Part 2


Research for Narrative Flux project- little sammy sneeze

Reference: " The Complete Color Sunday Comics 1904-1905 LITTLE SAMMY SNEEZE" by WINSOR MCCAY, Sunday Press Books, Nov 2007



Research for Narrative Flux project- "Character design for graphic novels" by Steven Withrow & Alexander Danner, published by RotoVision SA, 2007



Research for Narrative Flux project- "Character design for graphic novels" by Steven Withrow & Alexander Danner, published by RotoVision SA, 2007



Research for Narrative Flux project- " The Great Showdowins" by Scott C., Titan Books, 2012



Research for Iconographic Explosion project- Swimmers print by Lou Taylor Studio



Research for Iconographic Explosion project- Damien Hirst at Tate

The blockbuster show of Tate’s annual exhibition calendar, a retrospective to YBA supremo Damien Hirst, has been long anticipated by London’s art scene as well as the purveyors of trashy gossip magazines and followers of The Only Way is Essex alike. And such is the pull of Damien Hirst – this isn’t highbrow fine art, it’s not oil paintings fastidiously executed or sculptures miraculously carved from marble. This is a highly-commercialised , over-exposed fair ground of cut up creatures and stomach-churning curiosities, highly laminated multi-coloured, multi-formed collected lacquered lustre and sparkling, extravagant and utterly pointless bling. And where there is bling, that twinkle to attract the masses, you don’t need to be erudite and sophisticated to pull in the crowds. This is Tate doing household gloss paint, not oil paint.


Damien Hirst, Lullaby, the Seasons (2002) (detail)


Damien Hirst, Arg-Glu (1994)

To give him is due, Mr Hirst is unapologetically tawdry . He doesn’t at least pretend to be the next Caravaggio. He makes art for a modern generation, a generation which consumes weekly updates on Katie Price’s deflating boobs rather than a good Jane Austen, who are only too aware of drug culture, who over use and abuse pharmacies in their hypochondriacal self-obsession, and are ultimately attracted by the latest trend, sensation or sparkle. No wonder Damien Hirst has been successful. He only had to stick diamonds to the fatalistically familiar skull and reproductions started springing up in homewear stores up and down the country. He took polka dots and made them uber-cool. Yet the Spanish have been celebrating the steadfast spot in their flamenco garb for centuries. Commercially clever Damien Hirst surely is. Super-skilled artist? I have my doubts. Yet without the guise and mystique of art to promote him, wouldn’t all of Damien Hirst’s oeuvre fall into a science museum/ interior design shop/ chemist/ butchers/ fishmongers where it belongs?


Damien Hirst, In and Out of Love (White Paintings and Live Butterflies) (1991) (detail)

There weren’t many surprises in the show. Such has been the success of Hirst’s publicity machine that almost every work is almost instantly recognisable.Thedot paintings were predictable, and there were an AWFUL lot of them.  The great shark looms menacingly at the centre of the show. Either side of the shark, the sliced-in-half cow and calf, a few other fluffy sheep and birds (all in formaldehyde) are flanked by those repugnant rotting flies. All around the animal detritus, the repetitive spot motif translates into the pharmacy cabinets with row upon row of pill bottles, and then to the pills themselves, painstakingly laid out on shelf upon shelf, while next door you have fish, all laid out in the same direction, apparently “for the purpose of understanding”. Then you move on to the butterflies – the simpler butterfly pictures were a disappointment – the beautiful creatures had been clumsily placed onto thick gloss paint which messily spilled onto their delicate features.


Damien Hirst, Doorways to the Kingdom of Heaven (2007)

Much more impressive were the complex butterfly collages which were symmetrically placed to form incredible stained-glass window formations, not to mention the room which was full of live butterflies, their chrysalises forming their own kind of natural art as they attached themselves onto the blank canvases hung on the walls. There too were the “spin paintings” (basically paint chucked onto a fast moving canvas) and then, as though to emphasise the repetitive nature of Hirst’s work, a “bling” version of everything – the pill cabinet replaced with crystals, the coloured spots painted on a gold background, a smaller shark floating in a black tank rather than white, and butterflies stuck onto a gold canvas. There was also a superfluous obsession with cigarettes and ashtrays, used in Hirst’s art to make the oh-so novel point that one day we might die. Clever.


Damien Hirst, Judgement Day (2009)


Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living (1991)

So it was all rather predictable, and very repetitive, but strangely, and I hate to admit this, enjoyable. The insides of a cow are fascinating, not least when you get to walk in between the two halves of a once unified body. Looking down the huge throat of a shark at close quarters, shivering with horror when faced with its ghastly serrated teeth and menacing empty eyes is a unique experience, and the opportunity to appreciate the startling natural beauty of a multi-coloured catalogue of butterflies was a wonder. So too is it fun to look upon row upon row of multi-coloured pills and reflect on how many beautiful colours exists amongst a group of medicines which appear so mundane when viewed in isolation, or to appreciate the great skill of gravity in making such vivid and striking splashes when paint is spun around a canvas.


One of the spin paintings

However one can’t help but conclude, upon later analysis, that all the things you enjoyed at the exhibition were just   examples of the splendour of nature itself – the beauty of butterflies, the complexity of animal organs, the results of a spinning mechanism whose beauty is owed simply to chance. And yet if we had seen these things in a science museum, would we have given them a second glance? The isolation of the mundane within an artistic context certainly gives the objects the mystique and glamour which makes them deserving of our attention. But it is ironic that so much of what is praised of Damien Hirst’s work is what has simply been left to nature, or to chance.

Reference: Damien Hirst at Tate: Repetitive, super-sensationalised science-show which is strangely enjoyable



Research for Iconographic Explosion project- Army Uniforms of World War 1











Reference: "Army Uniforms of World war1" by Andrew Mollo, illustrated by Pierre Turner, Blandford Press Ltd, 1977


Research for Kamishiba

On the internet, I found this picture that teach people how to use vegetable to print. I really like this idea. I think some of the food have very interesting shape. Espeacially the mushroom, the print of it is very beautiful. Vegetable is living thing, so compare to other object, it have more details and even the same type of vegetable could have different result.


Research for Hear make heard

Redesign of the cover of short novel "Animal Farm". I found this picture of redesign book cover on pinterest. I think this cover have very good visual effect, and it match with the content so well. The combination of man and pig face is very powerful.


Research for Field Notes project- Colour in storytelling


Research for Narrative Flux project- "Hiroshi Tanabe #2" by Hiroshi Tanabe



Research for Narrative Flux project- "sheep of fools" by Sue Coe & Judith Brody



Research for Narrative Flux project- "Big Mother" by Raymond Lemstra, Nobrow Press London, 2014



Research for Narrative Flux project- Asaina Saburo Yoshihide wrestles with two crocodiles at Kotsubo beach, Kamakura, 1849



Research for Narrative Flux project- 100 painting by TIM BISKUP



Research for Iconographic Explosion project- Bobby Doherty’s vivid and humorous still-life photography

Whilst studying at New York’s School of Visual Art, photographer Bobby Doherty decided that everything he shot should be vertical, in colour and on 35mm film. It’s a principle he has stuck to throughout his portfolio of vivid, humorous and precise editorial photography. Bobby’s oeuvre includes hyper-real florals, enviably casual approaches to photographing fine jewellery – including diamond brooches sandwiches between peanut butter and jam, and delightfully slippery eggs. I can’t fault his compositions, the mix of textures and materials – particularly in his work with food –makes for equal parts satisfying and sickening imagery, in a really good way. Bobby’s photographs appear regularly in New York Magazine as well as Subbacultcha Magazine and Wilder Quarterly.






Research for Iconographic Explosion project- Alison Haigh

Using Tic Tacs, Mentoes & Polos.





Research for Iconographic Explosion project- Aitch’s Folk-Inspired Illustrations that Grace Elegant Fashions

Aitc, an illustrators who create folk-inspired style pattern—the imagery lends itself well to repeat patterns on clothing. Case in point: the illustrations created for Sandra Mansour’s AW 2016 Collection. Flowers, tigers, coffins, and long-haired figures grace maxi-dresses, jackets, and capes. Coupled with the elegant garment lines, they’re a playful juxtaposition to the colorful illustrations.




Research for Iconographic Explosion project- Johanna Bural

Johanna Burai is an artist and graphic designer based in Stockholm, Sweden. She mainly works in the cultural field creating concepts through a wide range of disciplines such as graphic design, art direction, ceramics and illustration. She graduated with an BA in Visual Communication from Beckmans College of Design in 2015 and are currently taking her Master's degree at Konstfack University of Arts, Crafts and Design.







Research for Iconographic Explosion project- Uniforms & Equipment of the Czarist Russian Armed Forces in World War 1










Reference: " Uniforms & Equipment of the Czarist Russian Armed Forces in World War 1- Astudy in Period Photographs" by Spencer Anthony Coil, published by Schiffer Publishing Ltd, 2005


Research for Kamishiba

Bruno Munari is one of the artist who use vegetable to print. The print is very clear and colorful. I really like the print of onion, we can see each layer very clearly, and even the smallest detail in the inner part of onion was captured. 




Research for Hear make heard

This is a papercut work from Robyn Parker. He try to capture the detail of a leaf when he design his cut work. Cutting paper rather than adding or drawing on it make the book page more interesting. Moreover, we can see some part of the page behind the page he cut, which provide audience more way to reading it.




    Add comment

    Fields marked by '*' are required.
    Comments are moderated. If you choose to make this comment public, it will not be visible to others until it is approved by the owner.