ZDENEK MILER - The Mole (Krtek in Czech)

fig. 1 Portrait of Zdenek Miler

INTRODUCTION

Zdenek Miler (fig. 1) is creator of the most popular cartoon figure ‘‘the Mole’’ in Czechoslovakia from period of the Second World War. Now in those days this little cartoon creature is also popular through Europe and Eastern Asia. In this essay I will introduce you Zdenek Miler’s life, his work experiences and his progression as an animator in paragraph one. This will be followed by story which explaining how this little Mole arose and will continue with next paragraph about the creation of sounds for the Mole. All text will be documented with images and the evaluation about this essay will be in final paragraph.

LIFE

Zdenek Miler was born on 21 February 1921 in Kladno in the Czechoslovakia at that time. Already as a child he loved to paint and his passion for painting developed even more when in 1936 enrolled into the national Graphic School in Prague. Zdenek continued in his studies at the Academy of Applied Arts in Prague where he graduated in later days.

fig. 2 Portrait of Miler's grandmother

(1939) from his admission exam to Art School

After his studies in 1942 Zdenek has been trying to achieve a career as an animator and he started to work at ‘‘Bata in Zlin Film Studios’’ as an animator in department of cartoons. This work experience was a very good school to Zdenek as he learned all relevant and necessary skills in the field of film production, focusing on animated films. When the Second World War finished, Zdenek began his career at the company called ‘‘Bratri v triku Studio’’ (Brothers in T-shirt in English) (fig. 3), which specialize in cartoon production, where at the beginning he worked as draughtsman and then he progressed into author and director. Later in the future he became the chief of the establishment.

fig. 3

Logo of company called Bratri v Triku

Creation of the Mole (Krtek in Czech):

In 1956 Zdenek Miler obtained a commission to create movie for children who would be educational but the script that he was given did not make him satisfied. As he was greatly influenced and inspired by Walt Disney’s films on that account he knew, there should be some main animal character in the movie, who will take children into the storyline. Choosing of this particular animal as a main character for this movie was one of the most difficult part from all for Zdenek as he explained in his interview. All that time Zdenek Miler has been staring from his window and could not think of anything, when he was forced to made a final decision and gave him self one day to come up with some idea or otherwise he will give it up. He went for a walk into the forest and already on the way back home, unhappy and distressful from not coming up with anything he stumbled over a mole-hill and in that moment his idea about the Mole has arisen. It took him more then two month to come up with that idea of the Mole as a main animal creature for this movie.

Later on Zdenek Miler realized that the Mole is the only figure which Walt Disney has not used yet in his movies. In fact it is not much surprising that Walt Disney has not used the Mole figure in his cartoons because it is not a very pretty animal in reality and even worse it is blind. It took him 2 years to create his first (Krtek) the Mole (fig. 4) Zdenek made him with eyes, even in reality he is blind, but he took a risk because he thought it would be too scary for children and unattractive.

fig. 4

Picture of (Krtek) the Mole

A very first part of this movie was created in 1957 and was called ‘‘How the mole got his trousers’’(fig. 5). Zdenek earned a huge success with this first movie about the Mole, which won him the main prize a Silver Lion at the Venice Film Festival in 1957 and also in 1958 at the Montevideo Festival. Right away this big success he started to acquire another orders. At first he was commissioned to make further two parts and after that another twelve parts of the Mole for Germany. It took him three years to complete all this. Again as he says in his interview, sometimes he worked eighteen hours without going on break.

fig. 5

The Mole and trousers (1957)

Sound for the Mole (Krtek):

In this first part the Mole was speaking but Zdenek wished to be understood ‘‘the Mole’’ everywhere around the world, so he decided to make it wordlessly only with the sounds expressing the Mole’s feelings. His own two children helped him to record all this sound for the Mole. Engagement of his two daughters into the process of making ‘‘The Mole’’ film was very useful for Zdenek, not only because they helped him with the sounds but he could also test his movie on them and see how it’s connects with the children’s minds.

Zdenek Miler always loved his two daughters and he was never bad to them. But ones when he needed to make a recording of the crying sound for ‘‘The Mole’’, he came up to his older daughter and told her off, even she did not do anything wrong. Of course, she was very confused, thus she started to cry and this is how crying sound for mole came into existence. His daughters also helped him with all other sounds for the Mole, for example his laugh; sounds for expressing the Mole’s feelings and all kinds of expressive sounds which can be understood everywhere.

CONCLUSION

The reason I choused Zdenek Miler as my last artist for this essay is very simple and logic to me. Seeing that this is the last essay from my entire exercise I wanted to close it in a funny, positive spirit and with the view of happy ending. For that reason I think that choosing ‘‘The Mole’’ story which has such a nice creature in it, always helping the others and each time ends joyfully, it is a great choice for my enclosure of all.

During this essay I have learned from my chosen artist that passion is the key feature to all work and for achieving of perfection we must be passionate about the work we doing. In this matter Zdenek Miler is a great example to me and we can see prove of his great work even today. Now, when we living in the world of the most modern technologies and all movies are highly modified by computers, there is still Miler’s animated story about the Mole which he created with no use of many technologies but children love to watch this serial even today. Miler’s Mole is still on the list of favorite movies for children in those days even he is more then fifty years old now. Apart from Europe the Mole is well known in Japan, there is a huge interest about these serial and Japanese children are learning traffic rules with the Mole.

There is a video called ''The Mole and the Car'' which you can watch below.

This film was made in 1963.

ENJOY

References:


Websites:

Zdenek Miler: Na co Disney zapomnel - Centrum.cz Lidovky (2005) Zdenek Miler: Na co Disney zapomnel [Online]. Available at: http://www.astro.cz/~jch/dojmy/2005.02.11_163300.htm
(Accessed: 12 June 2010)



Zdenek Miler (no date) Zdenek Miler [Online]. Available at: http://en.academic.ru/dic.nsf/enwiki/798124 (Accessed: 12 June 2010)


Video:

Own sources (1963) Krtek a auticko. Available at: C:\Documents and Settings\Janicka\Plocha\Janicka_stahovala\Krteček
(Accessed: 12 June 2010)



Images:

fig. 1
Photograph of Zdenek Miler [Online]. Available at: http://i3.cn.cz/1140342466_miler-zdenek.jpg (Accessed: 12 June 2010)

fig. 2
Miler, Z. (1939) Portrait of Zdenek Miler's Grandmother [Online]. Available at: http://www.astro.cz/~jch/dojmy/2005.02.11_163300.htm (Accessed: 12 June 2010)

fig. 3
Miler, Z. (no date) Logo of Bratri v Triku [Online]. Available at: http://www.animsvet.cz/anims/21.jpg (Accessed: 12 June 2010)

fig. 4
Miler, Z. Picture of the Mole [Online]. Available at: http://www.vysoke-myto.cz/portal/images/stories/krtek_samotn.jpg (Accessed: 12 June 2010)

fig. 5
Miler, Z. (1957) The Mole and Trousers [Online]. Available at: http://www.hracky-levne.cz/images/32383029.jpg (Accessed: 12 June 2010)

TIBOR KALMAN - Social Activist and Provocative Designer of 20th Century

fig. 1
Portrait of Tibor Kalman

Who was Tibor Kalman (fig. 1) and what did he do for the world? The answer is simple. He was a controversial graphic designer, editor and social activist of the 20^th century. His biggest effort was to change some political and social issues and with his provocative design he influenced many people. In his design creations he got involved in subjects like racism, aids and sports. Firstly I will mention his move to New York and his beginnings there. After that follows establishing his own company and also I will introduce you his biggest step in his career as a successful editor in chief for Color magazine and will include some images of his great creations. After all is conclusion including some of my self evaluation about this wonderful artist.

Tibor Kalman was born in 1949 in Budapest. At his age seven, his family decided to immigrate to America, Poughkeepsie in New York because of Communist regime in the Hungary. In 1967 Tibor started to study at New York University and engaged into work on the newspaper and became one of the members of Students for a Democratic Society which was the organization organizing some actions to protest the Vietnam War. In 1970 he left the University and unlawfully went to Cuba as a member of the Venceremos Brigade to work as a cutter of sugarcane and gain some knowledge about Cuban culture. When he returned to New York in 1971, he began to work for Leonard Riggio as a creative director of Student Book Exchange and he worked there for the whole time that he was in New York. Leonard Riggio had a 20 college bookstores to run and he also bought another little business called Barnes and Noble. Tibor learned all from designing advertisements, shopping bags, store signs and B&N trademark on its own.

During the year 1979 he gained very well paid offer where he should design signs for a discount trading house and only short time after he eventually established his own graphic design studio. He created his office interior with a silly triangular-shaped table which matched into a silly shaped conference room. It was all made in post-modern fashion and his office was highly decorated but window at the reception was all shattered with hammer. Tibor‘s wife (fig. 2) was called Maira and had a nickname ‘M’, thus he gave the name to his company ‘‘M&Co’’.

fig. 2

Tibor's wife Maira

Tibor's explanation to his funny designed office was:‘‘You could bring a bank client or a rock group there for a meeting, it sort of cut both ways.’’(http://www.adcglobal.org/archive/hof/2004)

The place of his M&Co business was in the Greenwich Village at his apartment but after one year he moved his place to the Manhattan office on West 57^th Street. His first commission was to design some logos for supermarket which manufactured bags. Tibor was not very satisfied with this ordinarily job order, thus he changed his interest and began to concentrate on different field. After creating a Talking Heads album with four heads of group members (fig. 3) and with unusually typed letters upside-down his company M&Co started to be noticed in design trade press for reason of changing the way of familiar style in typography and design. (The New York Times)

fig. 3

Tibor Kalman, Talking Heads

Album Cover, 1980

In 1986 Tibor was co-chairman of the American Institute of Graphic Arts national conference in San Antonio, called ‘‘Dangerous Ideas’’. It was a great thing for Tibor, where he was able to pay a proper attention on designers work and investigate their impact on society with propagation of products which are not beneficial whereas dangerous and destroying the environment and society. Tibor Kalman always emphasized to designers that they should be very careful and responsible for work which they create and think about how their work will influence the society, culture and environment around us. He always encouraged designers to think about the impact of their creations on society; he thought that it is very important for designer to think about consequences of their work. One of the Tibor’s creations was soapbox, where he focused on homelessness and instead of sending usual presents to his clients on Christmas, he sent boxes with a modest typical meal for homeless (fig 4).

(The New York Times)

fig. 4 (Homeless Lunch Box for Christmas by Tibor Kalman)

Tibor slowly stopped doing graphic design in the way of magazines Art forum and Interviews, where he was not really able to express all his ideas and was unsatisfying for him. His most grateful job came when he became an editor in chief of Colors, which was an English and Italian magazine. The publishing of this magazine was by the Italian company Benetton which engaged in clothes fashion. This role of being an editor made impossible for Tibor to continue with his M&Co company and thus he was forced to stop temporarily and moved with all his family to Rome. The photographer Oliviero Toscani was the founder of Colors which was not common magazine. This magazine focused on cultural, social issues, problems like racism (fig. 5) and for example AIDS (fig. 6).

fig. 5

Colors Magazine

Issue 4, (1993)

''Race'' (cover)

Tibor Kalman said: ‘‘Aimed at an audience of flexible minds, young people from 14 to 20, or curious people of any age.’’

fig. 6

Color Magazine,

Issue 7, (1994)

This magazine called Colors was a real liberation for Tibor as he could boundlessly realize all his ideas. One copy of Color magazine was focused on racism which title was ‘‘How to Change Your Race’’, other issue called ‘‘What If.’’ was including the collection of world famous people with racially changed skin color. Tibor Kalman changed the skin color of Queen Elizabeth (fig. 7) and Arnold Schwarzenegger to black; he also made Pope John Paul II as Asian, changed the skin color of Spike Lee on white and transformed Michael Jackson into Nordic type. Tibor Kalman said: ‘‘Race is not the real issue here, power and sex are the dominant forces in the world.’’(The New York Times) This is what I particularly like about Tibor Kalman, his ability to provocatively communicate message to the world.

fig. 7

Queen Elizabeth II, Colors Magazine

Issue 4, ''Race'' (Spring 1993)

He said: ‘‘I can design and manipulate in spin people politically in direction that I want and that is what I like about design.’’(You Tube, An Hour Conversation With Designer Tibor Kalman, 1998)

I like Tibor’s provocative expressions in his design, huge enthusiasm for changing the world with his wonderful and very creatively processed ideas. I admire him for his great success, his natural talent and touch for design; already for that reason he never formally studied to be a designer. Tibor was a truly great talker through his design creations and he made a lot of positive contributions to the world with his art work. Although he died at age only 49 he managed to contribute to the world and society enormously.

Reference list:

Books:

Hall, P., Bierut, M. (2000) Tibor Kalman: Perverse Optimist. New York: Princeton Architectural Press

Kalman, M., Kalman, T. (no date) Colors: Tibor Kalman, Issues 1-13

Websites:

Obituary: Tibor Kalman – Arts & Entertainment – The Independent (1999) Obituary: Tibor Kalman [Online]. Available at: http://www.independent.co.uk/arts-entertainment/obituary-tibor-kalman-1094136.html

(Accessed: 12 May 2010)

Tibor Kalman, ‘Bad Boy’ of Graphic Design, 49, Dies – Obituary; Biography – NYTimes.com (1999) Tibor Kalman, ‘Bad Boy’ of Graphic Design,49,Dies [Online]. Available at: http://www.nytimes.com/1999/05/05/arts/tibor-kalman-bad-boy-of-graphic-design-49-dies.html?pagewanted=2 (Accessed: 12 May 2010)

Tibor kalman/article/Pata Magazine (2009) Tibor Kalman [Online]. Available at:

http://www.patamagazine.com/en/tibor-kalman (Accessed: 12 May 2010)

Art Directors Club/Hall of Fame/Tibor Kalman (2004) Tibor Kalman [Online]. Available at: http://www.adcglobal.org/archive/hof/2004/?id=196 (Accessed: 12 May 2010)

Tibor Kalman: Facts, Discussion Forum, and Encyclopedia Article (2010) Tibor Kalman [Online].

Available at: http://www.absoluteastronomy.com/topics/Tibor_Kalman (Accessed: 12 May 2010)

Video:

CharlieRose.com (1998) An Hour Conversation With Designer Tibor Kalman.

Available at: http://discussion-for-you.com/video/4543.cgi (Accessed: 12 May 2010)

Images:

fig. 1

Portrait of Tibor Kalman [Online]. Available at:

http://www.aiga.org/content.cfm/medalist-tiborkalman

(Accessed: 12 May 2010)

fig. 2

Photograph of Maira Kalman [Online]. Available at:

http://www.cwgp.org/2008-09/media/images/kalman_highlight.jpg

(Accessed: 12 May 2010)

fig. 3

Kalman, T. (1980) Talking Heads Album Cover [Online]. Available at:

http://www.patamagazine.com/sites/default/files/2009/march/tibor-kalman/Kalman

_remaininlight_talkingheads.jpg (Accessed: 12 May 2010)

fig. 4

Kalman, T. Homeless Lunch Box for Christmas [Online]. Available at:

http://designhistorylab.com/wp-content/uploads/2010/04/6_tibor_kalman_homeless2.jpg

(Accessed: 12 May 2010)

fig. 5

Kalman, T. (1993) 5 Colors Magazine, Issue 4, ‘‘Race’’ [Online]. Available at:

http://www.sfmoma.org/images/artwork/large/97.109_01_01_b02.jpg

(Accessed: 12 May 2010)

fig. 6

Kalman, T. (1994) Color Magazine, Issue 7 [Online]. Available at:

http://designhistorylab.com/wp-content/uploads/2010/04/portada-colors-selecta2.jpg

(Accessed: 12 May 2010)

fig. 7

Kalman, T. (1993) Queen Elizabeth II, Colors Magazine, Issue 4, ‘‘Race’’ [Online].

Available at: http://designhistorylab.com/wp-content/uploads/2010/04/queen-elizabth.bmp

(Accessed: 12 May 2010)

ERIC GILL - The Letter Man

fig. 1
Portrait of Eric Gill

In this essay I will introduce you the greatest artist crafts man of 20^th century. Yes, in very truth there are a lot of things where Eric Gill (fig. 1) excelled. We can say about him that he was a sculptor, designer, calligrapher, stone-mason, engraver and architect. Even if it looks to be unbelievable, yes, believe it, he was a truly master of all this things. But most of people have him signed up in their minds as a significant sculptor and calligrapher. The reason of that is supposedly because of his most famous and magnificent art work in Westminster Cathedral, which brought fame to Eric Gill in world art history. About this most famous art work you can gain more information in paragraph three. Whereas I must not forget to mention paragraph one where you can learn something about Eric’s childhood art beginnings and his later study ambitions. After that follows his marriage and family members in paragraph two. In paragraph four there you can read about disclosing of shocking news about private life of Eric Gill and continue with his most known art pieces and typefaces collection documented with images. The last is conclusion where you can see my evaluation about this essay.

In full name, Arthur Eric Rowton Gill was born on 22^nd February 1882 in Brighton, Sussex into the lower middle class family. Eric's father was an assistant minister in a chapel and his mother was a professional singer. Eric was a second oldest child from thirteen children. Already as a child, he was fascinated with trains and he has been always drawing locomotives, tunnels and bridges. He was interested in function and purposes of engines, as he said latter in his interview:

‘‘You can not make a good drawing of anything unless you know how it works and what it is for’’ (http://www.myfonts.com/newsletters/cc/20090401.html)

In 1897, when he was 15 years old, he moved with his family to Chichester and because of Eric’s constant drawing, he began studies at Technical and Art College. In 1900 Eric moved to London where he took off his training as an architect under supervision of W. D. Caroe, who was an expert in ecclesiastical architecture. Unfortunately Eric was not very satisfied with his training, thus he decided to take evening classes in stone-cutting at Westminster Technical Institute and he also joined classes in calligraphy at the Central School of Arts and Crafts. During his calligraphy studies the Edward Johnston, who is known as a creator of the London Underground typeface, became a huge influence to Eric and they later became a good friends. After few month of masonry class he also began to learn cutting in stone and it did not take long before he got his first commission and gained the opportunity to do lettering for living. Gill left his architectural studies in 1903 and started to fully concentrate on becoming a calligrapher, monumental mason and letter-cutter.

fig. 2 Hair Combing (1922)

In 1904 he falls in love with Ethel Hester Moore and after while they got married. Three years latter in 1907 Gill moved to Ditchling in Sussex with his family. Eric had three daughters, Betty the oldest one, Petra and the youngest Joan. They have been brought up in a quite different way from others, taught by their parents and isolated from society. There is a series of Gill’s drawings of his daughter Petra, which he produced through her teenage life. She figurate in many erotic postures as for example: (fig. 2) Hair Combing, (fig. 3) The Plait, (fig. 4) Girl in Bath. These drawings of Petra were lately made as wood engravings and belonged into Gill’s most admired work for many years.

In 1911 Eric Gill had his sculptural exhibition in London and around 1913 he received a very lucrative commission in which he supposed to create the Stations of the Cross (fig. 5) at the Roman Catholic Westminster Cathedral (fig. 6). He managed to complete this prestigious collection of fourteen Westminster Cathedral Stations between the years 1913 and 1918 and it is one of his most famous creations what he is celebrated for in these days.

fig. 5 Stations of the Cross

fig. 6 Interior of Westminster Cathedral

During my research about this artist I found out that there had been a lot of discussions about Gill’s sexual obsession. According to his strong faith in god and his devotion to Roman Catholicism his way of living was not really appropriate towards his believes. There is a biography from year 1989, where Fiona MacCarthy mentioned Eric’s relationships with his two sisters and also his two older daughters. There also had been found his detailed description of his sexual practicing with his home dog which he wrote in his diary as ‘‘continued experiment with dog’’.

When the shocking information about Gill’s sexual acts came to light, there had been a lot of thoughts about removing his art work from Westminster church, but it never happened.

fig. 7

Gingerbread Madonna and Child

(1919-1920)

One of Gill’s interesting works is also (fig. 7) Gingerbread Madonna and Child (1919-20) mostly for the reason that the inspiration of this creation is taken from drawing of his daughter Betty, only 14 years old at that time.

In between his other prestigious pieces of work belong (fig. 8) Prospero and Ariel which was created between the years (1932 – 1933), (fig. 9) Ariel between Wisdom and Gaiety (1931-1932), (fig. 10) Ariel piping to children and (fig. 11) Ariel hearing Celestial Music, all was created for BBC Broadcasting House, London.

fig. 8 Prospero and Ariel
(1932-1933)

fig. 9 Ariel between Wisdom and Gaiety (1931-1932)

fig. 10 Ariel piping to children

fig. 11 Ariel hearing Celestial Music

We can not forget to mention Eric Gill also as an excellent creator of different typefaces.

Some of Eric’s types from his collection include:

The most celebrated typeface and his lasting legacy Gill Sans (1927-1930) (fig. 12). Another his letter design including typefaces Perpetua (1926) (fig. 12), Joanna (which bears name of his youngest daughter) (fig. 12), Golden Cockerel Roman (1929) Solus ( 1929) and many more.

fig. 12 Gill Sans

In my conclusion I must say that it was the hardest essay part I had to write so far. Unfortunately I struggled with finding of relevant information about this artist from the beginning and to complete this essay was a lot more challenging for me than writing of previous essays. As another reason of having this difficulty I would assigned to my unfamiliarity in this art field. On the other hand after this unpleasantness I have to say that this essay was very beneficial to me as I had the opportunity to broaden up my knowledge especially in the art field of sculpture and calligraphy. And if I strictly concentrate only on Eric Gill’s art work and except for his scandal in private life I would say, what a wonderful artist he was.

Reference list:

Books:

Gill, E. (1931) An Essay on Typography. London: Sheed and Ward 31 Paternoster Row

Yorke, M. (1981) Eric Gill: Man of Flesh and Spirit. London: Constable and Company Limited

Websites:

Modern British Art – Eric Gill biography (2005) Eric Gill [Online]. Available at: http://www.modernbritishartists.co.uk/ericgill_biog.htm (Accessed: 14 May 2010)

MacCarthy, F. (2006) Fiona MacCarthy on Eric Gill´s life and art/Art and design/The Guardian, ‘Written in stone’ [Online]. Available at: http://www.guardian.co.uk/artanddesign/2006/jul/22/art.art

(Accessed: 14 May 2010)

Rogers, P. (2010) Stations of the Cross – Westminster Cathedral ‘Stations of the Cross’ [Online]. Available at: http://www.westminstercathedral.org.uk/tour_stations.php (Accessed: 14 May 2010)

The Eric Gill Society: Eric Gill (Arthur Eric Rowton Gill, 1882-1940) ‘Eric Gill (Arthur Eric Rowton Gill, 1882-1940)’ [Online]. Available at: http://www.ericgill.org.uk/work/eric-gill-arthur-eric-rowton-gill-18821940 (Accessed: 14 May 2010)

The Eric Gill Society: Eric Gill ‘Eric Gill Biography’ [Online]. Available at:

http://www.ericgill.org.uk/Gill/ (Accessed: 14 May 2010)

Garton&Co and Scolar Press (2003) Eric Gill Prints ‘Eric Gill’ [Online]. Available at: http://www.ericgill.com/view_article.php?article_id=33&sort_by= (Accessed: 14 May 2010)

Bear, H. J. (2010) Eric Gill – Profile of Eric Gill (1882-1940) ‘Eric Gill’ Available at: http://desktoppub.about.com/od/typedesigners/p/eric_gill.htm (Accessed: 14 May 2010)

Eric Gill at AllExperts ‘Eric Gill: Encyclopedia’ [Online]. Available at:

http://www.associatepublisher.com/e/e/er/eric_gill.htm (Accessed: 14 May 2010)

Bitstream, Inc. (2009) Myfonts: Creative characters interview with Eric Gill, April 1, 2009 ‘Creative Characters interview: Eric Gill’ [Online]. Available at: http://new.myfonts.com/newsletters/cc/20090401.html (Accessed: 20 May 2010)

Videos:

Illuminationstv (2008) The Art of Eric Gill. Available at:

http://www.youtube.com/watch?v=FimUEssNMC4

(Accessed: 14 May 2010)

Henritogo (2009) Eric Gill Art Collection. Available at:

http://www.youtube.com/watch?v=sRPZlHYUP0w

(Accessed: 14 May 2010)

Images:

Fig. 1

Portrait of Eric Gill [Online]. Available at: http://www.nndb.com/people/945/000113606/eric-gill.jpg

(Accessed: 14 May 2010)

Fig. 2

Gill, E. (1922) Hair Combing, Portrait of Petra Gill [Online]. Available at:

http://www.larkhall.com/pp/P.208-HairCombing.jpg

(Accessed: 14 May 2010)

Fig. 3

Gill, E. (1922) The Plait [Online]. Available at:

http://www.artandperception.com/v01/wp-content/uploads/2008/08/the-plait2.jpg

(Accessed: 14 May 2010)

Fig. 4

Gill, E. (1929) Girl in Bath [Online]. Available at:

http://www.goldmarkart.com/images/art/23/23_1549_m.jpg

(Accessed: 14 May 2010)

Fig. 5

Gill, E. (1913-1918) Stations of the Cross [Online]. Available at:

http://3.bp.blogspot.com/_NE-72ZXux-g/StnCbYzmqLI/AAAAAAAALUA/lKkb3BiAbA0/s400/Eric+Gill+-First+Station+of+the+Cross.jpg

(Accessed: 14 May 2010)

Fig. 6

Interior of Westminster Cathedral [Online]. Available at:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4BkZr55cbUUefrNFH6Sr7kkJae-y86cLrDFSRXOv1Y1qzKn1kQ3bsn2FDVihjldtbNpYMrJuZeetCPjKtUnD6fA8AuFSM-yT2tLOIBA9XEZKJ8ThmJEAzdyURGmZa3JBSXAOWZ2GOxcM/s400/000.jpg (Accessed: 14 May 2010)

Fig. 7

Gill, E. (1919-1920) Gingerbread Madonna and Child [Online]. Available at: http://www.artandarchitecture.org.uk/assets/aa_image/320/7/8/b/4/78b40f6570e45145b5a6ff51f5b30b9fd5d52318.jpg

(Accessed: 14 May 2010)

Fig. 8

Gill, E. (1932-1933) Prospero and Ariel [Online]. Available at:

http://www.btinternet.com/~roger.beckwith/bh/bh32/images/ext_pa_06.jpg

(Accessed: 14 May 2010)

Fig. 9

Gill, E. (1931-1932) Ariel between Wisdom and Gaiety [Online]. Available at:

http://www.btinternet.com/~roger.beckwith/bh/bh32/images/ext_sculpture2.jpg

(Accessed: 14 May 2010)

Fig. 10

Gill, E. Ariel piping to children [Online]. Available at:

http://www.btinternet.com/~roger.beckwith/bh/bh32/images/ext_sculpture3.jpg

(Accessed: 14 May 2010)

Fig. 11

Gill, E. Ariel hearing Celestial Music [Online]. Available at:

http://www.btinternet.com/~roger.beckwith/bh/bh32/images/ext_sculpture1.jpg

(Accessed: 14 May 2010)

Fig. 12
Gill, E. (1927 - 11930) Gill Sans [Online]. Available at:
http://faculty.luther.edu/~martinka/art43/daily/5th/gil1.jpg
(Accessed: 15 May 2010)