Chatting between objects

Sequential Drawings The New Yorker Series

A decade of small illustrations from The New Yorker by a master of experimental cartooning. These illustrations, hidden in the corners of the magazine, feature black and white lines and a naturally understated minimalist design. Each page of the 64-page format is a single image, a silent film played continuously on paper. ★ Editor's Recommendation ◎ Tracing The New Yorker's artistic philosophy through this series of small illustrations, a collection of cartooning masters' reflections on this form over the years. Small illustrations, a humble form of painting, are common in everyday life—transitions between magazine paragraphs, decorations on household items, diagrams in instruction manuals... They perform tasks related to typography and embellishment. The small nature of small illustrations gives them a distinct artistic language from other painting forms.
The New Yorker is renowned for its elegant, simple design style, often tinged with humor. Since its founding, illustrations have been an integral part of the publication. The New Yorker favors small illustrations, fully utilizing their individuality to create a striking finishing touch within its typographical design.
Over the past few decades, with the prevalence of digital typesetting, the need for small illustrations to fill space has decreased. Today, The New Yorker assigns all the illustrations in an issue to the same artist, focusing on the overall and interesting nature of the illustrations. Richard McGuire is an expert in this.
Richard McGuire's groundbreaking novel, Here, has garnered numerous accolades. It reached the New York Times bestseller list, was named Book of the Year, and won the Grand Prix at the Angoulême Festival in 2016. Besides being a cartoonist, McGuire is also a multi-talented writer, children's book illustrator, animator, toy maker, and a longtime illustrator for The New Yorker.
"Chats Between Objects" contains small illustrations he created for The New Yorker between 2005 and 2015. These illustrations are diverse in style and full of fun, complementing the artistic style of The New Yorker.
A pocket-sized book with a simple binding, showcasing the artistic qualities of the illustrations from beginning to end. This book, featuring an ultra-small 64-mo format, showcases the unique character and charm of the illustrations. The book compiles the illustrations, previously hidden throughout The New Yorker, into a single volume, presenting each one individually. The result is a portable, almost entirely image-based book.
The Chinese edition features a design for both inner and outer covers. The jacket is made of translucent tracing paper, which highlights the lines of the inner cover. Removing the jacket reveals the simple inner cover pattern. The designs on the front, back, and endpapers are all part of a series of illustrations, designed to capture the subtle yet intriguing qualities of these illustrations.
The main text is in the form of one page and one picture. Readers can open from a certain page in the book, pick up the series from a certain illustration, and then read forward or backward, restoring the casual and free reading experience when flipping through the New Yorker series of illustrations, and feeling the subtle connections between these illustrations.
Vignettes serve as both unobtrusive decorative elements within a magazine and unique eye-catchers. Unlike illustrations in articles, vignette elements are not as important as the text itself, but they serve to enhance the layout. This inherently understated quality gives vignette elements a distinct flavor. While a series of vignette elements are continuous and narrative, they are independent of the articles and columns, scattered throughout the magazine. In a subtle way, they become a unique element in the magazine's language.
Due to their small size, vignettes often feature clean lines and cartoon-like characters, lending them an inherently humorous quality. Vignettes within a series often share a common form or style, ranging from experimental, like bisected faces or elongated grids, to narrative, like the daily lives of three distinct neighbors or a playful encounter in the cramped confines of an elevator.
Three objects on the street form a "brotherhood of suffering," silently sharing spring, summer, autumn, and winter. A hallway, like a silent bystander, witnesses the daily lives of three distinct neighbors. A few household items on the sink seem to "gossip" with one another... These humorous images are the work of Richard McGuire, a series of small illustrations he has created for The New Yorker magazine since 2005. These wordless, continuous images, once supporting characters in magazines, now serve as the protagonists of a book. They are like silent films, with their bustling drama and moments of silence amidst the clamor.
★ Recommended by the media McGuire's unique and masterful handling of narrative shines again... McGuire gives us another original and delightful work that is as spontaneous, ingenious and energetic as the painter himself.
—James Ye, The New York Times
In these small illustrations, McGuire combines the clean lines of comics with a compelling idea, the playfulness of scientific observation, and hints at a story. Each vignette, and each series, is meticulously observed and delightfully connected. Why are these illustrations so captivating? Because of their meticulous attention to detail, and because of their simplicity and elegance.
—Sarah Larson, The New Yorker

2023-12-31

湖南美术出版社

the new wave

584

9787574600959