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Art, the fields of art and the operating environment of the arts as well as the starting points for artistic work have changed and will continue to change. However, the social status of art and artists and the support structures for promoting art have not changed in the same proportion. The working group appointed to identify change needs will propose 21 key objectives for the development of arts and artist policy. In the proposals, the group will take into account the differences between the fields of art, but also what they have in common.
Meri Genetz (1885–1943) was a Finnish painter, esotericist, and a spiritual seeker. Around 1925, she began truly dedicating herself to spiritual seeking and started to make notes of her studies in black notebooks. This article will go through four of those notebooks which today offer a vivid picture of Genetz’s seeking between the years 1925 and 1943. In the beginning, Genetz acquainted herself with Gnosticism, Theosophy, and Kabbalah, as well as the works of Christian mystics, such as Emanuel Swedenborg and Jakob Böhme, the writings of, for example, Paracelsus, and texts attributed to the mythic figure Hermes Trismegistus. Gradually Genetz started to outline her own views, ideas, and theories regarding higher truth and spiritual wisdom. In the beginning of the 1930s her main quest came to be to find her ‘other half’ and become whole. She started attending Spiritualist séances, where she would ask about her other half and discuss the state of her soul, the souls of others, her art and marriage, and the books she had read. In time, Genetz’s quest for true wisdom and self-fulfilment became more and more restless and impatient. When she died in 1943, she was still seeking.
This article contributes to the understanding of relations between occulture and Decadence in Finnish art at the turn of the twentieth century, focussing on occulture and Decadence in the works of the Finnish artist Oscar Parviainen (1880–1938). The aim is to understand what are the relations between Parviainen's art, the Decadent art movement and occulture, and what are the aspects and cultural phenomena of his time that share similar lines of thought as Parviainen? In which ways did Parviainen address questions of higher truths about human existence, and what kind of role did they play in his thinking?
Sometimes lack of knowledge of what the 3D artist needs to see causes unnecessary relapses and bottlenecks which slow down the game production. The main objective of the thesis was to create general guidelines for communicating asset ideas and designs efficiently to a 3D modeler, focusing on visual communication. Methods such as a survey and a case study were used to research what 3D modelers of the game industry want to see in the visual communication of the asset design which is used as a reference for modelling the asset. To understand both sides of the communication, the aim was to find out what the person who communicates the idea for the 3D artist, sees as important to be paid attention to in the visual communication. In addition, areas of the industry were investigated such as the structure of job titles and methods around the communication of an idea. The knowledge gained from thematic analysis of the survey answers and case study were used to create guidelines which contain three different methods. A method is chosen, according to the needs of one’s project and working methods. The guidelines were tested by selecting the most fitting guideline for creating an asset for a roughly designed student game project. The study found out what methods and opinions professionals in the industry have, what methods are preferred and how the structure of a production pipeline affects the communication methods. The study led to a conclusion that asset development is an iterative process and often the pipeline is designed to contain relapses, thus excluding a need for a method of zero relapses as well as need for perfect guidelines for visual communication of an asset for a 3D artist. However, the guidelines provide direction for clear and efficient communication which may reduce relapses caused by lack of knowledge. Additional testing and development of the guidelines are required.
Tutkielmassa tarkastellaan kirjallisuuden ja kuvataiteen välimaastoon sijoittuvaa taiteilijakirjailmiötä. Taidemuotona taiteilijakirjan katsotaan syntyneen 1960-luvulla. Termi (artists book) sai alkunsa 1973 Yhdysvalloissa taiteilijoiden tekemiä kirjoja esittelevän näyttelyn nimestä. Taiteilijakirjaan liittyviä, vielä vakiintumattomia käsitteitä avataan intertekstuaalisuuden keinoin. Julkaisujen ja Internet-lähteiden perusteella tehdyssä kartoituksessa ilmeni, että osa määrittelijöistä pitää jo 1800-luvun lopulla Ranskassa kehittyneitä laadukkaita kirjoja (livre d´artiste) taiteilijakirjoina. Sellaisiksi voidaan kutsua myös 1980-luvulta lähtien yleistyneillä käsityömäisillä tavoilla toteutettuja teoksia, jotka voivat olla mistä tahansa materiaalista työstettyjä kirjoja tai kirjankaltaisia teoksia / kirjaobjekteja. Yhdysvaltalainen tutkija ja kriitikko Johanna Drucker edellyttää taiteilijakirjalta sen toimivuutta kirjana, ei pelkästään kirjaan viittaavana ikonina. Suomessa näkökulma taiteilijakirjoihin on ollut pikemminkin kuvataiteellinen, mikä tulee esille muun muassa Helsingin kaupunginkirjaston Rikhardinkadun kirjastoon perustetun taiteilijakirjakokoelman hankintaperusteissa. Tutkimuksessa selvitetään lähemmin kirjankaltaisuutta RikArt-kokoelmasta subjektiivisesti valitun kuuden teoksen intertekstuaalisella luennalla ja testataan Genetten paratekstuaalisuuden teorian soveltuvuutta teoksiin, joissa ei ole kirjoitettua tekstiä. Tulkinnassa teosten materiaalisuudesta ja formalistisista tekijöistä muodostui teosten paratekstejä. Luentatapa laajeni visuaalisuudesta monia aisteja hyödyntäväksi sekä tiedostettujen että tiedostamattomien kokemusten luennaksi, jota on tutkielmassa kuvattu simultaaniseksi erotuksena lineaariselle tekstin lukutavalle. Genetten paratekstuaalisuus täydennettynä kuvan muodon tutkimisen lähestymistavalla antoi suppeasta otoksesta huolimatta viitteitä menetelmän käyttökelpoisuudesta taiteilijakirjojen tarkastelussa. Mikäli taiteilijakirjoja ja kirjankaltaisia kirjaobjekteja halutaan edelleen eritellä toisistaan, lienee syytä tarkastella teoksia myös lineaarisen, ei-lineaarisen ja simultaanisen lukutavan näkökulmasta.
Abstract Aim: The aim of the study was to investigate the Vygotskyan concept of the zone of proximal development (ZPD) in the life of a Finnish actor Vesa Vierikko. Method: A qualitative method was used. Interviews were conducted on 5 and 13 May 2021 and on 31 January 2023. Lev Vygotsky’s literature served as the theoretical reference. Results: The content analyses resulted in six ZPD categories: in childhood, in the theatre academy, in Ryhmäteatteri, in films, in working as a professor at the theatre academy, and in directing. The interviews revealed the ambitious environment in performing arts and random coincidences that shaped the life of the actor. Catharsis was reflected as a joyful experience shared with the audience as the rhythm of the play became synchronised with the audience. Conclusion: The young talent was cherished and developed under the watchful eyes of his parents; artistic development was nourished by early acquaintances and friendships with members of the performing arts community. 20 years with Ryhmäteatteri advanced acting skills on stage and in films. Strong background in performing arts facilitated an educational career at the Theatre Academy for ten years. Key words: Vygotsky, zone of proximal development, actor, catharsis, Molière, Vesa Vierikko
In order to succeed in increasingly saturated markets, visual artists, like companies, face the challenge of having to build strong brands. The resulting research question of the thesis is whether artists, as human beings, are even able to establish a brand in the sense of integrated brand management, since they are not traditional companies with standardized, tangible products. Based on a comprehensive problem description of the situation of (visual) artists, which should justify the development of a brand with artists, visual artists are examined for their brand-relevant characteristics, which give a first starting point for the possibility of building a brand. A literature analysis on the subject of brands and humans/artists should illustrate in more detail that a theoretical linkage of the themes and thus a transfer of the brand concept to the artist is possible through the identity-oriented approach of the brand, which understands a brand as an image in the minds of the recipients. In order to build up such an image, there is a need for a formally and content-coordinated, integrated communication. The aim of the practical analysis part of this thesis is therefore to demonstrate an integrated communication with the aid of a semantic analysis by contemporary German artists Gerhard Richter and Jonathan Meese in order to be able to draw conclusions about a possible brand in both cases.
Taiteilijoilla ja yrittäjyydellä on aina ollut monimutkainen suhde, etenkin nyt maailmanlaajuisen COVID-19-pandemian aikana. Tämä ”Is Money a Dirty Word?” Pro gradu -tutkielman kokeilu oli osa AMASS - Acting on the Margin: Arts as Social Sculpture -projektia, jota rahoitti Euroopan komissio H2020. Sen tarkoituksena oli ymmärtää, kuinka taiteet voisivat olla yhdistävä elementti kahden erilaisen maailman välillä, erityisesti taiteilijoille, jotka toimivat usein yrittäjäympäristön reuna-alueilla. Kokeilu rohkaisi taiteilijoita improvisoimaan, tutkimaan ainutlaatuisia kykyjään ja luovaa osaamistaan, sekä heittäytymään yhteistyöhön liike-elämän asiantuntijoiden ja palvelumuotoilijoiden kanssa, ja siten ottamaan rohkean harppauksen, taiteen ja liikemaailman rajan yli. Tutkimusstrategiana tutkielmassa käytettiin Lapin yliopistossa kehitettyä Arts-Based-Action-Research (ABAR) -strategiaa ja taiteilijat osallistuivat tähän taidekokeiluun palvelumuotoilun menetelmiä hyödyntäen. Taidekokeilun päätulokset olivat: 1) uskomuksemme rahasta estävät meitä harjoittamasta intohimoamme, tässä tekemästä taiteesta toimeentuloa; 2) taideyrittäjyyden narratiivit poikkeavat perinteisestä yrittäjyyskasvatuksen narratiiveista ja menestyäksemme yrittäjyyskasvatuksessa taiteissa meidän on pohdittava näitä uudelleen; 3) luovuus, taiteen keskeinen elementti, voi hyödyttää liike-elämää, jos mahdollisuuksia yhteistyöhön rakennetaan aktiivisesti; ja; 4) markkinointi voi olla tulevaisuuden toimeentulon mahdollistava osaamistyökalu taiteilijoille, luovuuden ollessa yhtäläistä sekä taiteissa että yrittäjyydessä.
The objective of this thesis is to answer the question of if and how cartoonist and comic analyst Will Eisner’s theory of narrative process changes if animated elements are added to the equation. Its purpose is to ascertain how the methodology of sequential art has already been used to provide desirable results in webcomics and to add constructive material to the academic discussion of the possibilities of digital comics. The research method is a mix of discursive and qualitative analysis of the updated editions of Eisner’s book Comics and the Sequential Arts (1985) and eight webcomics by various artists. The primary sources are contextualized by cross referencing the material to relevant literature by Ian Hague (2014), Aaron Kashtan (2018) and Anastasia Salter (2014). Further cross references are made to prior bachelor’s and master’s theses by peers. The major finding of this research is that while animation does not change Eisner’s rhetoric, it adds to its perspective of the interaction between the artist and the reader. Using animation in a comic is acceptable as long as the reader knows how to react to it. Further research should be done on the symbolic language that animation can offer, as well as the ways in which the commercial comics industry could develop its platforms to promote animated comics.
In this paper I aim to discuss the boundary between fiction and nonfiction within the field of arts. This is done by analysing and discussing the fine line in between fiction and reality in my own artwork I wanted to be your wolf, but you never cried, and comparing it to other contemporary artists and works of art. My study consists of two parts. In the first part I try to sort out the concept of narrative, the difference between fiction and nonfiction, and the characteristics of narrative art and confessional art. In the second part I reflect on the process I went through in I wanted to be your wolf, but you never cried, what it became, and what will possibly happen next.
The objective of this thesis was to explore the basics of branding an artist against the artistic journey and real-life experiences of an emerging Vietnamese-born artist. The thesis explored the building of the artist brand of the author over a period of several years. The knowledge on branding was studied and tested from a personal perspective. Finally, the findings of the study were used for creating a video toolkit for artist branding. The theoretical framework consists of theories on branding in general followed by a more detailed discussion on personal branding and branding an artist. Three events relevant for the author´s artist brand development are presented: October Beatz concert, the Karaoke World Championship in Finland and The Voice of Finland. The methodological approach of the study is qualitative. Ethnographic methods are used as basis for the study: auto-ethnography and netnography. Additionally, Hofstede´s cultural dimensions are used as foundation for the discussion. The author´s personal voice and performance coach was also interviewed for gaining further insights on artist branding in practice. In conclusion, the findings suggest that attentive and careful planning based on professional knowledges is utterly important in positioning and branding an artist in the industry. The thesis also proposes some possible strategies and important elements to be considered in branding an artist. The thesis is aimed to help emerging artists who want to position themselves in the entertaining industry
What does it means to manage an artists in today's music business? Digitization has deeply changed and reshaped the panorama of music in the last decade, destroying balances and business models of the companies in the industry. The Music industry is not the same anymore and while a lot has been written about management and talent management in general business, the literature focusing on the peculiarity of this subject in the music business is scant. Has the job of a manager changed since digitization took over the world of music? With the aid of interviews made to professionals in the music business and the application of general management theory to the workings of the industry this research will try to dig a little bit deeper into the lives of this important figure of the business. From the results the study will draw similarities and differences between the music business and other industries when it comes to managing talent, and will hopefully give some inputs for new research on the field.
The objective of this thesis was to examine the role of artist residencies and their contribution to the journey of artistic expression. The data were gathered by collecting information found in articles, publications, online sources and books. During the research, more attention has been paid to the attributions of artists throughout history brought by their need to travel in search of inspiration, experiment with mediums, collaborate with other artists, explore new cultures and exchange ideas. The data were analysed by applying the results of the expansion and diversification of artist-in-residence programs as we know them today. The artistic part of the thesis titled Winter Harvest - a mixed-media project consisting of four oil paintings, a video and a textile installation, was implemented as a case study to further analyse how the change of the environment and the introduction to a new culture affect the working process and inner state of an artist. The site-specific series of artworks were created in the course of the artist’s residence in Finland during winter of 2022-2023. The final project was exhibited in the Degree Show Raw of the Fine Art study path at Gallery Himmelblau in March 2023. The findings of this thesis clarify the significantly beneficial result an artist can receive by applying and participating in an artist-in-residence program throughout their artistic journey. Specifically, they indicate the significant possibilities of artist-in-residence programs located in Finland. The findings can be used as an instructive source for upcoming artists who are interested in having further information and participating in an artist-in-residence program during their artistic career.
How do artist-teachers teach? What are the exercises and practices on which artist-teachers base their teaching? Is there something they would like to share with their colleagues? Visual Artist’s Workbook – Essays and Exercises on Teaching Arts collects the experiences and reflections of teachers and the practical exercises they use in teaching fine arts. The aim is to consider the practices that are relevant to teaching fine arts and to reveal their multiplicity. The book includes four essays written by artist-teachers, and the main part of the volume consists of short tasks written by forty artist-teachers. The book’s objective is to inspire anyone interested in the methodology of visual arts and pedagogy-based thinking. It introduces an augmented understanding of artistic thinking in the field of visual arts.
Over the past few years I as theatre practitioner and scholar have been developing the concept of a hybrid community of artistic expression (HCAE). This community includes people from different backgrounds who collectively create a joint piece of art. These are individuals who would not spend time together otherwise. The community aims to call attention to the stories of marginalised or stigmatised people, fostering change by making these experiences understandable to a larger audience. It also seeks to provide it’s members with the opportunity to participate in the public discourse through the medium of art. The Other Home project of The Finnish National Theatre is an example of this kind of a community. It included participants from three groups: 1) artists who sought asylum in Finland in 2015 2) artists with background in Finland 3) non-artist asylum seekers who had participated in an open workshop led by the project. The final product is a kind of documentary theatre: the production tells not just the stories of the community, but also the imagined stories of the community it considers itself to be. A key role comes when the community presents its production to the audience, as the ticketholders become a part of both the community and its final product by contributing their own unique input. The activities of a HCAE are politically charged in many ways. The Other Home community contained members that fought on opposing sides of civil wars in Syria and Iraq. It was a big challenge to make these people do art together. Politics was also present with regards to the unresolved asylum applications of many members of the community. Over the course of the project, both positive and negative asylum decisions were handed down. Further tensions in the community included conflicts between males and female, the young and old and the group’s professionals and amateurs. HCAE is an imagined community that perpetuates a vision of its inner sameness while also being aware of the phenomena that cause its members to be different. This is part of the community’s performance and self-narrated story.
Living as a professional artist requires multiple roles such as a businessman, a social media specialist, a financial expert, an entrepreneur, as well as artists contributing creativity through their artworks. The welfare system for artists in South Korea was suddenly legislated after one screenwriter, Goeun Choi’s death in 2011. However, the law was legislated in a short time, thus, it contains limitations and requires improvements. Furthermore, the two previous Korean governments made ‘Blacklist’ for artists and organizations who were unsupportive for those governments and gave disadvantages deliberately towards artists who were in this ‘Blacklist’. This research investigates to compare the status of professional artists in South Korea and Finland by interviewing artists in both countries. The goal of this thesis is to find out and suggest the direction of cultural policy supporting artists in South Korea through comparison with Finland. I interviewed ten professional artists (five professional artists in each country) by using a semi-structured interview. The interviews were conducted in English for Finnish artists, and in Korean for Korean artists. The collected data from Korean artists were translated into English. According to the results, the deviation of income for Korean professional artists was greater than Finnish professional artists. The grant was an important source of income for Finnish artists which means that Finnish artists were more dependent on the grant and they had more stable income with less deviation of income rather than Korean artists. Korean artists were not aware of grant or support project from the government with lack of information and mistrust towards the government. Meanwhile, Finnish artists were sharing information about grant through communities and organizations and they had trust in the process of grant system from the government. Artists in both countries pointed out the business-minded attitude towards short-term and visible outcome from both governments. Also, they suggested that the government appreciate art and artists.
In the digital world with fierce business competition that pose challenges to companies, it is important to enhance experiences for customer in ecommerce environments to make it more appealing by providing a seamless and interactive experience. The introduction of AR to online platforms is one of the potential problem solvers. Sephora, a leading retail beauty is one good case example on how a company has been able to survive and grow its retail presence by applying AR in their ecommerce innovation, creating a platform, named Sephora Virtual Artist. With the massive growing of AR application, however there is not enough available research to understand the AR implication towards user experience attitude. This present study attempted to fill the gap by investigated three instruments of AR media characteristic, which are augmentation, interactivity and registration were inspected in regard to its impact on cognitive, affective and conative dimensions as part of attitudinal user experience attributes. An empirical study under qualitative approach with observations, interviews, and secondary data combined was conducted by examining Sephora Virtual Artist application. The results of this study imply that the use of AR is useful in creating pleasurable user experience. As expected, AR application that can augment digital product projected on user influenced all types of attitudinal dimensions of user experience. With the augmentation, interactivity and registration of AR, it is possible to create a strong emotional and high rate of engagement between user and the brand by adding digital object to real world, as it makes them feel they already own the product. In addition, this study provides empirical evidence supporting each attitudinal user experience dimensions to AR Sephora Virtual Artist application, in which robust purchase intention. This study also discovered that AR has enormous market potential as it succeed in creating excitement of user experience, especially in beauty and cosmetic industry. Although AR still in its infancy, it has promising future to change the shape of commerce.
Due to the rise of technology, letterpress usage for commercial purposes has declined, which has provided new opportunities for artists and other cultural practitioners as a new instrument with which to make artworks. Some artists are attracted by the letterpress: its slow process using historical methods and the time to reflect during the printing process is unique. These artists are passionate about keeping these practices alive, without much help from modern technology. The letterpress has evolved from pure text printing to the creation of works of art. How has the fascination of letterpress evolved from the form of printing text to an art form, how are artists and graphic designers nowadays using this artform for their art and expression? The main sources of information in this thesis has been interviews with Lina Nordenström, Thomas Gravemaker, Katherine Anteney, Olof Sandahl and Antony Harrington, as well as following the online event United in Isolation with letterpress workers from around the world.
In this article, we examine the views that young (under 35 years) freelancers and entrepreneurs who work as professional artists in Finland have of their work. We refer to them as artrepreneurs. Our data sample is composed of the responses of entrepreneurs and freelancers (n = 209) from a survey data on young artists (n = 565) collected in 2017. By using a set of quantitative methods we study the impact of different factors on the job satisfaction experienced by freelancers and entrepreneurs, the nature and motivation factors of their work, as well as their status and livelihood. In our interpretative framework, central concepts are the “hybridity” and “precarity” of artists’ work and “autonomy paradox”. The most important results of our study are that artrepreneurs’ work is more multidisciplinary and they have more sources of income than other young artists. They also handle the uncertainties of precarious working life better than other artists.
The concept of identity has been ever-present since humans have been living in societies. People have identified themselves with their work, their families, their church, or religion as well as with their Nation or state. All of these identities that people have adopted throughout time have had various impacts on how those people have seen and understood themselves as well as how they have orga nized themselves and acted. As such an influential concept it has been of particular interest to many artists, which have explored it in their own artworks and have also analyzed and re searched it as well. This research relies on the findings and works that have come before, such as Bachelor’s and Master’s Theses, research papers, lectures, ex pert interviews, articles, books as well as on artworks that are informative and relevant to the topic of Identity. The aim of the thesis is to contribute to the awareness of the impact of Identity, show its importance in the field of arts and explain how the author is playing with identity as an artist and a storyteller and to open a semiotic and symbolic discus sion of the author’s artistic work. The findings show the complexities of human identities and how particular indi viduals have creatively formed and shaped their identities in order to serve them. As our identities are constantly in the process of change, and while we continue to ask who we are, we should not forget who is it that we want to become.
Kieli ja kielenkäytön tavat eli diskurssit vaikuttavat asenteisiin, toimintatapoihin ja todellisuuskäsityksiin yhteiskunnallisellakin tasolla. Koska joukkotiedotusvälineet, kuten sanomalehdet, radio ja televisio, levittävät diskursseja laajalle yleisölle, on tärkeää tutkia, millaisia asenteita, arvoja ja ideologioita median käyttämään kieleen sisältyy. Tällaiseen kielen- ja mediantutkimukseen on hyödyllistä soveltaa kriittistä diskurssianalyysiä, jolla voidaan havainnoida muun muassa vallan väärinkäyttöä, ylivaltaa ja eriarvoisuutta. Media tuottaa kielen kautta representaatioita todellisuudesta. Tämän tutkielman tavoitteena oli määrittää, millaisia representaatioita naispuolisista pop-artisteista luodaan brittiläisen sanomalehden, The Guardianin, verkkouutisissa. Valitsin analyysiä varten uutisartikkeleita, jotka käsittelivät kolmea suosittua naisartistia, Adelea, Beyoncéa ja Keshaa. Pyrin myös tutkielmassani arvioimaan naispuolisten pop-artistien representaatioita stereotypioiden ja seksismin näkökulmasta kriittisen diskurssianalyysin avulla. Analyysini ensisijaisena tuloksena sain selville, että tutkimieni naispuolisten pop-artistien representaatiot olivat keskenään hyvinkin samankaltaisia, mikä ei kuitenkaan ollut aiemmasta tutkimuksesta poikkeavaa. The Guardianissa korostettiin Adelen, Beyoncén ja Keshan rooleja äiteinä, vaimoina, tunteellisina naisina, uhreina ja selviytyjinä, vaikka heidän julkisuuskuvansa muutoin eroavat toisistaan. Lisäksi artikkeleista oli havaittavissa, että suurin osa näistä representaatioista pohjautuu stereotyyppiseen ja seksistiseen kielenkäyttöön. Perinteisiä, aiemmissa tutkimuksissa todettuja sukupuolirooleja esiintyy analyysini mukaan naispuolisia pop-artisteja käsittelevissä uutisartikkeleissa. Tästä huolimatta on myös representaatioita, jotka saattavat vaikuttaa naisiin voimaannuttavasti. Tutkimustulosteni perustuessa niukahkoon aineistoon lisätutkimus naispuolisten pop-artistien representaatioista on tarpeen.
The goal of this study is to explore the development of Otto Rank's (1884-1939) philosophy through his shifting conceptions of heroism. The focus is specifically on the notion of Artist as the Hero. The investigation is conducted by performing a comparative study of Rank's thought with that of his two great mentors: Friedrich Nietzsche (1844-1900) and Sigmund Freud (1856-1939). The study employs various key concepts of Nietzsche – such as Apollonian / Dionysian dichotomy – to illustrate similarities and differences between Rank and Freud. Nietzsche acts here as a basis for comparison. This study argues that the psychologies of Rank and Freud – and their gradual divergence – can be seen as two different and unique answers to the challenge of nihilism, as expressed by Nietzsche with his conception of the Death of God and the cultural criticism that entails. It proposes that the notion of Artistic Hero in the philosophies of Rank, Freud and Nietzsche can be seen as a key concept, as they attempt to answer this dilemma. The study shows how the development of Rank's thought progresses from strict adherence to Freud's ideas to a point where he re-unites again with his early philosophical hero, Nietzsche, the artistic heroism acting as a connecting metaphor. The study elucidates how Rank uses Nietzsche to break away from Freud, and Freud, on the other hand, tries to perform a 'heroic escape' from Nietzsche's influence. In their quest for authenticity and new values, these three thinkers essentially create heroic myths of their own. Although the psychology of Freud and the philosophy of Nietzsche are well-known in both public and academic spheres, the same cannot be said about Rank, whose ideas still remain unknown and obscure to most. In its own small way, this study aims to rectify this situation by exploring 'Rankian' ideas. There is an added dynamism that comes from juxtaposing Rank's thought with Nietzsche and Freud's.
Sarjakuvien tekemisestä on julkaistu paljon erilaisia oppaita, mutta useimmat niistä painottuvat sarjakuvien tekemiseen alusta loppuun itsenäisesti. Erillisen käsikirjoittajan ja kuvittajan yhteistyöprojekteja lähinnä sivutaan. Sarjakuvan kuvittaminen ulkoisen käsikirjoituksen pohjalta luo kuitenkin omanlaisiaan haasteita verrattuna täysin omavaraiseen työskentelyyn. Suurin ongelma lienee se, kuinka ymmärtää käsikirjoittajan sielunmaailmaa niin hyvin, että monitasoinenkin viesti välittyy kaikkine vivahteineen lukijalle juuri sellaisena, kuin kirjoittaja sen tarkoitti, ja vielä samanaikaisesti lisätä oma leimansa sarjakuvaan. Tutkielmani tavoitteena on kasata tiivis tietopaketti sarjakuvien kuvittamisesta hyödyntäen alan kirjallisuutta ja täydentäen sitä viiden paikallisen sarjakuvakuvittajan haastattelulla. Sen lisäksi havainnoin sarjakuvan kuvittamista käytännössä tutkielmaani liittyvässä produktiossa, jossa toimin kuvittajana Henna Karvosen käsikirjoittamalle sarjakuvalle Rokkityttö ja Rinsessa. Produktion laajuus on kolmekymmentä sarjakuvastrippiä. Tutkielmastani käy ilmi millainen prosessi sarjakuvan kuvittaminen on, miksi siihen ryhdytään ja millaisia haasteita kuvittaja voi työssään kohdata. Tutkielmani tarkoitus on kasata yksiin kansiin pätevä ohjeistus sarjakuvan kuvittamisesta haaveileville.