(Roughly) Daily

Posts Tagged ‘illustration

“I suppose illustration tends to live in the streets, rather than in the hermetically sealed atmosphere of the museum, and consequently it has come to be taken less seriously”*…

From “How Punch Magazine Changed Everything,” one of the essays in the collection

From illustrator, writer, and educator Philip Kennedy, 175 stories “illustrating” 175 years of illustration…

Illustration is a fascinating subject and yet its history is rarely told. This project aims to champion the medium and bring some inspiration, insight and knowledge to readers everywhere.

Illustration Chronicles explores a history of illustration through the images, illustrators and events of the past 175 years. Every few months the site picks a topic [e.g., Music, Animals, Satire, History] to explore. These topics inspire the types of work that get selected and once a piece has been chosen, the year it was made gets marked off the project timeline.

To learn more about Illustration Chronicles you can read a more detailed introduction here

Take a look at the fascinating work-in-progress: “Illustration Chronicles,” from @philipkennedy.

* master illustrator Quentin Blake

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As we delight in drawing, we might send carefully-limned birthday greetings to Barbara Cooney; she was born on this date in 1917. An illustrator and writer, primarily of children’s books, she received two Caldecott Medals for her work on Chanticleer and the Fox (1958) and Ox-Cart Man (1979), and a National Book Award for Miss Rumphius (1982). Her books have been translated into 10 languages.

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Written by (Roughly) Daily

August 6, 2022 at 1:00 am

“A picture is a poem without words”*…

Truth, trend.

A collection of pithy illustrations…

Generalist, specialist.
Numbers obscure nuance.

Many more artistic aphorisms at Visualize Value.

* Horace

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As we picture it, we might send aesthetic birthday greetings to Rene Ricard; he was born on this date in 1946. A painter, poet, actor, and art critic, he was a seminal figure in the New York art scene of later 20th century. After dropping out of school in Boston, he moved to New York City, where he became a protégé of Andy Warhol (and appeared in the Warhol films Kitchen, Chelsea Girls, and The Andy Warhol Story). He was a founder of Theater of the Ridiculous (with John Vaccaro and Charles Ludlam). He was a regularly-published poet. And from the early 90s, he was a widely-exhibited artist. But he was perhaps ultimately most influential in his art criticism (and his contributions to gallery and exhibition catalogues)– especially a series of essays he wrote for Artforum magazine in which (among other impacts) he launched the career of painter Julian Schnabel and helped bring Jean-Michel Basquiat to fame. Andy Warhol called Ricard “the George Sanders of the Lower East Side, the Rex Reed of the art world.”

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“If the map doesn’t agree with the ground the map is wrong”*…

Mercator’s depiction of Rupes Nigra

Maps from hundreds of years ago can be surprisingly accurate… or they can just be really, really wrong. Weird maps from history invent lands wholesale, distort entire continents, or attempt to explain magnetism planet-wide. Sometimes the mistakes had a surprising amount of staying power, too, getting passed from map to map over the course of years while there was little chance to independently verify…

Gerardus Mercator, creator of everyone’s favorite map projection, didn’t know what the north pole looked like. No one in his time really did. But they knew that magnetic compasses always pointed north, and so a theory developed: the north pole was marked by a giant magnetic black-rock island.

He quotes a description of the pole in a letter: “In the midst of the four countries is a Whirl-pool, into which there empty these four indrawing Seas which divide the North. And the water rushes round and descends into the Earth just as if one were pouring it through a filter funnel. It is four degrees wide on every side of the Pole, that is to say eight degrees altogether. Except that right under the Pole there lies a bare Rock in the midst of the Sea. Its circumference is almost 33 French miles, and it is all of magnetic Stone (…) This is word for word everything that I copied out of this author [Jacobus Cnoyen] years ago.”

Mercator was not the first or only mapmaker to show the pole as Rupes Nigra, and the concept also tied into fiction and mythology for a while. The idea eventually died out, but people explored the Arctic in hopes of finding a passage through the pole’s seas for years before the pole was actually explored in the 1900s…

See five more confounding charts at “The Weird History of Extremely Wrong Maps.”

And for fascinating explanations of maps with intentional “mistakes,” see: “MapLab: The Legacy of Copyright Traps” and “A map is the greatest of all epic poems.”

* Gordon Livingston

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As we find our way, we might spare a thought for Thomas Doughty; he was beheaded on this date in 1578. A nobleman, soldier, scholar, and personal secretary of Christopher Hatton, Doughty befriended explorer and state-sponsored pirate Francis Drake, then sailed with him on a 1577 voyage to raid Spanish treasure fleets– a journey that ended for Doughty in a shipboard trial for treason and witchcraft, and his execution.

Although some scholars doubt the validity of the charges of treason, and question Drake’s authority to try and execute Doughty, the incident set an important precedent: according to a history of the English Navy, To Rule the Waves: How the British Navy Shaped the Modern World by Arthur L. Herman, Doughty’s execution established the idea that a ship’s captain was its absolute ruler, regardless of the rank or social class of its passengers.

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Written by (Roughly) Daily

July 2, 2022 at 1:00 am

“The commonality between science and art is in trying to see profoundly – to develop strategies of seeing and showing”*…

Working with her scientist husband, Orra Hitchcock produced illustrations on bolts of linen that manifest original knowledge about extinction, stratigraphy, and their evidentiary features in the surrounding landscape– and trained eager young students to recognize and describe geological and natural-historical phenomena…

After meeting and falling in love with Edward Hitchcock, her employer at Massachusetts’ Deerfield Academy, Orra (née White) married him in 1821, beginning a lifetime of professional collaboration while raising a family amid piles of rocks and research tomes. Highly trained, white, and wealthy, she was far from an oddity in nineteenth-century education. Like many other women of her class, Hitchcock received extensive instruction in the arts and sciences, making a name by working alongside, not beneath, a man who had easier access to academic opportunities. Variously lauded as “an anomaly” and “the most remarkable” of their era, her scientific illustrations have rarely been considered on their own terms — admired for the natural historical and religious knowledge they contain — without being made an exemplar of the broader category of “women’s work”.

Moving to Amherst when Edward was appointed Professor of Chemistry and Natural History, the couple embarked on a decades-long exploration of the Connecticut River Valley’s botany and geology. While Edward lectured to eager young students about the principles of nature, from the depths of oceans to the granite veins of the earth, Orra produced more than sixty hand-colored scientific illustrations on poster-sized linen swaths designed to be hung on classroom walls.

Ranging from extinct mammals like Megatherium (a genus of giant ground sloth [below]) through lithic strata to fossilized footprints, the collection is striking for its modern abstraction, anticipating the later works of George Maw. Although some of Hitchcock’s geological illustrations seem far from “accurate” in their specificity (or lack thereof), her devotion to clear and concise visual communication bespeaks a deep-seated understanding of complex scientific principles…

An appreciation: “Orra White Hitchcock’s Scientific Illustrations for the Classroom (1828–40),” from @PublicDomainRev.

* Edward Tufte

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As we picture it, we might send sharply-observant birthday greetings to Cecilia Helena Payne-Gaposchkin; she was born on this date in 1900.  An astrophysicist and astronomer, she was the first– in her Radcliffe (Harvard) PhD thesis in 1927– to apply the laws of atomic physics to the study of the temperature and density of stellar bodies: the first to conclude that hydrogen and helium are the two most common elements in the universe and the first to suggest that the Sun is primarily (99%) composed of hydrogen.  During the 1920s, the accepted explanation of the Sun’s composition was a calculation of around 65% iron and 35% hydrogen.  Her thesis adviser, astronomer Henry Norris Russell, reached a similar conclusion via his own observations several years later, and (while he made brief mention of Payne’s work) was for a time credited with the discovery.  But in 1947, astronomer Fred Hoyle confirmed her original claim.

She spent her entire career at Harvard.  In 1956 she became the first woman to be promoted to full professor from within the faculty at Harvard’s Faculty of Arts and Sciences. Later, with her appointment to the Chair of the Department of Astronomy, she also became the first woman to head a department at Harvard.

Her students included Helen Sawyer Hogg, Joseph AshbrookPaul W. Hodge, and Frank Drake (the creator of the Drake Equation)– all of whom made important contributions to astronomy.

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