Shantell Powell

Skinfolk: Rationale

Mon, 01 Jan 2018 14:47:40 GMT

Skinfolk is a book for people curious about Inuit mythology. The book pairs objects from Inuit life with traditional stories. Inuit mythology demonstrates the transformative nature of living beings and also shows how allegedly inanimate objects contain life. This animistic nature is illustrated by the pairings of myth and object within the book. The word “skinfolk” is a portmanteau tying together the ideas of kin, skin, and folklore, and the book’s four tales have a central theme of how powerful women interact with flesh.

In order to ensure the topic is treated respectfully, an Inuk elder was consulted at the onset of the book’s creation. She also provided assistance in using consistent dialects for the Inuktitut terminology. An Anishinaabe craftsperson was consulted in order to learn traditional beadwork techniques, giving authenticity to the hand-beaded cover.

The colour palette is a simple one of white, blue, black, and red: common colours for traditional Inuit beadwork. The beadwork is sewn directly into the leather, foreshadowing the central theme of interactions with flesh. The single red bead in the tittle of the letter “i” and the red binding thread slashing across the margins represent the blood from those interactions. The cool silvery cast of charcoal illustrations and black-and-white photography matches the northern climes from whence spring the tales.

The typeface used for the title is Arjowiggins Inuit, chosen because it marries elements of Inuktitut syllabics with Latinate letters. Gadugi, the sans-serif font chosen for the text within the book, offers a seamless transition between English and Inuktitut.

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Of a Feather: Rationale and Posters

Mon, 16 Oct 2017 19:21:30 GMT

“Of A Feather” is an art show focusing upon birds. Over one hundred species of corvidae, members of the crow family, are extant worldwide. Common in both urban and rural settings, corvids are culturally significant to many people. They populate mythology, folklore, religion, and pop culture. Because they are so readily recognizable, both in movement and in stillness, they are a fitting match for an art exhibition about birds.

These posters are designed for use in libraries, art galleries, restaurants, social media, and the like. One poster features a static design, and the other a dynamic design. They use the same black and white palette, and complement one another thematically.

In the first poster design, three rows of raven silhouettes face one another in symmetrical, static columns. They stand squared off, watching one another in regimented formation. The white space at the bottom of the poster is slightly wider than at the top, leaving room for textual details to be added. In addition, the repeated design is suitable for cropping, and can be used to make banners or tiled borders for online representation. The birds are rendered in ink for opacity, making the silhouettes pop out in stark contrast from the white background.

In the second poster, a single raven erupts into flight from out of view into the left side of the frame. Black wax pastel is used to give varying values from grey to black. Brushing the pastels with water gives an additional sense of dynamism. The transitions from grey to black add more movement to the image, as does the asymmetry. The negative space surrounding the image leaves plenty of room for accompanying text. In addition, the design doubles as the front cover of the exhibition booklet.

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Rationale for The Study of Life

Sun, 01 Oct 2017 14:57:13 GMT

Rationale
The Study of Life

Corvids, members of the crow family, are common motifs in religion, folklore, and mythology. The over one hundred species of corvidae are found all over the world. They wheel around battlefields, play the part of a trickster god, rest on the shoulders of Odin, flee Noah’s Ark during the Great Flood, feature in the writing of Edgar Allan Poe, and caw raucously in city parks. In this study of life, different aspects of corvids are collected together in an installation piece using the motif of a cabinet of curiosities.

The typefaces chosen for this project are Arno Pro and Bulmer Type. Arno Pro is evocative of John James Audubon, the world-famous ornithologist, naturalist, and painter. It is the signature typeface of the National Audubon Society. Bulmer Type is the typeface used in the In the Company of Crows and Ravens field guide. Both typefaces are elegant and easy to read, providing a classical look to the accompanying project text.

Abstract designs of the interior of a nest and an aerial view of an autumn forest provide perspective from the bird’s eye view. The drawing of a taxidermic North American zoological specimen (as one would find in a cabinet of curiosities) contrasts with the illustration of a live white-necked raven from Africa.

The colour palette is comprised of warm autumnal tones, reminiscent of illuminated manuscripts. The historical feel of the colours melds with the curio cabinet theme, and the autumnal hues with the naturalistic elements. The palette is painted onto a feather, an object often found in cabinets of curiosity.

The photography shows the presence of corvids in the natural world and within culture. The Angel of Death, from the Hellboy movie franchise, is an example of how corvids are viewed as psychopomps, or guides to souls. Elements of the natural world, classical mythology, religion, and pop culture are tied together in this one image. The photograph of a lone crow in a game reserve tree juxtaposes this imagery by portraying a corvid in its natural setting.

Each of these elements combine to create a captivating educational and entertaining experience for the viewer.

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