<span>That is like asking... "Why to artists paint things they color they actually are." They use perspective drawing to make the work more realistic. A drawing is done on a flat 2D (2 dimensional) surface, so the use of perspective is a visual "trick" to introduce the third dimension. When the drawing is done correctly, you don't really notice it. It just looks right. When it is done incorrectly, it sticks out.. and looks bad. Without perspective drawing, the image would look flat and out of plac</span>
Answer:
The emphasis on dialogue, story, and fanservice (whether it's the fights/animation/sensual content), it's all so much more involved in the shows. It has a completely unique feel and just entices the audience. The fact that a lot of great Anime have a continuing story-line is a major factor.
Explanation:
Answer:
Printmaking
Explanation:
Since she is wanting to sell things like mugs and t-shirts, she is going to print them onto them, and that requires skill in printmaking.
I’d suggest downloading the app, it helps explain everything.
Manga Ormolu enters the dialogue on contemporary culture, technology, and globalization through a fabricated relationship between ceramic tradition (using the form of Chinese Ming dynasty vessels) and techno-Pop Art. The futuristic update of the Ming vessels in this series recalls 18th century French gilded ormolu, where historic Chinese vessels were transformed into curiosity pieces for aristocrats. But here, robotic prosthetics inspired by anime (Japanese animation) and manga (the beloved comics and picture novels of Japan) subvert elitism with the accessibility of popular culture.
Working with Asian cultural elements highlights the evolving Western experience of the “Orient.” This narrative is personal: the hybridization of cultures mirrors my identity as an ethnically-mixed Asian Canadian. My family history is one of successive generations shedding the markers of ethnic identity in order to succeed in an adopted country – within a few generations this cultural filtration has spanned China, India, Trinidad, Ireland and Canada.
While Manga Ormolu offers multiple points of entry into sociocultural dialogue, manga, by nature, doesn’t take itself too seriously. The futuristic ornamentation can be excessive, self-aggrandizing, even ridiculous. This is a fitting reflection of our human need to envision and translate fantastic ideas into reality; in fact, striving for transcendence is a unifying feature of human cultural history. This characteristic is reflected in the unassuming, yet utterly transformable material of clay. Manga Ormolu, through content, form and material, vividly demonstrates the conflicting and complementary forces that shape our perceptions of Ourselves and the Other.
