected the social and cultural changes taking place in the 20^th Century. Fashion had always expressed wealth and identity, Queen Elizabeth I from the 15^th Century had lavished in fine cotton and jewellery during the making of her portraits; her clothes demonstrated her wealth and power.

Growing urbanisation in the 19^th Century caused anonymity, people began to want to stand out. For the German Sociologist, Georg Simmel, the rapid development of fashion was bound up with growth of city life and individualism, "The deepest problems of modern life derive from the claim of the individual to preserve the autonomy and individuality of his existence in the face of overwhelming social forces, of historical heritage, of external culture, and of the technique of life."(http://www.brainyquote.com) The system of imitation allowed people to be part of a group or clique. I found it interesting that he argues that there is no escape from fashion. Those who declare to be unfashionable are simply engaging in a form of imitation, which may itself become ‘fashionable.’ 

This is evidently a universal thing as I can agree with that idea in present day.

(Above) "Evening ensemble" Mario Fortuny.
1979.344.11a,b)". In Heilbrunn Timeline of Art History. 
 New York: The Metropolitan Museum of Art, 2000www.metmuseum.org/toah/works-of-art
Oct. 8th(Below Above) Paul Poiret and Denise,Zouave dressCopyright Lipnitzki/Roger-Viollet/Getty Images

The definition of fashion never seemed to be about comfort; corsets became a thing of the past. Designers Mariano Fortuny and Paul Poiret had new ideas revolving around ballet, orientalism and expressionism. Their designs were lose and free-flowing, expressing the female form and the art of the human body. Sonia Delaunay’s designs for Cleopatra mirrored the fashions of transport and life style opportunities; the excitement of the city. The new swimsuit design and simultaneous clothing reflected the modernistic ideas of anti-traditional culture. Rejection of decoration and promotion of unisex clothing deemed wearers unfeminine; women playing tennis, swimming and driving.

Palmolive advert 1924
http://www.vintageadbrowser.com/
beauty-and-hygiene-ads-1920sPalmolive Company’s Palmolive Soap

Gabrielle Bonheur Chanel
http://www.vintagedancer.com/
/1920s/1920s-style-guide-womens-fashion

This growth caused more advertising for women, the idea that beauty didn’t come naturally became a new idea. This is something we can relate to today. It is normal for women to constantly take care of their appearance and be a lot more aware of it. Chanel (1883-1971) epitomised the New Woman. She was independent, confident about her sexuality and she pursued the modern lifestyle. Although it wasn’t just Chanel that created the 1920’s look, a lot more designers were doing this however she knew how to promote herself. Regarding back to the comfortable, minimal and modern designs, she reflected the attitude that less is more. However she is not deemed as a modernist. Modernists want to create one thing for everyone, aiming for simplicity and linear order. Cultural critics such as Walter Benjamin, thought social revolution and communism would be the death of fashion. The Russian Revolution caused the rise in functional clothing, resulting in the encouragement towards men and women dressing the same. This could be seen as a movement towards equality however it was in fact to make sure women didn’t undermine men due to the progression they’d been having. Chanel’s ideas did not mirror this ideology, she focussed on the ever changing movement of fashion and the beauty and expression. Fashion had become torn between wanting and needing; flat shoes were practical however heels were more admirable.

The modernist response, The Bauhaus, was rather anti-fashion. The experimented with new materials, not directly concerning them with fashion. Oskar Schlemmer and the Triadic Ballet showed modernist preoccupation with the machine, only symbolic movements and geometric shapes where expressed. Actors were reduced to singular jagged movements like puppets on a string. This was fashion in an art form, some in society craved the need to be different, to stray themselves from the mainstream current. You could say fashion is innovation gone mad, the superficial side of it has created judgement and discrimination universally. However some argue with this. 

http://jocelinehowe.wordpress.com//2013/08/26/triadic-ballet-oskar-schlemmer-1927/
Oskar Schlemmer's dances (1927)
Aug 2013

Uploaded on 21 Feb 2012

A film in three parts after Oskar Schlemmer's dances (1927)

Book and Choreography: Margarete Hasting, Franz Schömbs, Georg Verden.

Rehearsal: Hannes Winkler.

Reconstruction of the costumes: Margit Bárdy.

Art Consulting: Ludwig Grote, Xanti Schawinsky, Tut Schlemmer.

Dancers: Edith Demharter, Ralph Smolik, Hannes Winkler.

Music: Erich Ferstl.

Camera: Kurt Gewissen.

Cut: Johannes Nickel.

Production Director: Helmut Amann.

Production: Gottfried Just.