First thoughts when I first saw the image

• Wow that looks amazing

• At first glance I thought it was the sun in between two tall buildings

• It gives off a warmth and cosy feeling

• Feels somewhat empowered and hopeful

• But also hot and intimate

• It reminds me of the golden hour

After doing some research I found out that In this installation,The Weather Project, representations of the sun and sky dominate the expanse of the Turbine Hall. A fine mist permeates the space, as if creeping in from the environment outside. Throughout the day, the mist accumulates into faint, cloud-like formations, before dissipating across the space. A glance overhead, to see where the mist might escape, reveals that the ceiling of the Turbine Hall has disappeared, replaced by a reflection of the space below. At the far end of the hall is a giant semi-circular form made up of hundreds of mono-frequency lamps. The arc repeated in the mirror overhead produces a sphere of dazzling radiance linking the real space with the reflection. Generally used in street lighting, mono-frequency lamps emit light at such a narrow frequency that colours other than yellow and black are invisible, thus transforming the visual field around the sun into a vast duotone landscape.

First thoughts when I first saw the image, It gave me a bit of anxiety that the big Boulder might fall and crash but it was very interesting how it stayed balanced on top of the tip of another rock maybe.

The Andy Goldsworthy Digital Catalogue is the result of a collaborative effort involving Andy Goldsworthy, The Crichton Foundation, and University of Glasgow's Crichton Campus and Humanities Advanced Technology and Information Institute (HATII). The Digital Catalogue constitutes a unique resource: comprising approximately 3,500 images, it documents the 2,700 or so sculptures that Goldsworthy made in the ten-year period 1976-1986, and gives unprecedented access to Goldsworthy's early working practices and contexts.

The most notorious of the readymades, Fountain was submitted to the 1917 Society of Independent Artists under the pseudonym R. Mutt. The initial R stood for Richard, French slang for "moneybags" whereas Mutt referred to JL Mott Ironworks, the New York-based company, which manufactured the porcelain urinal. After the work had been rejected by the Society on the grounds that it was immoral, critics who championed it disputed this claim, arguing that an object was invested with new significance when selected by an artist for display. Testing the limits of what constitutes a work of art, Fountain staked new grounds. What started off as an elaborate prank designed to poke fun at American avant-garde art, proved to be one of most influential artworks of the 20th century. It was very interesting because then you could just take any ready made objects give it a meaning and name and call it art. which I find it half hilarious but also half convinced that it could work. So I thought I'd make a readymade piece I'm sure everyone knows what P.L stands for the well known chain store Poundland and the initials down below are the initials of the person who purchased this product Chun Jessica Mei Santos Vergara signifying that this person bought this for hanging wet sheets.

Beat the Whites with the Red Wedge is one of Lissitzky's earliest attempts at propagandistic art. He produced this politically charged work in support of the Red Army shortly after the Bolsheviks had waged their revolution in 1917. The red wedge symbolized the revolutionaries, who were penetrating the anti-Communist White Army. Here Lissitzky uses his signature coded color combination of red, white and black, which reinforces the message indicated by the work's title.

Colors and shapes take on directly symbolic significance. For example, the smooth, curvilinear walls of the white circle are pierced by the sharp point of the red triangle: the Red Army has pierced the defenses of the White Army.

Dramatic color contrasts also create confusion regarding space-which area is positive? Which is negative? Meanwhile, small geometric forms in the limited color scheme float like tiny projectiles through the space along with text. Here, basic forms combine with actual text: painting and typography are fused. This work is an important precursor to Lissitzky's Prouns, when Suprematist art moved onto a three-dimensional visual plain.

Artist: Walter Gropius

The Bauhaus is home to the state-supported school for the applied arts, it was founded in Weimar in 1919 by Walter Gropius, but moved to Dessau in 1925 when political conditions in the latter became more favorable to its left-leaning educational climate. Gropius designed the school's new permanent home along with the faculty residences nearby that same year.

The pinwheel-plan institutional building is composed of an asymmetrical set of prismatic structures of reinforced concrete. Each section - dormitories, studio spaces, offices, and refectory - uses a different design that delineates its respective function with remarkable clarity, particularly the use of massive glass curtain walls for the studio spaces to maximize the admittance of natural light. The wraparound corners of these windows, which emerge from the plane of the rest of the facade, enable one to see through two sides of the structure simultaneously, a feature that prompted architectural critic Reyner Banham to call it the first "Cubist" building. The complex only housed the Bauhaus for four years before the political climate became untenable and it moved to Berlin, closing for good under Nazi pressure in 1933.

Coming from a city myself the bauhaus building reminds me of a college building back in Hong Kong called VTC youth college Yeo Chei Man, my secondary school called Sir Ellie Kadoorie secondary school (West Kowloon) and lastly Hong Kong design Institute (HKDI)The HKDI is the first major facility built in Hong Kong by a French architect. Thomas Coldefy and Isabel Van Haute, equipped with solid international experience, decided at the beginning of 2006 to take part in the international competition for the building of the Hong Kong Institute of Design.

The aspect of this painting that makes it so popular as a print reproduction is because of the abstract, individual elements of the city are still easily recognisable, making it more recognizable than some other artworks from his career. Whilst conforming to abstraction, it could be said that Castle and Sun fits into any or all of Expressionism, Cubism and Surrealism. Whilst some will present Dali's Burning Giraffe or Picasso's Les Demoiselles d'Avignon, it is the colour that truly gives Castle and Sun it's independence. The creation of form through an abstract formation of geometric shapes reminds us more of the work of Wassily Kandinsky and other members of the Bauhaus movement.

Klee was known to have aligned himself with the Bauhaus artists in the early 20th century so any similarities are to be expected. It was Klee's colour palette that helped him retain his artistic independence.

“Color possesses me. I don’t have to pursue it. It will possess me always, I know it. That is the meaning of this happy hour: color and I are one. I am a painter.”

It was after a 1914 trip to Tunisia that Klee was permanently set upon a style of abstraction, when previously he had merely dabbled from time to time. The simplicity of abstract art is it's beauty, but also the reason for why it was dismissed so passionately early on. The likes of Paul Klee would find their work derided by traditionalists. Today, of course, Castle and Sun and others of that ilk are respected for the qualities that they have introduced into the art world. The Paul Klee Notebooks were a collection of writings and research made by Klee around his obsession for colour. This particular painting outlines how colour would play a crucial role in his work. Similar paintings to Castle and Sun include Fire in the Evening, Ancient Harmony, New Harmony and Flora on Sand which all follow the artist's tiled abstract technique from that part of his career.

I thought of recreating the piece just because I was interested in trying his style and colour palette but thought that there were too many squares to make it accurate and thought I might as well just do a clan of cats but still have the sun and the colour palette from Klee's work.

The rational, geometric order of Composition VIII is a polar opposite of the operatic composition of Composition VII (1913). Painted while he taught at the Bauhaus, this work illustrates how Kandinsky synthesized elements from Suprematism, Constructivism, and the school's own ethos. By combining aspects of all three movements, he concluded with flat planes of color and the clear white, linear quality seen in this work. Form, as opposed to color, structured the painting in a dynamic balance that pulses throughout the canvas. This work is an expression of Kandinsky's clarified ideas about modern, non-objective art, particularly the significance of shapes like triangles, circles, and the checkerboard. Kandinsky relied upon a hard-edged style to communicate the deeper content of his work for the rest of his career.

I could see his work as part of a fashion style because some people like to wear really abstract shirts I too but only during the summer but when recreating this work it was a little confusing because because the lines and shapes are really out there.

Pablo Picasso’s Les Demoiselles d’Avignon was first created in 1907 It marked a revolutionary break from traditional composition and perspective in painting. The interesting piece displays five naked women composed of flat, splintered ‘planes’ whose faces were inspired by liberian sculpture and African masks. The compressed flat space appears to project forward in jagged shards, at the bottom of the composition teeters on a tabletop near their feet sits a small arrangement of fruit, with a scythe-like sliver of watermelon fruit set behind a bunch of grapes, an apple, and a pear, and which, like the women’s bodies are sharp structured.

As his preparatory studies reveal, Picasso initially conceived of the figure at the left of the painting as a male medical student, in the act of entering the brothel. Deciding that such a narrative detail would interfere with the work’s visual impact, he ultimately transformed the figure into a fifth prostitute. The curtains that seem to thread in between the figures are pressed right up against those figures. There is no space behind or between.

There is still some sense of illusion. But Picasso has only created an illusion that goes back into space a few inches. Picasso unveiled the monumental painting in his Paris studio after months of revision. The title translates to’ Young Ladies of Avignon ‘ ,which refers to a street that's not in France but is in Barcelona known for its brothels. Picasso was a product of his culture. The fact that he’s looking at African masks in order to represent danger is an expression of France's colonialism. The objects, those masks, were coming to France because France had large colonial possessions in Africa. And Picasso at this time knew very little about the cultures that these came from. Apparently he was interested in them for their formal qualities and formal inventiveness. Also because they represented otherness. Braque is one of the few artists who studied it intently in 1907, leading directly to his Cubist collaborations with Picasso. Because Les Demoiselles predicted some of the characteristics of Cubism, the work is considered proto or pre Cubism.

Cubism is an artistic movement, created by Pablo Picasso and Georges Braque, which employs geometric shapes in depictions of human and other forms. Over time, the geometric touches grew so intense that they sometimes overtook the represented forms, creating a more pure level of visual abstraction. Though the movement’s most potent era was in the early 20th Century, the ideas and techniques of Cubism influenced many creative disciplines and continue to inform experimental work.

The impact of Cubism was far-reaching and wide-ranging. In other countries Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements. Other common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.

When recreating a piece inspired by Picasso's work just to experience being in his shoes when he was painting them I thought it would be simple but as I found out that it was a bit hard for me to make that jagged, sharp, splintered look he did on the painting I tried to replicate the color palette.

Schlemmer's ballet premiered at the Stuttgart Landestheater in September 1922, with music by the German composer Paul Hindemith. The production went on to tour throughout Europe in the 1920s, to cities including Weimar, Frankfurt, Berlin, and Paris, spreading the Bauhaus ideas of modern art. The ballet didn't have a plot, but rather three acts of different moods and color which Schlemmer described as a "party of form and color". Act One was yellow, Act Two, pink, and the final Act was black. It was performed by three dancers, two female and one male, who wore a total of 18 costumes. The costumes over-emphasized the forms of the human body, turning the dancers into geometrical constructions and they moved both with and against the wearers as they danced the ballet, restricting some movements and highlighting others. The mixed media of their construction variously reflected and absorbed light further emphasizing certain body parts and structural elements.

Schlemmer was not the first to explore the traditional dance form of ballet in a modern way. At this time, the Ballets Russes, founded by the Russian art patron Sergei Diaghilev, was at the height of its popularity. Diaghilev commissioned new music from the composers Igor Stravinsky and Sergei Prokofiev, accompanied by sets designed by Henri Matisse, Pablo Picasso, and Schlemmer's Bauhaus colleague Wassily Kandinsky. In the Triadic Ballet, however, Schlemmer was the first artist to fuse dance and modernism through his exploration of abstraction in real space. It also marked a breakaway from classical ballet's focus on the soloist and the duet, instead emphasising a collective approach to dance. Schlemmer described his attempts to explore the relationship between body, shape, color and space as "artistic metaphysical mathematics". As well as the physical movement of the dance, the costumes can be seen as a living embodiment of Schlemmer's previous sculptural and pictorial work. The performers appear machine-like in their faceless costumes, reflecting on the zeitgeist of the New Man.

Johannes Itten taught at the Bauhaus from 1919 until 1922, and he taught one of the fundamental preliminary courses that – among other things – grappled with color theory. Itten gave us a color sphere composed of twelve colors (three primary, three secondary, and six tertiary) that shows the relationship among colors, as well as gradations of saturation. The influence of psychoanalysis is apparent in Itten’s color theory, as he was one of the first to associate different colors with specific emotions and study the impact of color on our moods. He also studied how individuals perceive color.

Itten taught that there were seven different methods of contrast: contrast of saturation, of light and dark, of extension, complementary contrast, simultaneous contrast, contrast of hue, and contrast between warm and cool colors. One of his particularly interesting practices in the classroom was to work students through an examination of color and in particular his theory about contrast by first examining abstract works, reflecting the Bauhaus’ move away from exclusively representational works. After students studied the abstract pieces, they would move on to look at more realistic works, and finally would apply what they had learned of color theory to their understanding of classical works.

Itten’s most enduring contribution to modern day color theory, though, is his characterization of colors in terms of temperature, and his designations of certain colors as warm and others as cool persists to this day.

Alphonse Mucha

CZECH PAINTER

Born: July 24, 1860 - Ivančice, Moravia (Czech Republic)

Died: July 14, 1939 - Prague, Czech Republic

In the second part of his career, at the age of 43, he returned to his homeland of Bohemia-Moravia region in Austria and devoted himself to painting a series of twenty monumental canvases known as The Slav Epic, depicting the history of all the Slavic peoples of the world, which he painted between 1912 and 1926. In 1928, on the 10th anniversary of the independence of Czechoslovakia, he presented the series to the Czech nation. He considered it his most important work. It is now on display in Prague.

The first of Mucha's much-copied pânneaux décoratifs (decorative panels), The Seasons (1896), shows the harmonious cycles of nature. Four seasonal beauties, each set against a distinct natural backdrop, convey the mood of each season. Innocent Spring stands among white blossoms, charming birds; Summer lounges among red poppies; bountiful Autumn rests with chrysanthemums, gathering fruit; and Winter,in a snowy landscape, huddles under a cloak with a small bird. The decorative style of the images illustrates Mucha's artistic influences and interests. This style reflects his debt to Japanese woodcuts, as well as to Hans Makart's The Five Senses (1879), while his association of women with a subtle undercurrent of death and rebirth speaks to his interest in symbolism. The choice of medium reflects his interest in making art available to all, since the panels were created as affordable art for private homes.

Mucha's desire to see mass-produced art reach the widest possible audience was quickly achieved; his pânneaux were so popular that he soon created other, similar works: The Flowers (1898), The Arts (1898), The Times of the Day (1899), The Precious Stones (1900), and The Moon and the Stars (1902).

Quentin Blake was born in the suburbs of London in 1932 and has drawn ever since he can remember.

He went to Chislehurst and Sidcup Grammar School, followed by National Service. Then he studied English at Downing College, Cambridge, going on to do a postgraduate teaching diploma at the University of London, followed by life-classes at Chelsea Art School.

He has always made his living as an illustrator, as well as teaching for over twenty years at the Royal College of Art, where he was head of the Illustration department from 1978 to 1986. His first drawings were published in Punch while he was 16 and still at school. He continued to draw for Punch, The Spectator and other magazines over many years, while at the same time entering the world of children's books with A Drink of Water by John Yeoman in 1960.

He is known for his collaboration with writers such as Russell Hoban, Joan Aiken, Michael Rosen, John Yeoman and, most famously, Roald Dahl. He has also illustrated classic books, including A Christmas Carol and Candide and created much-loved characters of his own, including Mister Magnolia and Mrs Armitage.

David Shrigley is a contemporary British artist with an internationally renowned drawing practice. Shrigley’s work is humorous, interspersed with his witty observations and written commentary that satirizes everyday life and awkward interactions. He works loosely and improvisationally: “It’s not the kind of drawing where you’re trying to get their eyes in the right place, you’re just trying to tell somebody something as directly as possible,” he explains. “It’s somewhere between handwriting and drawing. But then again there are also certain rules to what I do, like I’m not allowed to re-draw or anything and it just is what it is.” His illustrations has been featured as album art for musicians like David Byrne, Franz Ferdinand, and Bonnie Prince Billy, as well as in the form of large-scale public sculptures, published books, and hand-drawn animations. Born on September 17, 1968 in Macclesfield, United Kingdom, Shrigley went on to study environmental art at the Glasgow School of Art. Today, his works are in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, the Hammer Museum in Los Angeles, and the National Galleries of Scotland in Edinburgh, among others. He lives and works in Glasgow, United Kingdom.

I've always love this style of painting and drawing it always gives of a fairytale feeling for a long time when I was a little girl i was convinced that rabbits could talk because of her artworks coming to life in TV series Helen Beatrix Potter (, US , 28 July 1866 – 22 December 1943) was an English writer, illustrator, natural scientist and conservationist; she was best known for her children's books featuring animals, such as The Tale of Peter Rabbit.

Born into an upper-middle-class household, Potter was educated by governesses and grew up isolated from other children. She had numerous pets and spent holidays in Scotland and the Lake District, developing a love of landscape, flora and fauna, all of which she closely observed and painted.

Potter's study and watercolours of fungi led to her being widely respected in the field of mycology. In her thirties, Potter self-published the highly successful children's book The Tale of Peter Rabbit. Following this, Potter began writing and illustrating children's books full-time.

Potter wrote thirty books; the best known being her twenty-three children's tales. With the proceeds from the books and a legacy from an aunt, Potter bought Hill Top Farm in Near Sawrey in 1905; this is a village in the Lake District in the county of Cumbria. Over the following decades, she purchased additional farms to preserve the unique hill country landscape. In 1913, at the age of 47, she married William Heelis, a respected local solicitor from Hawkshead. Potter was also a prize-winning breeder of Herdwick sheep and a prosperous farmer keenly interested in land preservation. She continued to write and illustrate, and to design spin-off merchandise based on her children's books for British publisher Warne until the duties of land management and her diminishing eyesight made it difficult to continue.

This was definitely a blast from the past. When I was a little girl I'd seldom watch television because I would be drowned in homework or outside to play but when I do watch Tv series I always look forward to watch 'Charlie and Lola' and look at books from my primary school library for them.

Lauren Child's humorous illustrations contain many different mediums including magazine cuttings, collage, material and photography as well as traditional watercolours. As well as being author of several highly successful books, she is the illustrator of the Definitely Daisy series by Jenny Oldfield.

Lauren Child lives in London, where she works for the Design Agency 'Big Fish'. In 2008 she was announced as UNESCO's Artist for Peace, in 2010 she was awarded an MBE for services to literature, and she was named the Children's Laureate for 2017-2019.

She studied Art at Manchester Polytechnic and London Art School, after which she worked in a variety of jobs, including assistant to Damien Hirst. She also started her own company, 'Chandeliers for the People', making exotic lampshades.

I used to work for as a kindergarten teacher back in Hong kong as a summer job and back then the kids love to hear story books of the Gruffalo and to actually do a research the artist behind this popular book was very interesting and mind boggling.

Axel Scheffler was born in Hamburg, Germany in 1957 and spent his childhood there. From an early age he enjoyed drawing and when he finished school he knew he wanted to do something to do with art.

In 1977, He applied to an Art School to become a teacher, but was rejected so then he started to study History of Art at the university in Hamburg, but he soon found out that he's not an academic, and gave up without graduating.

Then in 1980, he spent a year doing alternative National Service. This was not in the army, but working with mentally ill people in their homes. During the holidays he went to see a friend who was at an Art School in England - that gave him the idea to live abroad and apply to study there.

During, 1982 he moved to the UK to study Visual Communications at Bath Academy of Art in Corsham, Wiltshire out in the English countryside surrounded by sheep and peacocks. The course also included an exchange to Cooper Union in New York. It was during these years (1982-1984) that I decided to become an illustrator.

Here are some of his sketches from that time.

1999, The Gruffalo was born! It won the Smarties Prize in the same year. Since then Julia and I have made lots of books together, but The Gruffalo has been our most popular book so far.

EH Shepard

Ernest Howard Shepard OBE, MC (10 December 1879 – 24 March 1976) was an English artist and book illustrator. He is known especially for illustrations of the anthropomorphic animal and soft toy characters in The Wind in the Willows and Winnie-the-Pooh.

Ernest H. Shepard was a successful British illustrator and painter best known for his illustrations for the The Wind in the Willows by Kenneth Grahame and Winnie-the-Pooh by A. A. Milne. His work, often created through a combination of watercolor and pen-and-ink, is characterized by light washes of color and graphic, black outlines. Born on December 10, 1879 in London, England to an artistic family, Shepard’s father was an architect and his grandfather was renowned English watercolorist William Lee-Hankey. The artist developed an interest in drawing from a young age and went on to receive formal training from the Royal Academy Schools in London. After serving in the Royal Garrison Artillery during World War I, Shepard worked for the popular satirical magazine Punch, where he was later recommended to author A.A. Milne, who was searching for an illustrator for Winnie-the-Pooh. Shepard received national attention for his work on the popular book series and continued in literary illustration for 50 years, designing the covers of popular Victorian novels, including David Copperfield by Charles Dickens and Tom Brown’s Schooldays by Thomas Hughes. Shepard died on March 24, 1976 in Midhurst, United Kingdom.

Tourtel, Mary (1874–1948)

English writer and illustrator. Born Mary Caldwell, Mar 15, 1874, in Canterbury, England; died Jan 28, 1948, in England; dau. of stained glass artist and stone mason; attended Canterbury Art School; m. Herbert Tourtel (newspaper editor).

Creator of the popular cartoon character Rupert the Bear, began career as professional illustrator of children's books (1890s); with husband, embarked on many adventures, including a flight in a Handley-Page airplane which broke flight-time record from Hounslow to Brussels (1919); challenged by husband to create cartoon character to rival competing newspaper's Teddy Tail, came up with Rupert the Bear cartoon strip, published both in The Daily Express (1920–35) and in some 50 books, beginning with The Adventures of Rupert the Little Lost Bear (1921); retired due to failing eyesight (1935).

Eileen Alice Soper was an English etcher and illustrator of children's and wildlife books. She produced a series of etchings, mainly of children playing, and illustrated books for other writers, notably for Enid Blyton and Elizabeth Gould. She also wrote and illustrated her own children's book.

Best known as the original illustrator of Enid Blyton's books, Eileen Soper was particularly fond of depicting children and animals. She was born in Enfield, Middlesex, and then moved to Hertfordshire where her artist father, George, created a wildlife sanctuary in their garden. Soper sketched many of the animals living there, including deer and badgers, and made etchings and engravings from an early age. She also wrote several books for children and produced a series of natural history books.

Lucy Cousins was born in 1964, attending a school in Kent. After doing a foundation course at Canterbury College, Lucy did a BA Honours in Graphic Design, followed by a postgraduate degree at the Royal College of Art.

Maisy, the famous mouse, “drew herself” one day, when Lucy was doodling various animals on a piece of paper, looking for inspiration, and the first Maisy book was published soon after Lucy left college. Maisy, who also stars in her own television show, has become one of the best-loved characters in children’s books, and is recognized the world over. Lucy won the Bologna Ragazzi Non-fiction Prize 1997 for Maisy’s House and has been Highly Commended for the National Art Illustration Award 1997 for Za Za’s Baby Brother, images from which were also used in a publicity campaign by Tommy’s, the baby’s charity. Jazzy in the Jungle won the Smarties Book Prize in 2002. Hooray for Fish!, published in 2005, is a celebration of life under the sea. Lucy lives in Hampshire with her husband and has four children.

Lucy finds that illustration comes more easily to her than writing, which tends to work around the drawings. “I draw by heart,” she says. “I think about what children would like by going back to my own childlike instincts.” And what instincts they are! Lucy now has sold more than 31 million books in worldwide, including picture books, sticker books, cloth books, colouring books, board books, pull-the-tab and lift-the-flap books, three-dimensional play sets, a clock book… Where does the prolific Lucy – a mother of four children – find the energy? “I’m quite disciplined,” she says of her productivity. “If I’m having an ‘ideas’ day, I just sit at my desk and draw and write until I feel something is happening – though I admit that this is usually helped by a cup of tea, some lively music, and an abundance of sunshine.” As for outside inspiration, she says she’s sometimes influenced by the work of other artists, as long as those artists are children. Says the author-illustrator, “I get more pleasure and inspiration from walking around a primary school than from any art gallery.”