Alessandro Gottardo aka Shout is an Italian artist, illustrator and designer. His very simple and surreal ‘meaning of life’ images are very carefully controlled, generally amusing, but also very poignant.
He studied at a specialist art high school in Venice and in the Illustration department of the Istituto Europeo di Design in Milano. He creates visual art projects for advertising campaigns, design products and publishers in four continents. SHOUT images have been featured in these following prestigious annuals: Communications Arts, American Illustrators, Society of Illustrators and 3×3 Magazine
William Scott (15 February 1913 – 28 December 1989) was a British artist from Northern Ireland, known for still-life and abstract painting. His apparently simple paintings of pots, pans and stylised nudes explore relationships between space, form and colour.
I want to make beautiful things, even if nobody cares, as opposed to ugly things. That’s my intent.
‘’try to reach for a simple, visual phrase that tells you what the picture is all about and evokes the essence of the story”
“making the ordinary extraordinary”
“The nature of process, to one degree or another, involves failure. You have at it. It doesn’t work. You keep pushing. It gets better. But it’s not good. It gets worse. You got at it again. Then you desperately stab at it, believing “this isn’t going to work.” And it does!” by Saul Bass
Saul Bass (1920 – 1996) was an American graphic designer and Academy Award winning filmmaker, best known for his design of motion picture title sequences, film posters, and corporate logos. Much of Saul Bass’s work was made in close collaboration with his wife Elaine.
During his 40-year career Bass worked for some of Hollywood’s most prominent filmmakers, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick and Martin Scorsese. For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). Among his most famous title sequences are the animated paper cut-out of a heroin addict’s arm for Preminger’s The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of a skyscraper in Hitchcock’s North by Northwest, and the disjointed text that races together and apart in Psycho.
Bass aimed to get the audience to see familiar parts of their world in an unfamiliar way. Examples of this or what he described as “making the ordinary extraordinary” can be seen in Walk on the Wild Side (1962) where an ordinary cat becomes a mysterious prowling predator, and in Nine Hours to Rama (1963) where the interior workings of a clock become an expansive new landscape.
Film title sequences
Published on 3 Apr 2014
Some of the most remarkable opening titles designed by Saul Bass, sometimes in collaboration with his wife Elaine Bass. From “The Man with the Golden Arm” (1955) to “Casino” (1995), this video represents a substantial part of his creative legacy in chronological order.
Bass also designed some of the most iconic corporate logos in North America, including the Bell System logo in 1969, as well as AT&T’s globe logo in 1983 after the breakup of the Bell System. He also designed Continental Airlines’ 1968 jet stream logo and United Airlines’ 1974 tulip logo, which became some of the most recognized airline industry logos of the era.
Why Man [sic] Creates
explores the process, results, and social and philosophical implications of creativity. But as if women never existed or created anything!
Geoff Grandfield is an award-winning British illustrator now living in London. He has worked with major newspapers and publishers since 1987. His work centres on the visual communication of ideas, narrative and atmosphere, influenced by the cinematography of film noir and the reductivism of modernist graphic art.
As an educator he has led BA Illustration at Middlesex University (1994-2005) and is currently Course Director and Associate Professor for BA Illustration Animation at Kingston University (since 2006).
As co-founder of ‘Mokita’ the illustration forum (since 2010), he has campaigned for the greater recognition of Illustration as a subject and its significance for international visual culture.
His work is characterised by carefully composed minimalist silhouettes and limited palette, exaggerated perspective and scale contrasts. The bold shapes and perspective have a very strong immediate impact. Other meanings and shapes are often hidden and it is only by following the lines that the meaning of images become revealed.
Grandfield draws with chalk pastel, usually the German make Schminke, and sometimes Talens. “When I work for black and white reproduction I use tones of grey. The tones have some ‘colour’ in them, but mostly I’m going by the weight and contrast between areas. Colour is another thing and I try to prioritise a particular set of colours for a result.” Since 2001 he has been using Photoshop to scan and prepare for reproduction, which in turn has changed the visual look of my work. He scans his originals at A4.
English painter and printmaker. From the 1960s, Caulfield has been known for his iconic and vibrant paintings of modern life that reinvigorated traditional artistic genres such as the still life.
Patrick Caulfield was born in west London. He began his studies in 1956 at Chelsea School of Art, London, continuing at the Royal College of Art (1960–63), one year below the students identified as originators of Pop art. Patrick Caulfield came to prominence in the mid-1960s after studying at the Royal College of Art where fellow students included David Hockney. From the 1960s his paintings are characterised by flat areas of colour with objects defined by simple outlines.
Through his participation in the defining The New Generation exhibition at the Whitechapel Art Gallery in 1964, he became associated with Pop Art. However he resisted this label throughout his career, instead preferring to see himself as a ‘formal artist’ and an inheritor of painting traditions from Modern Masters such as Georges Braque, Juan Gris and Fernand Léger who influenced his composition and choice of subject matter.
In the early 1960s Caulfield’s painting was characterised by flat images of objects paired with angular geometric devices or isolated against unmodulated areas of colour. He adopted the anonymous technique of the sign painter, dispensing with visible brushwork and distracting detail and simplifying the representation of objects to a basic black outline in order to present ordinary images as emblems of a mysterious reality. He deliberately chose subjects that seemed hackneyed or ambiguous in time: not only traditional genres but selfconsciously exotic and romantic themes and views of ruins and the Mediterranean.
See for example:
Portrait of Juan Gris 1963 (Pallant House Gallery, Chichester)
Bend in the Road 1967 (Collection of the Museé national d’historie et d’art, Luxembourg)
In the 1970s he began to combine different artistic styles including trompe l’oeil to create highly complex paintings that play with definitions of reality and artifice. This coincided with a subtle shift in subject matter to topics that directly engaged with the contemporary social landscape and the representation of modern life. Such approaches remained his practice for the rest of his career.
See for example:
After Lunch 1975 (Tate) features a photorealist image of the Château de Chillon hanging in a restaurant interior that is depicted in simple black outlines against a flat, two-toned background.
Tandoori Restaurant 1971 (WAVE Wolverhampton Art Gallery)
Gradually Caulfield’s attention shifted to the architectural elements to which he had earlier made isolated reference. Caulfield began to insert highly detailed passages in the manner of Photorealism into his characteristically stylised idiom, playing to great effect with ambiguous definitions of reality and artifice. Always a slow and exacting worker, he sustained a high level of pictorial invention. During the 1980s he again turned to a more stripped-down aesthetic, particularly in large paintings in which the precise disposition of only a few identifiable elements miraculously transforms an ostensibly abstract picture through the creation of a vivid sense of place.
Major exhibitions during his lifetime included retrospectives at Walker Art Gallery Liverpool and Tate (both 1981), Serpentine (1992–3) and Hayward Gallery (1999). In 1993 he was elected a Royal Academician.