Yusri Graphic Design: BASIC GRAPHIC DESIGN

HISTORY OF GRAPHIC

Graphics (from Greek , graphikos) are the production of visual statements on some surface, such as a wall, canvas, pottery, computer screen, paper, stone or landscape. It includes everything that relates to creation of signs, charts, logos, graphs, drawings, line art, symbols, geometric designs and so on. Graphic design is the art or profession of combining text, pictures, and ideas in advertisements, publication, or website. At its widest definition, it therefore includes the whole history of art, although painting and other aspects of the subject are more usually treated as art history.

Hundreds of graphic designs of animals by the primitive people in the Chauvet Cave, in the south of France, which were drawn earlier than 30,000 BC,] as well as similar designs in the Lascaux cave of France that were drawn earlier than 14,000 BC, or the designs of the primitive hunters in the Bhimbetka rock shelters in India that were drawn earlier than 7,000 BC, and the Aboriginal Rock Art, in the Kakadu National Park of Australia, and many other rock or cave paintings in other parts of the world show that graphics have a very long history which is shared among humanity. This history together with the history of writing which was emerged in 3000-4000 BC are at the foundation of the Graphic Art.

LOGOS

Originally a word meaning "a ground", "a plea", "an opinion", "an expectation", "word", "speech", "account", "to reason" it became a technical term in philosophy, beginning with Heraclitus (ca. 535–475 BC), who used the term for a principle of order and knowledge.

Ancient philosophers used the term in different ways. The sophists used the term to mean discourse, and Aristotle applied the term to refer to "reasoned discourse" or "the argument" in the field of rhetoric.The Stoic philosophers identified the term with the divine animating principle pervading the Universe.

Under Hellenistic Judaism, Philo (ca. 20 BC – AD 50) adopted the term into Jewish philosophy.The Gospel of John identifies the Logos, through which all things are made, as divine (theos) and further identifies Jesus as the incarnate Logos.
Although the term "Logos" is widely used in this Christian sense, in academic circles it often refers to the various ancient Greek uses, or to post-Christian uses within contemporary philosophy, Sufism, and the analytical psychology of Carl Jung.
Despite the conventional translation as "word", it is not used for a word in the grammatical sense; instead, the term lexis was used.[8] However, both logos and lexis derive from the same verb legō, meaning "to count, tell, say, speak".

Philo distinguished between logos prophorikos (the uttered word) and the logos endiathetos (the word remaining within).The Stoics also spoke of the logos spermatikos (the generative principle of the Universe), which is not important in the Biblical tradition, but is relevant in Neoplatonism.Early translators from Greek, like Jerome in the 4th century, were frustrated by the inadequacy of any single Latin word to convey the Logos expressed in the Gospel of John.

ICONS

An icons (from Greek eikōn "image") is a religious work of art, most commonly a painting, from Eastern Christianity and in certain Eastern Catholic churches. More broadly the term is used in a wide number of contexts for an image, picture, or representation; it is a sign or likeness that stands for an object by signifying or representing it either concretely or by analogy, as in semiotics; by extension, icon is also used, particularly in modern culture, in the general sense of symbol — i.e. a name, face, picture, edifice or even a person readily recognized as having some well-known significance or embodying certain qualities: one thing, an image or depiction, that represents something else of greater significance through literal or figurative meaning, usually associated with religious, cultural, political, or economic standing.

Throughout history, various religious cultures have been inspired or supplemented by concrete images, whether in two dimensions or three. The degree to which images are used or permitted, and their functions — whether they are for instruction or inspiration, treated as sacred objects of veneration or worship, or simply applied as ornament — depend upon the tenets of a given religion in a given place and time.

WEBSITE

The World Wide Web (WWW) was created in 1990 by the British CERN physicist Tim Berners-Lee. On 30 April 1993, CERN announced that the World Wide Web would be free to use for anyone.

Before the introduction of HTML and HTTP, other protocols such as File Transfer Protocol and the gopher protocol were used to retrieve individual files from a server. These protocols offer a simple directory structure which the user navigates and chooses files to download. Documents were most often presented as plain text files without formatting, or were encoded in word processor formats.

CORPORATE STATIONARY

1. General: Office supplies (specially paper and envelopes) used for writing, typing, or printing. Not to be confused with 'stationary' which means not moving or having a fixed position.

2. Computing: Several kinds of paper used in printers, such as Single sheet stationery: Paper cut into standard sizes (such as letter, legal, A4), sold usually in reams of 500 sheets and used mainly with friction-feed printers such as inkjet and laser printers. Continuous stationery: fan-folded paper with sprocket holes on sides and transverse perforations for easy separation into individual sheets, used mainly with impact printers. It is of two types: 'single part' consists of only one sheet of paper, whereas 'multipart' may have two, three, or more plies of 'carbonless' copying paper; the top ply serves as the original and the others as copies. Roll stationery: continuous roll of paper with no folds or perforations but may have sprocket holes on sides, used mainly with impact or thermal printers such as fax machine.

Advertisements or Advertising in business is a form of marketing communication used to encourage, persuade, or manipulate an audience (viewers, readers or listeners; sometimes a specific group) to take or continue to take some action. Most commonly, the desired result is to drive consumer behavior with respect to a commercial offering, although political and ideological advertising is also common. This type of work belongs to a category called affective labor.

In Latin, ad vertere means "to turn toward". The purpose of advertising may also be to reassure employees or shareholders that a company is viable or successful. Advertising messages are usually paid for by sponsors and viewed via various old media; including mass media such as newspaper, magazines, television advertisement, radio advertisement, outdoor advertising or direct mail; or new media such as blogs, websites or text messages.

BOOK DESIGN

Book design is the art of incorporating the content, style, format, design, and sequence of the various components of a book into a coherent whole.

In the words of Jan Tschichold, book design, "though largely forgotten today, methods and rules upon which it is impossible to improve, have been developed over centuries. To produce perfect books, these rules have to be brought back to life and applied." Richard Hendel describes book design as "an arcane subject", and refers to the need for a context to understand what that means.

BROCHURES

A brochure is a flyer, pamphlet or leaflet that is used to pass information about something. Brochures are advertising pieces mainly used to introduce a company or organization and inform about products and/or services to a target audience. Brochures are distributed by radio, handed personally or placed in brochure racks. They may be considered as grey literature. They are usually present also near tourist attractions.

The most common types of single-sheet brochures are the bi-fold (a single sheet printed on both sides and folded into halves) and the tri-fold (the same, but folded into thirds). A bi-fold brochure results in four panels (two panels on each side), while a tri-fold results in six panels (three panels on each side).

Other folder arrangements are possible: the accordion or "z-fold" method, the "c-fold" method, etc. Larger sheets, such as those with detailed maps or expansive photo spreads, are folded into four, five, or six panels. When two card fascia are affixed to the outer panels of the z-folded brochure, it is commonly known as a "z-card".

Booklet brochures are made of multiple sheets most often saddle stitched, stapled on the creased edge, or perfect bound like a paperback book, and result in eight panels or more.

Brochures are often printed using four color process on thick, glossy paper to give an initial impression of quality. Businesses may print small quantities of brochures on a computer printer or on a digital printer, but offset printing turns out higher quantities for less cost.

Compared with a flyer or a handbill, a brochure usually uses higher-quality paper, more color, and is folded.

BILLBOARDS

A billboard (sometimes also called a hoarding in the UK and many other parts of the world) is a large outdoor advertising structure (abilling board), typically found in high-traffic areas such as alongside busy roads. Billboards present large advertisements to passing pedestrians and drivers.

Typically showing large, ostensibly witty slogans, and distinctive visuals, billboards are highly visible in the top designated market areas. Bulletins are the largest standard-size billboards. Located primarily on major highways, expressways or principal arterials, they command high-density consumer exposure (mostly to vehicular traffic). Bulletins afford greatest visibility due not only to their size, but because they allow creative "customizing" through extensions and embellishments.

Posters are the other common form of billboard advertising, located mostly along primary and secondary arterial roads. Posters are a smaller format than bulletins and are viewed principally by residents and commuter traffic, with some pedestrian exposure.

PRODUCT PACKAGING

Packaging is the technology of enclosing or protecting products for distribution, storage, sale, and use. Packaging also refers to the process of design, evaluation, and production of packages. Packaging can be described as a coordinated system of preparing goods for transport, warehousing, logistics, sale, and end use.

Packaging contains, protects, preserves, transports, informs, and sells. In many countries it is fully integrated into government, business, institutional, industrial, and personal use.

POSTERS

A poster is any piece of printed paper designed to be attached to a wall or vertical surface.Typically posters include both textual and graphic elements, although a poster may be either wholly graphical or wholly text. Posters are designed to be both eye-catching and informative. Posters may be used for many purposes. They are a frequent tool of advertisers (particularly of events, musicians and films),propagandists, protestors and other groups trying to communicate a message. Posters are also used for reproductions of artwork, particularly famous works, and are generally low-cost compared to original artwork.

GREETING CARD

A greeting card is an illustrated, folded card featuring an expression of friendship or other sentiment. Although greeting cards are usually given on special occasions such as birthdays, Christmas or other holidays, they are also sent to convey thanks or express other feeling. Greeting cards, usually packaged with an envelope, come in a variety of styles. There are both mass-produced as well as handmade versions that are distributed by hundreds of companies large and small. While typically inexpensive, more elaborate cards with die-cuts or glued-on decorations may be more expensive.

Hallmark Cards and American Greetings are the largest producers of greeting cards in the world.

In Western countries and increasingly in other societies, many people traditionally mail seasonally themed cards to their friends and relatives in December. Many service businesses also send cards to their customers in this season, usually with a universally acceptable non-religious message such as "happy holidays" or "season's greetings".

The Greeting Card Association is an international trade organization representing the interests of greeting card and stationery manufacturers. John Beeder, former president of the Greeting Card Association, says greeting cards are effective tools to communicate important feelings to people you care about: "Anyone feels great when they receive an unexpected card in the mail. For me, there’s nothing like a greeting card to send a special message. I’m proud to be a part of an industry that not only keeps people connected, but uses both imagery and the power of words to help us express our emotions.”

Elements of Graphic Design

There are seven elements of art: form, line, shape, color, texture, space, and value. Each is an important concept in the creation of icons and symbols and should be investigated to gain a thorough understanding of the basics of design.

Basic design elements such as spots, lines, and simple shapes are capable of expression (Bates, 1949). Understanding the psychological interpretations of varying forms offers the designer greater insight. Simple spots are capable of conveying a multitude of expressions depending on their position, size, shape, color, and texture on the canvas. Proximity matters as well. For example, two spots are separate from each other at a distance greater than their diameters are seen as far apart. If they happen to be in proximity less than their breadth, they are near each other. Icon designers can use this innate philosophy to convey a distance factor through icons.

Form

A form is a three-dimensional figure that takes up space. Since the icons in this thesis exist only in two dimensions, this principle does not directly apply. However, an understanding of form is necessary for graphics that contain shading, perspective, or perceived depth. These elements are covered later in this section.

Line

A line, in its simplest form, is the element formed by moving a point along an area. Lines can exist in either second or third dimension. They can either be a mark such as something drawn on a canvas, an object such as wire, or implied such as the edge of an object. Typically lines are used to mark the border, contour, or silhouette of an object.

The line is considered the most useful of all graphical elements, as it can take virtually any form and represent many figures (Martinez & Block, 1988, pp. 136-152). Even children can surmise the power of lines. Lines allow an artist to convey an image using the abstraction to arbitrate between figure and space.

Curved lines indicate movement (Bates, 1949). If an icon should represent a changing or dynamic principle, it may exhibit wavy lines. Even if a designer is attempting to convey a straight movement or steady progression, curvy lines may best represent the transition. These lines make the viewer feel there is movement. Though using a straight line is a logical first approach, the icon may best represent the intended meaning through curved lines. Lines can also invoke an impression of speed. “Fast” lines typically have slight curvature, and “slow” lines usually have sharper curves that occur more frequently. Variations in thickness, contrast, and manipulation can give a sense of depth or lead the eye along a certain path. Lines also have the capability to evoke emotion. With many predictable curves, a line is seen as “sweet” and “calm,” and usually relaxes the viewer. Sharp, overlapping lines can suggest unrest and make the viewer nervous. Invoking emotions is another skill a designer should master, as it can be a useful tool in icon development.

Signatory lines are strokes with organic form varying in intensity, thinness, weight, and darkness (Martinez & Block, 1988, pp. 136-152). The lines are usually free form and hand-drawn and usually non replicable. They are called signatory, because when one writes, the scribe creates lines with the same style. The expressive lines can also convey an artist’s style and originality.

If a line is deemphasized and stripped of the individual and expressive qualities, it becomes an impersonalized expression (Martinez & Block, 1988, pp. 136-152). An impersonal line can be straight or organic and have the same curvature as a signatory line. The element is the same throughout, not varying in intensity, thickness, or other property. They are crisp, clean lines, similar to ones found in a technical portrayal.

An implied line is not visible (Martinez & Block, 1988, pp. 136-152). It is a perceived interpretation of an arrangement of elements in an area. An arrangement of notes on a stave or spots on a canvas may create an imaginary line derived from their patterns. If an artist were to wet a brush with paint and swing his arm, creating a series of splatters on the canvas, the spots may be arbitrarily arranged linearly. They would appear to form a line, and the viewer would perceive the arrangements of splatters as a path. A practical application is a best fit line on graphs where each datum governs the shape and direction of the resultant.

Contour lines border a silhouette (Martinez & Block, 1988, pp. 136-152). They represent the edges of a figure and are typically used to differentiate between shape and background. The contour can convey an image or shape in very few lines. It is a simplistic representation of form. A caricaturized icon is typically made of contours. Small icons are typically more simply drawn than larger and usually contain simple shapes and images. They too are usually made of contours, as caricaturized images are easy to see when the symbol is at low resolution or occupies a small area in the field of view.

Shapes

A shape is an enclosed space created by various other elements of art. Shapes should be kept simple. They should express, not necessarily represent. If a shape is too complex, has too many curves or edges, or leads the eye in various directions, it may not exhibit the intended meaning (Bates, 1949). Simplifying shapes make them more understandable and interpretable. Emphasis may also be necessary to convey something. If a symbol represents a car, it will not show the antenna, muffler, rearview mirror, or any other small details that are associated with the car. Instead, the image may be an overly simple body with big wheels. This simplifies the minor details by making the entire car body one shape and emphasizes the identifiable characteristics such as the wheels.

Shapes are typically easy to distinguish and are a simple, primitive method for communication (Martinez & Block, 1988, pp.118-133). Shapes have visible personalities and are considered to be a universal language. In marketing, shapes may create an identifiable corporate brand. Aesthetically, they help convey messages and emotions. In short, a shape is a visible representation of forces in an area.

Though many shapes are clearly identifiable with noted perimeters, others are implied (Martinez & Block, 1988, pp.118-133). A structural skeleton allows a viewer to see a shape from a pattern of dots or an arrangement of line segments. This draws upon the concept of closure, as the brain tries to make sense of several pieces of information. A mess of points arranged in a circular shape may be difficult to decipher, but identifying the series of dots as a circle is a way of making the pattern clear and distinguishable. The ability to identify shape will determine whether the figure is simple or complex. Simple shapes have easily identifiable patterns and are usually replicable through memory such as most geometric shapes. Complex shapes are not as clear or memorable. The structure is more difficult to determine and may take more cognitive processing for the brain to develop a clear interpretation of the shape’s form. To quickly convey messages such as an icon to viewers of different backgrounds and cultures, simple and memorable shapes are best. Contrarily, a complex shape may keep the viewer’s attention longer and is sometimes preferred for artistic appeal.

Another factor to consider in the learnability and memorability of shape in icons is the geometry itself (Martinez & Block, 1988, pp.118-133). A geometric shape is a clearly defined, crisply drawn figure that follows a set of predetermined. Angles, straight edges, and measured curves are necessary to make such a construction. The most common geometric forms are the circle, square, and equilateral triangle. Each has a set of clearly defined properties and is perfectly represented to match other forms of its kind. They are governed by mathematical rules, rigid, absolute, and universally understandable. Organic shapes are more natural in appearance. They can contain curves, smooth edges, varying angles, and any intermix of form. These shapes match forms typically found in nature and do not obey a particular structure or arrangement. These curved free-flowing figures are more difficult to memorize.

The three simple shapes—square, triangle, and circle—can make up most other forms (Martinez & Block, 1988, pp.118-133). Though many figures can be composed of these simple shapes, the shapes themselves cannot be simplified. Some figures are made from variations of these primitives. This variation is described as tension. Stretching, skewing, or transforming the shape in any way will give it a different appeal and may hold a different meaning. This may affect icon interpretability, as subtle deviation in shape can change the visual’s characteristics. Though a square may appear solid and secure, tilting it on its corner and stretching it may give the appearance of movement and instability. This could prove useful in icon design.

Weight is a subjective assessment of how light or heavy a certain shape appears to the viewer (Martinez & Block, 1988, pp.118-133). Geometric figures appear to have more weight than organic. A regular geometric form such as a square will seem to have less weight if the edges were slightly curved and angles did not match. An organic version of the form would be lighter than its regular counterpart. Symmetry is also a factor, as objects that are symmetrical seem to have more weight than those that are not. Objects in the center of a composition also appear to have more weight.

When a single shape is added to a field, it results in two forms (Martinez & Block, 1988, pp.118-133). The figure, or positive shape, is the shape itself and typically the focal point. The ground, or negative shape, is the area around the image that now has a distinct shape, as the added figure has cut away from it.

Color

The color element has three properties: hue, intensity, and value. The hue is the type of color such as red, green, orange, and blue. The intensity is a measure of brightness and dullness. The value is how light or dark the color appears. The philosophy and phenomenon of color is described in detail later in this section.

Texture

Texture in art is typically a description of surface properties – how a surface looks or feels. Typically the texture is referred to a physical object such as a sculpture or model but can also apply to graphic design in a sense of a pattern or face. A texture usually fills a shape or area, changing the property of the surface.

Textures have tactile qualities (Martinez & Block, 1988, pp.64-65). In its intangible form, texture communicates a sense of feeling through visualization. The phenomenon also allows a viewer to develop a sense of the physical properties of a shape such as weight, speed, roundness, and solidity. A surface with more texture seems slower, and the viewer may appreciate the more subtle details in the figure. The eye will move slowly across these surfaces. Publications are also dependant on texture to improve readability. The variations in text sizes, fonts, weights, and other typographical elements will improve organization and understandability of the whole piece.

Space

Space is the distance between or the area around figures. In a figure-ground relationship, the ground can be classified as space.

A flat area is perceived differently from the realism of a three-dimensional world (Martinez & Block, 1988, pp.68-103). The mind attempts to perceive the element of space whether the image is depicting a realistic scene or is an abstract arrangement of flat figures. All shapes have a position on a surface. When elements overlap, they are either above or beneath the others. Overlapping objects can lead the eye across a certain path, create focus or emphasis, or help group elements to suggest similarity. It also shows which objects are in front and which are in back.

Overlapping refers back to the figure-ground phenomenon where one object is the foreground and the other the background (Martinez & Block, 1988, pp.68-103). This is typically left to the subjective viewer’s interpretation such as a dark circle on a white square. The circle is either dark and in front of the square, or the square bares a hole, revealing a dark object behind. Though the classification of a shape as a figure or ground is typically left to interpretation, there is psychological and physiological justification for why a viewer will identify them as such. Both figure and ground shapes have particular characteristics and work separately in visual configuration. Figures typically look heavy, mobile, and self-contained. Figures also tend to have convex shapes and protruding parts. Textured elements are also seen as the figures in a piece. The figure may not be a complete shape. Lines can qualify as figures. The closer the lines are, the more they will look like a complete figure. If they are far apart, they may appear as the background. The backgrounds usually look empty, smooth, and lacking texture. They are typically lighter in appearance and may spread over a large area or throughout a piece.

Gradients are an effective tool for creating space (Martinez & Block, 1988, pp.68-103). A gradient is a gradual change in a visual quality, typically shading or color. The change is subtle and usually happens in a series of steps. Each step is gradual so that it does not appear coarse, and the eye is able to transition smoothly without saccades. Gradients can illustrate depth and also make elements more apparent as figure or ground.

Variations in size and position on a page can assist in spatial illustration (Martinez & Block, 1988, pp.68-103). Objects situated higher on a page will appear further in the distance. This is because most visuals illustrate closer objects toward the bottom of a canvas. The perceived size is dependent on the surrounding figures. Shapes in the background are typically smaller than those in the foreground. In nature, far away objects appear smaller than those that are close. The observer applies this perception to flat art. To keep the image consistent, many artists use vanishing points to help determine the position, size, shape, and orientation of figures in the picture. The vanishing point is an imaginary point to which all elements will converge when positioned farther away from the viewer.

Isometric compositions are drawings that do not have a vanishing point, as distance will not affect size or shape (Martinez & Block, 1988, pp. 68-103). All parallel lines will remain parallel regardless of distance or orientation. The Illustrations are highly geometric and often simplistic. Many technical fields adopt this style to convey blueprint ideas. Architecture and engineering fields rely on these drawings to convey plans in a clear and simplistic manner.

Value

The element of value is the darkness or lightness of a surface. It is typically used to represent volume, reveal the presence of a light source, and add realism to depth. Variations in shade are often the result of a light source.

ARTIST

Pablo Picasso

Born Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso[1]

25 October 1881

Málaga, Spain

Died 8 April 1973 (aged 91)

Mougins, France

Resting place

Château of Vauvenargues

43.554142°N 5.604438°E

Nationality Spanish

Education José Ruiz y Blasco (father),

Real Academia de Bellas Artes de San Fernando

Known for Painting, drawing, sculptureprintmaking, ceramics,stage design, writing

Notable work(s) Les Demoiselles d'Avignon(1907)

Guernica (1937)

The Weeping Woman(1937)

Movement Cubism

Spouse(s) Olga Khokhlova (1918–55)

Jacqueline Roque (1961–73)

Picasso was exceptionally prolific throughout his long lifetime. The total number of artworks he produced has been estimated at 50,000, comprising 1,885 paintings; 1,228 sculptures; 2,880 ceramics, roughly 12,000 drawings, many thousands of prints, and numerous tapestries and rugs.

The medium in which Picasso made his most important contribution was painting.In his paintings, Picasso used color as an expressive element, but relied on drawing rather than subtleties of color to create form and space.He sometimes added sand to his paint to vary its texture. A nanoprobe of Picasso's The Red Armchair (1931) by physicists at Argonne National Laboratory in 2012 confirmed art historians' belief that Picasso used common house paint in many of his paintings.Much of his painting was done at night by artificial light.

Picasso's early sculptures were carved from wood or modeled in wax or clay, but from 1909 to 1928 Picasso abandoned modeling and instead made sculptural constructions using diverse materials.An example is Guitar (1912), a relief construction made of sheet metal and wire that Jane Fluegel terms a "three-dimensional planar counterpart of Cubist painting" that marks a "revolutionary departure from the traditional approaches, modeling and carving".

From the beginning of his career, Picasso displayed an interest in subject matter of every kind,and demonstrated a great stylistic versatility that enabled him to work in several styles at once. For example, his paintings of 1917 included the pointillist Woman with a Mantilla, the Cubist Figure in an Armchair, and the naturalistic Harlequin (all in the Museu Picasso, Barcelona). In 1919, he made a number of drawings from postcards and photographs that reflect his interest in the stylistic conventions and static character of posed photographs.In 1921 he simultaneously painted several large neoclassical paintings and two versions of the Cubist composition Three Musicians (Museum of Modern Art, New York; Philadelphia Museum of Art).In an interview published in 1923, Picasso said, "The several manners I have used in my art must not be considered as an evolution, or as steps towards an unknown ideal of painting … If the subjects I have wanted to express have suggested different ways of expression I have never hesitated to adopt them."

Although his Cubist works approach abstraction, Picasso never relinquished the objects of the real world as subject matter. Prominent in his Cubist paintings are forms easily recognized as guitars, violins, and bottles.When Picasso depicted complex narrative scenes it was usually in prints, drawings, and small-scale works; Guernica (1937) is one of his few large narrative paintings.

Picasso painted mostly from imagination or memory. According to William Rubin, Picasso "could only make great art from subjects that truly involved him …. Unlike Matisse, Picasso had eschewed models virtually all his mature life, preferring to paint individuals whose lives had both impinged on, and had real significance for, his own."The art critic Arthur Danto said Picasso's work constitutes a "vast pictorial autobiography" that provides some basis for the popular conception that "Picasso invented a new style each time he fell in love with a new woman".The autobiographical nature of Picasso's art is reinforced by his habit of dating his works, often to the day. He explained: "I want to leave to posterity a documentation that will be as complete as possible. That's why I put a date on everything I do.

1910, Woman with Mustard Pot (La Femme au pot de moutarde), oil on canvas, 73 × 60 cm, Gemeentemuseum, The Hague. Exhibited at the Armory Show, New York, Chicago, Boston 1913.

Pablo Picasso, 1901, Old Woman (Woman with Gloves, Woman With Jewelery), oil on cardboard, 67 x 52.1 cm,Philadelphia Museum of Art.

Pablo Picasso, 1901-02,Femme au café (Absinthe Drinker), oil on canvas, 73 x 54 cm, Hermitage Museum, Saint Petersburg, Russia.

Andy Warhol

Born Andrew Warhola

August 6, 1928

Pittsburgh, Pennsylvania, United States

Died February 22, 1987 (aged 58)

New York City, New York, United States

Nationality American

Education Carnegie Institute of Technology (Carnegie Mellon University)

Known for Printmaking, painting, cinema, photography

Notable work(s) Chelsea Girls (1966 film)

Exploding Plastic Inevitable (1966 event)

Campbell's Soup Cans (1962 painting)

Movement Pop art.

By the beginning of the 1960s, Warhol had become a very successful commercial illustrator. His detailed and elegant drawings for I. Miller shoes were particularly popular. They consisted mainly of "blotted ink" drawings (or monoprints), a technique which he applied in much of his early art. Although many artists of this period worked in commercial art, most did so discreetly. Warhol was so successful, however, that his profile as an illustrator seemed to undermine his efforts to be taken seriously as an artist.

Pop art was an experimental form that several artists were independently adopting; some of these pioneers, such as Roy Lichtenstein, would later become synonymous with the movement. Warhol, who would become famous as the "Pope of Pop", turned to this new style, where popular subjects could be part of the artist's palette. His early paintings show images taken from cartoons and advertisements, hand-painted with paint drips. Marilyn Monroe was a pop art painting that Warhol had done and it was very popular. Those drips emulated the style of successful abstract expressionists (such as Willem de Kooning). Warhol's first pop art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bronwit Teller's window display. This was the same stage his Pop Art contemporaries Jasper Johns, James Rosenquist and Robert Rauschenberg had also once graced.Eventually, Warhol pared his image vocabulary down to the icon itself—to brand names, celebrities, dollar signs—and removed all traces of the artist's "hand" in the production of his paintings.

To him, part of defining a niche was defining his subject matter. Cartoons were already being used by Lichtenstein, typography by Jasper Johns, and so on; Warhol wanted a distinguishing subject. His friends suggested he should paint the things he loved the most. It was the gallerist Muriel Latow who came up with the ideas for both the soup cans and Warhol's dollar paintings. On November 23, 1961 Warhol wrote Latow a check for $50 which, according to the 2009 Warhol biography, Pop, The Genius of Warhol, was payment for coming up with the idea of the soup cans as subject matter.For his first major exhibition Warhol painted his famous cans of Campbell's Soup, which he claimed to have had for lunch for most of his life. The work sold for $10,000 at an auction on November 17, 1971, at Sotheby's New York.[citation needed]

He loved celebrities, so he painted them as well. From these beginnings he developed his later style and subjects. Instead of working on a signature subject matter, as he started out to do, he worked more and more on a signature style, slowly eliminating the handmade from the artistic process. Warhol frequently used silk-screening; his later drawings were traced from slide projections. At the height of his fame as a painter, Warhol had several assistants who produced his silk-screen multiples, following his directions to make different versions and variations.

In 1979, Warhol was commissioned by BMW to paint a Group 4 race version of the then elite supercar BMW M1 for the fourth installment in the BMW Art Car Project. Unlike the three artists before him, Warhol declined the use of a small scale practice model, instead opting to immediately paint directly onto the full scale automobile. It was indicated that Warhol spent only a total of 23 minutes to paint the entire car.Warhol produced both comic and serious works; his subject could be a soup can or an electric chair. Warhol used the same techniques—silkscreens, reproduced serially, and often painted with bright colors—whether he painted celebrities, everyday objects, or images of suicide, car crashes, and disasters, as in the 1962–1963 Death and Disaster series. The Death and Disaster paintings included Red Car Crash, Purple Jumping Man, and Orange Disaster. One of these paintings, the diptych "Silver Car Crash", became the highest priced work of his when it sold at Sotheby's Contemporary Art Auction on Wednesday, November 13, 2013 for $105.4 million.

Some of Warhol's work, as well as his own personality, has been described as being Keatonesque. Warhol has been described as playing dumb to the media. He sometimes refused to explain his work. He has suggested that all one needs to know about his work is "already there 'on the surface.'"

His Rorschach inkblots are intended as pop comments on art and what art could be. His cow wallpaper (literally, wallpaper with a cow motif) and his oxidation paintings (canvases prepared with copper paint that was then oxidized with urine) are also noteworthy in this context. Equally noteworthy is the way these works—and their means of production—mirrored the atmosphere at Andy's New York "Factory". Biographer Bob Colacello provides some details on Andy's "piss paintings":

Victor ... was Andy's ghost pisser on the Oxidations. He would come to the Factory to urinate on canvases that had already been primed with copper-based paint by Andy or Ronnie Cutrone, a second ghost pisser much appreciated by Andy, who said that the vitamin B that Ronnie took made a prettier color when the acid in the urine turned the copper green. Did Andy ever use his own urine? My diary shows that when he first began the series, in December 1977, he did, and there were many others: boys who'd come to lunch and drink too much wine, and find it funny or even flattering to be asked to help Andy 'paint'. Andy always had a little extra bounce in his walk as he led them to his studio.

Warhol's first portrait of Basquiat (1982) is a black photosilkscreen over an oxidized copper "piss painting".

After many years of silkscreen, oxidation, photography, etc., Warhol returned to painting with a brush in hand in a series of over 50 large collaborative works done with Jean-Michel Basquiat between 1984 and 1986.Despite negative criticism when these were first shown, Warhol called some of them "masterpieces," and they were influential for his later work.

The influence of the large collaborations with Basquiat can be seen in Warhol's The Last Supper cycle, his last and possibly his largest series, seen by some as "arguably his greatest,"but by others as "wishy-washy, religiose" and "spiritless."[62] It is also the largest series of religious-themed works by any U.S. artist.

At the time of his death, Warhol was working on Cars, a series of paintings for Mercedes-Benz.

A self-portrait by Andy Warhol (1963–1964), which sold in New York at the May Post-War and Contemporary evening sale in Christie's, fetched $38.4 million.

On May 9, 2012, his classic painting "Double Elvis (Ferus Type)" sold at auction at Sotheby's in New York for US$33 million. With commission, the sale price totaled US$37,042,500, short of the $50 million that Sotheby's had predicted the painting might bring. The piece (silkscreen ink and spray paint on canvas) shows Elvis Presley in a gunslinger pose. It was first exhibited in 1963 at the Ferus Gallery in Los Angeles. Warhol made 22 versions of the "Double Elvis," nine of which are held in museums.

On Wednesday, November 13, 2013 his "Silver Car Crash (Double Disaster) diptych sold at Sotheby's Contemporary Art Auction for $105.4 million, a new record for the famed pop artist (pre-auction estimates at $80 million).Created in 1963, this work has only been seen in public once in the past 26 years.

Brooklyn Bridge c1983 (orange blue lime)

Andy Warhol

12" x 12" Art Print

9 Size and Print Options

$11.99 - $159.99

Details of Boticelli's Birth of Venus c1984

Andy Warhol

28" x 22" Art Print

11 Size and Print Options

$11.99 - $199.99

Rorschach

Andy Warhol

24" x 36" Art Print

10 Size and Print Options

$11.99 - $169.99

FRIDA KAHLO

Frida Kahlo, Self-portrait with Thorn Necklace and Hummingbird, Nickolas Muray Collection, Harry Ransom Center, University of Texas at Austin.

Born Magdalena Carmen Frieda[2] Kahlo y Calderón

July 6, 1907

Coyoacán, Mexico City, Mexico

Died July 13, 1954 (aged 47)

Coyoacán, Mexico City, Mexico

Nationality Mexican

Education Self–taught

Known for Painting

Notable work(s) in museums:

Albright–Knox Art Gallery

Fundación Proa, Buenos Aires

Frida Kahlo Museum, Coyoacán

Harry Ransom Center

Madison Museum of Contemporary Art

Museo Dolores Olmedo

Museo de Arte Moderno, Instituto Nacional de Bellas Artes, Mexico City

Museum of Modern Art

Phoenix Art Museum

San Francisco Museum of Modern Art

Frida Kahlo with Diego Rivera in 1932, in a photograph by Carl Van Vechten

Kahlo created at least 140 paintings, along with dozens of drawings and studies. Of her paintings, 55 are self-portraits which often incorporate symbolic portrayals of physical and psychological wounds. She insisted, "I never painted dreams. I painted my own reality."

Diego Rivera had a great influence on Frida's painting style. Frida had always admired Diego and his work. She first approached Diego in the Public Ministry of Education, where he had been working on a mural in 1927. She showed him four of her paintings, and asked whether he considered her gifted. Diego was impressed and said, "You have got talent." After that, he became a frequent welcomed guest at Frida's house. He gave her many insights about her artwork while still leaving her space to explore herself. There is no doubt that the positive and encouraging comments made by Diego strengthened Frida's wish to pursue a career as an artist.

Kahlo was also influenced by indigenous Mexican culture, which is apparent in her use of bright colors, dramatic symbolism and primitive style. She frequently included the symbolic monkey. In Mexican mythology, monkeys are symbols of lust, but Kahlo portrayed them as tender and protective symbols. Christian and Jewish themes are often depicted in her work.She combined elements of the classic religious Mexican tradition with surrealist renderings.

In 1938, Kahlo had her first and only solo gallery showing in the United States at the Julien Levy Gallery. The works were well received and the event was attended by several prominent artists.At the invitation of André Breton, she went to France during 1939 and was featured at an exhibition of her paintings in Paris. The Louvre bought one of her paintings, The Frame, which was displayed at the exhibit. This was the first work by a twentieth-century Mexican artist to be purchased by the renowned museum.

Frida Kahlo

23.5" x 31.5" Art Print

2 Size and Print Options

$11.99 - $59.99

The Two Fridas c1939

Frida Kahlo

11" x 14" in Art Print

$8.99

The Frame c 1938

Self-Portrait with Cropped Hair 1940

Frida Kahlo

16" x 20" in Art Print

$17.99

LATIF MAULAN

Born in 1974 in the state of Pahang, Malaysia, in the quiet village of Lebu, Latif's early childhood was spent with his family in their bamboo house near a small river. Those early years invoked in him a great love of nature, particularly the Jungle and river where he spent so many happy hours with his family and friends.

It was with the help of two of his sisters that he initially commenced to draw, and not surprisingly his first drawings reflected his love of the landscape that surrounded him.

He started Primary school in 1981 studying at Skolah Menengah Kebangsaan, Lebu and then continued his education at Skolah Menengah Kebangsaan, Bentong. Although initially in the Science stream, his keen interest in art soon prompted him to transfer to the Art stream.

He finished high school in 1991, but due to financial constraints, had to forgo further studies at university level. Then followed a somewhat chaotic period as he took a number of different jobs in order to gain funds for both himself and his family, finally settling in a job as a Display Artist Designer at a small shopping complex in Bentong.

At that time, Latif recalls that he had no thoughts of becoming an artist, in fact he had no clear idea of which direction his career should take. It was his friends that eventually persuaded him to explore the possibility of moving to Kuala Lumpur with the greater opportunities that a large city provides. At first he was reluctant to take what was for him a huge step into the unknown. However, as he remarked, "God is kind" and he was fortunate to be offered the post of Resident Artist at one of the galleries in Kuala Lumpur. This was the stepping stone from which he never looked back. From that point on he started to learn, albeit informally, but with a great deal of enthusiasm, about the real work of artists and art forms.

It was during this period whilst Latif was still employed part time at the gallery, that a number of visitors started to show interest in his work and he found that he was able to sell one of his paintings almost every month. In the meantime Latif was learning a great deal about the world of Art and additionally got to know a number of talented and famous Malaysian artists, including Khalil Ibrahim, Ismail Latif and Yusuf Ghani, who gave him encouragement and sound advice.

Yet another artist who created an impression on him was Zaharuddin, whose advise Latif says he will never forget. Zaharuddin told him "If you want to produce good paintings never use black. If you happen to have black paint just throw it away, and mix the red blue green and whatever other colour you think is suitable to produce dark hues". Latif followed this advice and recalls that from that day onwards his paintings looked very much better and he never used black again.

It was this advice and encouragement which gave Latif the strength and confidence to become a fully fledged artist, and progress to the high standard he has achieved.

Anyone who has watched the relatively rapid maturity of his work since his first efforts can only be in awe of the amazing diversity of his subject matter and the accuracy with which detail is given attention.

However, Latif is not a person lacking in inspiration and therefore it will be most interesting to follow his progress as he develops and explores even more techniques and ideas to add to what is an already an impressive portfolio.

Title: The Fogotten Heritage IV
Medium: Oil Painting On Canvas
Size: 182.88 cm x 121.92 cm
2014
Collection Of Bank Simpanan Nasional Malaysia.

Title: Wonder Of The Marbles

Medium: Oil Painting On Canvas

Size: 43.5 cm x 59 cm 2014

Artist: Latif Maulan

Title: You Got To love Your Skull II
Medium: Charcoal On Plywood
Size: 121.92 cm x 121.92 cm
Saatchi Art Collection : Los Angeles, California, USA.

Wedha Abdul Rashid

Wedha Abdul Rashid, an illustrator in the Teen magazine "o" which is also often cited as the father Indonesia due to the contribution of the Illustrator and his work in the field of illustration and fine art.

Work as illustrator has worked on poor transverse Wedha in print media since the 1970s. start of 1977, when it merged with the magazine O, he illustrated many works of fiction particularly Arswendo Atmowiloto Hilman with Lupus and his phenomenal. In a magazine that's working on a portrait of the characters Wedha world from all backgrounds: political figures, musicians, artists, to fictional characters.

In 1990, then start a new style Wedha for illustration images of the face. This is due to the decline of his vision because of the age that has reached 40 years so it is difficult to draw a face in the form of a realistic and detailed. Wedha then tried to illustrate a style of Cubism to his image. This style was then growing and increasingly popular as part ofa style popart even until now. This style of illustration is called Pop Art Wedha's Potrait(WPAP), some even refer to it as the Wedha is flow.

See works by Wedha. The typical form and technique, he was to draw the faces of the figures are arranged in a mosaic of colors are broken down according to their asset. Not in the sense of cubism, but rather combines the range of colors in harmony so that form the character portrayed. Although his work was not detailed able to represent the character's face very well.

You will be able to recognize the faces of the world, such as Mick Jagger, Jimmy Hendrix, Jim Morrison, Elvis Presley, The Beatles, Sting, Bono, Queen, until the character of politicians call it JFK, Bung Karno Stadium, Indira Gandhi, Benazir Buttho, Fidel Castro, Ahmad inejad. Also the portrait of Rendra, Slank, Jakob Oetama, John Lennon toAndy Warhol. After 30 years of working in the world of illustration in his tenure ending Wedha Kompas Gramedia.

FELT COLORS

Last Updated on Thursday, 06 January 2011 09: 09 PM Written by Forming PriyantoThursday, 06 January 2011 09: 08 pm

by Wedha Abdul Rashid

I'd love help temen2 who still had trouble choosing the color for his work. But honestly, I dont know how that is most appropriate for it. The problem is it is in the region a sense of ' not ' can be calculated exactly. This time I try this way, mudah2ancan get a little help.

First, we try to make WPAP in gray scale.Surely the original photo as well we make gray scale. A thought feeling the dark/bright light color will be easier if in gray scale (image1).

If in grayscale udak plasticity can be bad, try made! tone color first. How, from theGrayscale, CMYK mode changed so. It was only by using the Channel Mixer, geser2 C, M, Y and the * figure 2).

Or from the image gray scale, CMYK Mode changed so, then one by one changed its color with the option the colors dark or bright light kira2 proportional to the color which we replace. (Figure 3).

Well good luck, mudah2an useful. Subhanallah.

guess the color

Wedha's Pop Art Portrait

Last Updated on Saturday, 11 December 2010 12: 17 pm Written by AdministratorSunday, October 17, 2010 04: 49 pm.

Here is the article on Abdul Rashid Wedha dgi-indonesia.com

The embryo of this style I started at around 1990-1991. Entering the age of 40 years, born March 10, 1951, when I was already feeling the declining function of my eye. Plus more as a less healthy lifestyle heed once, I started to feel tired too quickly. Physical barriers that disrupted every time I have to complete the picture, let alone the human figure drawings of realist that I think most high difficulty level. Choosing and mixing colors is complicate. The resem blance of human skin color, subtlety of scratches, into something that is expensive for me.

Yusri Graphic Design

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BASIC GRAPHIC DESIGN

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