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The eighth grade was writing poems and creating illuminations or illustrations of them, after having read a number of poems by Rumi in a book called The Illuminated Rumi. The idea was that by asking them to think about the visual images in the Rumi poems, and comparing them to the illustrations, they would see how important visual imagery is to the development of poetic language.
Then, of course, they wrote and illuminated their own poems. It was a great little design thinking project — how does a set of word provoke a set of images? How does a set of images provoke a set of words? How can words and images together provoke new feelings?
I didn't wish to make a poster for one of my own poems, but I figured I'd illustrate one of the poems that I have memorized, "On First Looking into Chapman's Homer," by John Keats who died in 1827. My deal with the English teacher in question was that I would leave in the pencil guidelines and planning marks, so that students could see my design process to some degree, and have a sense of my construction process. As I described it to her and to her class, the poem is about a book, so the illustration includes a book. On the pages of the book itself are two illustrations which are themselves illustrating the second half of poem. Both of the images are about the astonishment and amazement of discovery of unexpected sights in the natural world, so someone — the current reader, perhaps? — has illustrated the margins of the book with examples of local plants and a dragonfly. The cycle of discovery continues and grows richer and deeper. Thus, Keats's words inspire SEVERAL layers of discovery: the possibility of delving into the writings of an ancient Greek poet; the willingness to investigate history (the "Cortez" image) and astronomy ("Watcher of the skies"); and finally the natural world and the skill of drawing (the plants in the margin notes of the book, and the poster itself).
I recently said something dumb on Balthasar's blog which I shouldn't have said, and I apologize here, publicly, but as I made this poster, I was uncomfortably aware of the degree to which this poem — which I've always liked — can be read in another way as part and parcel of a bit of cultural appropriation. Keats's poem comments on an English translation of an ancient Greek epic, and in the process of describing that work... Keats claims both Homer, and several islands dedicated to Apollo, for the English language and the English-speaking peoples. The astronomer is in one sense gazing upon the sky in wonder, but in another he's laying claim to the heavens. And Cortez — well. It was actually Balboa who stood at Darien in Panama, and gazed at the Pacific — but the cultural -appropriation (and -destruction) of the power- and wealth-hungry captain of the Aztec conquest should be self-evident.
But I'm not sure I would have read this poem that way without drawing it out first. I needed the opportunity to create the poster before I would have seen the cultural complexities the poem raises. And in good design fashion — the solution to one problem also raises several new problems on its own. As my friend Josh says, "There's no better or faster way to generate problems than to create a solution."
We discover things about the world through the thought processes we use to investigate it, and any means that we use to do that — writing, or reading, or drawing, or visualizing, or ritualizing, or glamorizing — will help us make new and deeper discoveries. It's remarkable the things that we uncover as we go through these processes. As the poet said, "pull a thread, and find the whole world attached to it."
It's kind of cruel to say "best friend". I don't like picking out favourites, I call a few people my "best friend" but in all fairness, this is my core group. On the left is my friend Jess who I met in college in a creative writing class. I'm not even sure how we started talking because I was so intimidated by her. She's really so cool and so talented. Her drawings would tear my drawings a new asshole. So to speak! Felicity is on the right side, my longest friend - we've known each other for over a decade now and hopefully more to come. She's also so cool and extremely talented too. Man, it's so great to surround yourself with such inspiring people and these two definitely inspire me to do better for myself and be a better person.
My best friends.
I've also been using a bit of a fade correction rather than boosting the brightness and contrast. It preserves the Moleskine dyed page colour at the same time of making my Sharpie pen a little more black!
On another note, I did have a little bit of a break between the other 30 Day Drawing Challenge scans and this one because I saw Rich Aucoin(!) last night. Check out some of the photos I managed to take. I had a bit of a fangirl moment as Rich came down to me near the end of the set and made me jump up and down with him. Usually I definitely maintain my cool when I photograph bands but I suppose he could sense my excitement as I was definitely singing along to "Push". /me is nerdy.
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©Giuli@naCastellengo
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Author: Sea todo a mayor honra, y gloria de Dios Ntr̃o Señor alivio de los ministros, y utilidad de las almas.
Title: Quaderno de Ydioma Zapoteco dell valle, que contiene algunas reglas las mas comunes del Arte, un vocabulario algo copioso, un confessionario, y otras cosas que veera el Christiano lecton [manuscript] : se ha escrito procurando todo lo possible imitar la pronunciacion natural de los Yndios: sacado lo mas de los autores antiguos que escrivieron de este Ydioma
Imprint: 1793.
Physical Description:
Page: P. 258.
Call Number: PM4548 .Q32 1793 Rare Book
Rights Info: Public domain. No known copyright restrictions.
Please attribute this image to: Royal Ontario Museum Library & Archives.
Whenever possible, please provide a link to our Photostream.
For information about reproduction of this item for commercial use, please contact the Royal Ontario Museum's Rights and Reproductions department.
View from window of southbound MARC Penn Line Train 431 between Penn Station and West Baltimore in Baltimore MD on Wednesday afternoon, 12 July 2017 by Elvert Barnes Photography
Graffiti Tags
WRITING ON THE WALLS Series
En route to Washington DC for Dental Appointment
I have had this particular photo on Flickr before, and it has been very popular. The writing is my own personal writing, If you want it for your own (personal use) then please contact me and ask . . . I don't have a problem allowing you to use it for your personal use . . . but please don't plagiarize me without my permission.
for great scrapbook supplies, visit me at www.acbaileydesigns.net/?Click=225
Does “Happily Ever After” happen for everyone or just for some?
Is that one fleeting moment where you feel utter and total happiness your only chance? Do you need to hold on to that moment, recalling in vivid detail each and every moment, each touch, each taste, each caress- or do you get a second chance at that happiness?
These questions plague me . . . These and more.
Alone . . . In the dark . . . I remember each second, both the happiness and the total devastation at the loss of you.
You said to me, “I know what hell is like, I’ve been there, but I also know what heaven is.”
“Heaven?” I ask.
“When I was with you . . . It was heaven.”
My heart screams, “I knew heaven with you too!” But I don’t say anything. I can’t.
In this life I am lost in the darkness that is my heart. Stuck between what was, what could have been, and what should have been. I live in a pain that consumes, keeps me from embracing the light, the potential of a life without you in it.
How many lives have we been through together? How many times has my soul recognized yours, and yours mine? Do we keep coming together because we know a love deeper than most can even imagine, or do we simply not know any better than to keep allowing this heart break?
Lovers come and go . . . Their footsteps washed away by the tide. But deeper is a lasting impression, the scars deep and the chasms wide, where true love exists, bridged by time and space and the endurance of a knowing like none other . . . That is where I find the comfort in knowing that in my heart we are, and will always be together.
If not in this life, my love, will I find you in the next?
Will “Heaven” be filled with the comfort of your arms holding me, where now, only in my dreams do they hold me?
If so, “Heaven” I am ready, because I also know what “Hell” is.
I believe this is my great grandmother's mother. Unlike the other cards, this one was not taken in Poland. The writing on the back is in Russian or Ukrainian and I think it is from the Ukrainian city of Dnipropetrovsk. She looks younger in this photo than this one, so it may me from the late 1800s. The card measures 4 1/4" x 2 5/8".
Tattoo by Lou Shaw - Four Aces Tattoo, Aldinga Beach, South Australia - 8556 5467
Custom drawn script 'Tahlia' done on forearm
This is my lovely moleskine diary- this year I'm challenging myself to keep a proper diary in an effort to be more organised and reflective.
My feet have seen twenty-one of the earth’s rotations around the sun, most of which were spent buried in the sand. This averages out as five years for each heel, one for each toe, and 6 months for both arches. They like to be called Dina. So does the rest of me. I let them take their time growing, and now they’re barely old enough for the rest of me, but they have their fun despite my shortcomings. Just last night they were smoking it up in a coffee shop. One of those picturesque joints college kids go to pretend they’re real adults, and where real adults pretend they’re college kids. It’s not really my digs, but my feet like it there. They like to tip toe around naked, narrowly avoiding spilled coffee and muffin crumbs. They strut, chipped nail polish and all, delighting in the cool feel of tile beneath them as they eavesdrop. A girl, eyes half-lidded as they peer over a cup of coffee, smirks and asks, “What’s a synonym for synonym?”
My feet are realists; they don’t pretend to know.
But they tell her that they really like her shoes.
Here he is writing from another job away from home, this time only 100 miles north, building Liberty Ships for the military at the shipyards in Superior, Wisconsin. Written July 6, 1944, exactly one month after D-Day.
The writing is mostly gone, but the stamps are still very clear:
A unit stamp:
S.B.
5./III. B. Jnfanterie Ersatz Truppe
Beverloo
A poststamp:
Beverloo
23.11.15 8-9 V
Truppenplatz
Belgien