Thanks to Kotaku, we get to have an in-depth look at The Art of Hades in which many believe it to be one of the best-looking games of 2020. Set in the gritty and looming Underworld of Greek myth, Hades still manages to provide a palette of electrifying colors and this is all thanks to the incredibly talented and innovative artists that make up the team at Supergiant. More than just a hack and slash title, Hades has acquired unprecedented success for its interesting storylines, stunning voice-overs and also unique character representation but one of the key sticking points for Supergiant Games' roguelike, underworld title is the sheer amount of artistic talent that's piped into this steller dungeon crawler. Hades is simply one of those games that you could spend hours soaking in its visual beauty. ![]() – Ayun Halliday is the Chief Primatologist of the East Village Inky zine and author, most recently, of Creative, Not Famous: The Small Potato Manifesto and Creative, Not Famous Activity Book. Hundreds of Wonderful Japanese Firework Designs from the Early-1900s: Digitized and Free to Download ![]() Cutler here.Įxplore the Beautiful Pages of the 1902 Japanese Design Magazine Shin-Bijutsukai: European Modernism Meets Traditional Japanese Designĭownload Classic Japanese Wave and Ripple Designs: A Go-to Guide for Japanese Artists from 1903 Take a peek at some Japanese-inspired wallpaper of Cutler’s own design, then explore A Grammar of Japanese Ornament and Design by Thomas W. While Cutler might not have thought much of Japanese architecture, it’s worth noting that his book shows up in the footnotes of Frank Lloyd Wright and Japan: The Role of Traditional Japanese Art and Architecture in the Work of Frank Lloyd Wright. The below plant studies are drawn from the work of the great ukiyo-e master Hokusai, a “man of the people” who ushered in a period of “vitality and freshness” in Japanese art.Ī sampler of curved lines made with single brush strokes can be used to create clouds or the intricate scrollwork that inspired Western artists and designers of the Aesthetic Movement. Only Japan’s wooden architecture, which he confidently pooh poohed as little more than “artistic carpentry, decoration, and gardening”, cleverly designed to withstand earthquakes, get shown less respect.Ĭutler’s renderings of Japanese design motifs, undertaken in his free time, are the lasting legacy of his book, particularly for those on the prowl for copyright-free graphics.Ĭutler observed that the “most characteristic” element of Japanese decoration was its close ties to the natural world, adding that unlike Western designers, a Japanese artist “would throw his design a little out of the center, and cleverly balance the composition by a butterfly, a leaf, or even a spot of color.” That said, Cutler emerges as a robust admirer of Japan’s painting, lacquerware, ceramics, calligraphy, textiles, metalwork, enamelwork and netsuke carvings, the latter of which are “are often marvelous in their humor, detail, and even dignity.” Having never visited Japan himself, Cutler relied on previously published works, as well as numerous friends who were able to furnish him with “reliable information upon many subjects,” given their “long residence in the country.”Īccordingly, expect a bit of bias in A Grammar of Japanese Ornament and Design (1880). ![]() The fear that a bastard art of a very debased kind may arise in Japan, is not without foundation…The European artist, who will study the decorative art of Japan carefully and reverently, will not be in any haste to disturb, still less to uproot, the thought and feeling from which it has sprung it is perhaps the ripest and richest fruit of a tree cultivated for many ages with the utmost solicitude and skill, under conditions of society peculiarly favorable to its growth. Having written positively of China’s influence on Japanese artists, Cutler hoped that access to Western art would not prove a corrupting factor: Cutler endeavored to introduce his fellow Brits to Japanese art and design, a subject that remained novel for many Westerners of the time, given how recently the Tokugawa shogunate had “kept themselves aloof from all foreign intercourse, and their country jealously closed against strangers.”
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