"Somorrah" (Som-mor-ah)

 "Somorrah"

(Som-mor-rah)

I've made some edits!!

Hello,

My name is Alicia L. Perry, I'm a local graphic designer in Toledo, Ohio.
I am evolving in 2-D and 3-D animations. I have a great story line.
The project I'm working on is called "Somorrah".
It's a drama/suspense cartoon.
My hopes for my project, once it is successful, is to have victimize people share their story,
with their own custom character and plot, making their story come to life. Also.
I want to open a homeless shelter in my community, also implement a "work to stay" where if staying longer than 30 or 60 days, they have to take care of the grounds, facilities and each other. This is a re-launched of my project, but I'm determine not to give up on my dreams.

Thank you and I appreciate your time.

Alicia L. Perry
alldesignsbyalicia@yahoo.com
http://alldesignsbyaliciaportfolio.blogspot.com/
https://twitter.com/alicialperry
https://www.facebook.com/AllDesignsbyAlicia

Kazimir Malevich (Kasimir Malevich) 1878-1935

Russian painter and designer, the most important pioneer of, geometric abstract art, originator of Suprematism. Born near Kiev; trained at Kiev School of Art and Moscow Academy of Fine Arts; 1913 began creating abstract geometric patterns in style he called suprematism; taught painting in Moscow and Leningrad 1919-21; published book, The Nonobjective World (1926), on his theory; first to exhibit abstract geometric paintings; strove to produce pure, cerebral compositions; famous painting White on White (1918) carries suprematist theories to absolute conclusion; Soviet politics turned against modern art, and he died in poverty and oblivion.

He began working in an unexceptional Post-Impressionist manner, but by 1912 he was painting peasant subjects in a massive `tubular' style similar to that of Léger as well as pictures combining the fragmentation of form of Cubism with the multiplication of the image of Futurism (The Knife Grinder, Yale Univ. Art Gallery, 1912). Malevich, however, was fired with the desire `to free art from the burden of the object' and launched the Suprematist movement, which brought abstract art to a geometric simplicity more radical than anything previously seen. He claimed that he made a picture `consisting of nothing more than a black square on a white field' as early as 1913, but Suprematist paintings were first made public in Moscow in 1915 and there is often difficulty in dating his work. (There is often difficulty also in knowing which way up his paintings should be hung, photographs of early exhibitions sometimes providing conflicting evidence.)

Malevich moved away from absolute austerity, tilting rectangles from the vertical, adding more colors and introducing a suggestion of the third dimension and even a degree of painterly handling, but around 1918 he returned to his purest ideals with a series of White on White paintings. After this he seems to have realized he could go no further along this road and virtually gave up abstract painting, turning more to teaching, writing, and making three-dimensional models that were important in the growth of Constructivism. In 1919 he started teaching at the art school at Vitebsk, where he exerted a profound influence on Lissitzky, and in 1922 he moved to Leningrad, where he lived for the rest of his life. He visited Warsaw and Berlin in 1927, accompanying an exhibition of his works and visited the Bauhaus. In the late 1920s he returned to figurative painting, but was out of favor with a political system that now demanded Socialist Realism from its artists and he died in neglect. However, his influence on abstract art, in the west as well as Russia, was enormous. The best collection of his work is in the Stedelijk Museum, Amsterdam.

Alexey Brodovitch created influential editorial designs emphasized and sought “a musical feeling” in the flow of text and pictures. He had a fascination for white space and sharp type on clear open pages. Elements inserted on colored and rough-textured papers contrast with smooth coated white paper. The use of cropping, the enlargement plus juxtaposition of images, and the rhythm environment of open space was energized by art and photography, he commissioned from major European artists. He saw contrast as a dominate tool in editorial design and often used repetition as a design device. Alexey Brodovitch was exposed to a number of influential designs including the European designs and artists.

Russian designer, Alexey Brodovitch (1898-1971), immigrated Russia and became the leading contemporary designer in Paris. Established in America, he became the art director of Harper’s Bazaar, teacher at the New School for Social Research and served as faulty at Yale University School of Art.

Alexey Brodovitch rethought the approach to editorial design and was partially responsible for the spread of editorial design in the 1950’s. He taught at the New School for Social Research and out of his home. The seeds for an expansive, design-oriented period of editorial graphics were sown in these classes. In addition, he educated on how to utilize photography and students learned to examine each problem thoroughly, develop a solution from the resulting understanding and then search for a brilliant visual presentation. Also, he developed an exceptional gift for identifying and assisting new talent.

                                

Thoughts from Paul Rand

Probably no contemporary American graphic designer has had a greater influence on international design than Paul Rand. The broad range of his talent and influence has extended to include promotional graphics, corporate identity, books, publications, and advertising design. From 1941 to 1954, Paul Rand served as art director of an advertising agency and his fresh approach to persuasive graphics served as an inspiration to a generation of advertising art directors.


It is no secret that the real world in which the designer functions is not the world of art, but the world of buying and selling. For sales, and not design are the raison d’etre of any business organization. Unlike the salesman, however, the designer’s overriding motivation is art: art in the service of business, art that enhances the quality of life and deepens appreciation of the familiar world. Design is a problem-solving activity. It provides a means of clarifying, synthesizing, and dramatizing a word, a picture, a product, or an event. Design is a way of life, a point of view. It involves the whole complex of visual communication: talent, creative ability, manual skill, and technical knowledge.

One of the more common problems, which tend to create doubt and confusion, is caused by the inexperienced and anxious executive who innocently expects, or even demands, to see not one but many solutions to a problem. These may include a number of visual and/or verbal concepts, an assortment of layouts, a variety of pictures and color schemes, as well as a choice of type styles. He needs the reassurance of numbers and the opportunity to exercise his personal preferences. He is also most likely to be the one to insist on endless revisions with unrealistic deadlines, adding to an already wasteful and time-consuming ritual.




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